Paris Fashion Week Schedule Unveiled & LVMH Sales Dip in This Week's Top Fashion News
Other designers making their debuts in new roles include Miguel Castro Freitas atMugler, Jack McCollough and Lazaro Hernandez atLoewe,Glenn MartensforMaison Margiela's RTW, andDuran LantinkbringingJean Paul Gaultierback to the ready-to-wear schedule. As anticipation builds for these historic debuts, industry leaders are banking on refreshed perspectives to revitalize the luxury landscape.
LVMHmissed analyst expectations in the first half of 2025, with net profit down 22% and overall revenue falling 4% year-over-year to €39.8 billion. Their largest division, Fashion and Leather Goods, which is home to brands likeLouis Vuitton, Dior, andLoro Piana, saw a 9% sales drop. Following a brief post-pandemic lift in performance, the group and its competitors, Kering and OTB Group, have been affected by an industry-wide drop in luxury spending.
These developments ledHermèsto surpass LVMH as the most valuable luxury stock earlier this Summer. The group also faces negative publicity this year, including a labor exploitation scandal affecting Loro Piana, data breaches at Louis Vuitton, and a cultural appropriation controversy at Dior. Consumer negative reactions to price hikes and low confidence are further hindering sales, indicating the luxury slowdown may persist.
Sofia Coppola, director ofPriscilla (2023), will release a documentary, 'Marc by Sofia,' focusing on fashion designerMarc Jacobsat theVenice Film Festivalin September. The 97-minute film, titled in homage to the beloved, discontinued Marc by Marc Jacobs line, will debut out of competition between August 27 and September 6.
It traces Jacobs' rise in the fashion world and offers an intimate look into his decades-long creative friendship with Coppola, which began in 1992 after Jacobs' Perry Ellis grunge collection. The documentary features rare archival footage, highlighting their collaborations, from Jacobs casting Coppola in early campaigns to their work during his time at Louis Vuitton and more recently at,Heaven.
Willy Chavarriahas been named the first fashion designer to become an Artist Ambassador for theAmerican Civil Liberties Union (ACLU).This first-of-its-kind ACLU partnership provides Chavarria with a prominent platform to champion crucial issues such as LGBTQ+ rights and immigrant rights.
His commitment to social justice is long-standing, as evidenced by his recent SS26 Paris runway show, which actively protested immigration crackdowns and drew attention to the inhumane conditions prevalent in detention centers. 'Art, music, and fashion can have a tremendous impact on how we realize and promote social justice and human dignity. I'm happy to further utilize my own platform for the empowerment of others,' Chavarria said in a statement toWWD.
Jonathan Anderson is confirmed as the costume designer forLuca Guadagnino's upcoming 'AI comedy' film,Artificial, marking their third collaboration afterChallengers(2024)andQueer(2024). The movie, loosely based on the story ofOpenAIand its CEO, Sam Altman, will explore controversies within Big Tech and the growing infiltration of AI into daily life. Anderson's previous work on Challengers earned him a Costume Designers Guild Award nomination, solidifying his prowess in cinematic styling. The film is set to starAndrew Garfield, Yura Borisov, andCooper Koch, and is currently in pre-production, with an official release date yet to be announced.
Thom Brownehas opened a new store on New York City's Upper East Side, located at 898 Madison Avenue. This new shop is exclusively dedicated to the brand's leather goods and footwear, marking a larger presence for Thom Browne in the area, just a short walk from its 72nd Street flagship.
The store is designed as a 'focused, intimate space' to highlight the label's key accessories, including the Hector Bag and its animal-shaped successors, as well as classic baguette bags in various materials. The boutique also features Mr. and Mrs. Thom Bags and a range of footwear like heritage trainers, signature brogues, and wingtip heels, presented as 'objets d'arts'.
