NEW YORK — On Sunday, Off-White made its New York Fashion Week debut, taking to a public basketball court in Brooklyn, after a previous plan to show in New York last September was shelved amid growing uncertainty at the label co-founded by the late Virgil Abloh and Milan’s New Guards Group.

The outing didn’t quite manage the radicalism of Martin Margiela’s game-changing autumn 1989 show, set on a derelict playground in the outskirts of Paris, but the sounds of local streetballers hitting lay-ups nearby could be heard before the event started.

While Abloh was born in a Chicago suburb and Off-White is headquartered in Milan, New York has always been a spiritual home court of sorts for the label, which counted Harlem rappers like the ASAP Mob among its earliest muses.

“New York has always been the first love for the brand — and America generally,” Off-White creative director Ib Kamara said before the show. “When I think of American culture and the impact it has on the global stage, it’s part of that… I think the city is happy to welcome one of its cultural global contributors back home.”

Kamara’s fourth show for Off-White — titled “Duty Free” and inspired by a “global traveller” flying into New York from Ghana, where Abloh’s parents were born — was part of a full-court press in the US market that not only accounts for 24 percent of Off-White’s business but is integral to its DNA and cultural legacy.

Key to Off-White’s founding was the union of American streetwear and Italian manufacturing. “I thought, if I can take that sensibility but make it in Italy with the quality, fit, fabric,” Abloh told Business of Fashion back in 2018. “It’s the DNA for why Off-White can sit at Barneys but also relate to a screaming Travis Scott fan.”

At the label’s peak, its simple but well-constructed t-shirts, sweatshirts, sneakers, belts and bags — plastered with high-visibility signifiers and animated by the polymathic, hyper-charismatic Abloh — made Off-White one of the world’s buzziest and most successful luxury streetwear brands.

But since Abloh’s death in 2021, amid waning demand for streetwear, the label has struggled.

A push upmarket after Abloh’s former employer Louis Vuitton (where he was men’s artistic director) acquired a controlling stake in Off-White’s trademark, compounded by weakness at New Guards Group owner Farfetch, only made matters worse.

Inventory levels soared, leading to promotions and markdowns which undermined the label’s new positioning and confused consumers and wholesale partners, some of whom, including Mytheresa and Net-a-Porter, dropped the brand entirely. Resale prices on platforms like The Real Real and StockX fell.

When current CEO Cristiano Fagnani took the helm in May 2023, Off-White was in a “critical situation,” he said, “in part due to the decision to shift positioning; in part due to the challenging situation at Farfetch.”

Off-White’s ‘Reset’

Since a lifeline from South Korean e-commerce giant Coupang helped to stabilise Farfetch in December 2023, Off-White has begun what Fagnani calls a “reset.” Key to the effort to reinvigorate the brand has been a reassessment of its positioning and a push to reconnect with consumers and partners, he said.

“It’s not like the brand was erased. It was just in a different mindset for a second,” explained Fagnani. “When you have a lot of turbulence around you, my take was to reset, and take one step back to move forward: a step back to really reconnect with the DNA of the brand but bring it forward to more creative outlets.”

Fagnani’s commitment to Off-White runs deep. As a senior marketing director at Nike, he helped develop the sportswear giant’s blockbuster 2017 “The Ten” collaboration with Abloh, who later recruited Fagnani to New Guards Group where he served as Off-White’s chief marketing officer before taking the top job at the label following the 2023 exit of former chief executive Andrea Grilli and New Guards co-founder Davide de Giglio.

To get things back on track, the brand needs to recalibrate its positioning, said Fagnani. “Two or three years ago, we went in a very stiff and steep direction to high-priced products and uber luxury. I think we are comfortable and confident to say that our space is a much larger canvas than that,” he said. “Off-White was never a luxury brand and that’s consistent with the Virgil era. it’s about cultural value over luxury craft.”

Off-White also needs to reconnect with the label’s core consumers — many of whom were alienated by its shift in direction — and become part of the cultural conversation again, especially in the US.

“Off-White is an amazing canvas to play with that exists in a powerful space between tensions: sports and luxury; the mainstream and youth culture; democracy and scarcity,” said Fagnani. But that canvas needs animating, he acknowledged. “It’s known worldwide, but it’s just a logo if it’s not fuelled culturally.”

