Tariffs imposed by the Trump administration will not eject fast-fashion juggernaut Shein from the US market, its executive chairman, Donald Tang, has told AFP.
Shein says US tariffs won’t slow fast-fashion surge. – Shein
The head of the online platform, which has faced scrutiny over its environmental footprint and allegations of human rights violations, also insisted that the company does not use forced labor.
Customers not affected
“We’re not focusing on customs policy,” Tang said about the new US import levies during a visit to France this week.
“We will find a way to deliver the goods,” he added, saying that Shein’s “business model” had seen the company through other global trade upsets like the coronavirus pandemic.
This time, however, China is directly in Washington’s crosshairs, with 20% additional tariffs levied on imported products.
The Trump administration has also questioned whether imported packages worth less than $800 will continue to enjoy duty-free status.
Shein—a firm founded in China but now headquartered in Singapore—and Temu have taken advantage of that practice for years to send tens of billions of dollars worth of products into the US from their network of Chinese factories.
Tang said that whatever happens, “we will do our best to make sure the customers’ interest and experience are not affected”—without detailing any specifics.
No forced labor
Like other major players in the textile sector, Shein has faced regular allegations of exploiting members of the Uighur minority in the cotton fields and factories of the western Chinese province of Xinjiang.
Tang told AFP that the policy on forced labor is zero tolerance. We don’t tolerate it at all, no questions asked.”
He added that the company had a code of conduct “totally, 100% aligned with the International Labour Organization Convention” that it required suppliers to sign.
Once deals are in place, “we have internationally renowned auditors come into the factories with unannounced visits,” Tang said.
David Hachfeld of the campaign group Public Eye, which has published an investigation into Shein, said the group’s measures were insufficient.
“In manufacturing, 75 hours a week was typical for most workers,” Hachfeld said, with “one and a half free days per month.”
Amnesty International has also called for Shein to be more transparent.
The campaign group has argued that any company operating in Xinjiang should set up human rights checks.
“If Shein has not undertaken this crucial step, it should pause its operations in Xinjiang,” Amnesty emailed AFP.
“Conversely, if the company is confident it has eliminated such risks, it should publicly disclose how this has been verified.”
Market flotation
Many investors expect Shein to float on a significant global stock market sometime this year, with London as the most likely venue.
But Tang did not give away any hints about the plans—beyond saying that a listing would reinforce trust.
“We wanted to embrace the universal mechanism for accountability and transparency, to have transparency as a requirement, not optionality,” he told AFP, hoping to stoke “public trust, which is crucial for our long-term growth.”
In January, the head of the British Parliament’s Business and Trade Committee said he and other members were “horrified” by Shein’s lack of transparency about where its products come from.
Tang said that the company has since responded to MPs’ questions.
The brand recently announced it will invest 200 million euros ($220 million) in European circular economy and recycling projects to polish its image.
“We have been meeting different companies in Paris and other cities in France and talking to the technology leaders” in the sector, Tang said—without naming the prospective partners.
Shein will likely face a hard sell regarding European environmental groups.
Friends of the Earth calculated in 2023 that Shein’s operations—which, on average, add around 7,200 new items for sale daily—emit “between 15,000 and 20,000 tonnes of carbon dioxide” every 24 hours.
The European Union and individual countries, including France, are already weighing regulations to limit waste from fast-fashion giants.
The ever-flamboyant Donatella Versace, who is set to step down as artistic director of the Milanese fashion house founded by her late brother Gianni at the end of March, has spent decades keeping the brand at the pinnacle of glamor and opulence.
Donatella Versace – AFP
For many, Versace is synonymous with bold, provocative fashion—much like Donatella herself, the younger sister of Gianni, who launched the Medusa-head label in 1978.
Yet industry insiders know there’s more to the story. Versace, which remained a family-run business until 2018, was built on technical prowess and craftsmanship. Despite years of uncertainty, Donatella’s vision and resilience helped keep the brand relevant.
She inherited the creative reins under tragic circumstances following the 1997 murder of Gianni outside his lavish Miami villa. And for years, she struggled to step out of his shadow.
At once charismatic and distant, confident yet deeply self-conscious, the designer—recognizable by her smoky eyes and signature platinum hair—embodied power while privately battling imposter syndrome.
“For a long time, I felt like I was only here because of a tragedy, not because I deserved it,” she once admitted in her unmistakable nasal voice. “I would have much rather had him alive and still been working alongside him.”
Born on May 2, 1955, in Reggio Calabria, at the southern tip of Italy, Donatella grew up in the shadow of her older brothers, Santo and Gianni. Their mother owned a small dressmaking shop, and from an early age, Donatella—who dyed her hair blonde as a teenager—became Gianni’s muse.
She followed him to Florence to study fashion and later to Milan, where he began making a name for himself. As his self-proclaimed “muse and advisor,” she played an instrumental role in shaping Versace’s signature baroque-meets-sensuality aesthetic.
