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Jonathan Siboni: Frequent changes in creative leadership won’t drive growth

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Nazia BIBI KEENOO

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September 29, 2025

After a week in Milan, which ended on Sunday, the fashion world now turns its attention to Paris. And just as in the Lombard capital, in the City of Light, all eyes will be on the star artistic directors (ADs) of major fashion houses making their debuts this week. This wave of change comes amid a slowdown in the luxury sector that is affecting most brands and groups. Will that be enough to rekindle desirability and spending? Jonathan Siboni, a luxury expert and founder of Luxurynsight — a data analytics platform that supports luxury players — and owner of social media analytics specialist Heuritech, is a keen observer of global dynamics. For FashionNetwork.com, he shares his perspective on the current landscape, from U.S. tariffs and Chinese market pressure to structural challenges inside the sector. He also examines the deeper issues facing the luxury industry in its pursuit of a long-term recovery strategy.

Jonathan Siboni – Luxurynsight

FashionNetwork.com: For several quarters now, the results of luxury groups have highlighted the difficulties associated with the sector’s slowdown. How do you analyze the global economic context? And what are the concerns of senior leaders?

Jonathan Siboni: The keyword this autumn is uncertainty — and it must be plural. Uncertainty surrounds tariffs in the United States, consumption levels in China, purchasing power, and internal dynamics within luxury groups — and more broadly, the desirability of luxury goods. Luxury groups operate on a highly international scale, far more than other sectors, and they now confront uncertainty across every region of the world.

FNW: In other words?

JS: For the past 30 or 40 years, there has always been a region that outperformed others: Japan in the 1970s and 1980s, then the Middle East, and China, which long served as the engine. Today, aside from the Middle East, which remains a modest market, all the engines seem to be sputtering. The only time everything seized up before was during the Covid-19 pandemic… and even then, China was doing relatively well.

What’s changed is that today’s uncertainty has taken on an almost existential tone: “Will luxury survive?” That shakes everything. Some say, “There’s no point fighting.” That’s wrong. I believe luxury — which has existed for 200 years and weathered two world wars — will continue to flourish. The question is how.

FNW: Do you think the groups have the answer?

JS: They’re building it, with an approach that’s more rational than emotional — and they’re right. The emotional response is to change artistic directors in an attempt to reignite brand desirability. You try once, twice, three times… but it’s still emotional.

FNW: We’ve just seen a major turnover of artistic directors. This September Fashion Week features many new names at the helm of big houses. Aren’t these changes rational?

JS: It’s the most basic response: “It’s not going so well, so I’ll make a change.” But in this context, changing the artistic director isn’t rational. You’re shifting how the brand expresses itself — but that alone won’t drive sales in a slowing market. It’s a gamble, and yes, it might work. But I don’t believe that’s where the battle is won or lost.

FNW: Why not?

JS: Because in past years, when a brand was losing momentum — when it stopped making people dream — switching the AD could reignite excitement. This time, the problem is deeper. So replacing the AD won’t fix it. If everyone is changing creative directors, it’s not because they’ve found the solution — it’s because no one has. They’re all putting on a show in front of the curtain… but what matters is what’s happening behind it.

Behind the curtain, luxury groups work tirelessly
Behind the curtain, luxury groups work tirelessly – Shutterstock

FNW: Meaning?

JS: In the current climate, even hiring the perfect AD won’t be enough without a rational, structured plan. Brands need to reflect on their identity, their growth levers, production strategy, pricing model, and overall desirability. Fortunately, technology now enables the analysis of these elements in real-time — something we couldn’t do 20 years ago. And importantly, a younger generation of leadership will be able to act on these insights.

FNW: Are you seeing movement in that direction?

JS: Not yet in terms of leadership transitions, but I think that’s coming. New generations have a real opportunity here. The cohort behind LVMH — and, to a certain extent, Kering — succeeded in scaling luxury worldwide. In just 15 years, they expanded into every geography, built digital ecosystems, and extended into lifestyle and hospitality. Louis Vuitton alone generates over €20 billion in revenue — that’s massive. So how do you go beyond that?

