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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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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From its elegantly appointed 1,000-square-metre showroom at 11 Via Uberto Visconti di Modrone in Milan, which showcases the brand’s entire universe, high-end clothing and accessories label Eleventy presented its Autumn-Winter 2026/27 collection, marked by colours new to the house, an expanded assortment—especially in footwear—and the use of new raw materials such as vicuña, as revenue stabilises and new store openings are readied, starting in Chicago.
Eleventy, Autumn-Winter 2026/27
“It’s an important year for us, one in which we wanted to reinvent ourselves, because we believe it’s right to go back to being special,” Marco Baldassari, who continues to lead the brand he owns as CEO, tells FashionNetwork.com. “We had certainly spent many years operating in our comfort zone, with light colours, which by now are no longer distinctive. So we wanted to introduce new, more sophisticated, darker colours and silhouettes that are new to us, to differentiate ourselves once again from what the market offers.”
“The inspiration for the collection,” Eleventy’s CEO continues, “begins with an inner journey of reconnection with nature, which becomes our stage.”
Brown, therefore, assumes a central role in Eleventy’s wardrobe, as do very deep, almost black greys—like the winter sky—alongside forest greens and burgundy.
“This change has been noticed and, I must say, warmly received by buyers, also because I think it’s right to rekindle the desire of a consumer who perhaps had found the market a bit flat, lacking truly new propositions, where everything seems interchangeable,” the entrepreneur notes.
“It’s one of the contributing factors to this global downturn in fashion and luxury sales. More than tariffs, which in my view have somewhat distracted from the real issue—the strengthening of the euro, alongside the weakening of the yen and the dollar—pricing has certainly played a part, and in many cases the end consumer has not found it justified. With a very balanced price-to-quality proposition, Eleventy has not been particularly affected by this phenomenon. I hope this new collection of ours will reignite a great deal of desire, because we have completely reinvented ourselves, including in terms of fit and aesthetic.”
Eleventy, Autumn-Winter 2026/27
Eleventy, which in late 2025 opened its first flagship in Lisbon, will continue its programme of monobrand openings in 2026. The most significant will be in Chicago, in the United States.
“The U.S. is our most important market, thanks also to the mentality of the American consumer, who tends to spend more and is more inclined to purchase than the European customer,” Baldassari observes.
Eleventy currently employs 200 people and has 18 monobrand stores managed directly from headquarters, plus 22 with franchise partners, for a total of 40 monobrand stores. In the multibrand channel, the Milan-based label is carried in around 300 carefully selected doors worldwide.
“To be special, and thereby sell a quality product, you also have to be more selective in distribution, sometimes sacrificing opportunities in favour of a longer-term vision,” the CEO said.
The womenswear collection is growing within Eleventy’s business; today it accounts for 25 per cent of revenue, with turnover rising to 127 million euros from approximately 100 million in 2024 (it was 43 million euros in 2022 and 65 million in 2023, ed.), with 18 per cent generated in Italy and 82 per cent abroad. After the US comes the Middle East, Europe overall, and Asia, where Baldassari highlights South Korea and Japan as growth markets, while China remains to be defined.
Eleventy, Autumn-Winter 2026/27
The agreement between the European Union and Mercosur to further liberalise trade between them “is certainly a new opportunity that we will not fail to evaluate with great attention and interest,” said the founder, in the presence of Gianmarco Tamberi, who has officially become Eleventy’s new brand ambassador.
“The choice of Gianmarco Tamberi is due to two fundamental reasons. First, we are Italian and we want to bring Italy to the world, which an athlete like him represents excellently. Second, the alignment of our respective values: to achieve the results we have, we have made many sacrifices, with hard work, consistency, commitment and discipline. These are all elements that unite our paths,” the founder continued.
Since in recent years fashion has first seen the rise of tennis-inspired style and then that of skiing (preceded about fifteen years earlier by golfwear and polowear), can athleticwear be trendy in the coming years as well?
In other words, will athletics succeed in conveying its values to the general public, as it has almost never managed to do in the past? “Achieving results certainly helps to spur similar developments,” Tamberi replies.
“We were coming out of a period (from around 2000 to 2015) when athletics had a huge void of champions in Italy. Now something has shifted, especially since the Tokyo 2020 Olympics, after the famous five gold medals we managed to bring home. Results can allow the personalities who achieve them to emerge; otherwise it’s difficult to bring a movement to public attention. Today, many young people in athletics are coming through,” explains the high jumper, who in his discipline has won at least once everything there was to win, having been Olympic champion at the Tokyo 2020 Games, world champion in Budapest 2023, world indoor champion in Portland in 2016, and three-time European champion (2016, 2022, 2024), not to mention victories at the European Indoors and two Diamond League finals reached.
