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JD Williams, Gok Wan unveil campaign to counter women’s midlife ‘invisibility’

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JD Williams and Gok Wan have launched an ‘Empowering SS25 Collection’ accompanied by a strong campaign targeting women in midlife.

That campaign, ‘We See You’, launches after a survey revealed 60% of women “feel invisible in midlife… especially while shopping for clothes or in social situations with younger generations”.
 
And the retailer and stylist add: “Midlife isn’t about slowing down or feeling apologetic for wanting to be seen – it’s about embracing a new chapter full of confidence, adventure, and self-assurance”.

Developed using insight “from hours of customer research, the campaign is a new, more confident expression of the brand’s midlife specialism”. 

The campaign “aims to shatter outdated stereotypes” and “celebrates the rebellious spirit, energy, and effortless style of midlife women, empowered, stylish, and unapologetically themselves”.

“Redefining the midlife dress code”, the collection features “vibrant swimwear, effortlessly chic tailoring, and stylish yet comfortable dresses” with options for every occasion” 

It will drop throughout April, May and June on jdwilliams.co.uk in sizes 8-32 and starting from £18 in price.
 
Esme Stone, head of Brand at JD Williams said: “For too long, midlife women have been overlooked by fashion brands and misrepresented by society. It’s time to flip the script.

“Midlife isn’t about slowing down or feeling apologetic for wanting to feel seen – it’s about embracing a new chapter full of confidence, adventure, and self-assurance. Our ‘We See You’ campaign is about celebrating and empowering women who are rewriting the rules and embracing this vibrant life stage with unapologetic style and strength.

Stone added: “Every piece has been curated to empower women to dress with confidence, embrace bold colours, and make a statement wherever they go.”

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LVMH finds making Louis Vuitton bags messy in Texas

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Reuters

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April 10, 2025

Six years ago, LVMH‘s billionaire CEO Bernard Arnault and President Donald Trump cut the blue ribbon on a factory in rural Texas that would make designer handbags for Louis Vuitton, one of the world’s best-known luxury brands.

Louis Vuitton – Fall-Winter2025 – 2026 – Womenswear – France – Paris – ©Launchmetrics/spotlight

But since the high-profile opening, the factory has faced a host of problems limiting production, 11 former Louis Vuitton employees told Reuters. The site has consistently ranked among the worst-performing for Louis Vuitton globally, “significantly” underperforming other facilities, according to three former Louis Vuitton workers and a senior industry source, who cited internal rankings shared with staff. 

The plant’s problems – which haven’t previously been reported – highlight the challenges for LVMH as it attempts to build its production footprint in the U.S. to avoid Trump’s threatened tariffs on European-made goods.

“The ramp-up was harder than we thought it would be, that’s true,” Ludovic Pauchard, Louis Vuitton’s industrial director, said in an interview on Friday in response to detailed questions about Reuters findings. 

The Texas site, situated on a 250-acre ranch, has struggled due to a lack of skilled leather workers able to produce at the brand’s quality standards, the three former workers told Reuters. “It took them years to start making the simple pockets of the Neverfull handbag,” one source familiar with operations at the plant said, referring to the classic Louis Vuitton shoulder tote bag.

Errors made during the cutting, preparation and assembly process led to the waste of as many as 40% of the leather hides, said one former employee with detailed knowledge of the factory’s performance. Industry-wide, typical waste rates for leather goods are generally 20%, a senior industry source said.

Several former employees who spoke to Reuters described a high pressure environment. To boost production numbers, supervisors routinely turned a blind eye toward methods to conceal defects, and in some cases encouraged them, four former employees told Reuters.

Pauchard acknowledged there had been such cases in the past, but said the issue had been resolved. “This dates back to 2018 and one particular manager who isn’t part of the company anymore,” he said.

Poorly-crafted handbags deemed unfit for sale are shredded on-site and carted away in trucks for incineration, two of the sources with knowledge of the firm’s supply chain said. 

A former production supervisor who often travelled to the site, said Louis Vuitton mostly used the Texas plant for less sophisticated handbag models, producing its most expensive products elsewhere. 