This shift in the rules of the game is arriving just as generational change is starting. Pressure is high, but that’s also an opportunity for young leaders to take control.

FNW: What about the tech side?

JS: Brands are clearly more open to new tech solutions, despite the sector’s traditional resistance and budget constraints.

FNW: Why the shift?

JS: Historically, visionary leaders drove luxury with gut feeling. Now, complex issues dilute the CEO’s role. Decades ago, CEOs grasped the full picture — three categories, smaller markets. Today, operations bury them. The CEOs who stand out preserve enough bandwidth to rethink and reinvent. We’re seeing increasing openness to tech-driven decision-making. For example, we’re working on pricing — a topic that was almost taboo before. Now it’s front and center.

In the United States,luxury groups are raising prices cautiously despite changes in customs duties.
In the United States,luxury groups are raising prices cautiously despite changes in customs duties.

FNW: Speaking of prices, how do you analyze the impact of tariff changes under the Trump administration on the luxury sector?

JS: I see three key points. First, people buy luxury when they feel good. When customs duties fluctuate wildly and the country’s outlook feels uncertain, Americans don’t line up at boutiques. Second, brands need time to react. They usually choose to sacrifice margin rather than risk losing business. When demand slows, they prefer to maintain sales—even if it means slight margin erosion—rather than protect margins and forfeit revenue. Third, pricing in the United States follows the market as a whole. No single brand sets the tone. Everyone waits for someone else to move first before making an adjustment.

“We’re still in a phase of uncertainty where we mustn’t move too quickly.”

FNW: Does this explain the silence of luxury players on the U.S. situation, given its importance to the market?

JS: Yes. Trump shifts direction faster than the stock market, which creates instability. Luxury brands, on the other hand, never lower their prices. If a government imposes a 50% tax and a brand raises prices by 10% to offset it, the brand can’t reverse the increase if the tax disappears. The ratchet effect locks pricing upward, making rollbacks virtually impossible. That’s why brands rely on slow, strategic increases while closely monitoring the situation. Wealthy consumers—who often influence Trump’s decisions—will be worth watching. He could, for instance, introduce a tax-free zone similar to Hainan in China. In short, we remain in a prolonged phase of uncertainty, and brands must act cautiously.

FNW: So, luxury groups are doing nothing?

JS: On the contrary. They’re working hard to avoid bad decisions and optimize what already exists. Even in a sluggish market, some brands continue to grow. Creativity does matter—but this is more about operations. Take Prada and Miu Miu: they hit the right notes with their offer and their connection to the customer.

FNW: Bernard Arnault has announced the opening of new production units in the United States. Is this just a PR move or the beginning of a real trend?

JS: It could be a real trend. It reminds me of the 1980s, when Japanese automakers opened factories in Europe to avoid Japan-bashing and import taxes. LVMH already has production sites in the U.S., and expanding those makes sense. It also sends a political message to Trump. But this won’t apply to every maison. For items that rely on French savoir-faire or rare materials, “Made in France” is a non-negotiable requirement. In more industrial segments, such as beauty, hybrid models are possible—manufacturing packaging and components in the U.S., while sourcing raw materials and craftsmanship from Europe.

“I’m convinced that China will remain a driving force in luxury goods. The time to be there is now.”

FNW: While the U.S. market is complicated, you’re an expert on China. How do you view the current situation with Chinese consumers? Many say their weakened demand is hurting luxury brands.

JS: This issue has several layers. Before the Covid-19 pandemic, Chinese consumers made around 70% of their luxury purchases abroad. When the pandemic hit, their domestic luxury spending skyrocketed, as local consumption had previously been nearly nonexistent.

However, a larger concern was the sharp drop in the global share of Chinese luxury consumption — from 33% down to 16%. Many observers misread that data. They assumed “China is booming,” but in reality, global spending by Chinese consumers had declined; only local growth had increased. Now that travel has resumed, Chinese shoppers are returning to international markets — especially Japan and South Korea — where they are once again driving luxury sales.

FNW: So, Chinese consumers are still active?

