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The much-awaited Paris Fashion Week Spring/Summer edition kicked off on September 23, marking a grand finale to fashion month after stellar showcases in New York, London, and Milan. With 66 runway shows and 40 presentations, the week promises to be an exciting season for fashion enthusiasts. Fashion giants like Dior, Saint Laurent, Loewe, Chanel, and Schiaparelli are set to put their best foot forward with new Spring-Summer '25 collections, while brands like Hermès, Mugler, and Miu Miu are also set to present.

With such a diverse lineup, there’s plenty of fashion to explore and discuss, and here are some of the notable highlights so far. 

Christian Dior

Archery has definitely had a hot girl summer. After a glamorous turn at the Paris Olympics under the golden dome of Les Invalides, the ancient sport took centre stage as Dior opened Paris Fashion Week. Italian performance artist and competitive archer, Sagg Napoli walked the runway carrying her her bow. Instead of a handbag, she carried arrows in a quiver slung over one shoulder. A plexiglass screen ensured safety, while the heartbeat of Italian techno matched the tension. Reviving a 1960s Dior Sport logo, the collection featured tracksuit pants with go-faster stripes and stretchy tank tops. Maria Grazia Chiuri shared that she was inspired by the powerful gestures of archery, and sought to adapt the Maison’s style for modern women with active lives. Chiuri’s mood board included images of the ancient Roman statue of Diana, the goddess of hunting, along with Wonder Woman. The Lady Dior handbag came with a new cross-body strap, for ease of movement. Asymmetry was almost the rule with one shoulder bare on many pieces—reminiscent of the early 2000s.

Saint Laurent 

At Saint Laurent, Anthony Vaccarello turned the clock back to the early 1980s (shoulder pads and all) by summoning the ghost of the brand's founder, Yves Saint Laurent himself. Bella Hadid led a battalion of female models dressed as the designer in trademark specs, double-breasted suits, and trenchcoats, parading in oversized variations of his classic male cuts from way back in the day. Saint Laurent was the man who changed women's fashion forever in 1966 by putting women in his black men's "smoking" tuxedo jackets, and Vaccarello seemed to be recreating the moment with an 80s timewarp. For a designer who often takes delight in showing as much flesh as possible, this was a decidedly demure collection of long trailing coats, silk brocade jackets, and aristo ruffs and cuffs. Leather and suede bomber jackets made an appearance too, all cut with a run of interesting miniskirts with contrasting underskirts.

Courreges

Courrèges showcased a sleek yet daring collection in Paris, exploring the principles of cycles and repetition, inspired by the Möbius band. Models paraded around an ocean-like pool, donning structured, monochrome garments, showcasing boxy silhouettes, silken tailoring, and buttery leather. Nicolas Di Felice once again perfected the balance between inventive detailing and wearable shapes with space-age, cape-like hoods and sophisticated, capsule shirts. The architecture of the 1962 haute couture cape was his starting point—simply put, the Courrèges SS25 collection was a minimalist’s dream! Thriving on subtle, subversive details with sharp, clean-cut lines and bold asymmetry, the brand gave each piece a striking edge. The futuristic ’60s aesthetic that the brand’s founder, André Courrèges, famously pioneered, was upheld strongly. Each look was the starting point of the next one. The result was a modern fusion where the sleek, space-age spirit of the brand’s archive was reimagined with a fresh sensuality that spoke to the bold confidence of the 21st century.

The Row

Following the extraordinary success of banning phones and recordings at last season’s show, the Olsen twins doubled down for The Row's latest SS25 show, establishing what seems to be a new tradition for the brand. It’s a smart idea as the collection was ultra-concise, featuring only 27 looks with three key pieces: a camel trench coat, a white shirt, and a pair of rubber clogs. Less was certainly more here! Quiet luxury brands typically prefer not to present runway shows as they tend to spotlight flashier, more eccentric looks. While The Row's shows are not entirely basic, their collections are always concise, focusing more on the idea of a small secret community. The showcase resembled presentations held in fashion boutiques, where clients sip champagne while observing the looks before making purchases. Unsurprisingly, the inability to see the clothes only magnifies their allure—if we saw them constantly we might grow tired of them. 

Dries Van Noten

Dries Van Noten debuted its first collection without its namesake designer. Now, the brand is writing its next chapter: no new creative director has been named just yet, so the imprint’s in-house team designed the SS25 collection through the lens of the eponymous fashioner’s archives. The studio designers effectively honored Van Noten’s legacy, which was marked by striking prints, rich textiles, provocative colour palettes, and sophisticated shapes. Many of the former designers’ codes converged along an optimistic path, extending from the earliest women’s collections through what lies ahead, as the label’s show notes explained. Animal prints, electric colors, strong stripes, and illustrative graphics all collide in singular looks. Snakeskin trench coats met silken satin shirts and trousers, while slim bomber jackets were paired with ornamental skirts and reptilian clutches. The studio’s formals were crisp—a pinstripe blazer-top hybrid with just one lapel stood out; while vivid eveningwear, like lime green gowns and lace-clad dresses, were eager for friskier endeavors. In all the mayhem, the colour story kept the line in some sort of order, as looks transitioned from warm neutrals to romantic purples to earthy hues and to springtime pastels.

Rabanne

Rabanne returned to the runway and made quite the splash. Debuting an all-gold look in the middle of their standout SS25 show in Paris, the label included a standout pure gold bag, which was composed of 18-karat solid gold. Never thought you’d see every day Rabanne? Julien Dossena presented a layered-up, easy-going daytime vibe of cotton boxer shorts, oversized shirts, and cagoules, worn with practical goloshes and handbags carried in protective plastic purses. Light flounced lace dresses, printed with metallic foil panels, fluttered by, while even the chainmail had a chill vibe, worn loose with slouchy boots. The assemblage pieces are always a highlight with the designer focusing on materials. A milky lucite mini dress was worn with a matching bag whilst a gold coin shift dress was accompanied by the most expensive bag. It was all presented with youthful zing, despite the serious status-symbol price tag. One golden dress shed its fluttering gold leaf veneer with every step, summing up the lightness and the mood.

Acne Studios

Acne Studios' SS25 collection plays with twisted domestic codes, reimagining classic home elements in fashion. The brand begs to be worn out—out to the club, out on the streets, out to a bar, out to dinner. But creative director Jonny Johansson started at home this time. The idea for this collection started from a twisted domestic scenery, where classic domestic codes were translated into fashion. The end result was both domestic and alien. The suiting is blown up by way of exaggerated padding. Elsewhere, polka-dot hot pants, ladylike cardigans, and hip-exaggerating dropped hoop skirts reigned. Denim reaches entirely new proportions, paired with second-skin tops or blazers with no shirt at all to create a shape that’s almost inhuman. Easy jersey pieces are draped around the body, sleeves, and necklines hanging at odd places, in a palette of nudes. High boots, low waists, retro floral prints and tartan that recalls grandma’s house. Though its roots came from home, this is hardly a stay-at-home collection. 

