Tradition Meets AI in Nishijinori Weaving Style from Japan’s Ancient Capital 

Hironori Fukuoka, the fourth-generation successor to his Nishijinori business, looks at the fabric that is a collaboration with AI in Kyoto, western Japan on July 3, 2025. (AP)
Hironori Fukuoka, the fourth-generation successor to his Nishijinori business, looks at the fabric that is a collaboration with AI in Kyoto, western Japan on July 3, 2025. (AP)
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Tradition Meets AI in Nishijinori Weaving Style from Japan’s Ancient Capital 

Hironori Fukuoka, the fourth-generation successor to his Nishijinori business, looks at the fabric that is a collaboration with AI in Kyoto, western Japan on July 3, 2025. (AP)
Hironori Fukuoka, the fourth-generation successor to his Nishijinori business, looks at the fabric that is a collaboration with AI in Kyoto, western Japan on July 3, 2025. (AP)

Nishijinori, the intricate weaving technique for kimonos that dates back more than a thousand years in Japan’s ancient capital of Kyoto, is getting a high-tech collaborator: artificial intelligence.

The revered colorful weaving style associated with “The Tale of Genji” of the 11th-century Heian era, has gone through its share of ups and downs. But its survival is more perilous than ever today, as demand for kimonos nose-dives among Japanese grappling with modernization.

Hironori Fukuoka, the fourth-generation successor to his Nishijinori business, is determined to keep alive the art he’s inherited, even if that means turning to AI.

“I want to leave to legacy what my father has left for me,” he said in his rickety shop in the Nishijin district of Kyoto, a city with statue-filled temples and sculpted gardens that never seems to change.

“I’ve been pondering how the art of Nishijinori can stay relevant to the needs of today,” said Fukuoka.

Besides the AI project, Fukuoka is also working on using his weaving technique to make super-durable materials for fishing rods and aircraft.

Where tradition and technology meet

Giant looms clatter at his shop, called Fukuoka Weaving. The patterns on the gorgeous fabric, slowly turning out from the loom, are repetitive and geometric, which makes it conducive to translating into digital data. Deciding which hand-dyed color thread goes where to make the patterns is much like the on-or-off digital signals of a computer.

Such similarity is what Fukuoka focuses on in exploring how AI might work for Nishijinori, with the help of Sony Computer Science Laboratories, an independent research arm of electronics and entertainment company Sony Corp.

AI only makes suggestions for the designs and doesn’t do any of the actual production work. But that doesn’t bother Fukuoka or the researchers.

“Our research stems from the idea that human life gets truly enriched only if it has both what’s newly innovated and what never changes,” said Jun Rekimoto, chief science officer at Sony CSL, which is also studying how AI can be used to document and relay the moves of a traditional Japanese tea ceremony.

“We don’t believe AI can do everything. Nishijinori is a massive, complicated industry and so it starts with figuring out where AI can help out,” said Rekimoto, also a professor at the University of Tokyo.

What has come of it is a startling but logical turn in thinking, fitting of the art adorning kimonos worn by Japan's imperial family.

The AI was fed various Nishijinori patterns that already existed and instructed to come up with its own suggestions. One was a bold pattern of black and orange that seemed to evoke a tropical motif.

Striking a balance

To Fukuoka, some of AI’s ideas are interesting but simply off. The difference between AI and the human effort is that the former can come up with multiple suggestions in a matter of seconds.

Fukuoka immediately gravitates toward the one that uses a motif of a leaf to define the angular lines of a traditional pattern, something he says a human wouldn’t have thought of. He finds that ingenious.

The kimono the AI collaboration has produced is a luscious soft green, although it doesn’t have a price tag and isn’t in production yet.

The weaving is carried out by the old-style machine under the guidance of the human artist in the traditional way.

Nishijinori kimonos sell for as much as a million yen ($6,700). Many Japanese these days don’t bother buying a kimono and may rent it for special occasions like weddings, if at all.

Putting one on is an arduous, complicated affair, often requiring professional help, making kimonos even less accessible.

A creative partnership

Dr. Lana Sinapayen, associate researcher at Sony CSL, believes AI often gets assigned the creative, fun work, leaving tedious tasks to people, when it should be the other way around.

“That was my goal,” she said in an interview at Fukuoka Weaving, of her intent to use AI in assistant roles, not leadership positions.

Digital technology can’t automatically represent all the color gradations of Nishijinori. But AI can figure out how to best do that digitally, and it can also learn how the human artist fixes the patterns it has produced.