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Forbes
5 hours ago
- Forbes
Beyoncé's Cowboy Carter Is Rewriting American Culture — And Boosting The Economy
PARIS, FRANCE - JUNE 24: Beyoncé Knowles / Beyonce wears a cowboy hat, a burgundy faux fur fluff ... More coat on one shoulder, a blue denim shirt, during the Louis Vuitton Menswear Spring/Summer 2026 show as part of Paris Fashion Week on June 24, 2025 in Paris, France. (Photo by) It was a humid night in Houston when Beyoncé Knowles-Carter moved financial markets—a role typically reserved for the Federal Reserve, the president, or Congress. In the 48 hours surrounding her Cowboy Carter Tour stop, the Bayou City raked in more than $50 million in local spending. Hotels and restaurants were booked to capacity. Surge pricing broke ride-share apps. And local boot stores had lines wrapped around the block. No bill was passed. No policy enacted. This boom came courtesy of a Black woman in a cowboy hat, singing and dancing on horseback. The Cowboy Carter Tour, spanning eight cities and 32 stadium shows, is now winding down in Las Vegas. But it has left more than just cowboy boots and hats behind. In every city it touched, the economic glow still lingers. In a time of seismic shifts in the marketplace and the political landscape, Knowles-Carter has become more than a cultural icon—she's an economic force. With Cowboy Carter, the Grammy-winning artist isn't just reclaiming country music's Black historic roots, she's staking a bold claim on American identity itself, all wrapped in the American flag. It's a masterclass in ownership, scarcity, and cultural disruption—with real implications for micro- and macro-economics nationwide. As cities see real economic impact from Beyoncé's presence, cultural economist Thomas Smith argues her tour is a lesson in modern market behavior, civic stimulus, and the future of 'event economics' in divided times. 'Beyonce coming to town gets everyone riled up, and for cities that means folks converge on areas around the stadium and spend bunches of money,' Smith said. 'This makes her concert more than just entertainment, she's an economic event.' LOS ANGELES, CALIFORNIA - FEBRUARY 02: Beyoncé accepts the Best Country Album award for "COWBOY ... More CARTER" onstage during the 67th Annual GRAMMY Awards at Arena on February 02, 2025 in Los Angeles, California. (Photo byfor The Recording Academy) While her work has drawn fierce criticism from the same forces intent on dragging America back to a time when artists were expected to sing, dance, and stay silent about politics, Knowles-Carter has transcended the noise. Thanks to a loyal fan base and her unapologetic embrace of every facet of her identity—mother, daughter, Black woman, global citizen, and soundtrack supplier for the resistance—she remains a cultural force. Knowles-Carter's voice became even more pronounced with the 2016 release of Lemonade, her sixth studio album, which featured the single 'Formation.' She shook the culture and electrified her fanbase during the Super Bowl 50 halftime show, where she appeared in a Black Panther–inspired bodysuit with a golden 'X' emblazoned across the top. Her dancers wore Black berets—a symbol of global Black resistance, from the Panthers in the U.S. to Caribbean revolutionaries like Che Guevara and Fidel Castro. Lemonade landed at a moment of national reckoning—after the murder of Trayvon Martin, amid the rise of #MeToo, and during a surge of high-profile police killings of unarmed Black men. That album became a cultural inflection point, giving voice to demands for both social and political change. It also marked a strategic shift: Beyoncé released the visual album exclusively on Tidal, the streaming platform owned by her husband, Jay-Z. Football: Super Bowl 50: Celebrity singer Beyonce performing during halftime show of Denver Broncos ... More vs Carolina Panthers game at Levi's Stadium. Santa Clara, CA 2/7/2016 CREDIT: Robert Beck (Photo by Robert Beck /Sports Illustrated via Getty Images) (Set Number: SI-123 TK1 ) The album was released with no press, no leaks, and flawless execution, a bold pivot that cemented Knowles-Carter not just as a performer, but as a CEO and cultural entrepreneur. It marked a strategic shift from traditional promotion to surprise drops, using scarcity and precision to meet and shape market demand. More than a response to a cultural moment, Lemonade embodied Knowles-Carter's 'joy-as-resistance' ethos, offering a vibrant counter to a nation that had just elected Donald Trump as its 45th president. While Trump sold grievance and nostalgia for a mythologized 1950s, Knowles-Carter offered a future-facing vision. Still capitalist, yes, but one rooted in diversity, pride, and cultural ownership. Her music, visuals, and merchandise became part of a larger narrative: that joy, style, and identity are not just aesthetic choices, but political acts. Singing about generational wealth, freedom from historical bondage, and the alchemy of turning lemons into lemonade, Knowles-Carter claimed her space as an artist unafraid to challenge, evolve, and expand her audience's worldview. Back on the Cowboy Carter Tour, while promoting music from her second studio album since Lemonade, Knowles-Carter's role in the so-called 'quiet resistance' has been anything but quiet. Leaning into her southern roots and the crucial role of Black Southerners in shaping American culture, the album serves as a reclamation of global Blackness as foundational to country music. According to Francesca T. Royster, author of Black Country Music: Listening For Revolutions, country music originates from a creole musical tradition deeply rooted in African-American styles. 