Lily-Rose Depp was spotted heading to Global Radio Studios today in London to promote her new film “Nosferatu.” Directed by Robert Eggers, the 2024 feature was adapted from the 1922 horror/fantasy film “Nosferatu: A Symphony of Horror.”

The fashion darling took to the streets of London in a pair of whimsical plaid kitten heels. The style featured black and white plaid uppers crafted out of a frayed cloth accompanied by sharp pointed toes and what looked to be blue and white leather floral adornments fixed to the tongues, offering the silhouette a colorful touch.

Short diamond-shaped 0.5 to 1-inch stiletto heels finished off the set, creating a subtle walkable lift. The footwear style is dynamic, featuring contrasting colors and unctuous textures galore, immediately drawing the eye.

While Depp’s pick seems to be one of a kind, those looking to channel her London press run look can browse comparable options from brands like Rene Caovilla, Amina Muaddi, Sam Edelman, Charles & Keith, Sergio Rossi and Jimmy Choo, just to name a few. While the styles are not exact, their decorated offerings should give a similar effect.

On the outfit front, the “A Faithful Man” star donned a pastel yellow, almost green sweater vest accompanied by a coordinating knitted mini skirt. Depp wore dainty gold jewelry to round out her look.

When not in elevated styles, you’ll usually find Depp in laidback sneakers for her casual outings. The thespian also can be spotted in the likes of Maison Margiela, Acne Studios, New Balance and, of course, Chanel as some of her other favorite footwear designers.

Beyond her impeccable taste in footwear, Depp has dipped her toes into the modeling world, walking for the likes of Chanel ala Karl Lagerfeld who saw her as a muse. She has a long-standing history with the storied fashion house spanning all they way back to 2015 when she was named as an ambassador at the age of 16.

Lily-Rose Depp’s Red Carpet Style Evolution, From the 2010s to Today

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Vans is returning back to its skateboarding roots, and that comes with a major retail overhaul starting in London, one of the brand’s biggest markets.

The footwear brand’s 214 Oxford Street store, which opened in 2019, has had a major revamp — taking it from a dingy corner store to a bright, state-of-the-art space with floor-to-ceiling windows that’s fitted with a 200 square meter Roman travertine stone skate ramp.

For a brand to really stand out on one of the busiest streets in central London, new ideas are necessary.

Vans’ next door neighbors — Nike and the newly opened Ikea — have demonstrated that to lure customers in, they need more than just rows of products or mannequins – there needs to be a sense of community and a history of the brand.

Ikea is capitalizing on its blue polypropylene bags and Vans is reminding everyone that they’re one of the original brands for skateboarders.

By day, the store sells clothes and accessories, as well as skateboards with British slang printed on, meanwhile in the evenings, the space will be used for regular skate lessons, demos and events by Vans skate team and local skate schools.

“We thought it was quite provocative to bring the best of counterculture into one of the most commercial strips in the world,” said Andreas Olsson, vice president and general manager of Vans EMEA in an interview.

There’s more space than ever at the store as Vans has adopted a new design system using the walls and surrounding areas for hidden storage instead of a physical storage room. There are no cash registers as transactions can take place anywhere on the floor — just like at the Apple store.

The walls replicate the waffle pattern found on the sole of Vans shoes and the hidden storage units are made of grinded plywood – a subtle nod to the construction of skate ramps, which can be flipped for a gray canvas to replicate the interiors of an art exhibition.

“We need to raise the standard and somewhat also bring ourselves a little bit closer to the community and the culture of London,” said Olsson, adding that the brand has seen the importance to gain proximity to the culture of skateboarding, art, design and music.

Olsson, who has been back with Vans for over a year now is shaking things up. He wants to “elevate,” “reset” and “push” the brand into the future. 

He previously spent almost seven years with the brand from 2012 to 2018.

“We want to lead through skateboarding. The purpose of retail today is that it’s a mix of the commerce side of retail – which is only a piece of it, but it’s really about the whole entertainment and activation side of things,” said Olsson.

