Trade Fair Report: Première Vision Paris February 2026 Signals Industry Resilience Amid Global Volatility

At the close of its February edition, Première Vision Paris reported strong international engagement at the fair, held from 3–5 February 2026 at Parc des Expositions in Paris Nord Villepinte. The event convened decision-makers, manufacturers and designers from major European, Asian and American markets, reaffirming both the fair’s global reach and Paris’s centrality to the fashion and textile industry’s international dialogue.

Against a backdrop of economic fragility and geopolitical strain, organisers at GL events’ Fashion Division said the edition demonstrated the sector’s capacity to mobilise, exchange intelligence and construct collective responses. Over three days, sustained business meetings and high-level discussions signalled what the organisers described as genuine forward momentum, even as companies navigate tightening margins and recalibrated growth strategies.

Cost pressures reshape the value chain

Conversations across the show floor underscored a structural shift: cost pressure is now embedded throughout the value chain. Adjusted volumes, deferred commitments and more demanding commercial terms are compelling companies to prioritise risk management and financial equilibrium.

Yet price competition alone no longer defines procurement strategies. Industrial reliability, delivery performance, financial solidity and continuity of partnerships are increasingly decisive. Two parallel dynamics were observed. 

Retail-oriented brands continue to pursue strict optimisation, exploring new sourcing territories while maintaining tactical caution. Meanwhile, premium and luxury houses are consolidating established collaborations, tightening supply chain control and investing selectively in innovation to underpin long-term growth.

Across segments, responsible innovation has moved from aspiration to prerequisite. The emphasis is on pragmatic, scalable and immediately actionable solutions rather than speculative experimentation.

Education and craftsmanship in focus

Responding to concerns over declining technical expertise, Première Vision strengthened its educational mission during the February session, welcoming a significant cohort of students. The initiative reflects a strategic commitment to safeguarding textile know-how and reinforcing the skills pipeline underpinning industrial excellence.

The edition also marked the launch of the Réseau d’Excellence Mode & Beauté des Entreprises du Patrimoine Vivant, aligned with the Fashion & Luxury Strategic Committee’s agenda. The network underscores the strategic importance of craftsmanship, industrial resilience and cross-sector cooperation in a high-pressure market environment. Organisers highlighted the growing influence of the Fashion Division in convening creative stakeholders while addressing structural industry transformation.

Territories of Savoir-Faire: Japan, Portugal and France

Under the banner “Territories of Savoir-Faire!”, the exhibition spotlighted three countries—France, Portungal and Japan—through a curated visitor route, conferences and cross-border dialogues in the Prospective Area. The thematic focus reflected a wider recalibration of commercial and cultural geographies, as global trade patterns shift and traditional production scales are reassessed.

France: heritage and hybridisation

France’s fashion ecosystem—spanning ateliers, museums, schools and couture houses—was presented as both historical bedrock and experimental laboratory. Centuries-old techniques such as Leavers lace and embroidery from Calais and Caudry were juxtaposed with contemporary reinterpretations by a new generation of artisans blending tradition with counter-cultural influences.

Regional catalysts and incubators, including the Tremplin Mode et Textile, were highlighted alongside established lace makers and embroiderers. The European Flax and Hemp Alliance guided visitors through the French and European flax value chain, detailing agricultural practices, processing stages and environmental metrics from cultivation to finished textile.

Portugal: vertically integrated sustainability

Portugal emerged as a case study in structural sustainability. Textile clusters in the north, particularly around the Ave and Cávado valleys, demonstrate high vertical integration—from yarn to finished garment—supported by investment in advanced machinery, digital garment passports and AI-assisted quality control.

A central institutional presence was CITEVE, the Vila Nova de Famalicão-based technology centre founded in 1989. At the fair, CITEVE presented experimental silhouettes developed under its Be@t (Bioeconomy at Textiles) project, integrating Digital Product Passports to enhance transparency and traceability. The initiative, including a partnership with Agromethod Labs on hydroponic cotton cultivation, aims to transition Portugal’s textile sector towards a circular and bio-based model.

Manufacturers showcased innovations ranging from closed-loop dyeing systems and water reduction strategies to new plant-based fibres derived from eucalyptus, coffee waste and tree bark—illustrating a shift towards regenerative and biofabricated materials.

