Latest news with #10CorsoComo
Fashion United
23-06-2025
- Business
- Fashion United
Exclusive Joor data reveals buoyant return to growth for Italian fashion market
On the first day of Pitti Uomo, Italy's premium menswear trade show, exclusive data from JOOR, the fashion industry's leading wholesale management ecosystem, signals a buoyant return to growth for Italian fashion. In the first five months of 2025, wholesale sales for Italian brands grew by 20% versus the same time period last year. Meanwhile, the gross merchandise value (GMV) of fashion goods purchased by Italian retailers during this same time frame increased by 11% versus last year. Luxury Italian brands are experiencing a positive rebound in 2025 following declines in 2023 and 2024. If this growth rate continues, the market will have recovered significant ground this year and end 2025 with wholesale sales of Italian brands just 10% below their peak in 2022. So far this year, Italian brands have recorded a +33% increase in the volume of units sold, driving the increase in GMV. At the same time, the average price point purchased from Italian brands by global retailers has decreased by -6%, illustrating an adjustment in buyers' assortment mix in the face of continued retail challenges. Global demand for Italian brands remains strong. The top five markets—Italy, US, Germany, France, and UK—all returned to growth this year. The driving force was EMEA, recording a significant increase of +23% to last year, followed by North America at +12%. APAC, on the other hand, continues to decline, with wholesale sales -13% in 2025. This pull back is being driven most notably by China, which has experienced a dramatic decline of -41% this year, building on top of a decrease of -35% in 2024. Domestic sales to Italian retailers represents 32% of total sales for Italian brands, making it the highest volume country and a significantly growing market at +24% to last year. While Italian brands have sold product to retailers in 122 different countries so far this year, sales volume remains highly concentrated in the EMEA region which represents 75% of total sales—a much higher penetration than EMEA's 41% of sales on the JOOR platform overall and a significant increase to the 64% EMEA represented for Italian brands in 2024. Italian retailers placed the vast majority of their wholesale orders with Italian, French and US brands, with these three countries accounting for 78% of total purchases in 2025. Italian brands represented the largest volume of orders for Italian retailers at 39% of total purchases, followed by French brands which accounted for 23% of the total. Interestingly, Italy's retail landscape continues to be heavily driven by specialty stores, such as 10 Corso Como and Luisa via Roma, with 87% of GMV being attributed to independent retailers versus large enterprise department stores. This trend has been consistent over the past five years. 'The Italian market is a fashion powerhouse so it is fantastic to see energetic growth emerging in 2025,' commented Amanda McCormick Bacal, SVP of Marketing at JOOR. 'Our exclusive transaction data reveals a noticeable uptick for both Italian brands and retailers this year, reflecting a growing demand and vigour in the Italian luxury fashion market. To further facilitate this growth, we recently launched 'Explore Italy', our latest JOOR Passport Retailer show, designed to connect global brands with Italy's leading independent retailers.' This exclusive in-depth analysis of the Italian market (brands and retailers) is composed of data aggregated from transactions on JOOR and provides information on industry trends and market dynamics. Date range referencing 2025 compare Jan 1-May 31, 2025 versus the same time period last year.