'The banjo, often associated in pop culture as an instrument for white people who live in rural areas, was an African instrument brought here by enslaved people,' Royster says in her book. In 2022, while speaking with Leo Weekly, Royster delved deeply into the history and politics of country music. 'This genre was founded on a kind of logic of segregation,' Royster told Leo Weekly. 'In the 1920s when the genre was kind of invented more or less by talent scouts and record label labels, they were distinguishing hillbilly music as kind of a white music that was meant for white audiences, and 'race' music, you know, blues, rhythm and blues, and jazz for Black audiences.' Reimagining rural America and redefining 'Americanism' beyond the white-centered lens it's so often framed in, the Cowboy Carter tour and album offer audiences a striking new association with the American flag—one draped across the body of a Black woman. The Cowboy Carter Tour's DC stop happened over 4th of July weekend in Landover, MD. While the album isn't explicitly partisan, its iconography subtly reshapes national identity. It points to an America—and a broader Western Hemisphere—built on the backs of Black labor, inspired by Black innovation, and powered by Black ingenuity. When Beyoncé rolled into Houston's NRG Stadium on June 28 and 29, her hometown got more than it bargained and budgeted for. According to Axios, hotels near the stadium hit 79 percent occupancy -- a sharp increase from 61 percent the prior year, OpenTable reported a 43 percent increase in Houston-area reservations over that three-day period compared to the same stretch last year. Beyoncé's economic impact extended well beyond Texas. During her stop in the nation's capital over Fourth of July weekend, restaurants surrounding Northwest Stadium (formerly Fedex Field) in Landover, Maryland saw nightly profit spikes of $15,000 to $20,000. All gains that Tom Smith described as beneficial for local economics. 'You gotta have the boots, you gotta have the shirt, you gotta have the hat,' said Smith, an economist at Emory University. 'You gotta have all the things. It's not even worth—it's not even worth going if you don't have all the things making the concert an economic driver for local business in the region.' Beyond uplifting local business, Smith, a bass guitar player himself, also emphasized the broader importance of the tour economy as a catalyst for the industries that power live entertainment. That includes stagecrafters, electrical engineers, lighting designers, dancers, musicians, publicists, costume designers, and the full teams that support them. 'A lot of those jobs were decimated during the COVID-19 pandemic, when no one was going on tour,' Smith said. 'And now, these big, mammoth tours, these big stadium tours are spending millions of dollars every night on the people that make sure that the sound and the lights and the ancillary element are working.' SYDNEY COLEMAN (L) and JESSICA HANNAH (R) traveled from Houston, TX. Fans of Beyonce queue to enter ... More SoFi Stadium in Los Angeles on April 28, 2025 to watch her first concert of her newTour named "Cowboy Carter." (Photo by Bexx Francois/For The Washington Post via Getty Images) Cowboy Carter is Beyoncé's second U.S. tour since the pandemic. And while it's most definitely different in tone, the financial punch for America's big cities remains the same. It couldn't come at a more convenient time, either, as cities across the country are seeing a decrease in crime and are searching for new sources of revenue amid a cavalcade of budget cuts from Washington, D.C. As Beyoncé's golden horse, floating horseshoe, and many of her now-iconic Cowboy Carter costumes make their way to the storage units, it's likely her economic impact — not just her spectacle — that cities and states will remember. Beyoncé's name was never on the ballot. She never passed a bill or rage-tweeted on X. And yet, her version of disruption has managed to move both culture and the economy. In her song 'American Requiem,' Knowles-Carter asks listeners to confront the complex and often painful history of race and culture in America. It's a counter narrative to today's political moment, one that treats historical truth as a liability. Through it all, Beyoncé may be proving something radically different: that reckoning with the past isn't just necessary, it might also be profitable.
