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Retailers lose online momentum as Shein, Temu and Vinted rise

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Nazia BIBI KEENOO

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September 15, 2025

As the price gap widens between the mid-market and entry-level segments, fashion retailers have seen their online sales decline since the start of the year, according to the retailer panel and consumer barometer published by the Institut Français de la Mode, which coincides with the release of France’s mid-year e-commerce figures.

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Fashion retail contracted by 0.9% over the first seven months of the year, with a 1.4% decline in physical retail not offset by 0.8% growth in online sales. This contrasts with 2024, when online fashion sales increased by 1.7% and physical sales declined by 0.7%, resulting in overall clothing retail growth of just 0.1%.

From the second half of 2021 to the first half of 2024, online clothing sales posted declines, which Fevad (the e-commerce federation) described as a “reflux” following the sharp accelerations of 2020 and 2021. Even so, between January and July 2025, online clothing sales were 9% higher than in the same period of 2019.

In 2025, IFM introduced a barometer that surveys 1,250 consumers representative of the French population each month. While this new tool cannot yet track changes in purchasing behavior, it provides a snapshot of the leading platforms as of the first half of 2025.

In volume terms, the French spent the most on Vinted (in-store or online) when buying clothing. The Lithuanian site ranks ahead of Kiabi, Amazon, Decathlon and Shein. It is followed by H&M, Galeries Lafayette, Bershka, Adidas, Carrefour, Intersport, E.Leclerc, Zara, Auchan and Temu.

“We can therefore see that sport, ultra-fast fashion and the major platforms are strongly represented in this ranking,” said Gildas Minvielle, director of IFM’s Economic Observatory. “This is also true of hypermarkets and supermarkets, which remain important even though their share of clothing sales is lower than it was twenty years ago.”

Widening price gap between players

The ranking is accompanied by average purchase price levels per platform, as reported by the consumers surveyed. Shein and Temu each average 9 euros, not far from Kiabi (13 euros), Vinted (14 euros) or hypermarkets such as Carrefour (16 euros) and E.Leclerc (17 euros).

IFM

Data from the retailer panel also show that mass-market chains (Kiabi, Gémo) proved more resilient in the first half (+0.6% and +10.7% online) than specialist chains such as H&M, Zara, Celio and others (-1% and -0.6% online).

“The gap between the mid-market and the entry level is widening,” summarized Gildas Minvielle. “And some long-established players are finding it very difficult to position themselves against an entry-level segment where prices are lower than before because of ultra-fast fashion and, in part, second-hand.”

IFM estimates that Shein and Temu now generate 16% of online fashion purchase volumes. The two Chinese ultra-low-price players also capture 5% of fashion purchases across all channels.

E-commerce, second-hand and promotions

When it comes to buying clothes, 30.7% of spending now takes place online. That level is close to the 34.9% spent during sales and promotional periods. In addition, 11.9% of fashion purchases are now made on second-hand sites.

IFM

These three purchasing modes nonetheless reveal in detail the marked disparities between generations. The share of online sales rises to 34.7% among 18-to 34-year-olds, compared with 22.5% among those aged 55 and older. Second-hand accounts for 17.8% of purchases by 18-24-year-olds, compared with 4.8% among those aged 55 and above.

And while the latter make 35.8% of their purchases during sales and promotions, that share falls to 31.9% among those aged 18-34. They are now more likely to spend online than to buy during discount periods. This trend may be further amplified by new players whose prices are already very low.

Most targeted site types

IFM figures also show that, for online fashion purchases alone, multibrand platforms such as Amazon and Zalando take 47% of the market. Brand and retailer sites are not far behind, capturing 35% of sales, compared with 18% for specialist second-hand platforms such as Vinted and Vestiaire Collective.

IFM

While men and women buy in equal proportion on multibrand platforms, the consumer survey shows that 21% of women’s purchases are made on second-hand platforms, compared with 15% for men, who direct 38% of their spending straight to brand and retailer sites. This suggests that female consumers are more comfortable with second-hand, but also that there is still potential in the men’s second-hand segment.

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Alainpaul and its costumes take to the stage with Drift Wood at the Paris Opera

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December 11, 2025

On the occasion of the Contrastes programme, presented from December 1 to 31, 2025 at the Opéra national de Paris, Alainpaul unveils its first collaboration with choreographers Imre and Marne van Opstal. Their new piece, Drift Wood, offers an ideal canvas for exploring the relationship between body, material, and narrative, a space where costumes become integral to movement.

Alain Paul collaborates with Imre and Marne van Opstal – Benoîte Fanton

Inspired by the image of driftwood, shaped by time and carried by the currents, Alainpaul’s costumes give physical form to the tension at the heart of the piece: that which both opposes and binds conscious humanity to instinctive nature. Poised between fragility and resistance, the silhouettes move like a second skin, moulding to the dancers’ movements. This focus on texture and construction renders, in visual terms, the contradictions that course through Drift Wood, where bodies oscillate between self-control and impulse.

“A moment of fulfilment”

Conceived as a poetic diorama, the piece unfolds within a landscape shaped by the elements: sound, image, and movement interweave to explore vulnerability, connection, and ambiguity. In this floating world, the costumes play a central role. Rooted in Alainpaul’s signature sculptural clarity and fluidity, they amplify the emotional language imagined by the Van Opstal duo. For the house, this collaboration marks a powerful return to the stage, where clothing reconnects with its primary origin: gesture.

