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

Fashion News: Mulberry prepares London Fashion Week return as financial recovery gathers pace

Mulberry is set to make a high-profile return to the London Fashion Week runway this month, marking a significant moment for the British luxury fashion house as it combines a new creative direction with signs of a strengthening financial performance.

Mulberry - Shot by Federico Radaelli

The return to the runway is central to CEO Andrea Baldo’s “Back to the Mulberry Spirit” strategy, which aims to rebuild the ready-to-wear business alongside the brand’s established accessories offering.

The company will return to the London Fashion Week schedule on September 20, following a six-year absence. The show will present the first women's ready-to-wear collection designed by newly appointed Creative Director Christopher Kane, signalling a new chapter for the Somerset-based brand.

Kane's appointment is expected to bring a fresh creative perspective to Mulberry as the company seeks to reinforce its position as a leading British luxury label. His debut will be closely watched as the fashion industry assesses how his design language will translate across Mulberry's established leather-goods heritage and its wider ready-to-wear offer.

The runway return comes against a backdrop of improving financial results. Mulberry reported group revenue of £125.5 million for its latest financial year, representing a 4% increase. Pre-tax losses were reduced substantially to £8.9 million, compared with £32.2 million in the previous year.

The company also reported an improvement in gross margin to 72%, helped by a reduction in promotional discounting. The figures suggest that the business has been making progress towards improving the quality and profitability of its sales, rather than relying heavily on markdowns to drive demand.

That momentum appears to have continued into the opening quarter of the new financial year. Group revenue rose by 23% year on year, with wholesale and franchise revenue recording a particularly strong 56% increase.

The growth in wholesale and franchise business provides an encouraging indication of demand for the brand beyond its directly operated retail network and could give Mulberry greater scope to expand its international presence without relying solely on investment in company-owned stores.

At the same time, Mulberry is continuing to refine its physical retail footprint in the UK. The company has signed a lease for a new 979 sq ft boutique at Liverpool ONE, with the store scheduled to open in November 2026.

The new boutique will add to Mulberry's existing UK retail presence as the company focuses on what it describes as a more refined brick-and-mortar strategy. The Liverpool location also places the brand within one of the UK's major premium shopping destinations, extending its reach beyond London.

Further changes at board level are also planned. From September 9, Mulberry will appoint Sara Dickinson and Kenny Wilson as non-executive directors. Wilson, the former chief executive of Dr. Martens, brings extensive experience of international brand development and the publicly listed consumer sector, while Dickinson adds further industry expertise to the board.

Taken together, the changes point to a period of significant transition for Mulberry. The arrival of Kane, the return to the London Fashion Week runway, improving margins, a sharp reduction in losses and accelerating first-quarter revenue growth suggest that the company is attempting to establish a stronger platform for its next phase of development.

For the British luxury sector, Kane's September 20 debut is likely to be one of the key moments of the London Fashion Week schedule, providing an early indication of how Mulberry intends to balance its distinctive British heritage with a renewed fashion proposition.

Interior Design Event: Focus/26 puts autumn interiors and international design in the spotlight at Chelsea Harbour, London

As London prepares for another major season of design activity, Focus/26 on Design will bring the international interiors industry together at Design Centre, Chelsea Harbour from 14 to 18 September, putting the spotlight on new autumn collections, emerging creative directions and the latest thinking across the sector.

The timing is significant. Focus/26 opens as London Design Festival - running from 12 to 20 September - gets under way, making Chelsea Harbour a key destination for designers, architects, specifiers and design enthusiasts looking to assess the new season's direction. The five-day event is centred on the Design Centre's network of showrooms, with additional brands and events creating what organisers describe as a creative hub for the industry.

At the heart of Focus/26 is product discovery. The event provides an opportunity to see autumn launches from leading international brands. This gives the event particular relevance for interior designers and specifiers seeking distinctive fabrics, wallcoverings, furniture, lighting and decorative products for forthcoming projects.