Once that’s all done, AI can tackle arduous tasks in a matter of seconds, doing a pretty good job, according to the researchers.

Artificial intelligence is being used widely in factories, offices, schools and homes, because it can do tasks faster and in greater volume, and is usually quite accurate and unbiased, compared to human efforts.

Its spread has been faster in the US and other Western nations than in Japan, which tends to be cautious about change and prefers carefully made, consensus-based decisions.

But the use of AI in arts and crafts is promising, such as text-to-image generative AI for the creation of visual images from text prompts, according to a study by Henriikka Vartiainen and Matti Tedre, who looked at the use of AI by craft educators in Finland.

“As computers have taken over many routine-like and boring tasks that were previously performed by people, the computer revolution has also been said to liberate time and offer new opportunities for human imagination and creativity,” they said.



Ralph Lauren’s Fall 2026 Collection a Mix of Romantic Adventure with Metallic Flair 

A model walks the runway during the Ralph Lauren Fall 2026 Collection fashion show in New York, on February 10, 2026. (AFP)
A model walks the runway during the Ralph Lauren Fall 2026 Collection fashion show in New York, on February 10, 2026. (AFP)
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Ralph Lauren’s Fall 2026 Collection a Mix of Romantic Adventure with Metallic Flair 

A model walks the runway during the Ralph Lauren Fall 2026 Collection fashion show in New York, on February 10, 2026. (AFP)
A model walks the runway during the Ralph Lauren Fall 2026 Collection fashion show in New York, on February 10, 2026. (AFP)

With more than 50 years in fashion, Ralph Lauren is still looking for adventure. Lauren took his celebrity guests on an adventure into the English countryside Tuesday for his fall 2026 runway show.

Set amid the beaux arts architecture of the Clock Tower building in Manhattan, Lauren delivered a stylish take on softness and strength, pairing luxurious earth-toned rich fabrics with metallic detailing for his latest collection.

Lauren’s ethereal models with their hair flowing behind them strutted on opulent rugs as celebrity guests including actor Anne Hathaway, singer Lana Del Rey and actor Lili Reinhart looked on from antique style chairs; a romantic painted landscape canvas filled the walls surrounding them.

In his show notes, Lauren described his muse as a woman whose style is not defined by time.

“I love the adventure of fashion,” Ralph Lauren wrote, adding his fall collection “is inspired by that kind of renegade spirit and the confidence of the woman who will wear it in her own personal way — to tell her own story.”

The 86-year-old designer has never been one to follow trends but drive them. At Tuesday’s show, accessories added a modern flair from leather gloves paired with a knit off-the-shoulder dress to shimmering silver detailing.

Supermodel Gigi Hadid opened the show in a wool corseted top and maxi skirt accentuated with a silver waist chain. Other models walked the runway with silver belt chains and metallic brooches that stood in an edgy contrast to Lauren’s romantic Victorian tops and tailored jackets. Lauren pinned metallic glimmering brooches to lush wool cloaks that were elegantly draped over models’ shoulders in a show of strength.

In a modern twist on Joan of Arc, Lauren designed a chain mail top that delicately peeked out from underneath one model’s tweed jacket. Lauren complemented the look with a printed scarf and leather pants.

“There were several looks that had this beautiful chain mail kind of detailing,” actor Ariana DeBose told The Associated Press. “What a way to give a woman beautiful armor.”

Even with his contemporary additions, Lauren’s collection still included his signature touches from his riding boots, exquisite tailoring and elegant high neck blouses.

Lauren’s brand is an American staple that continues to prevail in an ever-changing industry. As part of his enduring legacy, Lauren was once again tapped to design the uniforms for Team USA at the Olympic Winter Games in Milan, marking his sixth time designing for the games.

“From being in Italy with the greatest athletes in the world and then coming here to New York City to put on a fashion show that’s so elegant, it’s two different sides of Ralph Lauren and two different sides of what an American company can do to reach the world,” David Lauren, the company's chief branding and innovation officer, said.


Kering’s Fourth-Quarter Sales Fall Less Than Expected as Gucci Slide Continues

The logo of French luxury group Kering is seen at Kering headquarters in Paris, France, February 13, 2023. (Reuters)
The logo of French luxury group Kering is seen at Kering headquarters in Paris, France, February 13, 2023. (Reuters)
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Kering’s Fourth-Quarter Sales Fall Less Than Expected as Gucci Slide Continues

The logo of French luxury group Kering is seen at Kering headquarters in Paris, France, February 13, 2023. (Reuters)
The logo of French luxury group Kering is seen at Kering headquarters in Paris, France, February 13, 2023. (Reuters)

Kering reported on Tuesday a slightly smaller-than-expected drop in fourth-quarter sales, as investors await details of CEO Luca de Meo's plans ​to revive the Gucci owner's flagging fortunes.