Pauchard, Louis Vuitton’s industrial director, said the company was being “patient” with “a young factory.”

“Any bag that goes out of it must be a Louis Vuitton bag, we make sure it meets exactly the same quality,” he said. “I am not aware of any kinds of issues suggesting the quality coming from Texas is any different from that coming from Europe.”

Perched behind a hill, the handbag maker’s two production facilities were built on grounds near grazing cattle and a gas well. Louis Vuitton named the site Rochambeau in tribute to a French general who fought in the Revolutionary War. 

Workers at the site make components and entire models of Louis Vuitton handbags like Felice pochettes and Metis bags – with “Made in USA” tags inside. The items sell for around $1,500 and $3,000 at high-end boutiques. 

LVMH declined to comment when asked which handbag models are fully or partially made in Texas but former workers interviewed by Reuters mentioned the Carryall, Keepall, Metis, Felice and Neverfull handbag lines among the plant’s products. 

In its marketing material, Louis Vuitton says its handbags – typically made at French, Spanish or Italian leather ateliers by artisans known as “petites mains” – are assembled using a process that it has perfected since the mid 19th century. After cutting canvas and leather using hand tools and laser-cutting machines, they stitch pieces together using industrial sewing machines.

Workers at the Texas facility, which includes dedicated floors for cutting and for assembly as well as a warehouse, were initially paid $13 per hour. As of 2024, base pay for a leather worker position at the plant was $17 per hour, according to two people who recently applied for positions. The minimum wage in Texas is $7.25 an hour. 

A former leather worker who arrived as a migrant in the U.S. some years before, said she felt proud when she was hired by the prestigious French brand, but said some workers struggled to meet the brand’s quality standards and production targets.

“We were under a lot of pressure to make the daily goals,” said the former worker, who left the factory at the end of 2019.

Another person who worked at the facility until 2023 said she cut corners, like using a hot pin to “melt” canvas and leather to conceal imperfections in a particularly difficult piece called the Vendome Opera Bag. 

Another former leather worker said they’d seen people melt material to hide holes or other imperfections in stitching.  

Damien Verbrigghe, Louis Vuitton’s international manufacturing director, conceded some at the Texas plant had chosen to change jobs or leave because of its stringent quality requirements.

“There are artisans that we hire, who we train and who, after several weeks, or months, realize in light of the expectations, the level of detail that is required, they would rather work in other fields like logistics,” he said. “Some people chose to leave us, because it’s true that it’s a job that requires a lot of savoir faire.”

Three former workers at the plant said they received between two and five weeks of training. A current Louis Vuitton employee in France said receiving just a few weeks of training wasn’t unusual as most learning happens on the production line supervised by more experienced craftspeople.

“Knowledge of sewing on leather/canvas is a plus, but not required. We offer comprehensive training,” the company said in a job posting for artisan positions in Alvarado published on its website in January. 

Verbrigghe said training in Texas is “exactly the same program that we have in all our workshops,” that is, six weeks on the training line, where new artisans do nothing but learn basic operations and skills before going on to train on the assembly line. There, he said, they are “accompanied and continuously mentored by trainers.” 

LVMH got a host of tax breaks and incentives from Johnson County, including a 10-year, 75% property tax cut, promising the company an estimated $29 million in savings. ”We look forward to serving this exceptional company,” wrote the county’s top executive, Roger Harmon, in 2017 correspondence seen by Reuters. 

In its 2017 application letter for the tax abatement, obtained by Reuters through records request, LVMH said it was aiming to hire 500 people within the first five years of the plan. At the ribbon-cutting ceremony in 2019, Arnault said, “We will create approximately 1,000 high-skilled jobs here at Rochambeau over the next five years.”

Three former staffers, however, said headcount stood at just under 300 workers in February 2025, a figure Verbrigghe confirmed.

The White House did not respond to a Reuters request for comment.

Pauchard said initial recruitment difficulties were largely due to the Covid-19 pandemic and the lockdown that followed, adding that a decline in local demand also played a role. 