Fashion Network
22-06-2025
- Entertainment
- Fashion Network
Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano
Make way for unbridled creativity and new languages. The third day of men's fashion shows in Milan proved the vitality of young creation, bringing a breath of fresh air to this fashion week dedicated to Spring/Summer 2026. Among the most interesting names in this new wave, a fine trio. The provocative and committed label Simon Cracker delivered a collection à la Margiela. Englishman Saul Nash fused sport, technique, and couture. And Magliano opted for a cinematic format with a real theatrical projection, working on a versatile multi-horizon wardrobe. See catwalk Welcomed to the Fondazione Sozzani on the outskirts of Bovisa - a new cultural space and art gallery opened by Carla Sozzani after closing the 10 Corso Como chapter - the Simon Cracker label couldn't have wished for a better venue to present its new avant-garde collection, clearly and openly inspired by Martin Margiela, fashion's last true pioneer. At the label, the devil doesn't dress in Prada, but "hides in the details", as the collection's name, "Il diavolo è nei dettagli", suggests. "Unlike other colleagues, we quote our sources with complete transparency. We didn't set out to copy Martin Margiela, but just tried to speak his same language around a precise wardrobe with an emphasis on details, as the Belgian couturier taught us," explained Simone Botte backstage, who founded the brand in 2010 with a 100% upcycling commitment from the outset, and was joined after Covid by Filippo Biraghi as brand coordinator. Aside from the humorous quotes, using safety pins and giant clothespins or large photocopied buttons affixed directly to the garments, the collection was surprisingly coherent and desirable. The design duo confirmed their evolution and the maturity acquired over the seasons. The neo-punk aesthetic of the early days has gradually given way to a more structured and understandable wardrobe, certainly less messy and cluttered than in the past, without abandoning the responsible commitment that has characterized the brand since its inception, with unique pieces that were entirely upcycled and designed with zero waste in mind. See catwalk The fabric used for the T-shirts, cut in squares and simply sewn on the sides, came, for example, from a huge roll of cotton jersey soiled and damaged by the floods and torrential rains that hit Emilia-Romagna in 2023, which had been washed, revitalized and dyed. For this show, Simon Cracker opted for a radical vision in true Margiela style. In other words, no superfluous accessories and zero styling. All models wore custom Crocs with hand-drawn patches and graffiti, a T-shirt with a label sewn on the front (indicating washing instructions) and tailored shorts. On top of this basic uniform, they each donned a single piece from the wardrobe, where designers give free rein to their inventiveness. There was the jacket with infinite sleeves, made up of six different pairs of sleeves, which dragged across the floor or playfully rolled up on top of each other to create a wearable dimension. The baggy pants were tightened at the waist by an XXL climbing rope fastened with a large knot. Large golden paperclips decorate a black jacket and transform into a pocket-watch chain. A long pair of mottled painter's pants is slipped on like a coverall, the waist turned into a boat neck. A banker's suit became a dress, the collar slightly lowered and plastered wide open over the torso. Naive black felt-tip drawings on white cotton were woven into ensembles made from lace doilies. A great deal of work is also done on dyes with "impressionist" effects. See catwalk For his second show in Milan, Saul Nash chose the Teatro Principe, a discotheque that was one of the Lombardy capital's finest hours during the nineties, while recreating its slightly cheesy nightclub decor with velvet curtains and old red sky sofas. Good music filled the space. A spotlight illuminated the runway, on which the models - nerdy sportsmen with thin metal-rimmed glasses - moved elegantly, suddenly slowing their pace in a swaying movement, sometimes coming close together and gently embracing. The Guyanese-born British designer and dancer, who grew up in north-east London, is one of the new names on the fashion scene to watch closely. Having passed through the Central Saint Martin school and the Royal College of Art, he founded his house in 2018. Semi-finalist for the LVMH Prize in 2021, he won the International Woolmark Prize in 2022. Known for his art of fusing sportswear and high-end with a techno-functional approach, he delivered a collection that was both sporty and chic, often sensual, packed with couture details, most of them invisible to the naked eye. Like a discreet zip, hidden by a tie, which opened a chest-high pocket in a shirt made from lightweight technical fabric. A handy place to slip one's cigarettes, or a small revolver. The top of a tracksuit could be worn as a vest, thanks to armpit openings. The ultra-chic denim jacket with its faded graphics had a designer cut and zips up the front, while tight-fitting knitwear in tie dye unbuttoned diagonally below the right shoulder, revealing a muscular chest through an oval