The Design Centre currently brings together more than 135 showrooms, while Focus/26 will add more than 30 temporary House Guests along the Design Avenue. The combination of permanent showrooms and temporary installations is designed to broaden the sourcing offer and bring additional designers and specialist brands into the mix for the duration of the event.

Among this year's House Guests are Artfully Sorted, Christy, Iliv, Martin Huxford, Shailand England, The Vale London, Studio Ham and Zoffany X Michael S. Smith.  

(Click here to find out more about the House Guests.)

A focus on knowledge as well as product

The increasingly important role of events such as Focus is not simply about showcasing products. For the professional design community, they have become places to exchange ideas, build relationships and gain insight into the commercial and creative forces shaping the industry.

Designer Stephanie Barba Mendoza will talk to House & Garden's editor Talib Choudhry on her passion for history, art and the play of pattern and colour translated into memorable projects worldwide.

Focus/26 will therefore combine showroom launches with a substantial programme of talks, masterclasses and industry discussions. Its flagship Conversations in Design series will bring leading names from the design world together, while Grow Your Business sessions will address professional development and the practical challenges facing designers. 

There will be 100+ free Free Access All Areas events within individual showrooms, alongside tours, Designer Toolkit sessions and the new Learning Lounge.  Daily Design Discovery Tours will provide another way of navigating the event, directing visitors towards products and launches attracting particular attention.

(Click here for information on the full programme.)

This combination of product, expertise and networking reflects the changing role of design trade events. Rather than functioning solely as traditional buying platforms, leading interiors events are increasingly expected to provide cultural and educational content alongside commercial opportunities.

The international character of Focus/26 is another important element. With brands from different design traditions represented alongside established British names and smaller specialist ateliers, the event offers a snapshot of the increasingly global interiors marketplace.

The event provides a valuable opportunity to encounter new materials, techniques and aesthetics without having to travel overseas.

 Focus/26 brings together international product launches, specialist makers, established showrooms, emerging brands and industry debate, and offers a useful indication of where interior design is heading as the autumn/winter season gets under way.

Textile Designers: TEX+ to make Première Vision Paris debut with showcase of emerging UK textile talent

British charity TEX+ will make its debut at Première Vision Paris this September, bringing together a selection of the UK’s emerging textile design talent in a showcase celebrating creativity, innovation and the breadth of work being developed at the country’s leading universities and colleges.

The charity will be exhibiting at Stand 1B8 in the Designs Hall during Première Vision Paris, which will run between 1 - 3 September at Parc des Expositions, Villepinte.  It will present work by this year’s finalists alongside successful TEX+ alumni. The showcase is intended to highlight not only the strength of the current cohort, but also the continuing development of designers who have progressed through the programme and are now building careers within the textile industry.

TEX+ builds on the legacy of Texprint//TexSelect, which for decades helped introduce British textile graduates to the international industry. The programme focuses on connecting emerging designers with industry, providing professional development opportunities and giving graduates greater international exposure.

Première Vision Paris offers a particularly significant platform for the designers, providing opportunities to meet international fashion brands, textile manufacturers and other industry professionals.

A key feature of the TEX+ presentation will be the TEX+ Live Collaborative Trends Creation, an interactive installation involving six designers working across weave, print, knit, stitch and mixed media.

The designers will collaborate throughout the exhibition to develop an evolving concept wall inspired by Première Vision’s seasonal colour directions. Rather than presenting finished work alone, the installation will allow visitors to see the creative and collaborative process developing during the fair.

The six participating designers are Christie Shannon, specialising in knit; Lili Mizuno, mixed media; and Twig Searle, weave, all from the 2026 cohort. They will be joined by 2025 graduate Freya Booth, specialising in mixed media, and Nikki Kewley, specialising in print, together with 2024 graduate Ruth Kent, a weave designer.

The interactive element will extend to a limited-edition tote bag initiative. At 3pm on the first and second days of Première Vision Paris, visitors to the TEX+ stand will have the opportunity to receive a tote bag featuring exclusive designs created by the six participating designers. The bags will be available while stocks last.

