François Pinault, the billionaire behind such brands as Gucci and Balenciaga, is amping up his investments in an industry far outside fashion: cruising. Ten years after the Pinault family’s private investment company, Groupe Artémis, took ownership of French cruise line Ponant—which has 13 ships best known for sailing throughout the Arctic and Antarctic—it has bought a majority share in Aqua Expeditions, a boutique luxury line known for exploring Indonesia’s Raja Ampat archipelago and the Peruvian Amazon in high style.
Pinault – Bloomberg
Terms of the deal were not disclosed, but the announcement was made in mid-January. Aqua Expeditions’ Peruvian founder Francesco Galli Zugaro remains a shareholder and is staying on to run the brand.
The Aqua acquisition is a small one in terms of assets: The Singapore-based company has just five ships, all with capacities of 40 passengers or fewer. But the move represents a significant step toward increasing the Pinault family’s stake in the luxury cruise industry.
It comes at a notable time. On the one hand Pinault’s rivals, Bernard Arnault and LVMH, are doubling down on luxury resorts and travel experiences—mostly on land, though their investment in the Orient Express brand includes what’s set to be the world’s largest sailing ship, expected to debut in 2026. On the other, luxury hotel brands are investing in yacht-inspired, small-ship cruising, with Ritz-Carlton, Four Seasons and Aman all building their own versions of “floating hotels.”
With the Aqua acquisition, Artémis is committing itself to further growth in cruising. That’s according to Hervé Gastinel, a businessman and yachtsman who joined Ponant as chief executive officer in 2021. He was brought in by Pinault and his son François-Henri, who co-runs Artémis, to get the cruise line back in the black after the industry’s Covid shutdown. Gastinel says the Pinaults’ goal is to double Ponant’s revenue by 2028, though he didn’t disclose specific figures.
“After Covid there was obviously a reshuffling of the landscape of this industry,” Gastinel says, speaking to Bloomberg onboard Ponant’s 270-passenger Le Commandant Charcot. “A lot of cruise companies are open for cooperation, acquisitions, investments.”
Titans of cruising?
Although small ship cruising to remote places is a niche market, the Pinaults want to be as recognized in that arena as Kering SA is in fashion. “We can build leadership in that segment,” Gastinel says. Despite its reputation for leading luxury retail brands, Kering has struggled financially in recent years, with Gucci’s 2024 fourth quarter sales down 24%.)
The Pinaults thought Gastinel was the right person for that job thanks to his track record scaling small companies: As CEO of leading pleasure craft company Groupe Beneteau, he led a four-year growth period that saw revenue increase from €970 million to more than €1.3 billion.
Now Gastinel is scaling Ponant, aiming to fast-track growth through more acquisitions. He considered buying Hurtigruten Expeditions, he says, but that company’s five ships, which top out at about 500 passengers, felt too large. The ideal ships, Gastinel says, max out at 300 guests.
Even that would be large for Aqua and Ponant. Both fleets compete more with private yachts than, say, megaships with dinner buffets. And they are more expensive than some charters, too. At the top end, Ponant’s 15-night North Pole sailings start at $50,000 per person, and more than double that for the top suite—caviar, Champagne and Alain Ducasse-designed dinners included. Aqua’s ships can be even pricier. The 16-passenger Aqua Mare, the world’s first superyacht in the Galapagos, charges around $30,000 per person for seven nights in its sprawling Owner’s Suite. Cabins on Aqua Blu, a separate 30-passenger ship that explores Indonesia’s biodiverse Raja Ampat region, start at about $10,000 per person for seven nights.
Gastinel says Aqua and Ponant are natural siblings. “We can build some interesting bridges between the two companies,” he says, adding that tropical and polar destinations make for nice combinations.
In addition to the Ponant ships, the company separately markets the one-ship line Paul Gauguin Cruises in French Polynesia, acquired in 2019. And Ponant’s revenue includes full-ship charters by such prestigious tour operators as Abercrombie & Kent and Smithsonian Journeys, including in Antarctica.
Growth Mode
Ponant inherits Aqua in growth mode; a third ocean ship under construction is set to explore the outer islands of the Seychelles and Tanzania’s Zanzibar Archipelago. And Ponant is building new ships, too. Last spring it added its first six-cabin sailing catamaran, Spirit of Ponant, to explore areas such as Corsica and the Seychelles (a newly hot destination); Gastinel says more may follow.
Then there’s river cruising, another area where Gastinel and Artémis want to double down. “There are a lot of beautiful rivers in the world that are still unspoiled and fit for expedition,” Gastinel says, pointing to the Zambezi as one option. “That’s where we want to grow and launch the next generation of ships.”
But competition will grow alongside Gastinel’s ambitions. Take Royal Caribbean Cruises Ltd.: It announced last month that it will also expand into river cruising with its upscale Celebrity Cruises brand, with 10 initial ships expected to sail around Europe starting in 2027.
Onshore Developments
The Pinaults’ focus on cruising will, ironically, extend onto land and even into the air.
“We want to offer our guests a product that includes pre- and post-cruise stays, flights and so on,” Gastinel says, outlining a plan that would make Artémis’ cruise line a full-fledged tour company. “That is the direction we are following.”
As for Gastinel’s biggest challenge? It isn’t money.
Aware of the ironies of operating in remote and fragile landscapes, he’s committed to growing the company’s sustainability efforts. In 2030 or thereabouts, he hopes to debut the world’s first net-zero-carbon ship, a 594-foot vessel that will carry about 200 passengers and operate on wind and sun energy combined with non-fossil-fuel-powered batteries. It would be a prototype for additional ships, so Gastinel is looking for a multi-ship deal.
