Kidswear: How Playtime established itself as leading European trade show

Launched in Paris with 45 brands and a then-unprecedented concept blending fashion, home decor, design and childcare, Playtime quickly expanded to Tokyo and then New York. Today, its directors have made a clear choice: to stop expanding its floor space. Instead, they are focusing on curation, personalized relationships with brands and buyers, and digital innovation through a comprehensive business-to-business (B2B) platform.

Facing buyers with tighter budgets who are more cautious yet still seeking novelty, Playtime approaches its anniversary with optimism following a post-pandemic recovery financed by a substantial loan. Here is an interview with its directors, Sébastien de Hutten and Chantal Danguillaume.

Playtime Paris will celebrate its 20th anniversary in 2027. Beyond France, Playtime is also present in New York and Tokyo. Are other markets currently being considered?

Sébastien de Hutten: Our expansions have always been driven by market needs, brands or buyer demand. After Covid-19, we needed to focus on our major markets and think in terms of large geographical regions rather than individual countries, as we did previously when we held Playtime events in Berlin and Las Vegas. That said, we did launch a small event in Los Angeles last year called Tiny Show on Tour.

Today, however, thinking in terms of broad geographical zones makes more sense given the current market: all buyers from Europe, Asia and Oceania come to Paris. Budgets are now reduced and travel is too. Buyers can no longer attend two, three or four trade shows per season. We often take place at the same time as other trade shows, so they frequently attend for several reasons at once. Playtime has become by far the largest trade show in the sector in Europe: we have around 300 brands, whereas Pitti has around 100. A very large gap has opened up.

Therefore, it does not seem relevant to us to launch permanent, large-scale trade shows in other countries. On the other hand, the idea behind Tiny Show on Tour was to have a showroom format capable of occasionally meeting buyers in specific countries. It is a very simple format for brands: they arrive with their suitcases, hang up their garments and meet buyers by pre-arranged appointment. Our latest ambition, before the war, was to go to the Middle East. This did not happen for obvious reasons. Perhaps one day, as these remain possibilities, though without any urgency: we believe it is essential to put all our energy into the success of our major editions in Paris and New York.

Playtime Paris has existed for nearly 20 years. Looking back over these two decades, what is the biggest evolution in the B2B kidswear ecosystem that the trade show has witnessed, or even driven?

Chantal Danguillaume: There has not been a major or radical transformation, rather an evolution. What we have observed since the launch of Playtime is firstly the proliferation of independent boutiques. Some are closing today, though the first ten years saw an explosion of openings for very specialized, highly premium boutiques. These boutiques have evolved into mini concept stores. There, you can find kidswear alongside family products, swimwear and footwear, which were previously sold in very specialized shops.

“We started with a designer offering, in the sense understood at the time, and we have moved to a creative offering, which is no longer a traditional designer offering.”

Danguillaume: On the brand side, there has been a professionalisation in logistics, production, costing, image presentation and communication. We did not have all these networks 20 years ago. The profession of the designer has evolved in line with consumer expectations. Twenty years ago, brands had very strong DNAs and catered to young parents who bought designer fashion and wanted to find the same for their children. That was what Playtime was about at the beginning; the first trade shows were all about premium and exclusive products. Today, boutiques and collections are much more accessible. They meet the expectations of a wider range of parents. Boutiques need a broader offering to bring together everything parents need in one place: footwear, newborn essentials, skincare and items for all children's activities.

de Hutten: Within the brand offering, we can really make this distinction: we started with a designer offering, in the sense understood at the time, and we have moved to a creative offering, highly creative in fact, though it is no longer a traditional designer offering. When we say designer, we mean handmade, one-off pieces and very small production runs. These concepts barely exist anymore, and neither do artisanal designer brands. Today, they are highly creative brands with high added value.

In terms of visitor numbers, are there more nationalities attending, and what is Playtime Paris's primary market today?

Danguillaume: The primary market for Playtime Paris is Europe, followed by Asia and the US. Historically, with its very creative and niche positioning, Playtime has always strongly attracted Asia, particularly Japan, which is very fond of creative and designer fashion. For about four years now, we have also welcomed many American buyers: having one trade show in Paris and another in the US creates a two-way flow where the events complement each other. The buyers we know very well in the US also want to source a differentiated offering.

What are these buyers looking for at Playtime Paris today that they were not looking for five or ten years ago?

