Uniqlo’s Chief Says Fast Fashion Must Change with the Times

 A woman walks past jumpers for sale at the latest flagship store to open by Fast Retailing clothing brand Uniqlo, in the Shinjuku district of central Tokyo on November 14, 2024. (AFP)
A woman walks past jumpers for sale at the latest flagship store to open by Fast Retailing clothing brand Uniqlo, in the Shinjuku district of central Tokyo on November 14, 2024. (AFP)
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Uniqlo’s Chief Says Fast Fashion Must Change with the Times

 A woman walks past jumpers for sale at the latest flagship store to open by Fast Retailing clothing brand Uniqlo, in the Shinjuku district of central Tokyo on November 14, 2024. (AFP)
A woman walks past jumpers for sale at the latest flagship store to open by Fast Retailing clothing brand Uniqlo, in the Shinjuku district of central Tokyo on November 14, 2024. (AFP)

Forty years after its founding, Japanese clothing retailer Uniqlo has more than 2,500 stores worldwide. Sales at its parent company, Fast Retailing Co., recently topped 3 trillion yen ($20 billion) annually for the first time.

The name Uniqlo comes from joining the words for “unique” and “clothing.” The chain’s basic concept is “LifeWear,” or everyday clothing. Uniqlo parent Fast Retailing Co. Chief Executive Tadashi Yanai, ranked by Forbes as Japan’s richest man and estimated to be worth $48 billion, spoke recently to The Associated Press at the company’s Tokyo headquarters. The interview has been edited for length and clarity.

Q: What were the biggest challenges over the past 40 years?

A: Actually 40 years, upon reflection, went by so fast they feel more like three years. You know what they say in Japan: Time flies like an arrow. I started a regional business, then expanded nationwide.

When we became No. 2 or No. 3 in Japan’s casual wear, and being No. 1 was right within reach, we became a listed company in 1994. That was followed by our fleece boom, which doubled our revenue in one year to 400 billion yen ($2.6 billion).

I’d been thinking about going global when our revenue reached 300 billion yen ($2 billion) so we opened 50 stores in Great Britain, hoping to be a winner there just like we had conquered Japan.

Instead, we got totally knocked out.

We opened 21 outlets in a year and a half, but had to close 16 of them, leaving just five. We didn’t succeed as we had hoped. This is not an easy job. It’s very tough.

But these days, our sales are strongest in London, and also Paris. We made progress gradually.

Q: What are some of the sustainability and other key issues you have faced over the years?

A: We make clothes that last a long time. Not just clothes that last for one season.

The cashmere sweater I’m wearing today is $99. But please don’t say “cheap.” Please call it “reasonable.” We sell quality products at reasonable prices.

We’ve done various sustainability efforts, and we talk only about what we have really achieved.

Sustainability is crucial to our operations. And we’ve done just about everything — recycling, employing the disabled, support for refugees.

The prices may be cheaper at Wal-Mart, but our products offer real quality for the price. We take the greatest care and time, and involve a lot of people. Our rivals are more careless.

Q: What is behind Uniqlo’s success and what resonated with global buyers?

A: When we say Uniqlo is “made for all,” one might imagine products for the masses, like what’s at a Wal-Mart or a Target.

But what we mean is a high-quality product that appeals to all people, including the extremely rich, not only those with sophisticated taste and intelligence, but also people who don’t know that much about clothes, and the design is fine-tuned, the material fine quality, and sustainability concerns have been addressed.

We were first a retailer, then a manufacturer-cum-retailer. Now we are a digital consumer retailer. That is why we are successful. If we had stayed the same, then we can’t hope to succeed.

Being a digital consumer retail company means we utilize information at a high level to shape the way we do our work. We gain information about our customers, the workers at the store, the market, all that information.

Changing daily is the only way we can hope for stable growth. The world is changing every day.

Q: Are you confident you can keep it up another 40 years?

A: Of course. We’ve been preparing to reach 3 trillion yen ($20 billion) revenue all these years. And we are finally starting to be known. But we still have a long way to go.

We are just getting started, and we are going to keep growing. There is more potential for growth in Europe and the US, as well as China and India, given the 1.4 billion population in each country. Clothing is a necessity, so population size is key.



Zara Owner Inditex Posts Record Profit in 2025

Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez
Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez
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Zara Owner Inditex Posts Record Profit in 2025

Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez
Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez

Zara owner Inditex, the world's leading low-cost fashion retailer, posted a record annual profit for the third year running on Wednesday, seeing off strong international competition.

