The word ‘dupe’ has always been guaranteed to send a chill through the spine of any luxury executive, associated as it is with cheaper versions of their high-end products, many of them of poor quality. But a new study from Havas Media calls the existence of dupes “luxury’s unexpected ally”.
hermès.com
The media agency’s Lux survey suggests that consumers’ concerns over dupes (some of them actually high-quality) is actually changing their behaviour with affluent shoppers valuing authentic luxury more than ever, visiting physical stores to touch and feel the product, being more likely to do product research and to value genuine quality.
Havas media surveyed 200-250 luxury consumers in each of the UK, US, China and Emerging Asia, all of whom had a personal income of £250,000 a year or more, and/or over £1 million in liquid assets. They’d also purchased luxury goods (excluding cars) within the last year.
The survey explored the future of luxury and identified the factors that matter most to luxury consumers, particularly in emerging markets.
And the company said that “with AI-generated imagery and high-quality dupes flooding feeds in the last year, two-thirds (63%) of high-net-worth shoppers worry it has become too easy to buy, accidentally, fake luxury goods that look and feel like the real thing online. Doubts over a product’s authenticity caused by a market awash with counterfeits – affecting Louis Vuitton, Prada, Rolex, Gucci, Chanel, among others – is one of the biggest changes consumers have seen in the luxury market globally in 2025”.
What does Havas Media make of this? It said it means two-fifths of high-net-worth shoppers “are now ready to switch brands due to concerns about the authenticity of the products they’re buying. The top reason in the UK, emerging Asian economies (excluding China) and US for switching loyalty from one brand to another is an upsurge in content featuring fakes or forgeries”.
These shoppers are now “increasingly seeking exclusive, high-touch experience in-store with 40% prioritising purchase experiences where they can see the product for real and validate its authenticity”.
A third (37%) of global shoppers have turned to resale and secondhand purchases thanks to their proof-of-purchase – rising to over half (53%) of UK luxury shoppers.
Meanwhile, interest in pop-up stores and events rose from 19% in 2024 to 32% in 2025 – a 68% increase. Exclusive, invite-only events saw a 54% rise, climbing from 26% to 40%, while demand for private shopping and concierge services grew by 45%, from 29% to 42.
Other stats from the study include 66% questioning whether online images are real or AI-generated; 63% saying it’s too easy to buy convincing fakes; 40% ready to switch brands due to fake concerns; and 25% conducting in-depth research before purchase.
Interestingly too (if not linked to the fakes/dupes issue) is that 54% in Emerging Asia (excluding China) buy luxury for self-expression; 44% in Western markets are disengaged by celebrity-led marketing; and 62% are more likely to engage with creator-led, artisan or community-driven campaigns.
Looking back at those stats specifically related to the impact of the existence of dupes and fakes, it’s what makes the company think that “low-quality content and dupes may provide a boon for the luxury industry. One quarter of luxury shoppers [are] now conducting in-depth research before making a purchase and the same number [are] primarily seeking craftsmanship, premium experience and long-term quality over impulse purchases – what luxury brands excel at”.
Cherry Collins, Strategy Partner, Havas Media UK, said: “The brands that put verification at the heart of their storytelling will retain both trust and commercial value. We see this already in the heritage houses that are continuing to grow through quiet exclusivity and creative stewardship, such as Brunello Cucinelli thriving on timeless design and humanist values and Rolex addressing authenticity and resale concerns directly through its Certified Pre-Owned programme. Proof-based luxury is now a competitive advantage.”
Testoni hails from Bologna, Italy, but in 2022 the luxury footwear and accessories maker came under the umbrella of Chinese group Viva China, which controls the Li Ning brand (which has just shown at Milan Men’s Fashion Week) and the British brand Clarks, having previously been acquired by Hong Kong-based Sitoy Group in 2018. The Emilia-based label, founded in 1929 and specialising in men’s footwear, has since placed greater emphasis on womenswear and, following a rebrand from a.testoni to Testoni 1929, in 2025 opened a 200 square-metre flagship on Via Manzoni in Milan.