Drift Wood will be performed at the Paris Opera in December as part of the Contrastes programme.
Drift Wood will be performed at the Paris Opera in December as part of the Contrastes programme. – Benoîte Fanton

“Collaborating with Imre and Marne, as well as with the Opéra national de Paris’s exceptional atelier, was an immense honour,” said Alain Paul, the house’s founder. “These are the first Alainpaul costumes created for a contemporary ballet, and we are deeply grateful for the trust placed in us for Drift Wood. We have forged a genuine dialogue between movement and the construction of the costumes. Having grown up in the world of dance, this project represents a moment of fulfilment and a profound way of uniting my two worlds.”

Alainpaul, a brand inspired by choreography

This creation forms part of Contrastes, a programme that brings together three choreographic worlds: two major works by Trisha Brown, the entry into the repertoire of David Dawson’s Anima Animus, and Drift Wood, the Van Opstals’ first piece for the Paris Opera. Together, these works explore the tensions and oppositions running through dance today, from minimalist radicalism to sculptural power.

Alain Paul's work has always been influenced by choreography.
Alain Paul’s work has always been influenced by choreography. – Benoîte Fanton

Founded on a choreographic approach to clothing, the house Alainpaul has, from the outset, drawn on the vocabulary of choreographers such as Pina Bausch and Merce Cunningham. Its pieces, with their experimental lines and sculptural silhouettes, reinterpret the dancer’s wardrobe within a timeless, urban aesthetic. With Drift Wood, this ambition takes on a new dimension: that of a garment fully animated by movement.

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Hybrid retail takes over Christmas as most shoppers go for in-store/online mix – CACI report

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December 11, 2025

Omnichannel rules! Expect hybrid shopping “to define Christmas spending this year” as 87% of UK consumers plan to shop both online and in-store for gifts this year.

Image: CACI

That’s according to data specialists CACI, who flip the data to show that just 7% intend to shop exclusively in-store, and only 6% plan to do all their shopping online.

Generational and gender differences, of course, come into play, revealing further nuances with 19% of male Gen Zers saying they intend to shop entirely online, compared with just 1% of females in the same age group.

At the other end of the spectrum, 13% of male and 7% of female Baby Boomers expect to purchase all their gifts in-store, “showing that physical retail remains more prominent among older shoppers”, although not in the numbers we might expect.

The report highlights that last year’s retail performance “further supports the advantage of having a strong multichannel presence” as brands that enabled both physical and digital buying behaviour, with seamless integration, personalisation, and strong app and online experiences, “had some of the biggest gains”.

CACI took Korean beauty retailer PureSeoul as an example: “Known for combining digital reach with selective in-person experiences, the… brand more than doubled its sales in December 2024 compared with the same month the year before (up 118%)”.

Meanwhile clothing/lifestyle giant Uniqlo reported a 22% year-on-year omnichannel increase in December 2024 sales.

Alex McCulloch, Director at CACI, said: “If we look at the data from last Christmas, and what we’re hearing from consumers now, it’s clear that the brands set to win this season are the ones that recognise the need for a true multichannel approach.

“Not just because it’s practical, but because physical stores help build loyalty that carries over to online. That loyalty is being reinforced even earlier, as more retailers turn their stores into experiential spaces – some operating almost like ‘clubhouses’ that create connection and community long before a purchase is made.”

 

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Disney invests $1 billion in OpenAI

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December 11, 2025

OpenAI and Disney announced on Thursday that they have entered into a three-year licensing agreement that will enable the use of Disney’s characters on Sora, a platform for videos created with generative artificial intelligence (AI), a strong signal for the AI content ecosystem.

Disney and OpenAI announced their agreement on Thursday – Sora

Under the partnership, Disney will take a $1 billion equity stake in OpenAI and receive warrants enabling it to acquire additional shares in the company behind ChatGPT at a later date.

Launched at the end of September, Sora positions itself as a social network where only AI-generated videos can be published. The platform runs on OpenAI’s generative video model, Sora 2, successor to the original Sora model, whose generic name has been adopted for the app.

From the outset, Sora featured unauthorised content using brands, the likenesses of public figures, and visual worlds inspired by existing programmes, cartoons, films, and series. Many videos included characters directly inspired by those of Pixar, a Disney subsidiary, as well as several cartoons owned by the entertainment giant, such as ‘Family Guy.’

A few days later, Sam Altman indicated that OpenAI intended to offer rights holders greater control over the use of materials that are theoretically protected by intellectual property rights.

Characters from Disney, Marvel, Pixar, and Star Wars

Under the collaboration unveiled on Thursday, Sora users will now be able to create videos drawing on a catalogue of more than 200 characters from the Disney, Marvel, Pixar, and Star Wars universes, according to a joint press release. However, these are limited to animated characters, masked characters or creatures, and do not include real human actors.

“Technological innovation has continually shaped the evolution of entertainment, bringing with it new ways to create and share great stories with the world,” said Robert A. Iger, CEO of The Walt Disney Company, in the release. “Rapid advances in artificial intelligence mark an important moment for our industry, and through this collaboration with OpenAI, we will thoughtfully and responsibly extend the reach of our stories through generative AI, while respecting and protecting creators and their works.”

The tie-up between the two groups goes beyond Sora, as Disney will become a “major customer” of OpenAI. The Burbank, California-based company will give its employees access to ChatGPT and use OpenAI’s models to “create new products, tools and experiences.”

For Sam Altman, also quoted in the press release, this agreement “shows that AI companies and content publishers can work together responsibly to promote innovation.” Sora and ChatGPT Images are expected to begin producing fan-inspired videos featuring Disney’s multi-brand licensed characters in early 2026.

With AFP

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