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India’s quiet deregulation is a relief to its friends

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Bloomberg

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December 1, 2025

About a decade ago, the Indian government quietly turned protectionist. But now, there are some signs of a rethink — particularly on insidious non-tariff barriers that had hurt not just foreign companies, but consumers and exporters. 

Bloomberg

After Prime Minister Narendra Modi took office, the finance ministers he appointed tended to raise tariff rates marginally every year, reversing a decades-long trend toward greater openness. That became increasingly difficult to do under the radar, given protests from various trading partners. And so new regulations that targeted imports were introduced: Quality Control Orders, or QCOs. Over the last month, however, some of these rules have unexpectedly been withdrawn.

The idea behind them was deceptively simple. The government argued that, since it was facing a flood of imports from China, it needed to ensure that these were of sufficient quality to meet Indian standards. Importers should thus demonstrate that every shipment they brought in qualified under domestic rules.

In effect, this led to a free-for-all. In barely more than a year, 800 or so new rules were issued, and the minister in charge suggested he wanted to take the number up to 2,500. Bureaucrats in multiple ministries were encouraged to come up with arbitrary definitions for products, and apply unpredictable and novel standards to each of these.

This caused chaos in the real world. Shippers sometimes didn’t know which particular set of rules applied to a particular batch of imports — and neither did port officials. Compliance costs went through the roof, especially for smaller companies.

Every now and then, politicians have to relearn a basic lesson: The state can’t be trusted to regulate with a light touch. If officials are given an interventionist inch, they will take a dirigiste mile. That’s what happened with QCOs: Outsiders struggled to see whether there was a coherent pattern to how these barriers were being put up and why. And if the bureaucrats in charge knew, they weren’t telling.

For India’s trade partners — including the US and the European Union, both of which are trying to close a deal with New Delhi — regulations like these are exhausting. They raise the bar for what any agreement would require, and they make it seem like Indian official-dom is unreliable and uncommitted to giving foreign companies a level playing field. Multinational executives struggle to justify an India strategy to their boards and shareholders when unexpected policy shifts make the entire market look riskier than it is.

The government, which fears nothing more than appearing weak, tends not to reverse course on policies — even when there’s ample evidence they’re going wrong. That’s why its both a surprise and a relief that some of these protectionist regulations are now being rolled back.

That’s partly thanks to a committee under Rajiv Gauba, who until recently was India’s top bureaucrat. Charged with identifying how domestic producers could continue to thrive in an age defined by President Donald Trump’s tariffs, Gauba appears to have zeroed in on the new quality norms as a big part of the problem. Several ministries have now started rolling back their directives; the steel ministry, for example, has already withdrawn more than one-third of its 151 QCOs.

The focus is, for now, on intermediate inputs like minerals and polymers. An inability to import these raised costs for small producers in sectors such as textiles — precisely those that are also likely to suffer if the 50% tariffs that Trump imposed in India stay in place.

But it shouldn’t stop there. The rollbacks should be extended to the things normal people buy as well. India’s citizens also need advocates in New Delhi. Gauba may have fought back against protectionist companies and officials on behalf of thousands of smaller businesses, but someone should do the same for consumers. That’s a politician’s job: Keeping an eye on what their voters are buying, and ensuring that those stay affordable.

Some officials still defend their over-reach, arguing that people need to be protected against sub-standard products. Let’s take them at their word. If the government is really concerned about China’s lax regulatory environment, it can instead impose specific conditions — for example, that goods that had cleared the far more stringent quality checks in the EU or Japan would be exempt from any future QCOs.

It certainly needs to be more transparent about which particular goods are being regulated, and why — and allow time for public consultation and for importers to prepare. The arbitrariness, unfairness, and unpredictability of this regulatory regime is even more disturbing than its existence.

Politicians should remember that nobody in the country was blaming them for the availability of the occasional sub-standard product. But they will certainly blame New Delhi if ham-fisted trade barriers raise prices. Nobody in the world is as cost-sensitive as an Indian e-commerce addict, and there are hundreds of millions of us. 



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Following the Far East, Testoni turns to Europe, focuses on the US and Middle East

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January 21, 2026

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
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, 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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Jaden Smith dreams up a Dadaist debut at Christian Louboutin

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January 21, 2026

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
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
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.

Copyright © 2026 FashionNetwork.com All rights reserved.



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The Denim Lab project examines the environmental impact of denim at Milan Fashion Week

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January 21, 2026

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
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.

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Copyright © 2026 FashionNetwork.com All rights reserved.



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