Japan: nature-minded mastery

Japan’s presentation emphasised a philosophy of long-term stewardship and reverence for material integrity. Rare fibres such as Hasumi linen from Shimane and traditional indigo and plant-based dyeing techniques reflected a culture attentive to the “tamashii”, or soul, of objects—their ageing and transformation over time.

Collaborations featured prominently. French artisans in residence at Villa Kujoyama and participants in the Edo Tokyo Kirari programme demonstrated cross-cultural exchange, while kimono upcycling projects by students from Polimoda and Osaka Bunka highlighted reinterpretation of heritage garments.

The Japan Fashion Week Organization curated a dedicated space, including a “Japan Exhibitors Collection” and a virtual reality immersion into wool production in the Bishu region, renowned for its textile expertise. The fair’s Grand Prix, Excellence Award and Special Prize this year favoured a materials-driven approach, with denim and wool in focus.

Prospective Space: innovation narratives

Three enclaves within the Prospective Space offered thematic exploration:

• Living Legacy, where intergenerational and cross-cultural collaborations reinterpret ancestral techniques;
  

• Active Know-How, foregrounding playful subversion and stylistic reinvention;

• Organic Intelligence, examining biotechnology, mycelium, biofabrication and regenerative design as pathways to reduced waste and evolutionary material development.

Through these curated narratives, Première Vision Paris positioned itself not only as a sourcing platform but as a strategic observatory—interpreting emerging signals, consolidating partnerships and enabling informed decision-making.

In a period marked by trade disruption and economic recalibration, the February 2026 edition reinforced Paris’s enduring role as a global convening point. From upstream raw materials to downstream creative application, the fair presented localised models of production and knowledge as blueprints for a resilient, innovation-led future.

Images by Lucia Carpio

Cultural News: OMODA Takes the Wheel at London Fashion Week as Chinese Carmakers Accelerate UK Expansion

When the British Fashion Council (BFC) unveiled the final schedule for London Fashion Week this February, it did more than confirm the line-up for one of the capital’s most influential cultural events. It also announced that Chinese automotive marque OMODA will serve as Principal Partner for the February 2026 edition, which runs from Thursday 19 February to Monday 23 February.

The appointment signals a deliberate convergence of automotive branding and high fashion. Rather than relying solely on conventional car marketing channels, OMODA is positioning itself within a fashion-led cultural framework, aligning vehicle design with creativity, lifestyle and self-expression — qualities long associated with London Fashion Week.  In doing so, the company is seeking to recast the car not merely as a functional product, but as a design-driven lifestyle statement.

Such positioning is particularly resonant in the UK, where the fashion and creative industries exert considerable influence over consumer perception and brand equity. By embedding itself in a globally recognised cultural platform, OMODA gains exposure to affluent and trend-conscious audiences who may be less responsive to traditional automotive advertising. The strategy also addresses lingering assumptions in parts of the market that Chinese-built vehicles compete primarily on price rather than on design or innovation.

The timing is notable. Chinese car manufacturers have expanded rapidly in the UK over the past 12 to 18 months. Industry figures indicate that Chinese-branded vehicles accounted for close to 10 per cent of all new car registrations in 2025, almost double the previous year’s share. Growth has been driven by a combination of competitive pricing, increasingly sophisticated battery and hybrid technology, and a widening model range from brands including MG, BYD (Build Your Dreams), OMODA and Jaecoo.

Marketplaces such as Auto Trader and Carwow have reported sharp increases in search interest, enquiries and listings for Chinese electric vehicles, particularly from BYD, with year-on-year enquiry volumes rising by several hundred per cent. The appeal has been strongest among younger buyers attracted by value, technology and contemporary styling.

Laura Weir, Chief Executive of the British Fashion Council, described OMODA as a natural fit for the event. She said the brand’s commitment to design and innovation made it “a powerful partner for LFW”, adding that the collaboration would champion individuality and creativity while supporting a February schedule that reflects “the energy, diversity and ambition of London fashion”.

