Product Launch: Bobbi Beck goes for gold with new William Morris Wallpaper Collection

Bobbi Beck, a British design & print studio specialising in sustainably-made luxury wallpaper, has newly launched William Morris Gold wallpapers, a collection that places a refined gold twist on some of the most iconic Morris patterns, bringing a fresh decorative perspective to home interiors.

William Morris (1834–1896) was a British designer, writer, craftsman, and social thinker, and one of the most influential figures in 19th-century decorative arts. He was a leading figure of the Arts and Crafts movement, which reacted against industrial mass production and championed craftsmanship, beauty, and integrity in design.  Well-known for elevating wallpaper and fabric design from simple decoration to serious art, Morris' textile patterns were inspired by nature (flowers, vines, birds, leaves) and intricately layered and rhythmic, with carefully structured repeating motifs rich in medieval and botanical references.  His most famous designs include Strawberry Thief; Willow Bough and Trellis, which Bobbi Beck has drawn on for their new Gold collection.

The new range has been developed as a celebration of design heritage and elevated craftsmanship, exploring how gold can add richness and depth to patterns that are already deeply expressive. The refined finish introduces a sense of luxury that feels considered rather than ornate, enhancing the visual impact of each design while remaining true to its origins.

James Mellan-Matulewicz, Creative Director at Bobbi Beck says “Gold wallpaper brings a unique sense of warmth to a room, it doesn’t just sit on the wall, it interacts with light and the atmosphere around it. The subtle glow of the gold finish makes spaces feel richer and more inviting.”

“Morris’s patterns continue to inspire 160 years on, they resonate with a desire for authenticity and character in interiors that feels just as relevant now as it did then. Reinterpreting these designs with gold brings a new layer of excitement honouring the intricacy and originality of his work” explains Mellan-Matulewicz, who is also a founding member of Bobbi Beck in Cornwall.  Its wallpaper is designed and produced in-house using FSC-certified paper and toxic-free inks. Its dedicated design and production studio runs on 100% renewable energy.

This luxurious collection breathes a luminous new life into the iconic botanical patterns of the 19th century, blending the intricate organic forms of the Arts & Crafts movement with a modern, sheen metallic palette. Featuring beloved designs such as Bough and Strawberry Thief, each roll is rendered in a rich, honeyed gold that shifts beautifully under varying light conditions. The collection offers homeowners a way to infuse their spaces with a warmth that feels both timeless and decidedly bold.

The collection offers remarkable versatility, effortlessly adapting to a wide range of interior styles and architectural settings. In a grand, traditional dining room, the gold-on-gold patterns provide a long-lasting effect that honors the heritage of William Morris, while in a sleek, contemporary living space, they act as an impactful, metallic statement piece.

Mellan-Matulewicz says to style the William Morris Goes Gold collection, aim for a “Modern Maximalist” aesthetic that balances the wallpaper’s ornate shimmer with deep, saturated colours. This approach reflects a clear shift in current interior trends towards more bold, personality-led decorating, where spaces are designed to tell a story rather than fade into the background.  By giving these iconic designs a gold twist, the collection presents a fresh perspective on a celebrated legacy, demonstrating how Morris continues to feel relevant in today’s homes.

Modern maximalism embraces richness and confidence, creating the perfect counterpoint to the gold detailing, allowing the wallpaper to feel opulent yet grounded. Rather than matching everything precisely, the focus is on curated contrast, mixing textures, layering materials to create depth and dimension. Ultimately, these wallpapers are designed to take centre stage, setting the tone for expressive, character-filled spaces.

Exhibition Review: Palais Galliera of Paris Shines Light on the Hidden Crafts of Fashion

In Paris, the Palais Galliera is drawing attention to the often-unseen artisans of haute couture with its expansive exhibition: Weaving, Embroidering, Embellishing: The Skills of Fashioning. 

Voluminous sculptural dress and shoes by Rei Kawakubo of Comme des Garçons, for her "18th Century Punk"
Haute Couture Collection.
The Japanese designer reimagined in 2016 how Punk might have seemed during the period of 18th-century revolutions exploding across Europe.

