Acceleration is a watchword in Stéphane de La Faverie’s strategic vocabulary, and the CEO of American cosmetics group Estée Lauder intends to harness innovation to speed up time to market across the group’s brands.
The group has moved into a five-storey Haussmann-style building in the heart of Paris – Estée Lauder
This week, at the inauguration of the Atelier at Estée Lauder’s Maison des Parfums, the CEO—who has been steering the group since the start of the year and in February presented a recovery and reorganisation plan called “Beauty Reimagined”, aimed at putting innovation at the heart of the group’s strategy—announced: “We will triple the number of new launches in less than a year.”
In the world of luxury and prestige fragrances, the Atelier, the new innovation centre located on the fourth floor of its newly inaugurated Maison des Parfums at 14–16 rue Volney, represents a key asset in this respect.
“Today, we once again want to put innovation at the heart of the Estée Lauder Group’s story, particularly in the world of perfume with the Maison des Parfums and the Atelier,” said Stéphane de La Faverie, addressing journalists in a lounge with walls adorned with historic photos of Mrs Estée Lauder.
“The perfume category has accelerated sharply since the Covid years. We can see this in the luxury segment, with brands such as Frédéric Malle, By Kilian and Le Labo, as well as in the prestige segment, with expansion all over the world. One of the reasons we decided to establish the Maison des Parfums and the Atelier in France—and in Paris in particular—was that it would place the Atelier at the heart of the birthplace of perfumery worldwide. It was very clear to me that being in France gave us access to olfactory, technical and creative talent by being close to Cosmetic Valley and not far from Grasse, but also to our partners, as well as to all the perfume houses.”
The group’s management envisions more fluid and faster communication between technical perfumers on the fourth floor, who benefit from state-of-the-art tools and processes, and the brands’ creative and marketing teams located on the lower floors. This should help reduce the time it takes to bring a new product to market by 30% to 50%.
Stéphane de La Faverie – Estee Lauder
These new products are designed to meet the needs of different markets as the high-end beauty sector continues to grow.
“Many European countries have a perfume penetration of 50% or more of the total beauty market,” explained the CEO, who noted that this justifies the group’s presence in France.
“In the United States, perfume represents a third of the beauty market, while in Asia, in China, Japan and South Korea, perfume penetration varies between 10% and 20%. This is linked to the cultural relationship with perfume, but there is growth everywhere linked to accelerating demand for niche fragrances. Globally, consumers have wanted access to exceptional fragrances with ingredients, olfactory accords and stories of great richness.”
He added that while in Europe fragrance is a mainstay of beauty, in the United States the growth of recent years has brought the fragrance category back to the forefront of beauty consumption. Fragrance consumption worldwide has evolved, driven in particular by greater access to niche or luxury brands, but also by a new pattern of use: some consumers layer fragrances or choose different scents depending on the occasion.
“Perfume represents $2.5 billion in sales for the group”, which achieved $14.3 billion in sales (-8%) over its 2024/2025 financial year, de La Faverie told the press.
“Over the last five years, fragrance has grown by 10%. Our investment in the Atelier aims to put our foot on the accelerator on fragrance worldwide.”
The library of natural ingredients in the group’s “Music Room”
For the time being, the group has not announced how many people will be joining the Atelier, or how much will be invested in its development. But the project has been entrusted to a specialist in fragrance innovation. Lucas Nanini, who has worked for groups such as Procter & Gamble and Coty, is coordinating this new division. To generate innovation and acceleration, he explains that the approach is intended to be new for the group, but also open, drawing on the Cosmetic Valley ecosystem, French Tech and the CNRS.
“We have a laboratory, different equipment, different spaces. This allows us to interact on several levels. We can integrate creation, co-creation and actual prototyping. But we also have advanced molecular analysis tools and formulation areas,” explained the executive, who particularly highlighted the highly technical system that recycles the air more than ten times per hour to eliminate olfactory pollution.
