Miner Anglo American‘s diamond unit De Beers said on Monday it had finalised negotiations with the Botswana government for a new rough diamond sales agreement and extended mining licences for its joint venture beyond 2029.
Debswana, a 50:50 joint venture between top diamond producer Botswana and De Beers, currently sells 75% of its output to De Beers.
In 2023, Botswana and De Beers agreed to a fresh 10-year diamond sales deal, under which the government’s share of diamonds from the Debswana JV will increase to 30% and gradually rise to 50% over the decade.
However, this agreement was never signed under the leadership of former president Mokgweetsi Masisi.
On January 23, Botswana’s new President Duma Boko said he hoped to clinch a long-delayed sales pact with De Beers soon.
In addition, Boko said talks aimed at increasing Botswana’s ownership stake in De Beers – currently at 15% – were “going well”.
Anglo American is seeking to divest De Beers as part of a broader restructuring plan aimed at refocusing its operations on copper and iron ore mining.
Haider Ackermann will unveil his debut co-ed collection for Tom Ford in Paris Fashion Week on Wednesday, March 5, marking the first time the American label will stage a show in the French Capital.
Fashion loves a debut, and the other huge one in Paris will be Sara Burton’s first collection for the house of Givenchy on the morning of Friday, March 7 – according to the provisional schedule of shows released Monday by the Federation de la Haute Couture et de la Mode (FHCM), French high fashion’s governing body.
In other news the house of Alaïa will be making its first official appearance on the Federation’s schedule. Its founder Azzedine Alaïa was famous for showing out of season. While its current creative director Pieter Mulier presented his most recent Alaïa collection in the Guggenheim Museum last September, one of the highlights of New York Fashion Week.
Several notable houses return to the season including Coperni, which showed off calendar in Disneyland last year; Kenzo, which had concentrated on co-ed shows in the menswear season since September 2020; and Ludovic de Saint Sernin and Off-White, who had recently shown in New York. Also returning after brief hiatuses are Marine Serre, Undercover and Véronique Leroy.
While several indie labels Nurc Akyol, Christopher Esber and Hodakova will also make their first appearance on the official calendar.
As ever, huge crowds of professionals and fans will swarm to witness the great brands in Paris, to whose shows invitations are strictly private. They include mammoth marques like Dior, Hermès, Louis Vuitton and Chanel, along with directional star houses – Yohji Yamamoto, Dries Van Noten, Courrèges, Chloé, Rick Owens, Victoria Beckham, Valentino, Miu Miu and Balenciaga, among others.
All told, there will be 72 shows, including the Master of Arts Joint show by the Institut Français de la Mode (IFM), France’s most noted fashion and luxury management college. Along with 31 presentations spread across the City of Light.
The next season, which features Fall/Winter 2025/2026 collections runs from Monday, March 3, to Tuesday, March 11, 2025. With access to the calendar always controlled by the FHCM, whose Executive President Pascal Morand offers his insights on the upcoming season to Fashion Network.
Fashion Network: Paris has attracted some very high-profile names to this season’s schedule, both new and returning brands – like Tom Ford, Alaïa, Off-White and Givenchy – why does the French season have such magnetic power?
Pascal Morand: Paris Fashion Week has a number of structural characteristics: the presence and involvement of the most renowned brands ; the exigency of the selection commissions; the rigorous work involved in drawing up the Official Calendar; a creative ecosystem of great vitality; an active policy in favor of emerging brands; the dual economic and cultural dimension of this major event; a close cooperation with public authorities; a policy of innovation built on an international history; the “Paris flavor”, which exudes the union of fashion and the arts. All these factors align in favor of Paris’ attractivity and are reflected in the policy led by the Federation’s Executive Committee.
FN: Last year was a tricky one for runway brands, with most suffering sales declines. What are you expecting in 2025?
PM: This situation follows a moment of high growth on international markets. A number of factors have come together, such as the crisis affecting digital pure players; difficulties in the wholesale market; low relative growth and the property crisis in China, which have notably led to a rise in the savings rate and now to a policy of boosting consumption. All this is in addition to the digital and ecological revolutions, which are accelerating. We are living through a period of rebalancing and changes, but the fundamentals of success remain the same: the vitality of creation, the quality of know-how, the culture of innovation.
FN: Recently, Culture Minister Rachida Dati announced several measures to open fresh spaces where young designers can show. What do you expect the impact to be?
PM: For young designers, presenting their collections is essential, and an integral part of their development model. The question of venues for shows and presentations is often a delicate one, because of the availability and cost involved. That is why we have a long-standing cooperation with the Palais de Tokyo, can be found a mutualized space and a presentation space adjacent to the Sphere showroom. But we need to take this further, and we are working in this direction. We’ve shared this challenge with the public authorities, and it’s with this in mind that the Minister of Culture ,has made her announcements which testify to the common concern regarding the support of emerging brands.
FN: The European Union, and France, have recently introduced new laws governing sustainability, recycling and end use of fashion products. What impact will they have on Paris Fashion Week?
PM: We actively follow French and European initiatives and are involved in the discussions associated. For example, the Federation is a voting member of the Apparel & Footwear PEF (Product Environmental Footprint) Technical Secretariat at the European Commission, with a view to European environmental labelling. The Federation is also represented, as well as the Camera Nazionale della Moda Italiana, through the European Fashion Alliance within the Ecodesign Forum which brings together a limited number of organizations from all sectors of the economy.
