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Three seasons in, Veronica Leoni’s take on Calvin Klein remains rooted in tailored minimalism, though this time, she revisited the brand’s provocative past, too.

New York-based label Carolina Herrera delivered a confident collection celebrating its 1980s roots at New York Fashion Week, as Creative Director Wes Gordon leaned into the brand’s heritage codes while amplifying print, structure and sparkle for autumn/winter 2026. When the founder Carolina Herrera described her debut collection in 1981, she famously said it was simply “my own style”. Decades later, that sentiment still defines the label. Refined and unmistakably ladylike, the Herrera aesthetic has long centred on crisp tailoring, sculptural sleeves and one statement flourish – never fussy or overworked. This season, that flourish arrived immediately. One of the opening looks for the AW26 collection (Charles Sykes/Invision/AP) A double-breasted leopard coat opened the show, signalling that horseshoe jeans are out and horseshoe coats are in. It was textured and sharply cut, setting a bold tone for a collection that combined classic elegance with playfulness. Leopard appeared repeatedly, often rendered in monochrome with flashes of red, reinforcing animal print as a key outerwear statement for the colder months. Monochromatic animal print was everywhere (Charles Sykes/Invision/AP) Sixties-inspired silhouettes ran throughout. Structured peplum jackets, drop-waist A-line dresses and oversized buttons gave the collection a retro, graphic precision, while bows and brooches added the decorative charm that has been trending for the past few months. Florals – traditionally synonymous with spring – were reimagined for autumn. Arum lilies were the statement floral of the collection (Charles Sykes/Invision/AP) Arum lilies appeared first as sculptural accents on belts, bags and brooches before evolving into rich reds and plum across dresses and separates. The motif provided a softer counterpoint to leopard’s boldness, underscoring the brand’s enduring love of statement blooms. Gordon also managed to incorporate the mesh trend that has been dominating the red carpet as of late. Sheer underlays peeked from beneath sharply tailored jackets before evolving into full-length evening gowns that combined transparency with structure. Mesh was incorporated into elegant eveningwear (Charles Sykes/Invision/AP) Strong shoulders – a nod to the house’s 1980s roots – featured prominently in coats and formal day dresses, alongside the exaggerated peplums it seems this decade’s trends are here to stay. As the show progressed, glamour took centre stage. Sequins and square disco-style embellishments drenched body-con evening gowns, injecting a high-shine drama into the collection. Oversized sequins are set to be another big trend in eveningwear (Charles Sykes/Invision/AP) The silhouettes were evocative of the 2010s ‘business-casual’ trend, albeit elevated through richer textures and sculpted proportions. Elsewhere, crinoline-inspired constructions introduced exaggerated hips and cinched waists, reviving a silhouette that has resurfaced across recent couture collections by Dior and Schiaparelli. Peplums and bustle-style silhouettes are trending on the runways (Charles Sykes/Invision/AP) The sculptural shape brought a sense of theatricality, emphasising the hourglass form that seems to be trending in fashion. Speaking about the collection ahead of the show on Instagram, Gordon emphasised his commitment to preserving the house’s defining elegance while evolving it for a contemporary woman. He described the work as rooted in Herrera’s enduring sense of confidence, colour and joie de vivre – values that continue to anchor the brand decades after its founding.   View this post on Instagram   A post shared by CAROLINA HERRERA (@carolinaherrera) Under Gordon’s direction – he joined the house in 2017 before being appointed creative director in 2018 – Carolina Herrera’s codes of femininity have been refreshed with youthful energy. Herrera, who launched her label after encouragement from former Vogue editor Diana Vreeland, built her reputation on simple white shirts, couture-like dresses and dramatic sleeves. Early clients included Jacqueline Kennedy Onassis, and the brand has continued to dress high-profile women for red carpets and formal occasions. For autumn/winter 2026, Gordon honoured that lineage while sharpening its message. Leopard outerwear, sculpted peplums and strong-shouldered tailoring spoke to modern-day power dressing, while lilies, bows and mesh layering introduced a much-needed sense of soft romance.

Footasylum has unveiled the next phase of its transformation strategy as Chief Executive David Pujolar steps down from the business. The sportswear retailer confirmed that, having closed its fiscal year at the end of January 2026, it is preparing to implement further measures aimed at enhancing growth and profitability. Pujolar, who has led the business since 2024, is leaving with immediate effect. David Pujolar said: “Thank you Footasylum, for the opportunity to lead such a talented group. I’m grateful for your trust, support, passion, and the lessons we shared. Wishing the team continued success and all the best for the future. Defy Ordinary. SHAKE, SHOCK AND ROCK.” David Pujolar Stephan Rahmede, Senior Representative of Aurelius WaterRise, will assume CEO responsibilities on an interim basis while a search for a permanent successor gets underway. He will oversee what the company describes as its next transformation and internationalisation phase. Footasylum pointed to three years of “successful transformation”, including the opening of multiple new UK stores (notably its Oxford Street flagship in 2023) alongside the renewal and expansion of existing sites. The retailer has continued to invest in bricks-and-mortar, with further openings planned, including a new flagship at Trinity Leeds in April. The group has also strengthened brand partnerships, working with global names such as Nike, adidas and New Balance, while signing a strategic agreement with Dubai-based Apparel Group to support expansion across the Middle East. According to the company, these combined efforts have delivered growth, market share gains and solid financial performance despite challenging retail conditions. However, it signalled that further digitalisation will be a key strategic driver in the next phase. Stephan Rahmede commented: “The Footasylum journey began 20 years ago and has been a story of boldness, disruption, and a unique understanding of its customers. While many retailers have stood still in recent years, Footasylum has redefined what it means to be an athleisure retailer, creating shopping experiences that go far beyond the norm. “We are lucky to have an extremely talented and dedicated team, driven by the vision to lead the industry. But there is more to come, and I am determined to support the next phase of growth and to strengthen the management team further, including a new CEO.”