Running until 18 October 2026, the wide-ranging exhibition, dedicated to the technical métiers that underpin the fashion industry, foregrounds craftsmanship rather than celebrity designers, offering visitors a detailed examination of the processes behind some of fashion’s most intricate creations.

The exhibition’s emphasis is on craft rather than on blockbuster-style display of iconic couture pieces.

As digital tools increasingly influence design and marketing, exhibitions such as this underscore the argument that the enduring appeal of haute couture lies in embodied knowledge — the precision of the hand, the trained eye, and the accumulated skill transmitted across generations. 

Mise-en-carte (Point-paper design), 1770 - 1780, France, from an Album showing painters' designs transferring onto hand-drawn graph paper to created instructions for a weaving look.  

By foregrounding these crafts, the Palais Galliera situates fashion’s future resilience in the preservation and valorisation of its most traditional competencies.

Chanel evening dress by Karl Lagerfeld, Haute Couture SS 2019.

In this context, the reaffirmation of artisanal expertise functions not only as cultural homage but as economic positioning. For luxury brands, savoir-faire remains a core differentiator: hand-executed embroidery, heritage weaving techniques and workshop-based production cannot be easily replicated by algorithms or mass automation. 

Cristobal Balenciaga evening dress and bolero ensemble haute couture SS 1947, from the wardrobe of Daisy Fellowes, heiress of the Singer forturne, French socialite and columnist of the American Harper's Bazaar magazine.

"Weaving, Embroidering, Embellishing: The Skills of Fashioning" (Tisser, broder, sublimer. Les savoir-faire de la mode) brings together more than 350 works, spanning garments, textile samples, tools and archival materials. 

While spotlighting the myriad of techniques and craftsmanship related to ornamentiation - from weaving, dyeing, printing, embroidery, to artificial flowers, lace-making and decorative embellishment, all are explored through the single unifying theme: the flower. 

Jean Patou by Christian Lacroix Poker d'as Evening Gown
Haute Couture AW 1986 - 1987

The aim is to demonstrate the variety of techniques, embellishments, the interplay of materials, the treatment of colour, volume and so forth - all ingenious and creative variations on the floral motif, which has been ubiquitous in fashion and the decorative arts for over three centuries.   To this, the exhibition showcases the masterful use of artisans' techniques on haute couture designs.  For his final couture collection before his death, Karl Lagerfeld's evening dress dress inspiration dfrom the 18th century featuring embroidered flowers that imitate Vincennes and Sevres porcelain.  The embroidery took 1,205 hours of work incorporating 3D techniques to sculpt volumes in high-relief.  An evening ensemble from cristobal Balenciaga's Haute Couture SS 1947 collection depicts a floral print that evokes the designs of the Lyon silk maker Duchante.  The embroidered details are the work of Metrl that specialised in high quality mechanical embroidery.

Rather than presenting couture as spectacle alone, the curatorial approach emphasises crafts as disciplines in their own right. Magnification devices and close-up displays allow visitors to examine stitching, beadwork and fabric structures in forensic detail.

Cultural commentators in Paris have praised the exhibition’s balance between visual appeal and technical insight, noting that it avoids overwhelming audiences with specialist terminology while still conveying the complexity of the trades involved. 

One would applaud the curators’ decision to spotlight the “petites mains” — the skilled workshop artisans whose labour sustains the haute couture tradition but who rarely receive public recognition.

Embroidery example from the Maison Beauvais & Cie ca 1830 featuring metallic thread on silk mousseline.  Maison Beauvais was renowned for its fine laminated threads that ensure the lasting brilliance and fluidity essential to First Empire and Restoration of court gowns.

The exhibition is contemplative and intellectually rigorous, paying tribute to intergenerational knowledge and the preservation of craft. Rather than centring on runway glamour, the show positions material technique and artisanal expertise at the heart of fashion’s cultural value.

Being both visually enticing while being elegant and educational, there is a wide diversity of trades represented — from broderie and plumasserie to specialist weaving — and the opportunity to better understand the layered production process behind finished garments.

Its focus on savoir-faire arrives at a moment of strategic significance for the luxury sector. High fashion houses are grappling with slowing global demand, particularly in key markets where aspirational spending has softened. 