JS: Exactly. Globally, the situation isn’t as bleak as some portray it. Young consumers, in particular, have shifted their mindset. Most grew up as only children, supported by two generations, and they’ve started to challenge the traditional “work first” mentality. They’re entering a saturation phase—similar to what Western markets experienced, just a few years later.

But they’re still spending. They know they’re paying full price—and the moment brands reintroduce discounts, they return to the stores. Analysts often overstate the claim that Chinese consumers have lost interest in luxury.

Chinese consumers are redefining how they engage with luxury goods
Chinese consumers are redefining how they engage with luxury goods – Shutterstock

FNW: So there’s still a market to engage?

JS: Absolutely. Chinese shoppers continue to seek high-quality products that hold meaning at the right moment. Brands that align with that do well. The difference today is that 25 years ago, luxury signaled success and modernity. Then it became about identity. Now, it’s more about self-expression—and people are mixing luxury with more accessible brands.

But if a brand has strong values and adds meaning, it’ll still attract this audience. Despite economic challenges, I’m convinced that China will continue to be a key driver of luxury growth. In fact, the best time to invest there is now. Historically, winners emerge during difficult cycles.

FNW: Can Europe still lead this global race? Earlier this month, the Tianjin Forum in China promoted local and regional economies. Should we fear a shift toward local consumption and brands?

JS: When major geopolitical blocs clash, they always trigger questions about global balance. Still, these tensions won’t affect luxury in the short or mid-term. Consumers purchase French luxury goods because they associate them with France itself. That connection remains our greatest strength—but also our biggest vulnerability. “Brand France” powers the entire industry. If public sentiment shifts against France, global consumers turn away from our brands.

FNW: Could Chinese brands replace European houses?

JS: There’s no Hermès or Louis Vuitton equivalent in China yet. That said, the competition is changing. Chinese consumers will consider local brands if there’s a stronger emotional or functional fit. For example, skincare brands tailored to Chinese skin tones or jewelry houses like Laopu—known for working with pure gold—have appeal.

But there’s no “Guochao” (nationalist fashion) trend on the level of replacing European fashion powerhouses. That’s a myth, for now.

FNW: So European brands still have room to grow?

JS: Absolutely. I’d even say European brands have a storytelling advantage. Europe can remain a neutral space in a potential U.S.–China standoff. I’m seeing more Chinese brands investing in Europe before even considering the U.S. They’ve already dominated Southeast Asia, and now they’re targeting Europe next. That’s a good sign for our local economies.

FNW: Has this global reshuffling shifted geographic priorities?

JS: In reality, they’ve shifted many times over the past decade. We’ve added new dimensions—such as digital—that transcend geographic borders. But the real question is no longer “Where is China?”—it’s “How do we respond to consumers, wherever they are?”

Brands need to re-learn who their customers are and adapt to regional realities. Luxury succeeded in scaling artisanal production. Now, it must scale client relationships with that same care.

FNW: Won’t this create an even bigger gap between large groups and independent brands?

JS: Yes. That’s why Giorgio Armani wrote in his will that he wanted his house to eventually join a major group. Managing global uncertainty becomes far easier when a brand has billions in reserves and access to elite management teams. Large groups can absorb shocks—such as exchange-rate fluctuations—that would devastate smaller brands.

This reality will almost certainly drive further consolidation across the sector. That said, some small, independent companies with niche models will continue to survive. But once a brand reaches around €200 million in revenue, the risks become existential. Scaling beyond that point often requires partnering with a larger group.

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Canali steps up its lifestyle positioning after ending 2025 with €205 million in revenue

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January 20, 2026

High-end menswear brand Canali recorded a slight decline in turnover in the 2025 financial year, to 205 million euros from 210 million in 2024; a decrease “linked to contingencies in certain international markets,” according to president and CEO Stefano Canali, who nonetheless describes himself as “very optimistic” about business in 2026.

