UK menswear label TM Lewin is continuing its physical stores comeback and has opened its second standalone space at 360-365 Cabot Square in London’s Canary Wharf. It’s also got a brand new outlet store opening at the O2 on 28 November.
TM Lewin, Canary Wharf
We spoke to its CEO Dan Ferris about both the company’s store and products strategy ahead of the Canary Wharf opening. But first, let’s look at some of its recent history and that strategy.
The company has over-expanded pre-pandemic and went into administration when Covid hit. Bought out of administration, it went online-only with Ferris brought in to lead it back to health.
He oversaw it as an online-only business until this year. The new Canary Wharf space follows the firm’s Bow Lane flagship that opened earlier in 2025. That set the pattern for its store rollout and the new Canary Wharf full-price store again sees it focusing on the heart of London’s financial district.
Smart-meets-casual hybrid
That should be good news for its shirts and tailoring. Yet the formerly-formalwear-focused brand isn’t only about suits and shirts these days. The company has evolved in recent years as it has adapted to new ways of working with what it calls its ‘professional lifestyle’ products.
For instance, under this banner, smart-casual pieces (think rugby shirts, tees, chinos) account for around 25% of total revenue.
TM Lewin, Canary Wharf
In fact, while many people think of TM Lewin as a ‘shirt brand’, maybe one day they’ll think ’T-shirt brand’. T-Shirts drive casualwear sales and account for around 70% of the brand’s more casual items.
Chinos are only around 5% of casualwear sales but since expanding the chino range last month (with new colours and fits), the brand has doubled the number of pairs sold compared to the month prior. Further chino expansion will come next year too.
Of course, formal clothing remains at the heart of the brand and opening new full-price stores should boost that further. While suits account for 10% of online sales, they make up 30% of in-store turnover so the new Canary Wharf location should be a boon here.
Interestingly too, while casualwear sales have risen, the company said dinner suit sales are up 30% year on year too. That’s a clear sign that formalwear’s days aren’t done. And with over 7,000 shirts having been sold in-store along with 30% of all sales being tailoring since the Bow Lane location opened, that’s even more evidence that the company’s dual smart+casual strategy is the way forward.
View from the top
CEO Dan Ferris – TM Lewin
As for Dan Ferris, FashionNetwork.com spoke to him as he prepped for the Canary Wharf opening. And having see his headshot, we were quite surprised to find him dressed casually…
Dan Ferris:Well, that’s part of the turnaround story! There’s a lot of people that do still wear suits and shirts, but there’s a lot of people who now, especially when they’re working from home, wear things like sweatshirts.
FashionNetwork.com: That was clearly a problem for the business in recent years though, rather than an opportunity as it is now.
DF: Yes, probably more so than [many other companies] due to the nature of the product that was sold. There weren’t too many people wearing suits and shirts at home during Covid! But what we’ve really developed over the last 18 months is really re-identifying what our customers, or what consumers generally, want.
TM Lewin
FN: And that appears to be a much wider spread of product types?
DF: Yeah. People do still wear shirts and suits to the office, and we’ve seen quite an uptick in demand recently with a lot of the banks, for example, going back five days a week. But there’s still a lot of hybrid workwear out there. So things like the quarter-zip sweatshirt, you could wear with a T shirt underneath, like I am at home, but you can also wear it to the office. We’ve expanded the product range to get that demand and start to try and target a younger customers in the 20s to 30s demographics.
FN: Despite the change is the way men dress, that evolution must still have been a risk for a brand like yours.
DF: A big part of the turnaround was resetting the brand. So a challenge for us was, how do you make 125-year-old heritage brand relevant for the modern workplace? What we did was focus on shirt-making expertise and use the reputation and quality that the team was known for in shirts to show everyone else that we make these other great products. T-shirts and quarter-zip sweatshirts are underpinned by the shirt-making credentials that TM Lewin developed over a century.
FN: And the stores are part of that?
DF: We’re trying to make that come through in every touchpoint for the customers. So a big part of this relaunch has been getting TM Lewin back on the high street. We opened Bow Lane in April. That was a big success for us [and got] lots of press attention, commercial success, etc. We’re really happy with how that’s gone.
FN: So how do you put across that heritage image that’s been modernised in your stores?
DF: What we’ve tried to do there is juxtapose the aged wooden floors against minimalist white walls. It’s bringing that heritage into the modern world.
FN: The figures cited earlier show that your stores are hugely important for your core formalwear sales. How big a percentage does formalwear remain for you?
DF: It’s about 60% still on the more formal side. We’ve definitely been helped with the return to office. People return and they start to replenish and refresh their shirts. And Bow Lane has been key for us on tailoring. It’s really hard to sell suits online. People [want to] find a good fit in a suit, otherwise you’re not going to pay the money for it. That’s really difficult to achieve online. A big part of executing the retail rollout is giving customers the physical availability to come and try things on in the store before, hopefully, they come back time and time again, online or wherever.
FN: TM Lewin used to have so many stores but you still only have two full-price spaces with the new Canary Wharf location. I assume more are planned?
DF: They all got closed during Covid. Bow Lane was the first [under the new strategy]. With Canary Wharf, you can see that we’re targeting that very [City of London] demographic. [But] a big part of our our growth plan over the next three years is to execute a rollout across the other areas of London as well as hopefully Manchester and Edinburgh. They’re high-target areas for us. A lot of our demographic is London-based, so we’ll want to narrow London and before we expand out, but we’ve got every intention of getting And we’ve got an outlet store too. We’ll get the December trade, hopefully, and then we are looking at another City location for Q1 next year. Then we just keep an eye out on those locations that we think are going to work for us. But we don’t want to go back to the old TM Lewin model where, I’m sure you remember, there was one on every corner or sometimes two!
TM Lewin, Canary Wharf
FN: In order to fund all this expansion, you must be in a better place financially now?
DF: We returned to profitability this year. We had to execute a turnaround before we went on this growth journey. We had to address a lot of legacy issues. We rebuilt the foundations of the business, and we’re in a good position now.
FN: And most of that will have been achieved online so your webstore will still be key? Do you sell internationally online?
DF: We’ll continue to grow the online business. It was UK-only for a while. We relaunched international trading last year. We actually sell to [almost] every country[and sales are] probably 25% international.
FN: What’s your biggest international market?
DF: Australia. The previous management had sort of cracked Australia, where I think they had five stores established at the point of Covid. In the US, TM Lewin is not so well known. But there’s still 10 times the population. Australia is our first [international] market, and then US is the next one. The key growth levers for us over the next three years are continuing to expand the product range with more of the ‘professional lifestyle’ products; the UK retail rollout; and then international expansion to that untapped global demand. We’re super-excited for all the opportunity out there.
TM Lewin
FN: That opportunity must also come with challenges though. Have you found problems this year with the whole tariff situation?
DF: Yes and no. It has an impact, of course, but there’ll be competitors, where their business model was predicated on taking advantage of the [de minimis] situation where their shirts would be under the minimum limit, so therefore they were getting shipped for 20% less than anyone else. That’s gone away now. We’ve absorbed the hits in our bottom line for the US, the rest of it is more of a knock-on effect for the supply chain generally.
FN: And in terms of your general growth trajectory, you say you’re relatively small now. Where do you expect to be within a few years?
DF: The ambitious growth plan we’ve set for ourselves is to get back to £50 million [turnover] and maintain profitability. Pre-pandemic, it was £100 million, driven by a 66-store portfolio that had already been scaled back from 100 stores prior to that. We want to go fast, but we want to do it right!
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.