“Consumers expect to engage in retail in a much different way than they’ve done in the past. In the past it was more of a commerce driven entity, but today, anything can be accessed through a cellphone – the reason that someone comes into the store is to experience the depth of the brand and the cultures that we represent. We want to do that justice in the most credible way.”

London is the first piece in Vans’ rejigging of retail followed by refreshing its stores across Europe that will soon be rolled out to the U.S. and Asian market. The brand is also introducing a new ecommerce website.

The Oxford Street store doesn’t stop at just skateboarding. A lot of newness is being injected into the space by working with brands and talent outside of VF Corp., Vans’ parent company that also owns Dickies, The North Face and Timberland.

London-based creative Jack Charlie Mitchelln has curated a selection of books and music that customers can buy and next to that are items from Vans’ collaboration with the jeweler The Great Frog, audio brand Gomi and skateboarding brand Lovenskate.

Located at 18 Broadwick Street in the city’s Soho neighborhood, the store features an extensive range of Sportstyle footwear and a curated accessory collection, including the latest collaborations with noted designers and fashion labels.

This store is the third Sportstyle store to open this year alongside Paris and New York City, launching as a part of Salomon’s new global retail concept. The interior pays homage to the brand’s French heritage, with authentic elements from the mountains near Annecy, including wooden benches, old furniture from old farms, and vegetation, infusing the store with the spirit of the Alps. See all the photos from the new London store below.

Canvvs, a British custom sneakers platform with a network of over 100 artists, Thursday debuted a limited run of 20 pairs of Nike Air Max ’95 inspired by Lashana Lynch’s character Bianca Pullman in Sky’s new TV thriller “The Day of the Jackal.”

In the series, Lynch plays an MI6 arms specialist and wears a pair of Nike Air Max ’95 throughout the show.

The reinterpreted kicks by sneaker artist Aida Kiraya aka Afro Kickz will go on display from Thursday at the Canvvs store on London’s Oxford Street. They will then be gifted to charity, influencers, and Lynch herself.

Kiraya said this custom style aims to blend traditional African culture with modern Black style.

Alex Murray, who founded Canvvs in 2020, said the partnership with Sky reaffirms the platform’s goal of helping the next generation of sneaker creators alongside the established names in the industry.

Most recently, Canvvs partnered with MTV at the Europe Music Awards. It has also worked with brands including Microsoft, and Disney, and with Nike for bespoke Nike Dunks for Gareth Southgate’s 100th game as England Manager.

The TV version of “The Day of the Jackal” starring Lynch and Eddie Redmayne is based on the Frederick Forsyth novel of the same name. A movie adaptation was released in 1973.

The Selfridges Corner Shop is getting cozy for the winter season with Ugg.

The Deckers-owned footwear brand has taken over the space until Dec. 7 by turning it into an igloo with comfy brown sofas and using the same fluffy materials that’s used in their shoes on the Christmas trees.

The brand has put a variety of products on display at the Corner Shop including the new Ugg Extreme collection that consists of cold weather shoes and apparel.

For a limited amount of time, the brand brought out new exclusive styles from its collaboration with Telfar. The new pieces come in colorways of black and chestnut, as well as denim.

To celebrate the opening, Ugg has invited British singer-songwriter Griff to perform a special acoustic set.

The luxury British department store is gearing up for the festive season and has already announced that this year’s theme for the store is “More the Merrier.”

Selfridges has summoned a Christmas team to bring the lights and magic alive.

Costume designer Max Allen has designed the outfits for Santa and the Selfridges Christmas entertainers; Emily Pugh has been enlisted as a Christmas tree stylist; the Oxford Street windows have been created in collaboration with the artist Andrew Logan with additional contribution from fashion designer Charles Jeffrey and the artist Flaminia Veronesi.

“The festive season at Selfridges is an antidote to the mundane; it’s our vibrant crescendo to 2024 as we transform our stores into high-octane wonderlands. We’ve collaborated with an incredible host of artists and creatives, bringing together different tastes and trends in an ode to imagination and a celebration of maximalism. We want our customers to share in this joy and to help them live brighter this Christmas,” said Laura Weir, Selfridges chief creative.