opening. The collars of striped, lace-up linen jackets extended into hoods. Elsewhere, a hood was tied at the front to form a tie. The classic grey jersey fleece sweater was transformed into a suit jacket. Tuxedo belts draped over certain sizes. This dressing room, where everything is precise and well-defined, was completed by transparent tulle tank tops and impalpable nylon windbreakers. All that was left for Saul Nash to do was collect his applause with an unexpected dance step. A change of register at Magliano. This season, the designer chose to swap the usual fashion show for a film. He invited his guests to Milan's small Cinema Centrale on Saturday evening. "This current period of crisis is reminiscent of Covid," confided Luca Magliano, who greeted his guests at the cinema entrance. "As a result, we decided to take a break and create a sort of sabbatical collection. The idea was to do something out of the ordinary, outside the urban setting, and to propose a different form of expression", he said, admitting that he shot the film just a fortnight ago. He entrusted the project for this eight-minute short to the young British director Thomas Hardiman, author of "Medusa Deluxe". Hardiman assembled Magliano's little world on a ferry. The boat, whose journey lasts the duration of the film, was populated by colorful characters who were by turns moody, temperamental, or marginal, but always endearing, from the nerd to the mechanic, via the musicians, the cocktail-loving vamp, and the jilted lover. The camera moved from one character to the next, following them as they wandered and rambled, crossing the ferry from top to bottom until it ends up on the deck, accompanied by a splendid jazzy score that punctuated the film effectively. Along the way, one catches glimpses of looks from the new Magliano collection, including a handsome hand-knitted sweater in large gold thread knits, some nonchalantly elegant shirts that glide over the skin, and futuristic-looking technical jackets. The message of this film, entitled "Maglianic" (an ironic reference to Titanic), was that fashion is a natural, no-fuss part of life. At no point did you notice Magliano's clothes, for they were literally inhabited by the characters. This was in stark contrast to recent big-budget films sponsored by certain luxury houses, whose clothes were displayed in every scene, including on the extras. Fashion belongs to everyone, as long as we make it our own. With its slightly mysterious atmosphere, zany dialogue, and lively music, the film succeeds in evoking the Magliano style: authentic, intense, popular, humorous, with a pinch of romanticism.
Fashion Network
22-06-2025
- Entertainment
- Fashion Network
Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano
Make way for unbridled creativity and new languages. The third day of men's fashion shows in Milan proved the vitality of young creation, bringing a breath of fresh air to this fashion week dedicated to Spring/Summer 2026. Among the most interesting names in this new wave, a fine trio. The provocative and committed label Simon Cracker delivered a collection à la Margiela. Englishman Saul Nash fused sport, technique, and couture. And Magliano opted for a cinematic format with a real theatrical projection, working on a versatile multi-horizon wardrobe. See catwalk Welcomed to the Fondazione Sozzani on the outskirts of Bovisa - a new cultural space and art gallery opened by Carla Sozzani after closing the 10 Corso Como chapter - the Simon Cracker label couldn't have wished for a better venue to present its new avant-garde collection, clearly and openly inspired by Martin Margiela, fashion's last true pioneer. At the label, the devil doesn't dress in Prada, but "hides in the details", as the collection's name, "Il diavolo è nei dettagli", suggests. "Unlike other colleagues, we quote our sources with complete transparency. We didn't set out to copy Martin Margiela, but just tried to speak his same language around a precise wardrobe with an emphasis on details, as the Belgian couturier taught us," explained Simone Botte backstage, who founded the brand in 2010 with a 100% upcycling commitment from the outset, and was joined after Covid by Filippo Biraghi as brand coordinator. Aside from the humorous quotes, using safety pins and giant clothespins or large photocopied buttons affixed directly to the garments, the collection was surprisingly coherent and desirable. The design duo confirmed their evolution and the maturity acquired over the seasons. The neo-punk aesthetic of the early days has gradually given way to a more structured and understandable wardrobe, certainly less messy and cluttered than in the past, without abandoning the responsible commitment that has characterized the brand since its inception, with unique pieces that were entirely upcycled and designed with zero waste in mind. See catwalk The fabric used for the T-shirts, cut in squares and simply sewn on the sides, came, for example, from a huge roll of cotton jersey soiled and damaged by the floods and torrential rains that hit Emilia-Romagna in 2023, which had been washed, revitalized and dyed. For this show, Simon Cracker opted for a radical vision in true Margiela style. In other words, no superfluous accessories and zero