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Paris Fashion Week dominates media for Spring/Summer 2026 as Dior and Chanel captivate audiences

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October 13, 2025

Paris remains the queen of fashion. According to a recent Onclusive analysis of the four major Fashion Weeks (New York, London, Milan, Paris) for the Spring/Summer 2026 season, Paris and its haute couture houses overwhelmingly dominated the media and digital landscape, while other capitals struggled to keep up.

Paris decisively outpaced the other Fashion Weeks in trend discussions – Onclusive

For the recent round of runway shows, Paris Fashion Week (PFW) far outstripped the competition with 25.5 million mentions on social media (including X, posts, comments, and hashtags), well ahead of Milan (5 million), New York (3.8 million), and London (2.7 million). This pattern is seen echoed in traditional media (TV, radio, press, digital), where Paris generated 406.3 million mentions, ahead of New York (38.815 million), Milan (25.824 million), and London (19.792 million).

Paris strengthened by partnerships with Asian celebrities

The ranking of the most-mentioned brands also shows a Parisian triumph. Christian Dior dominated, making up 35.04% of all social mentions analysed, followed by Chanel (11.40%). In total, ten Parisian brands featured in the top 20, accounting for 73.17% of the mentions in this ranking. Louis Vuitton (8.73%), Loewe (6.96%), and Valentino (4.68%) rounded out the top five. This dominance stems from haute couture heritage, strategic partnerships with Asian celebrities, and the historic prestige of Paris.

Milan was underwhelming, London absent, and New York nostalgic
Milan was underwhelming, London absent, and New York nostalgic – Onclusive

For London, the verdict was stark: no London brand appears in the top 20 for social mentions. Burberry, the leading British brand, ranks only 27th. The Onclusive study highlights a critical lack of K-pop ambassadors and a stance perceived as overly hesitant, faltering between tradition and modernity.

“The symbolic end of American dominance”

Despite the presence of six prestigious brands in the top 20 (Gucci 8th, Bottega Veneta 10th, Max Mara 11th, BOSS 15th, Prada 19th, Ferrari 20th), their combined performance (11.14%) remains three times lower than that of Dior alone. According to Onclusive, the post-Alessandro Michele era at Gucci, less aggressive celebrity strategies, and weaker engagement for Prada (0.84%, lower than COS at 0.86%) are cited as contributing factors.

Finally, New York’s performance signals “the symbolic end of American dominance in global digital fashion”. Only Calvin Klein Collection (8th, 2.76%) features in the top 10. The study identifies three major weaknesses: the absence of a K-pop/Asian strategy, a historic focus on sportswear that generates less excitement than haute couture, and the exodus of influential American designers to European fashion houses.

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Flourishing South Korean menswear aims to strengthen international standing

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December 17, 2025

In 2025, South Korean fashion takes another step up on the global stage. In a sector where technological innovations are redefining production processes, South Korea stands out for its ability to turn these developments into drivers of growth and global appeal, according to a Spherical Insights study published in November.

South Korean menswear makes its mark internationally, seen here at Pitti Uomo – Pitti Uomo

According to the South Korean Ministry of Trade, Industry and Energy (MOTIE), almost $27 million is set to be invested in 2025 to strengthen the national textile value chain.

This policy forms part of a broader strategy that provides more than $19 billion in support for firms operating in industrial textiles, the creation of an Industrial Textile Alliance, and a certification centre for technical products. The aim is to lift digital transformation across the sector from 35% to 60% and increase South Korea’s share of the global markets for industrial and sustainable textiles from 2-3% to 10% by 2030.

A dynamic domestic market

These ambitions are underpinned by an already robust industry. In 2024, South Korea imported $12.37 billion worth of clothing, including $5.08 billion in menswear. Exports totalled almost $2 billion, of which $1.7 billion comprised synthetic textiles and crocheted fabrics. This momentum reinforces a domestic market characterised by diverse demand, rapid trend adoption and strong cultural influence.

