Tunisian Brand Turns Sea Plastic into Green Couture

Yarn provided by the Seaqual Initiative is transformed into denim fabric at the Sitex plant in the Tunisian coastal town of Ksar Hellal. BECHIR TAIEB / AFP
Yarn provided by the Seaqual Initiative is transformed into denim fabric at the Sitex plant in the Tunisian coastal town of Ksar Hellal. BECHIR TAIEB / AFP
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Tunisian Brand Turns Sea Plastic into Green Couture

Yarn provided by the Seaqual Initiative is transformed into denim fabric at the Sitex plant in the Tunisian coastal town of Ksar Hellal. BECHIR TAIEB / AFP
Yarn provided by the Seaqual Initiative is transformed into denim fabric at the Sitex plant in the Tunisian coastal town of Ksar Hellal. BECHIR TAIEB / AFP

The two men in bright overalls rooting for plastic on a Tunisian beach do so to make a living, but also in the knowledge that they are helping the environment.

What they do not know is that the waste will become part of a synthetic plastic fiber used to make blue denim cloth to create a dress for the eco-friendly fashion label Outa, AFP said.

The pair are among around 15 "barbeshas", or informal rubbish collectors, taking part in the Kerkennah Plastic Free program, backed by the European Union.

This aims to recover the 7,000 tons of plastic waste each year that end up littering beaches on the Kerkennah Islands 20 kilometers (12 miles) off the port city of Sfax.

Jean-Paul Pelissier, of the International Centre for Advanced Mediterranean Agronomic Studies (CIHEAM), is coordinating the EU-funded project.

He told AFP that on the archipelago, "we have an exciting environment in terms of nature and tranquility. It's ideal for green tourism".

Pelissier said the islands were a passage point for migratory birds, and that its waters were abundant in Posidonia oceanica seagrass, or Neptune grass.

"But there's one thing you never see in the pictures -- the plastic," he said. Marine currents carry the waste from Europe into the Gulf of Gabes, and there it washes up to be collected by the barbeshas.

They take their daily harvest to a sorter which passes it on to a collection company and then it is fed into a crusher to be baled.

A partnership has been established with Seaqual Initiative, an international consortium which buys the marine plastic "at a remunerative and stable price all year round", Pelissier said.

New opportunities
The initiative's website says it "works with ocean clean-ups around the world to bring value to the waste that they recover".

Omar Kcharem is the boss of Kerkennah Plast, which compacts and crushes plastic, and he said working with Seaqual has created new opportunities, since marine plastic "does not have much value and does not bring in any money".

The plastic granules recovered after grinding the waste are transformed into "Seaqual Yarn" nylon fiber in Portugal, in one of just four factories in the world equipped with the technology.

"This is innovative," said Pelissier. "Four or five years ago, you couldn't recycle marine plastic because of its lengthy exposure to salt water and the sun."

He said Seaqual Yarn comprises around 10 percent of recycled marine plastic, but the aim is to increase this.

Apart from the Portugal side of the operation, the rest is definitely "Made in Tunisia".

In the coastal town of Ksar Hellal southeast of Monastir, a huge machine in the ultra-modern Sitex plant makes an infernal racket as it transforms the Seaqual Yarn into denim.

Sitex is a denim specialist that has supplied brands such as Hugo Boss, Zara and Diesel. Now Anis Montacer, founder of the Tunisian fabric and fashion brand Outa, has entered into a partnership with it.

He chose Sitex "for its sensitivity to the environment, because in 2022, 70 percent of their manufacturing was based on recycled fibers".

"We worked together to determine the proper yarn strength and the right indigo dye," he told AFP, adding that their collaboration will continue to expand Outa's color range to include natural dyes.

Higher costs
"The entire process takes place in Tunisia, from the denim transformed in Ksar Hellal to the Tunisian seamstresses who work on the tailoring" for Outa, Montacer said.

Production costs are 20 percent higher, though, than for denim without the marine plastic content.
Despite this, Montacer believes he can "bring together other entrepreneurs and inspire designers to produce eco-responsible collections".

He called on renowned French designer Maud Beneteau, formerly of Hedi Slimane, to design Outa's first haute couture collection.

"We chose a high value collection because the production cost is higher than with normal thread to create denim fabric," Montacer said.

Outa creations first graced the catwalk during Tunis Fashion Week in June.

Beneteau saw the first Outa collection as "a challenge, a human dimension in this wonderful project that aligns with the idea of saving the planet".

She does say there were some difficulties working with a fabric that was "a little thick and stiff, originally designed for sportswear and ready-to-wear, rather than haute couture".

More used to fine silks, linen and cotton, she admits having some qualms working with the new fiber, even though like her peers in the fashion industry she tries to recycle and buy back unsold stocks in the fight against overconsumption.

But "when you think that this is recycled and ecological, that jobs have been created, people who pick up the plastic... it's a whole interesting chain," Beneteau said.

It's also a great yarn. Plastic fantastic: from sea waste to see waist, you might say...



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.