Danguillaume: The question is somewhat ambivalent: a buyer comes looking for familiar things, as well as newness. However, the buyer is in a rather risky position today, having to advance cash flow for purchases. They are forced to measure and moderate their buying. Coming to a trade show is also about finding solutions to this: brands now offer deadstock or staggered deliveries. This flexibility in cash flow, purchasing and delivery has become very important.

Danguillaume: 10 years ago, a boutique might have had a portfolio of 50 or 60 brands. Buyers could afford to purchase postcards, pens and small hair clips with minimum order quantities because everything was more fluid: sales were better and times were more prosperous. I am talking about well before Covid-19. Today, the offering is more restricted. Large budgets are maintained with loyal brands, yet there is still a need for novelty, and this newness is not something buyers shy away from. Many boutiques introduce it through pop-ups, special activations, workshops with their local clientele or on their e-commerce websites.

Danguillaume: Buying is different now: more measured and considered. Yet boutiques still have to take risks to find newness and evolve with the generations. We are fortunate to have men and women from different generations in our team—mothers, fathers, aunts—and we can clearly see that this need exists. A buyer is looking for products to sell, of course, alongside products to put in the window display to draw people in.

de Hutten: A very important point is that the buyer is acutely aware of the relationship between price, quality and creative offering. However, all these multi-brand buyers can only respond to the mass market through differentiation. This differentiation comes through high creativity and more environmentally conscious products, at least in Europe, though not necessarily in the US. When fast fashion became very dominant, brands asked themselves many questions. Making basics no longer serves any purpose, unless you can produce them at a very reasonable price.

de Hutten: The trade show's distinction lies in this curation, which meets buyers' needs to avoid offering basics sold for five or six euros elsewhere, on which they cannot compete. A multi-brand buyer inevitably positions themselves in relation to what is sold elsewhere. Their point of difference is added value: creative, environmental or luxury. We are generalising, of course: there are all kinds of buyers depending on their city, neighbourhood and target audience. There are still buyers for whom price is not an issue at all.

How are new brands selected for Playtime? Do you have to turn many away?

Danguillaume: Before any selection, you have to know who you are and what you are aiming for. In 20 years, Playtime and its offering have evolved, yet the DNA, the leitmotif, has not changed. Generally, we have 20 to 25 percent new brands at the trade show. We cannot accept all those that apply because our space cannot expand. We therefore work with a set number.

de Hutten: We do not wish to expand the space. We are the right size in Paris for the current market. This offering satisfies both brands and buyers, who find all the variety they need without too much repetition.

Danguillaume: The selection happens quite naturally. New brands send us their applications, whether in lifestyle, fashion, accessories, furniture or cosmetics. Some only have a handmade lookbook, while others already have a developed website; some brands have existed for years without coming to Playtime and wish, for one reason or another, to join the trade show. The selection is based on several criteria: the brand's story, its differentiation, the context of its development, the stage of its business and its objective in coming to Playtime. Applications go before a committee comprising the sales team and myself.

Danguillaume: To judge a collection, we put ourselves in a buyer's shoes. The question is not whether I like the product, rather whether this collection will appeal to a buyer. Is it comprehensive enough? Attractive enough? Are the price, manufacturing and brand storytelling coherent? As long as it is coherent, the brand stands out and has its own story, we do not say no. Conversely, we have turned away brands that were not ready, or whose product type did not match the buyers currently attending the trade show. That is where we draw the line. Some brands call us every six months; we take the time to talk, and some have joined the trade show six months later after realising it was previously too early for them.

“Buyers love newness, yet they wait a little to get to know you better: you do not arrive at the trade show thinking "bingo, everything is working".”

Danguillaume: It is an investment. Arriving at a trade show with a new collection is extremely rewarding, yet it can also be extremely frustrating. Buyers love newness, yet they wait a little to get to know you better: you do not arrive at the trade show thinking “bingo, everything is working”. Beyond the collection, there is the preparation for the trade show and how the collection is showcased. Just like a shop window, and even more so in a row of booths, you need something that makes people want to stop. The advantage at Playtime is that all booths can be customized: no two look alike.

How have rates evolved over 20 years?

de Hutten: We increase our prices very little. Our rates are already two to three times cheaper than those of adult fashion trade shows. It is a real effort: we do not operate kidswear trade shows like adult or home decor trade shows; our margins are completely different. We try to keep prices affordable. We increase them roughly every three years, by 2 to 3 percent.

Danguillaume: We really try to maintain a fair balance for everyone. Today, a starter booth costs around 1,500 euros, including visibility and dedicated online articles. It is both a lot and a little, depending on your perspective. Some brands wish to participate yet do not have the cash flow yet. That does not stop us from talking, and we sometimes direct them towards support organisations.

