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

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

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

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

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

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

Le Grand Bouquet
from Uchronia at Le Grand Palais, Paris

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

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

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

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

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

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

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

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

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

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

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

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

Fashion News: Levi's enters Paris Haute Couture with Christelle Kocher capsule

Levi's is making its Paris Haute Couture Week debut with a capsule collection created in collaboration with French designer Christelle Kocher, marking a significant step in the denim giant's continued push into premium fashion and cultural collaborations.

The 10-look collection reinterprets some of the brand's best-known silhouettes – including the 501® jean and Type II Jacket – through the techniques and craftsmanship associated with French haute couture. 

Developed with Kocher, who is Artistic Director of Maison Lemarié and founder of the KOCHÉ label, the capsule combines Levi's heritage with couture-level textile innovation and hand craftsmanship.

The collection transforms denim through featherwork, hand embroidery, sculptural fabric treatments, floral construction, plissé draping and resin-coated finishes, demonstrating how one of fashion's most commercially recognisable fabrics can be elevated for couture presentation. 

Alongside reworked denim separates are black denim gowns, feather capes and statement headpieces, while the Levi's Baby Brooklyn Bag has also been reimagined as a couture accessory.

The project reflects Levi's growing focus on positioning its heritage beyond traditional denim, following a series of collaborations spanning fashion, music and culture. Showing during Haute Couture Week places the American brand alongside some of the industry's most prestigious luxury houses, underlining its ambition to explore new creative territory while reinforcing the craftsmanship behind its products.

Christelle Kocher

"It was a privilege to bring these two teams together and see this collection come to life," said Kocher. "This capsule reflects my life between the United States and France, two countries that fuel my creative energy."

Mathilde Vaucheret, Vice President, Europe Marketing & Brand Experience at Levi's, said the collaboration represented a milestone for the company.

"Bringing Levi's to Paris Haute Couture for the first time is a major moment for us," she said. "With over a century of history behind the brand, partnering with Christelle Kocher felt like a natural fit. She brings a distinctly Parisian perspective with a modern edge that complements our denim heritage. Her Couture-à-Porter vision is the perfect way to elevate the craftsmanship of denim."

A key feature of the collection is the level of textile experimentation undertaken during its development. Research carried out at Levi's Eureka Lab at the company's global headquarters explored new applications for denim, including feather construction, sculptural volumes, hand embroidery and advanced fabric manipulation. Campaign imagery by photographer Kayla Connors focuses on these technical processes as much as the finished garments, highlighting the craftsmanship behind each piece.

For Kocher, whose career has combined luxury fashion with contemporary streetwear influences, the collaboration continues her long-standing interest in bringing couture techniques into everyday wardrobes. A graduate of Central Saint Martins, she has worked with Bottega Veneta, Dries Van Noten, Chloé, Martine Sitbon and Giorgio Armani. Since 2010 she has served as Artistic Director of Maison Lemarié, one of CHANEL's Métiers d'Art houses, while her own label, KOCHÉ, has earned a reputation for blending couture craftsmanship with modern sportswear and inclusive design.

The collaboration also reflects a broader trend within luxury fashion, with heritage brands increasingly using couture craftsmanship to reposition familiar products for high-profile cultural moments, celebrity dressing and red-carpet appearances. For Levi's, whose history stretches back more than 150 years, the collection signals that denim remains a platform for innovation as well as commercial appeal.

The Christelle Kocher x Levi's capsule debuts during Paris Haute Couture Week this July.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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