“Without delay”, “immediately”: European textile and clothing companies write in a joint letter to the European Commission that they “can no longer wait years for measures to be taken against ultra-fast fashion,” as reported by FashionNetwork.com.
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Fashion and textile industry players are growing impatient with the slow pace of legislative action in relation to Shein, Temu and AliExpress, major Asian e-commerce platforms accused of flooding the European market with cut-price, non-compliant products and of engaging in unfair competition, contributing to environmental pollution and relying on exploitative labour practices.
They called on the European Union to take “urgent action” against ultra-fast fashion, to stem the “unprecedented rise in textile waste” and “untenable pressure on European businesses”, noting in a letter seen by AFP that 4.5 billion parcels were imported in 2024 by “the largest third-country e-commerce platforms”.
For these federations, it is imperative to strengthen customs barriers, notably by implementing the reform of the EU Customs Code “immediately”, rather than in a few years’ time.
It provides for the removal of the customs duty exemption for goods valued at under €150, a measure from which the targeted e-commerce behemoths, which ship small parcels from China, currently benefit.
The signatories consider it necessary to speed up ongoing investigations into these platforms and, where necessary, impose “the most severe sanctions” provided for under European regulations. They also recommend introducing “fees on small parcels” and opening “a dialogue with the Chinese authorities.”
Finally, they say it is necessary to “require” these companies to “appoint representatives (…) so that they can be held legally accountable.”
“Act now”
These demands are supported by the representative body Euratex (the European Apparel and Textile Confederation), as well as numerous federations in several countries including France, Italy, Spain, Germany, Greece, Switzerland, Belgium and Portugal.
They will be brought to the attention of the European Commission via a letter signed on Tuesday at the Première Vision trade show in Paris (GL Events), which will then be forwarded to the Commission.
For several months now, Asian e-commerce platforms have faced a backlash from environmental and human rights associations, European companies and the authorities, resulting in investigations, heavy fines and proposed legislation to curb their growth.
These efforts are necessary but insufficient in the eyes of the signatories, for whom the EU has “both the means and the duty to act now”, said Euratex president Mario Jorge Machado in a statement sent to AFP.
“This is the first time that the European federations have agreed on a joint declaration,” said Pierre-François Le Louët, co-president of UFIMH.
This letter represents “the start of concrete action without going through the maze of European decision-making”, said UIT president Olivier Ducatillion.
At the end of August, the French government also wrote to the European Commission urging it to equip itself with “new delisting powers” for e-commerce platforms in breach of EU law, notably targeting Shein.
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On the occasion of the Contrastes programme, presented from December 1 to 31, 2025 at the Opéra national de Paris, Alainpaul unveils its first collaboration with choreographers Imre and Marne van Opstal. Their new piece, Drift Wood, offers an ideal canvas for exploring the relationship between body, material, and narrative, a space where costumes become integral to movement.
Alain Paul collaborates with Imre and Marne van Opstal – Benoîte Fanton
Inspired by the image of driftwood, shaped by time and carried by the currents, Alainpaul’s costumes give physical form to the tension at the heart of the piece: that which both opposes and binds conscious humanity to instinctive nature. Poised between fragility and resistance, the silhouettes move like a second skin, moulding to the dancers’ movements. This focus on texture and construction renders, in visual terms, the contradictions that course through Drift Wood, where bodies oscillate between self-control and impulse.
“A moment of fulfilment”
Conceived as a poetic diorama, the piece unfolds within a landscape shaped by the elements: sound, image, and movement interweave to explore vulnerability, connection, and ambiguity. In this floating world, the costumes play a central role. Rooted in Alainpaul’s signature sculptural clarity and fluidity, they amplify the emotional language imagined by the Van Opstal duo. For the house, this collaboration marks a powerful return to the stage, where clothing reconnects with its primary origin: gesture.
Drift Wood will be performed at the Paris Opera in December as part of the Contrastes programme. – Benoîte Fanton
“Collaborating with Imre and Marne, as well as with the Opéra national de Paris’s exceptional atelier, was an immense honour,” said Alain Paul, the house’s founder. “These are the first Alainpaul costumes created for a contemporary ballet, and we are deeply grateful for the trust placed in us for Drift Wood. We have forged a genuine dialogue between movement and the construction of the costumes. Having grown up in the world of dance, this project represents a moment of fulfilment and a profound way of uniting my two worlds.”
Alainpaul, a brand inspired by choreography
This creation forms part of Contrastes, a programme that brings together three choreographic worlds: two major works by Trisha Brown, the entry into the repertoire of David Dawson’s Anima Animus, and Drift Wood, the Van Opstals’ first piece for the Paris Opera. Together, these works explore the tensions and oppositions running through dance today, from minimalist radicalism to sculptural power.
