On 8 September 2026, a press conference organised by Fashion Link Milano took place at the ADI Design Museum in Milan, bringing together MICAM Milano, MIPEL, Simac Tanning Tech, Milano Fashion&Jewels and TheOneMilano, alongside professionals from the supply chain, to analyse how purchasing processes are changing and, consequently, the role of trade fairs. Leading the discussion was Orietta Pelizzari, Global Trend Researcher, creative concept developer and moderator, alongside Chiara Allegra Moretti, an independent buyer, and Federico Galli, a storyteller.
One of the key topics of the meeting was the role and profile of the buyer, THE BUYER JOURNEY, in the fashion sector. Nowadays, buyers arrive at a trade fair having already carried out a significant part of their work: continuous research, comparisons, shortlisting and drawing up an initial list of contacts and products. The visit is no longer merely a moment of discovery, but one of the stages in the entire decision-making and purchasing process, which has become more extensive, beginning before the event and continuing through ongoing relationships with companies, brands, suppliers and partners. As Giovanna Ceolini, President of Micam, also stated: “Nowadays, one must bear in mind that to attend a trade fair, one needs to be prepared and organised, know what one is looking for, where and how to find it, and leave room whilst there to seek out new business opportunities”.
Preparation, after all, is not a theoretical aspiration but a response to a practical constraint: the time spent at the fair has been reduced, often to just one and a half days, and the risk is that the visit will be limited to visiting suppliers already on one’s list. Matchmaking tools serve to broaden the scope and bring together supply and demand that would otherwise never meet, but they only work if companies genuinely feed them with data, new product launches, samples, colour palettes and the reasoning behind each proposal.
In this scenario, doing business is not just about brands, buyers and trade fair organisers. It also encompasses those who decide on the processes and technologies to be used: those who select the materials, the production methods and the quality standards embodied in a product. It is the link that connects the commercial sphere with the industrial one, and which explains why the buyer’s physical presence in Italy retains a specific value: private labels, adaptations and products tailor-made for a specific retail outlet arise from direct contact with the manufacturer, not from a catalogue.
This evolution involves a trade fair system which, through the Fashion Link Milano events, brings together a total of 1,848 brands.
A system that largely represents mid-range products, lacking the marketing clout of major brands, and which therefore requires a point of contact — first the buyer, then the consumer — capable of recognising the value of what they are purchasing. The buyer, therefore, is no longer merely a selector, but a true curator.
THE GEOPOLITICS OF AESTHETIC OPINION AND TASTE
Orietta Pelizzari opened the discussion with the concept of the ‘geopolitics of opinion’: taste is no longer determined by a single generation or a single player, but arises from the interaction between consumers from four different generations, as well as buyers, brands and communities. According to NIQ/World Data Lab (2025), Generation X is now responsible for 15,200 billion dollars of global spending, 40 per cent more than Generation Z. Consumers are increasingly defined by their values and generations influence one another, thus going beyond the simple concept of chronological age. For brands and retailers, this means moving beyond rigid segmentation and developing strategies capable of reaching multiple generations simultaneously.
However, there is more to this figure than just spending power. The driving forces behind purchasing for this generation are twofold: memory and value – people buy what they have experienced and what they recognise as being of high quality. This dynamic is also passed on to subsequent generations, who embrace the same codes out of a sense of belonging rather than direct memory. Furthermore, the dynamics vary from market to market: in the United States, Gen X accounts for spending of around 97 billion dollars; in South Korea, it blends with the next generation to form a hybrid profile; whilst in China, it is growing for its own specific reasons.
For the fashion industry, this means a shift in how the market is interpreted: competition is moving away from conquering a market towards the ability tobecome a relevant voice in the conversation that shapes its tastes.
The insights presented by Pelizzari form part of the research journey already underway with Curator Buyer, revealing abuyer who is increasingly akin to a curator and an entrepreneur. This professional is therefore called upon to interpret trends, consumers, markets, profit margins and the identity of the retail outlet, and to transform a growing volume of information into targeted choices.
A MORE WELL-INFORMED BUYER, A RETAIL SECTOR WITH A STRONGER IDENTITY
Product research is now a continuous process, in which trade fairs, showrooms and direct relationships coexist with digital platforms, social media and sales data. The greater availability of information makes the buyer’s ability to filter, interpret and verify even more important.
