British fast-fashion retailer ASOS said on Friday it is in talks with the German customs authority relating to a legal dispute over import duty underpayments.
Reuters
The Financial Times reported earlier in the day that German tax authorities are pursuing ASOS for unpaid customs duties in a legal dispute over customs declarations on the retailer’s shipments crossing the German border over several years.
ASOS said it was contesting the assessments by the German customs authority and that it considered the maximum exposure to be immaterial.
The company said it has reviewed more than 95% of the tens of thousands of customs declarations under scrutiny.
Based on its analysis, ASOS estimates the additional liability at about 0.5 million euros ($585,900).
The company had warned last month that its annual revenue would fall short of market expectations due to weak consumer demand, with profit expected to land at the lower end of its forecast range.
It has been working to revive its fast-fashion appeal among its core base of shoppers in their 20s, while cutting costs amid intensifying competition from Chinese rivals and the impact of U.S. trade .
Gen Z consumers want to shop sustainably. They really, really want to shop sustainably. But a new survey shows 59% in the UK admitting admit their generation “talks more about sustainability than they practice”.
Ansa
It comes from consulting firm RSM UK and retail insight specialist Retail Economics.
They surveyed 1,500 Gen Z consumers and found almost a third (29%) are committed to sustainability, while 43% have an “aspirational intention where they care about sustainability but will compromise when considering cost or convenience”.
And the study showed that “this intention-gap becomes even wider when you look at age as committed shoppers jump to 39% between 24-28 year olds and fall to 20% for 18-21 year olds. That suggests available income is a key factor when it comes to putting ideals into practice with younger consumers less likely to have cash to spare.
And let’s not forget that “there is also indifference,” the study said, with a chunky 28% “placing low priority on sustainability, guided more by price and ease of access’.
Some 40% of Gen Z also confessed to “often” buying items they will only wear or use once.
There are clearly conflicting influences affecting Gen Z with the eco message getting through and lodging in their minds. But these are consumers who grew up in the wake of the original fast fashion revolution as ultra-fast fashion from the likes of Shein and Temu showed that super-cheap fashion, often with next-day delivery, was now ‘normal’.
Cathy Faria, ESG associate director at RSM UK, said: “There are clear contradictions between intent and the buying habits of Gen Z when it comes to sustainability, with many not practicing what they preach. Ultimately, they face a trade-off between values, budgets and desires for instant consumption.
“In a world where budgets are being increasingly squeezed every day, the combination of low-cost products and convenience can be hard to resist, making it difficult for other retailers to compete.”
But she thinks that “there’s a real opportunity for retailers to tackle sustainable fashion, as it’s clearly of high importance, particularly for more financially secure Gen Z consumers. This involves sourcing natural fabrics and recycled materials, optimising supply chain efficiency, as well as ensuring safe working conditions and fair pay.
“Interest in pre-loved shopping is also gaining momentum, with many major retailers showcasing secondhand collections in-store. We expect to see more retailers introducing new innovative initiatives to tap into this growing area of the market. An example is M&S’s recent launch of an online takeback scheme and clothing resale service in partnership with eBay, where items are cleaned, repaired and listed online, and those that cannot be resold are repurposed or recycled.”
Interestingly too, Jacqui Baker, head of retail at RSM UK, said that eco shopping being put into action can be seen more often in the beauty sector. She said that for Gen Z, “affordability and quality will dominate decisions most of the time, but sustainability rises sharply in importance in the health and beauty sector. Natural and ethical credentials are tied directly to safety, well-being and self-care, meaning here, sustainability is not just a bolt-on, it’s integral to the product. Not only are we seeing the ‘lipstick effect’ consistently drive strong sales in health and beauty, as consumers cut back on other retail categories, but they’re also willing to pay a premium if it has sustainable credentials attached to it.”
For several years now, Milan’s fashion trade fairs have been joining forces, fostering synergies to counter the challenges the sector has faced since Covid. But for the February 2026 edition, two shows will go even further, thanks to the strategic project ‘Reinventing Mipel & Micam,’ developed in collaboration with Lombardini22, a leading name in architecture and engineering.
