Greece’s Fur Industry on the Brink as EU Sanctions on Russia Bite

Antonis Disios holds a fur coat inside his shop, in Kastoria, Greece, July 6, 2022. (Reuters)
Antonis Disios holds a fur coat inside his shop, in Kastoria, Greece, July 6, 2022. (Reuters)
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Greece’s Fur Industry on the Brink as EU Sanctions on Russia Bite

Antonis Disios holds a fur coat inside his shop, in Kastoria, Greece, July 6, 2022. (Reuters)
Antonis Disios holds a fur coat inside his shop, in Kastoria, Greece, July 6, 2022. (Reuters)

For decades, Antonis Disios' workshop was abuzz with the sound of sewing machines stitching fur coats for his wealthy Russian buyers. In March, European Union sanctions against Russia over the Ukraine war shut the business overnight.

Disios, like hundreds of other fur businesses in the lakeside city of Kastoria, was banned from exporting to Russia, the main market for Greece's fur industry. With no domestic market, he sent his 23 workers home and his stockrooms filled up with hundreds of unsold garments.

"This city is going through its worst," Disios said, standing in his silent showroom. "We're in despair."

Holding up a coat he said cost 30,000 euros ($30,183) to make using one of the most expensive furs in the world, Russian sable, he urged the EU to exempt the industry from sanctions.

"They must set us free. Or they can come take them and sell them themselves," Disios said.

Kastoria is the heartland of a centuries-old fur industry in Greece, Europe's last remaining fur manufacturing center and one of the few EU countries still allowing fur farming despite pressure from animal rights groups at home and abroad.

With the demise of Denmark's huge fur industry during a coronavirus-driven mink cull, animal rights groups hope the cut-off from the Russian market could spell the end of the European fur market, which has already shrunk drastically in response to animal welfare campaigns.

And with a growing number of big fashion houses such as Gucci and Prada committing to not using real fur in the future, activists say the sanctions against Russia could help speed up the decline of an industry they call "morally bankrupt".

"Russians have traditionally been big buyers. The war has obviously stopped that, which is extremely good news," said Mark Glover, a spokesperson for Fur Free Alliance, a coalition of more than 50 animal protection groups around the world.

'A dying sector'

The hit to Greece's fur trade echoes losses in other sectors, such as agriculture, since the war began. But nowhere is it as stark as in Kastoria, which survived the country's devastating, decade-long economic crisis thanks to its fur exports.

A busy road cutting through the city is named Furriers' Avenue, and the streets are lined with now-shuttered fur boutiques with signs in Russian as well as Greek.

Since the mid-1990s, their business model had been focused on wealthy Russian buyers and tourists in the region, and the Hellenic Fur Federation says efforts to penetrate new markets - like South Korea - are an uphill battle.

The sanctions also ban shops from selling to Russian tourists in Greece, because fur is considered a luxury good.

"We go where we're wanted. We're not like apples. We can't just find a new market, there need to be certain conditions," said Apostolos Tsoukas, the federation's president.

"It's a matter of time before businesses close, no matter how much help they get from the state."

So far, the country's roughly 2,000, mostly family-run businesses, which employ about 4,000 people according to the federation, have been supported by state aid allowing them to avoid firings. The measure, in place for three months until September, allows businesses to suspend contracts of 80% of their workers, who will receive state benefits.

Fur garments are among Greece's top 10 exports, but they have been declining over the years. Exports to Russia amounted to 14 million euros last year, down from 55 million euros in 2017, according to Greek statistics data. The number of mink farms fell to 92 in 2020 from 131 in 2018, according to animal rights group VeGaia.

During a visit to Kastoria in June, Akis Skertsos, a senior government minister, said the industry "will be supported - and we will do whatever we can for it to remain viable", but acknowledged the need for a shift to other activities as well.

"The Greek government has made a serious miscalculation in continuing to prop up this industry," said Jo Swabe, EU public affairs director at animal protection charity Humane Society International.

"It's a dying sector anyway," she said.

For the country's long-standing furriers, letting go of their trade is a hard pill to swallow.

"You would come in here and there was so much noise from all the (sewing) machines working away, and all the people working in here," said 84-year-old Christos Papadopoulos, struggling to recall a deeper crisis in his 67 years in the business.

"We're finished," he said, standing in his empty workshop. "I avoid coming down here. I'll have a heart attack."



Saint Laurent Says Designer Anthony Vaccarello to Leave

(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)
(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)
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Saint Laurent Says Designer Anthony Vaccarello to Leave

(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)
(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)

Belgian fashion designer Anthony Vaccarello will leave his post as chief designer at Saint Laurent after a decade in charge, the French house's parent company Kering announced Friday.

"Anthony Vaccarello has played a key role in Saint Laurent's development, helping to strengthen its identity and influence across the worlds of fashion and culture," Kering said in a statement, without giving any reason for Vaccarello's departure.

The designer had hinted at his potential exit at his final show for Saint Laurent on September 29.

Saint Laurent is the last major Kering brand to switch creative director as a ⁠luxury ⁠industry slowdown prompted designer changes last year at Gucci, Balenciaga and Bottega Veneta.

