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In response to the growing threat of heatwaves, researchers at The Hong Kong Polytechnic University (PolyU) have developed next-generation personal cooling solutions including iActive Intelligent Sportswear, a garment that uses artificial ‘sweat glands’ to quickly eject perspiration, keeping skin dry and removing sweat up to three times faster than a person's peak sweating rate.
The second technology is called Omni-Cool-Dry which is a breathable, skin-like fabric that reflects solar radiation and emits body heat, lowering skin temperature by about 5°C compared to conventional fabrics.
Thermo-adaptive soft robotic garment which uses temperature-responsive actuators to adjust insulation, keeping its inner surface up to 10°C cooler than standard gear in temperatures reaching 120°C and lastly, a non-invasive wearable SweatMD that uses a microfluidic network to analyze sweat and track biomarkers like glucose and potassium, providing real-time health insights on a smartphone.
These innovations form a complete AI-ready ecosystem, with sensors gathering data and intelligent clothing responding with targeted actions. The work has earned significant international recognition, including a Gold Medal at the 2025 Geneva Invention Exhibition and The Fiber Society's Distinguished Achievement Award for Professor Dahua Shou, Limin Endowed Young Scholar in Advanced Textiles Technologies, Associate Professor of the PolyU School of Fashion and Textiles, Associate Director, Research Centre of Textiles for Future Fashion, and Associate Director, PolyU-Xingguo Technology and Innovation Research Institute. The PolyU team’s goal is to bridge the gap between fundamental research and real-world applications to address global challenges.
Luxury sales in India are experiencing double-digit growth as the number of high-income households in India is projected to double by 2030. This demographic shift, combined with rising disposable incomes, is fueling a strong appetite for luxury goods and experiences.
Luxury brands are increasingly creating exclusive products and collections tailored to Indian tastes and cultural events. For example, some watch brands are launching India-inspired timepieces, and luxury porcelain houses are creating sculptures of religious figures.
India's vibrant festive and wedding seasons are a major catalyst for luxury spending. The high number of auspicious wedding dates in 2025 has created a significant opportunity for luxury fashion houses, jewelers, and other high-end brands.
The luxury real estate market is also booming, with sales of homes priced at Rs 4 crore and above increasing by 85 per cent in H1, FY25. This reflects a growing consumer confidence and a desire for premium living. While major cities like Delhi and
Mumbai remain luxury hubs, brands are increasingly expanding into Tier-I and Tier-II cities. E-commerce platforms are also playing a crucial role by making luxury goods accessible to consumers in smaller towns.
Younger, affluent consumers, including Gen Z, are driving a new trend. They are not just buying products but are also investing in luxury experiences and ‘quiet luxury,’ which focuses on quality and craftsmanship rather than overt branding.
Overall, the luxury market in India is poised for a record-breaking year. It's a key growth engine for global luxury brands looking to expand their presence, especially as other major markets like China face a slowdown.
The European Union has launched an anti-dumping investigation into imports of PET Spunbond fabrics from China.
The investigation was initiated after a complaint was filed on August 8, 2025, by two companies, Freudenberg Performance Materials and Johns Manville (JM). They allege, Chinese imports of this product are being ‘dumped’- sold at unfairly low prices- which are causing significant harm to the European Union's domestic industry.
The product in question is a specific type of non-woven fabric made from polyester filaments. It's used in various applications and is defined by its thickness (between 0.5 mm and 1.8 mm) and weight (more than 70 g/sq m), among other technical specifications.
The complainants claim, it's inappropriate to use China’s domestic prices and production costs for comparison because of ‘significant distortions’ in the Chinese market. They cite a 2024 Commission document on market distortions in China, pointing to issues with land, energy, capital, raw materials, and labor, particularly within the textile industry.
To support their claim, they provide extensive evidence, including numerous Chinese government policy documents and five-year plans, such as the ‘Made in China (2025)’ initiative. These documents show a pattern of state intervention and support that distorts the market, they argue.
As a result, the Commission will not use Chinese domestic prices to determine a fair value. Instead, it will construct a ‘normal value’ for the product based on undistorted prices from a representative country. The complainants have suggested Turkey and Thailand as potential benchmarks.