There, the Delegated Acts of the ESPR (Ecodesign for Sustainable Products Regulation) will be drawn up, dealing in particular with the recycling and treatment of unsold goods. However, French and European regulations concern the industrial value chain, and not the event value chain, which is where Paris Fashion Week comes in. In this respect, the Federation has set up as of 2019, STEP.event, an eco-design tool for fashion shows and presentations, in partnership with PwC and with the support of DEFI, which is now widely used by the Houses.
Birkenstock is taking inspiration from London for its latest campaign. Created for the Tokio shoe, the campaign “celebrates the versatile suede clog, following two protagonists amidst the vibrant energy of London”.
But as the product’s name implies, there’s a strong Japanese feel too. The clog, which will be celebrating its 40th anniversary in 2027, “exemplifies Karl Birkenstock’s forward-thinking approach during a pivotal era when Japan was emerging as a global economic and cultural powerhouse”.
Drawing inspiration from Tokyo’s “unparalleled influence on design and creativity, the Tokio was originally designed to meet the needs of professionals—such as those in healthcare and hospitality—requiring secure and supportive footwear for long hours on their feet. Today, this iconic design is evolving into a modern streetwear staple”.
The clog has been reimagined in ‘Antique White’, completing the four-colour offering and is seen for SS25 with a streetwear-inspired campaign, featuring creative protagonists Sirui Ma and Orion Johnson, a multidisciplinary artist and event producer.
Birkenstock fans met Johnson in the earlier first chapter of the campaign that was set in Tokyo.
Now he’s in London, home to photographer Ma, whose creative journey began in Beijing and New York before she settled in the UK capital. The campaign “immerses viewers into London’s unique energy, blending vibrant urban culture with moments of natural serenity. It is both a love letter to the city and a celebration of a contrasted experience of urban culture and nature”.
The imagery follows the protagonists as they explore the city from the East End, Broadway Market and London Fields, offering a “vivid snapshot” of its dynamic culture.
The duo of Viktor Horsting and Rolf Snoeren have renewed their contracts for a further five years as the creative directors of the fashion house they founded.
The designers and OTB Group – the main holding company of Italian fashion entrepreneur Renzo Rosso, which controls the Dutch fashion house – broke the news in a joint statement released on Monday.
Based in Amsterdam, Viktor & Rolf founded their Haute Couture maison in 1993. They became part of the OTB Group in 2008.
“Viktor and Rolf are two unique voices in the world of international fashion, couturiers who have revolutionized the very concept of Haute Couture, and everything they do is art. I am very happy to continue the collaboration with them, their talent will continue to inspire and amaze the fashion world,” said Rosso, Chairman and founder of the OTB Group.
Added Horsting and Snoeren: “Within an ever-changing fashion landscape of brands and designers, we are proud to continue our singular artistic path of 30 plus years.”
Despite reports of occasional friction between the duo and the OTB Group due to designers’ hyper conceptual approach, the renewal was not unexpected. However, it comes in the wake of the departure from the OTB Group’s most acclaimed designer John Galliano, who left Maison Margiela after almost a decade in the autumn. Departing despite staging the most acclaimed couture show in fashion this past decade in January 2024.
With Viktor Horsting and Rolf Snoeren, their maison became a one-of-a-kind success in the world of Haute Couture, creating collections that represent various nuances and forms of their artistic expression.
In the release, OTB Group lauded the duo’s constant exploration of “the borderland between art and fashion, constantly reinventing and reshaping the very concept of Haute Couture.”
Their memorable collections include Haute Couture Spring Summer 2019 – Fashion Statements, entirely made of colored tulle; Haute Couture Spring Summer 2022 – Surreal Shoulder, characterized by extreme, distorted, and elongated silhouettes. While Haute Couture Spring Summer 2023 – Late Stage Capitalism Waltz, defied the laws of gravity with surrealist garments worn upside down, sideways, perpendicularly, and away from the body; and Haute Couture Spring Summer 2024 – Scissorhands, was a collection born to explore the creative and decorative possibilities of a pair of tailor’s scissors.
While with OTB, Viktor & Rolf have also developed women’s collections of demi-couture inspiration; bridalwear with Viktor & Rolf Marriage; and eyewear collections with Viktor & Rolf Vision.
The duo have also built a highly successful fragrance business with a licensing agreement with L’Oréal Luxe, boasting such as worldwide bestsellers as Flowerbomb, Spicebomb and Good Fortune.
The vision and the artistic creations of Viktor Horsting and Rolf Snoeren have been celebrated in countless international exhibitions, including “Camp: Notes of Fashion” at the MET Museum, “Viktor&Rolf Fashion Artists” at the Kunsthal in Rotterdam, “Viktor&Rolf: MetaFashion!” at the Sea World Culture and Arts Center in Shenzhen,” Viktor&Rolf par Viktor&Rolf : Première Décennie” at the Musée de la Mode et du Textile, “ The House of Viktor&Rolf” at the Barbican Art Gallery, and “Viktor&Rolf: Fashion Artists” at the National Gallery of Victoria in Melbourne.
On the occasion of the brand’s 30th anniversary, one hundred of their most iconic pieces were showcased in the exhibition “Viktor&Rolf: Fashion Statements” at the Kunsthalle in Munich. Some of their dresses were also selected as the protagonists and symbols of the exhibition “Memorabile. Ipermoda.” still ongoing at the MAXXI National Museum of 21st Century Arts in Rome, in collaboration with the National Chamber of Italian Fashion.