South Korea invests in its textile industry
South Korea invests in its textile industry – Shutterstock

At the heart of this evolution lies the global rise of Korean menswear. Korean brands stand out for their attention to detail, mastery of cut and tailoring, and a strong appetite for exploring experimental materials, bold silhouettes and assertive colours. This stylistic approach, oscillating between minim­alism and exuberance, meets a growing demand for pieces capable of expressing individual identity, according to the study.

Exports to be developed

The trends for 2025 confirm this direction: oversized cuts, unique patterns, bright colours, sustainable materials, a fusion of traditional and contemporary styles, as well as layering, athleisure and gender-fluid fashion, are at the forefront. From oversized kimono-polos to two-tone pink shirts, the Korean aesthetic offers a balance of comfort, experimentation and sophistication.

Ader Error is one of the young South Korean brands flourishing internationally (here, its collaboration with Zara)
Ader Error is one of the young South Korean brands flourishing internationally (here, its collaboration with Zara) – Zara

This creative ecosystem is supported by a myriad of ‘flagship’ brands. Names already recognised worldwide such as Gentle Monster, Andersson Bell, Kusikohc, Hyein Seo and We11done fuel the country’s international aura through their distinct worlds, blending art, streetwear, craftsmanship and conceptual design. In 2025, other labels are taking centre stage: Ader Error and its deconstructivist streetwear, Wooyoungmi and its modern tailoring, ThisIsNeverThat and its distinctly Korean take on streetwear, as well as 87MM, Recto, Amomento, PushButton and Minjukim, whose gender-fluid offerings are gaining visibility.

By combining massive public investment, a capacity for innovation, cultural richness and creative power, South Korea is putting its fashion industry on an upward trajectory in 2025. It can be seen not only as an exporter of aesthetics, but also as a key player in technical and sustainable textiles, with the ambition of playing a central role in contemporary global fashion.

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Hugo Boss reveals new financing to turbocharge its updated strategy

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December 16, 2025

Hugo Boss recently unveiled an ambitious expansion of its growth plan and on Tuesday the German fashion giant said it has secured a revolving credit facility to “ensure the successful execution” of the ‘Claim 5 Touchdown’ growth plan.

Hugo Boss

The €600 million loan (which replaces another loan of the same amount) “was considerably oversubscribed and aims at providing the company with additional financial flexibility”. It’s also linked to the fulfilment of clearly defined sustainability criteria.

“This successful transaction highlights the strong trust our lenders place in our company and its long-term potential,” said CFO/COO Yves Müller.

The loan has a term of five years and includes two options to extend the term by one more year in each case, plus an option to increase the credit amount by up to €300 million. 

The company unveiled its strategy in early December, saying its next phase aims to “realign, simplify, and strengthen the business”. 

In the short term it’s sacrificing sales and profits as it said that currency-adjusted group sales and profits will both decline next year. But the refreshed strategy aims to “sharpen focus, discipline, and execution across the business”. 

It now clearly has the long-term financing to put its plan into operation with the option of even more money on the table if required.

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McQueen Paris installation links to inspirational Dafydd Jones photos

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December 16, 2025

McQueen is aiming to attract attention to its SS26 pre-collection launch with a special installation in its store in the heart of fashion’s capital city, Paris.

McQueen

To celebrate the launch, the label has collaborated with well-known photographer Dafydd Jones, on the installation that features some of his most definitive works, curated by McQueen’s creative director Seán McGirr.

The Rue Saint-Honoré store installation includes 26 of Jones’s original works on public display. The curated selection sits alongside the McQueen pre-collection, “for which these photographs form a core inspiration”.

The installation has just launched and will be in the store until 29 January.

So who is Dafydd Jones? The British photographer is celebrated for his “sharp, satirical depictions of social life, particularly in the 1980s. His career began with prize-winning images of Oxford’s ‘Bright Young Things’, leading to decades of work published in major titles”.

And as well as being in the McQueen store for a limited period, his photos are held in collections including the National Portrait Gallery and the V&A in London.

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