Out with the old, and in with the…old?
Following a series of bombshells, announcing new exits and appointments this past year, the fashion industry was brimming with anticipation heading into Paris and Milan Fashion Week. But watching it unfold felt less like a wave of new creative visions and more like a stylish game of musical chairs. As designers shuffled from house to house, “change” was the buzzword, but the faces behind it? Mostly the same ones we’ve been seeing for years.
Sabato De Sarno departed from Gucci, with Demna joining from Balenciaga. Alessandro Michele replaces Pierpaolo Piccioli at Valentino. Jonathan Anderson leaves Loewe for Dior. Glen Martens from Diesel is appointed at Maison Margiela after John Galliano’s exit…and the list goes on.
It raises the question: Does fashion actually want new voices, or does it just want shiny new packaging? It’s no secret that fashion thrives on novelty, and on the surface, this ‘shake-up’ seems like just what the industry needs. But there’s something safe about this change, and it may be more economically than creatively rooted. The current economic climate, along with consumer spending pullbacks, might have caused panic and prompted these changes to drive enthusiasm and, therefore, sales. Established names bring reputation and history, not only soothing investors, but also attracting fanatic customers eager to get the newest “[blank designer] for [blank fashion house] era” piece to add to their ever growing collections. So the cycle continues: a handful of designers are passed around, polished, and reintroduced with the same fanfare.
The problem doesn’t necessarily revolve around a lack of talent. It’s that this carousel of appointments leaves little room for outsiders in an already impenetrable industry. In 2025, we’re still seeing a lack of women, people of color, and emerging creatives whose visions could bring truly innovative perspectives.
This kind of repetition isn’t unique to fashion. Even Hollywood has stayed a year (or rather a decade) too long in its “sequel era.”. How many failed cash grab live-action remakes or Marvel movies does one generation need? The same directors, the same actors, and the same franchises again, again, and again. It’s unarguably safer to continue recycling than risk audience reception with reinvention, but at what cost? This symptom of an economic model that prioritizes guaranteed profits snuffs out all room for genuine creative exploration.
The gender imbalance in these appointments is stark. For all its talk about inclusivity and empowerment in recent years, especially when it comes to the runway models showcasing the pieces, luxury fashion still struggles to reflect that in its leadership. Most of the recent high-profile moves have gone to men. Women remain largely underrepresented, particularly in roles at legacy brands. These historically significant brands are the ones that hold the most cultural power. And when the same familiar hands continue to shape what luxury looks like, fashion’s definition of “beauty” and “taste” becomes stagnant. With collections born out of the same demographics and worldviews, the stories that can be told are limited. Without diversity in leadership, the industry risks falling into what it fears most: becoming outdated.
Still, there are glimpses of hope, seen in Louise Trotter’s exceptional debut at Bottega Veneta. Following Matthieu Blazy’s recruitment to Chanel, one of the most coveted positions in the industry, Trotter had big shoes to fill, artisanally woven leather shoes, if you will. Trotter’s most recent work was for labels Lacoste and Joseph, and she had several standout shows at Carven, but it’s this debut at Bottega that’s really put her name in the spotlight. The collection was a fresh start, while still honoring long-lasting house codes seen in the head-to-toe intrecciato. It was elegant, yet joyful, impeccably tailored, and still organic, while full of delectable coats and clogs. Edward Buchannan, who served as design director at Bottega from 1996-2000, spoke to Vogue Business on Trotter’s debut. He summed it up perfectly, putting it simply, “a woman designer’s perspective really hits different”.
And then there’s Grace Wales Bonner, whose recent announcement as the upcoming creative director of men’s ready-to-wear at Hermès makes her the first Black woman to lead design at a major European luxury house. In 2014, she founded her own menswear label, Wales Bonner, was awarded Emerging Menswear Designer at the British Fashion Awards, and went on to receive the LVMH Prize in 2016. But what’s more important than her numerous accolades is the way she infuses black identity in her collections, with her mixed-race heritage playing a key role in her work. Recognized for her exploration of these themes, Wales Bonner served as a host committee member at this year’s Met Gala, Superfine: Tailoring Black Style, with several pieces included in the museum’s exhibition. Wales Bonner represents the shift the industry needs, and her nuanced storytelling could breathe fresh life into Hermès.
It’s time to take a step back and realize the song has been looping for too long, and maybe we need to change the record and let someone else take the stage. Creativity thrives on disruption, on giving space to new perspectives, new stories, new beauty. After all, if fashion really wants to stay culturally impactful, it needs to stop hitting repeat and start pressing play on some new voices.