Jeremy Somers, Chair of TEX+, said the organisation was “thrilled” to be exhibiting at Première Vision Paris for the first time under the TEX+ name, describing the event as an opportunity to celebrate the organisation’s debut and showcase the creativity shaping the future of textile design.

For TEX+, the Première Vision appearance represents an important step in continuing the international tradition established by Texprint//TexSelect, while providing a new generation of UK textile designers with direct access to the global fashion and textile marketplace.

International Trade Fair: Première Vision Paris signals fashion's next transformation through AI, advanced materials and beauty convergence

When Première Vision Paris opens its doors from 1-3 September 2026, the world's leading textile and fashion sourcing event will be presenting far more than the trends for Autumn/Winter 2027-28. 

The exhibition offers a snapshot of an industry undergoing profound technological and commercial transformation, with artificial intelligence, material innovation and cross-sector collaboration becoming central to future competitiveness.

Bringing together almost 900 international exhibitors to Parc des Expositions in Villepinte, this September's edition reflects how fashion's priorities are shifting beyond seasonal collections towards smarter product development, greater supply chain transparency and new business partnerships. The result is an event that increasingly serves as both an innovation platform and a sourcing marketplace.

The exhibition's Innovation-Tech theme underlines the industry's transition from traditional manufacturing towards digitally enabled production and product creation. Artificial intelligence, advanced software, automation and sustainable technologies are no longer presented as future possibilities but as practical business tools capable of shortening development cycles, improving forecasting accuracy and reducing waste throughout the value chain.

For brands facing rising production costs and increasingly complex consumer demands, these technologies represent opportunities to improve efficiency while responding more quickly to changing market conditions.

One of the strongest messages emerging from this edition is that innovation in materials has become inseparable from sustainability. Rather than focusing solely on recycled fibres, exhibitors are showcasing a broader generation of alternatives including leather made from food waste, mycelium-based biomaterials, PLA fibres, closed-loop recycled polyester and plant-based substitutes for fur.

The emphasis reflects growing investment across the textile sector in developing commercially viable materials capable of reducing environmental impact without compromising performance or aesthetics.

Equally significant is the continued emphasis on transparency and circularity. As regulatory requirements continue to evolve, particularly within Europe, manufacturers and brands are increasingly seeking systems that enable product traceability, certification management, digital product information and the recovery of surplus materials. Première Vision's exhibitors demonstrate how digital technologies are becoming essential in helping companies meet both regulatory obligations and consumer expectations.

Artificial intelligence continues to emerge as one of the defining themes throughout the exhibition. From trend forecasting and demand prediction to 3D design, virtual sampling and supply chain optimisation, AI is moving beyond experimentation into everyday commercial application. Solutions presented by technology specialists illustrate how brands can accelerate product development while reducing sampling costs and improving decision-making across the design process.

Performance textiles also remain firmly on the agenda. Responding to continued growth in sportswear, outdoor apparel and technical clothing, exhibitors will present innovations including PFAS-free membranes, bio-based fibres, responsibly sourced down and advanced performance fabrics engineered to improve breathability, waterproofness and durability. These developments reflect the increasing demand for materials that combine technical performance with more responsible manufacturing practices.

Simultaneously, Première Vision Paris is expanding its role as a knowledge-sharing platform through an enhanced conference programme featuring more than 100 international speakers across dedicated Innovation & Technology and Fashion & Beauty stages. Sessions will examine the commercial implications of emerging technologies, changing consumer behaviour, sustainability, creativity and future market developments.

Among the presentations are discussions exploring subjects such as When Technology Shapes the Silhouette: Between 3D Printing and Material Craftsmanship and Agentic Commerce Is Already Shopping for You, highlighting how automation and AI are beginning to reshape both product creation and the retail experience.

Perhaps the most strategically significant development this season is Première Vision Paris's growing commitment to strengthening links between the fashion and beauty industries.

