Discontent had been simmering around the historic Parisian department store on Rue de Rivoli. The announcement that Shein would take a floor in November further widened the rift between brands and management. For months, BHV’s brands and suppliers have been grappling with unpaid invoices owed by the management of the department store founded in 1856, which was taken over by the Merlin family’s Société des Grands Magasins (SGM) from the Galeries Lafayette group in 2023.
In 2024, the Galeries Lafayette group sold the BHV Marais to the SGM group
Until October 1, little was said publicly about the discontent and the behind‑the‑scenes negotiations. Store management communicated sporadically to reassure partners and, according to our information, paid part of the sums owed. The brands, although increasingly irritated, kept their difficulties—and their questions about BHV Marais’ plans—under wraps. In mid‑September, a clumsy email from the sales department sent to all brands without hiding individual addresses (information revealed by our colleagues at L’Informé) fanned the flames of revolt. According to our information, several dozen brands then decided to share their situations to put pressure on the department store’s teams.
But with the high‑profile announcement of Shein’s arrival in November, taking over more than 1,000 square metres on the sixth floor of the main building, the mood has shifted from grumbling to anger since October 1. Brands are speaking out, and many French labels are expressing bitterness.
Bitter brands
“We had decided a few days before the announcement to end our presence at BHV,” explained Guillaume Gibault, founder of underwear brand Le Slip Français.
“It was a rather difficult decision, as the store had placed its trust in us almost from the brand’s beginnings. And it was a good and important point of sale, with one of our employees highly committed. But the problem is that since the takeover, we’ve been dealing with unpaid invoices. You make your sales, you pay your staff… but you don’t receive your revenue. We understand there can sometimes be difficult periods due to renovations or certain payment terms. But for the past two years, communication has been very complicated and we’ve had to chase our sales proceeds constantly; it affected many brands, amounting to millions of euros in total. When it becomes that widespread, it looks like a modus operandi. In such cases, everyone has to take responsibility. We were no longer aligned, so we decided to pull out. And seeing this decision involving Shein, we were right.”
At the root of the brands’ discontent are these payment difficulties. The Union Française des Industries de la Mode et de l’Habillement says it has identified more than 7 million euros in unpaid invoices, even though many international groups do not share information on these matters. While these conglomerates remain discreet for now, many brands interviewed by FashionNetwork.com say they have received no information since July about the amounts outstanding.
BHV Marais – DR
“BHV presented us with payment plans on several occasions, but they were not honoured. They paid us little by little, so we never left,” explained Guillaume Alcan, founder of the Odaje brand, who notes that the amounts owed rose to as much as 100,000 euros. “We told them that such an outstanding balance with them was untenable for our business. And we decided to leave.”
It is the same story at Maison Lejaby, where Xavier Martin has been working since last year to relaunch the lingerie brand.
“If the unpaid invoices are intentional, then this practice is purely dishonest. Because the Merlin family, moreover, prides itself on having brought BHV’s accounts back into the black,” said the executive.
“Otherwise it’s incompetence, and clearly the management of such an entity should not be in their hands. In any case, they show immense contempt for their suppliers.”
The brand pulled out on October 1, the day Shein’s arrival was announced. Martin observes: “Brands as a whole are dismayed. There are hundreds of us who are not being paid and our products, by and large, have nothing to do with fast fashion—quite the opposite. So any influx of traffic, if there is one, will be to the detriment of most of them.”
For its part, BHV, contacted by FashionNetwork, says it is in discussions with brands and suppliers to explain its concept, and maintains that some of the players already present welcomed Shein’s arrival. Furthermore, SGM points out that the issue of unpaid invoices is linked to an IT problem that could be resolved in October or November.
For many, waiting is no longer an option—especially as numerous observers decry the lack of clarity surrounding BHV’s commercial project and its future organisation, with the closure of the Homme building at 36 Rue de la Verrerie in the coming months and the consolidation of the menswear offer onto a single floor. In fact, Shein’s arrival was the decisive trigger.
