H&M Profit Target in Spotlight as Cost-cutting Gathers Pace

H&M is under pressure to prove to investors it can turn its fortunes around. Reuters file photo
H&M is under pressure to prove to investors it can turn its fortunes around. Reuters file photo
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H&M Profit Target in Spotlight as Cost-cutting Gathers Pace

H&M is under pressure to prove to investors it can turn its fortunes around. Reuters file photo
H&M is under pressure to prove to investors it can turn its fortunes around. Reuters file photo

Swedish fashion retailer H&M is under pressure to prove to investors it can turn its fortunes around and fend off fierce competition from fast-fashion rivals such as Zara, whose sales are rising, and China-founded Shein, set to go public this year.
H&M, which sold more than $22 billion in clothing and accessories in its 2023 financial year, aims to reach an operating margin of 10% by the end of 2024.
Faced with falling sales, the retailer with around 4,300 global stores is intensifying cost-cutting, prioritizing profitability over revenues.
When it reports full-year results on Wednesday investors want to be able to see its pathway to that margin goal, against a backdrop of shaky consumer demand.
H&M's operating margin improved to 5.9% at the end of the third quarter, from 3.9% a year earlier, but the challenge this year will be to keep increasing margins at a time when many clothing retailers have signaled price cuts.
Known for dresses under $15 and $19.99 jeans, H&M could tweak its pricing strategy this year to reach its margin goal, said Andreas Lundberg, analyst at SEB in Stockholm. Its "price mix will be more important," he said.
"Although the last 10-15 years have been volume-driven for H&M, volumes are also very expensive to handle internally, in warehouses, in stores," Lundberg said. "In the future you may see fewer volumes."
Budget fashion retailer Primark also sees its adjusted operating profit margin recovering to more than 10% this year as sourcing costs fall, enabling it to absorb the higher shipping rates driven by disruptions in the Red Sea.
Bernstein analysts see H&M and Primark among the most impacted apparel retailers given their higher reliance on Asian sourcing and high use of sea freight.
Given that risk, another key figure investors will watch is H&M's stock-in-trade: the amount of inventory the retailer is carrying.
"H&M has managed to decrease this number significantly and the trend continues downwards, meaning they are shortening time from design to production to shipping," said Adil Shah, portfolio manager at Storebrand in Oslo, which holds H&M shares.
H&M's stock-in-trade as a percentage of rolling 12-month sales was 17.1% at the end of the third quarter, down from 21.6% a year earlier.
H&M, whose other brands include Arket, Cos, Monki, Weekday, and & Other Stories, has been closing stores and laying off staff. On Friday, it announced a plan to shut more than a fifth of its stores in Spain and lay off as many as 588 workers.
H&M had 701 fewer stores by end-August last year compared with the end of 2019, a decline of 13.8%.
Its cost-cutting has helped improve investor sentiment. H&M shares are up around 29% from a year ago, but with a price-to-earnings ratio of 18, still trade at a discount to Zara-owner Inditex, whose ratio is roughly 20.8.
Reluctant to fire the starting gun on price cuts, mass-market fashion retailers may "wait to see who will move first", said Alex Romanenko, head of retail at pricing consultancy Pearson Ham Group. Bank of America analysts see apparel prices in Europe falling by 2% in 2024, having risen by 4.5% last year.



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”