Draped in leather and teetering on sky-high stilettos, Donatella was not just a creative force but also a master of image-making. A Hollywood insider before it was the norm, she was among the first designers to tap celebrities as brand ambassadors, casting Madonna, Prince, and Elton John in her campaigns.
She also understood the power of top photographers (Avedon, Steven Meisel) and the new generation of supermodels, signing Naomi Campbell, Claudia Schiffer, and Carla Bruni. “These new models changed fashion and became part of the Versace family,” she explained in a documentary by Loïc Prigent.
Known for surrounding herself with beautiful men, she married Versace model Paul Beck in 1983, with whom she had two children, Allegra and Daniel—both adored by their uncle Gianni.
Fashion as a weapon
Gianni’s murder at the hands of a mentally unstable man marked the end of Versace’s golden age. In his will, he left 20% of the company to Donatella, 30% to Santo, and the remaining 50% to Allegra.
Thrust into the creative director role, Donatella struggled to find her footing. While she had previously overseen Versace’s advertising campaigns and the Versus line, she had never been at the helm of the house.
The industry wasn’t kind. Lacking confidence, she spiraled into depression, and the brand suffered alongside her. While other luxury houses expanded globally, Versace’s revenue plummeted—from $1 billion in 1996 to less than half that by 2009.
The tabloids reveled in her dramatic plastic surgery transformations and her daughter Allegra’s battle with anorexia. Donatella’s own struggles with cocaine addiction culminated in an intervention staged by her friends, leading to a stint in rehab in 2004.
The turning point came in 2009 with the arrival of CEO Gian Giacomo Ferraris. Under his leadership, Versace diversified—expanding into hospitality, watches, and fragrance—and made a bold return to haute couture with daring statement-making designs.
Now sober, Donatella learned to embrace her past. She owned her mistakes, leaned into her survivor status, and even joked about her signature armor-like looks, saying they made her feel invincible. Her close friend Lady Gaga even dedicated a song to her, playfully mocking public perceptions.
“Versace will always be Versace: glamorous, sexy, and unapologetically luxurious,” she told “Libération.” “I never considered an alternative or thought about a Plan B. My entire life has revolved around fashion and Versace.”
Approaching 70, Donatella isn’t walking away just yet. Starting April 1, she will take on the role of Versace’s chief ambassador, overseeing the brand’s philanthropic initiatives.
The fashion weeks held in New York, London, Milan and Paris from February 6 to March 11 for the Fall/Winter 2025-26 women’s ready-to-wear collections heralded a return to more commanding, creative fashion, gradually eclipsing understated luxury. The collections showcased two underlying trends, often combining them to redefine femininity.
On the one hand, a powerful, free and independent woman, evident in the office looks, the broad-shouldered silhouettes and bolstered hips, with garments featuring virtuoso textures and bold, very 1980s volumes, and an emphasis on outerwear and maximalist details, like giant jewels and maxi belts. On the other, a more feminine vein emerged, via a range of flowing, transparent lightweight outfits. Some of them romantic, with lace details to the fore, especially on tights, and others more sensual, in a boudoir mood characterised by an abundance of flesh-coloured garments. A genuine desire to dress up again was clearly felt.
Next winter, the garment worth investing in will be a fine piece of outerwear. Choosing from enveloping cashmere coats, especially a rich array of black ones, redesigned trench coats, cocooning tops, biker jackets in new XXL formats, jackets with oversized shoulders, hooded tops, thick cardigans, capes, and more. Some of them were even layered over one another. Exaggerated hips and reinforced shoulders added a dramatic touch to the ensemble. Shearling and leather coats in particular emerged as the new seasonal essentials. Not to mention fur coats.
Fur has become increasingly popular in recent seasons, and is now ubiquitous. It featured in every collection and across the entire women’s wardrobe, ranging from real fur, mostly vintage or recycled, to faux fur, reversed sheepskin, and amazing bouclé and tasselled wool treatments creating plush-effect garments.
Fur sneaked into every look, in the form of little details introduced to decorate accessories in unexpectedly amusing ways, but was also highly visible in extra-wide collars, sleeves, lapels and trims. Some designers presented dresses entirely made of fur, and even trousers, as well as a plethora of chapkas and similar types of trapper hats. Next winter’s it accessory will be the stole (in faux or real fur), as decreed by some of the coolest labels like Miu Miu, Prada, Marni, Chloé, and Ottolinger.
Longer silhouettes are ushering in more sophisticated office looks, and the midi skirt is back with a vengeance. From New York to Paris, designers have presented their contemporary take on this rather retro item. Midi skirts came in mid-calf length, sometimes down to the ankles, in flared or pencil versions, with or without slits, pleated or tight like a sheath, and featured in absolutely all kinds of materials. Midi skirts have become the symbol of corpcore looks, sometimes matched with a sweater or a hooded top à la Grace Jones, or as part of couture suits with hourglass jackets and statement shoulders, often inspired by 1980s-style power looks.
