Published
October 15, 2025
Heralded as the “Fashion Week of the Century”, this season of shows and presentations was rich in debuts across the major luxury brands. From New York to Paris, via London and Milan, the fashion capitals thrummed to the rhythm of creativity and designer debuts from September into October. Having brought you the highlights, FashionNetwork.com sought buyers’ perspectives on this defining moment. Today, Alix Morabito, Galeries Lafayette’s director of buying and merchandising, shares her thoughts on the atmosphere of this season like no other, and analyses its noteworthy debuts with enthusiasm and generosity.
FashionNetwork.com: In the current context of major change across the industry, what is your overall view of this season’s creativity and commercial direction?
Alix Morabito: After many months of reshuffles and transition, brands are faced with major challenges: reconciling brand heritage with innovation and the necessary appetite for risk; rekindling desire, and restoring meaning; all within a global economic climate under pressure.
At every show, before the first look, I thought of the men and women putting their vision, talent and creativity on the runway. I thought of their teams and the brands’ leadership, guiding these transitions.
I wanted to be surprised, to see varied creative propositions that echoed their diverse journeys and the houses’ heritages. I also hoped the gesture and the approach would not be gratuitous—that they would restore fashion’s cultural dimension, rekindle dream and desire through “sincere” storytelling, the main drivers of our industry, and speak to “society”: to customers who have drifted away from brands and fashion, while respecting the loyal customers who keep the labels alive today.
And what a season! This Fashion Week met expectations: eclectic, creative, lively, and vibrant, with so many relevant, personal propositions that stirred both emotion and desire.
FNW: What do you consider to be the most successful creative director debuts or new creative directions of the season?
AM: I salute all of the debuts: the creative strength of the propositions, the work and commitment required to achieve them, and the humility required in the face of heritage and more recent predecessors. Look at Dior: after brilliantly redefining menswear and launching successful campaigns and initial products, Jonathan Anderson is now moving into womenswear territory. He embraces the house’s heritage with great creativity, infusing a more relaxed, youthful attitude. At Bottega Veneta, Louise (Trotter) offers a graceful evolution: a richly detailed, sophisticated collection marrying craftsmanship and innovation. She imbues the essence of her “wardrobe” with a certain “Italianness”. And at Margiela, Glenn Martens’ work echoed Martin’s spirit. His frank, grounded approach was full of references and strikingly relevant. It is precisely this authenticity, appreciated in Martin’s work, that we want to see at Margiela.
I also appreciated Jack and Lazaro’s proposal at Loewe, which was sharp and set new foundations for their domain through colour, form, and a strong focus on leather ready-to-wear pieces. Michael Rider confirmed the vision he presented in June at Céline. I particularly liked the allure of this season’s woman: an unapologetic bourgeois woman, or a “cool girl” who’s gone bourgeois. Her outfits and accessories were instantly covetable.
At Gucci, it’s a first glimpse, and we look forward to Demna’s new vision in February. Pier Paolo at Balenciaga manoeuvres between Cristobal’s heritage and Demna’s vocabulary and manages to find a certain balance. And I find that Duran at JPG teases us by revealing a few looks that introduce what he intends to develop- and one can quickly imagine the pairing will be fruitful. As for Simone Bellotti at Jil Sander, he manages, from his very first show, to help us rediscover Jil Sander’s original approach and singular purity.
But I was particularly and profoundly moved by the new propositions at Chanel and Versace, each of which was breathtaking in its own way.
FNW: And what was it about these two houses that impressed you so much?
AM: At Chanel, what a thrill to witness this perfect alignment, the fruit of Matthieu Blazy’s humble and masterful talent within this great house. He brings Gabrielle and her 1920s beginnings back to life with assured nonchalance and perfectly judged ease. He revisits the house’s aesthetic codes without ever letting them dominate. Matthieu thus reinvents the Chanel allure without revolutionising it. This began a few days before the show with teaser visuals shot by David Bailey, so spot-on and perfectly targeted, and asserted itself on the catwalk with exceptional tweed work, vibrant colours, and reimagined iconic accessories.
Dario Vitale succeeded in opening a new chapter for Versace. It was intimate and warm, generous and spontaneous, fun and daring. Through the venue, the collection and the after-show, Dario Vitale demonstrates a strong capacity for storytelling, putting the brand back into people’s lives and emphasising Italian culture as well as Gianni’s ethos. He remains true to the spirit of the brand while introducing a new vocabulary. It was a very rich, complete, and eclectic collection in merchandising terms that speaks to a wider audience, with highly desirable pieces such as striped trousers, leather jackets, close-fitting dresses, and new accessories.
