Trade Fair Report: Première Vision Paris Strengthens Its Role as a Strategic Meeting Point for the Fashion Industry

The latest edition of Première Vision Paris, held from 1–3 September at Paris Nord Villepinte,  is reinforcing its position as more than a sourcing marketplace, placing greater emphasis on creativity, industry intelligence, networking and business decision-making alongside the traditional sourcing of textiles and fashion materials.

The trade faire for international textile industries confirmed a repositioning that organisers say has been underway for the past two seasons. The emphasis is increasingly on bringing together the people who influence product development and commercial decisions, with the ultimate objective of generating business opportunities for exhibitors.

A more influential visitor profile

One of the most significant developments was the changing composition of the visitor base. Fashion houses, designers and luxury companies increased by 19% compared with September 2025, while retail businesses were up 30%, reported the organisers at GL Events.

There was also a notable increase in the presence of trend agencies, design studios and agents – the industry ‘prescribers’ whose recommendations can influence the development of numerous collections. Each of these categories gained more than 10 percentage points, while commercial functions also recorded growth.

For Première Vision, the shift is strategically important. Increasing the proportion of designers and other decision-makers within the audience potentially gives the event greater influence over the collections and products being developed for future seasons. It also suggests that the value of a sourcing fair is increasingly being measured not simply by the volume of exhibitors or materials on display, but by the quality and influence of the connections it creates.

International sourcing remains central

The stronger emphasis on decision-makers has been accompanied by a solid international visitor base. Six out of ten visitors came from outside France, with established European manufacturing centres in Italy, Germany and Switzerland showing growth alongside Turkey and India.

This international dimension remains particularly significant at a time when fashion and textile companies are reassessing sourcing strategies in response to geopolitical uncertainty, supply-chain pressures, sustainability requirements and the need for greater flexibility.

Première Vision is also seeking to position itself as a forum for wider industry debate. For the second consecutive year, European textile federations met at the event under the auspices of Euratex. The meeting brought together Valère Moutarlier, Deputy Director-General for European Industry and Decarbonisation at the European Commission, along with French parliamentarians. Sébastien Martin, Minister responsible for Industry, also contributed by video message.

According to the organisers, a declaration signed at the show a year earlier has since contributed to the first regulatory developments, including European taxation of small parcels. This underlines the increasingly political and regulatory dimension of textile-industry events, where discussions about sourcing and manufacturing are closely connected to the rules governing the future of the sector.

Content becomes part of the sourcing proposition

Another notable development is the growing importance of Première Vision's programme of talks, pitches and guided tours. These activities attracted the equivalent of one-third of the visitor base, indicating that visitors are using the event not only to discover materials and suppliers but also to interpret market developments before making sourcing and product decisions.

This is an important evolution for international trade shows. As digital platforms make it easier to discover suppliers and products remotely, physical events increasingly need to offer knowledge, interpretation and opportunities for direct dialogue that cannot be replicated through a conventional online marketplace.

The organisers also reported interest in the beauty sector, suggesting that the appetite for trend intelligence, innovation and cross-industry connections is extending beyond traditional textiles and fashion.

Positioning the show across the wider value chain

Première Vision's claim to a distinctive international position is also reflected in the attendance of 459 strategically important brands, each represented by more than three members of staff on average. The organisers interpret this as evidence of more structured, team-based visits, rather than purely exploratory sourcing trips.

The broader strategy is to bring together the different stages of the fashion and textile value chain – from materials and manufacturing through to designers, brands, retailers and industry organisations – while combining sourcing with trend intelligence, education and institutional debate.

Florence Rousson, Managing Director of the Fashion Division at GL events, said that the increased attendance of creative houses, prescribers and retailers, together with the participation of one-third of visitors in the show's programme, demonstrated that Première Vision had become a place where the industry “meets, gets informed and makes decisions”.

The direction of travel is significant. The traditional trade-fair model centred on product discovery and sourcing is evolving into a more integrated platform in which creativity, commercial intelligence, sustainability, regulation and networking are increasingly interconnected.

For textile and fashion professionals navigating a more fragmented and complex global sourcing landscape, the ability to interpret market change and establish strategic relationships may ultimately prove as valuable as finding the right fabric, yarn, leather or accessory.

The next edition of Première Vision Paris will take place from 26–28 January 2027 at Paris Nord Villepinte, with the programme focusing on territories and expertise, and India named as the guest country.

Première Vision Paris trade fair photos by Lucia Carpio

Trade Fair Report: Texworld Apparel Sourcing Paris reveals a new era of sourcing strategy

The latest edition of Texworld Apparel Sourcing Paris has provided a revealing snapshot of how the international textile and apparel sourcing landscape is changing, with buyers placing greater emphasis on supply-chain resilience, flexibility, geographical diversification and innovation.

The 59th edition, held from 31 August to 2 September 2026 at Paris-Le Bourget Exhibition Centre, brought together 1,054 exhibitors, including 146 companies exhibiting at the event for the first time. While attendance was affected by the show's early position in the trade-fair calendar and an uncertain political and economic environment, according to organisers at Messe Frankfurt Paris, the exhibition nevertheless highlighted some of the structural changes now influencing sourcing decisions.

