Stella Jean Quits Milan Fashion Week over Lack of Inclusion

FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)
FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)
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Stella Jean Quits Milan Fashion Week over Lack of Inclusion

FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)
FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)

The only Black designer belonging to Italy’s fashion chamber withdrew Wednesday from this month’s Milan Fashion Week, alleging a lack of support for diversity and inclusion after the chamber “abandoned” a project to promote young designers of color working in Italy.

Stella Jean interrupted a press conference by the Italian National Fashion Chamber to announce that neither she nor five members of the We Are Made in Italy collective of designers of color would participate in fashion week, The Associated Press said.

She also said she had started a hunger strike Wednesday out of concern members of WAMI, an initiative launched in 2020 on the heels of the Black Lives Matter movement, could suffer a professional backlash for her activism.

The moves signaled a dramatic denouement of a nearly three-year-collaboration with the chamber to promote designers of color.

“The chamber told us, ‘We didn’t know there were Italian designers who weren’t white.’ We brought them to the runway. They supported us for two years. Then we were abandoned,” Jean told the press conference.

Italian Fashion Chamber President Carlo Capasa assured her from the dais that the chamber had no intention of retaliating in any way. He expressed regret that neither she nor the WAMI members would participate in Fashion Week.

“Stella’s contribution has always been appreciated. We Italians need to have our conscience stimulated,” he said. “As for WAMI, we are not people who retaliate. For us it is important to promote new brands.”

He noted that two WAMI designers from previous seasons were presenting collections during Milan Fashion Week, which runs from Feb. 21-27.

In addition, the chamber has included on the fashion week calendar the inaugural edition of the Black Carpet Awards recognizing the achievements of minorities in Italian society, and was hosting another diversity initiative by the owner and editor of US-based Blanc Magazine, Teneshia Carr.

Jean charged that the chamber had significantly cut back support for WAMI after she made an impassioned speech about the personal price she had paid for highlighting racial injustice in Italy during a runway show last September.

She also said it backtracked on a promise to create a Black board within the chamber to promote diversity and inclusion. Capasa told AP that he decided against the board after WAMI made social media posts that cast a negative light on some Italian fashion brands.

“We wrote a nice letter, saying we want to give them the liberty to express themselves,” Capasa said, adding that the chamber could not host any board that appeared to take public swipes at other members.

Italian-Haitian Jean, who made her Milan runway premiere in 2013 on the Armani runway, said she and her family have been subjected to retaliation for her activism for racial justice in Italy. She said that included death threats against her daughter by other minors, and the termination of professional relationships for her.

“When you speak of retaliations, of death threats, people, I work in fashion. I don’t traffic arms, I don’t traffic drugs or make money from trafficking women,” Jean said. “It is absurd, vile, shameful and inhuman that I must speak for people who feel their lives are in danger, who feel they will suffer the same retaliation.”

WAMI was launched by Jean, African-American designer Edward Buchanan and the head of Afro Fashion Week Milano, Michelle Ngonmo, to draw attention to the lack of minority representation in the Italian fashion world. It followed some racial gaffes by major fashion houses that made global headlines.

Ngonmo told the AP that financial support for the project from the chamber had dwindled over the three years it has run so far, and that Afro Fashion Week Milano wasn’t able to come up with 20,000 euros ($21,000) to support the five young designers in making solid looks to present, plus a video.

The Italian fashion chamber fully supported the collections for the two WAMI classes, each with five designers, but hasn’t funded the third generation, Ngonmo and Jean said.

A September show featuring Jean, Buchanan and WAMI was financed through other allies and their own contributions. The latest WAMI collections were to be presented by video on Feb. 22.

“Maybe the message is the whole industry needs to open their eyes and say, ‘What can we do to make that happen?’” Ngonmo told the AP.

Capasa emphasized that the project by Blanc Magazine’s Carr is receiving the same support he offered WAMI: a slot on the calendar and a physical space in the Fashion Hub where journalists and buyers can view the collections.

But Jean insists that Italy’s designers of color deserve special promotion by the chamber, whose role is the promotion of Italian fashion.

Jean said progress in recent seasons — including opening fashion week with WAMI designer Joy Meribe’s runway show, and Jean’s own return to the runway in September — had turned out to be “performative.”

