Michael Kors Takes It Easy with New Collection at New York Fashion Week 

Models walk the runway during the Michael Kors Fall/Winter 2025 show during New York Fashion Week in New York City on February 11, 2025. (AFP)
Models walk the runway during the Michael Kors Fall/Winter 2025 show during New York Fashion Week in New York City on February 11, 2025. (AFP)
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Michael Kors Takes It Easy with New Collection at New York Fashion Week 

Models walk the runway during the Michael Kors Fall/Winter 2025 show during New York Fashion Week in New York City on February 11, 2025. (AFP)
Models walk the runway during the Michael Kors Fall/Winter 2025 show during New York Fashion Week in New York City on February 11, 2025. (AFP)

Michael Kors created a runway that evoked his own living room to set the tone for his new Fall/Winter collection for New York Fashion Week, which focused on comfort and movement.

"It’s about the idea of ease, which we Americans invented. The world dresses this way, but what I like is that it has glamour," Kors told The Associated Press backstage before the show.

The designer says he looked at old photos of icons like Lauren Hutton back in the 70s, and Zoe Kravitz on the street today to find the essence of the collection. "There’s this relaxed ease to how they look that I think is modern," Kors said.

"It’s also about layering things in a very cool way. So it could be... a silk dress, but grab your husband’s coat or his jacket and throw it on. It’s about stride. I like when clothes move when you walk."

Models let the clothes do the talking with very minimal makeup and loose, natural hair as they marched down an extended two-aisled runway. The show opened with softly tailored menswear jackets paired with long flowing skirts or slouchy suit pants.

For a modern twist on layering for the fall, the show featured bikini bra tops under oversized blazers — either alone or with long blouses layering in between.

"Delicious oversized, cardigan blazers and coats with these very sort of filmy, soft dresses. This show is anti-corset, anti-Spanx, anti-bustier. It’s that comfort and ease," Kors said.

Kors also heightened the show with touches of glamour in elegant dresses and jackets with swaths of sparkling sequins.

Black was a dominant color, with some grey, grey tweed and a few neutral colors including chocolate, green and deep purple. One standout material was long haired shearling-- in surprising colors like dusty mauve and celadon-- shown on a peacoat, a vest, several purses and even a pair of flat shoes.

Kors has always said every woman needs a great coat and he had plenty of options from leather trench coats belted tightly at the waist, to leather hipster jackets in several shapes, to one traditional trench-style, covered in liquid sequins which glistened in the light. There were cozy looks too, like long thick turtleneck sweaters – part of Kors' "neo-classic knitwear."

Extending the casual, comfortable style to the setting, Kors and his team transformed a giant, high-ceilinged space at New York’s Terminal Warehouse to look like his home, with exposed brick and wood accents, and even art and houseware pieces punctuating the end of each runway bench. Japanese paper lanterns hung from the vaulted ceilings adding to what Kors called his "warm modernism."

Celebrities flock to Kors shows and despite frigid New York temperatures, stars including Uma Thurman, Kerry Washington, Suki Waterhouse, Rose Byrne, Lea Michele, Cristin Milioti, and Rachel Zegler huddled together in the front row. Actor and reality star Lisa Rinna brought her daughter, Delilah Belle Hamlin, to watch her other daughter, Amelia Gray Hamlin, walk the runway.

"I can’t stop singing my praises about it," gushed actor-singer Suki Waterhouse, who called the show "absolutely stunning."

"Those drama-crazy hats, scarves that look like blankets. It was everything it needed to be."

Byrne said the clothes were "gorgeous" and so wearable. "(I’m) obsessed with the oversized suits already. The classic big coats, the beautiful chic dresses. Classic Michael Kors, he always delivers."



Italy's Agnona Brand: Lamb among the Fashion Wolves

Italy's Agnona Brand: Lamb among the Fashion Wolves
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Italy's Agnona Brand: Lamb among the Fashion Wolves

Italy's Agnona Brand: Lamb among the Fashion Wolves

At Milan Fashion Week, headlines go to splashy names, over-the-top fashions and celebrities posing by catwalks.

But behind the scenes, Italy's smaller and medium-sized brands, the often family-owned lifeblood of the industry, are doggedly defending their craft, striving to keep alive long traditions of excellence.

One of them, Agnona, began in 1953 as a wool mill in Italy's northern Piedmont region, producing luxurious textiles in natural fabrics like cashmere, lambswool and angora that supplied top haute couture houses in Paris, from Christian Dior to Givenchy to Yves Saint Laurent.

Acquired in 1999 by the Ermengildo Zegna Group, Agnona switched from textiles to apparel and was sold in 2020 to Zegna family members Stefano Aimone, the chief executive and creative director, and his father Roberto.

Agnona, which is opening its first flagship store in Milan next month, envisions a global network of owned and franchised stores in future.

Stefano Aimone sat down with AFP to explain the challenges facing smaller names amid competition from the big fashion conglomerates, changes in consumer habits and the race towards retail.

- 'Overwhelmed by demand' -

"If you want to aim for quality and certain types of craftsmanship you have to stay here in our Italian boot. But many companies have closed. Many closed because of Covid, post-Covid they were absorbed into larger groups because costs went up, prices fluctuated, they had periods of no sales -- no work at all -- followed by excess work. Financially they didn't have the reserves.

"The businesses that remain are now extremely overwhelmed by demand from the big French groups and the Italian brands.