Building on its partnership with COSMETIC VALLEY, the exhibition is launching the Cosmetic Village, a dedicated area bringing together laboratories, manufacturers, packaging specialists, research and development teams and beauty innovators. The initiative recognises that fashion and beauty increasingly share common priorities around colour forecasting, consumer lifestyle trends, sustainability, branding and technological innovation.

The partnership with Kolmar Korea, one of the world's leading cosmetic manufacturers, further reinforces this convergence. Within the Prospective Area, the company will present its vision for cosmetic innovation while unveiling an exclusive make-up palette and lipstick inspired by Première Vision's Autumn/Winter 2027-28 colour forecasts.

The collaboration illustrates how trend intelligence is increasingly extending beyond apparel into adjacent creative industries, creating new opportunities for brands to develop more cohesive lifestyle propositions.

Speaking ahead of the event, Florence Rousson, Managing Director of the Fashion Division at GL events, said the exhibition reflects "the spirit of innovation currently driving the fashion and creative industries", pointing to the expanded conference programme, new partnerships and the technologies being presented by exhibitors as catalysts for business transformation.

As global supply chains continue to evolve, Première Vision Paris is positioning itself not simply as a venue for sourcing fabrics and components, but as a strategic forum where fashion, technology, sustainability and beauty increasingly intersect. For companies preparing Autumn/Winter 2027-28 collections, the event offers valuable insight into the innovations likely to influence both product development and future business strategies.

Photos by Lucia Carpio at Première Vision Paris February 2026 edition

Art, Fashion and Popular Culture News: Celebrated Japanese Artist Yayoi Kusama Dies Aged 97

Japanese artist Yayoi Kusama, one of the most recognisable and influential figures in contemporary art, has died aged 97.  A statement released on August 27 announced that she died in a Tokyo hospital on August 14 due to multiple organ failure but 'continued to paint until her final days, never setting aside her brush'.

Renowned for her distinctive use of vibrant colours, polka dots, pumpkins and repetitive patterns, Kusama created a body of work spanning painting, sculpture, installation, performance and film. Her bold visual language transformed spaces into extraordinary immersive environments, captivating millions of people around the world.

A giant 15-metre four-storey-high giant replica of Yayoi Kuysama was installed outside the Harrods department store in Knightsbridge, London during a 2023 store-wide promotional campaign
highlighting the artist's collaboration with Louis Vuitton. 
Photo by Lucia Carpio 

Kusama’s practice was closely associated with the avant-garde movement and explored themes including psychology, feminism, minimalism and the nature of perception. Her innovative approach to repetition, infinity and reflection established a distinctive artistic vocabulary that has continued to influence contemporary artists and designers.

Among her best-known works are her celebrated Infinity Mirror Rooms, immersive installations in which mirrors, lights, colours and patterns create the illusion of limitless space. These environments offer visitors a highly sensory experience in which the boundaries between the artwork, the viewer and the surrounding space appear to dissolve.

Yayoi Kusama's signature dot motifs added the artist's touch on Louis Vuiton iconic
monogram accessories and ready-to-wear apparel.

Her instantly recognisable aesthetic also extended beyond the gallery and museum world. Kusama collaborated with major fashion houses, most notably Louis Vuitton, bringing her signature dots and colourful motifs to clothing, accessories and retail environments and introducing her work to a wider international audience.

Yayoi Kusama in a shop window visual at the Harrods London department store during a store-wide promotional campaign highlighting her collaboration with Louis Vuitton.  
Kusama's signature use of polka dots is a recurring theme in her artwork,
symbolizing infinity and the concept of self-obliteration.
Photo by Lucia Carpio

From her early experiments in Japan to her emergence as a major figure in the international avant-garde and contemporary art scene, Kusama developed an artistic language that was both highly personal and universally recognisable.