For the textile and fashion industries, perhaps the most significant development is that sourcing is becoming less about simply identifying the lowest-cost production base and increasingly about creating a more resilient and adaptable supply network.

From globalisation to diversification

The continued presence of major manufacturing centres including China, India, Türkiye, South Korea, Taiwan, Bangladesh and Pakistan demonstrates that established sourcing hubs remain fundamental to the international textile and apparel industry.

However, their dominance is now being complemented by a wider range of emerging and regional production locations. Up to 35 countries were represented at this year's event, including Bulgaria, Armenia, Estonia, Kyrgyzstan, Uzbekistan, Mongolia, Myanmar and Ghana.

This broadening geographical base is significant. It reflects a sourcing industry responding to the disruption of recent years, including rising freight costs, longer transportation times, geopolitical uncertainty and interruptions to established maritime routes.

For brands and retailers, having alternative production locations is increasingly becoming a form of risk management.

The objective is not necessarily to abandon established suppliers, but to avoid excessive dependence on any single country or region. A more diversified sourcing portfolio can provide companies with greater flexibility when markets, transport routes or production costs change unexpectedly.

The growing interest in African production illustrates this shift.

Andreas Eickelmann of SVAN International Import-Export, for example, has traditionally sourced finished denim products from Bangladesh, Vietnam and Pakistan but has been investigating African alternatives for several years, partly to reduce transportation costs. Ghana is now among the potential options.

Such developments suggest that the next phase of global sourcing may be characterised by a combination of established manufacturing expertise and a wider network of alternative production bases.

Proximity becomes increasingly important

There is also a broader question surrounding the future of long-distance sourcing.

For decades, global fashion production has been built around highly specialised international supply chains, with raw materials, fabrics, components and finished garments frequently travelling considerable distances before reaching their final markets.

That model is now being reassessed.

Higher logistics costs and supply-chain disruption are encouraging buyers to consider not only where products can be made most competitively, but how reliably and quickly they can reach the market.

This could create opportunities for countries geographically closer to Europe, while also encouraging manufacturers to develop more flexible production capabilities.

For European fashion companies, the issue is particularly relevant as they seek shorter lead times and greater responsiveness to changing consumer demand. The ability to reorder smaller quantities, react quickly to trends and reduce inventory risk can become as important as achieving the lowest unit production cost.

The changing role of the textile supplier

Texworld Apparel Sourcing Paris also demonstrated how the relationship between suppliers and buyers is evolving.

The exhibition's more balanced representation of Texworld's fabrics and materials and Apparel Sourcing's finished products reflects a shift in purchasing behaviour. Buyers are increasingly combining traditional fabric sourcing with the procurement of finished garments.

This is partly driven by the growing complexity of fashion collections and the need to bring products to market quickly.

Finished-product sourcing can allow brands to introduce additional references or develop private-label collections without taking responsibility for every stage of design, manufacturing and production management themselves.

For fabric and textile suppliers, this changing model reinforces the need to offer more than a commodity product. Design input, technical expertise, flexibility, innovation, traceability and the ability to collaborate with brands are becoming increasingly important competitive advantages.

Outdoor reflects the convergence of fashion and performance

The introduction of a dedicated Outdoor sector provides another indication of how traditional industry boundaries are becoming less distinct.

Around 50 exhibitors presented a combination of technical fabrics and sportswear manufacturing, highlighting the increasing crossover between performance apparel and mainstream fashion.

Technical textiles are no longer confined to specialist outdoor or sporting products. Performance characteristics such as water resistance, durability, lightweight construction, stretch, breathability and thermal regulation are increasingly influencing fashion design.

For textile developers, this convergence presents an opportunity to transfer technical innovation into wider apparel markets.

It also reflects changing consumer expectations, with functionality becoming an increasingly important part of fashion value.

Innovation moves from concept to commercial application

Innovation was particularly evident within Avantex Paris, which brought together around 30 exhibitors presenting technologies, materials and processes aimed at addressing practical challenges within the fashion supply chain.

The focus extended beyond sustainability as a marketing concept towards technologies designed to change how products are actually made.

Examples included Peltex's hemp faux fur, while LeLabPlus, ZERØTEC, CircKit and Plateforme Seconde Matière demonstrated approaches to circularity and waste reduction.

Makea, Seamless Source and C.L.A. Fashion Integration Technology focused on areas including traceability and optimisation of the value chain.

This distinction is important. The next stage of textile innovation is likely to be judged increasingly on whether it can be commercially implemented at scale, rather than simply whether a material or process can demonstrate environmental credentials in the laboratory.

AI enters the textile supply chain

Artificial intelligence was another important theme, with the Texpertise Focus AI x SPOTT programme examining practical applications across the textile value chain.

The emphasis on areas such as textile inspection and process optimisation suggests that AI is moving rapidly from being a largely experimental technology to becoming a potential operational tool for manufacturers and suppliers.