"The problem isn't just cut-and-sew, it's also the production of materials, because everything cascades down... the dye houses that are still around are clogged up, which creates delays, and delays weaken the quality of the entire industrial process."

- 'Made in Italy' -

"I'd say 'Made in Italy' is becoming relatively less important to them (customers); the customer now identifies more with the brand itself, with its values, with what the brand represents...

"Made in Türkiye, Made in Italy, Made in France -- it can be important, but it's definitely not as important as it once was, because brands have been very active in communicating many other values they embody, which provide justification beyond geography.

"And in a way that's right, because a brand isn't just its product -- it's also what it stands for and what it does beyond the product itself."

- 'Sowing seeds' -

"We're just under 15 million euros in revenue but we expect to reach 20 million and beyond within three years.

"We still have many markets that we haven't even started talking to, for example, all of China, the entire Middle East, all of Latin America, the whole APAC region including Australia.

"Since we took over the brand, there have been years of rebuilding: not only rebuilding our premises -- the industrial site and the headquarters -- but working on the collection.

"We introduced menswear, so we focused heavily on internal work, and we didn't necessarily want to push revenue right away. Because if you go out to market without a solid product, you risk ruining everything you're trying to achieve -- it can be counterproductive.

"So those were years of sowing seeds, and now that we're ready, we're beginning to address the global market."


Stella McCartney Marks Year of the Horse with Equestrian Paris Fashion Week Show

 Models present a creation by Stella McCartney for the Women's Ready to Wear Fall/Winter 2026-2027 collection fashion show as part of the Paris Women Fashion Week, in Paris, on March 4, 2026. (AFP)
Models present a creation by Stella McCartney for the Women's Ready to Wear Fall/Winter 2026-2027 collection fashion show as part of the Paris Women Fashion Week, in Paris, on March 4, 2026. (AFP)
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Stella McCartney Marks Year of the Horse with Equestrian Paris Fashion Week Show

 Models present a creation by Stella McCartney for the Women's Ready to Wear Fall/Winter 2026-2027 collection fashion show as part of the Paris Women Fashion Week, in Paris, on March 4, 2026. (AFP)
Models present a creation by Stella McCartney for the Women's Ready to Wear Fall/Winter 2026-2027 collection fashion show as part of the Paris Women Fashion Week, in Paris, on March 4, 2026. (AFP)

Stella McCartney, known for her commitment to animal rights and sustainability, put horses at the center of her eponymous brand's Paris Fashion Week show set in a riding hall in Paris' Bois de Boulogne.

Five black horses and five white horses charged in and began performing an intricate equestrian choreography, walking in circles and weaving around each other, before the first ‌models emerged on ‌an oval catwalk surrounding the ‌sandy ⁠ring.

The winter 2026 ⁠collection continued the equestrian theme, with thigh-high riding boots, and suit trousers or jeans fashioned into stirrup pants and paired with bright preppy sweatshirts.

"There's a lot of new innovations in the show," McCartney told Reuters in an ⁠interview after the show. "Everything's plant-based, vegan, so ‌there are no ‌animal glues, there's no dead animals.

"That's why I always ‌like to sort of remind people and celebrate ‌and bring animals into the conversation," she added, saying the show also honored the Lunar New Year of the Horse.

Dresses and skirts covered ‌in plastic-free sequins featured hip bustles, pleats and bows, while multicolored crochet scarves ⁠provided a ⁠pop of color to tailored suits.

Stella McCartney, founded 25 years ago, became fully independent once more last year after McCartney bought the minority stake held by LVMH back from the luxury group.

A few seats down from Stella's father, former Beatle Paul McCartney, LVMH heir Antoine Arnault was among the front row guests at the show, seated next to his wife, model Natalia Vodianova.


Adidas Expects Operating Profit to Rise to 2.3 Bln Euros in 2026

An Adidas logo is seen at the new Futurecraft shoe unveiling event in New York City, New York, US, April 6, 2017. (Reuters)
An Adidas logo is seen at the new Futurecraft shoe unveiling event in New York City, New York, US, April 6, 2017. (Reuters)
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Adidas Expects Operating Profit to Rise to 2.3 Bln Euros in 2026

An Adidas logo is seen at the new Futurecraft shoe unveiling event in New York City, New York, US, April 6, 2017. (Reuters)
An Adidas logo is seen at the new Futurecraft shoe unveiling event in New York City, New York, US, April 6, 2017. (Reuters)

German sportswear maker Adidas on Wednesday said it expected its operating profit to increase to around 2.3 billion euros ($2.7 billion) this year, despite around a 400-million-euro impact from US tariffs and unfavorable currency developments.

Currency-neutral revenues were expected to ‌increase at ‌a high-single-digit rate in ‌2026, ⁠adding another 2 ⁠billion euros in revenue, it said in a statement, as it forecast to grow at a low-double-digit rate in North America and Greater China, among others.

It added ⁠it expected currency-neutral net ‌sales to ‌keep growing at a high-single-digit rate in ‌both 2027 and 2028, with operating ‌profit rising a mid-teens compound annual growth rate over the three-year period from 2026 to 2028.

In 2025, ‌it reported sales of 24.8 billion euros and operating profit ⁠of ⁠2.06 billion.

Management proposed a dividend increase of 40% to 2.80 euros per share for 2025.

In a separate release, Adidas proposed Nassef Sawiris as its new chairman and extended the contract of CEO Bjorn Gulden to 2030.