Balmain 

Designer Olivier Rousteing referenced Monsieur Balmain’s breakthrough French style as well as the unique pillars of his coined uniform. For SS25, Balmain became a canvas for grand expression: realistic faces, nails, and lips took over the label’s architectural silhouettes via intricate embroidery, while rounded heads formed skirts and dresses alike. This collection was extremely focused, created with the goal of ensuring that every design is immediately recognisable as containing key strands of the DNA of today’s modern Balmain. The House’s artisans only continue to master the art of powerful shoulders, angular waists, and glittering embellishments in the contemporary. The often-repeated combo of skinny leather pants and a jacket thrown over a simple tee or tank has been the label’s go-to look for closing runways—and now it’s been adapted to form part of this season’s extensive daywear offerings. At Rousteing’s house, art imitates life—both that of the Balmain woman and himself.

Chloe 

In just a season, Chemena Kamali has shifted the paradigm of what style looks like. The nouveau-boho movement that’s currently afoot can largely be attributed to her, along with the return of hobo bags and 70s wedges. Her SS25 collection captured that longing for summer and the way summer makes you feel. Dubbed the “Freedom Collection,” it included wispy, angelic guipure lace that radiated sensuality, tiered dresses, bubble skirts, and babydoll frocks. In her show notes, Kamali said that she wanted the fabrics and colours to look sun-faded, almost as though they’d been on a vacation of their own. There were well-cut jackets in sherbet hues that were based on the lines of the house’s flou blouse, 70s-style trousers, and crocheted pieces– and a few wild-card items, like a bathing suit, emblazoned with a flamingo, an oversized gold shell belt, and whimsical bloomers (perhaps this season’s most unexpected trend). Unsurprisingly, the accessories were a standout. The mix of shell and stone jewellery felt like pieces from someone’s personal collection, while raffia bags and jelly flats screamed summer. 

Mugler

Mugler stole the show with an apocalyptic collection for SS25. The label put on its usual spectacle with an eerie backbone– the collection was dark and sinister, a 29-look range that looks to tomorrow. The brand’s sensual suiting embraced a reimagined aesthetic. The looks came from the future and took inspiration from Thierry Mugler’s expansive archive, putting a modern twist on classics. Curved collars bloomed from blazer-like dresses open at the chest, with the inaugural series sprouting with spiked shoulders in black and bedazzled textiles. Mugler’s works of art returned with dainty dresses frozen in time, while pointed pantsuits were widened at the hips for an abstract silhouette. Military uniforms and netted ensembles came ready for battle with contrast panelling. Finally, menswear suiting donned corset accents with laced additions, completing the collection with strapped denim uniforms, angelic bodysuits, and feathered looks cemented in mid-air. 

Rick Owens 

Back at his usual venue, the Palais de Tokyo, Rick Owens unveiled his SS25 collection and offered an ode to Hollywood, the "boulevard of vice," where he previously lived. The key word for this presentation could be antithesis, breaking with his desire for exclusivity with his last few shows, but also moving from the theme of the little-known Porterville to the gigantic Hollywood. From intimacy to extravagance, from virginal white to assumed black: Owens played on the contrasts between his latest creations and the new ones. We saw a multitude of oversized dark looks with the House's characteristic boots, followed by deflated versions of those from last season, flowing capes, monochrome dresses, biker jackets, pieces sometimes in knitwear, sometimes in denim. References to Hollywood glamour came twisted with a dark spirit, soiled, crumpled, lacerated bronze. There were gold-painted column dresses as well as gold knit gowns cut out and spliced up in such a way that it looked as though they were dripping off the body. Sculptural jackets were paired with goth opera gloves, and almost all of the skirts came with trains. 

Schiaparelli 

At Schiaparelli's SS25 show, Daniel Roseberry paid tribute to all the women who have supported his creative vision and work at the maison. As expected, there were essential references to the surrealist world of Elsa Schiaparelli scattered here and there– like the lobster and keyhole motifs. On the catwalk, Kendall Jenner paraded in an everyday uniform, revisited with a Schiaparelli twist– low-rise jeans paired with a cream corseted bodysuit, a technical feat since it is actually a single piece attached to the waistband of the jeans and the hem of the bodysuit. Other iconic models come to enhance the designer's creations: Irina Shayk, and Adriana Lima, among others. The maison's summer wardrobe surprises with its casual codes (jeans, sweaters, and shirts) skillfully transformed into exceptional, extraordinary pieces, using unusual proportions and Elsa's famous patterns.

Loewe

Jonathan Anderson experimented with “radical reduction” for Loewe’s SS25 collection. In a world of endless distractions, it felt almost liberating to strip things away and simplify. It was an adventurous collection that focused on the lines of clothing, unencumbered by added associations. With the assistance of boning and wiring, skirts swooped and dipped or extended to exaggerated widths. Swinging leather capes, slick wet-pavement sequins, dresses strewn with Impressionist florals, and sculptural trousers rounded out the lineup. The printed feather T-shirts were a standout, featuring classical music or Impressionist art motifs that felt like a new take on the well-worn graphic tee trope. The best part? Accessories that were thrillingly practical. The models wore flats, including boat shoes, oxfords, and ballet runners. Anderson showed fresh iterations of his beloved Puzzle bag and debuted a new trapezoidal style, the Madrid. The simplicity was refreshing yet captivating!

Hermes

For her spring-summer runway show, Hermes designer Nadege Vanhee sent out a parade of mesh crop tops and calfskin coats in tan hues. The show was kicking off with a series of light, beige looks– loose trousers, sheer tops, and a suede coat cinched in the back. The parade continued, featuring long sheer skirts unzipped to the thighs, bright pink dresses, and belted outerwear. We saw a casual, utility wardrobe with luxe and real sex appeal, along with some surprises for the house’s growing younger customer base– the high-waisted Hermès denim, sportif sheer, and opaque layers. Versatility was the name of the game, sheer pants, tanks, and tunics in earthy colours were zipped and unzipped in layers showing hints of skin on a refreshingly wide array of body types. More traditional cotton utility looks, including jumpsuits, anoraks, polos, and pleated pants, were occasionally over-complicated with too many zips, snaps, buckles, pockets, and pulls. And we saw the new inside-out Birkin bag soft enough to collapse and hug close– or to pack in a suitcase. The clogged sandals were also seasonal must-haves. 