The Worshipful Company of Cordwainers is launching a new prize for the 2025 edition of its annual Footwear Awards to celebrate and promote Britain’s shoemaking heritage.

Called the Craft of Shoemaking Award, the honor was proposed and is sponsored by Cordwainer members and award-winning bespoke shoemakers Carréducker.

Founded in 2004 by Deborah Carré and James Ducker, Carréducker has championed the heritage craft of handsewn shoemaking for over 20 years, demonstrating at events such as London Craft Week, and through courses and classes at its shoemaking school in London since 2006.

The Company is encouraging shoemaking students or recent graduates, apprentices and non-professional shoemakers to apply to the award. There is no age limit, but applicants must be UK-based. Applications are now open through April 23, 2025.

Entrants are invited to make a pair of shoes or boots in any style, including orthopedic or athletic; for men, women or children; using any construction methods but with an emphasis on hand skills; and that are functional and wearable.

The winning entry will receive a package in the form of specialist training over 100-plus hours at the Carréducker School, covering pattern making, closing techniques and handsewn shoemaking.

Carré told FN in an interview she was “delighted” when the Company “leapt at the opportunity” to support up and coming makers by partnering with Carréducker.

“We believe that everyone should have access to craft training. That’s why we’ve championed heritage British shoemaking skills for over two decades and developed a course that teaches complete beginners the 200 steps in making a pair of handsewn shoes,” Carré said. “That’s where the Craft of Shoemaking Award comes in, to give those shoemakers – the vocational practitioners, apprentices, pieceworkers, outworkers and factory workers… the chance to shine.”

“With shoe and boot making listed as’endangered by Heritage Crafts, we want to showcase and encourage the incredible shoemaking talent that is here in the UK,” Jonathan Church, the Master of the Cordwainers, added. “We have a worldwide reputation for excellence in British shoemaking but there has been a dramatic drop in people entering the trade. It’s putting our reputation and the industry’s future at risk. We want to excite the next generation of shoemakers about the craft and to encourage them to become part of this very successful billion-pound footwear industry.”

The inaugural Craft of Shoemaking Award will be presented at a ceremony in London on June 12, 2025, and all finalists will be invited to attend. The annual Cordwainers Footwear Awards support and recognize up and coming footwear designers and makers. The judging panel for the Craft of Shoemaking Award will be chaired by Carré and Ducker.

Sustainability was the hot topic during the inaugural Global Footwear Future Coalition (GFCC), a one-day symposium with speakers and panelists from brands including Clarks, Dune London and Vivobarefoot.

Footwear manufacturers, designers, and academics flocked to Havas Village in King’s Cross on Oct. 9 to attend panel discussions and workshop sessions that looked at the industry from social, cultural, environmental, and economic angles. The GFCC was founded in January by author and designer Darla Gilroy, who is helming the effort with fellow designer Liz Ciokajlo and other industry players.

“By having open conversations and endeavoring to reach consensus, GFFC believes that we can draw a line of sight from where we are today to where we collectively want to get to in the future,” said Gilroy in her opening address at the symposium.

Daniel Rubin, founder of Dune London, noted in his keynote address that 22 billion pairs of shoes go into landfill each year. “Unfortunately, that footwear is going to be around for many millennia to come,” he said. Rubin added that about 90 percent of discarded footwear is composed of shoes that have only been worn for one year — a direct result of consumer demand for affordable, fast fashion.

Other speakers discussed sustainability in the footwear supply chain.

Those on the panel included Vivobarefoot co-founder Asher Clark; Jamie Hall, co-founder of Pentatonic, a business that helps brands transition into circular practices; Jack Millington, founder of sustainable tannery Billy Tannery; and Susan Postlethwaite, director of Manchester Fashion Institute’s Robotics Living Lab.

