After opening her first boutique in New York in 2024, followed by a second in Miami in 2025, Colombian-born designer Johanna Ortiz has just arrived in Los Angeles, where she is presenting her collections via her pop-up caravan at The Grove shopping center. It’s a way to connect with her Californian clientele and strengthen her presence in her first international market. FashionNetwork talked to Ortiz about her new pop-up store and her brand development strategy.
Johanna Ortiz – DR
FashionNetwork: You’re arriving in Los Angeles with your pop-up caravan. Why did you choose this pop-up format?
Johanna Ortiz : The JO Caravan is a nomadic boutique that travels, carrying with it the spirit of Colombia: festive, effortless, and true to its roots. It is a seasonal store paired with a new immersive, traveling, and experiential concept. It introduces a unique nomadic experience that embodies the brand’s adventurous spirit and dedication to artisanal traditions. Inspired by the itinerant lifestyle, this traveling boutique captures the essence of exploration, moving through selected destinations with curated pieces that show the Johanna Ortiz lifestyle.
FNW: How’s your road trip going?
J.O.: The road trip has been beautiful so far: San Antonio, Comporta, St. Tropez, the Hamptons, Cartagena, and now California. We’ve been strengthening our direct-to-consumer presence, increasing brand awareness, and raising sales with this format that allows us to be present in prime locations in cities where I know my clients are.
FNW: What’s your relationship and connection with the city of Los Angeles?
J.O.: Los Angeles has always felt vibrant, diverse, and forward-looking. There’s a free-spirited, festive, creative energy in the city that resonates deeply with our brand’s effortless elegance and joy. It’s a place where our universe naturally finds a home. I would love to continue building and strengthening my community on the West Coast
FNW: Your brand is already present in New York and Miami stores. Is this pop-up a test for a future store in Los Angeles?
J.O.: We have our flagship store on Madison Avenue and our boutique in Bal Harbour and are looking forward to opening more permanent spaces in the U.S. For us, the JO Caravan is more about connection; it’s about meeting our JO women where they are and inviting them into our world. That said, Los Angeles is a city we love and where we have a strong clientele; if the right opportunity comes along, who knows.
Johanna Ortiz opened her pop-up caravan at The Grove, Los Angeles – Johanna Ortiz
FNW: Your brand seems to naturally fit the Californian style. What feedback have you received from Californian clients?
J.O.: The joy and allure of our pieces connect seamlessly with the Californian lifestyle—full of color, ease, and bold femininity. The feedback has been gratifying: clients connect not only with the pieces but also with the social purpose, impact, and story behind the brand.
FNW: What international strategy do you want to pursue? Are the American and Colombian markets still your priorities?
J.O. : Our international strategy is to continue growing steadily and sustainably. We have achieved remarkable results while staying true to our purpose and deepening connections with our global clientele. Colombia is our birthplace, and we will always remain connected to our roots and committed to fostering local capacity and development. The U.S. was the first international market to open its doors to us; it is our main market and home to our flagship store on Madison Avenue in New York. We still have much to achieve and expand in America, and we are also strengthening our presence in the European market.
FNW: Other Latin American brands are making interesting inroads into the U.S. market, such as Farm Rio and Gabriela Hearst. Is this inspiring for you?
J.O.: It’s energizing to see Latin American voices taking the stage and shaping fashion globally. There’s a new openness and curiosity toward our culture that motivates me, because Latin America has so much to offer. Each brand carries its own story and authenticity, and together we showcase the richness of Latin creativity.
FNW: A few years ago, you founded La Escuela, which supports women from local communities in Colombia, among others. How does this program work today?
J.O.: I founded The Escuela Johanna Ortiz in 2016 to offer transformative training programs. Its primary goal is cultivating advanced seamstress and high-end embroidery skills and fostering local expertise in haute couture and JO signature techniques. Beyond technical proficiency, the program instills life skills and comprehensive training with a gender focused approach for vulnerable women. It also provides essential psychosocial support, empowering participants to enhance their quality of life. To date, 430 individuals have benefited, 97% of whom are women, and 66% joined the JO team after completion.
Johanna Ortiz spring summer collection 2025 – Johanna Ortiz
FNW: Can we still say that your company is producing 90% of its collections in Colombia?
J.O.: At the heart of our brand is our atelier in Cali, Colombia, a space where craftsmanship, creativity, and purpose come together. Over 90% of our production is crafted in-house through a vertically integrated model, and we take full accountability for the conditions under which each piece is produced. With a team of over 460 employees who receive competitive wages, training, education, and housing programs, we are committed to ethical, local manufacturing and assume responsibility for every step of the process.
