Based in Los Angeles, Guillermo Andrade, founder of the 424 brand, is now a benchmark in streetwear. The Guatemalan-born designer, who ran his first multi-store in Fairfax, opened his first 424 store at 8441 Melrose Place in February last year. The brand is now distributed in over 60 stores worldwide and is notably present at Printemps, Harrods, Nubian, GR8 and H.Lorenzo. On January 21, he will hold his first show during the Paris Fashion Week. FashionNetwork.com caught up with the designer.
Guillermo Andrade, founder of 424 – 424
FashionNetwork : On January 21, you’ll be holding your first show in Paris. How do you feel about it? Guillermo Andrade : I’m so excited. It’s gonna be a great moment for us. I’m from the Bay area. I grew up around nature, mountain and cliff sides. I’m more a granola hippie person than a rock star. So, the collection will be very Californian centric, more than LA centric. This collection sums up my experience of living in California. I have developed a lot of new things in terms of fabrics like this suede-corduroy leather. I will also be presenting a new collaboration with Los Angeles-based jewelry brand Hoorsenbuhs, around a 10-piece capsule. And I’ll also be revealing my collaboration with eyewear brand Dita. The vibe is gonna be sick.
FNW : As a tribute to your roots, you will be presenting your show at the Maison de l’Amérique Latine? G.A : La Maison de l’Amérique Latine was created in 1946 to connect the French with Latin Americans. Rooms pays homage to Guatemala, the country where I was born, but also Honduras, Costa Rica, Nicaragua and Salvador. It’s litterally a home for me. I’m preparing the models as we speak now, in the Guatemala room.
FNW : How did you get to the United States? G.A : I was born in Guatemala. My parents dreamed of a better life for themselves but also for their kids. They saved enough money for six or seven years, and brought us over to the States. I was 10 years old and I did all the journey. The journey that you see in all the movies. It’s kinda like watching the “Slumdog Millionaire” movie. You just can’t imagine that anyone’s life is really like that. But I did. We first set up in a small town in Marin County then moved to Richmond then to Petaluma. It was like moving from Little Mexico to the hoods of Richmond then Trump town. My life is full of contrasts. I go from one extreme to the other and I have lived in the middle my whole life.
Fall Winter collection – 424
FNW :How did you connect with fashion world? G.A : I still remember the first time I realized being a stylist was someone’s job. My heart was just completely broken into thousands of pieces. I realized that cool people needed a stylist to dress them. It sounded crazy to me. I don’t come from fashion. The question of a career in fashion never arose. My choice was limited to being a contractor or a criminal.
FNW : On the other hand, you have long cultivated a special relationship with clothing? G.A : Looking back, I’ve been cutting out all my clothes since I was a little kid. I’ve been making things at least my own, for as long as I can remember. People have always paid attention to that. They asked me where I got my clothes. In California, I quickly realized that rich people regularly threw away their clothes. So I rushed to thrift stores or goodwill stores to buy Paul Smith, Ralph Lauren, and Lacoste. It was like reaching to another world without really knowing why I was doing. I guess I was using the clothes to protect myself from being be called poor. It’s funny because when I wore my clothes, I became the rich kid.
FNW : Your 424 brand was born in 2015. How did it come about? G.A : It all started back in 2010, when I opened my first shop in Fairfax, at a time when streetwear was exploding. I stocked Martine Rose and Fear of God. All emerging streetwear brands usually ended up at my store. The 424 brand came because people pushed me to start one. I started with jewelry. I was not looking to make clothes on my own but I had always continue to make clothes for myself. Kids wanted the pieces I made and wore. In 2015, I started to sample my first capsule. At that time, I had a lot of respect for Rick Owens, Ann Demeulemeester, and Yohji Yamamoto. I could relate with their mood and fashion and their sense of depth.
424’s store is located at 8441 Melrose Place – 424
FNW : What did your first collection look like? G.A : My first collection was very much just a reflection of everything I was in love at that time. I replaced my wardrobe with that one capsule: a trench-coat, a skirpant, and regular trousers. It was not focused on making basics. I wanted a vibe and a look. I spent too much money and I learned a lot of lessons. And then I hit the road. We started with Magic and Project trade shows in Las Vegas and continued with Capsule trade show in New York and Paris. I brought my first capsule and my friend’s brands with me, including Rhude, Second/Layer and Midnight Studios. One day, a friend of mine based in Copenhagen asked me to share her booth at CIFF trade show, and we brought LA to Europe. It lasted four years. Everyone told us we were cool. It was pretty epic. That’s how I started wholesale. We delivered our first collection and we haven’t stopped since. I recently realized that I have already made 18 collections.