In was a season of surprises in Milan as designers went off script – and Madonna stole the show

Bottega Veneta

Bottega Veneta’s Matthieu Blazy cast his mind back to childhood, a time of experimentation and endless possibilities. ‘I was interested in the idea of the wonder you have as a kid, the first experience of fashion when you try on your parents’ clothes and play dress up,’ he said. It resulted in oversized tailoring, playful creased layering, fancy-dress fringing and packed-lunch bags. Of course, it wasn’t as simple as it sounds. All was crafted from super-soft nappa leather - just like the animal beanbags he had guests sit on, inspired by Steven Spielberg’s ET

Prada

Prada is the brand to beat on the Milan fashion week schedule on account of its game-changing collections that have made it a yardstick for future trends and taste. This season, it threw a curveball, giving us a bit of everything. The eyelet visors, red leather belt boob tubes, dropped-waist skirts, printed tweed jackets and the shoes that were the ‘greatest hits’ of Prada, as relayed the show notes. The meaning behind a Prada collection is never immediately obvious, rather a slow reveal. That’s the beauty of it. But this one is one of its most divisive to date.

Emporio Armani

Having celebrated his 90th birthday in July, it stands to reason that the concept of time is prevalent in the world of Giorgio Armani. For his Emporio Armani show, called Future Perfect, the theme was all about time – specifically the enduring relevance of the brand in the 50 years since it was founded. ‘Giorgio’s grasp on the spirit of the moment aligns seamlessly with his commitment to a style that remains coherent,’ read the show notes. Which sums it up: cue the signature linen jumpsuits, relaxed tailoring and a palette of sage and lavender that Armani has made his MO

Jil Sander

Iridescent wool tailoring, degraded silk dresses, chinoiserie-inspired shifts, floral embroidery and applique, bejewelled collars, leather baseball T-shirts: Jil Sander co-creative directors Lucie and Luke Meier eschewed the enveloping architectural silhouettes they are famed for in lieu of a collection that went large on more accessible separates and detailing. Inspired by the photography of Greg Girard from 1972 to 1982, a less timeless more zeitgeist energy was revealed to great effect

Tod’s

With a set-design installation by the Italian sculptor Lorenzo Quinn and scores of artisans stitching the brand’s iconic Gommino driving shoe together, the Tod’s show was a bonafide celebration of Made-in-Italy craftsmanship before the models had even set foot on the catwalk. For his sophomore collection, named Artisanal Intelligence, creative director Matteo Tamburini leaned into clean cuts and a classic palette, crafted from lightweight cotton and leather and serving approachable boss-woman credentials

Max Mara

Ian Griffiths has perfected the craft of innovation without alienating his customer. This season saw classic codes of the house reinvented in crisp new lines - see bright white shirt dresses, backless tailoring and the most elegant deliberate creasing possible. ‘It was all very good fun, because it was an experimental approach that I hadn’t taken before, although my aim was not to present anything that looked at all experimental on the runway. I don’t think that any woman wants to go to a MaxMara store and feel like she’s part of an experiment,’ he said

No21

‘What got me going were the pics of Karlheinz Weinberger, a photographer who on various occasions snapped groupies and their individual looks, all of whom taken one by one made a very fanciful personal statement,’ said creative director Alessandro Dell’Acqua. ‘In his shots, the photographer captured moments in the life of a subculture that drove young people to contest the rules of the previous generation.’ References aside, this was quintessential No21 – it only gets better

Gucci

Sabato De Sarno called his collection Casual Grandeur and said it was a sum of his ‘obsessions - tailoring, lingerie, leather, 60s silhouette’ and the Gucci archive. Doubling down on his vision for the brand that he has been developing since 2023, it conjured the Italian Riviera jet-set of the 60s and 70s - see floral headscarves, big glasses and A-line shift silhouettes - fused with 1990s and early noughts references. A series of floor-sweeping coats worn with white vests and jeans didn’t reinvent the wheel, but certainly made you want to buy a new one

Marni

Francesco Risso made a return to MFW with a collection that was a clear departure from the eccentric experimentation, with which he has reinvented the brand, towards a hyper-elegant eclecticism. He relayed in the show notes that it was about ‘emphasising a continuous return to both the art and heart of design’. Tailoring was sharp and worn over kick-flare dresses (as modelled by Eva Herzigova), bustier gowns were all-over embroidered, and the palette was limited to black, white, red, and an icy blue and peppered with prints

Versace

‘It was a joyful moment, just being casual and putting clothes together,’ said Donatella Versace ahead of her show held at Milan’s Sfrozesco castle. ‘Fashion sometimes wants to give an intellectual message and you can do this, but with a world torn apart by war, a message of positivity and freedom is the most important thing.’ For this collection, she brought the bounce by embracing new technologies including her 3D-printed gold dress and floral brooches crafted from recycled bottles and cigarette butts and introduced shoes with heels in the shape of the brand’s perfume bottle

Dolce and Gabbana

Domenico Dolce and Stefano Gabbana hosted the most talked-about show of the week by inviting Madonna to sit front row to watch the unveiling of a collection inspired and dedicated to her. One by one, the models sported the conical-bra bustier, famously made not by the designers but by French designer Jean Paul Gaultier for the singer’s Blond Ambition tour. It progressed as a celebration of the queen of pop’s era-defining fashion icon status, featuring looks derivative of her most major fashion moments

Fendi

Fendi marks its 100th anniversary in 2025 and womenswear creative director Kim Jones has started the celebrations early. For his SS25 collection, he turned the clock back to the 1920s drawing inspiration from the dropped waist silhouettes and decadent Art Deco beading that are synonymous with the flapper silhouette. Being a London boy at heart, however, he grounded looks in Red Wing desert boots to imbue a done-undone energy. ‘I don’t like looking at things in a reflective or nostalgic way,’ said Jones backstage

Ferragamo

Maximilian Davis was inspired by founder Salvatore Ferragamo’s fruitful collaborations with dancers Katherine Dunham and Rudolf Nureyev who wore custom Ferragamo ballet shoes in the 80s. This translated into wrap cardigans, racer-back silhouettes and ribboned heels. ‘The beauty of this brand is that there are so many stories you can relate to – every shoe has a meaning behind it and a story,’ said Davis who contrasted the Florentine polish with frayed tailoring and stonewash denim he said was inspired by his Caribbean heritage

The spring/summer 2025 ready-to-wear catwalk season has officially kicked off in New York, with hundreds more shows to come across London, Milan and Paris in the coming weeks.

Here, we round up everything you need to see from the new season, from the major A-list model moments (we've already been treated to appearances from Christy Turlington, Naomi Campbell and Kendall Jenner), to the most beautiful collections. While there's plenty to look forward to in Europe, right now all eyes are on America for the New York schedule, which sees Alaïa, Toteme and Nanushka joining the line-up for the first time. Ralph Lauren kicked the proceedings off with a glamorous getaway in the Hamptons and Tommy Hilfiger opted for all things nautical, while we're also looking forward to the latest catwalk spectacles from Tory Burch and Michael Kors.