Testoni, “Bracciano” moccasin, AW 2026/27
The Milan boutique is part of the brand’s relaunch plan. In the same vein, the company has taken on a larger showroom to support retail and wholesale activities, at Via Sant’Andrea 21, where the presentation of the Autumn-Winter 2026/27 collection was held. “We currently operate 30 single-brand stores; we have just opened a new one in Taipei,” Philip Yau, CEO of Testoni, tells FashionNetwork.com. “They are located mostly in Asia- in China, Japan, South Korea and, indeed, Taipei. But after focusing on the Far East, we now want to look more to Europe, with Italy as a starting point, and then move on to the US.”
“We had a presence in America in the past, but we had closed the business there. Now we will reopen that market, where we were selling 10 million shoes every year. We have a large distribution centre in Hanover, near Philadelphia. Retailers such as Macy’s and Nordstrom, with whom we have established contacts, can help us successfully resume business in that market,” continues Yau, who is also aiming for “operational, logistics, marketing and other synergies with the brands Clarks and Li Ning and with the group’s market reach.” “Asia remains a strong base for us at Viva China, where we own many companies,” he says.
Testoni, “Moena” laser-cut sneaker, AW 2026/27
There are around 60 multi-brand stores that sell Testoni, making distribution highly selective at the top end. “Testoni has always been a more retail-oriented brand, but we are working to expand into wholesale as well, which we believe can be a strong driver of growth,” adds Testoni’s general manager, Enzo Vaccari. “So wholesale expansions are planned, especially in the US and other overseas markets. Nor are we neglecting e-commerce, which is quite small at present. It can do much more; we will work on it by leveraging the synergies we can establish with Clarks’ platform.”
Autumn-Winter 2026/27 has seen an increase in men’s styles and focuses on the Testoni brand’s core offer: loafers, moccasins, clean lines, no eccentricities, underscoring its craftsmanship. “In three years we will celebrate our 100th anniversary, so we have a very rich archive that could certainly form the basis of a museum,” Vaccari adds. “It is one of our dreams, because in our archive there are original products from the 1940s through the 1950s and 1960s, and we have all the original designs by Marisa Testoni, the daughter of Amedeo Testoni, the founder. At the moment, these materials are kept in Piazza XX Settembre, near the Montagnola in Bologna, but we are working to rethink the space and reorganise everything properly. We wanted Bologna to be the focal point of this project, because it is the city where we were born, where the company’s history lies.”
Testoni, AW 2026/27
Testoni also makes handbags, another line that has expanded in terms of styles, while men still account for 70% of revenue and production. “However, we are trying to achieve a better balance between the collections: we need to develop more bags dedicated to women,” Yau notes.
From a financial standpoint, the official 2025 year-end has yet to be finalised, so Philip Yau does not intend to disclose Testoni’s annual turnover, which nonetheless grew in the single digits. The leading markets are China, Taiwan and Hong Kong combined- Greater China- accounting for 40%, followed by Japan. “But the US is and will be a key market for Testoni and for the entire Viva China group, as is the Middle East, not only through wholesale distribution but also via retail openings currently under consideration,” explains Enzo Vaccari. “In America we have just returned; we want to find a major retailer, like Macy’s, which has more than 300 doors. In the meantime, there will be consolidation of retail in Asia, where we are looking at other markets, such as Singapore and Malaysia, which we would like to enter within a couple of years, depending on the opportunities that arise.”
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Add designer to Jaden Smith’s considerable list of professions- along with actor, singer, and rapper- after the Californian creator dreamed up an impressive Dadaist display for his debut at Christian Louboutin.
Jaden Smith’s take on the world of Christian Louboutin – FashionNetwork.com
Evoking a whole plethora of influences from Greek mythology and the Great Paris Exhibitions to Dadaism and the great movement for Civil Rights, in an elaborate set in a disused warehouse in Montparnasse. Mount Parnassus, you will recall, was the home to nine muses in arts and sciences.
Two fine works of footwear even had Greek names: The Plato Loafer, a 2017 model with Swisscheese like holes, which Smith updates with the new Neo CL signature on a steel silver coin. And the Asclepius Sling- named after the ancient god of medicine- with the same emblematic coin detail and metallic hardware on the backstrap.