styling. All models wore custom Crocs with hand-drawn patches and graffiti, a T-shirt with a label sewn on the front (indicating washing instructions) and tailored shorts. On top of this basic uniform, they each donned a single piece from the wardrobe, where designers give free rein to their inventiveness. There was the jacket with infinite sleeves, made up of six different pairs of sleeves, which dragged across the floor or playfully rolled up on top of each other to create a wearable dimension. The baggy pants were tightened at the waist by an XXL climbing rope fastened with a large knot. Large golden paperclips decorate a black jacket and transform into a pocket-watch chain. A long pair of mottled painter's pants is slipped on like a coverall, the waist turned into a boat neck. A banker's suit became a dress, the collar slightly lowered and plastered wide open over the torso. Naive black felt-tip drawings on white cotton were woven into ensembles made from lace doilies. A great deal of work is also done on dyes with "impressionist" effects. See catwalk For his second show in Milan, Saul Nash chose the Teatro Principe, a discotheque that was one of the Lombardy capital's finest hours during the nineties, while recreating its slightly cheesy nightclub decor with velvet curtains and old red sky sofas. Good music filled the space. A spotlight illuminated the runway, on which the models - nerdy sportsmen with thin metal-rimmed glasses - moved elegantly, suddenly slowing their pace in a swaying movement, sometimes coming close together and gently embracing. The Guyanese-born British designer and dancer, who grew up in north-east London, is one of the new names on the fashion scene to watch closely. Having passed through the Central Saint Martin school and the Royal College of Art, he founded his house in 2018. Semi-finalist for the LVMH Prize in 2021, he won the International Woolmark Prize in 2022. Known for his art of fusing sportswear and high-end with a techno-functional approach, he delivered a collection that was both sporty and chic, often sensual, packed with couture details, most of them invisible to the naked eye. Like a discreet zip, hidden by a tie, which opened a chest-high pocket in a shirt made from lightweight technical fabric. A handy place to slip one's cigarettes, or a small revolver. The top of a tracksuit could be worn as a vest, thanks to armpit openings. The ultra-chic denim jacket with its faded graphics had a designer cut and zips up the front, while tight-fitting knitwear in tie dye unbuttoned diagonally below the right shoulder, revealing a muscular chest through an oval opening. The collars of striped, lace-up linen jackets extended into hoods. Elsewhere, a hood was tied at the front to form a tie. The classic grey jersey fleece sweater was transformed into a suit jacket. Tuxedo belts draped over certain sizes. This dressing room, where everything is precise and well-defined, was completed by transparent tulle tank tops and impalpable nylon windbreakers. All that was left for Saul Nash to do was collect his applause with an unexpected dance step. A change of register at Magliano. This season, the designer chose to swap the usual fashion show for a film. He invited his guests to Milan's small Cinema Centrale on Saturday evening. "This current period of crisis is reminiscent of Covid," confided Luca Magliano, who greeted his guests at the cinema entrance. "As a result, we decided to take a break and create a sort of sabbatical collection. The idea was to do something out of the ordinary, outside the urban setting, and to propose a different form of expression", he said, admitting that he shot the film just a fortnight ago. He entrusted the project for this eight-minute short to the young British director Thomas Hardiman, author of "Medusa Deluxe". Hardiman assembled Magliano's little world on a ferry. The boat, whose journey lasts the duration of the film, was populated by colorful characters who were by turns moody, temperamental, or marginal, but always endearing, from the nerd to the mechanic, via the musicians, the cocktail-loving vamp, and the jilted lover. The camera moved from one character to the next, following them as they wandered and rambled, crossing the ferry from top to bottom until it ends up on the deck, accompanied by a splendid jazzy score that punctuated the film effectively. Along the way, one catches glimpses of looks from the new Magliano collection, including a handsome hand-knitted sweater in large gold thread knits, some nonchalantly elegant shirts that glide over the skin, and futuristic-looking technical jackets. The message of this film, entitled "Maglianic" (an ironic reference to Titanic), was that fashion is a natural, no-fuss part of life. At no point did you notice Magliano's clothes, for they were literally inhabited by the characters. This was in stark contrast to recent big-budget films sponsored by certain luxury houses, whose clothes were displayed in every scene, including on the extras. Fashion belongs to everyone, as long as we make it our own. With its slightly mysterious atmosphere, zany dialogue, and lively music, the film succeeds in evoking the Magliano style: authentic, intense, popular, humorous, with a pinch of romanticism.
