Sources: Shein and Reliance Aim to Sell India-made Clothes Abroad Within a Year

(FILES) This photograph shows the Shein e-commerce app on a mobile phone. (Photo by Emma Da Silva / AFP)
(FILES) This photograph shows the Shein e-commerce app on a mobile phone. (Photo by Emma Da Silva / AFP)
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Sources: Shein and Reliance Aim to Sell India-made Clothes Abroad Within a Year

(FILES) This photograph shows the Shein e-commerce app on a mobile phone. (Photo by Emma Da Silva / AFP)
(FILES) This photograph shows the Shein e-commerce app on a mobile phone. (Photo by Emma Da Silva / AFP)

Fashion retailer Shein and partner Reliance Retail plan to rapidly expand their Indian supplier base and start overseas sales of India-made Shein-branded clothes within six to 12 months, said two people with knowledge of the matter.

The China-founded, Singapore-headquartered e-commerce firm has been discussing plans with the Indian retailer since before the US imposed tariffs on Chinese imports that intensified the need to diversify sourcing, the people said.

The aim is to raise Indian suppliers to 1,000 from 150 within a year, they said.
In a statement to Reuters, Shein said it licensed its brand for use in India. Reliance did not respond to queries.

Shein sells low-priced apparel such as $5 dresses and $10 jeans shipped directly from 7,000 suppliers in China to customers in around 150 countries. Its biggest market is the US where it is adjusting to tariffs on low-value e-commerce packages from China which were previously imported duty free.

The retailer launched in India in 2018 but its app was banned in 2020 as part of government action against China-linked firms amid border tension with its northeastern neighbor.

It returned in February under a licensing deal with the Reliance Industries unit which launched SheinIndia.in selling Shein-branded clothes produced in local factories. In contrast, Shein's other websites mainly list goods from China.

Reliance, controlled by Asia's richest person, Mukesh Ambani, has contracted 150 garment manufacturers and is in discussion with 400 more, said the two people, declining to be identified due to confidentiality concerns.

The goal is 1,000 Indian factories making Shein-branded clothes within a year for both the Indian market and to service some of Shein's global websites, the people said.

Shein initially wants to list India-made clothes on its US and British websites, one of the people said. Discussions have been ongoing for months and the launch time of six to 12 months could change depending on supplier numbers, the person said.

The scale of supplier expansion and export time frame is reported here for the first time.

Shein has licensed its brand for domestic use to Reliance which "is responsible for manufacturing, supply chain, sales and operations in the Indian market," Shein said in a statement.

In December, Minister of Commerce and Industry Piyush Goyal told parliament that the Shein-Reliance partnership aimed to create a network of Indian suppliers of Shein-branded clothes for sale "domestically and globally".

ON-DEMAND MANUFACTURING

Shein is a fast-fashion behemoth earning annual revenue of over $30 billion through low prices and aggressive marketing. Most of its products are from China with some made in countries such as Türkiye and Brazil.

Its expansion in India mirrors interest in the country from the likes of Walmart and others throughout the global fashion and retail industries, particularly those looking for suppliers outside China due to the Sino-US trade war.

The Shein India app has been downloaded 2.7 million times across Apple and Google Play stores, averaging 120% on-month growth, showed data from market intelligence firm Sensor Tower.

Offerings during its first four months have reached 12,000 designs, a fraction of the 600,000 products on its US site. In the women's dresses category, its cheapest item is priced 349 Indian rupees ($4) versus $3.39 on the US site as of June 9.

Shein's Indian partner Reliance, which operates the app, is working with suppliers to assess whether they can replicate Shein's global best-sellers at lower cost, the two people said.

Reliance aims to emulate Shein's on-demand manufacturing model, asking suppliers to make as few as 100 pieces per design before increasing production of those that sell well, they said.

Executives from Reliance recently visited China to understand Shein's "innovative" supply chain operations, "data driven" design processes and "disruptive" digital marketing, Manish Aziz, assistant vice president Shein India at Reliance Retail, said in a LinkedIn post in which he called Shein's scale and speed "truly incredible".

The partnership is one of dozens Reliance has with fashion brands, such as Brooks Brothers and Marks and Spencer. The firm also runs e-commerce site Ajio and its retail network competes with Amazon and Walmart's Flipkart as well as value retailers such as Tata's Zudio.

Reliance plans to work with new suppliers to source fabric - especially fabric made using synthetic fibres where India lacks expertise - and import required machinery, the people said. The firm will invest in suppliers and help them grow which in turn will help the Shein-Reliance partnership go global, they said.



Paris Fashion Doyenne Nichanian Bows Out at Hermes after 37 Years

French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP
French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP
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Paris Fashion Doyenne Nichanian Bows Out at Hermes after 37 Years

French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP
French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP

France's Veronique Nichanian will present her final men's collection for Hermes on Saturday after 37 years as chief designer, the end of an era for the family-run firm and one of the industry's top female creatives.

Her departure adds to the upheaval at the top of the European luxury clothing sector over the last 12 months, which has seen a new generation of designers promoted at a host of brands including Chanel, Dior and Gucci, said AFP.