“They used WAMI as a free pass of safe conduct for diversity,” Jean told the AP. She said she was withdrawing out of fatigue with the “continual fight” for recognition for designers of color in Italy.

“I am a fighter by nature, but I cannot be this way all the time,” she said.



Paris Mourns Valentino, the Last Titan of Couture’s Golden Age

An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)
An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)
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Paris Mourns Valentino, the Last Titan of Couture’s Golden Age

An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)
An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)

Valentino Garavani’s death cast a long shadow over the opening day of Paris Fashion Week menswear Tuesday, with front-row guests and industry figures mourning the passing of one of the last towering names of 20th-century couture — an Italian designer whose working life was closely entwined with the Paris runways.

Valentino, 93, died at his Rome residence, the Valentino Garavani and Giancarlo Giammetti Foundation said in a statement announcing his death. While he built his house in Rome, he spent decades presenting collections in France.

He “was one of the last big couturiers who really embodied what was fashion in the 20th century,” said Pierre Groppo, fashion editor-in-chief at Vanity Fair France.

On a day meant to sell the future, many guests said they were thinking about what fashion has lost: the couturier as a living institution.

Groppo pointed to the codes that made Valentino instantly legible — “the dots, the ruffles, the knots” — and to a generation of designers who, he said, “in a way, invented what is celebrity culture.”

Valentino’s vision was built on a simple idea: make women look luminous, then make the moment unforgettable.

He dressed Jacqueline Kennedy Onassis and Elizabeth Taylor, among others, fixed his signature “Valentino red” in the public imagination, and — through his decades-long partnership with Giancarlo Giammetti — helped turn the designer himself into part of the spectacle, as recognizable as the clients in his front row.

The end of a fashion era

Prominent fashion writer Luke Leitch framed the loss in similarly outsized terms, calling Valentino “the last of the fashion ‘leviathans of that generation’,” and saying it was “absolutely” the end of a certain class of designer: figures whose names could carry a global house, and whose authority came not from viral speed but from permanence.

Trained in Paris before founding his maison in Rome, Valentino became a rare bridge figure: Italian by origin, but fluent in the rituals that made Paris couture an institution. His career moved between those two capitals of elegance, bringing Roman grandeur into a system that still treats fashion not only as commerce, but as ceremony.

Even as he aged, the house’s founder kept turning up at its couture and ready-to-wear shows, as observed by one Associated Press journalist — until he eventually retreated from public life, all the while radiating quiet grandeur from his front-row seat.

For some in Paris on Tuesday, the loss felt personal precisely because Valentino’s world was never only Italian.

Groppo recalled the designer as “very much more than a fashion brand,” adding: “It was a lifestyle.”

That lifestyle — couture polish, social glamour, and the conviction that elegance could be a form of power — remains a reference point even as fashion accelerates toward louder branding and faster cycles.

“It’s quite sad as he’s so important to the fashion industry, and he contributed a lot and I cannot forget the stunning red he created,” said Lolo Zhang, a Chinese fashion influencer attending Louis Vuitton ’s show in Paris.

“He always celebrated pure beauty, and architecture for the silhouette, and how he used color. The old era just passed by.”

Other guests described a delayed realization — the kind that arrives only when a figure who seemed permanent is suddenly gone.

YSL, Chanel and Valentino

“There are some people who want to be Yves Saint Laurent, Chanel. ... There are also people who are spontaneously Valentino,” said Guy-Claude Agboton, deputy editor of Ideat magazine. “It’s a question of identity.”

For Paris fashion observer Benedict Epinay, the grief was bound up with memory. And with the emotional charge of Valentino’s final bow.

“It was such a great moment. I was lucky enough to attend the last show he gave,” Epinay said. “It was so moving because we knew at that time it was the last show.”

Fashion observer Arfan Ghani pointed to what Valentino represented to younger designers: a “classy” standard of restraint in an era that often rewards noise.

“Because it was very classical materials," Ghani said. "It wasn’t as loud as a lot of other of these brands are with branding.”

Paris-based sculptor Ranti Bam described Valentino in the language of form: less trend than structure, less look than line.

“As a sculptor I saw Valentino as an artist,” Bam said. “He transcended fashion into sculpture.”