The evidence provided by Freudenberg Performance Materials and JM suggests that the low-priced Chinese imports have negatively impacted the European industry. They claim. this has led to a drop in sales, lower prices, and a decrease in market share for European manufacturers, causing substantial harm to the industry's financial health and overall performance.
Fashion designer Christian Siriano brought a touch of cinematic magic to New York Fashion Week, transforming the athleisure section of a Macy’s store in Herald Square into a runway. His Spring 2026 collection took the audience on a journey from black-and-white to full Technicolor, inspired by old Hollywood.
The star-studded front row was a reflection of the theme, with Whoopi Goldberg and Oprah sitting alongside singer Lizzo. The show opened with longtime Siriano muse Coco Rocha, who strutted down the catwalk in a striking black-and-white striped and polka-dot organza blazer with a matching skirt and hat.
Siriano said his collection was inspired by actress Marlene Dietrich and her style, which effortlessly blended masculine and feminine elements. The show began with black-and-white looks featuring a variety of textures, including sequined plaid, polka dots, and stripes. The collection then shifted dramatically, as if a film had suddenly burst into color, with pieces like a vibrant Tiffany blue ball gown and a Barbie pink deconstructed tuxedo dress.
Models' hair was styled in slick buns with a single pin curl, maintaining the old Hollywood glamour. In a modern twist, some structured blazers were paired with nothing but tights. The collection featured a range of tailored blazers and voluminous bubble dresses, showcasing Siriano's play with patterns and structure.
Beyond the fashion, Siriano continues to be a champion of inclusivity, featuring models of all sizes, genders, and backgrounds. He says, it’s just important to have a mix of beautiful people.
Reports from multiple sources indicate, Francesca Bellettini, Deputy CEO, Kering, is expected to be appointed as the new CEO, Gucci. This change in leadership comes less than a year after Stefano Cantino took the helm, signaling an urgent effort by Kering to stabilize and revitalize its most crucial brand.
Historically accounting for nearly half of Kering's total sales, Gucci has been facing significant challenges. The brand's performance has faltered, with sales declining by 21 per cent in FY24 and a further by 25 per cent in H1, FY25. This prolonged weakness has become a major concern for Luca de Meo, CEO, Kering, who sees a swift turnaround at Gucci as his most important task. The decision to replace Cantino so quickly underscores the immense pressure to deliver immediate results in a highly competitive luxury market.
Bellettini is widely regarded as one of the most accomplished and trusted executives in the luxury industry. Her appointment is a strategic move to leverage her proven track record of success. She is credited with the incredible revitalization of Saint Laurent, where she served as CEO for over a decade. During her tenure, she grew the brand's revenue sixfold, transforming it into a major powerhouse within the Kering portfolio.
Bellettini is also known for her ability to balance a clear creative vision with strong commercial discipline, a skill that is seen as essential for Gucci's turnaround. The timing of her appointment is critical. It comes just weeks before Denma, new Creative Director is set to debut his vision for the brand in Milan on September 23. Bellettini was closely involved in bringing Demna to Gucci, and her leadership ensures a seamless and coherent alignment between the brand's creative and business strategies.
This move is one of the first major decisions by Meo, and signals a decisive shift toward stabilizing the group's biggest asset. The urgency is so high that Kering has reportedly postponed its plans to acquire the remaining stake in Valentino to focus its energy entirely on Gucci's recovery. Bellettini's mission will be to restore Gucci's financial health, redefine its brand positioning, and rebuild the cultural relevance that made it a global icon.
A major shift in European Union policy is set to redefine the global apparel and textile landscape. The EU is moving from a fragmented and voluntary approach to a unified, comprehensive, and binding framework that targets the entire lifecycle of textile products. This new policy, driven by Extended Producer Responsibility (EPR) schemes, is designed to combat fast fashion's environmental impact and promote a truly circular economy. The changes will definitely affect all international brands, including US companies that sell products to European consumers.
The core of the new regulations
The new rules, stemming from the EU's Strategy for Sustainable and Circular Textiles, introduce some major changes outlined in the table below.