Alain Paul’s work has always been influenced by choreography. – Benoîte Fanton
Founded on a choreographic approach to clothing, the house Alainpaul has, from the outset, drawn on the vocabulary of choreographers such as Pina Bausch and Merce Cunningham. Its pieces, with their experimental lines and sculptural silhouettes, reinterpret the dancer’s wardrobe within a timeless, urban aesthetic. With Drift Wood, this ambition takes on a new dimension: that of a garment fully animated by movement.
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Omnichannel rules! Expect hybrid shopping “to define Christmas spending this year” as 87% of UK consumers plan to shop both online and in-store for gifts this year.
Image: CACI
That’s according to data specialists CACI, who flip the data to show that just 7% intend to shop exclusively in-store, and only 6% plan to do all their shopping online.
Generational and gender differences, of course, come into play, revealing further nuances with 19% of male Gen Zers saying they intend to shop entirely online, compared with just 1% of females in the same age group.
At the other end of the spectrum, 13% of male and 7% of female Baby Boomers expect to purchase all their gifts in-store, “showing that physical retail remains more prominent among older shoppers”, although not in the numbers we might expect.
The report highlights that last year’s retail performance “further supports the advantage of having a strong multichannel presence” as brands that enabled both physical and digital buying behaviour, with seamless integration, personalisation, and strong app and online experiences, “had some of the biggest gains”.
CACI took Korean beauty retailer PureSeoul as an example: “Known for combining digital reach with selective in-person experiences, the… brand more than doubled its sales in December 2024 compared with the same month the year before (up 118%)”.
Meanwhile clothing/lifestyle giant Uniqlo reported a 22% year-on-year omnichannel increase in December 2024 sales.
Alex McCulloch, Director at CACI, said: “If we look at the data from last Christmas, and what we’re hearing from consumers now, it’s clear that the brands set to win this season are the ones that recognise the need for a true multichannel approach.
“Not just because it’s practical, but because physical stores help build loyalty that carries over to online. That loyalty is being reinforced even earlier, as more retailers turn their stores into experiential spaces – some operating almost like ‘clubhouses’ that create connection and community long before a purchase is made.”
OpenAI and Disney announced on Thursday that they have entered into a three-year licensing agreement that will enable the use of Disney’s characters on Sora, a platform for videos created with generative artificial intelligence (AI), a strong signal for the AI content ecosystem.
Disney and OpenAI announced their agreement on Thursday – Sora
Under the partnership, Disney will take a $1 billion equity stake in OpenAI and receive warrants enabling it to acquire additional shares in the company behind ChatGPT at a later date.
Launched at the end of September, Sora positions itself as a social network where only AI-generated videos can be published. The platform runs on OpenAI’s generative video model, Sora 2, successor to the original Sora model, whose generic name has been adopted for the app.
From the outset, Sora featured unauthorised content using brands, the likenesses of public figures, and visual worlds inspired by existing programmes, cartoons, films, and series. Many videos included characters directly inspired by those of Pixar, a Disney subsidiary, as well as several cartoons owned by the entertainment giant, such as ‘Family Guy.’
A few days later, Sam Altman indicated that OpenAI intended to offer rights holders greater control over the use of materials that are theoretically protected by intellectual property rights.
Under the collaboration unveiled on Thursday, Sora users will now be able to create videos drawing on a catalogue of more than 200 characters from the Disney, Marvel, Pixar, and Star Wars universes, according to a joint press release. However, these are limited to animated characters, masked characters or creatures, and do not include real human actors.
“Technological innovation has continually shaped the evolution of entertainment, bringing with it new ways to create and share great stories with the world,” said Robert A. Iger, CEO of The Walt Disney Company, in the release. “Rapid advances in artificial intelligence mark an important moment for our industry, and through this collaboration with OpenAI, we will thoughtfully and responsibly extend the reach of our stories through generative AI, while respecting and protecting creators and their works.”
The tie-up between the two groups goes beyond Sora, as Disney will become a “major customer” of OpenAI. The Burbank, California-based company will give its employees access to ChatGPT and use OpenAI’s models to “create new products, tools and experiences.”
For Sam Altman, also quoted in the press release, this agreement “shows that AI companies and content publishers can work together responsibly to promote innovation.” Sora and ChatGPT Images are expected to begin producing fan-inspired videos featuring Disney’s multi-brand licensed characters in early 2026.
With AFP
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