Trade Fair Report: Texworld Apparel Sourcing Paris draws 7,000 buyers as innovation and craftsmanship take centre stage

Texworld Apparel Sourcing Paris closed its 57th edition on a high note, attracting more than 7,000 buyers across three days, according to organisers Messe Frankfurt France.  The fair presented 1,300 garment and textile companies from 35 countries.

Held from 15 to 17 September 2025 at the Parc des Expositions in Le Bourget in Paris, the fair saw particularly strong attendance from France, the United Kingdom, Italy, Spain, the Netherlands and Germany. Visitor numbers were up 25% compared to the July 2024 edition, with organisers attributing the increase to the decision to return to the event’s traditional September slot.

Attendance was also more evenly spread across the three days, supported by a redesigned layout. Two halls were devoted to product offerings and one to services, complemented by networking spaces, relaxation areas and trend forums. The setup was intended to encourage connections while providing a more accessible stage for new ideas.

 

For the first time, exhibitors were almost equally divided between textiles (Texworld Paris) and finished garments and fashion accessories (Apparel Sourcing Paris).

“This evolution reflects buyers’ needs,” explained Julien Schmoll, Marketing and Communication Director at Messe Frankfurt France. “Brands are increasingly outsourcing not only production but also design, seeking suppliers who can deliver turnkey collections: creative, high-quality, competitively priced products, especially in the mid-range and premium segments.”

With 1,300 exhibitors, including those in the Avantex sector, the event strengthened its position as Europe’s leading sourcing fair. Several international manufacturers sought to expand their European presence, including Hong Kong-based knitwear producer Wing Ka Shing, which manufactures in DongGuan, China. Currently selling more than 80% of its products to US brands, the company is seeking to diversify into Europe to avoid US import tariffs.

“We came to showcase our products and connect with European buyers,” said the company’s Sales Manager, who noted strong interest from Spanish fashion teams.

The Near Sourcing Hub, organised with Messe Frankfurt partner FourSource, spotlighted suppliers from Central, Eastern and Southern Europe. Portuguese knitwear manufacturer FashionTeam, one of eight companies exhibiting on-site, reported keen interest from French and Spanish buyers.

“They don’t come to us for the price – they come for the service: quality, fast turnaround and flexibility,” said CEO Soames Rudowski. A further 28 suppliers presented samples digitally via QR codes linked to FourSource’s B2B platform.

The Initiatives area at the entrance to Hall 4 highlighted exceptional creativity. Pasari Textiles of India demonstrated traditional hand embroidery, while the Istanbul Chamber of Commerce presented contemporary Turkish designs. Students from LISAA Mode produced live knitwear and crochet pieces, and the China Textile Innovation Centre (CTIC) showcased designs from selected Chinese manufacturers.

Innovation was also at the forefront.

Avantex Paris served as the fair’s innovation hub, with around 30 participants presenting technologies for sustainable fashion. The show was divided into three areas: the HUB for services and solutions, the Designer HUB for studios and agencies, and ReSources, curated by Textile Clothing Business Labs (TCBL).

A busy programme of debates and round tables tackled themes such as artificial intelligence, circularity, bio-based materials and new consumption models. One of the highlights was the Bio Fashion Innovation Day, organised by TCBL, which presented advances in eco-design and localised production.

In addition, Messe Frankfurt’s Econogy Tour introduced visitors to exhibitors engaged in verified CSR initiatives, part of its wider Texpertise Econogy framework.

GoldenEye Smart Vision claimed the top prize at the Avantex Fashion Pitch 2025 for its AI-powered textile quality control system, which detects defects, improves production efficiency and reduces waste.

A “special prize of the heart” was awarded to Green Worms, an Indian micro-enterprise that collects and recycles local waste, creating sustainable employment for women from disadvantaged backgrounds.

“By recognising GoldenEye and Green Worms, we are celebrating innovative solutions that address major challenges, from digitalisation to sustainability,” said Claudia Franz, Director of Brand Management at Messe Frankfurt, and Julien Schmoll of Messe Frankfurt France.

Winners will receive financial support, exhibition space, business coaching and international visibility. With 11 projects competing, the competition reaffirmed its role as a launchpad for sustainable fashion start-ups.