Aspect Existing EPR Laws & Frameworks (Before 2025) New 2025 EU Rules EPR Implementation Many EU countries had EPR schemes, causing compliance complexity and market fragmentation. Establishes harmonized, mandatory EPR schemes across all EU member states for textiles. Producers pay full lifecycle costs. Coverage Some Member States had EPR covering textiles partially; scope and fees varied widely. Applies to all textiles and e-commerce sellers, both EU and non-EU based, covering all stages (collection, sorting, recycling). Digital Product Passport (DPP) DPP under Ecodesign Regulation mandates digital product info for sustainability from 2027, but not tied directly to EPR fees. EPR aligned with DPP and eco-modulation to reward circular, durable products; reporting requirements harmonized EU-wide. Fast Fashion & Ultra-Fast Fashion Some countries had voluntary initiatives or partial fees targeted to fast fashion's impact. Explicit provisions allow states to set higher fees targeting ultra-fast fashion, discouraging environmentally harmful practices.
This new framework is a direct response to the alarming amount of textile waste generated in the EU. According to the European Environment Agency (EEA), the average EU citizen consumes around 16 kg of textiles per year, generating 6.94 million tons of textile waste annually.
Data on textile waste
Low recycling rate: Currently, only about 22 per cent of post-consumer textile waste in the EU is collected separately for reuse or recycling.
Landfill and incineration: The vast majority of discarded textiles, approximately 87 per cent, end up in landfills or are incinerated.
Global impact: The EU's high consumption and low recycling rates contribute to the global textile waste crisis, with much of the collected but unsorted waste being exported and often ending up in landfills in African and Asian countries.
The financial and operational impact
|
Aspect |
Existing EPR Laws & Frameworks (Before 2025) |
New 2025 EU Rules |
|
EPR Implementation |
Many EU countries had EPR schemes, causing compliance complexity and market fragmentation. |
Establishes harmonized, mandatory EPR schemes across all EU member states for textiles. Producers pay full lifecycle costs. |
|
Coverage |
Some Member States had EPR covering textiles partially; scope and fees varied widely. |
Applies to all textiles and e-commerce sellers, both EU and non-EU based, covering all stages (collection, sorting, recycling). |
|
Digital Product Passport (DPP) |
DPP under Ecodesign Regulation mandates digital product info for sustainability from 2027, but not tied directly to EPR fees. |
EPR aligned with DPP and eco-modulation to reward circular, durable products; reporting requirements harmonized EU-wide. |
|
Fast Fashion & Ultra-Fast Fashion |
Some countries had voluntary initiatives or partial fees targeted to fast fashion's impact. |
Explicit provisions allow states to set higher fees targeting ultra-fast fashion, discouraging environmentally harmful practices. |
Higher costs: US brands and other international companies selling in the EU, including through e-commerce, will need to register and contribute to EPR schemes in every country they sell to.
Operational changes: Companies will need to invest in new data management and traceability systems to comply with the upcoming Digital Product Passport (DPP). The DPP will act as a digital ID for each textile product, providing information on its composition, production, and end-of-life options via a QR code or similar identifier.
The rise of a circular textile economy
This regulatory push is expected to drive significant investment and innovation. A McKinsey report estimates that scaling up textile recycling in Europe could require €6 billion to €7 billion in capital expenditure by 2030. However, it also projects that a mature textile recycling industry could generate a profit pool of €1.5 billion to €2.2 billion annually and create a total holistic impact of €3.5 billion to €4.5 billion when considering job creation and environmental benefits.
France's head start
France has been a pioneer in this area, having a regulated EPR scheme for textiles since 2007. The French eco-organization Refashion manages the program, and its success is a potential blueprint for the EU-wide system. The French approach, with its eco-modulation fees and mandatory data reporting, has helped the country achieve a 60 per cent reuse and recovery rate for its collected textiles, significantly higher than the European average.
What's next for US brands?
The new EU regulations signal a major shift away from a linear take-make-dispose model. For international brands, this is not merely a compliance issue but an opportunity to embrace circularity. Companies that proactively invest in sustainable design, supply chain transparency, and new business models like rental and repair will be better positioned to meet regulatory demands and gain a competitive edge in a market where consumers are increasingly demanding more ethical and sustainable products. As companies race to adapt, one can expect to see an uptick in demand for professionals in regulatory compliance, sustainability, and reverse logistics in the coming years.
In an effort to boost cooperation with Egyptian companies, Karl Mayer along with 18 leading German textile machinery manufacturers, is on a business trip to Cairo and Alexandria. The company will attend business meetings on September 22 in Cairo and September 24 in Alexandria, with each session featuring a large symposium, B2B networking events, and visits to textile manufacturers.
