Federico Marchetti, the founder of YooxNet-a-Porter Group, owned by Mytheresa, and now Chair of King Charles III’s Sustainable Markets Initiative’s Fashion Task Force, is sharing his rags-to-riches story from a small town in Italy to establishing one of fashion’s first and most disruptive online empires in his revealing new memoir, ‘The Geek of Chic‘(Post Hill Press), coming out September 9, with a foreword by Giorgio Armani.
Federico Marchetti, founder of Yook Net-A-Porter Group, his launching is memoir, The Geek of Chic, on September 9 – DR
FashionNetwork.com: Living the ‘American Dream’ has been important to you for a long time. What fueled this dream?
Federico Marchetti: From the time I was a child selling Mickey Mouse comics on the beaches of Ravenna, I was fascinated by the idea of America. To me, it represented speed, energy, and freedom, values that contrasted with the quieter rhythm of provincial Italy. Later, when I studied at Columbia University, I experienced firsthand the adrenaline of New York and the optimism that anything was possible. The American Dream, for me, was never just about material success; it was about daring to invent something new, to rewrite the rules. But I wanted to live that dream through my own Italian lens, rooted in beauty, culture, and craftsmanship. The fusion of American innovation and Italian sensibility became my guiding compass.
FNW: As you state in your memoir, you were the second son who was part of “a complicated family”. Would you share with us some of the childhood obstacles you had to overcome?
F.M.: I was the second son in what I describe as a “complicated family.” My father was intelligent but bipolar, my mother a heroine who held everything together with discipline and faith. We lived modestly, in a small apartment where I shared a corner of my parents’ bedroom until I was thirteen. There was conflict, but also resilience. Those years taught me two essential lessons: the power of imagination as a refuge, and the strength to reinvent myself when reality seemed limiting. These obstacles made me stronger but more importantly, allowed me to dream the impossible, and ultimately to create something that didn’t exist before.
FNW: What was your relationship with fashion and the fashion industry before you created Yoox?
F.M.: Before Yoox, I wasn’t part of the fashion establishment, but I was a fascinated outsider. I loved design, beauty, and craftsmanship – all deeply Italian values – yet I was equally obsessed with technology and the possibilities of the Internet as a customer rather than a programmer. The marriage of the two was not obvious in the late 1990’s; in fact, the fashion world was highly skeptical of e-commerce. My advantage was that I was not bound by old rules. I could look at fashion with fresh eyes and imagine how technology could enhance it, rather than diminish its aura.
FNW: You launched Yoox shortly after the explosion of the Internet. Can we say it was revolutionary at the time?
F.M.: When I launched Yoox on the spring equinox of 2000, selling fashion online was still considered almost science fiction. Amazon didn’t work with luxury brands, and many maison’s considered the Internet too transactional. My vision was to create not just a shop but an “entertailer”, a combination of entertainment and e-tailer, a location where technology served beauty, and where that sense. Yoox was revolutionary: it opened a new chapter in how fashion could meet its audience.
Giorgio Armani and Federico Marchetti – DR
FNW: You mention astral references. Did the stars and natural elements matter in building your company?
F.M.: I’ve always maintained timing and natural cycles matter. Founding Yoox on the spring equinox was symbolic as a new beginning. Business, like life, requires the correct moment to flourish.
FNW: Your book features a foreword by Giorgio Armani. What was your relationship with him?
F.M.: Giorgio Armani was both a mentor and I sit in his board as the only non-family member. I deeply admired his clarity of vision, his independence, and his relentless pursuit of timeless elegance. His foreword to my book is not just an honor – it’s a reflection of a bond built on shared values: discipline, courage, and loyalty. Armani’s career is a lesson in how one can build a global empire while staying true to one’s essence.
FNW: The subtitle of your book is ‘An American Dream, An Italian style’. How would you summarize this unique Italian sensibility?
F.M.: Italian sensibility is about merging form and function, beauty with logic, and reason with passion. For example, mosaics in Ravenna and Renaissance perspective; but also, Ferrari engines crafted with precision and a warm technology. This sensibility influenced the way I built my American Dream: I combined U.S. innovation with the poetry of Italian culture. That hybrid identity gave Yoox its unique personality and continues to guide my life today.
FNW: You taught courses on sustainability in Milan and accepted King Charles III’s invitation to lead The Sustainable Markets Initiative Fashion Task Force. What exactly is that initiative you are leading?
F.M.: The Sustainable Markets Initiative Fashion Task Force, which I lead under the guidance of King Charles III, brings together some of the most influential leaders in fashion from Brunello Cucinelli to Prada accelerating sustainability across the industry through innovative projects. We turn commitments into action; regenerative agriculture, digital passport, circular design. The future of luxury is inseparable from responsibility.
The Geek of Chic, An American Dream Italian Style, the new memoir by Federico Marchetti – DR
FNW: In general, is sustainability an idea that became a requirement for brands today?
F.M.: Sustainability has shifted from “nice to have” to an absolute requirement, beauty with a purpose. Customers demand it, regulators enforce it, and future generations deserve it. But beyond necessity, I see it as an opportunity for creativity. The greatest design challenge today is not just aesthetic but ecological: how to make beauty sustainable. That challenge will define the winners of tomorrow, from the survival of the species to the survival of the greenest.
FNW: You have always shown a particular interest in innovation and technology. How will AI impact the fashion industry tomorrow?
F.M.: AI will change fashion in profound ways. On one level, it will improve efficiency: forecasting demand, reducing waste, personalizing customer experiences. AI can be a tool to amplify human imagination, but it must never replace it. The soul of fashion is human – the hand of a craftsman, the intuition of a designer. Technology should be a brush, not the artist.
FNW: Which companies and brands are you watching and applaud?
F.M.: I admire brands that combine heritage with innovation. Companies like Prada, which as invested in recycled materials; Giorgio Armani, which has developed innovative regenerative projects in the south of Italy; and small designers like Stella Jean, who dare to experiment with sustainability and new languages of beauty.
FNW: What are the three key pieces of advice you would give to a young entrepreneur who wants to get started in fashion?
F.M.: Invent something new in the intersection between sustainability and innovation as it remains an untapped area. Don’t copy anybody else because you will always be late, success requires the first mover advantage. Work, and delegate with people smarter than yourself, a company should be a constant learning curve, and share with them the upside.
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.”
This article is an automatic translation. Click here to read the original article.
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.