Dimas Gimeno, founder of WOW – IV Congreso Aragonés de Comercio e Innovación
FashionNetwork.com: You mentioned at the beginning of your talk that retail defines a city’s identity. How can that identity be maintained in a world where commerce is increasingly uniform?
Dimas Gimeno: By focusing on the local. It’s essential to recognize that a city—and its retail—should represent local products. And that’s where I think Spain is particularly privileged, because it offers an extraordinary variety of craftsmanship and gastronomy. We are also manufacturers and home to thriving brands—that’s what tourists are looking for.
FNW: You maintain that omnichannel has not worked, despite being the big bet of many brands, and that we must move toward “phygital.” Why?
D. G.: Omnichannel is a concept—a goal. I think it was conceived the wrong way. Why do I think it didn’t work? Because, at the time, it was framed—quite logically for those of us already in the physical world—as the task of digitizing our offline reality. It made sense: if your business is there, you adapt the new to what you already have.
However, it has been demonstrated that this alone isn’t sufficient. It’s not about digitizing the physical, but about understanding that you have to be 100% digital and, from there, design your physical presence. Now they call it “unified commerce”; I call it “phygital.” The key is to understand that channels no longer exist. We must stop thinking in terms of “physical” and “digital.” There’s one customer who moves fluidly, engages with your brand constantly, and in different ways.
FNW: Do customers no longer make that distinction between channels?
D. G.: If you ask a customer about physical or digital channels, they probably don’t care. They may have discovered you on a social network; from there, if they decide to buy, they’ll naturally move to your e-commerce. And from e-commerce, you guide them into the physical store. Why? Because the physical store is where true loyalty is forged, the brand develops far more, and, above all, the conversion rate is much higher.
Think of the shopping basket we all recognize online: the key would be for that basket to be the same in-store and online. Omnichannel doesn’t work because it simply digitizes a physical process. And the first requirement for being unified is that your range is 100% available online. Many brands and retailers still haven’t achieved this because it’s highly complex.
FNW: How can small businesses face this challenge? These are the ones that give cities their identity.
D. G.: By being very true to themselves—making sure what they sell is authentic, different, and unique. In that respect, small businesses are unbeatable. They also have a tremendously valuable relationship with their customers. We’re talking about generations, neighborhoods, personal connections—that’s fundamental.
However, these businesses struggle to invest in technology because they’re too small. They should also make their physical offer purchasable online. But individually, they can’t do it. Platforms must emerge that aggregate many small players and, by pooling them, create a kind of digital marketplace that unites them. That’s where I think public funding should play a role.
Dimas Gimeno, in his talk in Zaragoza – IV Congreso Aragonés de Comercio e Innovación
FNW: Why do you believe the physical store is the future of retail?
D. G.: First, because I consider myself a shopkeeper and because I’ve been a salesperson; I know what I’m talking about and I know how important it is. It’s a wonderful profession, although it’s not always well-regarded because it demands hard work. But I’m an advocate because I’ve seen—and I know—what a well-executed physical store can do when a customer comes in and wants to buy everything. The digital channel can’t do that; only a physical store can.
If you add to that a distinctive, surprising product proposition and a salesperson who is well-trained, passionate about what they sell, and equipped with today’s technological tools, you’ll be creating something unparalleled. That’s the key to competing with the big platforms: it’s exactly what they can’t do.
FNW: Customer experience, along with omnichannel, is one of the most recurring concepts in recent years. What should retailers offer customers?
D. G.: If you asked someone from the last century about customer experience, they’d say, “What’s that?” The experience itself is a combination of various things. For example, you can have a beautiful store, but if the salesperson hasn’t treated the customer well, the experience is ruined.
It’s a space that catches the eye, where you want to be, but where there’s also someone who attends to you, cares about you, perhaps even knows who you are. And thanks to that person, when you plan to buy one thing, you end up buying seven. That—and leaving satisfied—is a shopping experience. It’s about getting to know your customer, bringing them the product they want, even beyond that, and ensuring they return. And that was already true in the last century.
FNW: You discuss the importance of sales staff, but is it challenging to find those profiles for retail, as is the case in the hospitality industry?
D. G.: The service sector as such has the same problem: it’s not a career that’s well regarded. At WOW, we are successfully attracting top salespeople and, above all, young individuals who are eager to pursue a career in this field. This challenge has always existed: you need a good recruitment process, but you also have to train and motivate your people.
Another important point is to offer a professional career path within the company, with room for growth. If the idea is to hire people, keep them for a year, and then replace them… who wants to be a salesperson in a model like that?
FNW: Speaking of WOW, what is the company’s current status?
D. G.: We have been around for three and a half years. At that time, our ambition and what we want to achieve haven’t changed, but there has been a learning curve in understanding the economic model. It’s one thing to be clear that you’re presenting something truly unique and innovative, and another to learn how to translate that into profitability.