Wall Street Journal
11 hours ago
- Wall Street Journal
Luxury Brands Are Getting Hit by a Vibe Shift
Is the luxury industry going through a short-term blip or something more serious? Bernard Arnault, the billionaire owner of Louis Vuitton and more than 70 other luxury brands, says the current sales slump will blow over. If he is right, now is the time to buy LVMH MC 3.92%increase; green up pointing triangle stock, which is down a fifth so far this year. He has spent more than $1 billion of his own cash on the company's shares since January.
New York Times
13 hours ago
- New York Times
A Designer Was Ready for India's Fashion Moment
In June, Kartik Kumra was confronted, for the first time in his life, with a scrum of reporters. His brand, Kartik Research, had just made its runway debut at Paris Fashion Week, showcasing a collection of soft-edged clothing infused with the visual language of India. A pair of beige hand-spun pleated linen pants were spruced up with floral embroidery swirling around the ankle of one leg. And a black blazer was transformed with a flash of gold Banarasi silk peeking through the lapel. It just so happened that Mr. Kumra's show had taken place in the middle of a season in which India seemed to be on the mood board of the luxury fashion world. Prada sent models down its men's wear runway in footwear that closely resembled Kolhapuri sandals. A few days later, at the Louis Vuitton men's wear show, the brand's creative director, Pharrell Williams, recreated the ancient Indian game of Snakes and Ladders as a set for his show. After Mr. Kumra's show ended, the assembled reporters peppered him with questions. 'What did you think of the L.V. show?' he recalled them asking during a recent interview. 'What about the Prada show?' It became abundantly clear to Mr. Kumra, 25, that India's sartorial choices were being repackaged as trendy. And that his brand had found itself at the center of that moment. Even having a presence at Fashion Week, alongside what he called 'the big guys,' was once unthinkable for Mr. Kumra, who started his brand four years ago in his college dorm room as he studied economics at the University of Pennsylvania. At that time, he had no experience in fashion or design. But his brand's ability to reframe Indian crafts in the context of Western fashion has attracted a loyal — or, as Mr. Kumra described it, 'sticky' — following and prepared him for the mainstream spotlight. His work has been seen on Kendrick Lamar, Stephen Curry, Brad Pitt, Riz Ahmed, Lewis Hamilton and Paul Mescal. When the brand released a limited run of embroidered Converse sneakers in May, the shoes sold out almost immediately. In 2023, Mr. Kumra's brand was a semifinalist for the coveted L.V.M.H. Prize for Young Fashion Designers. Kartik Research is now stocked in 70 locations around the world, including Mr Porter and Selfridges. Next spring, it will arrive at Harrods in London. Mr. Kumra will also introduce a line of women's wear at Bergdorf Goodman in March. 'Next season, India is not going to be the reference for them,' he said, referring to companies like Prada and Louis Vuitton. 'But this is our thing. We built a business on it and we're going to keep doing it.' A few weeks after his show in Paris, at the brand's new brick-and-mortar store in the busy Dimes Square neighborhood in downtown Manhattan, Mr. Kumra was manning the floor. In one corner stood a classic Indian straw daybed. On the wall, there was a painting of Hindu mythology. A live cricket match — India versus England — was streaming on his laptop. A single rack of clothes ran the length of the store. Each garment had made its way through an 'independent universe of small makers,' Mr. Kumra said. 