Many of them were barely in school when the doyenne of Paris fashion took over menswear at Hermes in 1988 with instructions from then company boss Jean-Louis Dumas to run it "like your small company".

Paris-born Nichanian helped transform a niche luxury brand known for its scarves and leather goods into a global fashion profit machine with sales of menswear estimated at several billion euros a year.

Her design philosophy mirrors her own discreet personality, with a focus on quality and comfort through quiet evolutions, rather than flashy re-invention.

"It is time to pass the torch," the 71-year-old said as she announced her departure in October, adding that she intended to relax more and fulfil "a long-standing dream" of spending several months in Japan.

Hermes is one of the few fashion houses in a male-dominated industry to have women in charge as creative directors.

Womenswear has been designed since 2014 by fellow French couturier Nadege Vanhee-Cybulski, while Nichanian will be replaced by 30-something London designer Grace Wales Bonner, who previously ran her own label.

Wales Bonner, whose work draws on her father's Afro-Caribbean roots in Jamaica and British tailoring, represents a generational and stylistic shift for the classic French house.

"Grace Wales Bonner is very modern, committed... Hermes has chosen someone who will bring not only quality, but also an image and a point of view," Marie Ottavi, a fashion journalist at France's Liberation newspaper, told AFP.

- 'Macho milieu' -

On the eve of her last show, Nichanian told the Business of Fashion website that no one at Hermes had said "you have to stop" but she had felt the need to step back due to the frenetic pace of the corporate business.

"There's so much change, it loses something magic, the something that makes people happy," she told the website about the fashion industry.

"When I talk to my friends at the different houses, they're not happy. It's not only insecurity, it's pressure."

She started out working under Italian designer Nino Cerruti, who plucked her from her Paris fashion school, L'Ecole de la Chambre Syndicale de la Couture Parisienne (ESCP).

They worked together for eight years before Hermes came knocking.

She told AFP in 2014 she had had to "work harder" and "be determined" as a woman in a man's world.

"It was a pretty macho milieu and the men didn't expect a woman to tell them what to do," she recalled of her early career.

As well as her gradual modernizing touch, she has also won fans for her attention to what she calls "selfish" details, hidden touches of luxury such as a lambskin-lined pocket.

"We women can sometimes make concessions to comfort. But men, never," she told Le Figaro newspaper in 2018. "My whole approach, therefore, is to offer them a comfort that should be felt yet remain invisible, imparting a certain sensuality and a relaxed, chic look."

Her final show during Men's Fashion Week on Saturday will be held at 8:00 pm (1900 GMT) in the historic Paris stock exchange building in the center of the French capital.

Her 76th and final show will not be a "retrospective, but full of nods" to her past work, she told Madame Figaro magazine in early January.


The Trends at Paris Fashion Week Are Statement Coats, Even Bigger Shoulders and Sharp Tailoring

 A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)
A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)
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The Trends at Paris Fashion Week Are Statement Coats, Even Bigger Shoulders and Sharp Tailoring

 A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)
A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)

Paris men’s Fashion Week has been arguing for a new kind of authority this season — coat-first.

Across the runways, statement outerwear, bigger shoulders and sharp tailoring have been doing the work, turning familiar staples — trench coats, suits, denim and workwear — into clothes with a harder stance.

With the fashion week heading into its final stretch, the common thread is a push to make menswear more protective, performance-minded and built for real life, without losing the showmanship that defines Paris.

That argument landed most clearly at Dior Men, where Jonathan Anderson bent classic codes into new proportions, and Louis Vuitton, where Pharrell Williams framed luxury as practical convenience — heritage shapes upgraded with weatherproofing, reflectivity, reversibility and engineered comfort.

Other designers from Ami Paris to Rick Owens, Yohji Yamamoto and IM Men at Issey Miyake worked along the same lines: rebuild the shoulder, reshape the body, and lean into the idea of uniform, not as costume, but as modern equipment.

Celebrity presence raises the stakes

Paris menswear is also being driven by celebrity gravity, the kind that turns a runway into a global moment within minutes.

Dior’s room was packed with VIPs including Robert Pattinson, Lewis Hamilton and SZA.

Louis Vuitton delivered a front row mixing music, film and online fame — SZA, Usher, Future and Jackson Wang among them — plus a runway cameo from BamBam of GOT7.

The clothes are the product, but the frenzy is amplified by who is watching, who is posting, and who is seen.

A season built on ‘classic, but smarter’

Instead of chasing novelty for its own sake, many designers are taking familiar silhouettes and making them perform.

At Vuitton, Williams’ show was filled with recognizable pieces — double-breasted suits, blousons, polished outerwear; then the twist arrived in the materials and construction.

Tailoring carried reflective elements for night visibility.

Jackets turned into water-repellent hybrids.

Fabrics were lightened, waterproofed and sometimes embellished with crystal details that mimicked raindrops.

Accessories followed the same logic: caps designed to be crushed and returned to shape; shoes built to flex more like sneakers while still reading as traditional footwear.

The message was clear: luxury is not only a look. It is also capability.