A new pair of leggings is being called out for being see-through when wearers bend or squat, adding to the activewear maker’s challenges.

Customs authorities have sealed three Tiffany & Co. stores in Jakarta as part of a crackdown on undeclared high-value imported goods.

Designer Christian Siriano delivered a theatrical vision of fantasy and inclusivity at New York Fashion Week, closing his autumn/winter 2026 show with supermodel Coco Rocha in a dramatic ombré bubble gown that drew cheers from the front row. Siriano described the collection as a “dreamlike world”, inspired by surrealism and the idea of a painting that cannot quite be explained. “It was more of a fantasy dream,” he said backstage. “Maybe like a Dalí painting that can never be explained. It really is this world that hopefully everybody feels really beautiful in.” Siriano said he wanted the collection to be “dreamlike” (Charles Sykes/Invision/AP) Escapism seemed to be leading the show. Acknowledging the current climate in the United States, Siriano said he wanted the collection to offer celebration and release rather than restraint. “We need to escape and be somewhere else […] in a dream world,” he said. “This is a celebration of beauty, bodies, age and cultures – and we need that.” The show opened with sharply structured black-and-white tailoring before dissolving into a wash of colour, texture and sculptural silhouettes that felt increasingly expressive as the runway progressed. A black palette moved into colour as the show progressed (Charles Sykes/Invision/AP) Formal evening satin was reworked into a corseted moto-style jacket paired with dress trousers, while a tuxedo jacket appeared asymmetrically cut at the waist with a single sleeve, styled with a feather-trimmed skirt. Traditional glamour was present but simultaneously subverted, giving classic eveningwear a slightly rebellious edge. Texture was a central theme. A plush coat that resembled faux fur was in fact constructed entirely from feathers, while a cropped black bolero jacket was made from gathered lace, creating a tulle-like effect. Sheer fabrics were layered over structured bases, giving depth and movement without overwhelming the silhouette. Siriano experimented with his signature tulle (Charles Sykes/Invision/AP) Materials that might once have felt overly ornate appeared more controlled this season, suggesting a refined evolution of the designer’s signature drama. Organza – a longstanding Siriano signature – featured prominently in sheer blazers with visible boning and dramatic draped gowns. Voluminous ruffles cascaded across torsos and shoulders, reinforcing the collection’s heightened theatricality. Sequins gave further dimension, appearing on sculptural silver bodices and coordinating skirts, while exaggerated tulle sleeves and peplums reimagined red-carpet silhouettes. Sequins and mixed metals made their way onto the runway (Charles Sykes/Invision/AP) Asymmetrical necklines, cut-outs and sheer panels gave many looks a deliberately off-kilter finish. Siriano’s commitment to inclusivity remained a defining feature of the runway. Models of varied sizes and genders wore the same architectural shapes and statement designs, underscoring his reputation as one of New York’s most consistently size-inclusive designers. The show’s closing look provided its most striking closing image, as Rocha emerged in a voluminous, two-tiered bubble gown that shifted from deep blue to vivid green in an iridescent degradé. Coco Rocha closed the show with a theatrical display (Charles Sykes/Invision/AP) The fabric, delayed in customs and arriving just days before the show, was transformed into the finale dress in under 48 hours. As Rocha posed theatrically down the runway, locking eyes with guests and turning dramatically to showcase the gown’s volume, cheers rang out from the audience. Unlike previous seasons, Siriano opted for a pared-back venue, allowing the clothes to draw attention rather than relying on elaborate set design. The focus remained firmly on silhouette, craft and impact – with fantasy taking centre stage.