This gives rise to a dual professional profile: qualitative skills – that is, knowing how to recognise a good product and a good image – and quantitative skills – that is, analysing budgets, profit margins, sales performance and market trends. This is a combination that Italian training programmes have been slow to recognise: standard reference texts have long been of Anglo-Saxon origin, based on a retail model very different from the Italian one, which consists mainly of independent multi-brand boutiques.
Consequently, the criteria used to judge whether a brand is worth buying are also changing. What counts is credibility and consistency between aesthetics, price point, positioning and the actual quality of the product. Other factors that matter have nothing to do with style: the reliability of the commercial structure and adherence to delivery schedules — a problem that affects even highly successful brands, precisely because they have grown so quickly — the ability to manage swaps, restocking and product exchanges, and attention to distribution, which is particularly crucial for high-end retail.
This process of research by consumers and buyers is, and must be, facilitated by brands’ commercial communication, as Federico Galli noted in one of his talks: “For brands and companies, there is an ever-increasing need to communicate not so much the product itself, but the processes, the people, and everything that goes on behind the scenes in the creation of products and which defines the brand’s identity.”
The obstacle here is not technical but cultural. Many businesses hesitate to tell their story, caught between a sense of modesty that mistakes discretion for style and the belief that their expertise needs no explanation. This is a missed opportunity, because the true influencers in the sector are the artisans and the companies: they do not need to invent anything; they simply need to show what they do every day. On the other hand, there is a consumer who has not stopped spending but has become more discerning and better informed, and who seeks concrete factors to guide their purchasing decisions. Attributing the difficulties solely to fast fashion or foreign competition means postponing a proper examination of the supply chain’s internal problems.
The retail outlet is also taking on a more active role. Private labels, ranges tailored to specific audiences and products developed for particular locations are transforming retail into an identity-building project. The question is no longer simply which product to buy, but which product is right for that shop, that customer and that market. Claudia Sequi, President of Assopellettieri, added: “In the evolving relationship between buyers and retailers, as well as within the trade fair offering, we are seeing collections being adapted to cover as many product categories as possible, structured coherently to provide buyers with insights that help them build their own product range.”
In this process, the physical aspect of the trade fair retains its distinctive value: seeing and assessing the product, engaging directly with business owners and suppliers, and building relationships remain elements that are difficult to replace. Digital technology therefore does not take the place of the trade fair, but rather extends the experience both before and after the event.
THE INDUSTRIAL BUYER
Those involved in the technology that enables and streamlines the production chain have also highlighted a different type of buyer. Alongside the product buyer operates an industrial buyer, with their own evaluation criteria. They do not merely seek a solution to a production need: they assess the machine’s reliability and flexibility, sustainability and energy consumption, and, increasingly, its software capabilities – that is, the system’s ability to communicate with other machines and with different departments within the company. These are choices that affect the company’s competitiveness well beyond the current season and which, upstream, determine the quality of what will reach the shop counter.
FIVE PERSPECTIVES, A SINGLE BUYER JOURNEY
A comparison of the events revealed different yet complementary perspectives. MICAM Milano highlighted the footwear sector’s perspective and that of an increasingly well-informed buyer, supported by matchmaking tools and trend intelligence. Milano Fashion&Jewels focused on scouting and the creation of cross-category ranges spanning fashion, accessories and jewellery. MIPEL examined the relationship between leather goods, the product, distribution and the retail outlet. TheOneMilano highlighted the role of sourcing, production capacity and private labels. Simac Tanning Tech focused on the industrial dimension of decision-making, where technologies, processes and partners influence a company’s future competitiveness. Different paths that converge on a single need: to make the meeting between supply and demand more specialised and effective.
Theadvantage of consolidation, after all, does not concern buyers alone.
For buyers, it allows them to optimise their time and find, in a single event, the full range of categories they need to build their own offering; for exhibitors, it opens up opportunities for cross-selling and access to a wider audience of buyers than a single sector-specific event can guarantee. This is the logic of networking between events that are closely linked both commercially and culturally.
THE TRADE FAIR AS A PLATFORM FOR RELATIONSHIP-BUILDING
From this perspective, the trade fair is evolving from a meeting place into a platform for building relationships. Buyers expect to be able to prepare for their visit, focus their search, select the right contacts, organise meetings and continue the dialogue even after the event. The physical and digital dimensions complement one another: the former retains a specific value in product evaluation and relationship-building, whilst digital tools make the process more informed, selective and continuous.
For the footwear and handbag sectors, the first event is MICAM Milano and MIPEL from 13 to 15 September, followed by Lineapelle and Simac Tanning Tech from 15 to 17 September.