This year, Off-White has made progress in becoming a part of popular culture again. The label dressed Usher for the Super Bowl in January and crafted bespoke looks for Doja Cat and Tinashe’s Coachella sets in April. At Sunday’s show, Memphis rap star NLE Choppa appeared on the runway in a see-through red mesh hoodie.

Next week, the label’s release of its Vulc 779 skate shoe at its New York flagship is set to come with an art exhibition by British-Nigerian artist Olaolu Slawn, who is closely aligned with brands like Corteiz and Supreme. And Fagnani is eyeing new opportunities in sports, in particular, citing a project with football team AC Milan.

He also aims to rebalance the brand’s product strategy.

“We recognize the importance and the role of customers who got into Off-White through sneakers and streetwear — that’s a consumer we nurture constantly,” Fagnani said. But Off-White’s customer base is 70 percent men and he plans to invest more in leather goods and other accessories for women.

Off-White also needs to reconnect with partners, he said. The label, which is largely a wholesale brand despite efforts to grow its direct-to-consumer channel under Farfetch, must re-engage with key retailers. Fagnani is also aiming to re-energise the brand’s once powerful relationship with Nike.

“They need to keep their Nike collaboration to keep that intermittent heat alive,” said Rachel Makar, senior director of merchandising at StockX, where most Off-White apparel sells at below retail prices save for items from its Nike collaborations, which command a premium.

Then, there’s the matter of Off-White’s Abloh-sized hole.

Fagnani called Kamara “critical” to Off-White’s future but acknowledged that no one could fill its founder’s shoes and that anyway “the next generation may already be becoming detached from Virgil and his legacy.”

Still, Fagnani believes in the continued power of the “mindset” left behind by Abloh. The charismatic creative director didn’t design clothes as much as design a global community, from New York to Accra, for those willing to challenge the status quo on everything from race to the meaning of fashion products.

“That’s what sets Off-White apart from every other brand,” said Kamara. “It’s a melting pot of amazing cultures coming together. It’s always seeking this expansion of a community that is global.”

Off-White Spring Summer 2025

Additional reporting by Vikram Alexei Kansara.

The Supima Design Competition (SDC) celebrated its 17th year this month, returning to the Prince George Ballroom for a runway presentation at New York Fashion Week, presenting collections designed by this year’s finalists.

The SDC focuses on bridging the transition between academic experience and launching a career in fashion by working with BFA graduates from six partner design schools from across the US. This year’s winner was Emma Joan Foley, from Parsons School of Design, The New School.

The school-selected finalists were challenged to design a women’s eveningwear collection made exclusively from five Supima cotton fabrics provided by the non-profit trade association: denim, twill, corduroy, knit and velveteen, with one look constructed from each material.

In addition to the SDC, Supima donates yardage to partner schools’ fashion departments and teaches classes about Supima’s quality and responsible production practices, helping students to understand raw materials like cotton, the different ranges of quality and how that can impact final designs.

The SDC offers a structured programme for the finalists, with weekly deliverables and check-ins to review progress by an in-house team of mentors lead by Bibhu Mohapatra, who celebrated his 10th anniversary as mentor to the competition this year. Partner schools also provide a mentor and allow their Bachelor of Fine Arts (BFA) graduates to continue to use school facilities.

“Every year we feel like we have seen everything under the sun when it comes to manipulation of the fabrics, creativity and uniqueness in design and silhouettes. But the new group comes in and they continue to impress, pushing Supima to new levels,” shared Buxton Midyette, VP of marketing and promotions at Supima.

This support is intended to give finalists the experience of running their own atelier. Indeed, alumni such as Andrew Kwon, Alexandra Pijut and Jeffrey Taylor have all launched namesake labels since participating in the SDC.

“They come away with an impactful portfolio that puts them head and shoulders above the crowd and allows them to pursue their dreams — whether that’s additional education at the MFA level, starting their own brand or working for a top fashion house — they can chart their own course,” added Midyette.

This year’s host was designer Phillip Lim, who joined a panel of established industry professionals including the likes of fashion creatives Jerome Lamaar and Cipriana Quann, founder of New York Fashion Week Fern Mallis and fashion writers Godfrey Deeny, Lisa Lockwood and Mickey Boardman in judging the collections.

“We like to get a really diverse group ranging from stylists to designers to press to influencers and even former finalists themselves — a real range of experiences,” said Midyette. “Many have been judging the competition for multiple years and are extremely helpful in terms of networking, often assisting with placements for the designers and are very active in terms of matching finalists with opportunities.”

