At a time when the fashion and luxury industry is facing numerous challenges—not least concern over generational renewal in a sector that stands as a flagship of Italian craftsmanship—the Prada Group has reaffirmed its commitment to training new talent.
Prada Group opens the doors of its Academy in Scandicci
To mark the 25th anniversary of the Prada Group Academy, the company opened the doors of its Scandicci site to show guests in attendance, including FashionNetwork.com, the activities carried out at the training centre. It was an opportunity to explore, together with the group’s CEO, Andrea Guerra, and Lorenzo Bertelli, the importance of attracting younger generations to craftsmanship in order to preserve the savoir-faire behind Italian excellence.
The meeting was opened by a speech from Claudia Sereni, Mayor of Scandicci, underscoring the importance of the bond between institutions and companies in the area.
“Scandicci is not only a city that is home to big brands, but also to subcontractors—the hands that make the products. We are witnessing a severe industrial crisis; we know that markets naturally go through cycles, but right now it is difficult for the entire supply chain to understand how to regenerate. In a context like this, training becomes even more crucial: we need young people who can interpret the emerging needs of companies and give shape to your projects,” Sereni said.
“We hope to forge ever-stronger relationships with brands, collaborating with their training initiatives. For our part, we are looking for ways to bring out the cultural value of leather goods, sharing it with citizens and tourists. We have an ambitious project: to create a Museum of Accessories, which can convey the value of craftsmanship, and which could be built in a roof garden located above an underpass of the A1 motorway—a unique place in Europe that could act as a meeting point between the city and manufacturing.”
Turning to the hot topic of the day—generational turnover—the figures speak for themselves, and they are not reassuring: more than 270,000 specialised professionals in manufacturing will be needed by 2028, 75,000 of them in luxury alone, and it is estimated that the current supply meets only 50 per cent of demand.
These numbers do not worry Guerra: “In the world of manufacturing people often think that work is made up of assembly lines, components, repetitive actions, but this is absolutely not true. What we do is industrial craftsmanship—80 per cent hands, mind and heart. Here in Scandicci we work with leather, which by definition is a living element; no two pieces of leather in the world are the same. There are countless small, almost imperceptible aspects in its processing that must be overseen by expert eyes and hands; otherwise, we would not be able to create the products we make,” the CEO stressed. “Another very important aspect, which should always be remembered, is that in luxury there can be no rush. It is a job that requires great patience, to be learned over years of practice; it is a long yet fundamental journey—otherwise we would do something else.”
“I’m not worried about generational change because, especially since Covid, I see in young people the desire for a different life, for balance, for less alienation. Of course salary is important, but it is not the only thing they value. We need to create a business environment where people enjoy being, investing in training so that they continually learn and do more, but also in welfare—for example, with policies to promote women’s employment, a very important issue for us because we have a great many female employees,” Guerra added.
On how to attract young people to manual jobs, which are sometimes undervalued, Bertelli commented: “I think that today the myth of ‘white-collar workers’ is fading, also because many of the activities carried out in an office can now be done by technology, which is capable of supplanting people in this type of task. One thing, however, that technology can never replace is the craftsperson’s ability to work with their hands—their know-how, their skills developed over years of work; this is what we need to convey to young people. For this reason, those who learn a craft should not be afraid of new technologies such as artificial intelligence, which will probably cause some initial ‘shock’, but for those who have the ability to innovate they will become tools that further elevate people’s work, especially in manufacturing,” the entrepreneur stressed.
“It is of paramount importance how we communicate all this to young people, helping them see that this work has nothing to do with an assembly line—making it feel current and modern. I think the most exciting thing for a person is knowing that with their own hands they can create something that no technology will ever be able to do.”
In her remarks during the conference, Rosa Santamaria Maurizio, chief people officer of the Prada Group, emphasised how important it is for the company to “put people at the centre and focus on emotions.”
“We embed these principles at the heart of the company and bring those who will come to work with us into our production sites and our stores, so that they can see first-hand how we work. We are training the group’s people leaders on these pillars,” the manager explained.