If you’re doing something different, you have to understand how you achieve profitability. It’s something we’ve already learned: we’re not profitable yet, but it’s a horizon we can already see. The idea is that, at some point next year, or at the latest, by the beginning of the following year, we will be profitable.
The key to our growth continues to be our commitment to the physical store, and in Spain, Barcelona is a city where we’d clearly like to be. But our big bet is digital. In digital, you can explore markets more cost-effectively and with less risk. The important thing, in any case, is to be profitable: no company grows if it isn’t.
FNW: What percentage does the online channel represent in your business?
D. G.: We had to change our technology platform less than a year ago, and now we’re working with Shopify. So we’ve had to reset our digital operations. Online is now growing strongly, and our idea is that, in 2026, it will account for more than 15% of the business. Of course, in the long term, it has to exceed that percentage by a wide margin.
FNW: Is your platform also available outside Spain?
D. G.: Yes, although, for the moment, we are only shipping within the European Union. The plan is to begin entering new markets in 2026.
FNW: Which store performs better, Gran Vía or Serrano?
D. G.: Serrano is a more rewarding store because it’s bigger; it delivers results more quickly. However, Gran Vía is surprising us: it’s a much more eye-catching store, and now that we’re taking greater care of it and expanding the range, it’s going to bring us plenty of satisfaction. Serrano has a higher turnover because it’s larger and has a much more recurrent customer base; Gran Vía is surprising us because it’s experiencing the boom along this retail corridor.
FNW: You talk about curating the assortment—what does that mean?
D. G.: The first phase of WOW was product curation, but obviously, this isn’t just about selecting brands; otherwise, we’d be a magazine or a museum, and we’d charge admission. From there, we embarked on a journey to understand the economic model and move a little closer to something more traditional—more commercial, with more recognizable stores.
At one point, we carried higher-priced products from luxury and semi-luxury brands, and we’ve phased out many of them—not because they didn’t sell well, but because of the purchasing model. We’ve had to evolve toward a more profitable format. When luxury brands force you to buy the merchandise, that’s where the numbers don’t stack up; it’s not so much about choosing one product or another.
Curating the range remains key, and we want to invest even more in it—bringing in different, innovative brands that can’t be found in physical stores. That’s the value proposition, regardless of whether the brands are expensive or affordable.
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The Who’s Next trade show, held in Hall 7 of the Parc des Expositions (Paris XV) from January 17 to 19, put accessory brands centre stage. Eyewear, jewellery of every kind, bags, mittens, and headwear – buyers were spoilt for choice. Among these brands, a few caught the eye of FashionNetwork.com.
Italian Okkia and its affordable eyewear
Founded in 2016, this Italian brand specializes in affordable eyewear. – Okkia
Founded in 2016, Okkia is an Italian brand offering affordable eyewear, from prescription frames to sunglasses. It is exhibiting at Who’s Next for the first time, with ambitious international plans. Its attractive pricing — €25 for prescription glasses, €27 for sunglasses and €40 for both — helped it sell one million units in 2025. Already widely distributed across Europe, the brand is also present in the United States, several Latin American countries, Turkey and the Maldives. It now aims to establish itself in countries such as Australia, where it is not yet present, and to strengthen its global footprint. This year will see the launch of two new lines for Okkia, as well as a collaboration with Italian designer Seletti.
Lumielle Aurora 1896 holds umbrella licences for a number of brands, including Agnès b. – Lumielle Aurora 1896
Japanese premium umbrella brand Lumielle Aurora 1896 marked its second appearance at the show, having made its debut last September. The brand is seeking a foothold in European stores — a strategy only recently set in motion — but is, for now, hampered by its pricing. Made in Japan from textiles produced in-house in the Niigata region, these umbrellas, with wooden or bamboo handles, have so far found limited traction in Europe. Lumielle Aurora 1896 has, therefore, developed a more affordable line, presented at the show alongside parasols for hot weather. Aurora has also owned Tokyo Hat since 2007, a brand of caps and other headwear featured across several stands. With a more contemporary offer, Tokyo Hat hopes to win over retailers with a younger clientele and a taste for creative fashion.
The timeless Le Béret Français and Le Bonnet Français
Le Béret Français regularly benefits from French lifestyle trends – Le Béret Français
Le Béret Français and its recently acquired subsidiary, Le Bonnet Français, were also in attendance this January. Le Béret Français, which holds the Entreprise du Patrimoine Vivant (EPV) label, aims to maintain its positive growth trajectory, particularly buoyed in recent years by the Rugby World Cup in France and the Paris 2024 Olympic and Paralympic Games. With €1 million in annual sales, the company nevertheless faces strong competition from other brands, whose product quality is not always on a par with its own, made in Bayonne from French wool. Even so, Le Béret Français can boast sales to a wide range of partners, including department stores, milliners and even museums, whose end consumers are very diverse.