For textile businesses, the implications could be considerable. AI-assisted inspection, forecasting, design development, production planning and supply-chain management could help companies improve efficiency while responding more quickly to customer requirements.

However, the emergence of AI also raises an important question for the textile sector: how can technology be integrated without losing the human expertise, craftsmanship and material knowledge that remain fundamental to high-quality textile development?

That tension between technological efficiency and human expertise is likely to become an increasingly important industry debate.

Circularity shifts towards infrastructure

The Threading Circularity forum, organised with the Circular Fashion Federation and TCBL, addressed repair ecosystems, extending product lifespans, micro-factories and the reinvention of European value chains.

These discussions indicate that circularity is increasingly being considered as an issue of industrial infrastructure, rather than simply a question of using recycled fibres.

Repair, reuse, localised production, micro-factories and longer product lifespans all require new business models and supply-chain structures.

For Europe in particular, this could become significant. Developing more localised circular production systems could reduce dependence on distant manufacturing while creating opportunities for smaller manufacturers, specialist textile companies and new technology providers.

New dyeing technologies point towards resource efficiency

The Avantex Fashion Pitch provided a further indication of where textile innovation is heading.

The 2026 award went to PigmentOCO for its supercritical CO₂ dyeing technology for natural fibres, including cotton, designed to reduce water and chemical consumption.

The technology addresses one of the industry's long-standing environmental challenges: conventional textile dyeing can require substantial quantities of water and chemicals.

IROONY received the jury's 'Coup de coeur' award for an industrial platform capable of converting agricultural biomass into cellulose pulp.

Both innovations illustrate a broader movement towards developing alternative processes and raw-material streams that could potentially reduce the environmental impact of textile production.

The challenge now is to move these technologies beyond demonstration and into commercially viable industrial production.

India looks towards a stronger European connection

The visit of Neelam Shami Rao, Secretary of India's Ministry of Textiles, also highlighted the strategic importance of the European market.

The proposed India-European Union Free Trade Agreement could provide additional impetus to trade between the two markets once ratified. For Indian textile and apparel manufacturers, however, increased access to Europe is likely to require a corresponding understanding of European consumer and design expectations.

Rao emphasised the need for the Indian industry to respond more closely to European requirements, particularly through design and products developed specifically for the European market.

The visitor profile at Texworld Apparel Sourcing Paris reinforces this opportunity. France, the UK, Italy, Spain and Germany were the show's five leading visitor countries, underlining the importance of the European market to international textile and apparel suppliers.

What does this mean for the future of sourcing?

The developments at Texworld Apparel Sourcing Paris point towards a sourcing landscape that is becoming more fragmented geographically but potentially more resilient strategically.

The traditional manufacturing powers are unlikely to disappear from the equation. Their scale, expertise, infrastructure and established supply chains remain major advantages. But alongside them is an expanding network of emerging production countries, nearer-shore suppliers and specialist manufacturers.

At the same time, buyers are becoming more demanding. They want competitive pricing, but increasingly alongside shorter lead times, smaller and more flexible orders, reliable logistics, technical expertise, traceability, innovative materials and credible sustainability solutions.

This is creating a more complex sourcing equation.

For suppliers, simply competing on price may no longer be sufficient. The ability to collaborate on design, develop innovative fabrics, provide technical solutions and demonstrate transparent supply chains could become increasingly important.

For buyers, meanwhile, the challenge will be balancing cost against resilience, speed, sustainability and quality.

The result could be a significant restructuring of the traditional fashion supply chain: not necessarily a wholesale retreat from global sourcing, but a move towards multiple sourcing locations, shorter and more flexible supply routes, greater technological integration and closer supplier relationships. 

Looking towards Texworld's 30th anniversary

Texworld will celebrate its 30th anniversary in 2027, with two Paris editions planned at Paris-Le Bourget Exhibition Centre.

The Spring-Summer 2028 collections will be presented from 25 to 27 January 2027, followed by the autumn edition from 6 to 8 September 2027, focusing on Autumn-Winter 2028-29.

The anniversary comes at an interesting moment for the global textile industry. After three decades in which internationalisation transformed the way fashion is designed, manufactured and sourced, the sector is now entering another period of profound change.

The future is unlikely to be defined by a single dominant sourcing model. Instead, the successful fashion and textile businesses of the coming years may be those capable of combining global expertise with regional flexibility, technological innovation with textile craftsmanship, and commercial competitiveness with greater supply-chain resilience.

Texworld Apparel Sourcing Paris is therefore becoming more than a marketplace for fabrics and finished garments. It is increasingly a barometer of how the international fashion supply chain is adapting to a more uncertain, technology-driven and sustainability-conscious industry.

Images from Texworld Apparel Sourcing Paris

Textiles Trade Fair: Texworld Apparel Sourcing Paris 2026: Global sourcing landscape shifts towards quality, diversification and proximity

The changing dynamics of global textile and apparel sourcing will be under the spotlight when the 59th edition of Texworld Apparel Sourcing Paris takes place from 31 August to 2 September 2026 at Paris-Le Bourget Exhibition Centre, with more than 1,000 international exhibitors participating, reflecting a sourcing landscape increasingly shaped by supply-chain consolidation, diversification and the growing demand for closer production partners.