Sales reached 3.9 billion euros ($4.64 billion), down 3% from the previous year when adjusted for currency swings. That beat analysts' consensus forecast for a 5% drop, according to Visible Alpha.

The revenue drop was 10% at Italian flagship label Gucci, which accounts for most of Kering's profits, versus analyst expectations of a 12% decline.

It ‌was the brand's ‌10th straight quarter of revenue ‌decline.

Finance ⁠Chief ​Armelle ‌Poulou told journalists Gucci saw some improvement at the end of last year in "almost all regions", helped by newly introduced products and handbag sales.

Grappling with weak sales since the maximalist styles of Gucci's former star designer Alessandro Michele fell out of fashion in 2022, Kering has faced heightened investor scrutiny over its high ⁠debt and declining profitability.

Free cash from operations fell by 35% last year ‌when excluding one-off payments from real estate ‍sales, reaching 2.3 billion euros, Kering ‍said.

"For Kering, it's really about (restoring) the broad desirability globally," said ‍JPMorgan analyst Chiara Battistini.

Facing an uncertain business outlook, the group, which also owns Gucci Balenciaga, Bottega Veneta and Yves Saint Laurent, further reduced its store network by 75 boutiques with further closures planned, Poulou said.

The ​earnings underscored the steep challenges Kering faces to catch up with peers even though its shares have ⁠risen around 50% since de Meo's appointment was announced last June.

"2025 did not reflect Kering's true potential or the strength of our brands, but it enabled us to lay the foundations for our future recovery," said Poulou.

Kering's annual operating income reached 1.63 billion euros, less than a third of its 2022 level. Kering's operating profit margin fell to 11% group-wide and 16% at Gucci, down from 28% and 36% three years earlier.

By contrast, LVMH delivered a 22% margin last year amid ‌a broader luxury slowdown, with its leather and fashion division - home to Louis Vuitton and Dior - hitting 35%.


Pieter Mulier Named Creative Director of Versace

(FILES) Pieter Mulier attends the 2025 CFDA Awards at The American Museum of Natural History on November 03, 2025 in New York City. (Photo by Dimitrios Kambouris / GETTY IMAGES NORTH AMERICA / AFP)
(FILES) Pieter Mulier attends the 2025 CFDA Awards at The American Museum of Natural History on November 03, 2025 in New York City. (Photo by Dimitrios Kambouris / GETTY IMAGES NORTH AMERICA / AFP)
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Pieter Mulier Named Creative Director of Versace

(FILES) Pieter Mulier attends the 2025 CFDA Awards at The American Museum of Natural History on November 03, 2025 in New York City. (Photo by Dimitrios Kambouris / GETTY IMAGES NORTH AMERICA / AFP)
(FILES) Pieter Mulier attends the 2025 CFDA Awards at The American Museum of Natural History on November 03, 2025 in New York City. (Photo by Dimitrios Kambouris / GETTY IMAGES NORTH AMERICA / AFP)

Belgian fashion designer Pieter Mulier has been named the new creative director of the Milan fashion house Versace starting July 1, according to an announcement on Thursday from the Prada Group, which owns Versace.

Mulier is currently creative director of the French fashion house Alaïa, and was previously the right-hand man of fellow Belgian designer and Prada co-creative director Raf Simons at Calvin Klein, Jil Sander and Dior.

In his new role, Mulier will report to Versace executive chairman Lorenzo Bertelli, the designated successor to manage the family-run Prada Group. Bertelli is the son of Miuccia Prada and Prada Group chairman Patrizio Bertelli.

“We believe that he can truly unlock Versace’s full potential and that he will be able to engage in a fruitful dialogue,’’ The Associated Press quoted Lorenzo Bertelli as saying of Mulier in a statement.

Mulier takes over from Dario Vitale, who departed in December after previewing just one collection during his short-lived Versace stint.

Mulier was honored last fall by supermodel and longtime Alaïa muse Naomi Campbell at the Council of Fashion Designers of America for his work paying tribute to brand founder Azzedine Alaïa. Mulier took the creative helm in 2021, after Alaïa’s death.