We're also guaranteed to see some A-list talent gracing the front rows; the likes of Rihanna, Naomi Watts, Laura Dern, Gigi Hadid and Emily Ratjkowski are all in town and taking in the new collections from their favourite designers.

Below, we present the catwalk highlights from the spring/summer 2025 season so far.

Tory Burch

Tory Burch continued her recent run of excellent shows, presenting a collection that was all about "the synchronicity of movement and form," she explained. "This collection began with the essence of sport: power and grace, precision and freedom." Cascading chiffon skirts, hand-twisted sequins and an abstract jacquard all featured, as did the ballet slipper, which was named after Burch's mother, Reva, and was an update on a style first launched in 2006.

Carolina Herrera

Black, white, Barbie pink and taxicab yellow were the dominant hues in Wes Gordon's latest collection for Carolina Herrera, which was entitled 'Optimism At Play'. The designer – who always uses bold colour and striking silhouettes in his collections – sent a few spectacular ballgowns down the catwalk, including one on Irina Shayk, which will no doubt be gracing the red carpet very soon.

Coach

"My vision for spring was to show real clothes in a real, relevant, urban environment," Stuart Vevers said of his new collection, an attempt to reinterpret American classics. "But we’re redesigning these clothes, keeping in mind the values of a new generation that is discovering these pieces for the first time."

The collection was more about unique personal styling than anything else – bringing the smart and casual together in very unexpected ways. Sportswear with blazers, slinky slip dresses with trainers and graphic T-shirts paired with boxer shorts.

"So many elements of this collection come down to personality. We’ve taken very archetypal pieces and made them unique to the wearer, with the proportions, with the styling, and with very playful embellishments that call into question the idea of traditional ‘luxury.’ I think what’s more valuable today is something that’s personal."

Levi Strauss has appointed Jude Celedin as the new GM of its Australia and New Zealand operations. 

Celedin will be responsible for driving the long-term growth of Levi Strauss’ major brands, including Levi’s, in the ANZ market, supporting the company’s direct-to-consumer shift. 

Previously head of customer experience at Wesfarmers’ CSBP Fertilisers, where he managed the culture and performance transformation in sales and customer service, Celedin also worked for Nike for 24 years and became the brand’s senior director for the global marketplace of Nike Women and Sportswear. 

“We are confident that under Jude’s leadership, we will continue to strengthen our market position in Australia and New Zealand as a global denim lifestyle leader while ultimately building deeper connections with local Levi’s fans,” said Nuholt Huisamen, senior VP and MD, East Asia Pacific, Levi Strauss. 

In April, Levi Strauss reported a lower top line for the first quarter of FY24, citing the impact of its Russia business as well as a shift in wholesale shipments.

Plus size retailer City Chic has reported a 9 per cent fall in revenue for the first eight weeks of FY25, nearly 20 per cent better than its full year sales slump of FY24.

The brand's comparable store sales were up 9.9 per cent, while its total store sales were flat with 11 fewer stores compared to the same time last year.

City Chic has also reported a 28 per cent lift in gross margin in the first eight weeks, with gross margin as a percentage of sales up 17.7 percentage points to 61.3 per cent.

There was also a 58.2 per cent lift in its average selling price to $58.30.

These new financial year results are a stark improvement on FY24 that just passed, with City Chic’s full-year revenue down 28.3 per cent to $131.6 million.

City Chic CEO and managing director Phil Ryan said the lifts in metrics for the new year are driven by new product ranges that are resonating well with customers. 

“Compared with the same period last year when we were heavily discounting to clear stock, trading revenue is down just 9.1 per cent, with comparable physical stores recovering well with sales up 9.9 per cent,” Ryan said.

“I am confident the business will return to demand-driven growth, as our 481,000 customer base remains engaged, with our NPS [net promoter score] at 72.”

Looking ahead, Ryan said the team is targeting revenue of $142-$160 million, with earnings before interest, tax, depreciation and amortisation (EBITDA) to hit between $11-$18 million in FY25.

“We have a stronger balance sheet following the divestment of Avenue and the Equity Raise, and with our right-sized cost base and improved operational flexibility we are well placed to return to sustainable, profitable growth.”

The recent improvements follows a stark turnaround in FY24 for the plus size retailer. This includes an underlying EBITDA loss of $8.4 million, which was an improvement of 47.3 per cent on FY24, and 9.8 per cent ahead of forecasts. 

Inventory was down 42.8 per cent to $30.7 million as at June 30, 2024, with City Chic citing the sale of Avenue, improved inventory management and sell-through.

City Chic’s net cash position was $3.9 million as at June 30, with the recent business restructure expected to deliver $20.3 million in costs savings with 85 per cent of initiatives implemented so far.

“The result for FY24 reflects a year of business transformation, including decisive actions that were taken to streamline the business and focus on our high-value City Chic customer base and product mix in ANZ and the US,” Ryan said. 

“The divestment of Avenue enabled us to simplify our brand portfolio and refocus on what we do best - delivering high-quality, on-trend products that our customers love. 

“In the latter part of FY24 we saw strong positive momentum in Average Selling Price (ASP) and Gross Margin contribution as inventory returned to appropriate levels and new product has been introduced. In addition, we have delivered a material reduction in operating costs to align with demand.”

Regarding FY24 revenue, Australia and New Zealand sales were down 30.8 per cent to $97.7 million. Comparable stores were down 15 per cent, with strong improvement in the fourth quarter which was only down 5 per cent, City Chic reported, performing at higher margins.

ANZ online sales were down 38.3 per cent. 

In America, revenue hit $33.9 million, which was down 20 per cent on the prior year, driven by inventory clearance in the first half, and warehouse movements in the second, which City Chic noted are now complete. 

Revenue across partners was around $22.7 million, with this included in regional revenue above. Partners revenue was down 7.7 per cent, however US partners were up 15 per cent in the second half, with Amazon outperforming as a partner in FY24, and a strong first 6 months with Macy’s new marketplace.

Australian shoppers’ love for Kmart’s in-house brand Anko has defied a stagnant trading environment for many retailers and driven profit growth for parent company Wesfarmers as shoppers spent more at the department store amid lingering cost of living pressures.

As consumers increasingly turn to private label products to save money, Kmart notched a 4.4 per cent increase in revenue to $11.1 billion and a 24.6 per cent uplift in earnings to $958 million, meaning that while it sold slightly more volume, it was significantly more profitable.