[The finalists] come away with an impactful portfolio that puts them head and shoulders above the crowd and allows them to pursue their dreams.

Founded in 1954, Supima is the non-profit marketing and promotional brand for Pima cotton grown exclusively in America. The rare fibre is grown by just over 300 family farms and represents the top 1 percent in cotton quality, since its longer fibre contributes to a stronger final product, with lasting colour and thereby longer wear.

“We’re excited to have launched the full transparency and traceability authentication of Supima last year through our AQRe Project. You can now trace that t-shirt on the retail shelf all the way back to the cotton. So to the fabric, to the spinning of the yarn, all the way back to the ground where it was grown,” added Midyette.

BoF spoke to the six finalists from this year’s competition to learn more about their experience of Supima’s mentorship and learnings from working with the five Supima fabrics.

Emma Joan Foley

Emma Joan Foley studied fashion design in the collection pathway at the Parsons School of Design. During her studies, she developed skills in dressmaking and tailoring, creating contrasting pieces which involve draped technical elements and flat pattern work. She also specialised in leather.

“I wanted to use cotton-based materials in my personal thesis studying at Parsons, but it ended up being out of budget. Some of the fabrics that we work with in this collection are not textiles I would normally pull, so it has been exciting for me to develop a cohesive collection with complementary manipulations across the five looks. I manipulated all five fabric types with coating variations to mimic leather, paired with panelling and etching motifs. In this project, I have really been able to explore melding my leatherworking skills into fabrics, both in manipulation and construction.

“I am so looking forward to — and already enjoy experiencing — receiving feedback and learning from design and industry professionals outside of Parsons, across different facets of the fashion industry. I feel lucky to have the space and materials to expand my work, my process and my knowledge throughout this competition.”

Mina Piao

Mina Piao studied fashion design at The Fashion Institute of Technology (FIT) in New York, where she specialised in knitwear. She is particularly interested in the sustainable capabilities of knitwear, as well as biodegradable materials.

“There are very few platforms that provide this level of exposure and support for recent fashion graduates. This is my first experience managing a team as a designer — it’s been critical for my development. The Supima team organised a cocktail reception after the first model fittings, where I had the opportunity to meet everyone in person. The FIT finalists from the past two years, Bryan Barrientos and Heejin Hwang, have been incredibly supportive and helpful in navigating this competition.

“Supima is offering yarn for the first time this year, which has been amazing to work with. The Supima yarn has a smoother hand and better drape than other unmercerized cotton yarns I’ve worked with before. I didn’t think it would be possible to pleat 100 percent cotton, but the Supima shirting fabric holds pleats surprisingly well. I am soaking the denim fabric with an algae-based bioplastic to create different designs, including fabric ‘sequins’ made from fabric offcuts.”

Marina Lamphier

Marina Lamphier studied fashion design at Drexel University in Philadelphia, with a focus on performance-wear wovens. Lamphier is particularly passionate about design innovation and how it can be used functionally to resolve everyday problems.

“Being surrounded by such a talented and driven group of designers is so inspiring. It’s like the saying goes: if you’re in a room with six millionaires, you’ll become the seventh. When you’re in the presence of such ambitious, accomplished creatives, you inevitably absorb their similar energy and mindset.

“One of the most important lessons I’ve learned in my design journey is the value of cooperation with your resources. It is crucial to plan according to the time available, design to highlight your strongest skills and tailor your designs to the unique qualities of each fabric. In this collection, I’ve embraced the opportunity to highlight the contrast between softness and strength and to balance structure with flow, celebrating the unique attributes of each fabric.”

Lizzy Truitt

Lizzy Truitt is a recent graduate from Kent State University in Ohio, where she achieved a Bachelors in fine arts for fashion design, specialising in womenswear and a keen interest in concepts and surface design. Having grown up on a family farm producing short staple cotton, sustainable fabrics is an important topic in her work.

“Being able to display Supima fabrics while debuting a collection during New York Fashion week is the best of both worlds. My collection reflects how my upbringing and family continuously influence and inspire me as a designer. Having firsthand knowledge of the importance of family-owned farms, the fashion industry can not only improve its impact on the environment but make a direct impact on uplifting and including local communities as we innovate into the future.