Let us turn to digital. What have you implemented on that front?

de Hutten: When Playtime launched, the digital aspect was minimal. We launched the trade show with 45 brands, driven by energy and ambition, with a new concept. At the time, there were only fashion trade shows, and we wanted an event that touched on all worlds, including home decor, design, childcare and parenting, well ahead of what was being done elsewhere. I built the Playtime website myself in Flash. Today, that sounds prehistoric, though 20 years ago, Flash was extraordinary. The site was very successful, even though it was just a website with some basic information and the exhibitor list.

de Hutten: The evolution has been gigantic. About ten years ago, we were among the very first to launch an order-taking platform. Initially, each brand simply had its own online showroom there. The idea was to create continuity between the two annual three-day sessions: that was too short for many brands, as relationships evolve and needed to be extended. de Hutten: The first and most important objective was to open up opportunities for brands that needed to go international without having the means to do so: the online showroom gave them that possibility. The second was to remove order-taking from the trade show floor, making it an event for networking and discovery, which I believe is the core of a buyer's work at a trade show.

de Hutten: The platform worked well immediately and evolved significantly during Covid-19: trade shows all over the world were in contact with us because we had developed a broader concept allowing other trade shows to have their own online platforms.

How many brands are on this platform today?

de Hutten: Around 150. Orderwizz is no longer a simple order-taking platform, rather a comprehensive B2B platform. Concretely, it covers everything from product and price presentation to order-taking. It also handles pro forma invoices, billing—including electronic invoicing, which we are the only platform in the world to have launched—delivery notes and an integrated emailing tool that directs buyers to the collections. It covers everything from the start of the collection right through to delivery. We offer it at a price we want to keep very affordable: two to five times cheaper than any competing platform. The platform also covers womenswear and menswear: it has two divisions.

Playtime is thus becoming an event for discussion and networking, almost festive. Could its focus evolve towards business-to-consumer (B2C)?

de Hutten: It is something we have always considered, with a few crossover attempts over the 20 years. However, they are two very different worlds, with very different needs and offerings. Bringing in consumers to see collections that must remain confidential is problematic. Furthermore, the fact that they cannot order anything is extremely frustrating for them. de Hutten: Even though we would love to, we have only made small forays into smaller trade shows like Tokyo, with B2C moments. We realized that the logistics were extremely complex and that not all brands were ready to participate. Our speciality is B2B.

Can you give us a preview of the 2027 edition? What can exhibitors expect, and what will be new?

de Hutten: The key takeaway is that we are celebrating 20 years of Playtime. This will be reflected across both the winter and summer editions, culminating in the summer with a major event. There will be plenty of new features and developments at the trade show.

Danguillaume: We are going to celebrate together, while also taking the opportunity to make some shifts. There will be new activations, perhaps new spaces, the phasing out of some areas and the arrival of others. We are keeping a few surprises under wraps that we will not reveal just yet.

Yet the trade show will not expand in size?

Danguillaume: No. As de Hutten mentioned, we have had 500 brands at the trade show in the past, though that was during a period of brand proliferation. Many boutiques have closed since then, and brands have disappeared. Today, we operate on a format of just over 300 brands in both Paris and New York, roughly the same number. It works very well this way.

de Hutten: Playtime is about curation, a very high-quality offering, organisation and a highly personalized relationship with both brands and buyers. We have our buyer specialist who looks after them all year round, while our sales representatives and all our teams are in constant contact with the brands. Maintaining this relationship and dialogue allows us to stay ahead of new trends and listen to the brands.

de Hutten: We have never just filled space for the sake of it, and today less than ever. Playtime has always placed art and artists at the heart of its scenography because it is an inspirational event. This size is deliberate and we will not change it.

Kidswear is often referred to as a niche market today, particularly for creative brands. How do you view this description?

de Hutten: There is nothing pejorative about the term. Very recently, we attended one of the last independent Parisian trade shows, Splash, and spoke with its organisers. That is also a niche market, yet one that works very well. We are extremely far from fast fashion figures, though we are proof that there is real life beyond that. Yes, it is a niche market, yet new brands are constantly knocking at the door. There is tremendous dynamism in this sector.

Danguillaume: There is a lot of drive and plenty of young people who want to create their own collections. It is no longer just a mother who has just had a child and finds there is nothing on the market. These are people who are full of ideas and are very professional right from the start.

What advice would you give to a young brand participating in Playtime for the first time in 2027?