Despite the problems, LVMH is planning to move even more jobs to Texas. LVMH said in its 2017 filing that its first Texas production facility would cost around $30 million. A second filing from 2022 to local authorities put the cost of its second workshop, completed last year, at $23.5 million.

At a town hall last fall, workers at one of two California production sites were told that it would close 2028 and they could move to Texas or quit, according to a former employee who was present.

Pauchard confirmed the town hall and said Louis Vuitton intended to streamline its California operations and transfer more skilled artisans to Texas – with so far limited success. Its executives, he said, “underestimated the fact that Texas is far away from California.” 

© Thomson Reuters 2025 All rights reserved.



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Cartier exhibition to bedazzle London crowds

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AFP

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April 10, 2025

A spellbinding exhibition of Cartier jewels, many never seen before in public, is opening in London tracing the history of the luxury French design house beloved by the rich and famous, from Queen Elizabeth II to Rihanna.

AFP

For the first time in three decades, the V&A museum is showing a retrospective of some of Cartier’s most iconic creations.

Founded in Paris almost 180 years ago, the company has pioneered and modernised the luxury jewellery market.

“We all think of Cartier as being this wonderful design epic and glamorous name, but it’s also because they are so good at creating something that is ahead of the times, but doesn’t go out of fashion,” said curator Helen Molesworth.

The exhibition opens on Saturday and is already sold out for April and May — but visitors have until November 16 to marvel at some 350 brooches, tiaras, necklaces and earrings festooned with diamonds, pearls and stunning jewels of all the colours of the rainbow.

The exhibition’s curators have brought together rare pieces from museums around the world, including from private collections such as items belonging to King Charles III and Monaco’s Prince Albert.

One of the masterpieces on display is the breathtaking Williamson pink diamond rose brooch, made for Queen Elizabeth in 1953, the year of her coronation.

It contains a 23-carat pink diamond — one of the rarest, most flawless in the world — presented to the queen as a gift on her wedding to Prince Philip.

Nearby is a tiara from 1902 set with 1,048 diamonds worn to the queen’s coronation by Clementine Churchill, the wife of the then prime minister Winston Churchill.

It was lent to singer Rihanna when she was photographed for the cover of W magazine in 2016.

There is also a sumptuous square-shaped diamond engagement ring, one of two offered to US actress Grace Kelly by Monaco’s Prince Rainier; and a diamond rose brooch worn by the queen’s sister, Princess Margaret.

“We wanted to showcase … the legacy of Cartier over a hundred years,” said Molesworth.

In one room, the curators have gathered a collection of 18 tiaras spanning from 1900 to the modern day — a grand finale to the dazzling display.

The design house was founded in Paris in 1847 when Louis-Francois Cartier took over the workshop of his master.

In 1898, his grandson Louis Cartier joined the brand, and was to play a pivotal role in Cartier’s evolution. And then in 1902, his brother Pierre, opened a branch in London.

“We see very early on, even in the beginning of the 1900s, that Cartier is really looking around for inspiration,” said Molesworth.

“We see inspirations from the Islamic world, from Egypt, from China, from India. The brothers … travelled. They went to Russia, they went to India,” she added.

Above all they managed to capture the changing moods of the times in which they lived.

After the stunning diamond necklaces of the Roaring Twenties came more sober gold bracelets, designed in the 1960s.

“One of the great successes of Cartier is staying ahead of the times, being the trendsetters, and realising that they are keeping up with the changing world around them,” the curator said.

During the war years, Cartier designed a brooch in 1942 of a caged bird to mark the Nazi occupation of France.

Following France’s liberation, the design was changed in 1944. Called “Free as a Bird” the brooch shows a chirping bird, bearing France’s distinctive red, white and blue colours, spreading its wings as it flies out of its cage.

The exhibition also wanted to explore the links between the French house and the British royal family, which dates back to the early 1900s.

In 1904, King Edward VII officially appointed Cartier as jewellers to the monarchy — a title which it retains to this day.

This includes the Halo Tiara ordered by Queen Elizabeth II’s father, George VI, for his wife the late queen mother.