Meanwhile a TikTok Shop debuts live shopping at the fair this season with a Global Selling Product Selection Event, where influencers hosted live shopping sessions featuring exhibitor products.

“We wanted to give our exhibitors the chance to explore this new distribution channel and learn from it, as retail continues to evolve,” said Frédéric Bougeard, President of Messe Frankfurt France. TikTok Shop, launched in France in March, already has more than 21 million users.

Looking ahead to 2026

Organisers have announced that the next spring–summer edition of Texworld Apparel Sourcing Paris will take place from 2 to 4 February 2026 at the Parc des Expositions, Paris–Le Bourget. 

The February 2026 edition is expected to feature a more curated offering aligned with market demands, confirming its role as a key date in the international fashion sourcing calendar.

Photos courtesy of Messe Frankfurt France

Interior Design Fair|: Decorex 2025 returns to Olympia London October 12 - 15

Decorex 2025 returns to Olympia London from 12–15 October, reaffirming its place as the premier event for luxury interiors, craftsmanship, and design innovation.

Organisers promise an inspiring showcase, bringing together the latest collections, immersive features, and thought-provoking discussions that make Decorex a must-attend for interior design professionals.

This year, more than 280 exhibitors will unveil cutting-edge collections from leading brands. Highlights include Homeplay’s Serengeti Living, which explores the seamless integration of technology into interiors; Castrads’ vintage-inspired radiators in collaboration with Soho Lighting and Hyde House; luxurious sofas from Sofas & Stuff; and Olive & Barr’s Shaker-inspired kitchens. Alongside these, hundreds of brands will present the finest in textiles, wallcoverings, lighting, accessories, furniture, flooring, and more.

The much celebrated Making Spaces feature returns with a fresh line-up of artisans demonstrating live craft techniques and sharing insights into the future of craft. It’s a vibrant celebration of creativity and provenance, featuring makers showcasing their skills in metal work, ceramics and textiles. 

'Mother Dearest' by Carl Fox - A London based artist who blends traditional techniques of marquetry and parquetry with modern aesthetics. His work often explores texture and pattern through meticulous craftsmanship.

From over 200 entries received, 14 artisans were selected by the Decorex 2025 Making Spaces Committee that hand-picked their favourite makers, providing the chosen artisans with a unique and exclusive opportunity to showcase their craft to Decorex’s interior design audience. 

Art creation by Fiona McTaggart, an artist and surface pattern designer who
uses hand-dyeing and derailed illustration to create layered, evocative surfaces.

Each artisan will be demonstrating their craft live at Decorex, offering visitors a rare glimpse into the making process and the stories behind their work.  These exclusive one-hour sessions, led by talented artisans, offer visitors the chance to immerse themselves in hands-on creativity. Each workshop provides an interactive opportunity to learn directly from masters of their craft, all within a dedicated space.  

Pamela Print will be teaching two Table Loom Weaving workshops in the Making Spaces area

Pamela Print is returning to Decorex showcasing a new collection of artworks, interior accessories and fabrics, handwoven using naturally-dyed fibres and waste yarn. "Colour in Nature" is an exploration of natural hues found in our environment, highlighting the need for more dialogue surrounding non-toxic art and fabrics in the contemporary home and interior space.  Print will be exhibiting and demonstrating alongside four highly-skilled makers from last year's Making Spaces cohort: Hanny Newton, Lara Pain, Valerie Wartelle and The Marchmont Workshop.

To view the programme and full line-up of artisans, click HERE.

For networking and relaxation, visitors can enjoy the Decorex Bar, designed by Lucy Mayers for Sibyl Colefax & John Fowler. This year’s design evokes a rich autumnal garden, blending classic English elegance with immersive, contemporary flourishes.

Tulo Adẹkọ́

The VIP Lounge, curated by Adẹkọ́ & Co., offers a sanctuary of sensory design and storytelling. Titled Palomino, the space takes inspiration from the iconic Paris Olympia Hippodrome of 1886 and the theatrical spectacle of Bertram Mills’ circus, reimagined by Adẹkọ́’s founder and director, Tulo Adẹkọ́.

Visitors will look forward to the Design Talks Programme, with over 100 expert speakers. tTis year’s talks explore topical subjects from scaling design businesses to championing regional artisans. Expect practical insights, bold ideas, and lively debate across four days.  