FNW: You recently launched an interior design line alongside your fashion collections. What was your vision for this?
J.O.: I’ve always believed Johanna Ortiz is more than fashion; it’s a lifestyle. What we live inside our homes inspires me as much as what we experience outside. I love setting the table, entertaining, and creating spaces that make people feel welcome. If I weren’t a fashion designer, I would be an interior designer, so JO Casa felt like a natural extension. The vision was to bring the same spirit that defines our collections—joy, nature, heritage, and craftsmanship—into the home. More than decoration, it’s about creating spaces that transform everyday rituals into unforgettable moments, with objects made in collaboration with Colombian artisans who craft art.
FNW : What are your other development goals for the future?
J.O.: We have several projects that I’m truly excited about. I’ve always loved sharing with the world the unique Latin American style that defines JO, its culture, textures, prints, colors, exuberant biodiversity, traditions, the strength of artisanal craftsmanship, and our joie de vivre. Our goal is to share the Latin lifestyle with more people in new ways, while continuing to grow and nurture our community.
Global asset management firm GoldenTree will buy a chunk of a $1 billion bankruptcy financing for luxury retailer Saks Global, Bloomberg News reported on Tuesday, citing people familiar with the matter.
A Neiman Marcus store, part of the Saks business – Neiman Marcus
GoldenTree, which is founded by billionaire Steve Tananbaum, has committed to buy a roughly $200 million portion of the so-called debtor-in-possession financing, according to the report.
Saks Global and GoldenTree did not immediately respond to Reuters requests for comment.
The high-end US department store conglomerate filed for Chapter 11 bankruptcy protection on January 13, after a debt-laden takeover.
Warped, a proudly Australian menswear brand, made its debut at the recent Pitti Uomo 109, unveiling its first-ever collection for Autumn–Winter 2026/27. Warped channels a strong, functional and authentic masculinity, free of artifice: a man capable of moving with equal ease through the Australian outback or a metropolis, without ever betraying himself. This vision translates into a collection that combines ready-to-wear, streetwear and active-functional pieces, underpinned by rigorous material research, responsible production, and a strong connection to Australia’s history and identity.
Jack Cassidy Williams, right, wearing Warped alongside one of his sons
The brand is so steeped in the free-spirited, authentic ethos of Mitch “Crocodile” Dundee, a cult figure of 1980s cinema who helped shape the image abroad of the no-nonsense Australian, that even the founder- who arrived in Milan with his two sons, aged 18 and 15, already active in the company- looks like the very character created by Paul Hogan.
“Crocodile Dundee is not just a film to us; it’s a way of being in the world. It’s about a man who hunts crocodiles with his bare hands in the outback and stays true to himself even under the dazzling lights of the metropolis,” Warped founder Jack Cassidy Williams explained to FashionNetwork.com. “It’s the story of a man who enters a sophisticated system without changing who he is. Functional, direct, honest. This is who we are. We’re not here to bend to fashion’s unwritten rules, but to bring our own way of doing things: less artifice, more reality.”
Warped
“Everything in the collection is handmade by my family. We design it, select the fabrics, create the patterns, and develop everything together- my children and I- in Australia. Traditional garments with modern finishes, in terms of handle and functionality; we even offer waterproof clothing, such as GOTS-certified waterproof cotton. Then there’s denim. All the fabrics are 100% made in Italy,” Cassidy Williams continues. At the heart of the collection is extensive fabric research: 100% RWS wool; high-stretch scuba fabrics and bi-stretch wool; cotton denim with a 3D weave effect; water-repellent cottons, viscose and viscose/linen blends for suits, jackets and trousers; high-performance, ultra-comfortable fabrics; and kangaroo-leather laces- a material five times as strong as cowhide- hand-finished with raw edges and authentic details.
“The collection is, in a way, a tribute to America, because the theme is the so-called ramblin’ man, or the free man; it’s basically about my whole life,” says the Australian entrepreneur. “All those people who decided to forge their own journey, to walk the path of life without following someone else. Like Hank Williams, Jack Kerouac, Duke Ellington, Bird, Muddy Waters, Pinetop, or Woody Guthrie- men who honoured life. Nowadays it’s so difficult to be free that freedom really is a state of mind. It’s our first collection through and through; we practically finished it before boarding the plane,” Cassidy Williams laughs heartily, then slips on a floppy wide-brimmed hat, slings a kangaroo hide over his shoulder and, as he pretends to crack a whip in the air, looks even more like Mitch Dundee- all after letting us taste a kangaroo salami and crocodile snacks…
Warped
“Our family has a textile tradition of great depth- more than sixty years- so Warped also works with the best global manufacturers in the mid-luxury segment: lace from France, fabrics from Italy, and other high-quality materials sourced from factories in Turkey, Japan and Korea,” Jack Cassidy Williams continues. “These factories were chosen not for trend’s sake, but because they’re unique- each one different from the next.”