FNW : And today you have your own space on Melrose Place. G.A : Because of Covid, I had to close my shop on Fairfax. From 2020 to 2022, all I did was just investing the rest of my time, money, energy to focus on products. The essence of what Fairfax used to represent was no longer there. And I said to my new partners: “Melrose Place is the future!”. It was the time to go deeper. I wanted to create a place for all the kids who supported us on Fairfax. And you know what, they all came! The place was a storage unit in a building. I wanna be surrounded by earth. So we created a place with an earthy set design. The atmosphere is almost spiritual and I’m providing clothes where you can feel cool.
FNW : How do you produce your collections? G.A : At the moment, I do not buy one fabric. I make everything from scratch. I have developed all my own textiles, all my washes. The fabrics I use are a secret weapon to make my brand very unique. I believe in the essence of the product. I’ve heard that Bernard Arnault recognizes his Louis Vuitton bags just by smelling the fabrics. I really think the product never lies. It’s not about logo but about fabrics. All this costs money, of course. My products are not expensive products. They’re costly products. Being expensive means being overpriced.
FNW : I hear you dreamed of being a soccer player? G.A: I’m a soccer lover. For a long time I thought I was going to make a career in soccer. I had a long run with Adidas and I like playing between those two worlds, fashion and soccer. I’m so happy that FIFA Club World Cup and FIFA World Cup are taking place in Los Angeles. And I’ll be happy to take my father with me. Today, I want to forge real, honest partnerships. I suffered because I didn’t pursue a career in soccer. And I want to turn that into a positive project. I want protect the integrity of the game and the love of the game. I want to create opportunities for kids to change their life and make their dreams come true.
The world’s largest fashion retailer staged a stock-market comeback this week as Inditex SA’s push to differentiate itself from fierce ultra-low-price competition shows signs of bearing fruit.
Inside a Zara store – Zara
The owner of Zara, Bershka, and Massimo Dutti has seen its shares jump 14%, putting them on track for their best week in five years. Strong third-quarter results, coupled with accelerating November sales, were seen as evidence of the company’s resilience against weaker consumer sentiment.
This week’s surge put the stock on course for an annual gain, after what had previously looked like a lacklustre 2025. Inditex- whose second-largest market is the US- had been punished for its exposure to tariffs and a weaker greenback, amid concerns about softening consumer demand and intensifying competition from Chinese fast-fashion firms.
While its 10% rise this year trails the 50% jump for UK retailer Next Plc and the 19% gain at Sweden’s Hennes & Mauritz AB, Inditex is now outperforming the broader European retail sector. Analysts have welcomed the firm’s push to steer its Zara and Massimo Dutti brands further into the premium segment as it seeks to outmuscle competitors such as Shein and Temu. “The strategy is not to chase ultra-low prices, but to deliver premium-looking products at a good-value price point,” Alphavalue analyst Jie Zhang wrote in a note.
After this week’s rally, Inditex is trading at a substantially higher valuation than peers at 26 times forward earnings- on par with luxury behemoth LVMH. The firm’s strong third-quarter earnings reinforce “the quality of the business and will make investors question whether the right peer group for this company is luxury rather than retail in our view,” said Deutsche Bank AG analyst Adam Cochrane.
Inditex’s latest trading update spurred upward earnings revisions and price target upgrades, with more bullishness among brokers likely to follow, as the current consensus 12-month forward price target doesn’t leave any room for further upside. “These growth levels should provide reassurance of the continued opportunity for outperformance, including into 2026,” said JPMorgan & Chase Co. analyst Georgina Johanan.
A partnership between Agromethod Labs and CITEVE is advancing hydroponic cotton cultivation, a project that could make Portugal the only country in Europe to host the entire cotton value chain, from fibre to clothing.
Agromethod Labs was founded earlier this year with the mission of developing more sustainable, future-oriented agricultural solutions. Its founder, Raquel Maria, a chemist by training with a long track record in academic research, explains that the impetus to create thestart-upstemmed from a personal concern.
“Academia allows us to change the world on a small scale. I felt it was time to bring that knowledge into the real world and have a greater impact on future generations,” she told Portugal Têxtil.
Although Agromethod Labs works across several fields, cotton quickly stood out, building on previous research, notably by researcher Filipe Natálio, currently at the Applied Biomolecular Sciences Unit (UCIBIO) of the School of Science and Technology at Universidade Nova de Lisboa (NOVA FCT). “But we want to continue working on other types of crops and other seeds. Agromethod Labs is bigger than cotton,” she says.