Organised around three complementary sectors — Texworld Paris, covering fabrics and textile raw materials; Apparel Sourcing Paris, focusing on finished garments and fashion accessories; and Avantex, dedicated to technology, innovation and solutions for a more sustainable and higher-performing fashion industry — the event is positioning itself as a comprehensive sourcing platform at a time of considerable change across the global textile industry.

Buyers seek a more focused offer

One of the clearest messages from the organisers is that the sourcing market is moving away from the pursuit of sheer volume. According to Julien Schmoll, Marketing and Communications Director at Messe Frankfurt France, buyers are increasingly seeking carefully selected and dependable suppliers capable of delivering quality, flexibility and competitive pricing.

The response at this edition is a more focused and navigable exhibition, with Halls 3 and 4 organised around womenswear, casualwear and sportswear. The aim is to make suppliers' areas of expertise more immediately identifiable while encouraging greater interaction between manufacturers, brands and sourcing professionals.

For textile buyers, Texworld will feature more than 500 textile manufacturers and weaving companies from around ten countries. Major textile-producing nations will be represented through national pavilions and collective delegations, including China, Türkiye, Korea and India. India's high-end embroidery specialists, in particular, are highlighted as evidence of the country's continuing momentum in premium textile production.

European expertise gains visibility

The show is also placing emphasis on technical expertise, craftsmanship and product differentiation. Among the exhibitors attracting particular attention is La Lainière de Picardie, part of the Chargeurs PCC Group, which specialises in interlinings for the ready-to-wear sector.

Its participation highlights the continuing relevance of European textile manufacturing, combining industrial heritage with certified materials and a responsible sourcing proposition. The organisers see this as an example of European manufacturers seeking to expand their international reach through premium production.

Another first-time exhibitor is Estonia's Osaühing Tekser Grupp, a specialist in high-end linen manufacturing. Its presence reflects growing interest in premium natural fibres where traceability and quality are increasingly important purchasing considerations.

The Initiatives area in Hall 4 will further explore the relationship between traditional craftsmanship and innovation, with showcases from Korea, Türkiye and the China Textile Innovation Center, alongside Chargeurs PCC and technical textile specialist Oracle. Students from Atelier Chardon Savard will also present 12 looks exploring textile finishing techniques, creativity and material innovation.

Sourcing strategies become more geographically diverse

Apparel Sourcing Paris will bring together more than 500 manufacturers of garments and fashion accessories, maintaining participation at a level comparable with September 2025 despite the more challenging global economic environment. China, India, Bangladesh, Pakistan and the Euro-Mediterranean region remain at the heart of the sourcing offer, but the geographical mix is becoming more diverse.

Armenia returns with around 10 companies following strong interest in its debut in September 2025, while Kyrgyzstan will have around 15 exhibitors for its second consecutive appearance. Uzbekistan is expanding its presence, while Bulgaria will make its first physical participation with a pavilion bringing together several manufacturers.

Meanwhile, established sourcing countries including Pakistan, Myanmar and Bangladesh will retain significant representation. The organisers point to Bangladesh's continuing importance as the world's second-largest sourcing hub for finished apparel after China.

Near sourcing moves centre stage

Perhaps one of the most significant developments is the emphasis on near sourcing, as brands and manufacturers seek greater control over lead times and supply chains.

Developed in partnership with FourSource, the Near Sourcing Hub will bring together around 30 companies from Türkiye, Serbia, Romania and Portugal in a 250-square-metre area at the entrance to Hall 3. Ten manufacturers will exhibit physically, while samples from approximately 20 additional companies will be accessible through QR codes connecting buyers to the FourSource digital platform.

The initiative reflects a broader shift towards shorter production lead times, closer supplier relationships and improved supply-chain control — factors that are becoming increasingly important as brands reassess sourcing strategies.

New categories broaden the sourcing proposition

The exhibition is also expanding its product offer. A new Jewellery & Leather area will introduce companies specialising in jewellery and leather accessories, while finished denim products will be identified within the Casual & Sport sector.

A new Outdoor zone, positioned between Texworld and Apparel Sourcing, will bring together around 50 exhibitors spanning technical fabrics for activewear and sportswear garment manufacturers. The organisers describe the new area as a response to the changing needs of buyers seeking complementary sourcing solutions within a single exhibition.

Avantex puts technology and circularity in focus

Technology and sustainability will receive particular attention at Avantex, which will bring together around 30 exhibitors working across innovative materials, technology solutions and responsible initiatives.

Artificial intelligence, traceability, industrial optimisation, circularity, sustainable materials and new business models will all feature, alongside discussions involving manufacturers, start-ups, investors and brands.

The Texpertise Focus AI x SPOTT inspiration hub will examine the growing role of artificial intelligence within the fashion industry. Among the companies featured will be GoldenEye Smart Vision, with an AI-powered textile inspection solution; FreyZein, specialising in technical textiles without petrochemical derivatives; and SAO Textile, which transforms recycled fishing nets into textiles. Other exhibitors will explore the intersection of design, circularity, data intelligence and responsible supply chains.