The trip is being organized by SBS Systems for Business Solutions and the German-Arab Chamber of Industry and Commerce in Egypt, in close collaboration with the VDMA. A renowned manufacturer of warp knitting and warp preparation equipment, Karl Mayer is participating to present itself as a full-service partner for its customers.
The brand’s discussions will focus on the entire package they offer, from after-sales care and customer support to training and development, says Adam Stevenson, Sales Representative, Karl Mayer.
Stevenson describes Egypt as a promising and exciting market for Karl Mayer, noting, Chinese and Turkish textile companies are moving or opening new production facilities in the country. He expressed optimism about meeting new customers and companies interested in entering the knitting sector.
The recently concluded BRICS+ Fashion Summit in Moscow was more than just a series of runway shows; it was a powerful platform that highlighted a fundamental shift in the global fashion industry. Regional fashion markets, long overshadowed by traditional Western capitals, are now asserting their unique identities and economic might, charting their own paths to global recognition.
From the vibrant textiles of Brazil to the rich heritage of Africa and the innovative spirit of Asia, the summit's country and regional sessions underscored a shared vision: to grow local industries by leveraging cultural authenticity, embracing sustainable practices, and forging new cross-border collaborations.
The Brazilian and African Renaissance: From coffee to catwalks
Brazil’s fashion industry is rapidly expanding its global footprint. As Bruno Simões, Curator of ApexBrasil, noted, "Brazil and Russia are two superpowers that know how to sell. Brazil exports fashion products worth $3 billion, and our manufacturers and designers are known worldwide." He drew a parallel to Brazilian coffee, which was not always globally recognized but gained international renown through concerted promotional efforts. The same, he believes, is now happening with Brazilian fashion, as designers combine national motifs and sustainable practices.
Ekaterina Kondakova, Head of the Russian Export Center, echoed this sentiment, noting that over 70% of global companies now use identity as a key aspect of their promotion. She pointed out that more than 40% of Brazilian brands have focused on national motifs and eco-products, resulting in a 30% increase in their international presence.
Simultaneously, the African fashion industry is experiencing a remarkable boom. With a population of over 1.5 billion and a burgeoning middle class, the continent represents a colossal market. Susan Sabet of the Egyptian Fashion & Design Council highlighted Egypt’s famous cotton, and Anis Montacer of Tunis Fashion Week emphasized the importance of traditional embroidery.
Meanwhile, South Africa is emerging as a leader. David Tlale, a creative director from South Africa, explained that major international brands are increasingly outsourcing production to the nation. "We are strategically building South Africa as a raw material production hub serving both our continent and European markets," Tlale said.
Stephen Manzini, CEO of Soweto Fashion Week, underscored the foundation of South African fashion: its unique cultural heritage. As he put it, "Our designs are deeply rooted in the history and cultural tapestry of our nation. It is precisely this authentic tradition that empowers our designers to create truly distinctive pieces."
Asia's Rise: Blending tradition with technology
The Asian fashion industry, a blend of ancient traditions and cutting-edge technology, is also on an accelerated growth trajectory. Nandini Bhalla, Editor-in-Chief of The Word. Magazine in India, pointed out the immense potential of the Indian market, where 65% of consumers are under 35 years old and a staggering 500 million people use social media. She emphasized the importance of sustainability, a principle deeply embedded in Indian culture, noting that past generations "never throw anything away – they mend torn clothes and pass them to younger generations."
Jay Ishak, CEO of MyFashionChamber in Malaysia, outlined five key areas for international collaboration, including technological partnerships and alliances in ecology. He noted that Asian designers are increasingly incorporating modern technologies like blockchain and AI into their work while preserving traditional crafts. Liliek Setiawan, CEO of Sekar Lima in Indonesia, highlighted the country's abundance of natural fibers, from banana leaves to bamboo, and called for large-scale demand to make eco-friendly production commercially viable.
Russia's domestic momentum and global ambitions
The summit also shed light on the burgeoning Russian market, where domestic brands are experiencing unprecedented loyalty. Natalya Mironova of PROfashion media holding revealed that Russian consumers are purchasing domestic products five times more frequently than foreign alternatives, a trend she dubbed the "Wear Russian" movement. This has fueled ambitious international expansion, with Russian brands like Brusnika and 12 Storeez targeting the Middle East.