Fashion Network
22-06-2025
- Entertainment
- Fashion Network
Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano
Make way for unbridled creativity and new languages. The third day of men's fashion shows in Milan proved the vitality of young creation, bringing a breath of fresh air to this fashion week dedicated to Spring/Summer 2026. Among the most interesting names in this new wave, a fine trio. The provocative and committed label Simon Cracker delivered a collection à la Margiela. Englishman Saul Nash fused sport, technique, and couture. And Magliano opted for a cinematic format with a real theatrical projection, working on a versatile multi-horizon wardrobe. See catwalk Welcomed to the Fondazione Sozzani on the outskirts of Bovisa - a new cultural space and art gallery opened by Carla Sozzani after closing the 10 Corso Como chapter - the Simon Cracker label couldn't have wished for a better venue to present its new avant-garde collection, clearly and openly inspired by Martin Margiela, fashion's last true pioneer. At the label, the devil doesn't dress in Prada, but "hides in the details", as the collection's name, "Il diavolo è nei dettagli", suggests. "Unlike other colleagues, we quote our sources with complete transparency. We didn't set out to copy Martin Margiela, but just tried to speak his same language around a precise wardrobe with an emphasis on details, as the Belgian couturier taught us," explained Simone Botte backstage, who founded the brand in 2010 with a 100% upcycling commitment from the outset, and was joined after Covid by Filippo Biraghi as brand coordinator. Aside from the humorous quotes, using safety pins and giant clothespins or large photocopied buttons affixed directly to the garments, the collection was surprisingly coherent and desirable. The design duo confirmed their evolution and the maturity acquired over the seasons. The neo-punk aesthetic of the early days has gradually given way to a more structured and understandable wardrobe, certainly less messy and cluttered than in the past, without abandoning the responsible commitment that has characterized the brand since its inception, with unique pieces that were entirely upcycled and designed with zero waste in mind. See catwalk The fabric used for the T-shirts, cut in squares and simply sewn on the sides, came, for example, from a huge roll of cotton jersey soiled and damaged by the floods and torrential rains that hit Emilia-Romagna in 2023, which had been washed, revitalized and dyed. For this show, Simon Cracker opted for a radical vision in true Margiela style. In other words, no superfluous accessories and zero styling. All models wore custom Crocs with hand-drawn patches and graffiti, a T-shirt with a label sewn on the front (indicating washing instructions) and tailored shorts. On top of this basic uniform, they each donned a single piece from the wardrobe, where designers give free rein to their inventiveness. There was the jacket with infinite sleeves, made up of six different pairs of sleeves, which dragged across the floor or playfully rolled up on top of each other to create a wearable dimension. The baggy pants were tightened at the waist by an XXL climbing rope fastened with a large knot. Large golden paperclips decorate a black jacket and transform into a pocket-watch chain. A long pair of mottled painter's pants is slipped on like a coverall, the waist turned into a boat neck. A banker's suit became a dress, the collar slightly lowered and plastered wide open over the torso. Naive black felt-tip drawings on white cotton were woven into ensembles made from lace doilies. A great deal of work is also done on dyes with "impressionist" effects. See catwalk For his second show in Milan, Saul Nash chose the Teatro Principe, a discotheque that was one of the Lombardy capital's finest hours during the nineties, while recreating its slightly cheesy nightclub decor with velvet curtains and old red sky sofas. Good