The Spanish group, which includes top brands such as Massimo Dutti, Pull & Bear and Bershka, reported a profit of 6.22 billion euros ($7.23 billion) in the fiscal year ending January 31.

That marked a six percent rise on the 5.9 billion it raked in in 2024, which was also a group record, Inditex said.


Margot Robbie, Oprah Watch Blazy Transform Chanel with Color and Craft

Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
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Margot Robbie, Oprah Watch Blazy Transform Chanel with Color and Craft

Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)

Chanel 's Matthieu Blazy is still building. Six months into his tenure at the Parisian stalwart, the designer staged his second ready-to-wear collection at Paris Fashion Week Monday, where brightly colored cranes rose from a holographic floor — a deliberate signal that the construction is ongoing.

For Parisians who have spent years staring at the real thing above Notre-Dame cathedral, the set was perhaps less dreamy than intended.

The audience inside the Grand Palais suggested the foundations are solid: Margot Robbie, Oprah, Jennie, Kylie Minogue, Lily-Rose Depp, Teyana Taylor and Olivia Dean all turned up to watch the next floor go on.

Blazy took his cue from a quote from Gabrielle “Coco” Chanel: “We need dresses that crawl and dresses that fly.”

The collection was structured around that tension — plain against spectacular, function against fantasy — with a discipline his sprawling debut last October sometimes lacked.

The opening looks were austere by design. Black knit zip-ups, tweed blousons and boxy overshirts arrived with little more than four gold buttons to signal they belonged to Chanel.

In the vast runway space, they could read as underwhelming. But Blazy’s point was architectural: the suit, he said, is “the first brick” — and everything else rises from it.

That logic tracks to the founder.

In her apartment on Rue Cambon, a wall is covered in gauze painted gold — something poor made precious.

Chanel built a house on that idea, borrowing from everyday dress and elevating it. Blazy is doing the same with her codes, stripping the suit to a knit shirt jacket or pressed-tweed blouson before rebuilding it in silicone-woven fabric and metallic mesh.

The collection’s most provocative move was its silhouette. Blazy pulled waistlines dramatically low — belts slung to mid-thigh, pleated skirts starting where blazers ended.

The references were retro flapper filtered through a modern lens: drop-waisted twinsets, patchwork dresses with floral embroidery, vivid patterned knits with a twenties pulse.

A furry coat in bold geometric color could have been worn in a chic part of London's Camden.

Whether the ultra-low waistlines will land with the well-heeled clients who pack Chanel’s front rows is another question. Selling a radically new proportion to women with deep loyalty to the house is a different challenge than winning critical praise.

The final stretch answered that concern with force. Sequined plaid suits arrived in dazzling color. Beaded coats glinted with star-chart embroidery. Metallic mesh was woven to mimic tweed motifs, and several models wore pastel-tinted hair to match their looks.

Fabric flowers burst from bodices. Trailing ribbons, layered ruffles, and insect-wing detailing turned the runway into something closer to spectacle than commerce.

Blazy cast wide — teens through to women in their fifties — and let the show breathe, with a runway circuit that took models the better part of five minutes. He framed it all with seven pared-back black and cream looks, as if to say: whatever else changes, the Chanel you know isn’t going anywhere.

If this second outing holds — on the penultimate day of fashion week — Blazy has found something rare at a heritage house: a way to honor the founder’s voice without simply echoing it.


Hugo Boss Posts Annual Profit Above Expectations

The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)
The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)
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Hugo Boss Posts Annual Profit Above Expectations

The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)
The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)

German fashion group Hugo Boss reported a higher than expected annual operating profit on Tuesday, despite a challenging market environment.

The company reported earnings ‌before interest ‌and taxes (EBIT) of ‌391 ⁠million euros ($455 million) ⁠for 2025, up from 361 million euros a year earlier, and above analyst's average forecast of 379 million euros in a company-provided ⁠poll.

"2025 once again highlighted ‌the ‌rapid transformation of our industry, shaped by ‌technological innovation, evolving consumer preferences ‌and ongoing macroeconomic and geopolitical uncertainty," Chief Executive Officer Daniel Grieder said in a statement.

Luxury groups ‌have been struggling with tighter consumer spending, with the ⁠sector ⁠hit by slowing demand for fashion and accessories particularly in the US and China.

The premium fashion retailer said it will propose a dividend of 0.04 euros per share for 2025, compared with 1.40 euros a year earlier.