The press conference presenting the “Reinventing Mipel & Micam” project. – Ph: FNW/EP
“We like to describe Lombardini22 as a ‘collective-thinking company’ that brings together around 500 professionals and develops projects collaboratively, often starting by listening,” explained Cristian Catania, Reinventing Fairs project director at Lombardini22, during the press conference presenting the project. “We did the same for Micam and Mipel, analysing the status quo of previous editions and holding consultations with major exhibitors. What we realised is that the paradigm shift lies in continuing to give exhibitors the visibility they deserve while, at the same time, putting the visitor and their needs at the centre, so that their time at the fair can be more productive, less tiring and more seamless. The guidance we received was to build on the heritage and longevity of the events, expand the services on offer, and think not only about product but also about the sector’s cultural growth, through social connections, networking, new opportunities and new stimuli. We need to move beyond the concept of mere exhibition and create an experience for visitors.”
As part of the project, for the February edition (February 22–24, 2026), which will coincide with the Milan–Cortina Winter Olympic Games, the Mipel experience will be completely reimagined: the event will move to the front section of Hall 5 at Fiera Milano Rho, gaining greater visibility and a more central position within the exhibition centre. The layout will be redesigned by Lombardini22 to make visits clearer, more immersive and instantly legible, with optimised routes and new areas dedicated to product, innovation, and creativity, while the pre-built exhibition stands will also be reinterpreted in a contemporary, functional way to meet the needs of exhibiting companies.
The floor plan of the halls
Above all, at the centre of Hall 5, ‘M&M- The Hub’ will take shape: a new space conceived to host initiatives and projects developed in full synergy between Mipel and Micam, with the aim of offering visitors to both fairs an integrated experience. The Hub will be home to Micam Academy and Mipel Factory, in an environment designed to foster a continuous journey of learning and relationship-building, bringing together education, research, technical experimentation, and professional development. The Italian Startup project, created in collaboration with ICE-Agenzia and the Ministry of Foreign Affairs and International Cooperation (MAECI), has also been confirmed; it will shine a spotlight on a selection of emerging Italian companies that are highly innovative and technology-driven. There will also be a dedicated product area, offering a concise, curated overview of the key trends for the Autumn/Winter 2026–2027 season.
“The partnership with Lombardini22 is strategic because it can help us better communicate our fairs. Our goal is to support companies on their path to growth and greater international exposure, because trade fairs are a key driver of internationalisation. The events must enrich our companies, promote Made in Italy and help strengthen the recognition that Italian leather goods companies enjoy worldwide in terms of innovation, creativity, expertise, and excellence,” added Claudia Sequi, president of Mipel and Assopellettieri. “Moving Mipel to Hall 5 is not just a relocation, but the desire to rethink our fair in a strategic, contemporary way, with a layout designed to create usable, useful spaces for exhibitors and visitors- an immediate, intuitive, and engaging experience for buyers.”
From left: Giorgio Passagno (CEO Micam), Claudia Sequi (President Mipel), Giovanna Ceolini (President Micam), Federica Bevilaqua (Mipel Director) and Cristian Catania (Lombardini22)
“We are convinced that joining forces is essential for those who come to our fairs, who enter an ecosystem where products are certainly important, but where different visions are even more so,” stressed Giovanna Ceolini, president of Micam and Assocalzaturifici. “Let us remember that, in addition to Micam and Mipel, the February edition will also bring together Sì Sposa Italia Collezioni, Milano Fashion&Jewels, and The One Milano, providing buyers with a comprehensive overview of the different segments of Made in Italy fashion; Lineapelle and Simac will not be present because of the Olympics, but will return in September. This synergy between fairs works to everyone’s advantage; at the last edition we welcomed around 40,000 visitors from 38 countries- an incredible figure. With the ‘Reinventing Mipel & Micam’ project, we hope to strengthen further; we know that together we are stronger and can represent Made in Italy at its best.”
For the February edition, Micam will also introduce a new configuration for Halls 1 and 3 which, together with Halls 2 and 4, will make the visitor journey more coherent, intuitive, and functional.
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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. – 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. – 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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