Who’s Next also boasted a broad line-up of exhibitors, including Naked Wolfe and its colourful shoes, Zen Collective and its Buddhist bracelets, and Hinterveld and its thick mohair scarves.
A year-and-a-half after his fellow co-founder, Max Svärdh, stepped back, Albin Johansson is now doing the same at Axel Arigato, the label they founded together in 2014. In June 2024, the Swedish brand, renowned for its sneakers and chic streetwear, announced the appointment of Jens Werner as creative director, a role previously overseen by Max Svärdh.
Axel Arigato boutique – Axel Arigato
At that time, Johansson remained CEO of the brand, in which the investment firm Eurazeo took a majority stake in 2020. However, in early 2026, the company—which reportedly exceeded SEK 1 billion in turnover in 2024 (over €90 million)—appointed Frédéric Serrant to the role. He brings more than 16 years’ experience in international leadership roles across Asia and Latin America, gained at Adidas, the sports and lifestyle giant.
This expertise is expected to help Axel Arigato enter a new phase after years of expansion. The brand operates more than 15 standalone stores in major Scandinavian cities, as well as in key cities such as London, Paris, New York, Dubai and Berlin. It is also present in numerous department stores worldwide. However, this expansion has also eroded its margins, and the company has had to refine its strategy to limit operating losses.
“I am sincerely impressed by the remarkable work done so far to make Axel Arigato such a strong, distinctive and inspiring brand. It truly reflects the talent, passion and commitment of the teams, and I’m convinced that the brand’s potential is enormous. I look forward to joining the team, learning alongside them and writing the next chapters of the Axel Arigato story together,” commented Serrant, in a LinkedIn post.
Johansson will remain chairman of the board of directors.
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Against the prevailing mood in the United States he so loves, Kinji Teramoto refuses to turn inward. Hence, the man who refers to himself as the “archivenist” — a term he coined — and who has revived the iconic American labels Big Yank and Rocky Mountain Featherbed, is bringing them with him to 30 Galerie Vivienne, in Paris’s 2nd arrondissement. Open from January 20 to 28, the pop-up will primarily showcase RMFC and its down-filled garments, better suited to the current season, with Big Yank shirts taking a back seat.
Kinji Teramoto, passionate “archivenist” and reviver of heritage brands – 35IVE Summers
On arriving in Paris, Teramoto hopes to blend Tokyo’s gentle spirit with the cool elegance of the French capital. This trip from Japan follows the arrival in 2025 of the European branch of 35IVE Summers, the brands’ parent company, in Paris. Accordingly, the success of this pop-up store will determine whether the two labels secure a lasting presence on Parisian streets, a long-standing project for Teramoto and his teams.
A Paris outpost in the pipeline?
Paris represents a particular opportunity for the “archivenist”, not least because his partner at Anatomica, Pierre Fournier, is based there. The City of Light is also an ideal place to raise the profile of RMFC and Big Yank. The two American brands, founded in the late 1960s and in 1919, respectively, were acquired by 35IVE Summers in 2005 and 2012. Based on a series of pieces acquired by Teramoto, both labels have been relaunched with products that marry heritage and modern, Japan-based manufacturing. Should a permanent presence be established, 35IVE Summers would even look to produce locally the pieces sold in Europe, embracing a local production-and-distribution model.
Rocky Mountain Featherbed will take centre stage – Rocky Mountain Feathebed
All of this is underpinned by a highly unusual development cycle. “Garments made in one or two months are incomplete,” Teramoto explained. “We create patterns and produce samples at least three times, then personally try the finished items and wear them for at least six months to observe how they age. This process is our 18-month commitment,” he continued.
Passing on to future generations
The “archivenist”, who rejects the label of collector, believes that every vintage piece carries meaning, having endured through time.
“I only collect what I can truly bring back to life. […] My aim is for the next generation to wear these pieces and in turn pass them on to the next,” he added.
What’s more, RMFC and Big Yank pieces, which revisit designs several decades old, feed the vintage market and will once again be unearthed by new generations.
Big Yank was founded in 1919 by Reliance Company in Chicago – Big Yank
Teramoto’s wish to preserve the aesthetics of archival pieces springs from his passion for the labels he has brought back to life: “What these two brands created was truly iconic. What I felt at the time became my business, beyond mere commercial viability,” he confides. “At the time, I could never have imagined that the pieces I created from these archives would be embraced by the global market.”
RMFC and Big Yank have not only been reborn; they are thriving. Rocky Mountain Featherbed closes 2025 with significant growth in Europe and the Americas, with sales in Japan also on the rise.
Big Yank, meanwhile, is seeing its sales climb in Japan, according to Teramoto. In 2025, the brand appointed BerBer Jin’s Yutaka Fujihara as creative director, a move that “is currently attracting strong interest, at least in Japan.”
He is expected at the Paris pop-up store “to increase brand awareness in Europe and the Americas.”
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