Her combination of bold colour, repetition, pattern and immersive experiences made her one of the most celebrated contemporary artists of her generation, while her influence extended well beyond fine art into fashion, design and popular culture.

The promotion campaign of the Louis Vuitton x Yayoi Kusama collaboration in February 2023 at the French maison's store on Paris' Champs-Élysées Avenue featured a giant figure of Kusama appearing to be painting her famous polka dots on the facade of the store. 
Photo by Lucia Carpio

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

UK Fashion News: British Fashion Council takes Fashion Britain beyond London with nationwide September programme

The British Fashion Council (BFC) is taking its fashion agenda beyond London this September with the launch of Fashion Britain, a nationwide initiative designed to broaden participation in the UK fashion industry and strengthen regional creative economies. 

The move comes against the backdrop of a wider political push to rebalance economic and cultural activity beyond the capital, following the Prime Minister's announcement earlier this summer of plans to establish a new government base in Manchester, dubbed “No10 North”. In this context, the BFC's decision to take fashion into cities and creative communities across the UK reflects a growing recognition that the country's creative and economic potential extends well beyond London.

UK long-standing retailer Marks & Spencer will unveil its debut London Fashion Week (LFW) collection to a global audience in September 2026, as it celebrates 100 years in the fashion industry. Image: Marks and Spencer Inc.

The Fashion Britain programme will bring more than 1,000 cultural events and experiences to cities across the UK, including London, Liverpool, Manchester, Newcastle, Bristol, as well as Edinburgh and Dundee in Scotland. The initiative forms part of the BFC's new BFC 2030: Access, Creativity and Growth strategy and is intended to decentralise fashion by creating greater opportunities for designers, creatives, businesses, educators and audiences outside London.

Rather than positioning London and the capital's established fashion infrastructure as the sole centre of British fashion, Fashion Britain seeks to connect the country's different creative communities and highlight the contribution of regional talent to the industry's cultural and commercial landscape.

The September programme will combine public designer conversations, exhibitions, cultural collaborations, retail activations, live performances and other fashion-related experiences. More than 100 BFC designer members are involved alongside cultural institutions, retailers and other partners, underlining the Council's intention to make fashion a more accessible and geographically representative industry.

A central element will be the National Designer Panel Series, developed in partnership with ELLE UK. The series will bring designers and industry figures into direct conversation with audiences in different cities, providing insights into creative careers, regional identity and the development of fashion businesses.

Among the announced panels are a conversation between Nicholas Daley and Charles Jeffrey at V&A Dundee, an appearance by Aitor Throup at Manchester Art Gallery, and a London panel featuring Saul Nash, Clio Peppiatt and Luke Derrick at the National Gallery. In Liverpool, designers Patrick McDowell and Talia Byre will discuss their connections to the region and their creative journeys at the Walker Art Gallery.

The initiative represents a significant shift in the BFC's role. Announcing Fashion Britain in July, BFC Chief Executive Laura Weir said that participation in British fashion had for too long been concentrated in too few places. She described the initiative as a move towards recognising British creativity as a national asset and creating opportunities "wherever it exists" across the country.

Building the industry's regional infrastructure

For the fashion industry, the significance of Fashion Britain extends beyond a month of public events. The BFC says the longer-term objective is to strengthen local creative economies, develop the next generation of talent and establish pathways through which designers and creatives can build sustainable careers in their own cities.

This approach also reflects a broader effort by the Council to combine talent development with commercial resilience. Its recent programme of financial and business support has included the BFC/Vogue Designer Fashion Fund, which awarded London-based designer Bianca Saunders £150,000 in June, alongside bespoke business mentoring and professional services. Saunders' label, launched after her graduation from the Royal College of Art in 2017, is recognised for its reinterpretation of menswear through a diasporic perspective rooted in her British-Caribbean heritage.

In June, the BFC also announced the 2026 recipients of its Fashion Trust programme: Clio Peppiatt, Conner Ives, Nicholas Daley, Paolo Carzana, Patrick McDowell and Tolu Coker. The grant-giving programme is designed to support designers at pivotal stages of business growth through financial investment and tailored industry guidance. Since its launch, Fashion Trust has supported 59 designer businesses with more than £3 million in funding.

