MILAN — Italian luxury powerhouses got the broadest attention during Milan Fashion Week when it came to media impact.
According to figures provided by Launchmetrics, the data research and insights company, Gucci ranked first among the list of the top five brands with the greatest media impact value — the impact a brand generates with its marketing activities across social media, print and online — during the city’s fashion week, which closed here on Feb. 24.
Versace, Prada, Fendi and Giorgio Armani filled in the remainder of the positions in the ranking.
Gucci and its set contributed to the overall $142.4 million media impact value across online and social media coverage. The brand’s creative director Alessandro Michele had guests enter the space through the backstage hair and makeup area and view the show through a circular installation re-creating the backstage-like dressing area in place of the runway.
Launchmetrics’ data was monitored from Feb. 18 to 24.
The data research company said the news of the coronavirus outbreak in Italy, which burst at the tail end of fashion week, also contributed to its overall media impact value, generating alone $9.2 million, or 6.5 percent of the total. As reported, the health crisis in the country pushed

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DOMINO EFFECT: As Paris Fashion Week hits its halfway mark, the British Department for International Trade has postponed its “Sustainable Future for Fashion” showcase, due to the ongoing coronavirus situation now engulfing Europe. The event was scheduled to be held on Feb. 28.
The showcase, which was to be hosted by Her Majesty’s Trade Commissioner for Europe Andrew Mitchell at the British Ambassador’s Paris residence, was to feature the work of brands with responsible practices, such as Alighieri, Bav Tailor, Belize, Bottletop, Edward Crutchley, Haeckels, Hanna Fiedler, Patrick McDowell, Phoebe English, Räthel & Wolf, Stay Wild, Story MFG and Teatum Jones.

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PARIS — Julia and Sylvia Haghjoo earned a new nickname during Copenhagen Fashion Week last year: “The influencers who walk.”
“I remember a group of influencers coming up to us after a show to ask if we had a car and could share a ride to the next venue,” said Julia Haghjoo, who at 26 is the youngest of the two sisters. “We said we didn’t have one and were planning to walk, but they were welcome to join. They looked at me like I was insane.”
Since becoming full-time influencers 10 years ago, choosing to dedicate their daily lives to photography and art direction for fashion and luxury brands, the Haghjoo sisters have felt a growing unease about the industry in which they’ve chosen to build their careers. Does being an influencer, aka promoting fashion products to a digital audience, still make sense amid growing ecological concerns and interrogations about the effects of consumerism?
It does, according to the sisters. But things need to seriously change — hence the walking.
“It makes no sense to take a car if the show venue is only 10 minutes away,” continued Sylvia, who is 29. “The same thing goes for couriers — why send a pick-up

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TAKE TWO: The Fédération de la Haute Couture et de la Mode, French fashion’s governing body, continues to ramp up its support of emerging designers. Integrating international brands for the first time, its Sphere showroom, which debuted in January, replacing Designers Apartment, showcases eight young labels in its second edition, five of which are also showing on the official calendar this Paris Fashion Week.
Swiss designer Kévin Germanier, a finalist for last year’s LVMH Prize, is among the international entrants with his flamboyant collection made from upcycled and deadstock materials.
With wholesale prices ranging from 80 euros to 5,000 euros, the designer’s stockists include Matchesfashion.com.
Also Nigerian designer Kenneth Ize, who made his Paris runway debut earlier in the week, was hoping to pick up international clients through the showroom. “I’m ready for market, I want people to know that,” he said.
Returning designer Juan Hernandez Daels, of equestrian-inspired contemporary label Sadaels, offered a collection incorporating rosette motifs into exclusive prints on velvet and silk, as well as reworked gaucho pants and accessories inspired by his native Argentina.
For his third collection, Alexandre Blanc added volume to his Thirties-inspired lineup with heavy draping, contrasting this with his print pieces based on paintings.
“I’m really impressed with

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