Lucas Nanini in charge of innovation at the group’s Atelier in Paris – FNW
“Another key element is building teams and the talents that have been added to the workforce to truly achieve complementarity of expertise. We now have in-house technical perfumers, evaluators and formulators, but also skills more commonly found in the tech industry or in entrepreneurship, with innovation marketing specialists and project managers who apply the agile methodologies we generally see in AI.”
These are major aspects, as the group intends to harness technologies, particularly generative artificial intelligence, to accelerate its launches. To this end, all data are collected and consolidated “to build predictive models to enable us to create higher-performing fragrances, but also to develop tools to speed up regulatory-related assessments. Today, fragrance regulations are quite strict, and complying with them slows development, whereas the speed of AI development will allow us to accelerate on these fronts.”
Beyond acceleration, on the fragrance design side, Céline Roux, who has worked at Jo Malone for 17 years, also sees new opportunities for development.
“We are in a very, very dynamic market, with over 6,000 fragrance launches a year. What we are looking for is meaning. We are in the business of emotion, of magic, but supported by science. And that is where the Atelier is going to help us,” said Roux, explaining the difficulty of capturing fruit scents in particular.
Céline Roux (Jo Malone) and Hellen Murphy (Vice-President, Fragrance Development) present the “Music Room” dedicated to co-creation with perfumers, located in the Atelier in Paris – FNW
“Ingredients are very important; I wanted a natural pear. We worked for two years on this project to obtain an exclusive natural pear note. I had to carry out research and turn to the food industry. I now have a home base in Paris, with a ‘Music Room’ where I can meet all the players—and move faster. This is necessary because sometimes we have to respond quickly to certain trends. This does not mean we will necessarily release more products—there is a necessary period for reflection—but we will be able to move more quickly with technological solutions in development.”
Kilian Hennessy also sees a major advantage in integrating a fragrance innovation centre.
“A great perfume is first and foremost an accord that does not resemble any perfume from the past, that opens up a new olfactory route. It is an original accord that requires either an overdose of a component that others have not used or could not afford, or new raw materials that are a bit like different colours on a palette,” explained the perfumer. “The discovery of new components is at the heart of creation. The Atelier will enable us to work on this both in co-distillation and in headspace, a technology that captures volatile notes in the air.”
He explains that these tools will provide exclusive access to materials, and also establish direct sourcing for certain very high-priced raw materials. “Having direct access to raw material sourcing will enable us to use much larger quantities and bring a colour the consumer will never have smelled before. Ultimately, the only thing that counts is bringing new emotions!”
High-tech booths for testing the diffusion and stability of notes in an environment free of olfactory pollution
New fragrances, reaching the market more quickly, are therefore expected to appear in the coming months. But beyond speed, the American group wants to set itself apart in terms of creation. This applies to fragrances in classic formats, as well as creams, mists and candles.
“In the consumer world, there is never a moment when you can rest on your laurels and say ‘that’s it, we have mastered it’. Someone will always invent something new. As the saying goes: only the paranoid survive,” William Lauder, 65, grandson of the brand’s founder and chairman of the board, who was also present at the inauguration, told the press earlier. This Parisian Maison des Parfums seems to have the tools to enable the group to manage this paranoia as effectively as possible.
With AFP
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Poshmark on Tuesday announced the appointment of Elizabeth von der Goltz as its first chief revenue officer, as the resale platform looks to bolster its C-suite and drive organisational growth with the luxury veteran.
Matches Fashion
Joining Poshmark in January, Von der Goltz will oversee all commercial and marketing functions—including merchandising and sourcing, partnerships, customer acquisition and growth, brand and creative, and communications and social media. She will also “unite creative direction with commercial strategy into a cohesive revenue engine,” according to a press release from the U.S. firm.
“Elizabeth’s appointment marks a milestone moment for us,” said Namsun Kim, chief executive officer of Poshmark.
