New Look has filed its accounts for the year to the end of March and they show both challenges and progress. The company — or New Look Retailers Limited to give it its official name — is reportedly up for sale. So what condition would any buyer find it in?
Photo: Sandra Halliday
Bearing in mind that the latest year was the 52 weeks to late March 2025, rather than 53 weeks in the prior year, it saw a revenue fall that was about more than just the loss of an extra trading week.
The company said that total revenue dropped to £687.7 million from £735.4 million due to “store closures and tough trading conditions”.
The gross margin fell to 48.1% from 48.7% due to higher levels of discounting, the overall challenging market and unseasonal weather.
Meanwhile the company’s adjusted EBITDA fell to £18.47 million from £46.65 million due to that reduction in sales and the increased promotional activity.
The operating loss was £47.6 million after a profit of £17.4 million on the same basis is the year before. The statutory loss before tax widen to £77.2 million from a £3.6 million loss the previous year, partly due to those lower sales but also increased admin expenses. They included the cost of liquidation of the Irish business (which added up to more than £40 million) and increased staff costs. Finance expense was also higher for the business.
The net loss for the period was also £77.2 million after a £3.7 million loss in the prior year.
But the company got a £30 million cash injection from its shareholders to accelerate its digital transformation during the period.
Other upbeat news during the year was that the company remains a key part of the UK womenswear retail scene (it was number three overall for womenswear in the 18 to 44 age range both online and offline). It also maintained its number one market share position in women’s dresses, jeans and footwear.
And its total known customers grew by 15% to 10 million with its CRM customer base growing 32% to 4.5 million.
It ended the year with 337 stores compared to 356 in the previous period.
CEO Helen Connolly told FashionNetwork.com: “The past year has been about sharpening our focus and strengthening our existing foundations. We have made deliberate choices to simplify the business and invest where we know we can win – in digital, data and customer experience.
“Moving through the festive season, we are seeing encouraging signs of momentum, with strong customer loyalty and engagement, along with an expanding digital base. We remain focused on our goal to double digital orders from £500m to £1bn by 2030. There is still more to do, but our direction is clear and our strategy is working. We are entering this next phase with confidence, discipline and a strong understanding of what matters most to our customers.”
As her upbeat stance suggests, the company has been putting a number of growth initiatives in place since the financial year ended and only last month named a new retail director responsible for the store estate and for implementing its omnichannel strategy across stores “to drive sales and enhance the customer experience”.
It also recently launched its first-ever loyalty programme, Club New Look; added all its major suppliers to the TrusTrace global platform to standardise its supply chain traceability and compliance data management; and got that big cash injection. The £30 million will be spent on its data, AI and e-commerce platforms “to enhance [the] seamless, personalised shopping experience for its 10 million customers”. As well as doubling digital orders from to £1 billion by 2030, it wants to grab a 10% online market share by FY28.
Hanna Andersson announced on Tuesday the appointment of Kacey Sharrett to the role of chief digital 0fficer at the premium children’s apparel brand.
Kacey Sharrett – Courtesy
In her new role, Sharrett will oversee the Portland, Oregon-based company’s digital ecosystem and customer experience, “leading strategies that strengthen acquisition, engagement, and loyalty as the brand continues to advance its digital capabilities,” according to a press release.
With nearly two decades of leadership experience across digital, direct-to-consumer, e-commerce, performance marketing, and omnichannel strategy, Sharrett most recently served as head of direct to consumer at GoPro, where she led global e-commerce and performance marketing initiatives.
Prior to that, Sharrett was vice president of e-commerce and digital 0perations at Barnes & Noble, after 15 years in leadership roles with Toys “R” Us and Babies “R” Us, developing operational and digital expertise.
“Kacey brings a powerful combination of strategic vision, digital depth, and operational leadership,” said Aimée Lapic, chief executive officer of Hanna Andersson.
“Her experience modernizing digital capabilities, developing high-performing teams, and driving performance marketing at scale will be invaluable as we continue advancing Hanna’s own digital foundation and unlocking new ways for customers to experience our brand.”
Founded in 1983, Hanna Andersson is known for its Swedish-inspired luxury kids clothes and pyjamas sets. In 2016, Private equity firm L Catterton acquired the premium children’s apparel and lifestyle brand.
Fabletics has launched its first-ever collection created in partnership with a professional athlete, unveiling an exclusive men’s line with American football star Ja’Marr Chase.