Ultra-tight trousers are making a comeback, especially skinny jeans. Stirrup trousers too are back, as seen at Dries Van Noten, Victoria Beckham, Ferragamo and Elie Saab, often looking very much like leggings, worn under oversize blazers. But, in a new twist, trousers’ waists are nosediving, down low on the buttocks, as at Dsquared2, Dolce & Gabbana, Diesel, Hodakova and Duran Lantink.
Designers have focused their attention on the neck and shoulders, taking the opportunity to make extensive use of knitwear, with snug volumes and inventive constructions. For example, with broad scarves and stoles that morphed into pullovers and knitted dresses, enveloping the body. Removable knitted collars cropped up everywhere, extending into plastrons, neck warmers or pelerines to complete a look. Some wool scarves even went as far as turning into hoods and head coverings.
From bodysuits to baby dolls, lingerie cropped up everywhere, confirming a general trend that has been well-established for several seasons. This time however, the emphasis was on a romantic aesthetic rather than on sensuality. Sensible underwear was often glimpsed beneath sheer tunics. Nighties turned into sexy evening dresses. In some cases, they showed up folded with their straps on the front of a skirt, as a simple reference to femininity. Lace details abounded, notably on black or red tights, a real must for next winter.
Animal-themed patterns were widely featured in many collections, with leopard, tiger, zebra, and cowhide prints and furs, but snakeskin effects in particular were a hit. They appeared in many leather garments treated like crocodile skin, as well as in knitwear and printed items decorated with this highly recognizable pattern. Snakeskin prints notably featured at Gabriela Hearst, and in some couture finishes at Tom Ford and Rick Owens.
Multiple garments, sometimes in double and triple layers, were used to create statement silhouettes with an original twist. The layering effect was even more marked with knitted items and an abundance of sleeves, wrapped several times around the neck or waist. At Alainpaul, a sweater’s sleeve slipped into that of a coat, while the other was worn around the neck. Elsewhere, sleeves vanished from the shoulders to crop up in unexpected constructions around the body. Or they were tied on the front in a pussy bow.
Designers have accented waistlines in every possible way. In jackets and dresses with tight hourglass silhouettes to emphasise the curves, an effect often accentuated by adding volume on the sides. Waistlines were often encased by maxi belts, worn over both outerwear and dresses, and even over other belts, in a multiple layering. Schiaparelli’s triple belt, for example, would add an avant-garde twist to any look.
The latest trick designers like to amuse themselves with is taking a detail and enlarging it to an extreme, turning it into an unusual item or element that will surely grab the attention. Vaquera came up with a gigantic version of its iconic bra, worn as a dress, a top, as a train or skirt. The US label hammered the point home by creating maxi buckles for its belts, as did Chloé. And it puffed up pearls into giant beads for XXL necklaces. Same concept at Chanel, where white pearls turned into mini bead handbags and heels, while at Véronique Leroy a round bracelet morphed into a big metal ball worn on the wrist.
Arena is making waves in the executive world. The Italian swimwear giant, renowned for its high-performance swimwear, goggles, and accessories, has announced a major leadership change. Deputy CEO Giuseppe Musciacchio is stepping down, marking a new chapter for the brand. As of March 11, he has officially left all positions within Arena’s Board of Directors and its affiliated companies.
Giuseppe Musciacchio is now the former Deputy CEO of Arena – Arena
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Musciacchio has been with the Tolentino-based brand for the past 18 years, gradually expanding his responsibilities since mid-2016 as Co-CEO and from mid-2021 as Deputy CEO. “Musciacchio has played a significant role in the development of Arena’s brand and business on a global scale, positioning the three-diamond brand as a key reference in the international swimming and aquatic sports community,” the company stated.
As of March 10, 2025, the group’s Executive Leadership team consists of Peter Graschi (CEO), Damiano Cafiero (CFO), Giorgio Farinelli (COO), Luca Belogi (CSO), Mark Pinger (General Manager North America), and Florian Übleis (CDSO).
“The Board of Directors is actively working to identify a successor and will announce further plans soon. In the meantime, Peter Graschi will take over Giuseppe Musciacchio’s responsibilities,” concluded the company, founded in 1973 by Horst Dassler, the German entrepreneur and son of Adolf (Adi) Dassler, the creator of Adidas. Dassler revived the Arena name—originally used a year prior for canvas shoes—capitalizing on the success of Mark Spitz at the 1972 Munich Olympics, where he won seven gold medals and set seven world records.
He secured Spitz under contract and acquired the Arena brand name from a company in Nîmes, near the city’s Roman amphitheater, registering it internationally. Arena made its official debut at the 1974 European Swimming Championships in Vienna. The Swiss investment firm Capvis acquired Arena in 2014.