Paris Fashion Week: Power plays and designer shake-ups

As Paris Fashion Week draws the curtain on the month-long womenswear season, the collections—ranging from headline-grabbing debuts (Sarah Burton at Givenchy, Haider Ackermann at Tom Ford) to pointed social commentary (Comme des Garcons, Balenciaga)—reflect an industry in flux. Just as the global fashion economy seemed to have regained its footing post-pandemic, fresh turbulence, from geopolitical conflicts and trade barriers to inflationary pressures and shifting consumer habits, has once again divided the industry into clear winners and those scrambling to keep pace.

Despite the fashion press’s habitual consensus on seasonal darlings—this time the aforementioned houses in addition to Loewe, The Row, Alaïa, Miu Miu and Saint Laurent – receiving the lion’s share of praise—some collections prompted more scrutiny.

Valentino

At Valentino, a set evocative of a red nightclub bathroom proved divisive. While the concept of raw authenticity may resonate in contemporary culture, some questioned whether such a backdrop served a maison historically synonymous with refined elegance. Alessandro Michele’s signature maximalism was in full force, and while opinions remain split, his real test will come in the financial reports. Crucially, a renewed focus on accessories like shoes and handbags —an area where Valentino has struggled—was a strategic move.

One of the week’s most compelling outings came from Dutch designer Duran Lantink, whose show fueled speculation about his potential appointment at Jean Paul Gaultier. Featuring prosthetics and exaggerated silhouettes, his “Duranimal” collection was unexpectedly commercial, particularly in its outerwear—standout pieces included duffle coats, inflated bombers, and playful iterations of cow, leopard, and zebra prints.

Loewe, meanwhile, presented a collection that had the air of a retrospective rather than a forward-looking statement. The absence of Jonathan Anderson only amplified whispers of an impending move to Dior.

At Chanel, with newly appointed creative director Matthieu Blazy yet to make his mark, the studio-led collection underscored the brand’s resilience. While Virginie Viard’s departure may have been abrupt, Chanel’s core business—buoyed by perfume, beauty, and accessories—remains impervious to creative turnover. Likewise, at Louis Vuitton and Hermès, where runway presentations serve to reinforce brand image rather than drive revenue, the impact of ready-to-wear on the bottom line is average. Still, Nadège Vanhée-Cybulski at Hermès remains in a league of her own. If only the group’s retail stores would stock more of the collections.

Designer shake-ups

As Paris Fashion Week closes, attention now turns to the industry’s next shake-ups, with announcements anticipated at Gucci (will it be Hedi Slimane?), Fendi (Pierpaolo Piccioli?), Bally, and Proenza Schouler. Meanwhile, the ongoing speculation around Loewe’s future under the Proenza founders and Dior’s potential courtship of Anderson ensures that fashion’s game of musical chairs is far from over.