Wesfarmers chief executive Rob Scott said Kmart’s “standout” result was many years in the works following improvements in product sourcing, design and digitising processes to keep costs down.

“What is driving sales is quite simple: it is fantastic products at amazing prices. That is what is making the big difference,” Scott told reporters on Thursday morning.

“Kmart as a business, through the Anko [range], is as much a product development and design company as it is a retail company,” he said, adding that new products in youth fashion, beauty, health and homewares were well received by customers who previously might not have shopped at the discount chain.

Kmart, which owns much of the supply chain behind Anko, can retain more margin than it otherwise would from purchasing goods from more expensive big-name brands. The in-house brand has cultivated a strong and loyal customer following and is known for providing low-cost alternatives to trendy items, driving Australian consumer frenzy around “dupe” culture.

“We develop and design products that are meeting those new trends,” Scott said.

Kmart’s strong results contrasted with its smaller sibling chain Target, which saw sales decline 4.5 per cent, and its underperforming Woolworths-owned rival Big W, where sales slid 3.9 per cent and earnings dove 90.3 per cent as it was forced to discount more.

Scott said on Thursday that Target will differentiate itself from Kmart by focusing on higher quality designs and styles in its clothing and homewares ranges.

Bunnings, Officeworks outshone

Wesfarmers’ stable of retail brands includes Bunnings and Officeworks, which also grew modestly in challenging trading conditions. The Wesfarmers group notched a 1.5 per cent uptick in revenue to $44.2 billion and a 3.7 per cent rise in net profits to $2.6 billion.

Bunnings’ revenue rose 2.3 per cent to nearly $19 billion, but earnings lifted by just 0.9 per cent to $2.25 billion. The hardware chain has been impacted by a crunch in residential construction due to high building costs over the past two years. Bunnings makes up nearly 43 per cent of revenue for the Wesfarmers group.

Officeworks’ revenue increased 2.3 per cent to $3.4 billion, with earnings lifting 4 per cent to $208 million.

“Different businesses will grow earnings at different rates at different times,” said Scott, adding that he was “very happy” with Bunnings’ profitability and pointing out the hardware chain grew significantly more during COVID than Kmart did at the time.

“We still see that there’s good potential for growth in Bunnings, Officeworks and Kmart.”

Interest rate cuts would go some way in boosting construction and building activity, but Scott said there was still a range of costs including energy, transport and insurance that was keeping inflation high.

The retail giant’s chief executive also said the federal government’s industrial relation reforms, which have been criticised across the business community, added extra layers of compliance and cost to the business, with “onerous fines” for breaches.

“We used to have a situation where the focus was on enterprise bargaining agreements at an enterprise level, and that was an opportunity to create a win-win arrangement for employees and businesses, and it enabled you to really drive productivity at an enterprise level.

Although enterprise agreements remain in place, we’re seeing more focus on industry-wide activity which doesn’t drive the same level of productivity and benefit for businesses or employees,” said Scott.

Meanwhile, the Catch.com.au online marketplace remains a loss-maker for the business, with a 35.9 per cent dip in revenue to $227 million. Earnings were $96 million, an improvement of 41.1 per cent.

Wesfarmers also has a number of industrial and chemical businesses in its portfolio. WesCEF’s earnings fell 34.2 per cent to $440 million; earnings from its Industrial and Safety business rose 4 per cent to $208 million; and Wesfarmers Health earnings rose 11.1 per cent to $50 million.

The company has announced a full-year fully franked dividend of 198¢ per share, a 3.7 per cent uptick on the year before.

The $85.4 billion ASX-listed conglomerate’s shares were 3.9 per cent lower in late afternoon trading.

The longtime Alexander McQueen creative director will be LVMH-owned Givenchy’s fourth designer in 10 years. Her debut show is set for March 2025.

Sarah Burton has been named creative director of Givenchy, the LVMH-owned fashion house said in a statement Monday.

Burton, who exited Alexander McQueen last year after over 25 years at the London-based brand, is known for mixing poetry and utility in her precisely tailored collections.

After years as founder Lee McQueen’s right hand, Burton became creative director of the Kering-owned Alexander McQueen label after McQueen’s 2010 death. Burton brought a softer and more luxurious take to the confrontational, high-drama brand. Her collections often mixed easy-to-wear wardrobe items like blazers and combat boots with chunky, punk-inflected jewellery and accessories as well as extravagant show silhouettes, such as a high-collared gown draped with giant taffeta roses.

At Givenchy, Burton finds herself yet again following the footsteps of her late mentor: McQueen was creative director of the house from 1996 to 2001 in a controversial tenure that shook up the brand with dramatic, eclectic collections that had little to do with conventional good taste.

Burton will be the brand’s fourth designer in less than ten years as it struggles to define a path between pared-back Parisienne glamour and contemporary urban glitz. After the label grew to new heights under Riccardo Tisci, whose pop-culture-savvy marketing and streetwear-inflected merchandising drove sales for over a decade, successor Clare Waight Keller reconnected the brand with mid-century French elegance from 2017 to 2020. Most recently, American designer Matthew Williams did something in-between: chic suiting belted with chunky utility hardware, faux fox-fur overcoats, classic kitten heels styled in kinky stockings.

Burton’s appointment ends a year-long search for Givenchy’s new designer: LVMH announced that predecessor Williams would exit the brand last December, following several seasons of industry chatter after the group brought in stylist Carine Roitfeld to support Williams and began exploring other options for the label.

Where the creative director hire can often take months due to the web of contracts and non-competition clauses surrounding high-profile names, this appointment took even longer as LVMH navigated management turnover in its fashion properties. Sidney Toledano, CEO of LVMH’s Fashion Group unit overseeing nearly all its labels except Louis Vuitton and Dior, retired in early 2024 only to return to his role in an unofficial capacity weeks later, as plans for his succession fell through.

In July, Givenchy sought to open a “new chapter” with the appointment of a new chief executive officer, Alessandro Valenti, most recently Louis Vuitton’s EMEA president.

Retail billionaire Brett Blundy has sold his shareholding in ASX-listed Accent Group, which is behind the Hype DC and Platypus chains, to London-listed Frasers Group, Street Talk can reveal.

Blundy, who is a director of the company, owned 14.7 per cent of Accent Group’s shares on issue. Sources said he has exited in full via a block trade. At market price, the stake was worth about $160 million.

It comes five days after Accent Group reported $1.61 billion in total sales for the 2024 financial year, up from $1.57 billion the year prior.

However, net-profit fell from $88.7 million to $59.5 million, as Accent’s CEO Daniel Agostinelli works through an operational review to prepare the business for a challenging consumer environment. Accent has said it will close 17 Glue stores. It has also sold children’s retailer The Trybe and ditched a CAT distribution agreement that is due to expire in December.