At the same time, rapid advances in artificial intelligence — from generative design tools to automated production modelling — are reshaping creative and commercial workflows. While AI promises efficiency and speed, it also intensifies questions about authenticity, originality and the human value embedded in luxury goods.

Images by Lucia Carpio

Exhibition Review: Alaïa Foundation Exhibition in Paris Stages Dialogue Between Two Masters of Haute Couture

Philippe Fortunato, Chief Executive of Fashion and Accessories Maisons at Richemont, recently described the Azzedine Alaïa brand as “a house guided by timelessness, independence, and exceptional savoir-faire”. That assessment finds tangible expression in the current exhibition at the Fondation Azzedine Alaïa in Paris.

Left: Christian Dior - Boutique ca 1957 - Cocktail dress in red silk satin. 
Right: Azzedine Alaïa  - Haute Couture 1958 - Formal afternoon dress in red silk faille.

Titled “Azzedine Alaïa et Christian Dior : Deux Maîtres de la Couture” (Two Masters of Haute Couture), the show is being held at the foundation’s headquarters in the Marais district. It presents an elegant curatorial dialogue between Alaïa and Christian Dior, two designers separated by decades yet united by a shared commitment to structure, silhouette and craftsmanship.

At the heart of the exhibition is Alaïa’s long-standing admiration for Dior. The scenography has been described as poetic and reverential, with floral motifs and suspended dresses used to evoke couture as a form of living sculpture. Rather than positioning Alaïa as a follower, the exhibition underscores his distinctive interpretation of Dior’s influence, highlighting emotional resonance over imitation.

Intimate in scale, the show offers visitors a close-up encounter with nearly 70 designs by the two couturiers. Instead of a chronological survey, the exhibition is conceived as a visual conversation, examining parallels in aesthetics, technique and shared values in cut and construction.

Left: Azzedine Alaïa - Ready-to-Wear SS 1992 - ensemble in black cotton satin.
Right:  Christian Dior - "SONATICE" Ligne Fiseau Haute Couture AW 1957 - Evening
dress in black silk velvet.

Visitors have remarked on the surprising stylistic affinities between the designers, noting similarities that at first glance may appear derivative but reveal themselves as respectful and interpretive echoes. Many have described the exhibition as deeply moving, particularly given its setting in Alaïa’s former home and atelier, which lends a personal and atmospheric dimension to the presentation.

While Alaïa and Dior might initially seem distant in style, the exhibition reveals profound aesthetic and historical proximities. “Formal agreements, colour combinations, similarities in ornamentation and inspiration attest to the reconciliation of fashion and time that these two great masters naturally led and governed,” said curator Olivier Saillard, director of the Alaïa Foundation.

Throughout his life, Alaïa acquired more than 500 Christian Dior designs, preserving them from potential loss or dispersal. A devoted admirer of Dior, he shared the founder’s predilection for accentuated waists, sculpted shoulders, curved hips and voluminous skirts. The two designers were also united by a refined approach to fabric and colour, including a marked use of black and grey in multiple shades, transforming garments into enduring statements of couture.

“Azzedine Alaïa et Christian Dior : Deux Maîtres de la Couture” runs until May 24th 2026.

Images by Lucia Carpio

Catwalk Report: Holzweiler returns to Copenhagen Fashion Week with Autumn/Winter 2026 show - "Preservation"

Fashion brand Holzweiler returned to Copenhagen on 28 January 2026 with its Autumn/Winter 2026 runway show, marking a significant moment for the Norwegian fashion house as it resumed physical presentations after a 16-year hiatus.

Although founded in Oslo, Copenhagen was where Holzweiler’s international trajectory first took shape. The brand previously made its runway debut at Copenhagen Fashion Week, including an early collaboration with Moon, making the city a meaningful location for its return. The Autumn/Winter 2026 show was presented as both a homecoming and a step forward for the brand.

“Coming back to Copenhagen Fashion Week feels very personal to us,” said co-founder and creative director Maria Skappel Holzweiler (Right).

 “Copenhagen is where our international journey first took shape. Returning here feels like more than just showing a new season – it feels like coming back to an important chapter of our story.”