The Council is simultaneously pursuing a stronger international commercial platform for British designers. In May it announced a four-year commitment to expand LONDON show ROOMS in Paris, with the programme designed to give British designers greater access to international buyers, press and markets during the Paris fashion calendar. Confirmed dates extend through 2026 and 2027, covering both menswear and womenswear periods.

Taken together, these initiatives point to a two-track strategy: widening the domestic foundations of British fashion while strengthening its international commercial reach.

Fashion Britain therefore arrives at an important moment for the UK industry. As London Fashion Week prepares to take place from 17–21 September 2026, the BFC is simultaneously seeking to broaden the definition of where British fashion happens and who gets to participate in it.

For regional designers and creative businesses, the test will be whether the September programme can translate visibility and cultural engagement into longer-term opportunities — including education, networks, investment, retail access and sustainable business growth. If it succeeds, Fashion Britain could become more than a nationwide celebration around London Fashion Week: it could represent a structural shift in how the UK's fashion ecosystem is developed and connected.

For Fashion Britain full programme, click HERE.

Interiors: Where Fabric Meets Form: Planted and Sgrinhouse Celebrate British Craft

British upholstery house Planted has collaborated with hand screen-printing studio Sgrinhouse to create Alice, a chair in which the fabric is not simply a covering but a defining element of the furniture's design.

Planted, the British upholstery house built on old skills, has launched the Alice chair
 made in collaboration with hand screen-printing studio Sgrinhouse.

The collaboration brings together two complementary craft disciplines — traditional upholstery and hand screen printing — resulting in a piece that demonstrates how textile creativity can influence furniture form as well as surface.

Named after Sgrinhouse founder Alice Smith*, the Alice chair is upholstered entirely in Sgrinhouse's hand screen-printed Stripes design, including its legs. Printed in a rich rust colourway, the pattern creates an uninterrupted visual surface around the chair, emphasising its sculptural silhouette while retaining the irregularity and character associated with a handmade textile.

The Alice chair - named after Sgrinhouse founder Alice Smith  - is upholstered entirely in the studio’s
hand screen-printed “Stripes” design.

Planted, the British upholstery house built on old skills, has launched Alice — a new chair made in collaboration with hand screen-printing studio Sgrinhouse.

For Planted co-founder Daisy, it was the quality of the fabric that provided the starting point for the collaboration. She first encountered Sgrinhouse at Chelsea Harbour in London during its Focus on Design event and immediately recognised a shared approach to craftsmanship.

“The fabric was clearly hand-printed — you could see straight away the difference that quality makes,” she says. “We recognised the same standard in each other’s work immediately.”

Fabric as a starting point for furniture design

The partnership developed as Planted was working on a contemporary, armless bedroom chair. Rather than beginning with a fully resolved furniture form and subsequently selecting a fabric, the company allowed the textile to influence the design itself.

“The fabric gave us the answer,” says Daisy. “Simple from the front, with a hidden detail in the side shape — the print shaped the proportions, right down to covering the legs.”

This approach places the textile at the heart of the design process. The scale, rhythm and repeat of the Stripes pattern become part of the chair's architecture, rather than functioning as a decorative layer applied once the furniture has been designed.

For the upholstery market, it is an interesting distinction. Patterned fabrics are traditionally selected to complement a furniture shape; in Alice, the relationship is more integrated, with the printed textile helping determine how the furniture is conceived and ultimately experienced.

Developing a fabric for upholstery

The collaboration also required Sgrinhouse to adapt its textile practice to the technical requirements of furniture.

Both studios trace the collaboration to a shared belief in traditional skill, applied with a modern eye.
See Alice chair being hand-built, from screen-printed cloth to finished chair on the Planted x Sgrinhouse collaboration page.  Click HERE.
 