Strong performers in its stables include fashion brand Nude Lucy – which it recently expanded into the UK – and Stylerunner, Hoka and Ugg. Established brands like Skechers, The Athlete’s Foot and Hype DC have also continued to perform well, according to its FY24 results presentation.

Accent shares are down 4.25 per cent over the past 12 months, but have held up year-to-date with a 3.6 per cent gain.

The new arrival, Frasers Group, is capitalised at £3.9 billion ($7.6 billion) on the London Stock Exchange. It has its roots in sports brands like Everlast and Slazenger, but began expanding into luxury and premium labels five years ago.

It posted a whopping £5.54 billion in revenue for the 2024 financial year to April 30, but the topline growth was flat. Frasers’ last appearance on the Australian dealmaking circuit saw it acquire collapsed streetwear retailer Sneakerboy in 2022.

Blundy debuted on Accent Group’s register with a 14.4 per cent stake in November 2017, back when the company was called RCG Corporation. At the time he paid $61 million – or 95¢ a share – for the stake, implying he’s bidding farewell to Accent with a neat profit after Wednesday’s circa $160 million block trade.

That doesn’t include his selldown from the 19 per cent mark he had hit in May 2022.

Billionaire businessman Brett Blundy is planning a return to lingerie and sleepwear – a corner of the retail market where he has already made two fortunes – and is working on a new brand alongside his private vehicle’s chief executive Mark McInnes.

The new store does not yet have a name, but Mr Blundy and Mr McInnes, the former chief executive of Premier Investments, has been hiring from lingerie businesses that he once owned – local retailer Bras N Things, which he sold to US underwear group Hanes for $500 million in 2018, and Honey Birdette, which was acquired by Playboy in 2021.

The plans show that Mr Blundy, one of the country’s most successful retailers, is not stepping back from expansion even after having entered and exited the lingerie market several times over the past decade. At a time when several local fashion brands are struggling – Mosaic Brands, the country’s largest specialty fashion retailer is teetering on the brink of administration – he believes there is plenty of money to be made.

Through his BBRC Worldwide vehicle, Mr Blundy owns discount clothing retailer Best & Less and has substantial shareholdings in City Chic, a plus-size fashion outlet, and Lovisa, the ASX-listed international jewellery chain where he is the chairman.

Late last month, Mr Blundy offloaded his stake in Accent Group – another ASX-listed retailer that operates the Hype, Hoka and Platypus shoe stores – for $160 million.

BBRC Worldwide is the largest investor in Victoria’s Secret, the New York-listed lingerie and beauty giant which has become famous for its annual fashion show and its use of supermodels from Gisele Bundchen and Heidi Klum to Miranda Kerr.

Mr Blundy’s latest endeavour would compete globally, including with Victoria’s Secret, according to people close to its establishment who spoke on condition of anonymity. Mr Blundy and BBRC Worldwide rarely speak publicly and declined to comment.

The company has hired Bras N Things’ former head of product, Jessica Lauppe-Guy, and four of her colleagues for the new venture. Another key hire is Emma Stubbs, who previously was a designer at Honey Birdette, and now is the global head of lingerie at BBRC. Julie Hastings has also joined as chief operating officer. Ms Hastings spent a year as chief executive of Honey Birdette, but also worked at Bras N Things.

The new brand is already scoping out store sites in Sydney and Melbourne.

Mr Blundy, whose fortune is estimated at $3.6 billion by the Financial Review Rich List, lives in Monaco and keeps a low profile. He visited Australia in the last month.

Mr Blundy appointed Mr McInnes to run his retail business earlier this year. Having worked for Premier Investments – the company behind stationery brand Smiggle and sleepwear chain Peter Alexander – Mr McInnes had been widely expected to be appointed Myer chief executive. Premier Investments is the largest shareholder in the department store chain.

Mr McInnes was at Premier Investments when it was heavily investing in Peter Alexander. The sleepwear brand is now a key part of Premier Investment chairman Solomon Lew’s portfolio, and could be worth up to $1.6 billion by itself, according to E&P Capital brokers. Premier Investments is still bullish about its growth prospects and wants to take the brand overseas. It plans to sell Peter Alexander in dozens of countries online.

The new lingerie brand is not Mr Blundy’s only expansion in retailing. The Australian Financial Review revealed in March that BBRC Worldwide had acquired a 40 per cent stake in Queensland fashion label Dissh, known for its breezy natural fibres and new pieces unveiled every week. He has plans to take Dissh to the United States.

Sephora has reopened its largest store in Australia-New Zealand, the revamped Melbourne Central flagship.

“This revitalised space offers customers an immersive beauty experience where they can explore our extensive product range and engage with the latest beauty tech and digital elements,” said Mark O’Keefe, GM at Sephora Australia and New Zealand.

“As we celebrate our 10th anniversary in the Australian market, 2024 is a significant year for Sephora, and we are excited to continue our expansion with new stores in Miranda, NSW; Marion, SA; Fountain Gate, Victoria, and Northlakes, Brisbane.”

The 693sqm Melbourne store features more than 120 brands, including newcomers Paula’s Choice and Aveda, along with Rare Beauty, Fenty Beauty, and Ouai.

The store also features Beauty & Hair Studios and has a skin consultation zone providing hydrafacial treatments.

Moreover, the store has launched Australia’s first Sephora Beauty School, which provides educational masterclasses with beauty brands.

Colin Huang’s reign as China’s richest person only lasted about two weeks.

A slump in shares of PDD Holdings, the parent company of e-commerce giant Temu, sent Huang’s fortune tumbling by $US14.1 billion ($20.8 billion), his biggest one-day loss ever. Huang, 44, is now the fourth-wealthiest person in China with a net worth of $US35.2 billion, according to the Bloomberg Billionaires Index.

It’s a dramatic drop for the founder of PDD, who on August 8 became the first tech tycoon to top China’s wealth rankings in more than three years, displacing bottled-water billionaire Zhong Shanshan. Zhong retook the No. 1 spot on Monday with a fortune of $US50 billion.

PDD reported quarterly revenue that missed analyst estimates and warned that sales growth will slow. Chief executive officer Chen Lei repeatedly told analysts in a call after the earnings release that the firm’s current trajectory wasn’t sustainable, at a time when competitors such as ByteDance’s TikTok and Alibaba Group are vying for budget-conscious shoppers. The company’s US-listed shares fell 29 per cent, the most ever.

Management also dampened expectations for potential dividend payouts and share buybacks in the next few years.

“We are facing intense competition on different fronts and also uncertainties from external factors,” Chen said.

“Therefore, our management team and I unanimously believe that it is not an appropriate time for share repurchases or dividends. And in the foreseeable years ahead, we also do not see such a need.”