“One of the main techniques used within my collection is inspired by quilting in modern ways. With Supima cotton, it has an incredibly soft hand. And because of its unique extra-long staple, it is more durable and provides much less pilling when it comes to doing reverse applique.”

Jules Gourley

Jules Gourley is a graduate of the School of the Art Institute of Chicago, where they studied fashion design, developing core skills in pattern drafting, tailoring and working with leather. They also spent time developing skills in footwear design and bespoke footwear as part of their studies.

“I work in a material-first capacity, so this has pushed me into certain design decisions based on that. I don’t think I ever finalise a look until I have the final fabric in hand. My goal is to create garments that best utilise the properties of each Supima cotton fabric.

“I think if there’s a silver lining to how much social media permeates fashion culture, it’s how it can help smaller designers find an audience. I think doing small made-to-order garments is my ideal vision for being sustainable with fashion. Personally, I feel that there is something undesirable about doing large productions of clothes that don’t have a designated home. I’m also very excited about how many fabric mills and tanneries are committing to more ethical practices for production as well.”

Henry Hawk

Henry Hawk studied apparel design at the Rhode Island School of Design (RISD), specialising in denim, menswear and tailoring. He is fascinated by the history of denim and workwear and how denim’s traditional usage in jeans can influence a sustainable future of denim production.

“I’m so thankful for the opportunity to make another collection fresh out of college. I think that alone is amazing and not something most grads get to do right away. Not to mention with amazing fabrics and sharing it on the biggest stage I’ve ever had a chance to. A teacher, before I started, told me it’s like a summer grad school, but free. I’ve learned so much and pushed myself out of my comfort zone for this collection. It’s a special thing to be a part of.

“I think a lot of innovations for fabric, or sustainable methods, can be learnt from the past. Natural fibres, natural dyes, no added stretch, removable buttons so clothing is fully recyclable — I hope we can start to make stronger circular systems that don’t cut any corners from the start to the end of the life cycle of a garment.”

This is a sponsored feature paid for by Supima as part of a BoF partnership.

Nike shareholders have voted against a proposal to consider joining binding agreements with supply chain workers to better address human rights issues in high-risk countries at its annual meeting, the company said on Tuesday.

The proposal was moved by an investor group led by Domini Impact Equity Fund, which was among more than 60 investors to sign a letter last year urging Nike to pay $2.2 million in allegedly unpaid wages to some 4,000 garment workers in Cambodia and Thailand.

A similar petition, led by investor Tulipshare, was put forward for a second year in a row urging the company to assess the effectiveness of its supply chain management, including looking into forced labour and wage theft-related concerns.

Shareholders also voted against the proposal on Tuesday. Last year, the same was rejected by nearly 80 percent of the investors who had voted.

Nike’s board had recommended that shareholders vote against both the proposals. The company said it has established robust controls to identify and address labour issues throughout its supply chain.

The results are not legally binding, but a petition supported by a significant chunk of shareholders can often pressure a company to act.

Domini’s proposal asked Nike to publish a report on the impact of adopting so-called worker-driven social responsibility, which creates binding agreements with workers on safety standards and remedies.

Domini also wanted Nike to explain why it has not joined the Pakistan Accord, a binding health and safety agreement between workers’ unions and brands, which peers including Adidas and Puma have signed.

Last week, Norway’s wealth fund, Nike’s ninth-biggest shareholder, backed the proposal, and also said it would vote against Nike executives’ compensation, which it said had become excessive.

Shareholders ultimately supported the company’s proposal to approve executive compensation. Nike’s CEO John Donahoe’s compensation was $29.2 million for fiscal 2024.

Wall Street analysts have raised the possibility of a management shake-up ahead of the company’s investor day in November following the sportswear maker’s forecast for a surprise drop in fiscal 2025 revenue.

Nike is struggling with an innovation lag and rising competition from brands such as Roger Federer-backed On and Decker Outdoor’s Hoka.

Reporting by Ananya Mariam Rajesh and Nicholas P. Brown; Editing by Sriraj Kalluvila

Learn more:

How Nike Ran Off Course

The American sportswear giant is experiencing its worst slump in a decade. New competition is part of the problem but according to industry insiders and athletes, many of Nike’s wounds are self-inflicted: the results of disruptive restructurings, stalled innovation and uninspiring marketing.