The silhouette: shoulders, height, and controlled volume

Across brands, the silhouette focus moved upward. The shoulder became the season’s main design focus — where structure, protection and attitude all meet.

Anderson’s Dior treated tailoring history as a series of pivots.

Jackets nodded to the 1940s and early 1960s, then were cut abruptly short or shrunken to expose the hipbone.

Ordinary pieces were pushed into new scale, including a round-neck sweater extended to ankle length.

Throughout, he made the familiar feel new by changing proportion, fabric or what it was paired with.

IM Men also leaned into shoulder architecture, remixing outerwear by blending storm flaps into trench coats and amplifying volume.

Yohji Yamamoto used padding along arms and legs to give different bodies a similar shape, then controlled that bulk with buttons and adjustable details.

Even when designers disagreed on mood — sharp, romantic, severe, strange — they converged on shape: the body is being redesigned.

The mood: protection, uniform and modern armor

There has also been a clear emotional undercurrent: protection. Paris is dressing men for a world that feels harder, more uncertain, and more public.

Rick Owens described thinking about police uniforms and the impulse to mock a threat as a way of processing it.

His runway delivered skinny foundations, then added cropped jackets, tactical hybrids, leather and Kevlar-like materials, and ambiguous details that hinted at insignia without turning into costume.

His question — “sheriffs or outlaws?” — captured the season’s tension between authority and rebellion.

Yamamoto also drew from army and working clothes, but described a softer kind of protection: enveloping layers meant to endure long stretches outdoors.

IM Men’s draped, layered looks pushed a related idea, less militant than nomadic: clothing as shelter.

Paris wearability, sharpened

For all the experimentation, the week has not abandoned everyday dressing.

Ami Paris’ anniversary show was built on an idea of real Parisian style — camel coats, stripes, denim, clean tailoring — then refined through better proportion and styling.

The clothes were designed to mix easily, with small shifts that made them feel current: longer coats that sit better on the shoulder and cleaner lines.

The takeaway is that the daily wardrobe still matters, but it is being tightened and upgraded.

Dries Van Noten sharpened that idea with color and craft. Julian Klausner built the show around “coming of age" — men leaving home in hand-me-down coats, then made knitwear the engine, from structured-shoulder cardigans to patterned collar pieces on narrow coats and cloaks.

He also brought kilts and skirt-like belted layers back into the mix.

Saturated, pattern-heavy coats, including Polaroid florals and patchworked panels, showed how Paris can make a wardrobe feel new through layering, proportion and finish.

Styling as the signal

Many of the season’s strongest statements have come from styling as much as garments.

At Dior, Anderson’s “anti-normal” attitude appeared in wild wigs and ruff collars that turned what was formal and old into something sharp and slightly dangerous.

At Vuitton, the styling did the opposite — staying restrained — while letting materials and construction carry the message: classic shapes, but built for movement and weather.

While Dior and Vuitton set the tone, the rest of the schedule reinforced it in different registers — wearability with precision at Ami, confrontation and control at Owens, protection through layering at Yohji, and sculpted outerwear at IM Men.

With the week ending Sunday, the final shows will decide whether this season’s turn toward function and shape becomes a deeper shift or remains a Paris moment where luxury briefly proved it can be practical, too.


Stars Turn Out for Valentino’s Funeral in Rome

US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)
US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)
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Stars Turn Out for Valentino’s Funeral in Rome

US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)
US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)

Anne Hathaway and Donatella Versace were among the stars who attended the funeral Friday of legendary Italian designer Valentino Garavani, with some mourners wearing touches of his trademark red in tribute.

Rome's Basilica of Saint Mary of the Angels and of the Martyrs was decorated with wreaths of white roses while a large photo of the designer, who died on Monday aged 93, was placed in front of the altar.

Throughout a long career, Valentino dressed some of the world's most elegant women, from Elizabeth Taylor and Jackie Kennedy to Princess Diana, Julia Roberts and Gwyneth Paltrow.

Hollywood actress Hathaway, who attended the funeral with her husband Adam Shulman, this week paid tribute to a "titan of a designer" who was also a friend with whom she shared dancing and karaoke.

He "made my world so much brighter, grander and more delightful than I could have ever understood it to be", she wrote on Instagram.

"Now he rests forever surrounded by eternal beauty, a most fitting next chapter for the one true Emperor who gifted us all a legacy of unparalleled magnificence... I love you my darling, and I miss you already," she wrote.

Designers Versace, Tom Ford, Alessandro Michele -- the creative director of Valentino -- Balenciaga's Pier Paolo Piccioli, Anna Fendi and Brunello Cucinelli were also among the guests, as was fashion editor Anna Wintour.

Most of the mourners -- who also included many of Valentino's employees -- wore black. But several wore a red hat, scarf or shawl, recalling the designer's signature color.

Valentino died on Monday at his home in Rome, and his coffin was put on public display at his foundation in the city center on Wednesday and Thursday.

"We'll never find the class that Valentino had again," said one member of the public who came to pay his respects, Francesco Sangiovanni, 81.

"He conquered the world with his refinement... and he enhanced Italy, because he brought Italy to the world. The greatest people wore Valentino," he told AFP.