Huang founded PDD in 2015 after launching a few gaming and e-commerce ventures. The former Google engineer quickly ascended the ranks of the world’s richest people, with his net worth peaking at $US71.5 billion in early 2021. He stepped down as PDD’s chief executive in 2020 and left the board as chairman in 2021, as Beijing began cracking down on China’s tech giants.

The e-commerce platform is known for selling dirt-cheap products with massive promotions, which attracted budget-conscious consumers as global inflation surged. It expanded outside of China under the Temu brand name and quickly became one of the most downloaded US apps after a splashy debut in 2022. It has since begun to challenge fellow Chinese online shopping giant Shein and even Amazon.com in certain segments.

But the company has faced frustration from suppliers, employees and governments. Hundreds of small merchants staged a rally at PDD offices in southern China this summer to protest what they called unfair penalties levied by the company.

Meanwhile, the European Union is working on a proposal to close an import tax loophole for cheap goods bought online, while US lobbyists are pushing for a $US10 threshold for duty-free shipments, down from $US800 currently.

Coles is rebranding some of its Vintage Cellars and First Choice liquor stores as Liquorland bottle shops in a fresh assault on larger rival Dan Murphy’s.

A pilot program across nine stores in South Australia, Queensland and Victoria will begin in November. Coles’ liquor business spans 992 stores and growing after it just added 20 in Tasmania.

Vintage Cellars will be converted to Liquorland Cellars and First Choice Liquor Market will become Liquorland Warehouse. If the trial succeeds, Coles will roll it out Australia-wide.

The supermarket’s head of liquor Michael Courtney said unifying the network behind the Liquorland name was validated by customer research which showed it is Coles’ most recognised brand.

“This isn’t focused on competing against one competitor. This is just about having the strongest and most compelling customer offer that we can be in the liquor market,” he told The Australian Financial Review.

“We’re confident that in terms of making this change it will lead to not only a stronger Liquorland, but also that it will lead to more customers in our current First Choice Liquor Market and Vintage Cellars locations.”

The three brands are differentiated by price and promotions. A revamp will allow Coles to have consistent marketing strategies across all three formats in stores and online, he added.

“It allows us to move to one loyalty program across all three of the banners,” he said.

They will share a core range of products and additional allocations of wine, beer and spirits will be introduced based on what is the most relevant to customers in any given store.

Liquorland Cellars will target upmarket shoppers, while Liquorland Warehouse will be the largest format carrying the broadest range. The standalone Liquorland brand will remain a convenience offering.

Coles has converted more than 600 Liquorland stores to its new black and white branded format over the past four years which includes a more spacious layout, clearer signage and locally relevant stock.

Mr Courtney said the overall market remains challenging, remarking fiscal 2024 had the lowest growth year in over 30 years for the liquor category as customers grappled with the increased cost of living.

“I think the market conditions we’re seeing at the moment underscores the need for us to be looking for ways to strengthen our customer offer,” he said.

Sales in Coles’ liquor business gained just 0.5 per cent to $3.7 billion in 2023-24, as Coles distanced itself from less profitable bulk sales to hospitality venues. Earnings fell 14 per cent to $144 million.

In the first two months of the new year, sales fell 1.4 per cent. Excluding the CrowdStrike outage which forced the closure of some stores, sales would have fallen by 0.3 per cent.

Rival chains Dan Murphy’s and BWS, both backed by Endeavour Group, also started the new financial year slower than expected with sales in the first seven weeks rising 0.6 per cent. That was still sufficient to outperform Coles.

Dan Murphy’s and BWS grew sales 1.7 per cent over 2023-24, chalking up another year unchallenged as the market’s No.1 liquor retailer.

Adore Beauty enjoyed improved earnings in the last fiscal year, thanks to the record number of returning customers, accounting for 79 per cent of product sales.

The online beauty retailer’s earnings before interest, taxes, depreciation, and amortisation (EBITDA) surged 661 per cent to $4.8 million while revenue grew 7.4 per cent to $195.7 million.

The company saw record 519,000 returning customers, up 5.8 per cent. Active customers rose 1.6 per cent to 814,000.

Customer retention and brand awareness grew to 64.7 per cent and 71 per cent, respectively.

The company ended the fiscal year with 61 products across its AB Lab, Viviology and Adore Beauty house brands after adding 23 new SKus to its portfolio.

“Investment in brand and above-the-line marketing is strongly driving awareness of Adore Beauty, achieving a record 71 per cent in our target audience – up from 62 per cent last year,” said Tamalin Morton, Adore Beauty CEO.

“Our expanding product offer, private label portfolio, and our first Adore Beauty store footprint, further diversify our revenue and margin profile and support our long-term profitability targets.”

Meanwhile, Adore Beauty saw revenue climb 7 per cent year over year in the first seven weeks of the current fiscal year.

The brand signed leases for two Adore Beauty retail concept stores, which are expected to open in the fiscal second half.

In July, Adore Beauty acquired Ikou and is targeting $10 million in revenue in the first year of ownership.

Australian retail sales moderately improved in July, which Australian Bureau of Statistics (ABS) data attributed to the continuation of mid-year sales.

July turnover grew 2.3 per cent year over year to $36.16 billion, with the ‘other retailing’ segment, which includes cosmetics, sports, and recreational goods, recording the highest growth, of 5.5 per cent, reaching $5.66 billion.

Food jumped 3.2 per cent to $14.44 billion, while household goods climbed 1.5 per cent to $5.82 billion.

Clothing, footwear, and accessories grew 0.5 per cent to $2.98 billion, and department stores went up 0.1 per cent to $1.88 billion.

Cafes, restaurants, and takeaway sales fell 0.3 per cent to $5.37 billion.

“As tough times continue, we are seeing the so-called ‘lipstick effect’ play out – where people are having to do more with less,” said Paul Zahra, CEO of the Australian Retailers Association (ARA).

“There are trade-offs in this budget-conscious environment and in July we saw people replacing dining out with food from their local supermarket, allowing some spending on personal luxuries.”

NSW had the largest sales of $11.2 billion, up 1.2 per cent, followed by Victoria, which increased 2.3 per cent to $9.32 billion.

In Queensland, sales grew by 3.3 per cent to $7.46 billion, in SA by 4.2 per cent to $2.32 billion, and in WA by 4.6 per cent to $4.14 billion.

Tasmanian sales rose by 2.6 per cent to $717 million and in the NT by 4.7 per cent to $337 million. ACT sales improved 0.9 per cent to $676 million.

“Most smaller retailers cannot afford to rely on heavy discounting strategies to get by, and it is inevitably these businesses that exit the market,” said Lindsay Carroll, interim CEO of the National Retail Association (NRA), commenting on the data.