Sam Fisher, Decorex Event Director

Sam Fisher, Decorex Event Director, comments:  “This year’s lineup of speakers and topics is truly exceptional, reflecting the latest trends and innovations in our industry. We’ve curated a diverse range of sessions designed to inspire, educate, and engage—from thought-provoking keynotes to educational panels. I’m particularly excited about the inclusion of emerging voices in the design community, who bring fresh perspectives and innovative ideas.”

Click HERE for the talks programme.

Trade Fair Report: Première Vision Paris Draws Nearly 20,000 Industry Professionals this September, with Focus on Innovation and Sustainability

Nearly 20,000 fashion and textile professionals gathered in Paris this September for Première Vision, in what organisers described as a milestone edition of the international trade fair. 

Returning to its traditional calendar, the event placed strong emphasis on innovation, technology, and cross-industry collaboration, while also extending its reach into the beauty sector for the first time.

The show - held from September 16 to 18 2025 - comes at a moment of significant change for fashion, as brands and suppliers grapple with climate challenges, geopolitical tensions, and mounting pressure for more sustainable practices.

Première Vision positioned itself not only as a sourcing platform but as a strategic meeting point for debate, foresight, and solutions.

Florence Rousson, Chairwoman of Première Vision and Managing Director of GL Events’ Fashion Division, said the event had moved beyond its original remit:  “Our role today is to help the industry navigate disruption, anticipate change, and provide actionable solutions. Innovation, foresight, and institutional dialogue are key to giving the industry the renewed momentum it needs to build a sustainable, competitive, and desirable model.”

Innovation at the Forefront

A major focus this year was technological advancement, seen both on the show floor and in its programme of talks. Exhibitors highlighted low-impact materials, new sourcing tools, and AI-driven production methods. An immersive CLO 3D showcase drew interest from couture houses said Alexandre Nguyen, Business Development Manager at CLO in France: “Leading couture houses showed genuine interest in our digital showcase space and in the unlimited potential of digital product creation.”

Meanwhile the finalists of the ANDAM Innovation Prize—including 2025 winner Losanje—presented solutions aimed at reshaping the industry.  Nathalie Dufour, Founder of ANDAM, said the collaboration reflected the sector’s transformation: “Innovation and technology play a central role in creating a more efficient, responsible, and competitive industry. Our 10 start-ups had the unique opportunity to showcase their solutions to an international ecosystem and engage directly with key stakeholders.”

Fashion Meets Beauty

For the first time, Première Vision welcomed the beauty industry into its Future Trends Area, with participants including Make Up Forever Academy, Fiabila, Villa Blue by Robertet, and Abondance. The move highlighted growing connections between fashion and cosmetics.

Candice Jagut, Chief Marketing Officer of Fiabila, described the partnership as a “relationship of creative interdependence” between the two industries. “Cosmetics are the colours that fashion brings to life on the skin,” she said.

European Industry Mobilises

Another highlight was the joint appearance of 22 federations from 17 countries, convened by UFIMH, UIT, and Euratex. The groups issued a declaration defending the European industrial model, stressing competitiveness and voicing opposition to the rise of ultra-fast fashion.  The gathering underlined Première Vision’s role as a platform for industry representation and policy dialogue at European level.

Looking Ahead

In addition to its exhibition spaces, Première Vision hosted two dedicated talk stages—one centred on fashion and beauty, the other on technology and market transformation. The sessions brought together experts, designers, and institutional figures to debate the future of the sector.

With nearly 20,000 attendees and an expanded scope that bridges industries, Première Vision Paris 2025 reinforced its position as a global hub for inspiration, advocacy, and innovation at a time when fashion is seeking new direction.

The next  Première Vision Paris  will take place February 3 - 5 2026.

Photos by Lucia Carpio

Fashion exhibition: Paul Poiret: La Mode est une Fête — Paris Retrospective Crowns the "King of Fashion"

“Fashion must be a feast, not a uniform,” Paul Poiret once declared.  More than a century later, the Musée des Arts Décoratifs in Paris is serving up that feast in a retrospective that crowns the couturier once hailed as the “King of Fashion”.

