Fashion Suppliers Want Brands to Help With EU Green Regulations

An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS
An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS
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Fashion Suppliers Want Brands to Help With EU Green Regulations

An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS
An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS

As the global fashion industry braces for new green supply-chain regulations, clothing makers in low-income countries like Bangladesh expect major international brands to share the burden. The European Union’s Corporate Sustainability Due Diligence Directive (CSDDD), adopted in July, requires corporations to make their global value chains more sustainable.
The new rules on workers’ rights and emissions could transform the way clothing is made and sold, most significantly in the garment factories and textile mills across Asia that account for much of the sector’s pollution. Bangladesh, the world’s second-biggest clothing exporter after China, in particular needs assistance from major brands as it undergoes a political transition following mass protests sparked by a jobs crisis that ousted the previous government.
"While in Bangladesh we have prepared our mindset and ecosystem for the change, we will need support from our global buyers, as well as our government, to reach the green transition goals," said Abdullah Hil Rakib, managing director at Team Group, a clothing supplier in Bangladesh that employs about 23,000 people. The CSDDD seeks to bring corporate practices in line with the Paris Agreement on climate goals. Major European brands must ensure their suppliers are conducting due diligence to protect workers and communities from the adverse effects of their operations or pay compensation for damages.
For the fashion industry, the onus will mostly fall on factories in places like Bangladesh, Pakistan and Cambodia to find and fill the gaps in safeguarding labor, human rights and the environment, experts said.
International brands must collaborate with these suppliers to adhere to the new rules, according to a study by clothing makers in Asia that was supported by the Transformers Foundation, which represents the denim industry, and GIZ FABRIC, a project from German development agency GIZ to support sustainable textile production in the region.
GROWING COMPLEXITY
The new regulations may provide a chance for suppliers to push for ethical commercial practices and more favorable contracts from international brands, representatives from companies behind the study told the Thomson Reuters Foundation in a joint interview.
But manufacturers are still coming to grips with what measures they must take and how they will finance their portion of the estimated $1 trillion investment required for the fashion industry to transition to net-zero emissions in the coming decades.
Rakib estimated that suppliers will have to make additional investments of 20% to 30% to turn their factories green.
Industry experts warned that the CSDDD will require a raft of legal changes in countries where the products are manufactured.
National legislatures will have to pass laws that line up with the EU directive. Brands must devise their approach to implementing such laws, and courts will need precedents in order to enforce them, said Matin Saad Abdullah, a professor of computer science and engineering at BRAC University in Dhaka who maps garment factories’ compliance on labor rights and environmental standards.
"The path forward is long and complex," he said.
Brands and suppliers have widely differing capacities and plans for meeting what the EU calls “just transition,” said Zahangir Alam, a fashion industry consultant who has worked for three decades with top global brands on labor issues and sustainability.
For example, Sweden’s H&M Group aims to cut carbon emissions by 56% by 2030, while US retailer Walmart’s Project Gigaton seeks to avoid 1 billion metric tons of emissions in its global value chain by 2030.
Smaller producers in particular will struggle to determine which actions they need to take to meet a brand’s particular benchmarks, Alam said.
‘SHARED RESPONSIBILITY’
Industry associations and government agencies can encourage a common approach by companies in the transition to cleaner and fairer practices, said Rakib.
Bangladesh's garment makers' association, called BGMEA, has set up the Responsible Business Hub to provide information to suppliers about the changing regulatory landscape. The group is also creating a platform to facilitate data collection and sharing. But suppliers said they need brands at their side too and that meeting the CSDDD’s requirements is a “shared responsibility,” as the directive mandates.
Brands are often accused of passing the buck to their suppliers when it comes to ensuring a living wage or investing in decarbonization.
To achieve net-zero emission by 2050, the fashion industry will have to invest more than $600 billion to implement solutions that already exist and about $400 billion to develop innovations, according to a report by the Apparel Impact Institute (Aii), a non-profit promoting sustainable investments.
Aii has formed the Fashion Climate Fund, which pools resources from brands and philanthropies, and is working with more than 1,000 suppliers to help them achieve energy and water efficiency, said Lewis Perkins, President of Aii.
Aii acts as a "clearing house" to identify programs and technology for decarbonization and encourage local suppliers to adopt them.
"We have identified 1,500 suppliers with high energy usage and aim to support locally grown decarbonization solutions, when they meet our criteria, prioritized by the suppliers themselves, with buy-in from multiple stakeholders, so that all actors are on the same page," Perkins said.
WORKERS’ VOICES
The EU directive is also aimed at improving labor conditions, requiring businesses to verify workplace safety and allow workers and unions to file complaints about human rights violations with authorities.
Union leaders said they are waiting to see how the changes are put in place to protect workers.
"When the laws kick in, we need clear and simple channels to seek remedy when anything goes wrong - and the Global North should have a roadmap for supporting the upskilling of workers," said Kalpona Akter, executive director of the Bangladesh Center for Workers Solidarity (BCWS).
"Moreover, for all the lawmakers' focus on transitioning to net zero, there should be a comparable commitment on helping workers deal with climate impacts like flooding and heat," said Akter.
Garment-producing countries like Bangladesh could lose $66 billion in export revenues by 2030 due to flooding and heat waves, said reports by the Global Labor Institute at Cornell University in the United States and investment manager Schroders published last year.
Team Group’s Rakib said Bangladesh’s experience making changes to improve conditions for workers and the environment make it well-positioned to tackle the new rules – and ensure it retains its position as a leading producer of the world’s clothing.
"With the strides that suppliers in Bangladesh have made in ensuring workers are safe from fire and electrical risks - and more than 200 green factories making extra savings on energy and water - we will remain a key sourcing choice," Rakib 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).