Canali, Autumn-Winter 2026/27

“Right now, I think we have a kind of alignment of the stars: the right collection, backed by a credible brand that has been around for 91 years and offers top-quality products at a fair price. This is our formula for success in 2026,” the manager tells FashionNetwork.com. “The Autumn-Winter 2026/27 collection presented in Milan marks a further evolutionary step in the wake of the changes we set in motion about four years ago, designed to ensure that our offering is increasingly lifestyle-oriented while remaining consistent with our sartorial DNA, from which we will never depart, and to reflect, in a credible, authentic and recognisable way, the evolution of customers’ tastes around the world. Our DNA, tied to the highest-quality canvassed suit, therefore permeates every element of the collection, from outerwear to shoes and knitwear.”

“We are talking about the very highest quality of materials,” Canali continues, “exceptional construction quality, a unified colour palette, and a collection that can be easily mixed and matched, creating a clear and distinctive identity for the Canali brand. The ultimate goal, which we believe we have further achieved with this collection, is an elevated and sophisticated offer that is, at the same time, genuinely easy to buy and to mix and match throughout the week according to the customer’s needs. It offers the functionality and versatility in garments that people are looking for.”

Canali, Autumn-Winter 2026/27, the presentation at Galleria Meravigli
Canali, Autumn-Winter 2026/27, the presentation at Galleria Meravigli

The market was almost shocked to see certain price rises applied by fashion and luxury brands. What are your thoughts on this? “Price rises are not an issue for Canali,” the CEO responds unequivocally. “Our brand has always maintained a very fair pricing position, which matters even more today, because customers out there- as they have been telling us, obsessively, for some time- no longer accept certain price points, which we, moreover, have never charged.”

Stefano Canali aims to ensure that in 2026 the overall message of the collection is increasingly amplified across all distribution channels- wholesale, directly operated retail, and online, launched in-house 10 years ago and considered “a service complement to the physical channel.” The executive signals upcoming store openings (50 directly operated Canali mono-brand stores, over 1,000 wholesale accounts worldwide), but declines to disclose details, remaining focused on healthy, credible growth in all countries.

Canali, Autumn-Winter 2026/27
Canali, Autumn-Winter 2026/27

The North American market accounts for 50% of the brand’s sales. Any issues with US-imposed tariffs, and with the strengthening of the euro against the dollar? “Clearly, exchange-rate fluctuations affect prices; however, it is an issue we have always dealt with throughout my time at this company,” says Stefano Canali. “Let’s remember that over two decades the euro went from being worth $0.82 to $1.60, and everyone is still here. The market clearly adapts; and of course all brands have to make their own assessments of the most appropriate price to charge in each area, but that will never be a problem.”

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As US orders fade, Chinese salespeople face tough grind in new markets

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January 20, 2026

China sold more goods to the world than ever in 2025, but export saleswoman Aimee Chen says it was the hardest of her roughly two-decade career. After US President Donald Trump‘s tariff hikes led to US orders plunging by a third, Chen’s pet products company moved to diversify geographies, chasing new and often lower-income markets like South America. The response mirrored China’s official trade policy, which led to a record $1.2 trillion surplus for 2025 despite new trade barriers. 

Chinese flags flutter near containers stacked at the Yangshan Deep Water Port in Shanghai, China January 13, 2022. Picture taken January 13, 2022 – REUTERS/Aly Song/File Photo

Reuters interviews with 14 salespeople working on the frontlines of China’s export diversification push, however, reveal the costs and caveats behind the rosy headline trade figures. Four of the salespeople said that orders from the new markets were often smaller in volume and less lucrative than US sales, resulting in lower commissions and pay. Government data show profits at China’s industrial firms fell 13.1% year-on-year in November, the fastest pace in over a year. 

Many of the employees also described longer working hours as well as greater intensity and uncertainty amid the export boom. “I’m very anxious,” said Chen, ⁠adding that she had recently experienced stress symptoms like hair loss and insomnia. 

Mingwei Liu, director at the Center for Global Work and Employment at Rutgers University, said that China’s export strategy in alternative markets depended on firms chasing high volumes of cheap orders. Companies that succeed often give clients longer payment cycles and bear higher default risks, he ⁠said. 