But amid a busy growth period sectorwide, many European shipyards are already maxed out with orders from other lines. Trying to be at the forefront of sustainability is one thing; construction bandwidth, it turns out, is another.
All told, this was the weakest London Fashion Week in several years, amid depressed markets, global disruptions, Brexit bruises, a fashion funeral and a general sense of exhaustion. Two collections on Monday, however, stood out – Johanna Parv and Ashish
Johanna Parv: London’s most coherent collection
One London-based designer always worth checking out is Johanna Parv, an Estonian who makes activewear actually look very cool. She staged no show, but her collection still felt like the most relevant and clued-in in London.
Johanna Parv Autumn/Winter 2025 collection – Courtesy
Parv’s key ideas often come from cycling, which helps gives a multi-functional twist to everything she does. For next winter, she showed great cambered pants in a crinkly nylon, excellent co-ed fashion that was hyper-functional and stylish.
While her precise new techy fencing-meets-Mandarin cotton shirts with peak collars, side pocket and reflective sign at back were excellent.
She also cut great cantilevered Velocity Trousers in sturdy Italian wool gabardine with nylon lining that hung perfectly. And her Tech Vent Blazers looked like they could work in a club, boardroom, cocktail or gym – defining what makes Johanna Parv such a great designer.
Johanna Parv Autumn/Winter 2025 – Courtesy
We will say it again – some bright clued-in CEO of a major active sport giant should make Johanna Parv their creative director. She has that much talent.
Ashish: Fashion, not fascism
Glitz and blitz from Delhi-born designer Ashish with a bold homage to partying, in a collection unveiled somewhat confusingly at 9.15 AM Monday morning.
Staged inside the showroom basement of 180 The Strand with a great live DJ name Bestley waxing the stacks, this was really a Friday night show held at breakfast time. Blown-up balloons greeted guests reading “Everyone Welcome” or “Walk of Shame”, as the quirky cast danced around the catwalk.
Opening with spiky blood-orange columns, degradé silver sequin cocktails, and a gal in fishnet tights and white T-shirt that read – “Not in the Mood”. Well, Ashish and his gals clearly are, as they smoldered in transparent dresses finished with power pop stars, or in glitzy Chanel-style suits, the jackets worn open to reveal mini black bras.
His guys were fairly raunchy too: wearing bovver boots, pink sequin knickers and crew neck sweaters reading “Pig”; or knickers and black sequin tops that shouted: “Wow, What a Shit Show”.
One mock monk in skirt, Alpine sweater and cord belt holding a knit penis, held a cardboard reading, “The End is Near”.
The collection marked the latest outcry in fashion against Trump’s executive orders and Meloni laws targeting LGBT rights, ending with another sequined top that read, “Fashion Not Fascism”.
Dsquared2 has teamed up with rock band Kiss to launch a fall/winter 2025 collection, inspired by Kiss’s iconic 1975 Alive! Tour merchandise through a bold, contemporary lens.
Dsquared2 and Kiss team up to launch fall/winter 2025 collection. – Dsquared2
The collaboration combines the band’s visual identity with Dsquared2’s fearless approach to self-expression, reaching new audiences. It will be available worldwide this fall at Dsquared2 boutiques, select department stores, and fashion retailers.
“Kiss has always been about pushing boundaries, both in music and style. We wanted to create statement pieces that embodies that same fearless attitude—something that makes you feel unstoppable the moment you put it on,” said Dean and Dan Caten, the designer duo behind Dsquared2.
The project is part of Pophouse Entertainment’s broader efforts to expand Kiss’s artistic legacy through unique collaborations.
“Artistic legacy is critical – how it is built, maintained, protected and evolved. Pophouse, in partnership with Kiss have been working together to progress a series of special projects which deliver on their legacy and storytelling,” said Jon Spalding, Pophouse Entertainment commercial director.
“We’re delighted to have partners in Dsquared2. Dean, Dan and the whole team really understand Kiss’s unique place in the global story of rock and roll, while recognizing how to add a modern twist to some of the most recognizable imagery in pop culture history. This project has been supported by UTA and Bravado who bring their expertise in launching this collection to market.”
Ulta Beauty announced on Monday the promotion of Kelly Mahoney to the of chief marketing officer at the U.S. beauty retailer.
Kelly Mahoney – Courtesy
Mahoney succeeds Michelle Crossan-Matos, who left the Bolingbrook, Illinois-based company last month.
As CMO, Mahoney will oversee Ulta’s brand marketing, loyalty, media planning, public relations, consumer insights, and social media and influencer strategy. She will also oversee its retail media network, UB Media.
A beauty veteran, Mahoney has at Ulta Beauty for nearly ten years. Most recently, she served as SVP of customer and growth marketing, where she helped grow the brand’s loyalty program, Ulta Beauty Rewards, to more than 44 million members. She also led Ulta’s first Super Bowl activation as interim CMO following Crossan-Matos’ departure.
“In my ten years with Ulta Beauty, I have worked continuously to garner the unparalleled brand loyalty and trust that we’ve earned with our guests,” said Mahoney.
“As chief marketing officer, I will build on this while deepening our brand purpose of unleashing possibilities in new and meaningful ways to inspire, engage, and empower every beauty enthusiast.”
Mahoney’s appointment comes on the back of a plethora of C-suit hires since the new year. Last month, the brand promoted Kecia Steelman to president and chief executive officer, after naming Amiee Bayer-Thomas as chief retail officer, and Mike Maresca as chief technology and transformation officer, earlier this year.
Ulta is on the hunt for a chief merchandising officer, with Monica Arnaudo’s retirement pending.