Eleventy, Autumn-Winter 2026/27
“The collaboration with Eleventy came about very naturally, as we share similar values,” confirms the Ancona-born athlete. “For a few years I had the honour of being a Giorgio Armani ambassador, whom I take this opportunity to thank and acknowledge. When that partnership ended, several companies came forward to have me as a testimonial, but I couldn’t find any that resonated with me and with what I want to represent and communicate. Then Marco Baldassari got in touch. And everything clicked into place naturally.”
Founded in Milan in 2007 by Marco Baldassari and Paolo Zuntini, joined in 2009 by Andrea Scuderi, and now majority controlled (65 per cent) by the Fashion Cube fund—a holding company composed of the VEI Capital fund and a Gulf financial group that controls all the sales networks of the high-end apparel and accessories company—Eleventy works exclusively with natural Italian materials and 100% made in Italy production. Present in more than 30 countries, it also has directly operated stores in cities such as Milan, New York, Paris, Tokyo, Seoul and Dubai.
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After a 2025 marked by confirmed trends, Luxurynsight and Heuritech unveil their 2026 trend calendar, revealing a fashion landscape centred on sustainability, textures, volumes and statement pieces.
Last year, several signals stood out: suede, boat shoes and the colour cinnamon far exceeded expectations, as did the Euro summer theme, which propelled buttermilk yellow alongside gingham and oversized polka dots. These latter trends recorded growth of between +17% and +87%, confirming their rapid adoption and long-term potential, while the “city boy” aesthetic—with its vertical stripes, raw denim and cylindrical “duffle” bags—left its mark on urban menswear, signalling an appetite for versatile, functional silhouettes inspired by major global metropolises.
DR
For 2026, the calendar highlights month-by-month trends, each with its own growth forecast. January opened with fur detailing, turning fur into subtle accents on collars, hems and accessories, with visibility forecast to rise by +15% in the first quarter and over the next twelve months.
February spotlighted leather trousers, seen on red carpets and sports grounds, with growth forecast at +8% in the first quarter and +2% over the year, while animal prints and croc-embossed leather complement the masculine aesthetic.
March was dominated by raw denim, appearing in trousers, jackets and monochrome silhouettes, with growth of +11% in the first quarter and +9% over the year. In April, performance football trainers benefited from anticipation of the World Cup, with +12% forecast for the second quarter and +14% over twelve months, while pink trainers emerge as a distinct phenomenon at +19%.
May spotlighted loafers, reinterpreted in suede with playful details such as laces, forecast at +15% in the second quarter and +14% over the year, with suede continuing to gain ground across all categories of footwear. June saw the emergence of shades of green and yellow, “greenfinch” for men and “pickle green” for women, with growth of +15% and +7% respectively—versatile colours suited to sportswear and urban pieces—while tones such as aqua green are set to stand out.
July highlighted draping, celebrating volume, fluidity and sculptural forms across blouses, skirts and trousers, with +5% expected in the third quarter and +7% over the year, while draped tops and dresses reach +15% and +12%. August showcased irregular, tennis-inspired horizontal stripes, forecast at +10% in the third quarter and +5% over twelve months, creating a strong, modern motif.
DR
September introduced structured bags, with +10% visibility in the third quarter and +18% over the year, adopted particularly by consumers seeking a minimalist yet sculptural style. October spotlighted flat-lock stitching details, bringing a technical and graphic finish to silhouettes, forecast at +19% in the fourth quarter and +1% over twelve months.
November confirmed the rise of large polka dots, an oversized and photogenic print, expected to grow by +147% in the fourth quarter and +43% over the year, driven by links with contemporary art and visibility at events such as Art Basel Paris.
Finally, December saw the return of tartan, with +16% for men and +12% for women over the year, incorporating coordinating pieces and varied silhouettes from accessories to over shirts, confirming the relevance of reworked classics in a unisex and sustainable winter wardrobe.
The use of artificial intelligence and machine learning algorithms enabled this study to detect emerging signals and anticipate consumer behaviour. The combination of quantitative precision and qualitative expertise ensures actionable forecasts, offering brands a strategic guide to meeting the expectations of a demanding audience attuned to the stylistic coherence and sustainability of their fashion choices.
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