“This market reorientation increases the labour intensity, the emotional burden and income uncertainty faced by workers in export sales,” Liu said. China’s commerce ministry and human resources ministry, as well as the office which manages the cabinet’s media queries, did not respond to requests for comment.

China and the US have grown increasingly interconnected since Beijing’s 2001 accession to the World Trade Organization. Their relationship has also become more imbalanced, with their respective economic policies favouring production in the former country and consumption in the latter. 

Some American retailers and Chinese producers have said they ‍developed relationships that were so ‌close that they could anticipate each other’s needs and red lines, making deals feel almost automatic. Chen, for instance, described her past interactions with US retailers in largely glowing terms. Clients in the world’s largest ⁠economy were often “easy-going” and signed deals quickly, she said. 

By contrast, customers in new ‌markets like to haggle on price, she said. Chinese shipments to the US fell 20% in 2025, though it remains a top export destination. Shipments rose 25.8% to Africa, 7.4% to Latin America, ‌13.4% to Southeast Asia, and 8.4% to the European Union last year.
 
While Washington and Beijing have had previous trade disputes, tensions escalated after Trump took office at the start of 2025. He raised tariffs to over 100% in April, before partially reversing and settling for a fragile detente. His re-election sent China’s export-oriented industrial complex into a rat race for foreign demand across the world.

Monica Chen, who has been selling auto parts for more than a decade in the eastern Zhejiang province, had long relied on email to keep business going. But with US tariffs in place, she’s had to fight harder to win business. That means ‍ramping up business travel to as much as three times a month and cold-calling prospects. 

“It’s very hard to develop new markets, they are basically saturated,” said Monica, who isn’t related to Aimee Chen. Her company ultimately responded by cutting prices to undercut other Chinese firms that are also looking for buyers abroad. The firm’s orders were down a third in value from 2024, Monica said. 

With profits falling, companies have placed pressure on their ‌sales agents. Cici Lv, 24, who has sold electric bicycle ⁠batteries since ​2022 from the southern city of Shenzhen, earns about 5,000 yuan ($717) per month- not much more than workers in the factories that produce such units. 

But while workers’ shifts ⁠come to an end, Lv ​said she is constantly on the clock talking to foreign clients. One of her peers, Rowan Wang, a sales rep for an exporter of agricultural equipment in eastern China, summed up the demands as “if we’re alive, we have to reply.”

Five of the salespeople also described struggles to manage less-affluent clients in markets with which they have little familiarity. Lv said she traded messages with one client for months, discussing everything from news events to ​lunch choices and religion. He eventually ordered just one battery, earning Lv a commission of less than $2.

A review of the top 100 most liked export-related posts on social media platform RedNote in the six months to mid-January found 37 that raised complaints about heightened job stress. Another six complained about unprofessional client interactions.

“Sometimes it messes with your mind,” ⁠said Lv, who said she’s fielded relationship proposals. The hardship described by the sales staff may be an early warning that ⁠China’s trade diversification success in 2025 could be hard to replicate in the years ahead, said Chen Bo, senior research fellow at the National University of Singapore’s East Asian Institute.

Economists have long argued that China has to develop local markets if it wants to end its deflationary cycle. Weak consumption pushes Chinese producers to compete overseas, often against each other, which brings revenue into the economy but erodes profits, Chen said. China “can’t maintain sustainable economic growth by relying on foreign markets,” the academic said. 

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David Catalán and Miguel Vieira take to the runway in Milan, supported by Portugal Fashion

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January 20, 2026

Spanish designer David Catalán, whose eponymous label is registered in Porto, and Portuguese designer Miguel Vieira once again took to the runway at Milan Fashion Week, supported by Portugal Fashion. According to the organisers of the Portuguese project, the initiative was included in the official show calendar of Italy’s fashion capital, one of the most important stages in the global industry. Their autumn/winter 2026/2027 collections were presented at Fondazione Sozzani on the morning of Monday, January 19, one following the other.

Foto: Filippo Fior

While the “ASSEMBLED” collection marks David Catalán’s new approach to construction and functionality, the ‘A Tea in the Desert’ line “brings Miguel Vieira’s vision inspired by Bernardo Bertolucci’s The Sheltering Sky,” Portugal Fashion said in a statement.

