Fashion
Ghd CEO Temmerman: ‘We will double our investment over the next three years’
Published
September 15, 2025
Ghd, the king of hair styling and a fixture backstage at the world’smost important fashion shows, is ramping up innovation with a new line of cutting-edge tools and plans to double its investment in research and development over the next three years.
FashionNetwork.com caught up with CEO Jeroen Temmerman to talk about the ambitious growth plans of the British beauty-tech brand, part of beauty giant Wella Company.
FashionNetwork.com: What does the development plan include?
Jeroen Temmerman: The goal is to broaden the product range and strengthen the commitment to developing cutting-edge beauty-tech solutions. Growth will continue to sustain the current positive momentum and accelerate development internationally and across Europe. We will continue to invest and innovate in hair straighteners with the aim of maintaining our global leadership. We are the number one hair straightener brand in the UK, but also one of the market leaders in many of the major European markets, such as the UK, Germany, France, Italy and Spain.
FN: How have you achieved this result?
J.T.:Over the past four years, our investment in research and development has almost doubled. Continuous innovation has played a key role in the brand’s growth in recent years. The R&D division is a strategic priority for the company, with more than 100 engineers focused exclusively on hair care at our Cambridge laboratory.
FN: What is the latest innovation to come out of Ghd?
J.T.: In 2024, we launched the Chronos straightener, the result of more than 20 years of research and expertise in heat styling. The straightener delivers styling three times faster without extreme heat damage. In August, we released the new Chronos Curve collection comprising four professional curling tools. We have integrated artificial intelligence to showcase all the possible styles, helping consumers choose the most suitable tool.
FN: Where will we see the new straighteners?
J.T.: The range is available globally through the brand’s salon network, in department stores and on Ghd’s e-commerce site. It will also be featured backstage at the September fashion weeks. We have a long-standing global partnership with Victoria Beckham and this year we will be the exclusive backstage partner at her fashion show, supplying our tools. In Milan, we have collaborations with brands such as Missoni, Cavalli and Max Mara, which help to build our brand awareness.
FN: How are you distributed?
J.T.:Today we are present in more than 30 countries, and international expansion is a strategic priority. Salons are a growth engine and a key channel for the brand. In Italy, we count on a loyal network of nearly 10,000 salon clients, of which 2,500 are part of the premium partnership programme that is accelerating growth in this channel.
FN: How important is the Italian market to Ghd?
J.T.: Italy remains one of the most dynamic and high-performing markets in Europe, with steady growth and a solid market share. We entered the country in 2004 and recent results have been very positive. We look forward to financial year 2025 with confidence. Italian consumers demonstrate a strong passion for beauty and a preference for premium products. When they choose tools, they lean towards our most advanced solutions, seeking the best technologies.
FN: What are your growth forecasts?
J.T.: Technological innovation continues to be a key driver of business performance and has helped fuel our growth in the category. With a strategic focus on international expansion and innovation, we are well positioned to maintain momentum and accelerate growth in the coming year.
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Copyright © 2025 FashionNetwork.com All rights reserved.
Published
December 11, 2025
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.
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.
“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.
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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Copyright © 2025 FashionNetwork.com All rights reserved.
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