On the fifth day of New York Fashion Week, a handful of models opted to skip the runway, instead strutting to a government building in Midtown, Manhattan, where they hand-delivered over 100 letters to New York Governor Kathy Hochul.

These letters, penned by fellow models including Amber Valletta, Irina Shayk and Karen Elson, all urge the Governor to sign into law the Fashion Workers Act, a piece of legislation that would protect models from exploitation and regulate the industry.

After years of procedural deadlock, the Fashion Workers Act finally passed both of New York State’s legislative bodies in July, but without Hochul’s signature, the bill is not officially law. This means models in New York are working another season of fashion week without “basic protections,” said Sara Ziff, founder of Model Alliance, the nonprofit organisation advocating for the policy.

Governor Hochul will likely sign the act into law and has until the end of the year to do so, said Senator Brad Hoylman-Sigal, who introduced the bill in March 2022. The press conference Tuesday is meant to pressure the Governor to sign the bill sooner rather than later. “Every day that she doesn’t, more models will experience abuse, wage theft, and human trafficking,” Ziff said in a statement.

Convening outside of Hochul’s office Tuesday morning, members of Model Alliance held up signs that read, “This NYFW, give models labor rights” and “Governor Hochul, please sign the FWA.”

“Our community of models, who are literally the faces of this industry, lack basic labour protections,” said Ziff. “In fact, many models walking the runway this week, will leave New York saddled with debt and left in the dark about whether, how much they will be paid.”

This fashion week has seen plenty of political action elsewhere too. On Friday, the Council of Fashion Designers of America in partnership with Vogue and non-profit group I am a Voter organised a march across Manhattan in an effort to get more people to register to vote in November’s presidential election. Womenswear label Area, sponsored by dating app Tinder, donated $25,000 to Planned Parenthood and showcased a collection inspired by the reproductive justice slogan, “Bans Off Our Bodies.” Willy Chavarria is expected to host a panel discussion with the American Civil Liberties Union on Friday. Industry stakeholders, however, were noticeably absent from the Model Alliance press conference on Tuesday.

A Broken System

When signed into law, the Fashion Workers Act will grant models and other creatives in the fashion industry a number of workplace protections, mandating agencies such as IMG Models and Future Faces to communicate clearly regarding compensation and scope of work.

Historically, management agencies hold power of attorney over the talent they represent and are responsible for negotiating compensation as well as contract terms on behalf of the model, leaving them vulnerable to exploitation and abuse.

Under the Fashion Workers Act, models will be able to file complaints about agencies’ practices, such as late payments, with the New York state Department of Labor Commissioner. The law would also ensure that both talent managers and brand clients obtain consent from models in order to use their likeness in a digital replica created through artificial intelligence.

On Tuesday, model Jacob Aguilar recounted a story of how their management agency failed to pay them around $50,000 for modeling work done on a campaign, despite the brand having sent over payment.

“I felt hopeless,” said Aguilar. “I received my tax return that year that stated my income was over $50,000 even though I’ve only received a small percentage of it. I had to pay taxes on money that I didn’t receive, and that dug me into a deeper financial crisis.”

Hoylman-Sigal underscored the significance the law would have on the economic state of New York’s fashion industry.

“New York City is in danger of losing a large portion of the fashion industry to cities like Milan and Paris,” he said, citing a recent report from McKinsey about New York’s shrinking employment numbers in the sector. “Well friends, the way to recruit more people to the fashion industry in New York is to make sure their rights are protected as workers.”

The Fashion Workers Act has garnered support from organisations such as the CFDA and Garment Worker Center, but few brands have vocalised their support.

“As New York celebrates Fashion Week, I assure you, it’s not all glitz and glamour,” said Aguilar. “The fashion industry disguises wage theft, tax fraud and human trafficking behind fresh faces from around the world that come here seeking opportunities just to get taken advantage [of].”

PARIS – Hodakova, the Stockholm-based label founded by Ellen Hodakova Larsson, won top honours at the 2024 LVMH Prize announced in Paris Tuesday for creating both desirable silhouettes and a viable business model for an upcycling brand.

Hodakova impressed the jury with her “combination of savoir-faire, sustainability — and desirability,” senior LVMH executive and jury member Sidney Toledano said. “Like many of the designers this year, the brand has a mature point of view, not just on fashion but on business and the world.”

