As the month-long womenswear season comes to a close at Paris Fashion Week, the collections reveal an industry in transition, from highly anticipated debuts (Sarah Burton at Givenchy, Haider Ackermann at Tom Ford) to thought-provoking social commentary (Comme des Garçons, Balenciaga). Just as the global fashion economy appeared to stabilize post-pandemic, new challenges—geopolitical tensions, trade barriers, inflationary pressures, and evolving consumer behaviors—have once again created a divide between the industry’s frontrunners and those struggling to adapt.
Even though the fashion press generally agreed on the standout houses of this season—Loewe, The Row, Alaa, Miu Miu, Saint Laurent, and the aforementioned debuts—certain collections sparked more intense debate.
Valentino
Audiences were divided by Valentino’s show, which was set in a bathroom of a nightclub with red lights. While the theme of raw authenticity is in line with current cultural trends, critics questioned whether a setting like this would work for a brand that has been known for its refined elegance in the past. Although Alessandro Michele’s trademark maximalism was on full display, the financial outcomes will ultimately determine his success. Notably, a strategic shift was marked by a renewed emphasis on accessories, particularly shoes and handbags, where Valentino has lagged.
Duran Lantink
Duran Lantink, a Dutch designer, presented one of the most talked-about shows of the week, which fueled rumors that he might be hired by Jean Paul Gaultier. Prosthetics and exaggerated silhouettes in his “Duranimal” collection struck an unexpected balance between avant-garde and mainstream appeal. Duffle coats, inflated bombers, and playful animal prints (cow, leopard, and zebra) stole the spotlight when it came to outerwear.
Loewe
Instead of being a statement about the future, Loewe’s presentation felt more like a retrospective. The industry was abuzz about the brand’s future direction as a result of the absence of creative director Jonathan Anderson, whose rumored move to Dior only increased the level of speculation.
Chanel
The studio-led collection at Chanel highlighted the brand’s enduring strength, with newly appointed creative director Matthieu Blazy yet to demonstrate his vision. Chanel’s core business, which is driven by perfume, beauty, and accessories, has largely remained unaffected by creative shifts despite Virginie Viard’s sudden departure. Similarly, runway shows at Louis Vuitton and Hermès are more about establishing a brand’s identity than making money, but Nadège Vanhée-Cybulski’s work at Hermès continues to set high standards. The sole criticism? a desire for the retail stores of the brand to better reflect the runway offerings.
Designer Shake-ups
The fashion industry’s focus now shifts to upcoming creative shifts as Paris Fashion Week comes to a close. At Gucci (could Hedi Slimane take over? ), Fendi (will Pierpaolo Piccioli take over? ), Bally, and Proenza Schouler, announcements are anticipated. Meanwhile, the fashion industry’s musical chairs game is far from over thanks to rumors about Loewe’s future under the Proenza founders and Dior’s possible pursuit of Jonathan Anderson.
Paris Fashion Week highlighted the industry’s resilience and unwavering pursuit of reinvention during a season marked by innovation and uncertainty.
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