music filled the space. A spotlight illuminated the runway, on which the models - nerdy sportsmen with thin metal-rimmed glasses - moved elegantly, suddenly slowing their pace in a swaying movement, sometimes coming close together and gently embracing. The Guyanese-born British designer and dancer, who grew up in north-east London, is one of the new names on the fashion scene to watch closely. Having passed through the Central Saint Martin school and the Royal College of Art, he founded his house in 2018. Semi-finalist for the LVMH Prize in 2021, he won the International Woolmark Prize in 2022. Known for his art of fusing sportswear and high-end with a techno-functional approach, he delivered a collection that was both sporty and chic, often sensual, packed with couture details, most of them invisible to the naked eye. Like a discreet zip, hidden by a tie, which opened a chest-high pocket in a shirt made from lightweight technical fabric. A handy place to slip one's cigarettes, or a small revolver. The top of a tracksuit could be worn as a vest, thanks to armpit openings. The ultra-chic denim jacket with its faded graphics had a designer cut and zips up the front, while tight-fitting knitwear in tie dye unbuttoned diagonally below the right shoulder, revealing a muscular chest through an oval opening. The collars of striped, lace-up linen jackets extended into hoods. Elsewhere, a hood was tied at the front to form a tie. The classic grey jersey fleece sweater was transformed into a suit jacket. Tuxedo belts draped over certain sizes. This dressing room, where everything is precise and well-defined, was completed by transparent tulle tank tops and impalpable nylon windbreakers. All that was left for Saul Nash to do was collect his applause with an unexpected dance step. A change of register at Magliano. This season, the designer chose to swap the usual fashion show for a film. He invited his guests to Milan's small Cinema Centrale on Saturday evening. "This current period of crisis is reminiscent of Covid," confided Luca Magliano, who greeted his guests at the cinema entrance. "As a result, we decided to take a break and create a sort of sabbatical collection. The idea was to do something out of the ordinary, outside the urban setting, and to propose a different form of expression", he said, admitting that he shot the film just a fortnight ago. He entrusted the project for this eight-minute short to the young British director Thomas Hardiman, author of "Medusa Deluxe". Hardiman assembled Magliano's little world on a ferry. The boat, whose journey lasts the duration of the film, was populated by colorful characters who were by turns moody, temperamental, or marginal, but always endearing, from the nerd to the mechanic, via the musicians, the cocktail-loving vamp, and the jilted lover. The camera moved from one character to the next, following them as they wandered and rambled, crossing the ferry from top to bottom until it ends up on the deck, accompanied by a splendid jazzy score that punctuated the film effectively. Along the way, one catches glimpses of looks from the new Magliano collection, including a handsome hand-knitted sweater in large gold thread knits, some nonchalantly elegant shirts that glide over the skin, and futuristic-looking technical jackets. The message of this film, entitled "Maglianic" (an ironic reference to Titanic), was that fashion is a natural, no-fuss part of life. At no point did you notice Magliano's clothes, for they were literally inhabited by the characters. This was in stark contrast to recent big-budget films sponsored by certain luxury houses, whose clothes were displayed in every scene, including on the extras. Fashion belongs to everyone, as long as we make it our own. With its slightly mysterious atmosphere, zany dialogue, and lively music, the film succeeds in evoking the Magliano style: authentic, intense, popular, humorous, with a pinch of romanticism.