Legal expert Larisa Grigorieva stressed the importance of intellectual property protection for brands seeking to expand internationally, a sentiment echoed by Mihajlo Matković of Serbia. He emphasized that for luxury brands, consumers want to feel they are "supporting local manufacturing."
The discussions at the BRICS+ Fashion Summit painted a clear picture of a decentralized and multipolar fashion world. The event solidified Moscow’s position as a key nexus for new fashion alliances, where regional powerhouses are no longer just followers of global trends but are actively shaping them, driven by their unique cultural codes and a commitment to sustainable, authentic growth.
In a world where fast fashion often dominates, a different conversation took center stage in Moscow. The recently concluded BRICS+ Fashion Summit, held in conjunction with Moscow Fashion Week, wasn't just about the latest trends; it was a powerful statement on the enduring link between culture and costume, and a collective call for ethical and equitable practices in the global fashion industry.
From August 28 to September 2, 2025, industry leaders, designers, and artisans from over 60 countries, including Brazil, China, India, and South Africa, converged to discuss everything from the "art of transformation" through costume to the delicate ethics of cultural borrowing. The event served as a vibrant and vital platform for the Global South to assert its creative and economic power.
Beyond the Runway: The power of costume and cultural code
The summit's business program delved deep into the philosophical and practical aspects of fashion. One panel, "The Art of Transformation," explored how costume transcends simple clothing to become a vehicle for storytelling and identity. As Vadim Volya, Art Director of the New Russian Circus, aptly put it, “Costumes have a special task, unlike regular clothing. They must convey meaning. In theater or cinema, a costume carries far more information than simply representing the character—it must fit the artistic context of the work.” This sentiment was echoed in discussions on how designers are using traditional symbols, from Russian national motifs to African patterns, to create modern, meaningful collections.
The "Land Code" discussion was a highlight, with experts agreeing that traditional crafts are not just an inspiration but a powerful competitive advantage. Hind Joudar, Founder and CEO of Morocco Fashion Week, highlighted the fine line between appreciation and exploitation, sharing the frustration of seeing traditional Moroccan slippers, "babouches," sold by famous couturiers for exorbitant prices with no benefit to the original artisans. “Economic opportunity is vital, but it must respect ancestral traditions and operate fairly,” Joudar stressed.
This challenge was a central theme, with speakers calling for stronger intellectual property frameworks to protect folk crafts. Vyacheslav Dolgov, Chairman of the Board of the National Union of Folk Art Crafts, described Russia’s approach, where crafts like Gzhel ceramics are protected by a "land code" that ties them to their place of origin. “This approach is correct because the birthplace of tradition is sacred,” he said.
The Golden Rule: Navigating cultural appropriation
The most poignant and timely discussions revolved around the charged topic of cultural appropriation. Panelists universally agreed that a "golden rule" must be established in the industry: disclosing sources of inspiration.
Ajai Vir Singh, Managing Director of Colombo Fashion Week, was direct in his assessment. “For years, European brands have used local crafts without revealing where they borrowed these motifs. Cultural appropriation in any form creates inequality.”
Montenegrin designer Marina Banović provided a practical example of ethical collaboration. She detailed her work with the local Albanian community to create a commercial line inspired by the traditional "jubleta" costume. The collaboration ensures the community benefits directly from the sales. “When you don't disclose a design's origins, you cross into appropriation territory,” Banović said. “We strive to protect the source—respecting origins is essential because without that respect, commerce steals its soul.”
Tery Carola, CEO and Founder of Seychelles Fashion Week, added another layer to the conversation, highlighting the importance of understanding cultural context beyond just citing a source. She used the example of Seychelles nuts, a natural resource that has been used for medicines and cosmetics without proper acknowledgment. Thanks to recent legislation, this natural wealth now benefits the Seychellois people, creating a clear parallel for how fashion can become a tool for economic and cultural empowerment.
A new world order for fashion
The summit’s overarching message was clear: fashion is a powerful tool for cultural diplomacy and economic development, particularly for emerging economies. The convergence of so many diverse voices in Moscow signaled a collective desire to decentralize the traditional fashion power structure and create a more inclusive, ethical, and collaborative global industry. By putting culture, heritage, and people at the forefront of the conversation, the BRICS+ Fashion Summit and Moscow Fashion Week laid the groundwork for a more thoughtful and respectful future for fashion.