Approaching CITEVE marked a turning point. According to the founder, the hydroponic cotton project “was very much on paper” and required initial investment and a solid technological partner. “CITEVE was decisive. It came along at the right time and finally gave us the opportunity to get started with something that we had already thought about extensively, but which was not yet in a position to move forward,” she says.
The collaboration has made it possible to implement a functional mini pilot, already with measurable results, and to prepare the next phase: a larger-scale pilot that will incorporate vertical farming to maximise the production area.
Advantages and challenges
Hydroponic cultivation offers significant advantages, notes Raquel Maria. “We can grow anywhere in the world, without reliance on sunlight and without geographical limitations,” she explains. It also enables continuous production. “We are no longer limited to a single annual harvest. We can get three or four harvests a year,” she says.
Early results also show improvements in the fibre. “We have obtained cotton with better mechanical properties and greater whiteness, which can reduce some stages in textile processing,” says Raquel Maria.
Even so, the founder of Agromethod Labs recognises that there are challenges, particularly in terms of costs, since this cultivation technique is more expensive. However, incorporating vertical farming in the new pilot could help. “If we double the production area, we can get closer to the economic viability we want,” she believes. Considering the higher costs and added value of the fibre, the raw material produced “in the initial phase will be directed to specialised markets,” she says.
The small-scale production carried out in a room at CITEVE has already made it possible to produce yarn from hydroponic cotton. The next symbolic goal will be “to make a T-shirt and be able to say that it was made with cotton produced in Portugal would be wonderful,” confesses Raquel Maria.
With expansion planned for the next six months, the aim will be to significantly increase production and take an important step closer to the market. According to the founder of Agromethod Labs, the Portuguese textile industry has already started to show enthusiasm. “There have been several expressions of interest. We are completely open to collaborating with Portuguese companies,” she says.
However, the ambition goes beyond fibre production. “Portugal could be the only country in Europe to have the entire value chain- from raw material to end product- in a single territory. That would be a milestone for the country,” concludes Raquel Maria.
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Dancing in the Clouds: the 2026 colour designated by the Pantone Color Institute is Pantone 11-4201 Cloud Dancer: “A neutral shade of white that fosters calm, clarity, and a creative breathing space in a world full of noise.”
Pantone 2026
Pantone’s website crashed as the countdown ended, while the announcement on social media showed a woman dressed in white, gazing dreamily at a cloud-filled sky.
Since 1999, beginning with Cerulean Blue, Pantone’s global experts have been naming the Color of the Year, the shade they believe will become prevalent across fashion, food, design, and entertainment; in 2026, that mantle falls to Cloud Dancer.
Cloud Dancer is a blank canvas on which to begin anew, explained Leatrice Eiseman, executive director of the Pantone Color Institute: “An invitation to open new paths and new ways of thinking.”
The mood is clearly one of serenity and an invitation to open new chapters; the election in New York of the young mayor Zohran Mamdani could be an example of this new philosophy. And yet, given the recent political climate in the US under Donald Trump, some, such as New York Times fashion editor Vanessa Friedman, have raised the possibility of MAGA and anti-DEI instrumentalisation, since the white of 2026 has ‘wiped out’ the 2025 colour, Mocha Mousse, a light brown between cappuccino and chocolate.
“Skin tones did not influence this at all,” Laurie Pressman, president of the Pantone Institute, was quick to point out, noting that Pantone has already received similar questions about other recent choices. “With Peach Fuzz in 2024 and then with Mocha Mousse 2025, we were asked whether the choice had anything to do with race or ethnicity. That’s not how it works. We try to understand what people are looking for and which colour can hopefully provide an answer.” And so Pressman invites us to look beyond metaphors: “It’s a softer white,” she said, describing the hue. “It isn’t a pure white, it isn’t a technical white, it isn’t that optically very bright white that, if we think back to the post-Covid period, people were seeking. This is deliberately an unbleached white, a very natural-looking white.”
Meanwhile, the launch of Cloud Dancer has attracted a host of brands eager to keep pace: Hasbro’s Play-Doh has created a tub of Play-Doh in this hue, while Post-it has released pads in the same shade as part of its Neutrality Collection; and the Mandarin Oriental luxury hotel chain will centre its afternoon tea and spa experiences on this minimalist colour. Spotify has also come on board, in its first collaboration with Pantone, creating a multisensory experience that translates “the emotion of colour” into sound through personalised playlists.
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