"The focus of the new designer will be in currently under-represented product categories, such as women's daywear and menswear, in high-end leather goods, and less penetrated regions such as China/Asia," Barclays analysts said in a note.

Industry speculation points to Chemena Kamali, currently creative director at Chloe and previously womenswear design director at Saint Laurent, as Vaccarello's likely successor.
Saint Laurent's gross revenues fell by 9% and 6% in 2024 and 2025, before largely stabilizing this year, according to Kering.


Nicole Kidman and Dua Lipa Watch Chanel’s Creative Revival at Paris Fashion Week

Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)
Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)
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Nicole Kidman and Dua Lipa Watch Chanel’s Creative Revival at Paris Fashion Week

Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)
Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)

Chanel’s artistic director Matthieu Blazy sent the fashion house's suits stretching towards sportswear and evening dresses drifting through clouds, with Nicole Kidman, Dua Lipa and Pedro Pascal in the audience as he unveiled his spring-summer 2027 collection.

The Monday night show underscored that a year into his creative revival, Blazy has made the house feel newly unpredictable.

The former Bottega Veneta designer succeeded Virginie Viard, who took over after Karl Lagerfeld ’s death in 2019. Viard’s tenure brought record sales but Blazy’s contribution has been to restore a sense that Chanel’s familiar ingredients can produce something unexpected.

That renewal is visible in his treatment of the house’s symbols: tweed can stretch; formal jackets sit against bare skin; quilted bags turn slouchy.

The appeal lies in giving established clients something recognizable, and newer ones something to reinterpret.

Beneath illuminated birds at the Grand Palais, Blazy's collection traced Gabrielle “Coco” Chanel’s passage from Edwardian constraint towards the freedom she sought in dress.

“It’s about the women within a woman,” Blazy wrote in his notes.

Across 83 looks, that meant expanding the possibilities of a Chanel wardrobe: knits that skimmed the body, masculine tailoring, airy eveningwear and sharply abbreviated skirts.

Raw-edged waistcoats and narrow skirt suits reworked men’s formal clothes. A pearl-embroidered corset top paired with black trousers brought the tension between restriction and ease into focus.

Older fashions lingered in ruffled collars, peplums and traces of corset boning.

The strongest development was Chanel’s new “smocked tweed,” designed to stretch and move with something of athleticwear’s ease. It was a useful proposition for an expensive, familiar garment: preserve its character while improving its possibilities.

Competing patterns and frothy tutus sometimes tipped towards costume. Dres

ses made from layered, printed silk were more persuasive, turning cloud formations and changing light into shifting color, The Associated Press reported.

Model Dyanira Hurbuscher opened and closed the collection — carrying Gabrielle Chanel’s own 2.55 handbag, borrowed from the famed archives.

That element neatly framed the collection’s ambition: continuity with room for change — a balance Blazy’s revitalization of Chanel rests on.

He has made Chanel's heritage feel available for play, backed by serious work in the ateliers.

Lipa wore a sleeveless skirt suit with pink heels. Kidman attended with her daughter Faith Margaret.


Chanel Unveils Tiger-Print Tweed and Sheer Skirt Suits in Spring/Summer Paris Show

Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)
Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)
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Chanel Unveils Tiger-Print Tweed and Sheer Skirt Suits in Spring/Summer Paris Show

Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)
Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)

Chanel showed see-through skirts and tiger-print tweed in creative director Matthieu Blazy's spring/summer 2027 collection on Monday as the Parisian fashion house rides a wave of enthusiasm that has helped drive sales even as other luxury brands struggle.

Since his first collection a year ago, Blazy's designs — injecting youthful glitter and loud color combinations into the Parisian label's traditional tweed suits — have attracted new customers to the brand and kept Chanel stores ‌buzzing with activity.

Front-row ‌guests including Dua Lipa, Nicole Kidman, ‌and Pedro ⁠Pascal arrived to throngs ⁠of cameras in the vast expanse of the Grand Palais. The glass dome roof was hung with a giant moon and a flock of luminescent seagulls, while the floor was laid in a Martian orange-and-green pattern in reflective resin.

Models emerged wearing skirt suits in sheer cream ⁠or black fabric embroidered with flowers and beads, ‌and in tweed loosened into a ‌wide windowpane print with mesh panels, or reworked in ‌an eye-catching red-and-white tiger print.

“Chanel felt as alive as ever,” ‌said Angélique Liautaud, womenswear buying and merchandising director at French department store Printemps. “The masculine wardrobe, the fluid dresses, the lingerie, the liberated body, brought a new sensuality to the house.”

Some skirts were sliced ‌into swinging panels, others were shortened into pleated mini-skirts paired with cropped jackets showing the ⁠midriff. Hems ⁠were frayed or finished with metallic beading.

Models sported new versions of the brand's two-tone pumps — in leopard print or tiger print with a cream toe, or baby blue and silver, while sandals were chunky with a large interlocking C logo in gold across the front. Quilted handbags came in black, burgundy, and white with a couple of wild variations in zebra print layered with clashing primary colors.

Blazy, known for soundtracking his shows to anthems from the 2000s, ran out to greet the crowd after the finale to the heavy synths of "Gimme More" by Britney Spears.