“He didn’t follow trends, he pursued form,” she added. “That’s why his work doesn’t date, it endures.”

The fashion house Valentino has for years continued under a new generation of leadership and design — still showcased in Paris.


Pharrell Opens Vuitton’s Monogram Anniversary Year With Cinematic Menswear Show

A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)
A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)
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Pharrell Opens Vuitton’s Monogram Anniversary Year With Cinematic Menswear Show

A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)
A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)

Pharrell Williams opened a celebration year for Louis Vuitton's monogram — marking the house’s 130th anniversary of its most recognizable signature — with a Fall-Winter 2026 men’s show that was equal parts brand pageant and movie set.

Inside the Louis Vuitton Foundation in Paris, the guests encircled the grassy runway. At its center sat a glass-walled, minimalist apartment — part bedroom, part display box — where models kept entering and exiting like characters crossing movie scenes.

It was also a celebrity-heavy room, with a front row mixing music, film and online fame — SZA, Usher, Future, Jackson Wang and others, plus a runway debut to seal the crossover: BamBam of Korean boy band GOT7.

The soundtrack did as much scene-setting as the set. A gospel choir and full orchestra performed live from the balconies, lifting what could have been a straightforward runway lap into something closer to a staged sequence: romantic, controlled, faintly grand.

On the clothes, Williams stayed inside his Vuitton DNA: readable from a distance, richer up close, and always tethered to the idea of travel and the house’s heritage goods.

This season’s lens was 1970s ease spiked with utility. The palette sat firmly in autumn-tonal grays, browns, black, denim, cream — then broke into jolts of bubblegum pink, baby blue and emerald green that kept the mood from turning too polite.

It was Vuitton in full brand mode: monogram year messaging, hero outerwear, high-gloss accessories, and a set built for cameras.

Silhouettes ran long and loose, with baggier trousers that swung into an A-line sweep; suits were often topped with parka coats, a high-low collision that has become one of his signatures.

The details — always his style argument — did the work.

Shirts flashed with glimmering surfaces.

Bows and jabot-style collars delivered the 70s note without going costume.

Utility came through in the hardware language: ties, toggles, belts, zippers; faux-fur collars that read both functional and decorative.

Patent Oxford shoes added a hard, glossy punctuation under the softer shapes.

A monogrammed puffer arrived as the obvious anniversary-era hero item.

Williams also pushed a slightly “undone” finish — wrinkled tops that looked intentionally lived-in rather than sloppy — while widening the fit menu beyond the season’s broader swing toward slimness: skin-tight knits, cleanly fitted suits and oversized tailored shorts.

Then came the Vuitton wink at travel as culture-object: an Art Nouveau travel case in stained glass, rolled through on a trolley — absurd, beautiful, and perfectly on-message for a house that still sells the idea of departure as luxury.


Burberry Beats Holiday Sales Expectations, Attracts More Shoppers in China

A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)
A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)
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Burberry Beats Holiday Sales Expectations, Attracts More Shoppers in China

A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)
A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)

Burberry beat expectations for sales growth in the key holiday quarter as its marketing push featuring British celebrities resonated ‌with shoppers ‌and helped attract more Gen ‌Z ⁠consumers ​in China.

Joshua ‌Schulman, who became CEO in July 2024 as sales were sliding, is leading a turnaround focused on trench coats, scarves and the brand's British heritage, while cutting costs after reducing the workforce by 20% last year.

"Our customers responded to our immersive Timeless ⁠British Luxury campaigns and experiences, while the continued strength in our core ‌outerwear category is now extending ‍into accessories and ready-to-wear," ‍Schulman said in a statement on Wednesday.

Comparable store sales rose 3% in the three months to December 27, beating analysts' expectation of 2% growth, according to a company-compiled consensus.

Sales ​in China rose 6% on a comparable basis, as the brand continued its recovery ⁠in the crucial luxury market. Burberry said the performance was supported by "double-digit" growth in Gen Z customers.

The company said its markdown period was shorter and "shallower" than last year, an encouraging sign for investors looking for signs that customers are increasingly willing to buy Burberry products at full price.

Burberry said it expects full-year adjusted operating profit to be in line with the consensus forecast of 149 million pounds ($200 ‌million).