It may not feel like tennis weather in the Northern hemisphere but with Australia’s summer in full flow, the Australian Open is making global headlines and also showing the material tech that will have a big impact in Europe and the Americas later this year.
Boss
This month, at the year’s first major international tennis tournament, Boss is debuting NovaPoly yarn: a recycled alternative to virgin polyester “with the potential to inspire industry progress in textile innovation and advanced performance”.
Developed in collaboration with Jiaren Chemical Recycling and NBC LLC, it’s claimed to be “more than just a yarn” and is “an example of Boss’s commitment to shaping the future of fashion”.
It features a special additive that speeds up degradability in comparison to conventional polyester fibres, making it biodegradable in an anaerobic active microbial environment.
The Boss brand’s ambassadors will showcase the yarn in its tennis styles during play in Melbourne this month with Taylor Fritz and Matteo Berrettini set to wear key yarn pieces on the court, including jerseys, shorts, and caps.
Hugo Boss said “this marks an important moment” in the brand’s journey as it “reinforces its position as a forward-thinking brand, complementing the company’s ongoing efforts to develop alternatives to conventional polyester and polyamide fibres and aligning with its commitment to driving progress through innovation and advanced materials”.
The fibre is made from recycled textile waste sourced from both pre- and post-consumer phases and modified with an additive.
Boss will “highlight the craftsmanship and forward-thinking approach of NovaPoly yarn through authentic storytelling, athlete endorsements, and dynamic visuals in the collection’s campaign”.
Designs using the fibre will also be available online, in its stores, and through select wholesale retail partners globally from this month.
eBay’s Circular Fashion Fund is returning for a fourth year as the digital retail giant continues to reinforce its “long-term commitment to advancing circularity in the fashion industry”.
eBay
This year, the programme is expanding its reach across the EU, Switzerland and Canada, opening applications to more businesses and start-ups “developing innovative solutions that extend the life of clothing and reduce textile waste”.
The annual programme, first launched in 2022 supporting entrepreneurs tackling the fashion and textile industry’s environmental footprint, from production to end-of-life, now want to select eight businesses with each receiving $50,000 (£37,000) in funding, alongside mentoring to help develop and scale their ideas.
One standout business will also be named the Global Winner of the Circular Fashion Fund, with the opportunity to receive an additional $300,000 investment from eBay Ventures.
With this expansion, eBay’s total global funding through the programme is set to reach $1.9 million by the end of 2026.
Alexis Hoopes, vice-president and global head of fashion at eBay, said: “Over the past three years, we’ve seen scalable solutions emerge in areas like textile recycling, resale and repair — but these businesses need capital and support to grow. With this expansion, we’re helping more founders build the infrastructure to make circular fashion an integral part of the fashion industry.”
Applications for the 2026 Circular Fashion Fund are now open and will close on 8 March.
Pitti Uomo 109 staged a double bill of designer runway shows on Wednesday: Hed Mayner with some very fine conceptual and exploratory tailoring, and Shinya Kozuka, with a glove-inspired avant-garde display.
Hed Mayner: Tel Aviv tailoring
Mayner, an Israeli-born designer who for the past couple of years has divided his time between Tel Aviv and Bergamo, presented an impressive collection of enveloping clothes and twisted silhouettes that broke plenty of fresh sartorial ground.
Hed cuts clothes away from the torso and body, so they hang with a certain unexpected authority. Take his nipped-at-the-waist matinee idol coats that are finished with oversize sleeves worthy of a highwayman. Or consider his marvelous jackets, with sleeves that curve away, and shoulders that taper ahead. And you could not help admiring the cloak-meets-houndstooth topcoat combinations; or the superb flowing trench coat that Hed paired with silver sequin sweatpants and shirt.
“I wanted to create a sort of parallel universe, where the clothes work alongside the body, rather than over it,” explained Mayner, in a pre-show briefing.
With his high forehead and vertically ascending mop of hair, it would be easy to mistake Hed Mayner for a physicist. His clothes do reek of experimentation. Though he is certainly no mad scientist – as his experiments generally work, and often with great drama.
Hed showed 10 female looks and 25 looks for guys in this show, and the gals had a brainy, yet tough air about them too. Like the very snazzy pinstripe skirt suit or the brilliantly curvaceous worn. Leather biker jacket, whose shoulders ended halfway down the biceps. All told, this was a master class in bravura tailoring, that still managed to have plenty of commercial credibility.
Ever since his debut show in Paris in 2017, Mayner has been a consistently interesting designer, of considerable talent. And even if the odd look in this show was frankly absurd, like his pleated suede cone-shaped dresses, that only added to the sense of occasion.
All staged inside the Palazzina Reale di Santa Maria della Novella – a distinguished example of 1930s Rationalist architecture, finished with trompe l’oeil frescoes made to look like tapestries recounting Roman and Florentine history.