Under the principal partnership, OMODA will provide VIP shuttle services using its flagship OMODA 9 SHS and the new OMODA 7 SHS, which will make its public debut during the week. The company will also partner with ROKSANDA for a 20th anniversary celebration dinner, host an immersive digital hub within the BFC NEWGEN Show Space, and collaborate on a digital content series alongside additional initiatives directly supporting designers.

Victor Zhang, OMODA UK Country Director, framed the partnership as a statement of cultural intent. He said London Fashion Week celebrates creativity and design — principles at the core of the brand — and argued that the presence of the OMODA 7 SHS and 9 SHS throughout the week would demonstrate vehicles that combine style, luxury and hybrid flexibility.

For OMODA, the association is more than event sponsorship; it is an attempt to anchor the brand within contemporary British cultural life. As Chinese automotive groups consolidate their foothold in the UK market, such cross-sector alliances suggest a shift from competing solely on price and specification to competing on narrative, design credibility and cultural relevance.

Images from BFC / London Fashion Week / OMODA

Explore London Fashion Week (February19 - 23 2026) Schedule HERE.

The British Fashion Council thanks all partners, suppliers and supporters whose commitment makes LFW possible. Principal Partner – OMODA. Official Partners – Mayor of London, The Londoner and TONI&GUY.

Trade Fair Report: Texworld Apparel Sourcing Paris Reports Strong French Turnout and Qualified International Demand at 58th Edition

Organisers of the 58th edition of Texworld Apparel Sourcing Paris have reported positive results after the three-day event closed on February 4, 2026, at the Paris-Le-Bourget Exhibition Centre. The show brought together 1,100 exhibitors and, according to organisers, reaffirmed its role as a leading global sourcing platform for international buyers.

Despite ongoing economic shifts and changes to distribution networks, the event delivered solid business activity. Attendance was slightly down compared with February 2025 but stable against the September edition, reflecting broader structural changes in the apparel market. French visitors accounted for 22% of total attendance — a notable increase — followed by the UK (9.4%), Italy (6.5%), Spain (6.2%), with the Netherlands and Germany each at 4.1%.

Messe Frankfurt France said the figures underline the continued importance of major European markets in driving the sector. Julien Schmoll, Marketing and Communication Director, described this edition as “more concentrated but more targeted,” highlighting the quality of visitors and the intensity of business discussions.

Long-standing partners — including the Istanbul Chamber of Commerce, China National Textile and Apparel Council and the Korea Federation of Textile Industries  — reported strong commercial engagement and qualified buyer meetings.

Exhibitors echoed the positive outlook. Oracle Textile Technology, a Chinese specialist in technical fabrics for premium down jackets, said it met major European and American accounts and achieved its objectives. Huaren Linen cited new prospects alongside established clients such as Marks & Spencer and Monoprix. Bangladesh-based Sara Fashionwear reported that 10–15% of its contacts were new, particularly from Eastern Europe.

Buyers emphasised a growing focus on premium quality, competitive pricing and supply chain responsiveness. Céline Simon of Gémo identified opportunities with Egyptian manufacturers and accessories suppliers, while Paris designer Lamine Badian Kouyaté, founder of XULY Bët, praised exhibitors’ flexibility after sourcing knitwear partners capable of accelerating delivery timelines.

Frédéric Bougeard, President of Messe Frankfurt France, said the show reflects a more selective and demanding market, adding that its “smart sourcing” model prioritises curated offers and concrete projects over volume.

The next 59th edition of Texworld Apparel Sourcing Paris will take place from August 31 to September 2, 2026, at Paris-Le-Bourget. It will incorporate the Avantex Paris sector, dedicated to sustainable fashion technologies, further strengthening links between sourcing, innovation and industry transformation.

Images by Lucia Carpio

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.

AS one of the most influential figures in decorative arts, Victorian designer William Morris was a leading voice in the Arts and Crafts movement; he pushed back against industrial mass production, championing craftsmanship, beauty, and integrity in design.  He transformed wallpaper and textiles into serious art forms, creating nature-inspired patterns featuring flowers, vines, birds, and foliage arranged in richly layered, rhythmic repeats. Among his most celebrated designs are Strawberry Thief, Willow Bough, and Trellis — all of which have inspired Bobbi Beck’s 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