Entrepreneurial innovation will also take centre stage through the Avantex Fashion Pitch, with start-ups presenting solutions aimed at the long-term transformation of fashion. Finalists will pitch on 31 August before an international jury, with the winners receiving a package of support including a dedicated Avantex stand, a €2,000 prize, access to the Foundry fashion incubator at IFA Paris and other promotional and speaking opportunities.

Looking towards AW 2027-28

Beyond sourcing, the programme will provide a forum for discussion around the issues reshaping the industry, from emerging materials and changing professional skills to artificial intelligence, the regenerative textile economy, sustainability and regulatory developments.

Louis Gérin, Artistic Director of the shows, will present Autopsy, the new Texworld Apparel Sourcing Paris trend book, which looks ahead to the Autumn-Winter 2027-28 season.

Circularity will be a further focus through the Threading Circularity Forum on 2 September, organised by the Fédération de la Mode Circulaire and the TCBL association. The programme will examine repair ecosystems, extending product lifecycles, local resources and the reinvention of European value chains through keynotes, a panel discussion and case studies.

For journalists, the Econogy Tour on 31 August will provide a guided look at environmentally responsible initiatives across the exhibition, focusing on circularity, eco-design, traceability and production-process optimisation.

Taken together, the September edition suggests that the sourcing conversation is moving beyond the traditional question of where products can be made towards how, how quickly and under what conditions they can be made. The stronger emphasis on near sourcing, traceability, technical expertise, premium natural fibres, AI and circularity reflects an industry attempting to balance competitiveness with greater resilience and responsibility.

Photos from Texworld Apparel Sourcing Paris February 2026 edition, by Lucia Carpio

Design Graduates: TEX+ winners secure Première Vision Paris showcase as charity celebrates UK's emerging textile talent

Three of the UK's promising emerging textile designers will exhibit at Première Vision Paris this Autumn, from 1 - 3 September, after being awarded the TEX+ International Exhibition Prize during the TEX+ Showcase at Chelsea College of Arts in London on 15 July 2026.

Left to right:  Lili Mizuno, Twig Searle and Christie Shannon
Credits: Tex+

The international exhibition awards were presented to Twig Searle,  of Falmouth University, Christie Shannon from Glasgow School of Art and Lili Mizuno of London College of Fashion, UAL.  They are all 2026 graduates.

The trio will exhibit at the influential Paris textile trade fair alongside previous International Exhibition Prize recipients Ruth Kent and Nikki Kewley (2024 cohort) and Freya Booth (2025 cohort), providing them with an opportunity to present their work to an international audience of fashion and textile buyers.

The announcement formed part of the annual TEX+ Prize Awards, which recognise exceptional creativity, technical excellence, innovation and craftsmanship among the UK's graduating textile designers. As well as celebrating emerging talent, the awards provide financial support, professional development opportunities and valuable industry connections designed to help graduates establish careers within the textile and fashion sectors.

Building on the 50-year legacy of Texprint, the TEX+ charity brings together education and industry through exhibitions, mentoring, networking and career development initiatives. Former participants have gone on to work with leading brands including Chanel, Nike and Liberty.

Jeremy Somers, Chair of TEX+, said: "The TEX+ prizes recognise the outstanding creativity, innovation and technical excellence emerging from the UK's textile graduates today. We're incredibly grateful to our sponsors and supporters, whose generosity enables us to celebrate exceptional talent while providing meaningful opportunities that help graduates take the next step in their careers."

2026 TEX+ Prize winners (for details of the winners, click HERE)

Among the principal awards, Maia McLaren received the Pentland Prize, worth £1,000 together with a work placement.

The two Liberty Fabrics Studio Prizes, each worth £500, were presented to Grace Holden and Xavier Theobald.

Lisa Rogerson won the Worshipful Company of Weavers Prize (£1,000), while Roisin Foster received both the Juliet Vogel Colour Prize (£1,000) and the Pattern Cloud Support Award, which includes one year's complimentary access to The Pattern Cloud Plan.

Molly White and her printed textile designs.
Photo: Lucia Carpio

The Bay & Brown Support Award, comprising a Beginners Complete Surface Textiles Print Online Course, an Online Floral Print Course and a portfolio session with Tracey Brown, was presented to Molly White.

Printed textile designs by Harriet Letts.
Photo: Lucia Carpio

Harriet Letts received the Sahara Prize, including £500, a one-month placement at Sahara and a potential design purchase opportunity.

The Inge Cordsen Craftsmanship Prize (£1,000) went to Zoe Noble, while Lili Mizuno also received the TEX+ Industry Prize for Technical Excellence (£1,000).

The TEX+ Sustainability & Ethical Practice Prize (£1,000) was awarded to Ruby Bolt.

The Helga Goldman Legacy Prize, recognising Innovation and Creativity and accompanied by a £1,000 award, went to Belén Fernández, while Twig Searle also collected the John Miles Legacy Prize (£1,000).