Making for a memorable fashion statement, by an Israeli designer who fully exploited the opportunity and honor of showing in Pitti, the world’s best organized fashion salon and trade fair, bar none.
Shinya Kozuka: Weird in a warehouse
The opening of Wednesday’s two shows in Pitti was by Shinya Kozuka, marking the Japanese designer’s international catwalk debut.
The invitation was a white cotton glove, and the inspiration was Japanese photographer Koji Ishii’s well-documented habit of taking photos of lost gloves found on the street.
But if the well-spring of the collection was intriguing, the clothes often felt contrived and convoluted.
In his defense, Kozuka is clearly a clever print maker. His assemblages of wild deer, moose, wild crows and campaniles seen in scarves or soft cotton shirts looked great. But a series of ragged, baggy denim shorts; lump snow-pint tops and bulky coats failed to impress.
A collection presented inside the Magazzino, meaning warehouse, of the Fortezza da Basso – the giant medieval fortress that is the nerve center of Pitti – the show-space space was decorated in a fake snowscape.
Kozuka didn’t take any bow at the finale. And the applause was the weakest we have ever heard in over 100 runways shows in Pitti.
Last spring, the financial indicators were favourable and Barbara Bui returned to profit in its 2024 financial year. This marked an important milestone, given that in July 2024 the French brand had placed itself under the protection of the Paris Commercial Court (now the Economic Affairs Court) by filing for receivership. Founded in 1987 by the eponymous designer and its CEO, William Halimi, the company remains 65% owned by its founders and their families, with the free float accounting for 35% of the capital of the Euronext Paris-listed company.
Barbara Bui silhouette – Barbara Bui
In 2024, the company recorded growth but struggled to finance it owing to the absence of a banking partner, according to management.
“We had entered the Covid period with a healthy business, because we had made organisational efforts beforehand. As with many companies, the pandemic had a significant impact on our sales. Fortunately, the state‑guaranteed loan (PGE) was a very effective mechanism that enabled us to cope,” recalls William Halimi. “But the issue was that the scheme didn’t anticipate that the economic consequences would persist for more than two years. And repaying the loans over five years, when business was still sluggish, was very onerous. We should have been able to spread these repayments over the longer term.” The executive then found that, with the PGE and a textile sector deemed risky by banks, the company was unable to secure banking support.
“In our line of work, bank credit lines are essential to finance growth. But all too often, bankers lump all brands into the same ‘textile’ category. We are positioned in luxury, with distinctive creations and an international growth focus. It’s not the same risk profile as a mid-market brand with a heavy domestic retail network limited to France.”
After more than two years of financing growth, management resigned themselves to filing for receivership. “It was a difficult decision for us. This brand is our baby. In a way, it cast a shadow over the company and our work,” recalls the co-founder. “And in reality, it was a wonderful experience. Right from the start of the procedure, our case was very well received, with strong engagement from the court and the administrators. As a listed company, we’re used to setting a clear course and keeping our commitments. And I really got the feeling that they were all there to save Barbara Bui.”
For the CEO, receivership allowed the company to continue operating. The brand then worked by focusing on its fundamentals, reducing the number of SKUs, prioritising its directly managed operations, and seeking savings in order to move closer to break-even.
In 2024, sales rose by 3% to 12.4 million euros. Above all, it generated a net profit of 242,000 euros, while reducing its operating loss. Its gross margin improved significantly. A trend that continued in 2025. These advances enabled the company to emerge from receivership on a high note, with the court approving its continuation plan on January 9.
As part of this plan, the company restructured a declared debt of 10.3 million euros, of which 5.3 million euros were officially recognised after analysis of the declarations by the administrators. This restructuring strategy rests on three main levers: securing 600,000 euros in debt waivers agreed with partners; bullet repayment at maturity of 1.1 million euros in shareholder current accounts provided by the co-founders; and spreading the remaining balance of 3.2 million euros over a period of nine years.
Barbara Bui can rely on its three Paris boutiques, located on avenue Montaigne, rue de Grenelle, and rue des Saints-Pères, whose sales are rising steadily.
According to the company, which will publish its sales figures for 2025 in the first quarter of 2026 and its annual results at the end of April, last year saw double-digit growth in its direct sales channels, with a 14% increase in the Paris boutiques and a 65% increase on its e-commerce site.
The brand, which plays with revisited tailoring and references to rock and new wave, all with high-quality materials, is also distributed through around 100 multi-brand retailers worldwide, compared with 140 before the receivership was announced.
“Our entire team of around sixty people was fully involved during the receivership, and this resulted in superb performances in our boutiques,” explains William Halimi. “But receivership often paralyses retailers. Now that we’re out of the procedure, we’ll be able to win back some of our former partners, who will be reassured.”
The brand, which continues to self-finance its development, is preparing new propositions to appeal to export markets, which already account for a quarter of its business, in the coming seasons. And it is embracing a modest but profitable growth strategy to assert its uniqueness in the market.
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