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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Traditional and occasion wear designer Puneet Gupta has stepped into the world of fine jewellery with the launch of ‘Deco Luméaura,’ a collection designed to blend heritage and contemporary aesthetics while taking inspiration from the dramatic landscapes of Ladakh.
Hints of Ladakh’s heritage can be seen in this sculptural evening bag – Puneet Gupta
“For me, Deco Luméaura is an exploration of transformation- of material, of story, of self,” said Puneet Gupta in a press release. “True luxury isn’t perfect; it is intentional. Every piece is crafted to be lived with and passed on.”
The jewellery collection features cocktail rings, bangles, chokers, necklaces, and statement evening bags made in recycled brass and finished with 24 carat gold. The stones used have been kept natural to highlight their imperfect and unique forms and each piece in the collection has been hammered, polished, and engraved by hand.
An eclectic mix of jewels from the collection – Puneet Gupta
Designed to function as wearable art pieces, the colourful jewellery echoes the geometry of Art Deco while incorporating distinctly South Asian imagery such as camels, butterflies, and tassels. Gupta divides his time between his stores in Hyderabad and Delhi and aims to bring Indian artistry to a global audience while crafting a dialogue between designer and artisan.
A look inside the salon of the French luxury house’s new Vienna store. – CELINE
The 150-square-metre luxury boutique in Vienna spans three storeys. It showcases the latest womenswear and menswear collections, beauty, fragrances, and Maison pieces. From the outside, the flagship impresses with a listed façade of sculpted marble, paired with large, dark-framed, floor-to-ceiling windows.
Inside, natural stone prevails, with materials such as Grand Antique marble combined with travertine. Basaltina flooring laid throughout features a French-inspired chevron pattern. The sense of luxury is heightened by ultra-clear mirrors- some finished in antique gold- neon lighting, and polished metal.
On the ground floor, womenswear is presented, beginning with accessories, leather goods, beauty products, and fragrances. This is followed by the ready-to-wear area.
A staircase with cantilevered steps, inspired by minimalism, leads to the first floor, where the menswear collections are presented. The scheme here is darker overall, with black-lacquered walls and a selection of timbers that contrast with the lighter woods in the other areas.
A look inside the luxury boutique. – CELINE
An intimate salon on the second floor, accessible exclusively via a private lift, expands the store and includes an enlarged fitting room.
Throughout the store and its numerous lounge areas, the furnishings comprise a selection of vintage and contemporary pieces. As part of the ongoing Celine Art Project, a curated selection of artworks is on display with a stoneware composition by Anders Hald, a painting by Jasmine Gregory, and sculptures by Rosalind Tallmadge and Marcelo Silveira.
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“It is with great pleasure that we announce Micaela Oliveira, the celebrated Portuguese designer, as one of the featured couturières at the Saudi Arabia Creative Women Forum 2025 Gala Dinner and Awards Ceremony,” the organisation declared on its social media channels, in a post also shared on the designer’s Instagram account, announcing the tribute at the event held on November 6 at the National Museum in Riyadh. The evening opened with an address by Princess Noura bint Saud bin Naif bin Abdulaziz Al Saud, patron of the Forum and founder of Saudi Fashion Week, followed by a runway show by the Portuguese designer, celebrating the rich traditions of this enchanted kingdom.
Lux
The publication further notes that the Trofa-born couturière “grew up surrounded by fabrics, prints, and creativity- a world that has shaped her lifelong devotion to fashion,” and that over the past 20 years she has “built an extraordinary career defined by elegance, daring, and refinement, consolidating her name among the leading designers of wedding dresses and haute couture,” the statement continues.
“Her creations- a harmonious blend of sophistication, sensuality, and femininity- embody her belief that each dress should tell a story, evoke emotion, and reflect the unique essence of the woman who wears it,” reads the message shared simultaneously on the Forum and the eponymous designer’s Instagram accounts.
“Guided by the values of exuberance, creativity, and impeccable craftsmanship, Micaela’s creations blend classic beauty with contemporary art, achieving a timeless charm,” the post adds, highlighting “a vision that transcends borders” that “continues to enchant the global fashion world, transforming dreams into haute couture masterpieces that celebrate individuality and the eternal elegance of femininity.”
Lux
For her part, Micaela Oliveira expressed her gratitude for the honour at the Saudi Arabia Creative Women Forum 2025 Gala Dinner and Awards Ceremony, which took place in Riyadh, the capital and principal financial centre of Saudi Arabia: “It was a privilege, as a designer, to travel to the Kingdom of Saudi Arabia, where I was honoured before members of international royalty and government representatives at a truly magnificent awards ceremony,” she said in a statement quoted by Lux.
“This prestigious award was presented to me by Her Royal Highness Princess Noura bint Saud bin Nayef bin Abdulaziz Al Saud, a pioneering woman and a leading figure in the Kingdom’s artistic community. I had the great honour of presenting a fashion show celebrating the rich traditions of this remarkable country during the Creative Women Forum 2025 Gala Dinner and Awards Ceremony.”
Instagram
“We are delighted to announce the return of the Creative Women Forum in Riyadh, which will take place from November 4–6, 2025, under the esteemed patronage of Her Royal Highness Princess Noura bint Saud bin Nayef Al Saud,” announced Creative Women Platform on Instagram. “This year’s forum will be held at the iconic Princess Nourah bint Abdulrahman University- the largest women’s university in the world.”
“A powerful stage for a global gathering of visionary women,” it continues. “Join us for three transformative days filled with innovative leadership, inspiration, and ground-breaking ideas, as we explore creativity, entrepreneurship, sustainability, and the future of women in leadership.”
This time, the experience culminated in a fabulous gala dinner and awards ceremony, “celebrating the brilliance of the women who shape our world,” concludes Creative Women Platform, on its social media.
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