Additional industry awards included the Kvadrat Prize, a trip to the company's Wooltex mill in Huddersfield, presented to Lola Bate, and the London Embroidery Studio Prize, a six-month studio residency, awarded to Kate Crilly.

Supporting graduates into industry

Tex+ 2026 Finalists
Credits: Tex+

This year's awards come as many textile graduates continue to face significant barriers when entering the creative industries.

Research commissioned by TEX+ found that 56% of textile graduates are not currently working in a full-time textile role, while 36% are balancing multiple jobs. More than half (51%) have relied on financial support since graduating.

The findings highlight the continuing importance of initiatives such as TEX+, which connect emerging designers with employers, mentors and industry professionals through practical career development opportunities that help bridge the gap between education and employment.

Through its network of designers, educators, industry partners and alumni, TEX+ continues to strengthen pathways into the textile industry, ensuring that the next generation of creative talent gains the experience, confidence and professional connections needed to build successful careers.

Exhibition: Florals Bloom Beyond Fashion as Paris Unveils a Monumental New Design Experience

Florals are reigning supreme this year, but not in the traditional sense. Across fashion, contemporary art and interior design, flowers are being radically reinterpreted as sculptural, immersive and thought-provoking creations.

Sculptural dress and shoes by Rei Kawakubo of Comme des Garçons, for her "18th Century Punk" Haute Couture Collection,  as presented at Weaving, Embroidering, Embellishing: The Skills of Fashioning exhibition at Palais Galliera in Paris 
Photo by Lucia Carpio

Fashion designers are moving beyond delicate botanical prints, instead embracing structural 3D appliqués, sheer romantic detailing and bold, contemporary tailoring. Flowers are no longer decorative motifs confined to fabric. They are challenging conventional garment silhouettes through texture, three-dimensional craftsmanship and surrealist forms that transform clothing into wearable works of art.

Chanel evening dress by Karl Lagerfeld, Haute Couture SS 2019
as presented at Weaving, Embroidering, Embellishing: The Skills of Fashioning, at
Palais Galliera in Paris 
Photo by Lucia Carpio

The resurgence is also being celebrated institutionally.  Currently at the Palais Galliera in Paris is exploring the enduring influence of the floral motif in haute couture through its landmark exhibition, Weaving, Embroidering, Embellishing: The Skills of Fashioning which runs until October 2026. Bringing together more than 350 garments, textile samples, tools and archival materials, the exhibition examined the extraordinary craftsmanship behind weaving, embroidery, lace-making, artificial flowers and decorative embellishment, all united by a single theme: the flower.

Le Grand Bouquet
from Uchronia at Le Grand Palais, Paris

The same creative evolution is taking place in the worlds of art and design. Florals are experiencing a major renaissance, shifting from subtle background decoration to commanding centrepieces. Contemporary artists are using botanical forms to explore themes of climate, identity and material innovation, creating monumental site-specific installations rather than traditional paintings.

This creative movement will take centre stage during Paris Design Week 2026 (10 to 19 September 2026 ), when the Grand Palais becomes home to one of the festival's most anticipated installations. Created by design studio Uchronia, Le Grand Bouquet is a monumental sculptural flower that appears to emerge from the Rotonde d'Antin, transforming the historic setting into an immersive world of colour, form and architecture.

In a recent interview, Uchronia founder Julien Sebban explained that the project was inspired by the architecture itself.

"Discovering the Rotonde d'Antin at the Grand Palais, one thing became clear: to create a work that would not merely fit into this space but would emerge from it," he said. "Le Grand Bouquet was born from this intuition. A monumental flower blooms there, drawing its lines and curves from the surroundings."

Sebban revealed that every architectural detail influenced the design, from the mosaic floors and floral ornamentation to the vegetal mouldings and circular geometry of the rotunda.

Colour, a defining characteristic of Uchronia's work, plays a central role in the installation, while its monumental scale has been carefully conceived to enhance the visitor experience rather than overwhelm it.

Outside the Grand Palais, an inflatable sculptural structure extends the experience before visitors even enter the building.

For Uchronia, Le Grand Bouquet blurs the boundaries between architecture, design, scenography and contemporary art.

The project also celebrates craftsmanship through collaborations with Atelier François Pouenat, Chromatic and PPG, Tréca Paris, Prelle, Tiptoe, Fenix and Material Bank, each contributing specialist expertise to create the layered, immersive installation.

Ultimately, Sebban hopes visitors leave with something simple yet profound.

The experience continues beyond the installation itself, extending into the Grand Palais concept store where Uchronia has created a collection of distinctive design objects inspired by the project.

As Paris Design Week transforms the French capital into a living atlas of contemporary creativity from 10 to 19 September 2026.  While Le Grand Bouquet promises to be one of its defining attractions - a spectacular dialogue between colour, shape, architecture and craftsmanship  - Paris Design Week will transform the Left Bank into a vibrant showcase of creativity, inviting visitors to explore a carefully curated trail of galleries, studios, showrooms and cultural venues around the Luxembourg Gardens. Blending newly opened spaces with long-established design institutions, each destination offers fresh inspiration and unexpected discoveries in the heart of Paris.