In a prize ceremony at the Frank Gehry-designer Louis Vuitton Foundation, a tearful Larsson said she was “super excited to show us her next chapter” at her upcoming fashion show on September 24th in Paris, before turning to the jury to promise: “I’ll work really hard.”

With prize money of €400,000 and a year of mentorship from LVMH executives, Hodakova hopes to “build an infrastructure where we can change from a small perspective to a big perspective,” Larsson told reporters.

Duran Lantink, the Amsterdam-based designer known for his padded, body-exaggerating silhouettes took home LVMH’s runner-up Karl Lagerfeld Prize (€200,000 and one year of mentorship). In recent seasons, Lantink has attracted the support of cool kids and fashion imagemakers, with pieces from his well-attended shows making their way into the pages of British Vogue, Dazed and i-D as well onto the likes of Beyoncé and Billie Eilish.

LVMH also unveiled a new prize to recognize craftsmanship, which jury members said was particularly strong this year across the cohort of finalists. The €200,000 award is accompanied by a specific mentoring programme focused on encouraging the transmission of savoir faire. “Fashion isn’t just about creativity, it’s about know-how,” LVMH Prize founder and Christian Dior chief executive Delphine Arnault explained.

The inaugural Savoir-Faire Prize went to Standing Ground, a London-based concept designed by Irish designer Michael Stewart. His artfully draped evening ensembles are suffused with references to the ancient world as well as imagined futures, and are adorned with signature details like padded waistlines and beaded pleats.

Other finalists included London-based designers Pauline Dujancourt and Paolo Carzana, Belgian designer Marie Adam-Leenaerdt, Aubuero by New York designer Julian Louie, and Milan-based Niccolò Pasqualetti.

Most of the finalists plan to show in the upcoming European fashion weeks. Standing Ground and Carzana show in London, while Hodakova, Lantink, Adam-Leenaerdt and Pasqualetti are all slated to show in Paris later this month.

Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders’ documentation guaranteeing BoF’s complete editorial independence.

US designer Tommy Hilfiger browses through a rail of custom-made suits worn to this year’s Met Gala by K-pop stars Stray Kids, before opening up a tuxedo to reveal a special label.

The eight-member South Korean boy-band are Tommy Hilfiger brand ambassadors and caused an online frenzy when they became the first K-pop group to attend the prestigious Manhattan fashion event in May.

“We did a special label ‘Tommy Hilfiger with the Stray Kids’ and they loved it, we loved it and I think it will go down in history as probably one of the most exciting projects we’ve had to date,” Hilfiger told Reuters ahead of his New York Fashion Week show on Sunday.

“We were, if not the most talked about brand at the Met Ball, one of the most talked about brands at the Met Ball ... because the strength of what is going on in K-pop and for our association I think it was appropriate timing.”

Stray Kids are just one of an ever increasing number of K-pop idols luxury fashion houses are enlisting as brand ambassadors as they seek to tap into their global followings.

Last year, around 30 K-pop stars were appointed as the new faces for labels including Versace and Dior, while in the last two months, Lisa of BLACKPINK, BTS’ Jin, and Karina from Aespa were announced as brand ambassadors for Louis Vuitton, Gucci and Prada, respectively.

“[K-pop idols have] built their own following. They’ve built their own community ... and so for when brands are working with them, they’re not only getting the press coverage of working with those K-pop stars but they’re getting that huge community of followers,” said Alison Bringé, chief marketing officer at data and technology company Launchmetrics.

“And because of these different voices that are supporting the K-pop stars, it is driving a phenomenal amount of media impact value that is considerably higher than Western celebrities.”

In a report on June’s Spring-Summer 2025 Menswear Paris Fashion Week, Launchmetrics said South Korea ranked as the third top region driving buzz, most of which was generated by South Korean celebrities.

K-pop stars are now among the most highly anticipated celebrities attending fashion week shows, and often draw the loudest cheers from fans waiting outside. As usual, many are expected this catwalk season.

“When you look at K-pop fans, they obviously like the members but they also like the glitz and glamour of K-pop ... each group has its own kind of amazing style,” Lily of K-pop girl band NMIXX, brand ambassadors for Loewe, told Reuters.

“Fashion is very important to K-pop and K-pop is very important to fashion.”

By Natasha Mulenga and Alicia Powell; Writing by Marie-Louise Gumuchian; Editing by Rosalba O’Brien