Warped’s menswear collection for Autumn–Winter 2026/27 comprises around 40 looks spanning ready-to-wear, streetwear, and active-functional pieces. Jackets, suits, trousers, shorts, shirts, and T-shirts sit alongside a street and sportswear offer that includes hoodies, joggers and technical garments, all designed to be comfortable, durable, easy to care for, and genuinely wearable day to day.
Alongside the Warped men’s line, the company presented the Golden Age Sportswear (G.A.S) label in Milan, while the Warped Woman, and G.A.S Woman’s Street collections will debut in Italy from next Spring/Summer.
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Two indie fashion brands, Auralee from Japan and Études Studio from France, staged highly contrasting collections on Tuesday, the opening day of Paris Fashion Week Men, testifying to the dynamism of the season in the French capital.
Auralee: Purist fashion with polish
A moment of grace on Tuesday evening at Auralee, where Ryota Iwai’s deceptively understated designs never fail to impress.
Auralee’s answer to its question: “What makes winter joyful?” – Luca Tombolini
Staged in the Musée de l’Homme facing an illuminated Eiffel Tower, the show was the latest pure statement by a designer whose clothes blend subtlety with refinement.
Whatever fabric Iwai plays with always seems just right: whether speckled Donegal tweeds seen in brown knit pants for guys, or a frayed hem skirt for girls in this co-ed show. Leather or lambskin jerkins and baseball jackets, all were ideal.
Semi-transparent nylon splash vests or wispy trenches had real cool. While Iwai’s detailing was also very natty- like the flight jacket trimmed with fur.
A women’s look by Auralee – Luca Tombolini
He is also a great colourist- from the washed-out sea green of a canvas ranger’s jacket to the moody Mediterranean blue of a caban. Though his finale featured a quintet of looks in black. Most charmingly a languid, deconstructed double-breasted cashmere coat worn on a shirtless model- the picture of perfection.
There were perhaps not that many sartorial fireworks in the show, but there didn’t need to be. This was a purist fashion statement of polish and precision that this audience could only admire.
Backed up by a great soundtrack – Sounding Line 6 by Moritz. Von Oswald or the cutely named Autumn Sweater by Yo La Tengo- the whole display won Ryota a loud and long ovation. Fully deserved too.
Études Studio: Resonating in IRCAM
Études Studio certainly know how to stage a show. The design duo invited guests into the bowels of the Institute for Research and Coordination in Acoustics/Music, or IRCAM a unique French concept dedicated to experimental sounds.
A look by Études Studio – Collective Parade – Gaspar J. Ruiz Lidberg
Which we enjoyed a lot of thanks to Darren J. Cunningham, a British electronic musician known professionally as Actress. It made for a dramatic mood, as keys and chords swelled and raged throughout this show.
As a result, the design duo of Aurélien Arbet and Jérémie Egry titled this Autumn/Winter 2027 collection ‘Résonances.’ Terming it in their program: “A medley bringing into dialogue the minimalist experiments rooted in John Cage’s philosophy with the emergence of intelligent Dance Music in the early 1990s.”
The result was a rather moody series of clothes, made in a sombre palette of muddy brown, dark purple, black, black, and even more black.
Muted tones at Études Studio – Collective Parade – Gaspar J. Ruiz Lidberg
What stood out were the bulbous, off-the-shoulder puffers, worn over corduroy shirts or roll-necks- topped by some great rancher hats courtesy of Lambert. One could also admire sleek raingear; cool cocoon shaped jerkins and fuzzy mohair sweaters. And appreciate a sleek A-Line coat and zippered knit safari jacket in a rare women’s look in this show.
Photoshopped faces in black and white scarves all looked very appealing, as did the brand’s debut bag, a satchel in tough canvas. And one had to applaud one great dull gold, wildly deconstructed puffer.
That said, the collection lacked proper kick and rarely resonated as the show title suggested it would. A decent statement about the mode, but far from a fashion moment.