Paul Poiret, la mode est une fête (Fashion is a Feast) brings together more than 550 pieces, from lavish gowns and accessories to perfumes, illustrations and furnishings.  It is the most comprehensive reassessment of Poiret’s life and legacy as the early 20th century's most flamboyant designers, casting light on both his triumphs and his contradictions.

He was a pioneer in moving away from rigid corsetry and creating looser, freer silhouettes. Poiret claimed to have “freed the bust”.  

He introduced the hobble skirt (a narrow hem that restricts walking) and popularised the Empire line, neoclassical and oriental-inspired drapes and motifs. 

He championed drapery over heavy structure, using vivid colour, bold prints, and unusual forms such as harem pants, kimono coats etc. 

Poiret rose to fame after founding his house in 1903, and was among the first couturiers to build more than just a dressmaking business: he launched perfumes (notably Parfums de Rosine, named for his daughter) and interior decoration, making his work part of a broader aesthetic lifestyle. 

Collaborating with artists such as Paul Iribe and Georges Lepape, Poiret pioneered the use of stylised illustration to market his creations. 

He worked closely with artists, illustrators, and the decorative arts—creating prints, promoting artistic collaboration, and staging flamboyant social events (for example, the famous party “The Thousand and Second Night” in 1911) to capture public imagination. 

At his height, Poiret was extremely influential, seen as one of the leading figures of pre-World War I haute couture. But as styles changing (especially with the rise of designers like Coco Chanel) and financial difficulties increased, the house declined in the 1920s and ceased being a major fashion force.

“Poiret understood that women were seeking a new kind of freedom,” said curator Pamela Golbin. “He gave them clothes that allowed elegance and drama, if not always practicality.”

The exhibition emphasises Poiret’s flair for image-making. Collaborations with illustrators Paul Iribe and Georges Lepape turned fashion plates into striking pochoir prints, establishing couture as a visual brand. Albums of prints, more than mere catalogues, became works of art in their own right and anticipated modern fashion advertising.

Poiret also pioneered the idea of fashion as a lifestyle, launching perfumes under the name Parfums de Rosine and founding Maison Martine, a decorative arts studio.

One gallery evokes his legendary 1911 Thousand and Second Night party, a riot of turbans, lanterns and exotic costume that helped cement his reputation as much as his clothes.

But the retrospective also acknowledges the shadows. His fascination with Orientalism reflected the colonial imagination of the time, while his lavish spending led to financial collapse. By the 1920s, his ornate style was eclipsed by Coco Chanel’s modernism.

Still, La mode est une fête makes the case for Poiret as a visionary who blurred the boundaries between fashion, art and theatre. 

“Poiret taught us that fashion is not just clothing,” said Golbin. “It is performance, it is art, it is a way of life.”

By restaging Poiret as a “costume-historical curiosity,” and a figure who helped shift fashion toward modernity: in form, function, image, lifestyle, the exhibition captures both the glamour, the spectacl and the serious craft: draping, illustration, material, colour.

Visitors leave with a vivid sense of a man who blurred the lines between designer, impresario and showman. 

A century on, the echoes of that philosophy can still be heard in the global empires of Chanel, Dior,  Kenzo, Jean Paul Gaultierand beyond. The King of Fashion, for a season at least, reigns again in Paris.

Footnote:  

Readers can also delve deeper into Paul Poiret’s legacy, his fashion and Art Deco through Mary E. Davis’s recent study, Paul Poiret: Inventing Modern Luxury. The book portrays him as the most audacious couturier of the pre-war era. While his outré designs were briefly embraced by leading celebrities in Europe and America, Davis argues that they were the most transient element of his achievement. His true genius, she suggests, lay in positioning fashion at the crossroads of style, culture and commerce, reshaping the industry into a modern luxury enterprise.

Separately, the Victoria and Albert Museum in London has republished King of Fashion: The Autobiography of Paul Poiret as part of its Fashion Perspectives series. First released in 1931, the memoir recounts the meteoric rise of a draper’s son to the heights of Parisian couture. Poiret describes his modest childhood, his breakthrough as a couturier, and his experiences during the First World War with characteristic candour. He also reflects on the artistry that allowed him to channel the spirit of Art Deco into groundbreaking garments. Beyond his creative flair, Poiret emerges as a shrewd entrepreneur, chronicling the expansion of his house into interior decoration and the launch of one of the earliest designer perfumes. His memoir vividly evokes the extravagance of his legendary parties, where guests showcased his latest creations, capturing both the glamour and excess of the age.