Spanning womenswear and menswear, the Autumn/Winter 2026 collection was developed around the concept of preservation, interpreted through an emotional and human lens. 

Rather than focusing on spectacle, the collection explored what lingers after shared experiences: atmosphere, memory and the subtle traces of time spent together. References included moments such as the quiet after a dinner party or what remains on the table once guests have left.

The theme builds on Holzweiler’s Spring/Summer 2026 tablescaping narrative, extending ideas of community, care and the rituals surrounding food and shared space. In this context, preservation is framed not as nostalgia, but as attentiveness to what holds value. Wrapping, layering and protective gestures were used to translate these ideas into clothing, reflecting how people safeguard objects, memories and relationships.

Silhouettes were designed to move with the body, with softly draped fabrics that fold and flow rather than sit rigidly on the skin. The collection referenced historical methods of concealment and protection, while remaining grounded in contemporary wearability. Innovation and responsibility were central to the approach, with an emphasis on durable, versatile pieces and the introduction of new fabrications and textures for the brand.

The show took place at Vandflyverhangaren, a former seaplane hangar in Copenhagen later transformed into a creative hub by Danish architect Dorte Mandrup. The venue was used for a fashion show for the first time, providing a setting closely aligned with the collection’s focus on memory and preservation. Set design made full use of the architecture, featuring large, soft curtains and a dramatic lighting composition by Jesper Kongshaug, creating an immersive environment for the presentation.

Holzweiler’s return to Copenhagen was also positioned as a reunion with the wider Scandinavian creative community, underscoring the regional values that continue to shape the brand as it enters its next chapter.  The brand tapped into the expertise of fellow Norwegian powerhouse, Magnor Glassverk for the exploration of glassware. Creative direction was led by Moon, with styling by Fran Burns and casting by Madeline Østlie. Together with a cast of strong, individual characters on the runway, the show becomes a collective expression shaped by trust, shared history, and collaboration - values that have always been central to Holzweiler.

Images by James Cochrane / Copenhagen Fashion Week

Catwalk Report: Copenhagen Fashion Week - OpéraSPORT Fall/Winter 2026 Collection — Venice by Night

OpéraSport, established in Copenhagen by Stephanie Gundelach and Awa Malina Stelter, opens today, January 27 2026, the AW26 edition of Copenhagen Fashion Week, integrating classic and contemporary styles with a sporty edge, bringing a clear sense of relevance and timelessness to each piece. As the first show of the season, the brand sets the tone for a memorable week, embodying the values at the core of Nordic fashion.

Entitled Venice by Night, the collection FW26 is inspired by Venice after dark - interpreting Venice's nocturnal elegance through sculpted tailoring in contrast with liquid recycled satins and sequined surfaces that shimmer like reflections on the water. 

Layers of lace, ruffles, and softly draped satin echo the faded grandeur of Venetian palazzos, while structured silhouettes and recycled faux fur details introduce modern depth and warmth.

Referencing H.C. Andersen’s poetic vision of the city as a dream suspended between water and light, the collection translates nocturnal Venetian elegance into a contemporary wardrobe.

“It was as if the sea itself carried the city upon its waves, and as if the sky had cast its glow down to be reflected in its canals.” – H.C. Andersen, Improvisatoren (1835)

FW26 balances sculpted tailoring with fluid recycled satins and shimmering sequins that evoke reflections on water. Lace, ruffles, and softly draped satin recall the faded grandeur of Venetian palazzos, while structured silhouettes and recycled faux fur add modern contrast, warmth, and depth. The color palette mirrors dusk in Venice: deep chocolate, pale pink, and olive tones dissolve into lilac hues, pearlescent whites, and silver highlights—creating a dialogue between shadow and glow, nostalgia and modernity.

True to OpéraSPORT’s DNA, the collection is produced using recycled and organic materials. As a seasonal highlight, the brand introduces its first footwear collaboration with British heritage shoemaker Clarks. Two exclusive styles reinterpret iconic Clarks silhouettes through OpéraSPORT’s lens, merging craftsmanship, functionality, and modern expression. The OpéraSPORT x Clarks collaboration launches in early October 2026.