“I’m deeply shocked to see a historic Parisian department store welcome Shein within its walls. We are present there with AIME, but this decision does not correspond to our values or to what we stand for: a more responsible fashion and beauty industry, more respectful of people and the planet,” explained the founder of beauty brand AIME in a LinkedIn post.
“We can’t turn a blind eye. By integrating Shein, BHV is sending a very negative signal to the entire sector. I think it’s our responsibility, as brands, to take a clear stand. With François Morrier, we intend to withdraw AIME from BHV. And I invite all brands sharing these convictions to consider this decision with us. Our collective choices shape the future of our industry.”
“We had been wondering about the situation at BHV for several months,” explained Antoine Tinel of retail agency The Lifestyle Company. “We were offering the Ipanema brand in footwear, and Barbour, which performs well. But the announcement of Shein’s arrival dispelled our doubts. It confirmed our decision: we won’t be taking on any new seasons.”
Frédéric Merlin, who argues that Shein’s entry is an opportunity to attract customers en masse to BHV, maintains that other players present in his department store have expressed their satisfaction with the project. The fact remains, however, that this decision is likely to significantly reshape BHV’s fashion and accessories range with Shein’s arrival. It is, therefore, a gamble.
What future for the financing of the purchase of the BHV premises?
A gamble made all the more daring by the fact that SGM has been trying for months to finalise the bank financing package that would enable it to purchase the BHV premises. And this agreement with Shein may well scupper the process.
Frédéric Merlin defends his approach by explaining that he is revitalising the department store with events. In recent months, he has brought in influencers and also created a Pokémon event
According to our information, the transaction has still not been completed. And, judging by communications from Caisse des Dépôts—on which Banque des Territoires directly depends, and which recalls that the latter “is only involved in a real estate project in which SGM would have a majority stake”—the institution did not take kindly to being kept in the dark about plans involving the ultra‑fast‑fashion platform, stating that it “is not in favour of it.”
It was even less persuaded by the arguments about protecting retail that were associated with the move: “We would like to remind you that any investment decision by Caisse des Dépôts and its subsidiaries is strictly conditional on respect for the values that underpin our action: supporting a responsible, local economy, promoting ecological transition and assisting local authorities and players in the field in their positive‑impact projects. These principles form an inescapable framework, and any project supported by Caisse des Dépôts must adhere to them.”
MPs Olivia Grégoire (LREM‑Paris) and Antoine Vermorel‑Marques (LR‑Loire) have taken up the issue. And, in an appeal to the Prime Minister to speed up the establishment of the expected joint committee on the so‑called “anti‑fast‑fashion” law targeting Shein in particular, they called on the management of Caisse des Dépôts not to support the project of a player partnering with Shein.
“Whatever they may say, whatever they may deny, welcoming Shein into our department stores is a betrayal of the heritage of our couturiers and a denial of our history,” Grégoire went on to explain in a LinkedIn post.
“The Banque des Territoires, which was in discussions with SGM about a possible takeover of the BHV premises, could not commit public funds to a project that would jeopardise our fashion industry. I know its commitment, and that of its chairman, Olivier Sichel, to local commerce: they would never support an operation offering a showcase for ultra‑fast‑fashion, contrary to their primary mission.”
In the face of this mounting pressure, SGM once again asserts that its approach is aimed at revitalising its retail spaces and says it wants its project to be understood: “We understand the questions and concerns raised by this announcement, but we are maintaining our dialogue with elected officials, partners and all players in the sector to explain the reality and the positive implications of this partnership.”
There is no doubt that the department store’s more than 1,000 employees are hoping for a positive outcome for their jobs.
While the amount of the agreement with Shein to set up across 1,200 square metres has not been disclosed, the question arises as to whether SGM could now do without the firm backing of Banque des Territoires for its project to buy the BHV premises. Les Echos suggests that another player could enter the fray. A bluff? Whatever the case, by choosing to play the Shein card, Merlin seems to be engaged in a very high‑stakes poker game.
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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
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 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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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 – 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 – 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.
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 – 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.