The studio developed a new heavyweight fabric specifically for upholstery, while adapting the positioning of the pattern pieces to minimise waste as the chair took shape. The result is a closer relationship between textile development, cutting and upholstery than would normally be possible when working from an existing roll of furnishing fabric.

Sgrinhouse describes its approach as bringing “craft and modernity together” to create durable, timeless textiles, with designs developed and hand printed in-house.

The Stripes pattern draws on the work of artists including Anni Albers and Agnes Martin, while its rust colourway reflects the maritime landscape that informs the wider collection. In the finished chair, the graphic simplicity of the stripe provides a strong contrast with the tactile construction beneath it.

Sgrinhouse founder Alice Smith was recently recognised by Homes & Gardens as its “Best Newcomer in Fabric”, underlining the growing profile of a new generation of British textile designers working across traditional printing techniques and contemporary interiors.

Traditional upholstery meets made-to-order production

Every Alice chair is hand-built to order in Planted's Cotswolds workshop. Rather than producing furniture for stock, the company makes each piece only after an order has been placed.

Every Alice chair is hand-built to order in Planted’s Cotswolds workshop.

The construction reflects Planted's emphasis on traditional upholstery and natural materials. Each chair uses a solid FSC-certified beech frame, hand-tied springs and a natural filling incorporating latex, wool and coco fibre. Polyurethane foam and chemical treatments are excluded.

The upholstery is built from the frame upwards, with each upholsterer signing the finished piece.

“Each upholsterer builds a piece from the frame up, and signs their name to it,” says Daisy. “That’s the accountability we build every piece on.”

The approach also makes the chair suitable for future reupholstery. Rather than treating the finished product as disposable, Planted designs Alice to be recovered and passed on.

There is, inevitably, a trade-off. Producing a bespoke chair around a hand-printed fabric is slower and more costly than purchasing an existing stock fabric and manufacturing furniture to a standard production specification. But it also gives the designer considerably greater control over the relationship between textile, construction and finished form.

In this case, the amount of fabric required is determined by the chair itself, rather than the chair being designed around an existing industrial production system.

A wider British craft movement

The Planted/Sgrinhouse collaboration sits within a broader UK interiors landscape in which hand-printed textiles and traditional upholstery are being brought together to create highly individual furniture.

Pukka Print Linen, for example, has collaborated with British furniture maker Boura & White, whose sofas, armchairs and footstools are crafted in the UK. The partnership places Pukka Print's hand block-printed linens and woven fabrics directly onto the furniture, demonstrating how a strongly crafted textile can alter the character and visual language of an upholstered form.

Another example is Bonfield Block Printers, whose West Dorset workshop produces furniture upholstered in its own hand block-printed linens. The company combines the printed textiles with traditional upholstery techniques and natural materials such as horsehair and calico, producing highly individual pieces rather than standardised furniture.

At a larger design-house level, Soane Britain similarly brings furniture, upholstery and textile design together. Its fabrics are produced in British mills and workshops using traditional techniques including block and screen printing, while its custom service allows designers to commission fabrics for specific projects.

The UK also retains a small but significant network of specialist textile printers. Rapture & Wright, for instance, is among the British studios continuing to use hand-printing techniques for interior textiles, while Thorp of London produces hand screen-printed fabrics in small batches from its Norfolk workshop, alongside woven jacquards produced in Suffolk.

For designers and specifiers, such practices offer something increasingly valuable: textiles with a visible relationship to the hand, rather than anonymous surfaces produced solely for volume manufacture.

For Planted and Sgrinhouse, the significance of Alice ultimately lies in the connection between the two disciplines.

For an industry increasingly interested in provenance, materiality and the value of skilled making, Alice illustrates another important proposition: when textile design and furniture design begin with each other rather than operating separately, the fabric can become the architecture of the product.

* Sgrinhouse founder Alice Smith was named “Best Newcomer in Fabric” by Homes & Gardens in 2025 for her textile design work.