“I brought my personal interest on Greek mythology in as I thought it would resonate with people, as humans at the end of the day are all very similar. I’m combining my perspective of being an African American designer, linked to my more Dadaist thinking into the heritage of a French maison,” explained courteous 27-year-old.
Mythology meets luxury – FashionNetwork.com
Close by stood a Nam June Paik worthy mound of TVs, with video showing images of Martin Luther King’s 1963 March on Washington, The Sphinx, and clips from Dadaist filmmaker Hans Richter.
“That art piece is about the overdose of information we experience. This revolution that we are in the midst of right now. And the fact that information is being thrown at us all the time. And the psychological effects of looking at 10 screens at the one time. While also drawing correlations between my ancestry and Christian’s ancestry, and the history of art,” said Smith, attired in a giant gangster jeans, an oversized parka and pearl encrusted beanie.
Another installation was a broken temple with fluted columns on which were perched Jaden’s new bags. Notably a series of humungous backpacks and biker satchels, some with a dozen exterior zippered pockets with gold lettering reading- coins, pills, keys, tools, phone, documents, phones, and chargers. Alongside a surrealist tote finished like a bucket of overflowing paint and a Dadaist style back made in a black and white photo of an urban madding crowd.
Creator Jaden Smith – FashionNetwork.com
The whole space was dubbed Christian Louboutin Men’s Exhibition, as a small group of models bathed, inevitably, in red light, circulated wearing the new footwear and bags. Large red fabric rolls made into benches allowed one to enjoy a large video montage, including Jaden as a Wagnerian hero posed in front of gothic castles. Which is where we spotted founder Christian Louboutin, in a video stirring a large vat of red paint, before symbolically handing over a paintbrush to Jaden.
“It’s about craftmanship, extreme luxury, and highest level of design. That’s what Christian Louboutin is all about,” said Smith, describing the brand’s DNA.
Eyebrows were raised when Christian appointed Jaden to the position of creative director, as Parisian designers with two decades long CVs gritted their teeth that an untrained talent got such a coveted position. However, judging by this display, Jaden Smith has the chops, talent, and grace to be very effective in this role.
One suspects the gods of style and time are probably rather pleased.
To coincide with Milan Fashion Week, the S|STYLE 2025- Denim Lab is setting up at Fondazione Sozzani for an edition devoted to the future of sustainable denim and water management in the textile industry. Led by the S|STYLE Sustainable Style platform, founded in 2020 by independent journalist and curator Giorgia Cantarini, this initiative forms part of an ongoing programme of research and experimentation into responsible innovations applied to contemporary fashion.
Designers brought together for the S|STYLE 2025 – Denim Lab project – Denim Lab
The exhibition, open to the public on September 27 and 28, features a site-specific art installation by Mariano Franzetti, crafted from recycled and regenerative denim. Conceived as an immersive experience, it brings fashion design, technological innovation and artistic expression into dialogue.
Water: a central issue in fashion sustainability
Developed in collaboration with Kering‘s Material Innovation Lab (MIL), the Denim Lab brings together a selection of young international designers invited to create a denim look using low-impact materials and processes. They benefit from technical support and access to textiles developed with innovative technologies aimed at significantly reducing water consumption, chemical use, and the carbon footprint of denim production.
This edition places water at its core, an essential issue for a fabric whose production has traditionally demanded substantial volumes of water, from cotton cultivation through to dyeing and finishing. Denim therefore serves as an emblematic testing ground, both familiar and closely associated with the environmental challenges facing the fashion industry.
Outfit created for the Denim Lab by designer Gisèle Ntsama, one of the participants – Maison Gisèle
The fabrics were developed by PureDenim Srl, a specialist in low-impact dyeing techniques, while treatments and finishes were applied by Tonello Srl, a recognised leader in sustainable washing and finishing technologies. The selected designers, from Europe, Asia, and Africa, each offer a distinctive interpretation of denim, blending formal exploration, textile innovation and reflection on the contemporary uses of clothing.