Fashion United
17-06-2025
- Business
- Fashion United
Italian fashion returns to growth, boosted by domestic market and Europe
On the occasion of the opening of Pitti Uomo (PU), a key event for premium menswear in Florence, an exclusive study by Joor, a major global wholesale platform in fashion, revealed a return to vigorous growth in the Italian fashion market in 2025. After two years of decline, the Italian sector showed tangible signs of dynamism, driven by a renewed activity both domestically and internationally. Sustained growth in wholesale sales Over the first five months of the year, wholesale sales of Italian brands jumped by 20 percent compared to the same period in 2024. This recovery was based in particular on a 33 percent increase in volumes sold, illustrating a concrete revival in demand, especially for more accessible products, since the average purchase price fell by six percent, a sign of a readjustment of assortments in a context that was still delicate for distributors. The increase in the gross merchandise value (GMV) of Italian retailers, who increased their purchases by 11 percent over the same period, confirmed that this positive dynamic was accompanied by a renewed appetite from local players for national collections. Domestic market as a driving force Italy, with 32 percent of total sales of Italian brands, remained the largest market by volume and posted impressive growth of 24 percent in 2025. This rebound reflected renewed confidence among Italian distributors, particularly concentrated in independent specialist stores—like 10 Corso Como or Luisa Via Roma—which represented 87 percent of the country's retail turnover. This strong presence of independent retailers highlighted a specificity of the Italian market, anchored in close and personalised relationships between brands and distributors. Active political and fiscal framework The positive dynamic observed in the Italian domestic fashion market in 2025 was also based on a favourable political and fiscal environment. The Italian government strengthened its support for the sector through several structural levers. On the one hand, the 'Transizione 5.0' Plan, with 13 billion euros, offered substantial tax incentives to companies investing in the digital transition, decarbonisation and industrial training, according to information from the Ministry of Economy and Finance (MEF) in 2024. This scheme was particularly relevant for fashion SMEs, often under-capitalised but ready to modernise. At the same time, a research and development tax credit was extended and strengthened to stimulate product innovation and sustainable manufacturing processes, according to the Agenzia delle Entrate. In addition, the implementation of the Flat Tax for new residents and the tax relief on repatriated income contributed to bringing back creative and technical talent, particularly in historic hubs such as Milan or Florence (Il Sole 24 Ore, January 2025). Finally, the 'Moda Italia' programme, launched in cooperation with the Ministry of Enterprises and Made in Italy (MIMIT), provided direct support to companies in the sector via export subsidies, public guarantees and funds dedicated to the relocation of production (MIMIT, 2025). Together, these measures created a solid foundation for sustainable growth and improved competitiveness of the Italian fashion system on the international scene. Expansion driven by EMEA and North America Regarding this international dimension, while domestic demand played a central role in this recovery, the growth of Italian brands was mainly fuelled by the EMEA region (plus 23 percent) and North America (plus 12 percent), which now appeared as major growth drivers. Together, these areas accounted for 75 percent of the total sales of transalpine brands, showing strong penetration in key markets such as France, Germany, the UK and the US. Conversely, the Asia-Pacific region continued to contract, particularly China, which recorded a marked decline of 41 percent in wholesale sales this year, amplifying a decline that began in 2024. This contrast highlighted a redistribution of forces in global fashion trade, where Western markets regained a central position for Italian brands. Limited but growing geographical diversification In total, Italian brands sold to distributors in 122 different countries in 2025, a large footprint that remained, however, highly concentrated in the EMEA region. This concentration reflected a cautious but effective strategy, aiming to consolidate positions in well-known markets, while exploring new territories. On the Italian retailer side, their purchases came from 32 countries, with a clear preference for Italian, French and American brands, which together represented 78 percent of the volumes ordered. This triangulation of influences nourished the diversity of assortments offered to the Italian consumer. Renewed vitality after years of adjustments After two years of significant slowdown, Italian fashion therefore seemed to be returning to an upward trajectory. As Amanda McCormick Bacal, senior vice president of marketing at Joor, summarised: "The Italian market is a driving force in global fashion, and it is very encouraging to see this energetic growth taking shape in 2025, driven by sustained demand from both brands and retailers." This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@