“We’ve always been a product and tech company at heart, but our next phase envisions pairing that DNA with commercial precision, creativity and brand strength. Elizabeth brings the rare combination of luxury fashion, digital retail strategy, and global merchandising and operational expertise. She is truly unique in her vision for channeling merchandising strategy into brand identity and translating brand equity into measurable growth and customer advocacy.”
With more than two decades of global experience in fashion, luxury, and e-commerce, Von der Goltz’s most recent roles include chief commercial officer at Matches Fashion; chief executive officer at Browns, and chief fashion and merchandising officer at Farfetch.
Earlier in her career, Von der Goltz held senior leadership roles at Bergdorf Goodman, before later serving as global buying director for Net-a-Porter.
“Throughout my career—from best-in-class brick-and-mortar to global e-commerce and luxury marketplaces—I’ve always focused on one question: what’s next for the consumer? As the industry evolves, the future is taking shape in social commerce, peer-to-peer connection, and circular fashion, and I’m thrilled to join Poshmark at this pivotal moment,” said Von der Goltz.
“The opportunity to merge world-class product and technology with strategic merchandising and brand creation is incredibly powerful. Resale and vintage have already become a mainstream part of shoppers’ closets and represent a structural shift in retail consumption. It’s an honor to join the leading fashion resale marketplace and its iconic community as chief revenue officer to help shape the next era of how people discover, buy, and sell fashion.”
The appointment of a chief revenue officer at Poshmark signals a shifting from a “purely product- and technology-led model to a more integrated and creative retail experience,” the company added.
With three days to go before a crucial deadline for BHV, Paris City Hall on Tuesday signalled its interest in the department store’s building, intensifying pressure on its boss, who is embroiled in the Shein controversy, as well as employees’ “uncertainty” about their future.
(AFP – Thibaud MORITZ)
“At a time when the situation at BHV is causing very serious concern for jobs and for the future of central Paris, I wanted the city to equip itself to act pre-emptively,” declared Socialist mayor Anne Hidalgo at the Paris Council, which is due to adopt a motion to this effect.
If the owner of BHV were to “vacate the premises”, the city would “explore all options to put itself in a position to acquire the building in order to safeguard commercial activity and jobs, while enabling the development of a mixed-use scheme also including social and affordable housing”, the executive’s motion states.
The Société des Grands Magasins (SGM), which has owned the Bazar de l’Hôtel de Ville (BHV) retail business since 2023, also wants to buy the building from the Galeries Lafayette group, as the two parties are bound by a sale agreement that expires on Friday. However, SGM co-founder Frédéric Merlin caused an uproar in early October by announcing the opening, within BHV, of the first physical Shein store, an Asian ultra-fast-fashion brand accused of numerous ills such as unfair competition, and pollution.
“Investment funds”
The Banque des Territoires, an entity of the Caisse des Dépôts (CDC), has withdrawn from negotiations begun in June with SGM to help it purchase the building, citing “a breakdown of trust.”
Numerous brands including Dior, Sandro, and Guerlain have also left BHV in recent months, due to mounting unpaid bills or opposition to Shein.
All of which further complicates the task of Merlin, who is supposed to have completed his funding round on December 19.
“On that date, exclusivity lapses and we reserve the right to explore all the options open to us,” a Galeries Lafayette spokeswoman told AFP.
Refusing to see its name associated with Shein, the group has also terminated its contract with SGM covering seven provincial stores – rebranded BHV. For its part, SGM says the project is “moving forward” and “should be finalised in the coming days or weeks.”
Appearing before the National Assembly at the end of November, Merlin referred to “extremely precise discussions” with foreign, non-Chinese “investment funds.”
Against this backdrop, Nicolas Bonnet-Oulaldj, the deputy mayor responsible for commerce, told AFP that City Hall was ready to “step in” from Friday.
300 million euros
Given the amount involved – 300 million euros, according to him – the city would not buy on its own but via, for example, a semi-public company with private shareholders, says Bonnet-Oulaldj, who would like to make it “a showcase for brands made in Paris and in France, and for young designers.”