“ASSEMBLED is the title of David Catalán’s collection for autumn/winter 26/27. The concept draws on the logic of traditional patchwork blankets, looking to their principles of construction, reinforcement, and layering as practical responses to cold, wear, and continued use,” the note explains. “Those principles are translated into menswear through panelled cuts,
contrasting materials, and structured silhouettes, creating a winter wardrobe designed to be combined, adapted and worn in day-to-day life.”

“The pieces function as layered systems, with each element playing a specific role within the whole, combining structural rigour with a contemporary approach to menswear, and focusing on functionality, durability, and versatility.”

Foto: Filippo Fior

On his social media channels, David Catalán writes: “Inside the studio and in factories, where streetwear meets the precision of tailoring and youthful instinct intersects with craftsmanship, @davidcatalanbrand shapes a contemporary, fluid, and deeply personal voice.”

“Born in Spain, Catalán chose Porto as his base on arriving to study fashion- a city that has become integral to the growth of his brand and creative identity. Today, his work reflects an intercultural journey, combining relaxed tailoring, utilitarian elements, and a modern approach to menswear, rooted in quality and experimentation,” the post further explains, announcing that in Milan, “David Catalán takes to the runway at @milanfashionweek, representing Portugal via the Portugal Fashion platform. The ‘Assembled’ collection unfolds as a reflection on construction, layering and the dialogue between function and form- a collection that captures the energy of a new generation of menswear.”

Foto: Filippo Fior

“A statement shaped by versatility, movement and the freedom to build one’s identity through clothes,” the brand adds, underscoring: “Assembled. Versatility in every layer. Freedom in every step”.

Miguel Vieira then presented the ‘A Tea in the Desert’ collection, inspired by Bernardo Bertolucci’s film The Sheltering Sky, developed “from the arid landscapes of North Africa and the emotional intensity of the protagonists, translating these references into a tailoring proposal marked by contrasting textures, volumes and atmospheres.”

Foto: Isidore Montag

“The silhouette oscillates between structured shapes and more fluid lines, creating a constant tension between restraint and freedom,” it continues. “The colour palette includes ecru, beige, camel, brown, pink, and black, rendered in materials such as
flannel, silk, alpaca, cashmere, fur, wool, and sequins. Details include prints developed in the atelier and hand-braided flannel, with accessories such as scarves, ties, and bags completing the collection.”

On its social media channels, the eponymous Miguel Vieira brand highlights “A Tea in the Desert. Rigor in every cut. Sensitivity in every detail”, reads a post on @miguelvieiraofficial, shared with @portugalfashion.

Foto: Isidore Montag

“Inside the atelier, where precision defines each line and tailoring becomes language, @miguelvieiraofficial continues a career shaped by mastery, discipline, and vision,” another publication explains. “With decades of close collaboration with the textile industry, the designer refines silhouettes that have long defined contemporary menswear. Each piece reflects a commitment to structure, detail, and the discreet confidence of impeccable tailoring”.

It further previews, in Milan, ‘A Tea in the Desert’, which reveals itself as “a new chapter in a work dedicated to men’s fashion, where rigour meets sensitivity and experience is transformed into expression.” In short: “A collection rooted in tailoring, elevated by time and guided by an enduring dialogue between fabric and form.”

Foto: Isidore Montag

After Milan, Portugal Fashion moves on to Paris and, subsequently, Copenhagen, continuing the autumn/winter 2026/2027 season with a series of actions aimed at buyers, the media, and industry professionals. This reinforces the presence of creations developed in Portugal across Europe’s main fashion centres, the organisation behind the Portuguese passerelle notes, as it invests beyond borders to take Portuguese talent and fashion labels further afield.

Portugal Fashion is a project run by ANJE- National Association of Young Entrepreneurs- with the support of its strategic partners and co-financed by SIAC- Support for Collective Actions- Internationalisation of Portugal 2030, within the scope of Compete 2030- Innovation and Digital Transition Programme- with funds from the European Union, through the European Regional Development Fund.

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