The collection is presented at H.C. Andersen Slottet in Tivoli, Copenhagen, in an immersive show that fuses Venetian-inspired theatricality with Tivoli’s historic spectacle culture. The cast combines street-cast talent with emerging and established faces, reflecting the brand’s commitment to individuality. Beauty is defined by clean, glowing skin with subtle warmth, created with Saie, while hair is styled by Hanna Ramirez using Iles Formula.

OpéraSPORT Fall/Winter 2026 launches online and in stores from August 2026.

Runway images by James Cochrane, courtesy  OpéraSPORT / Copenhagen Fashion Week.

Textile Trade Fair: Texworld Apparel Sourcing Paris - 2 to 4 February 2026; Positioned as Major International Sourcing Platform for Textiles and Apparel

Texworld Apparel Sourcing Paris will return to the Paris–Le Bourget Exhibition Centre from 2 to 4 February 2026, bringing together more than 1,100 exhibitors from 33 countries for its 58th edition. Positioned as a major international sourcing platform for textiles and apparel, the event aims to respond to shifting market conditions by offering buyers structured access to a wide and diversified global supply.

The organisers at Messe Frankfurt France have announced “Very Middle Ages” (Très Moyen Âge)

as its new trend book for the Spring–Summer 2027 season of Texworld Apparel Sourcing Paris. The trend book sets out the creative directions expected to shape upcoming collections against a backdrop of global pressure marked by geopolitical tensions, social expectations, digital transformation and shifting markets.  

“At a time when fashion, like the wider world, is experiencing strong turbulence, Very Middle Ages chooses to look to the future by invoking a reinvented past,” Messe Frankfurt France said. The concept is described not as a nostalgic retreat, but as a reflective lens through which contemporary tensions can be examined.

Spread across Halls 2, 3 and 4, Texworld Apparel Sourcing Paris will once again combine fabric sourcing, finished apparel, networking and trend analysis. Organisers say the scale of participation reflects a market in constant evolution, where brands continue to prioritise reliable and competitive partners. To support this, the event will feature themed sourcing routes tailored to different buyer profiles, dedicated networking spaces and digital tools designed to facilitate connections between visitors and exhibitors.

For 2026, the layout of the show has been redesigned to improve visitor flow and create a more coherent sourcing journey. While the exhibition remains centred on the same three halls, sector distribution has been adjusted to better align fabrics and finished products. The All About Her segment of Apparel Sourcing and Texworld’s Knit offer will now be grouped in Hall 3 alongside national pavilions. Hall 4 will host Activewear and Casual & Sport, while Print and Jacquard exhibitors will be positioned closer to Silky Aspects. Hall 2 will continue to serve as the show’s central hub, housing trend forums, conferences, service areas and networking spaces.

Texworld Paris itself will welcome 591 exhibitors from 18 countries, underscoring the international scope of the fabrics and raw materials offer. Major production regions including China, Turkey, India, Korea and Taiwan will be represented, alongside national pavilions and collective delegations. Highlights include the Turkish pavilion led by the Istanbul Chamber of Commerce, which will host workshops on the traditional marbling art of Ebru, and the Korean pavilion, supported by KOFOTI, bringing together 34 companies. Growth is expected in sectors such as embroidery, knit and activewear fabrics, reflecting continued demand for both creativity and technical expertise.

At the entrance of Hall 4, the Initiatives space will showcase craftsmanship and textile innovation through a curated selection of exhibitors and installations. It will host trend forums organised by the China Textile Innovation Center and the Istanbul Chamber of Commerce, offering insights into upcoming creative directions. A dedicated “Embroidery Highlight” will focus on Indian Zardozi embroidery, with samples and multimedia content provided by several specialist companies. Oracle Textile Technology will also present its research and development work in high-end down jackets.

The ELITE sector, located in the centre of Hall 3, will feature a selection of high-value textile manufacturers chosen for their quality, competitiveness and logistical performance. Exhibitors will come from countries including Bangladesh, South Korea, China, Turkey and Pakistan. New arrivals include Indian companies OCM India, specialising in premium wool fabrics, and Reliance, known for suiting and formalwear, while Turkish manufacturer Sahsa returns with couture jacquards aimed at eveningwear.

