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.



Zalando Says AI Drives Productivity and Expects Higher Profit, Shares Jump

FILED - 22 October 2013, Thuringia, Erfurt: A general view of the logistics center of online retailer Zalando in Erfurt. Photo: Marc Tirl/dpa-Zentralbild/dpa
FILED - 22 October 2013, Thuringia, Erfurt: A general view of the logistics center of online retailer Zalando in Erfurt. Photo: Marc Tirl/dpa-Zentralbild/dpa
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Zalando Says AI Drives Productivity and Expects Higher Profit, Shares Jump

FILED - 22 October 2013, Thuringia, Erfurt: A general view of the logistics center of online retailer Zalando in Erfurt. Photo: Marc Tirl/dpa-Zentralbild/dpa
FILED - 22 October 2013, Thuringia, Erfurt: A general view of the logistics center of online retailer Zalando in Erfurt. Photo: Marc Tirl/dpa-Zentralbild/dpa

European online fashion retailer Zalando said on Thursday its use of artificial intelligence was making its business more efficient and productive, as it forecast full-year adjusted operating profit to grow in 2026 and launched an up to 300-million-euro ($346 million) share buyback.

Zalando shares jumped 7% in early trading as investors welcomed the positive outlook, providing some succour to the stock that had tumbled sharply from peaks in 2021 when the pandemic boosted online shopping.

Zalando ⁠said AI-generated product ⁠images were saving money and time on ad creation and enabling it to publish 70% more content, while an AI virtual try-on was also helping shoppers pick their correct size, reducing size-related returns - a major headache for online shopping platforms.

Analysts said concerns had been growing over the risk to Zalando from AI, with some worried consumers could use large-language models like ⁠ChatGPT to research products and shop online, bypassing the company's platform.

The Berlin-based company, which sells clothes, shoes and accessories from thousands of brands including Nike, Hugo Boss, and Coach, expects adjusted earnings before interest and taxes (EBIT) of 660 million to 740 million euros in 2026, compared with 591 million euros in 2025.

"We are providing our customers and partners with experiences and services that seemed impossible just a few years ago while making our own operations more efficient," Robert Gentz, co-CEO of Zalando, said in a statement.

Zalando, whose business-to-business arm sells services to other retailers and ⁠brands, also announced ⁠its software unit Scayle signed a deal with Levi's to run its worldwide ecommerce, which JP Morgan analysts said investors would welcome given the brand's status and size.

The company expects gross merchandise volume growth of 12% to 17% in 2026, after GMV - a key revenue metric measuring the value of all goods sold - grew 14.7% to 17.56 billion euros in 2025.

Zalando's active customer numbers increased to 62 million in 2025 from 51.8 million in 2024, while the average order value was 62.8 euros, up from 61 euros a year earlier.

The company said it would repurchase up to 20 million shares with a total price of up to 300 million euros.


Zara Owner Inditex Posts Record Profit in 2025

Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez
Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez
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Zara Owner Inditex Posts Record Profit in 2025

Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez
Shoppers walk past a Zara clothes store, part of the Spanish group Inditex, in Las Palmas de Gran Canaria, Spain, December 13, 2022. REUTERS/Borja Suarez

Zara owner Inditex, the world's leading low-cost fashion retailer, posted a record annual profit for the third year running on Wednesday, seeing off strong international competition.

The Spanish group, which includes top brands such as Massimo Dutti, Pull & Bear and Bershka, reported a profit of 6.22 billion euros ($7.23 billion) in the fiscal year ending January 31.

That marked a six percent rise on the 5.9 billion it raked in in 2024, which was also a group record, Inditex said.


Margot Robbie, Oprah Watch Blazy Transform Chanel with Color and Craft

Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
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Margot Robbie, Oprah Watch Blazy Transform Chanel with Color and Craft

Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)

Chanel 's Matthieu Blazy is still building. Six months into his tenure at the Parisian stalwart, the designer staged his second ready-to-wear collection at Paris Fashion Week Monday, where brightly colored cranes rose from a holographic floor — a deliberate signal that the construction is ongoing.

For Parisians who have spent years staring at the real thing above Notre-Dame cathedral, the set was perhaps less dreamy than intended.

The audience inside the Grand Palais suggested the foundations are solid: Margot Robbie, Oprah, Jennie, Kylie Minogue, Lily-Rose Depp, Teyana Taylor and Olivia Dean all turned up to watch the next floor go on.

Blazy took his cue from a quote from Gabrielle “Coco” Chanel: “We need dresses that crawl and dresses that fly.”

The collection was structured around that tension — plain against spectacular, function against fantasy — with a discipline his sprawling debut last October sometimes lacked.

The opening looks were austere by design. Black knit zip-ups, tweed blousons and boxy overshirts arrived with little more than four gold buttons to signal they belonged to Chanel.

In the vast runway space, they could read as underwhelming. But Blazy’s point was architectural: the suit, he said, is “the first brick” — and everything else rises from it.

That logic tracks to the founder.

In her apartment on Rue Cambon, a wall is covered in gauze painted gold — something poor made precious.

Chanel built a house on that idea, borrowing from everyday dress and elevating it. Blazy is doing the same with her codes, stripping the suit to a knit shirt jacket or pressed-tweed blouson before rebuilding it in silicone-woven fabric and metallic mesh.

The collection’s most provocative move was its silhouette. Blazy pulled waistlines dramatically low — belts slung to mid-thigh, pleated skirts starting where blazers ended.

The references were retro flapper filtered through a modern lens: drop-waisted twinsets, patchwork dresses with floral embroidery, vivid patterned knits with a twenties pulse.

A furry coat in bold geometric color could have been worn in a chic part of London's Camden.

Whether the ultra-low waistlines will land with the well-heeled clients who pack Chanel’s front rows is another question. Selling a radically new proportion to women with deep loyalty to the house is a different challenge than winning critical praise.

The final stretch answered that concern with force. Sequined plaid suits arrived in dazzling color. Beaded coats glinted with star-chart embroidery. Metallic mesh was woven to mimic tweed motifs, and several models wore pastel-tinted hair to match their looks.

Fabric flowers burst from bodices. Trailing ribbons, layered ruffles, and insect-wing detailing turned the runway into something closer to spectacle than commerce.

Blazy cast wide — teens through to women in their fifties — and let the show breathe, with a runway circuit that took models the better part of five minutes. He framed it all with seven pared-back black and cream looks, as if to say: whatever else changes, the Chanel you know isn’t going anywhere.

If this second outing holds — on the penultimate day of fashion week — Blazy has found something rare at a heritage house: a way to honor the founder’s voice without simply echoing it.