Photos by Lucia Carpio

Exhibition Review: Grayson Perry’s Delusions of Grandeur: Craft, Play and Provocation - Final Weeks at the Wallace Collection

The Wallace Collection in London, long celebrated for its Rococo treasures and Old Masters, opened its doors earlier this year to a bold new chapter with Grayson Perry: Delusions of Grandeur.  Now still running until 26 October 2025, there are a few weeks left to visit this exhibition which has been billed as the museum’s largest contemporary show to date, and it more than lives up to the claim.

Bringing together more than 40 newly created works, the exhibition demonstrates Perry’s enduring fascination with craft, narrative and social commentary. Visitors will encounter an eclectic mix of ceramics, textiles, tapestries and works on paper, 

Bringing together over 40 newly created works, the exhibition demonstrates Perry’s enduring fascination with craft, narrative and social commentary. Visitors encounter an eclectic mix of ceramics, textiles, tapestries and works on paper, as well as a wallpaper (in collaboration with Liberty) - many of which are threaded through with the artist’s mischievous alter ego, Shirley Smith. These playful yet incisive pieces are displayed in dialogue with the museum’s permanent collection, offering fresh interpretations of the Rococo opulence that has long defined the Wallace.

“It’s about walking into a palace of grandeur and then asking—what is really grand?” Perry explains with a grin. “I love Rococo because it’s decorative, it’s excessive, and people dismiss it as frivolous. That makes it the perfect playground for me.”

These playful yet incisive pieces are displayed in dialogue with the museum’s permanent collection, offering fresh interpretations of the Rococo opulence that has long defined the Wallace.  One notable example is François Boucher’s celebrated Madame de Pompadour (1759), an oil on canvas from the Wallace Collection, to which Perry has responded with his own work, Hospital Queen, created in embroidery and mixed media.  

Dr. Helen Jacobsen, Senior Curator at the Wallace Collection, the collaboration has brought a fresh perspective to the museum’s permanent holdings. “Grayson has a rare ability to tease out the spirit of our collection without reverence,” she says. “He has allowed Boucher, Fragonard and Watteau to sit in conversation with his own work—and in doing so, he makes the Wallace feel alive in new ways.”

At its heart, Delusions of Grandeur interrogates ideas of making and authenticity. Meticulously crafted objects, often requiring hundreds if not thousands of hours to produce, are positioned alongside works created with the click of a mouse. 

The juxtapositions invite questions about value, time and the role of the artist in an age where technology increasingly blurs the line between tradition and innovation. Perry does not offer neat answers, but rather provokes reflection on our collective drive for perfection and the nature of artistic labour.

The show also ventures into the realm of ‘outsider art’. Works by Aloïse Corbaz and Madge Gill—visionary figures who pursued their creative practices outside conventional art circles—find resonance within Perry’s own personal and artistic journey. The inclusion of Gill is particularly poignant: she exhibited at the Wallace Collection in 1942, a discovery that inspired Perry to weave her story into his own exploration of art, childhood and belonging.

Marking his 65th birthday, Perry uses the exhibition to reflect on the wider culture of collecting and the often-overlooked politics of decoration. With characteristic wit and sharpness, he challenges traditional hierarchies, asking viewers to reconsider where value lies—whether in the gilded excess of Rococo or in the irreverent, handcrafted exuberance of his own practice.

For all its intellectual weight, the exhibition is anything but austere. Perry’s signature humour and theatricality animate the galleries, ensuring the experience is as entertaining as it is thought-provoking. Visitors are likely to leave not only with a deeper appreciation of the complexities of craft and authenticity, but also with the sense that they have glimpsed something of Perry’s own playful, restless imagination.

Delusions of Grandeur stands as a landmark exhibition—one that reframes the dialogue between past and present, tradition and experimentation, seriousness and satire. It is, above all, a testament to Sir Grayson Perry’s place as one of Britain’s most intriquing artistic voices.

Photos by Lucia Carpio