“We call on policymakers to create a more supportive environment for Australian businesses, one that’s fit for investment and one with a future for aspiring retail owners.”

Kogan.com founder and chief executive Ruslan Kogan says cost of living pressures haven’t stopped Australians from splashing cash on TVs to satisfy their love of watching sport.

With customers keeping a close eye on their budgets and opting to spend more time at home to save money, Kogan said the online retailer has been buoyed by higher sales for consumer staples such as TVs and appliances.

Meanwhile, luxury electronics – such as drones and DSLR cameras – that are particularly exposed to trends, had taken a back seat with consumers, Kogan added.

“People are at home watching the Olympics, they’re watching the tennis grand slams, the footy finals and so on, which means that they’re buying new TVs. They’re buying new appliances for their house to help them live their best lives,” he said.

“When there is a cost of living crisis and people are tightening their belts, we also see a lot of people come to us because they’re doing a lot more research. We love an environment where people are shopping around.”

The online retailer’s full-year results on Monday showed a return to profitability. Kogan posted a net profit of $83,000 for the period following a loss of $25.9 million in 2023. Full-year revenue clocked 6.1 per cent lower at $459.7 million.

“If you look on a year-on-year basis, our revenue went down, but you’ll see there are charts there that show that we have returned to growth,” Kogan said.

Investors welcomed the latest numbers, sending the online retailer’s stock up over 11 per cent to $4.85.

A trip to Europe is more sought after than an upgrade of a fridge or oven for those households with money to spend, says Gerry Harvey, the executive chairman of electronic goods and furniture group Harvey Norman.

Mr Harvey said priorities had shifted for many households after the COVID-19 pandemic as his stores grapple with what he terms a three-speed economy, where renters and those struggling with mortgage payments are being squeezed the hardest by higher bills.

Harvey Norman shares dropped 4.7 per cent to $4.66 on Friday after the retailer reported a 35 per cent slump in profit to $352.5 million for the 12 months ended June 30.

Sales across the business slipped 3.6 per cent to $8.86 billion. It is paying out a final dividend of 12¢ a share, the same as a year ago.

Mr Harvey said consumers had cut back spending as mortgages, rents and other bills rose, and he predicted there would be a continuation of those difficulties for at least the rest of the year. He expects the Reserve Bank will not cut interest rates until next year.

But a jump in house price values for those who had paid off mortgages meant that some customers were still spending – just not necessarily at Harvey Norman stores. Instead, they preferred travelling overseas after being unable to during the pandemic.

“That takes spending away from us. Before that, they were buying a fridge, now they’re not,” Mr Harvey said. “They’re still saying, ‘we were cooped up, now let me out of here’.”

He said the roughly one third of people renting were doing it tough in a difficult economy, while middle Australia was also feeling the pinch and budgeting carefully.

Coffee machines were a strong seller, and a way for people to save money and bypass a takeaway coffee. “They’re stronger than ever,” he said, of the brisk sales in the category between $1000 to $2000 for coffee machines.

Mr Harvey said he expected robust sales this financial year from personal computers and laptops as shoppers upgraded to keep pace with advances in artificial intelligence. Harvey Norman had been stepping up its marketing in this segment.

“We obviously think that will be the next big thing. We think it will be a game changer,” he said.

The extraordinary rise in the share price of Nvidia, the sharemarket darling computer chipmaker, is showing the way. “Obviously with Nvidia, the world thinks AI will be a game changer,” he said.

Jarden analyst Ben Gilbert said trade had improved in the past six months, and there were “no surprises” in Harvey Norman’s accounts. Harvey Norman’s major rival, JB Hi-Fi, on August 12 said after-tax profit slipped 16.4 per cent to $438.8 million.

Of the offshore operations, Malaysia was a strong performer for Harvey Norman, with sales up 8.2 per cent from the 34-store network. Mr Harvey said the company aimed to lift the number of stores there to about 80.

Mosaic Brands‘ shares and convertible notes will be placed in compulsory trading suspension starting on Monday due to the non-lodgement of its annual financial report.

Mosaic expects to lodge its financial report, along with its market update, no later than September 30.

Earlier this month, it stated that it would release its FY24 results on August 28. However, on Friday, the fashion retailer said it needed more time to resolve a number of concerns before finalising the results.

During the period, the company intends to “consult and work with all relevant stakeholders to accelerate a strategy to realign its operations to be more reflective of current and anticipated market dynamics.”

Mosaic added it is working constructively with its senior lender through the period.

Earlier, the company said it was considering the applicability of safe harbour provisions amid operational issues adversely affecting its trade.

Australia's retail sector has been in a recession for almost two years as Aussies cut back on days out shopping, analysts have warned.

Deloitte Access Economics partner Dave Rumbens said retail spending continued to decline across six of the last seven quarters, forecasting a grim Christmas spending period.

"The evidence shows that Australia's retail sector has effectively been in recession for the last 18 months," Rumbens said.

"A retail recession sequel doesn't necessarily come as a surprise. In six of the last seven quarters, real retail spending has declined. And the numbers only look worse on a per capita basis.

"Real per capita retail spending has contracted for the last eight quarters and is now 2.5 per cent lower than June 2023 and 6.3 per cent lower than June 2022."

It comes as the monthly inflation rate slowed to 3.5 per cent, down from 3.8 per cent in June.

With households tightening budgets due to mortgage rates and cost-of-living pressures, Rumbens warned that the coming months would be challenging.

"The period from now to Christmas is still expected to be a difficult one for retailers, but perhaps less of a slog than it has been," he said.

"As with most horror sequels, the characters are generally more prepared, and the plots generally more predictable."

Analysis by Deloitte showed that real per capita retail spending contracted for the last eight quarters and is now 2.5 per cent lower than June 2023 and 6.3 per cent lower than June 2022.

"This sits against a backdrop of poor conditions across the economy more generally, with the labour market weakening and business insolvencies rising," Rumbens said.

"While these figures are poor, it's the one-third of consumer spending that goes to retailers that is going backwards, with negative growth of 0.6 per ccent in real spending over the year to June."

Australian fashion entrepreneur Pip Edwards has returned to streetwear label Ksubi as creative director.

It follows her exit from the P.E Nation helm last month after founding that business alongside Claire Greaves in 2016.

Edwards shared the news in an Instagram post, calling it a full circle moment.

“From its inception, Ksubi has been at the core of the global cultural zeitgeist, thriving at the intersection of where fashion, art and music meet,” she wrote.

Having been part of the original crew 20 years ago, I’m so excited to join the talented team at Ksubi once again and contribute to their already impressive global success.”

From 2004 to 2008, Edwards worked in PR/Design at Ksubi. Following that, she was the senior creative/accessories designer at Sass & Bide and the design director at General Pants.