The group talked about greener ways of producing shoes, from using regenerative and low-carbon materials — such as vegetable tanned pieces and skins from goats and deer that would otherwise be thrown away.

When it comes to disassembling and recycling old shoes, robotics could play a key role moving forward.

“We’re trying to put a bid together with King’s College and their medical robotics team,” said Postlethwaite.

Another panel, titled “Foot Work: What Your Shoes Tell You About Globalization,” looked at shifting consumer demands that footwear businesses and manufacturers are facing, including grappling with greenwashing. Eighty one percent of consumers don’t trust sustainability claims, according to Tansy Hoskins, author of “Foot Work: What Your Shoes Tell You About Globalisation.”

Jen Keane, CEO of sustainable textile manufacturer Modern Synthesis, addressed the slow adoption of innovative materials.

“To produce to the industry’s scale, startups need certain amounts of financial commitments. The industry isn’t used to buying years in advance, or to agreements that say they’re willing to commit financially to taking these quantities,” she explained.

Gilroy said she hoped the symposium would be the first step to, “identifying the incremental steps we want to take to make real tangible, measurable – and importantly – scalable change.”

After the panels, workshop sessions looked at topics ranging from popular culture’s influence on footwear to how businesses can transform their infrastructure.

Winona Ryder, who helped define ’90s fashion, is the face of Jimmy Choo’s chic fall 2024 campaign.

Dressed in scarlet, black, and cream, Ryder exudes cool goth style in the images. “Winona is iconic in her style and her acting,” said Sandra Choi, the label’s creative director, in a statement. “Her films and her aesthetic are symbolic of the decade that shaped Jimmy Choo’s early years as a brand. Winona’s talent combined with her individuality and ‘90s legacy felt perfect to represent this collection,” she added.

For fall, Choi dipped into the archives for inspiration, and she told FN in February at Milan Fashion Week that the ’90s was very much a backdrop. “As designers, we always take the temperature of where fashion is, and the feeling now goes back to day one of Jimmy Choo, Choi said.

Revived footwear styles include a sexy pointed toe pump with lace-up detailing as well as an edgy biker boot with plenty of attitude. 

Newness takes shape in an oversized tote and additional colorations of the brand’s Cinch handbag, which features a diamond clasp and drawstring closure. Architectural eyewear is also on display, highlighting Ryder’s perfectly undone smudged black eyeliner. 

While the campaign is authentic to the actress’s personal style, it also recalls that of her role in “Beetlejuice” as style icon Lydia Keetz, perhaps in a nod to the film’s upcoming sequel “Beetlejuice, Beetlejuice,” where Ryder will reprise her role.

In July, Jimmy Choo revealed its new partnership with Chinese actress and singer Victoria Song, who was named global brand ambassador. Song first began working with the brand in 2018, when she was appointed brand ambassador for the Asia Pacific region. 

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There are no summer blues for Kurt Geiger this year as they announce record company sales and a new ambassador.

Kurt Geiger’s annual sales reached $466 million in the year ending February 2024, a 10 percent increase from the year-ago period. Earnings increased by 34 percent, exceeding $50 million.

The brand cited its “affordable luxury” handbags for its success.

“Quite simply, we stand out from the crowd. Our brand has [a] unique design aesthetic – fun, colorful and instantly recognizable. That, combined with a strong British DNA and an incredible value proposition – we’ve filled a white space with bold, maximalist silhouettes at an affordable price point,” said Neil Clifford, chief executive officer at Kurt Geiger.

“2024 is on track to smash all of our most ambitious predictions – with our global footprint growing exponentially, driven by handbags. — now our largest product category in all markets. Not bad for an independent British brand, operating against a pretty tough economic backdrop,” he added.

Kurt Geiger is now doubling down on its handbags success by naming Emily Ratajkowski as the face of its fall 2024 collection, which includes a new range, the Chelsea collection.

The new collection is named after the affluent West London area, which is where the Swinging Sixties on the King’s Road took off.

The ​​American model, actor, author and activist is pictured with various handbags in the campaign: a large red tote and a hobo style bag in small and micro size.