Home and Lifestyle Design Showcase: Wow!house 2026 at Design Centre Chelsea Harbour, London - from June 2 - July 2

WOW!house 2026, now in its fifth year, is deemed the ultimate design barometer.  The month-long exhibition runs from 2 June to 2 July 2026 at Design Centre, Chelsea Harbour, featuring 22 full-scale rooms and outdoor installations created by 22 internationally renowned interior designers and architects in collaboration with leading sponsoring design brands and suppliers.

Schumacher Dining Room by Max Rollitt
Photo by Lucia Carpio

Widely regarded as one of the most influential destinations in the luxury interiors sector, the  immersive showhouse is erected within the Design Centre's Design Avenue, offering visitors the opportunity to experience highly detailed interiors as they walk through the connecting rooms as if in a real home.

The Art of Arrival - Entrance Hall by Francis Sultana
Photo by Lucia Carpio

Among the highlights is the Entrance Garden by landscape designers Hay Hwang and Simon Kitchin of The Gardenists. Inspired by the façade’s arched colonnades, the garden incorporates columnar evergreens, clipped bay laurel trees and white digitalis blooms arranged around English limestone and hand-crafted stone detailing supplied by Artorius Faber. A lead lion-mask fountain by Garden Art Plus provides a classical focal point to the space.

Artorius Faber Entrance Garden by The Gardenists
Photo by James McDonald

Another debut installation comes from Studio Enass, whose Garden Folly Room draws on designer Enass Mahmoud’s North African and Arab heritage. Conceived as a secluded island retreat, the room combines gemstone hues, layered textures and ornate decorative details including bronze mirrored ceilings, patterned textiles and handcrafted lighting.

Phillip Jeffries Morning Room by Sara Cosgrove
Photo by James McDonald

A recurring theme throughout WOW!house 2026 is the idea of slowing down and creating spaces of retreat from modern life.  In the Morning Room sponsored by Phillip Jeffries, interior designer Sara Cosgrove has created what she describes as “a quiet, uplifting analogue sanctuary”. ‘Aura’ mural with softly glazed surfaces designed to capture and reflect light.

Shepel' Library by Roisin Lafferty
Photo by James McDonald

Similarly, the Shepel’ Library by Dublin-based designer Róisín Lafferty embraces art deco influences through the use of burl timber, parchment and ebony finishes. The room has been designed as a contemplative environment where “the tempo softens” and discovery takes precedence over distraction.

Misia for Casamance Group Bedroom Suite by Henri Fitzwilliam-Lay
Photo by Lucia Carpio

Art deco references continue in the Bedroom Suite by Henri Fitzwilliam-Lay, created in partnership with Misia, part of the Casamance Group. Jazz Age-inspired fabrics, period furniture and hand-carved detailing combine to evoke the glamour of 1930s interiors.

Samuel Heath Primary Bathroom by Rigby & Rigby
Photo by James McDonald

In contrast, the Primary Bathroom by Rigby & Rigby adopts a minimalist Japandi aesthetic, blending Scandinavian simplicity with Japanese-inspired wellness traditions. A circular wooden ofuro bath forms the centrepiece, while integrated technology is used to create a calming sensory experience.

Elsewhere, De Rosee Sa’s Ca’ Pietra Bathroom transports visitors to a Mediterranean hotel of the 1970s, while Samantha Bartlett’s Martin Moore Kitchen celebrates tactile natural materials including fumed oak, bronze and Verde Natura quartzite.

Martin Moore Kitchen with Samantha Bartlett
Photo by James McDonald

“This is a room rooted in the poetry of nature,” says Bartlett. Martin Moore’s Legacy kitchen is the key focus, in a quietly glamorous combination of grained fumed oak teamed with bronze handles paired with Verde Natura quartzite.

Lalique Home Bar by Elicyon
Photo by Lucia Carpio

Luxury craftsmanship also takes centre stage in the Lalique Home Bar by Elicyon, where designer

Lalique Home Bar by Elicyon
Photo by James McDonald

Charu Gandhi has incorporated crystal panels inspired by René Lalique’s celebrated 1928 designs for the Orient Express.  

The iconic French house's art deco heritage is referenced in the many arches and curves.  The ceiling is a showcase for the magnificent "Swallows" chandelier while the walls and bar are inset with a bold, asymmetrical composition of crystal panels inspired by stories of goddesses and mythology.

Benjamin Moore Minhwa Salon by Young Huh
Photo by James McDonald

Benjamin Moore Minhwa Salon by Young Huh
Photo by James McDonald

International influences continue in the Benjamin Moore Minhwa Salon by New York-based designer Young Huh, who references Korean folk art alongside the opulent miniature paintings of Vienna’s Schönbrunn Palace.  The Salon is bursting with colours and patterns.  The lacquered walls are inset with 55 boxes painted in joyful high gloss colours often found in fold art, according to the designer.

