Brunello Cucinelli spoke at the NE(x)T Retail – The Future of Multibrand between Continuity, Transformation and Made in Italy conference, organised by Camera Buyer Italia in collaboration with the Ministry of Enterprises and Made in Italy and under the patronage of Camera Nazionale della Moda Italiana, praising the role of multibrand retailers while also urging greater consistency between the identity of physical stores and that of their e-commerce.
Brunello Cucinelli at the “NE(x)T Retail – The Future of Multibrand between Continuity, Transformation and Made in Italy” conference, organised by Camera Buyer Italia
“I grew up with multibrand retail; until 30 years ago, that was the business, and even today we generate 40% of our sales through the wholesale channel. I owe a great deal to all of you, beginning with Mr Barney Pressman (founder of the New York department store Barneys, editor’s note), who, 40 years ago, came to our stand at Pitti Uomo, bought our jumpers and showcased them in New York — a dream for us,” said the Umbrian entrepreneur.
“Multibrand retailers are the true guardians of the brand: when you come to see our collections, if we as companies have the courage to listen, you help us understand whether they are contemporary and truly interesting. Your stores are a source of inspiration for us: when we prepare the collection for one of our single-brand stores in a particular city, we look to the finest multibrand stores in the same city for inspiration. Many of your stores have been there for many years; you are synonymous with culture and architecture, and it is a mark of prestige to say that we work with you.”
After such heartfelt praise, however, Cucinelli also highlighted some concerns: “The advent of the web was a delicate moment: in a physical store you can understand who we are; online it is more difficult. In my view, multibrand retailers need to establish a stronger identity online, as they have in physical stores. I understand that e-commerce generates a lot of turnover — although I believe it is not especially profitable — but the risk is that you lose your identity.”
“You have a great history behind you; you know your customers; when you place orders you know what your clientele likes. Show us, as companies, that even when you sell online you remain consistent with your identity. Your boutiques are beautiful; I would like your websites to be a reflection of your boutiques,” the cashmere entrepreneur concluded.
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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 – 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) – 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.
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.
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.