Florere co-founders Michelle Evatt and Heidi Fielding met while studying fashion and business at the University of Brighton. After graduation they both moved to London to pursue successful design careers on the high street, where between them they spent time at major names such as Ted Baker, Oasis, Debenhams and New Look. After the pandemic and the turmoil that came with it, the pair established their own design agency, Curated Collective, through which they created designs for other major fashion names. Alongside this, they also set about establishing their own brand Florere. Florere seeks to offer a counterpoint to homogenous high street design with feminine pieces, that are both wearable and impactful. Launched in September 2022, it quickly established a strong reputation for its dresses, in particular, but the collection takes in separates, knits and tailoring. Available through John Lewis, the brand also launched its own e-commerce site last year. Recently it secured investment, with Evatt and Fielding planning to use the funds to add to their team, invest in stock and marketing, and grow the brand in the UK and internationally. The investment led to Richard Sims joining the business as lead investor and chair. Sims is a well-known investor and brand turnaround specialist and is also currently chair of lingerie brand Bluebella. He has previously worked with well-known names, such as Mint Velvet and the Fold. Evatt and Fielding talk to TheIndustry.fashion about how their friendship, high street careers, shared values and contrasting personal styles have all gone into the creation of the brand. They also discuss their ambitions for the future. Please tell us how you two met, your story goes back a long way… HF: We met on our first day at Brighton University where we were both studying Fashion and Business and lived together for four years. After graduating, we moved to London to start our careers in fashion, and continued to flat share for another 10 years! ME: So you could say our collaboration started way before we started Florere! You both went on to enjoy successful careers on the high street after university, can you give us a brief insight into the roles you carried out? ME: Between us, we have over 20 years’ experience working in creative lead roles at British brands. I spent 14 years at Ted Baker, starting as a womenswear designer and progressing to Associate Director of Womenswear, before moving on to Oasis as Design Director. HF: Following five years at M&S and then four at Debenhams, I spent 10 years at New Look, where I left as Head of Design for Womenswear and Brands. Our varied experiences have really shaped our approach to design and given us a deep understanding of the British high street, brand and all product categories. Michelle and Heidi’s relationship dates back to university You set up your own design agency before your own brand, was the brand always in the grand plan or did the idea come later? HF: Yes, we’ve really been on a journey since taking the leap. Coming out of lockdown, we both felt the market had become flat and uninspiring. There was a sense that so many brands were beginning to blur into one, and it left us feeling disheartened about where the industry was heading. But with that came lots of ideas and a strong sense that there was opportunity to do something differently. We’re deeply passionate about good design and missed the days when the high street was thriving with unique independent brands and clearly defined identities. ME: At the same time, we both had young children, and motherhood truly shaped this new chapter for us, giving us fresh priorities, perspective, and ultimately a renewed sense of purpose. That coupled with our belief there was a real gap for something distinctive, and unapologetically different. Florere has a very distinctive handwriting, how does in blend your respective visions? You both have slightly different personal styles… HF: I think we naturally come together through a shared sense of femininity. We both have that eye for the little “something different” whether it’s a print, a detail, a silhouette or a colour. We’re always on the hunt for that special something. ME: …And even though our personal style differs, ultimately we align on taste and an overall vision. We both love putting a unique twist on things, but we also share a sense of commerciality, so everything feels wearable yet distinctive. What was the response like when the brand first launched and what did you learn from that experience? HF: It was really positive. What motivated us was the feedback from customers, our ultimate inspiration – seeing women buy into the brand and hearing such positive comments we knew we were doing something right. Presenting the brand to partners and seeing their response, and ultimately being stocked was such a huge validation for us. ME: It was really clear from the start that there was a real appetite for what we were putting out in the market. The early validation from partners and customers taught us to keep trusting our instincts, shake off the naysayers and stay true to what makes Florere so unique. Florere has gained a strong reputation in dresses You are very focused on dresses, will that continue as the brand develops? ME: We’re absolutely dress obsessed, dresses are really at the heart of what we do. They’re driving our sales and we genuinely believe they’ll always be central to our DNA. HF: That said, we plan to grow other categories as the brand develops. We’re already seeing great traction across the range, so expanding feels like a natural next step. You’ve also received some funding to support the expansion – what was that process like and what do you intend to do with the funds? ME: The process of securing funding was intense, and a real learning curve for us as female founders. Many late nights, creating decks and pitching, telling our story, and navigating the

The UK personal care giant posted better-than-expected sales at the end of last year, boosted by premium beauty and home care products in India and China.

New Look’s customer loyalty programme has reached one million members ahead of schedule following its national roll-out in October 2025. Free to join, Club New Look offers exclusive ‘Club Prices’, early access to sales and new product launches, and members-only prize draws, all “underpinned by personalised data-led communications” for a more tailored shopping experience. The milestone follows a £30 million investment announced in April 2025 to accelerate New Look’s digital transformation and customer engagement strategy. The programme has resonated strongly with New Look’s core audience, with around 56% of members being aged 18-44. It is also delivering strong results, with over 80% of members active within 90 days and shopping twice as frequently as non-members. Dresses are the most purchased category for Club New Look members, accounting for 14% of transactions. Clare Dobbie, Chief Customer Officer of New Look, said: “Reaching one million members is a fantastic milestone and a real testament to the team and how strongly it has resonated with customers. Our customers truly drive our business at New Look and, now powered by a world-class data platform and capability, Club New Look is a true reflection of this approach. “From the outset, our ambition was to create a proposition that genuinely adds value – rewarding our most engaged customers while allowing us to deliver more relevant, personalised experiences. “Hitting this target ahead of plan shows the appetite our customers have for being recognised and rewarded, and we’re excited about what’s next for Club New Look.”