Building housing would require a modification of the PLU (local urban plan), as the plot is “classified as a department store.”
This “announcement adds further uncertainty to the future of BHV”, which directly employs some 750 staff, its inter-union alliance responded, asking “to be received as soon as possible by Paris City Hall.”
“The future of BHV depends not only on the finalisation of the acquisition of the building” but also “on the continuity of commercial operations”, it warned, expressing alarm at the “dire situation” of the store, where Shein sales are “nowhere near making up for the shortfall across the rest of the store.”
Hidalgo’s surprise announcement drew criticism from the right. Aurélien Véron (LR), spokesman for Rachida Dati’s group on the Paris Council, condemned it as an “improvised PR stunt”, three months ahead of the municipal elections.
Recently, Merlin set out his plans in LSA magazine, including a new payment system for suppliers. But “nobody believes it”, scoffed Guillaume Nusse, CEO of Clairefontaine-Rhodia, which pulled out of BHV over “unpaid bills and broken promises,” speaking to AFP.
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In 2025, South Korean fashion takes another step up on the global stage. In a sector where technological innovations are redefining production processes, South Korea stands out for its ability to turn these developments into drivers of growth and global appeal, according to a Spherical Insights study published in November.
South Korean menswear makes its mark internationally, seen here at Pitti Uomo – Pitti Uomo
According to the South Korean Ministry of Trade, Industry and Energy (MOTIE), almost $27 million is set to be invested in 2025 to strengthen the national textile value chain.
This policy forms part of a broader strategy that provides more than $19 billion in support for firms operating in industrial textiles, the creation of an Industrial Textile Alliance, and a certification centre for technical products. The aim is to lift digital transformation across the sector from 35% to 60% and increase South Korea’s share of the global markets for industrial and sustainable textiles from 2-3% to 10% by 2030.
A dynamic domestic market
These ambitions are underpinned by an already robust industry. In 2024, South Korea imported $12.37 billion worth of clothing, including $5.08 billion in menswear. Exports totalled almost $2 billion, of which $1.7 billion comprised synthetic textiles and crocheted fabrics. This momentum reinforces a domestic market characterised by diverse demand, rapid trend adoption and strong cultural influence.
South Korea invests in its textile industry – Shutterstock
At the heart of this evolution lies the global rise of Korean menswear. Korean brands stand out for their attention to detail, mastery of cut and tailoring, and a strong appetite for exploring experimental materials, bold silhouettes and assertive colours. This stylistic approach, oscillating between minimalism and exuberance, meets a growing demand for pieces capable of expressing individual identity, according to the study.
Exports to be developed
The trends for 2025 confirm this direction: oversized cuts, unique patterns, bright colours, sustainable materials, a fusion of traditional and contemporary styles, as well as layering, athleisure and gender-fluid fashion, are at the forefront. From oversized kimono-polos to two-tone pink shirts, the Korean aesthetic offers a balance of comfort, experimentation and sophistication.
Ader Error is one of the young South Korean brands flourishing internationally (here, its collaboration with Zara) – Zara
This creative ecosystem is supported by a myriad of ‘flagship’ brands. Names already recognised worldwide such as Gentle Monster, Andersson Bell, Kusikohc, Hyein Seo and We11done fuel the country’s international aura through their distinct worlds, blending art, streetwear, craftsmanship and conceptual design. In 2025, other labels are taking centre stage: Ader Error and its deconstructivist streetwear, Wooyoungmi and its modern tailoring, ThisIsNeverThat and its distinctly Korean take on streetwear, as well as 87MM, Recto, Amomento, PushButton and Minjukim, whose gender-fluid offerings are gaining visibility.
By combining massive public investment, a capacity for innovation, cultural richness and creative power, South Korea is putting its fashion industry on an upward trajectory in 2025. It can be seen not only as an exporter of aesthetics, but also as a key player in technical and sustainable textiles, with the ambition of playing a central role in contemporary global fashion.