'The real experts — the master embroiderers, weavers, printers.' Their work isn't scalable, nor can you find their phone numbers online. To work with them requires building on-the-ground relationships. A white shirt on the rack, for example, was handmade by a man in the state of Gujarat, using what is known as bhujodi weaving. That weaver noticed, during one of Mr. Kumra's visits to his workshop, that Mr. Kumra was wearing handloom denim pants. 'He was like, 'Oh, let me connect you to my handloom denim guys,'' Mr. Kumra said. 'And I went and visited them — they were a couple hours away — and now they make our denim pants.' Piece by piece, Mr. Kumra has built a network of artisans who aren't easily accessible. That gives Mr. Kumra a leg up on brands that parachute in and wax poetic about Indian craft for a season or two, said Julie Ragolia, a New York-based stylist and consultant who became a mentor to Mr. Kumra through a program called Mr Porter Futures. 'He understands that if he's bringing his community into this process, he's helping so many people to understand the value of India from a deeper perspective and not just one of borrowing,' said Ms. Ragolia, who has dressed a number of clients, including Mr. Ahmed, in Kartik Research. The clothes themselves feel couture and luxurious, she added. 'You feel the hands that have made them,' she said — they are all a little imperfect and no two garments are alike — and yet, 'while there's such immensity of technique, it's not fussy. It's very wearable.' Mr. Kumra, who grew up in New Delhi, had a fervent interest in fashion and streetwear as a consumer long before conceiving Kartik Research. Through college and high school, he would resell sneakers. He admired the work of Dries Van Noten, and he was, like so many teenagers, a Supreme enthusiast. He also enjoyed sketching and doodling. When Covid shuttered universities in 2020, Mr. Kumra, who had an internship in finance lined up, decided instead to spend his free time in New Delhi putting together a business plan. His mother shuttled him around the country to meet with artisans. Some of the money he earned from reselling sneakers — roughly $5,000 — became the start-up capital for what was then Karu MFG — 'karu' is the Sanskrit word for 'artisan,' and 'MFG' is short for 'manufacturing.' He cold-called factories and found one, on the brink of closing as a result of the pandemic, that agreed to create 22 garments for him. 'The look book cost 1,000 bucks — a friend shot it, and we got models for 200 bucks,' he said. 'The location was free, it was 10 minutes away from my house.' Mr. Kumra then jumped into the Discord channel of 'Throwing Fits,' a podcast for men's wear enthusiasts, to share his designs and solicit feedback. 'I was just really blown away — this young guy was a fan of us, but when we saw his work we were becoming a fan of him,' said one of the podcast's hosts, Lawrence Schlossman. 'I actually remember my first piece of feedback was just like drop the MFG.' By the time Mr. Kumra returned to Philadelphia to finish his degree in 2022, he was running a full-blown business. A stylist messaged him one night about one of his cardigans: 'Yo, Kendrick's wearing it.' As in the Pulitzer Prize-winning rapper. That was the first time, in Mr. Kumra's recollection, that his friends realized he wasn't lying about having started a brand. As he builds Kartik Research, Mr. Kumra is not taking a salary. His mother still helps out, working on the finance and accounting side. It was just in the last year that Mr. Kumra hired two designers. In a cheeky acknowledgment of the heightened interest and momentum around Indian fashion, Mr. Kumra's own inspirations, and how, he said, work from there could one day be considered 'globally aspirational,' the Kartik Research show in Paris in June was accompanied with a look book. Its title? 'How to Make It in India.'