FNW: What are the major trends that have emerged from Fashion Month as a whole, and which will structure your buying strategy?
AM: It’s a colourful summer season in which a romantic, youthful femininity blossoms: retro inspiration with references to the 60s, 70s and 80s; short babydoll silhouettes; lingerie lace and bra details; draped dresses and skirts; pop and acid colours; floral prints; kitten heels and small wedge sandals. Preppy inspiration is also present through “shrunken” volumes, the play of scarves, mini-skirt, shirting and men’s jacket ensembles, numerous checks, and knits worn over the shoulders or tied at the waist.
This soft femininity is offset by numerous sporty and technical references: bombers, slim trousers and leggings, swimwear, banding and slits, colourful shoes and trainers, multicoloured stripes and functional accessories.
These new trends and contrasts enrich past seasons. And the array of singular propositions invites individual expression.
FNW: Beyond the garments, which of the proposed universes was the most striking and could be translated into a strong in-store expression?
AM: The Chanel set took us back to Karl’s era with a large-scale décor that was extremely striking and theatrical. It was highly poetic, with immense, majestic globes that gave the feeling of being outside of time, far from the chaos and embracing a new universe. At the end of the show, the audience lingered under the glass roof of the Grand Palais, and were left transported and dreamy.
At Versace, the “presentation” became an “intimate fashion show” at the Pinacoteca Ambrosiana. We’re transported to the Italian Renaissance, surrounded by works of art from Raphael to Caravaggio, and discover the venue through original, realistic installations (such as the bedroom) that bring to life the intimacy of Gianni Versace. Following the show, we’re invited to Peck, an iconic Milanese delicatessen- a generous, timeless moment that continues to shape the cultural codes in which Dario wishes to inscribe Versace.
At Dior, the show opens with a documentary by Adam Curtis, retracing the highlights and different creative stages of the house, all of which have enriched its history and heritage. Céline welcomes us to the Parc de Saint-Cloud on a sunny Sunday morning, inviting us to step away from bustling Paris and breathe, making nature a new element of expression for the house. Glenn’s orchestra for Maison Margiela, with children dressed as adults, was extremely moving and recalls the emotion one might have felt at Martin Margiela shows.
FNW: Among the independent brands and young designers, which proposals stood out for their ability to marry creative audacity with market potential?
AM: Among the young talents, Marie Adam Leenaerdt and Alain Paul, both beyond their debut, each usher in a new stage in their evolution. Marie Adam’s collection continues to play with versatility and functionality, but the concept gives way to the woman, and the collection is all the stronger and more commercial for it.
Alain Paul’s ballet background is a rich source of storytelling, which he deploys within his collections, offering a very clear and convincing interpretative angle.
FNW: On the product side, what are the key pieces you see as the season’s new sales drivers?
AM: Several hit pièces are emerging: large leather jackets and bombers; white poplin blouses, tops and dresses; wrap skirts and dresses; baby doll dresses; leggings and high-waisted slim trousers; cardigans. And lingerie pieces are becoming increasingly visible within the ready-to-wear wardrobe, such as bodysuits, bralettes and bras, and swimwear.
FNW: What materials, textures and colour palettes will most energise the offering this season?
AM: The palette is particularly strong, with colour combinations and even clashes. This makes fashion joyful and energising, after a period dominated by more classic, “quiet” tones or monochrome looks.
Shades oscillate between intense flashes (reds, oranges, blues, yellows, etc.) and softer pastels (pinks, light blues, butter yellows, etc.). They run across the entire silhouette, and accessories are likewise very colourful.
FNW: Finally, when it comes to accessories, do you see a strong trend emerging?
AM: There are a great many shoe offerings this season, with lots of colours, patterns (flowers and checks) and material treatments (raffia, croc effect, etc.). Pumps are omnipresent (high heels, kitten heels or wedges), while sandals with mini wedges are also quite popular. Clogs are making a comeback, while slim trainers and flip-flops continue to make their presence felt.
The soft accessories are also very prominent: the return of the scarf and numerous hats/caps. The belt becomes a key element of the silhouette, with fashion-forward propositions and imposing buckles.
Plenty of jewellery, with the return of large earrings, cuffs and long chain pendants.
In terms of leather goods, the most noticeable styling move is the nonchalantly open bag. There are also many more functional developments (multi-pockets, belt bags, etc.) and, finally, more exceptional bags: bracelet bags, fringe bags, and collectable “box” bags.
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