Apparel Sourcing Paris will host more than 500 exhibitors from 25 countries, reinforcing its position as Europe’s leading sourcing event for finished apparel and fashion accessories. Near sourcing will again be a key focus, with a significantly expanded Near Sourcing Hub at the entrance of Hall 3. Nearly 50 companies from countries such as Portugal, Türkiye, Bulgaria, Greece, Slovakia and Morocco are expected to participate.

Developed in partnership with the Foursource platform, the hub will combine physical and digital sourcing. Fifteen manufacturers will present collections on site, while samples from around 30 additional exhibitors will be accessible digitally via QR codes linked to the Foursource platform, allowing buyers to request quotations and initiate contacts more easily.

The 2026 edition will also reflect broader market shifts. Bangladesh is making a strong return with 26 companies, primarily focused on sportswear and casualwear. New exhibitors are arriving from Vietnam, Nepal and France, while the formalwear segment continues to expand, with close to 100 exhibitors dedicated to tailoring, suits, shirts and structured womenswear. For the first time, two leather-goods manufacturers will also be present at the entrance of Hall 3.

Sustainability will be a central theme through the Econogy Hub, which will highlight initiatives supporting more responsible and circular fashion. Based on Messe Frankfurt’s Econogy framework, the hub will present solutions spanning the textile value chain. A key feature will be the “Zero Waste Couture” exhibition, curated by fashion designer and artist Lea Theres-Lahr Thiele, showcasing zero-waste design as a driver of innovation through projects using deadstock materials and experimental processes.

The Econogy Hub will also host a TÜV Rheinland information point on textile testing and regulatory compliance, as well as presentations from members of the Fédération de la Mode Circulaire. A photo exhibition by Luxiders Magazine will explore themes of upcycling, recycling and deadstock use. 

The exhibitor offer will be complemented by a programme of conferences and round tables held on the Agora stage. Open to all visitors, the sessions will address fashion trends, market developments, sustainability and innovation. Highlights include the presentation of “Très Moyen Âge,” the Spring–Summer 2027 Trendbook by Louis Gérin, and discussions on the future of mid-market fashion in Europe. 

Textile Trade News: Première Vision Paris will highlight Savoir-Faire, focusing on France, Portugal and Japan this February

Image from Premiere Vision Paris

Première Vision Paris, scheduled to take place from 3 to 5 February 2026 at the Parc des Expositions in Villepinte, Paris, is reaffirming its commitment to supporting craftsmanship by  highlighting producing countries of expertise, placing a particular focus on France, Portugal and Japan—territories recognised for inspiring new ways of making, seeing, creating and thinking.

The theme, titled Territories of Savoir-Faire, celebrates a vibrant ecosystem of creativity that brings together pioneers redefining the boundaries of their craft. It presents savoir-faire as a living resource—human, social, artisanal, cultural and patrimonial—explored from the closest to the most distant, from upstream to downstream, and from agriculture to the designer. The approach reflects a desire to examine local models as blueprints for the future, emphasising the rediscovery of existing resources, the cultivation of local skills, the defence of diversity, reconnection with living systems, and the renewal of textile culture and innovation.

“Our ambition is to support the industry through its profound transformation and help build a model that is sustainable, competitive and desirable,” the organisers said. 

At the Paris show, the Territories of Savoir-Faire theme will unfold as an immersive journey, featuring dedicated experience zones and exclusive talks that give voice to the craftsmanship of today and tomorrow. Visitors will be invited to engage with some of the world’s richest reservoirs of expertise and experience the theme in all its vitality.

Within this framework, France is highlighted for its culture and counter-culture, representing a territory where savoir-faire bridges heritage and contemporary creation. Portugal is recognised for its commitment to living sustainability, bringing together industries and artisans dedicated to sustainable fashion. Japan is showcased for its nature-minded approach, where textile tradition meets biotechnological innovation.

