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Luxury: Technology is at the heart of strategy, yet remains marginal within executive committees

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September 24, 2025

A gap between perception and reality. In the luxury sector, the vast majority of chief executives (85%) regard technology as strategic, yet only 35% of CIOs sit on executive committees. This is one of the headline findings of the latest Bain & Co study, conducted with the Comité Colbert, which brings together around 80 French and international luxury houses, on technology investment in the luxury industry.

According to the study, CIOs in the luxury sector could see their budgets increase tenfold over the next 2 to 3 years. – Shutterstock

The study, based on a survey and discussions with executives from luxury groups and houses, provides a revealing snapshot of the growing importance of technology in the sector. The firm explains that it “conducted an in-depth analysis of the sector’s technological foundations and investment strategies.”

According to decision-makers, the European luxury sector “devotes an average of 3.1% of revenue to technology, but this amount can vary from 1.9% to 5.5%.”

Interestingly, the shares are similar for groups and SMEs. More than a third of respondents also believe they already have the technological capabilities required to deliver their strategy.

“The current context for luxury appears conducive to accelerating the sector’s technological transformation. The market slowdown is pushing leaders to optimise resource allocation across all activities, including the technology function. Meanwhile, the rise of artificial intelligence tools is paving the way for significant productivity gains across functions, in support of more disciplined growth,” said the report.

In practical terms, the more challenging period that groups and the sector are experiencing after exponential growth up to 2022 provides a rationale for accelerating the transformation of their model.

So, is luxury at the cutting edge of technological progress? Not quite. The value of this report lies in its granular look at these “tech” budgets and, above all, in comparing them with other sectors. These budgets encompass operating costs, capital expenditure (CapEx) and personnel costs.

Gucci – Cruise Collection2026 – Womenswear – Florence – ©Launchmetrics/spotlight

The study finds that the narrow gap between large groups and SMEs in the percentage of revenue invested “can be explained in part by the fact that the industry’s main players have grown through acquisitions, and may then struggle to realise synergies, given each brand’s identity and autonomy. Legacy technology systems, as well as the widespread use of often costly external service providers, can be additional brakes”.

While the luxury sector, with its deep culture of know-how, craftsmanship and exclusivity, embarked on its transformations relatively late compared with other industries, the cost of operating existing systems, referred to in the study as “run”, remains substantial.

“On average, the companies surveyed allocate 63% of their technology budget to ‘run’, compared with just 37% to ‘change’ initiatives. In other industries, the share of spending dedicated to modernisation projects tends to be higher, sometimes reaching almost 50%,” the report stated.

It follows that the luxury industry must invest in transformation to reduce costs progressively, by sharing solutions across different layers within groups to avoid duplication, or by bringing strategic technology capabilities in-house. While it appears certain that significant sums will be released (60% of players surveyed expect their technology expenditure to rise by more than 5% in value over the next 2 to 3 years, with 28% even anticipating an increase of more than 10%), the choices made about transformation investments will be strategically decisive.

The study highlights that top management has tended to approve transformation investments in technologies that deliver a direct and visible impact on the business. During the Covid-19 pandemic and lockdowns, brands accelerated these to develop new customer-relationship solutions. This accounts for 40% of their “change” budget, compared with 32% and 36% in the retail and consumer goods sectors respectively. By contrast, major investments in less visible but more fundamental tools for transforming corporate activities are more modest. Spending on data and artificial intelligence accounts for 21% of the budget, compared with 26% and 36% respectively in the consumer goods and retail sectors. The study suggests that organisational and “back-office” domains now attract the majority of projects and budgets.

These technology investments and the way priorities are managed are proving decisive in competition between luxury groups and their peers, as well as in attracting affluent consumers. Yet the challenges are varied. The sector still relies heavily on external service providers and sometimes entrusts strategic matters to third parties. This may be due to a lack of in-house expertise, but also to necessity: recruiting technology experts remains extremely challenging, and competition for talent is fierce across sectors.

Louis Vuitton – Spring-Summer2026 – Menswear – France – Paris – ©Launchmetrics/spotlight

The other major issue, subtly addressed by the study, concerns embedding a culture of technology.

“Closer collaboration between the CEO and the CIO can help luxury groups build competitive advantages, as the industry enters a new phase of technological maturity,” continued the report.

Technology experts, in fact, observe a major gap depending on the CEO’s level of engagement with transformation.

As with environmental transformation, technological change requires the support and clear vision of senior management. The delay in integrating specialists into executive committees (83% in the retail sector versus 35% in the luxury sector) reveals an often unspoken apprehension within groups. CIOs’ expectations also differ markedly depending on whether the CEO embraces technology or not. Overall, however, to deliver a strategy successfully they expect a clear roadmap and strong executive sponsorship for projects.

According to industry specialists, beyond hiring new talent, if luxury players are to address technology effectively, it is essential that a new generation of leaders comes to the fore. While building on their predecessors’ cultural legacy, craftsmanship and commitment to customer service, they will also need to be well versed in infrastructure, digital development and the judicious use of AI and data.

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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.

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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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