The brand’s signature eagle symbol has been updated with a crystalized halo buckle that adds a touch of sharpness.

In 2023, the brand’s handbags business recorded sales of $143 million.

Kurt Geiger also reported strong growth in the U.S. in the last five months, with a 104 percent increase.

The brand is firmly targeting retail. They’re planning to open three new stores in the fall in New York, Los Angeles and San Diego – and for the future, they have their eyes set on 50 stores across the U.S.

LONDON – Manolo Blahnik saw sales and profits decline in fiscal 2023 due to a drop-off in demand for luxury goods, although the company remains upbeat and is planning to open stores in new markets including Shanghai, Miami and Milan.

The London-based footwear and accessories brand saw sales fall 10 percent to 106.5 million euros, and pre-tax profits tumble 30 percent to 15.4 euros in the 12 months to Dec. 31, 2023.

The company, which is privately owned, said that despite slowing demand for luxury, performance was in line with expectations.

Operating profit remained “strong” at 15 percent of revenue, and the company said it made significant investments in infrastructure and supply chain during the period.

The results will be published in the coming days on Companies House, the register of businesses in the U.K.

Manolo Blahnik said it is expecting a “return of customer confidence in 2025,” which will coincide with its expansion plans into new markets in China, North America, and Europe.

“As expected, in 2023 our performance re-balanced off the back of an extraordinary year of sales and consumer demand in 2022, and in light of the challenging macro-economic and geopolitical environment. Against this backdrop we are pleased to still be reporting a positive performance in our second-best year ever, in line with our business plan,” said Kristina Blahnik, chief executive officer.

She believes there will be “a continued readjustment to pre-COVID demand” in 2024, and said the company has been using the period of transition to restructure.

Manolo Blahnik has been refining its direct-to-consumer and business-to-business models as it puts a larger focus on retail and own channels, and consolidates its wholesale network. 

Blahnik added that the behind-the-scenes work would put the business in a strong position to grow once consumer confidence rebounds.

The coming months will big ones for the brand.

Later this year Manolo Blahnik will mark a milestone and begin trading in China, with plans to open its first store in Shanghai.

The company has recently established a Wholly Foreign Owned Enterprise (WFOE) in China, where it recently secured the rights to use its brand name after more than two decades of legal wrangling.

In 2022, after a 22-year legal battle, the Supreme People’s Court of China, the highest court in the country, ordered the invalidation of an unlawful Manolo Blahnik trademark that had been registered by a local businessman in 2000.

The company is also making moves in Hong Kong. Earlier this year, Manolo Blahnik formed a joint venture with Bluebell Group to open a string of stores in the region. 

The first boutique opened in Hong Kong’s Lee Gardens shopping center on March 22, while a second one is set for Pacific Place shopping center in the final quarter of 2024. A third store is also in the works, with the location to be confirmed.

Manolo Blahnik and Bluebell have existing partnerships in other Asian markets such as Japan, Malaysia, Singapore and Taiwan.

While Asia may be top of the agenda, the company also has plans to expand in other markets. In early 2025 it will open flagships in Miami Design District and Milan, two cities where it does not currently have direct retail.  

As reported, the company has also been making changes closer to home. 

Last September Manolo Blahnik relocated its U.K. global headquarters from Marylebone to a historic Georgian building in London’s Mayfair with more than 14,500 gross square feet of office, showroom and meeting spaces.

The group has also overhauled its ecommerce site and improved conversion metrics. Last September, it enriched its digital archives with a new, virtual space meant to highlight artistry and artisans.

The space is called “The Manolo Blahnik Archives, The Craft,” and features eight vignettes that spotlight the craft process from design to technique to construction. Hundreds of pieces of digital content are meant to offer “unparalleled” insight into the art of shoemaking.

The brand has also committed to donating 0.5 percent of its turnover to the Manolo Blahnik Foundation, which was formed in 2022. The Foundation supports causes including mental health and wellbeing; animal welfare; and new generations of talent.