The global fashion landscape is undergoing a "tectonic shift," and the inaugural BRICS+ Fashion Summit, held in Moscow from August 28-30, has placed a firm spotlight on the emerging forces at play. The event was a masterclass in re-thinking the fundamentals of the industry, with a series of business sessions dissecting everything from the rise of the young designer to the future of retail. The consensus among speakers from across the BRICS+ nations was clear: the era of "big" brands is giving way to a new paradigm built on individuality, community, and an understanding of cultural value that goes far beyond a logo.
The Rise of the Indie Designer: Courage over corporate power
In a session titled "New Generation of Designers. The End of Big Brands’ Dominance?", industry veterans and newcomers alike explored the challenges and opportunities for independent creators. The dialogue centered on how young designers are succeeding not by mimicking established hierarchies, but by embracing flexibility, technology, and a direct connection to their audience.
Designer Julia Dalakian, a seasoned veteran, acknowledged the enduring struggle for new talent but noted a significant change. "When we started, nobody needed us at all, everyone bought foreign products; now it’s different," she said. Dalakian emphasized that in today's crowded market, the key to success is expressing individuality, and that the vast amount of online information makes it easier for those "ready to learn."
Sergey Sysoev, another founder-designer, echoed this sentiment, stating that "courage and individuality are the only things that can compete with large brands." He also highlighted the importance of a deep, localized understanding of the consumer—a nuanced knowledge of "what people wear in winter and what in summer"—that a massive global corporation can rarely replicate. Stefaniya Malikova, an influencer and designer, encapsulated the shift in consumer psychology perfectly: "Clients now buy not a product, but a mood."
Creative Capital: Ideas as the new currency
The conversation shifted from the artist to the entrepreneur in the session, "Creative Upgrade. Turning Ideas into Capital." Speakers discussed the burgeoning creative economy and how the fashion segment is a vital engine for it. Nikolay Megvelidze, Managing Creative Director at BBDO, challenged the traditional fashion business model. He introduced the concept of "ecosystem thinking," which he described as creating a core concept first, then using it to launch "multiple channels and platforms, enter other industries, and multiply profits."
The session provided a powerful case study in the brand as a force for social good. Yulia Golubeva, Deputy General Director of Gazprom-Media Holding, shared the story of the brand Be Easy Kid, which creates functional clothing with magnetic fasteners for children with disabilities. "Today it is not just a clothing brand but a whole ecosystem of projects aimed at social integration of children with disabilities," Golubeva said, demonstrating how a powerful idea can generate both profit and social impact.
The Hybrid Retail Revolution: Offline is the new online
As brands look to scale, the question of "Quantity or Quality?" looms large. This session tackled a fundamental dilemma: how to grow without diluting a brand's unique identity. The answer, according to Adrian J. Mizzi, Founder of Malta Fashion Week, is simple: "Quality always comes first. Quantity follows quality."
The discussion also explored the evolution of sales formats, with the session "From Offline to Online and Back" highlighting the emergence of hybrid models. Marina Polkovnikova, CEO of VMC Retail, detailed a number of essential retail trends for today's market, including the use of art installations for social media content, the development of concept stores, and the rise of customer service as the "new currency." Artem Yaskov, Chief Operations Officer at Cozy Home, advised brands to differentiate their product assortments across physical stores, e-commerce, and marketplaces to cater to consumer convenience.
The Power of Storytelling: From logo to culture
Day one concluded with a focus on the philosophical underpinnings of modern branding. The session "Power of Positioning. Brand Evolution — From Logo to Culture" explored how a brand's success today is tied not to its logo, but to its ability to create a community and a cultural identity.
Yuliya Tipenkova, CEO of Lyna Plus, emphasized the need for brands to slow down and understand their true essence. "Today, a brand represents the community customers aspire to join and where they feel genuinely comfortable," she explained.
Mustafa Hassanali, Chairperson of Swahili Fashion Week, brought the point full circle, declaring that the BRICS+ Fashion Summit itself is a testament to this new cultural influence. "I believe the emotions generated here enable us to create culture itself," he said. "The summit's positioning demonstrates it stands as the world's premier fashion event."