Fabletics launches first athlete-curated collection with Ja’Marr Chase. – Fabletics
The collaboration marks the brand’s debut athlete ambassadorship and signals a new phase in the evolution of Fabletics Men, which was introduced in 2020.
“In partnership with Ja’Marr, we’re ushering in a new era for Fabletics and how we disrupt men’s apparel,” said Fabletics co-founder Don Ressler. “This collaboration is about the intersection of peak performance, something that Ja’Marr embodies on and off the field, and unmistakable personal style. It’s a combination that, yet again, sets Fabletics apart from the pack – bringing bold confidence, unique innovation, and unmatched quality to the category.”
Branded with the tagline “Chasing No One,” the two-part collection draws inspiration from Chase’s lifestyle and is designed to support the modern man. The first drop includes core styles from Fabletics Men’s best-selling “The One” franchise, a natural link to Chase’s nickname, “Uno,” alongside limited-edition graphic T-shirts and hoodies co-created with the athlete. The collection also introduces DNA, a new Fabletics silhouette derived from the arch of the brand’s “F” logo.
In addition to new designs, the collection features several of Fabletics’ established men’s styles, such as The One Jogger and Short, the Effortless Tee, the Don Cruiser Jacket and the Convertible Travel Bag. Looking ahead, the second drop will debut GridTech, a new proprietary fabric developed to deliver warmth without added weight.
“As an athlete, what I wear is not only a reflection of my personal style, but a testament to the importance of how I move on the field, in the gym, and in all aspects of my life,” said Chase. “Fabletics has allowed me to create a collection that’s not only about looking bold 24/7, but how fashion and performance go hand-in-hand in helping build your confidence in being the best.”
Chase joins Kevin Hart as a leading figure for Fabletics Men, which has grown into a $300 million business since its launch.
The Calouste Gulbenkian Foundation (FCG), located next to Praça de Espanha in Lisbon, has announced that the exhibition entitled ‘Art and Fashion in the Gulbenkian Collection’ will open on April 18, presenting iconic and enigmatic works by Portuguese and international figures. Running until June 22 in the Main Gallery and closed only on Tuesdays, the exhibition “invites us to enter a space where art breathes fashion and fashion awakens art,” said the eponymous foundation, named after the Ottoman Armenian petroleum engineer and businessman who was born in Istanbul, Turkey, became a naturalised British citizen, and later settled in the Portuguese capital.
Gulbenkian.pt
Curated by Eloy Martínez de la Peña, the exhibition is accompanied by a catalogue illustrated with photographs by Jon Cazenave, shot exclusively for this project, which forms part of the FCG’s 70th anniversary celebrations.
“What links Vivienne Westwood to the French 18th century? Guo Pei to an Ancient Egyptian funerary mask? Balenciaga to an Assyrian bas-relief? Or Alexander McQueen and the House of Givenchy to Japanese prints?” read the foundation’s website.
“In a sensory experience, works from the Gulbenkian Collection are set in dialogue with leading figures in haute couture and contemporary design, revealing forms, symbols and gestures that transcend time,” it explained.
“Starting from Calouste Sarkis Gulbenkian’s (1869–1955) deep interest in art and fashion, the exhibition begins by showing how the Gulbenkian couple followed the trends of their time,” it continued.
“The richness and diversity of the Gulbenkian Collection — with works of art from Ancient Egypt to the 20th century — allow us to explore how recurring motifs in the history of art are taken up and reinterpreted by contemporary fashion, in national and international contexts.”
This is a journey through around 100 works from the Gulbenkian Museum, shown side by side with 140 garments by names such as Alexander McQueen, Balenciaga, Dior, Jean Paul Gaultier, Versace, Vivienne Westwood and Yves Saint Laurent, to name a few, not forgetting Portuguese designers such as Alves/Gonçalves, José António Tenente, Maria Gambina, Nuno Baltazar and Nuno Gama.
“Paintings, sculptures, jewellery and other objects enter into dialogue with fashion pieces that reinvent, narrate, decipher or complete them,” the exhibit website also stated. “These are unexpected encounters that show how the aesthetics, ideas and sensibilities that inhabit this Collection can illuminate the world of fashion.”
In short, it is an invitation to “understand how beauty travels through time”, via diaphanous couture gowns that reveal to the attentive eye what “texts do not always say: hierarchies, aspirations, social rituals, silences and revelations.”
“From classical painting to contemporary design, clothing becomes a mirror that shows that art and fashion have always shared the desire to narrate the human condition,” it concluded.