At the Textiles de France stand, presented by the Union des Industries Textiles (UIT), 40 French companies will showcase the breadth of national textile expertise through an exclusive selection of 200 premium fabric samples. Highlights include exceptional lace and silks, iconic fancy tweeds and jacquards with emblematic motifs. Around 30 mannequin looks will illustrate the use of these materials, alongside innovative technical textiles such as recycled and organic fabrics, bistretch, fire-resistant and windproof materials, and high-performance textiles for fashion, sport and extreme sports.

In the Manufacturing area, the French Pavilion will bring together a series of stands dedicated to French apparel manufacturing, with workshops demonstrating the diversity of skills and services available. Also featured is the Maison du Savoir-Faire et de la Création, affiliated with UFIMH and supported by DEFI, which represents more than 300 French manufacturers covering a wide spectrum of expertise, from woven and knitted garments to knitwear, accessories, lingerie, swimwear and underwear.

CITEVE image

Under the banner Portugal: Territory of Savoir-Faire, CITEVE will present experimental silhouettes developed as part of the Be@t project. Created in collaboration with around 20 companies across the textile and apparel value chain, the pieces reflect advances in applied research, sustainability and digital transformation. Designed according to circular economy and eco-design principles, and equipped with Digital Product Passports, they ensure full traceability and anticipate future European regulatory requirements.

Kimono Upcycling Projecy

Japan will be represented through the Kimono Upcycling Project, a collaboration between Voutrail (Osaka Bunka) and Polimoda. The exhibition features collections created by students using kimonos from dormant stocks, combining ancestral Japanese craftsmanship with contemporary design. The project aims to celebrate Japanese culture, encourage cross-cultural innovation between Italian and Japanese designers, and address sustainability by giving new life to unused textiles.

While this February 2026 show is poised to reveal a new visual identity designed to illustrate the show’s key seasonal theme and signal its creative direction, Première Vision Paris is set to welcome around 1,000 exhibitors from 36 countries, bringing together companies from across the entire fashion value chain, including yarns, fabrics, accessories, apparel, leather, design, and Smart Creation.

Among the key highlights, the organisers point to the Forum Première Vision, which will unveil colour and material trends for the spring–summer 2027 season under the theme Open. 

Another key attraction this season is the Maison d’Exceptions area (Hall 5),  an exclusive area (access subject to accreditation) entirely dedicated to rare craftsmanship, high creation, and exceptional artisanal techniques.  In this 13th edition, Maison d’Exceptions will bring together 22 artisans and workshops, including 13 first‑time exhibitors, showcasing unique expertise such as embroidery, indigo dyeing, leatherwork, experimental textiles, and horsehair craftsmanship.  This will be a privileged opportunity to explore creations that combine tradition and innovation—sources of inspiration to elevate designers' and fashion producers' future projects.  It highlights rare know-how, artisanal and innovative techniques, large-scale production capabilities, solutions tailored to capsule collections, bespoke product development, operational agility, and complementary price positioning. 

By combining rigour, inspiration and expertise, Première Vision Paris aims to meet the needs of style, purchasing, production, CSR and development teams as closely as possible.

In addition, Première Vision Paris will introduce Voyage au cœur du Lin for the first time. Promoted by the Alliance du Lin et du Chanvre, the new space will highlight the certified European flax value chain and the associated savoir-faire, underscoring the fibre’s strategic importance within the industry.

The visual identity for the February 2026 edition captures a forward-looking and joyful vision of fashion, where craftsmanship and creativity are reinvented through hybridisation. At its centre is a striking juxtaposition: the couture volume of tulle, emblematic of expressive ornamentation, merges with the sporty functionality of a trainer and a bomber jacket. The image highlights a new creative territory in which technical expertise, emotion and sophistication intersect, reflecting Première Vision’s ability to reinterpret savoir-faire, bridge tradition and innovation, and embody a freer, more dynamic and contemporary fashion landscape.

For more than 50 years, Première Vision Paris has brought together fashion professionals from across the globe, establishing itself as a unique sourcing and solutions hub that addresses the challenges and needs of fashion businesses, from mainstream to luxury, through a rigorously curated offer representing the world’s major sourcing regions.

The show spans the entire industry value chain, including yarns, designs, fabrics, accessories, leather, manufacturing, and smart creation encompassing materials and fashion technology. 

Images from Première Vision Paris