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?”



Nike's New CEO Plans to Go Back to Basics in Brand Overhaul Effort

The Nike swoosh logo is seen outside the store on 5th Ave in New York, New York, US, March 19, 2019. (Reuters)
The Nike swoosh logo is seen outside the store on 5th Ave in New York, New York, US, March 19, 2019. (Reuters)
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Nike's New CEO Plans to Go Back to Basics in Brand Overhaul Effort

The Nike swoosh logo is seen outside the store on 5th Ave in New York, New York, US, March 19, 2019. (Reuters)
The Nike swoosh logo is seen outside the store on 5th Ave in New York, New York, US, March 19, 2019. (Reuters)

Nike's new CEO Elliott Hill warned of a long road to sales recovery for the sportswear giant, but the veteran executive's plan to turn the spotlight on sports like basketball and running, allayed some investor worries.

The company said on Thursday it was expecting third-quarter revenue to drop to low double digits after the embattled sportswear seller's quarterly results beat market estimates.

Hill, in his first public address as CEO on the post-earnings call, said Nike had "lost its obsession with sport" and vowed to put it back on track by refocusing on sport and selling more items at premium prices, Reuters reported.

"The recovery is going to be a multi-year process, but he(Hill) seems to be going back to the roots, back to Nike being Nike," said John Nagle, chief investment officer at Kavar Capital Partners, which owns Nike shares.

"(Hill plans to shift focus) away from some of the streetwear and fashion that had taken over the brand, the heavy discounting and the neglect of retailers. Just taking it back to what worked," Nagle said.

Hill, who was with Nike for more than three decades, returned as CEO in October to revive demand at the firm that has been struggling with strategy missteps that soured its relations with retailers such as Foot Locker.

Earlier this month, Foot Locker CEO Mary Dillon said Hill was "taking the right actions for the brand" and the retailer was "working closely" with Nike to emphasize newer sportswear styles, including Vomero and Air DT Max.

"(The retailers) they want us to get back to being Nike, and they want us to have the unrelenting flow of innovative products... and they want us to get back to delivering bold brand statements that help drive traffic," Hill said.

The company's market share dwindled as rival brands, including Roger Federer-backed On and Deckers' Hoka , lured consumers with fresher and more innovative styles.

Hill also highlighted that a lack of newness led Nike to become too promotional and said he plans to shift to selling more at full price on its website and app.

"With another half year of franchise management coupled with investment to reinvigorate the brand, we believe the next four quarters could be the worst of the margin erosion and earnings per share reductions," Barclays analyst Adrienne Yih said.

At least seven brokerages cut price targets on the stock with some analysts pointing to the lack of a clear timeline for Nike to return to growth.

Shares of Nike, which have lost about half of its value in the last three years, were down nearly about 2% in early trading on Friday.

Nike's forward price-to-earnings ratio for the next 12 months, a benchmark for valuing stocks, was 27.53, compared with 33.47 for Deckers and 32.32 for Adidas.

"A rudderless ship now has a rudder, and a sailor who knows how to drive it," said Eric Clark, portfolio manager at the Rational Dynamic Brands fund that owns Nike shares.