“Then, of course, diversity and inclusion—therefore equal opportunities for all—are fundamental for us, and we are about to obtain gender equality certification. A project that Lorenzo Bertelli strongly wanted to activate is also ‘Drivers of Change’, through which employees propose initiatives they believe in, which the company then tries to implement, including bringing their family members into the company so that they can see the work environments and experience the atmosphere. In our work, the Academy is a strategic asset because it creates an exchange between generations, between master artisans and students, which is working very well in both directions.”
Also present at the conference were two Academy students, Leonardo and Francesca, whom Guerra addressed—as he did all young people—in his closing remarks: “I give you the same advice I give my children about the world of work: be humble but challenging. Humble in the sense of not backing down if you need to arrive an hour earlier, go the extra mile or work an extra hour. But challenging because your future is also in our hands, so feel free to ask questions and someone will have to give you real answers. This can make your future rich,” the CEO said. “To our master artisans, however, I want to say thank you, for still having the ability and the desire to pass on their knowledge and skills to you.”
Prada Group Academy: the numbers
Prada Group Academy—which has dedicated spaces in Tuscany, Marche, Veneto and Umbria—trains around twenty young people in each session, 70 per cent of whom subsequently find employment within the group’s companies. Between 2021 (the year courses resumed after Covid) and 2024, 29 courses were run in the categories of Leather Goods, Footwear and Apparel, increasing progressively (from 3 in 2021 to 11 in 2024).
Since 2021, a total of 571 trainees—of 18 nationalities; 69.7 per cent women and 30.3 per cent men—have been trained; in 2024, of the 120 young people who completed their training, 82 were hired by the group.
This year, seven training programmes were launched across the three categories, with 78 trainees trained (as at November 2025) and three Academy programmes currently under way in the Leather Goods and Apparel areas, for a total of 152 participants enrolled and confirmed (up 28 per cent on 2024). In September, a new edition of the men’s footwear course began in Montegranaro, while last October in Torgiano training began for technical roles dedicated to knitwear.
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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.
Next has won the bidding race to take over the Russell & Bromley premium footwear business, ending almost a century-and-a-half of family ownership.
Russell & Bromley
Working with bidding partner and stock clearance specialist Retail Realisation, it’s set to takeover the 147-year-old retailer under a pre-pack administration deal.
Crucially, it means 33 of the company’s standalone stores/outlets and nine concessions (many of them in Fenwicks branches) are likely to eventually close.
The extent of the challenges Russell & Bromley faced can be seen from the fact that this is only a £2.5 million cash deal. Next is also paying £1.3 million for some of the retailer’s current stock with Retail Realisation handling the clearance of the rest.
Assuming the deal gets court approval on Wednesday afternoon, Next will own the intellectual property and just three of the stores.
Those stores are in London’s Chelsea and Mayfair, as well as the Bluewater shopping centre in Kent. Interestingly, that Bluewater store is just a stone’s throw away from the former House of Fraser branch that this year will reopen as a Next megastore.
The remaining stores and concessions will continue to trade for “as long as [they] can” as Interpath’s Will Wright and Chris Pole “assess options for them”. Russell & Bromley currently has around 440 employees.
A source close to another bidder, Auralis, told The Times it was disappointing that its offer, which aimed to safeguard jobs and stores, wasn’t given greater priority by those running the sale.
Russell & Bromley CEO Andrew Bromley called the sale decision a “difficult” one but insisted it’s “the best route to secure the future for the brand… we would like to thank our staff, suppliers, partners and customers for their support throughout our history”.
So what are Next’s plans now. That’s not clear. There had been a lot of attention focused on its likelihood of closing the store chain in the run-up to the sale but on Wednesday, Next said that it will “build on the legacy” of the business and “provide the operational stability and expertise to support Russell & Bromley’s next chapter”.
Next had also been reported to be eyeing a similar deal for LK Bennett, but Sky News reported that it has stepped away from this.
It remains one of the most acquisitive retailers on the UK high street, however, and in recent years has bought brands such as Cath Kidston, Joules, FatFace, Made and Seraphine. It also has deals to handle other key brands in the UK market such as Gap, Victoria’s Secret and Laura Ashley.