Danguillaume: I would advise them to go for it and believe in it. However, you need to have available cash flow planned for growth over one or two years. You must be prepared, with a very coherent collection and DNA, and state your objectives quite quickly. A brand participating in the trade show has already ticked all the boxes. Then, you must arrive with your eyes and ears wide open. I strongly advise young brands to go and talk to other exhibitors. This happens a lot at Playtime: I have rarely seen a brand turned away by another booth, and it provides extraordinary value.

Danguillaume: You also need to take care of your image and visual merchandising so that people walking past the booth think: “That product catches my eye.” You should also take advantage of everything Playtime can offer in terms of visibility. I was a young brand at Playtime myself during its first two years. I know what it is like to arrive with a niche brand. You have to be pragmatic and go step by step. If you have something to say and you are different from the others, there is no reason why it should not work.

de Hutten: Not hesitating to talk to other brands is very good advice. My other tips are very pragmatic. Firstly, be very vigilant and strict regarding delivery deadlines: this is something buyers care deeply about. Launching a collection with delivery problems right from the start is a disaster and very hard to recover from. de Hutten: Secondly, be extremely methodical and organized, and prospect constantly by setting aside time for prospecting every day. We still meet brands that do not place enough importance on prospecting and sales outreach. Yet the human connection has perhaps become even more important than before.

de Hutten: Finally, I recommend that everyone starts from the very beginning with a strong digital foundation, whether with our platform or another: you must enable the buyer, after the trade shows and between sessions, to restock, place orders very easily and explore products at all times.

Danguillaume: Furthermore, we talk about this a lot with our PR teams and influencers: we can only communicate about a brand if its photos and lookbook are up to standard. Otherwise, it is impossible to include it in our content and publications. It is a budget that must be planned for; it is essential. Failing that, superb sketches are better. Presenting unprofessional photos is a deal-breaker.

You mentioned influencers and content creators. Can you tell us more about your communications strategy?

Danguillaume: Playtime does not just exist during its events, rather all year round. Our goal is to support and bring to life the kidswear, lifestyle and footwear industry, and to highlight its players. We have articles, a magazine and a presence on all social networks. We produce interviews and articles about our brands, buyers and experts. At the trade show, we welcome the press and influencers, who also need this for their own development. All of this creates a community.

“A trade show is an event that takes place all year round.”

Danguillaume: Our goal is to keep this niche alive, because a niche without a place to express itself and be visible remains hidden. Moreover, a niche must be international. Our communication about Playtime Paris does not stay in Paris: it is broadcast worldwide, just like that of Playtime New York. We do not stop at the booth or the square metre.

de Hutten: A trade show is an event that takes place all year round, or at least over six months per edition. Our role is to serve brands by giving them visibility not only during the three days, rather for six months: the exhibitor list on our website is consulted constantly to research brands, just like the Orderwizz website.

de Hutten: For this 20th anniversary, we have also given brands a gift. We started from the observation that buyers need a little extra to discover brands: often, when preparing for their trade show, they want to see the products and their prices. These are upcoming collections that cannot be made public. We have therefore given all Playtime exhibitors access to Orderwizz in showroom mode only, not in sales mode. It is an additional opportunity to be discovered. The buyer no longer stops at the brand's public page, the one that all trade shows currently offer in their exhibitor lists: they want to discover all its products and prices. Buyers can now also chat live with brands and create personalized lists of brands to visit.

What is Playtime's financial situation today?

de Hutten: Unfortunately, we have to look back to the Covid-19 era, as most trade shows started again almost from scratch. We are experiencing growth every season. We returned to 300 brands in the summer. We restarted in 2021 with around 100 brands, I believe.

de Hutten: From a purely economic point of view, the trade show was in the red at one point. We made a human choice rather than a strategic one, which turned out to be a very good strategic decision: taking out a very large loan during Covid-19 so that the whole team could continue working and keep the brands and the sector alive online through the digital platform and communications. Our sales teams called the brands to see how they were doing and to support them, and they called the buyers. People tend to forget, though it was a very tough period.

de Hutten: We reinvested all that borrowed money to maintain a full presence throughout the entire Covid-19 period. Strategically, this allowed us to emerge ahead, relaunch our trade shows before anyone else and become number one in the US in this segment. Yet the motivation was obviously to keep everyone going and stand in solidarity. We could have shut up shop at that point, reopened later and carried on as normal. This choice means that our financial situation remains a little fragile today, though we are very optimistic as we are finally returning to a certain stability.