Technology-driven design features prominently in the Nucleus Immersive Room by Russell Sage Studio. Equipped with a HYRISS immersive sound system by L-Acoustics, Sony display technology and integrated Crestron controls, the installation combines light, sound, scent and texture to create what designer Russell Sage calls “The Momentarium” — an environment intended to redefine shared sensory experiences.

Traditional craftsmanship is also celebrated throughout the exhibition. Max Rollitt’s Schumacher Dining Room juxtaposes 18th-century-inspired architecture with contemporary interpretations of dining culture, while Tiffany Duggan’s Speakeasy Salon combines theatrical interiors with multifunctional living.

Richard Miers’ Courtyard for Munder Skiles
Photo by James McDonald

Outdoor living spaces form another key component of the showhouse. Richard Miers’ Courtyard for Munder Skiles recreates a timeless stone courtyard shaded by London plant trees.

The main focus of the courtyard space is a showstopping "Whispering Water" feature.

Fettle Design’s Garden Terrace for Perennials and Sutherland
Photo by Lucia Carpio

Fettle Design’s Garden Terrace for Perennials and Sutherland evokes the atmosphere of a relaxed romantic Italian holiday setting with Mediterranean-inspired materials, furnishings and textiles, inspired by Perennials’ La Dolce Vita collection and incorporating Sutherland’s skillfully-crafted performance furniture.

Perennials and Sutherland Garden Terrace
Photo by Lucia Carpio

To explore all the Rooms in preparation for your visit to WOW!, click HERE.

In addition to the showhouse itself, more than 130 showrooms across the Design Centre will open to ticketed visitors during the event, showcasing luxury interiors, furnishings and design innovation from across the industry.

A series of more than 20 talks will take place across the month, curated to inspire and inform. For more information and tickets, click HERE.  There are also special guided tours throughout the month where visitors can gain extra insights into the creativity behind the WOW!rooms. 

Now in its fifth year, WOW!house has established itself as one of the UK’s leading cultural and design events, offering visitors immersive interiors intended to inspire, entertain and redefine how design is experienced.    

Exhibition: The Monkey Puzzle Tree Unveils Innovative Full-Colour Cork Wallpaper at Clerkenwell Design Week in London

British design house The Monkey Puzzle Tree is set to unveil a new full-colour cork wallpaper design, Up Hill Down Dale, at Clerkenwell Design Week (May 19 - 21, 2026) in London.

The new wallcovering marks a significant technical development for the Leeds-based company, which is traditionally known for embracing heritage craftsmanship and artisanal production methods. The design has been created using an innovative digital printing process capable of printing white and full colour directly onto real cork wallpaper

'Up Hill Down Dale' is the result of a collaboration between The Monkey Puzzel and Yorkshire artist Olivia Beau
who uses acrylic paints and found items such as old maps to depict
the beauty of the Yorkshire countryside where she grew up.

Created in collaboration with Yorkshire painter and multimedia artist Olivia Beau, the panoramic design celebrates the changing beauty of the English countryside throughout the seasons. The artwork depicts sheep sheltering on the moors as spring blossom gives way to snow, while the vivid greens of summer transition into autumnal tones beneath circling red kites. Graphic contour lines inspired by vintage maps add a bold visual layer to the large-scale composition.

According to the company, the design was created entirely without the use of artificial intelligence and instead relied on traditional artistic techniques combined with extensive experimentation and sampling.

The wallpaper is produced in England using a highly specialised printing technique on natural cork, with production limited to just three metres per hour. The wallcovering measures 130cm (51 inches) wide and is sold by the metre, with installation carried out using a paste-the-wall application method and standard pre-mixed wallpaper paste.

Company founder Charlotte Raffo said the printing process requires patience due to the delicate nature of the machinery involved.

“‘Walter’ the printer is a little temperamental and doesn’t like to be rushed, and it takes an hour to print just 3m of this wallpaper, but we think it’s worth the wait,” she said.

Raffo added that development of the design began more than a year ago, starting with hand-drawn concepts before inviting Beau to help realise the final artwork.

“Olivia uses acrylic paints and found pieces such as vintage maps in her work. I particularly love the graphic elements created by the map contours,” Raffo said. “With a natural background like real cork, it’s quite challenging to make the colours complement and stand out, so there have been weeks of behind-the-scenes work and sampling to get the design just right.”

The Monkey Puzzle Tree has previously received widespread recognition for its cork wallpaper collections, including the award-winning Hit The North, created in collaboration with graphic artist Drew Millward, known for his psychedelic poster artwork for bands including Foo Fighters and Arctic Monkeys. The design seen above, inspired by Northern industry and creativity, received the prestigious Design Guild Mark Award in 2021 for excellence and innovation in British design.

The company has also won accolades including Best in British Product Design at the Brit List Awards and several subsequent Design Guild Marks. Its cork wallpapers gained further national attention following appearances on the BBC Two interior design programme Your Home Made Perfect.

Based in Leeds, The Monkey Puzzle Tree is an independent British design studio known for its artist-led fabrics and wallpapers.

Images from The Monkey Puzzle Tree.