Imbued with almost 800 diamonds, it was worn by Princess Margaret to the 1953 coronation of her sister Elizabeth and later to hold the veil of Kate Middleton on her marriage in 2011 to Prince William.

Copyright © 2025 AFP. All rights reserved. All information displayed in this section (dispatches, photographs, logos) are protected by intellectual property rights owned by Agence France-Presse. As a consequence you may not copy, reproduce, modify, transmit, publish, display or in any way commercially exploit any of the contents of this section without the prior written consent of Agence France-Presses.



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Miuccia Prada’s path from activist to top designer

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AFP

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April 10, 2025

As a student in the volatile May of 1968, Miuccia Prada took to the streets of Milan to demonstrate for women’s rights wearing an Yves Saint Laurent suit.

Miu Miu – Spring-Summer2025 – Womenswear – France – Paris – ©Launchmetrics/spotlight

Today, the 76-year-old reigns over a luxury goods empire worth more than five billion euros ($5.4 billion) a year, with her world about to expand further with the takeover of flamboyant rival Versace.

An avant-garde designer whose minimalist style belies its rebellious nature, Prada has imprinted her elegant and intellectual sensibility on the world of Italian fashion for decades.

As a young woman she wanted to become involved in politics, and took courses in mime and theatre.

But she shelved those dreams in the early 1970s to devote herself, along with her mother Luisa, to the leather goods boutique founded in 1913 by her grandfather, Mario Prada.

“In the 1970s, as a left-wing woman, I was ashamed to make handbags, and I was also ashamed because it was a profession that I liked very much,” she said in 2022.

Born in Milan on May 10, 1948, into a bourgeois Catholic family, Prada has become one of the wealthiest and most influential women in the world, with a fortune estimated by Forbes magazine at 5.8 billion dollars.

A political science graduate and feminist activist who frequented Communist circles, she eventually devoted herself body and soul to turning around the family business, which had lost its lustre after the death of her grandfather in 1958.

In 1977, Prada found a perfect partner in Patrizio Bertelli, a Tuscan leather manufacturer she met at the Milan leather goods fair.

He helped her boost the finances of the boutique, over which she took control in 1978.

Nine years later, the business partners married.

“He was the one who wanted to do something big. I told him I wasn’t ambitious. He replied: ‘You’re a monster of ambition’. He was right,” she said.

It was the starting point for Prada’s irresistible rise.

In the early 1980s, the designer broke new ground by creating a collection of black nylon bags with a silky effect, which became all the rage.

She would go on 40 years later to champion nylon thread made from recycled plastic recovered from the oceans.

The brand began growing, with boutiques springing up first in New York and Madrid, then London, Paris and Tokyo.

Ironically, her first women’s ready-to-wear show in Milan in 1988, all in black and white, was not well received, with critics considering it too austere.

But her minimalist luxury, with its clean lines and somber colours, eventually made its mark, winning over an international audience.

Federica Trotta Mureau, editor-in-chief of the Italian magazine Mia Le Journal, told AFP that in tapping her fascination with art, architecture and philosophy, Prada “created a free universe, a sort of experiment without rules… aimed at breaking the codes of fashion”.

Prada says she has long worn vintage garments, while speaking out against fast fashion, where quick production cycles churn out low-priced items that are often soon disposed of.

Her signature garment has always been the skirt, with its infinite variations.

Prada refuses to see women as “just beautiful figures”: “I don’t tend to make super sexy clothes. I try to be creative in a way that can be worn, that can be useful.”

A men’s collection was rolled out in 1993, the same year that saw the launch of the Miu Miu brand appealing to younger customers — and borrowing the designer’s nickname.

Sales of Miu Miu doubled in 2024, enabling Prada to weather the global luxury crisis unscathed.

Copyright © 2025 AFP. All rights reserved. All information displayed in this section (dispatches, photographs, logos) are protected by intellectual property rights owned by Agence France-Presse. As a consequence you may not copy, reproduce, modify, transmit, publish, display or in any way commercially exploit any of the contents of this section without the prior written consent of Agence France-Presses.



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