Daring or reassuring: Brand strategies at Paris Fashion Week

“Historic” was a term widely used by industry professionals to describe this notable fashion week. A large number of brands had chosen this season to begin an important chapter in their history and unveil the very first collection from their new artistic director. While these debuts largely captured public attention_ other key moments also made a lasting impression.

In short_ Paris Fashion Week was split into three distinct dynamics: the Grand Debuts_ the Sophomores (a second presentation by an artistic director)_ and the Collections of Continuity. Each highlighted a unique strategy_ adapted to the brand's market position and its own growth cycle.

Grand debuts

The arrival of a new creative director at a fashion house always stirs a strong mix of emotions and feelings: curiosity; impatience; and excitement. While it puts the brand in the spotlight_ it is also important that the attention does not fizzle out and instead endures over time.

At Chanel_ Matthieu Blazy_ the new artistic director of fashion_ seems to have lived up to expectations. The show_ which ended with a standing ovation_ moved the audience to tears. They were perhaps also touched by the significance of the show itself_ which definitively turned the page on the Karl Lagerfeld era_ who was Chanel's artistic director from 1983 to 2019.

Blazy's proposal dusted off the image of the classic tweed suit and offered a resolutely modern silhouette. This was achieved through creative work with materials_ fluid cuts and wearable styling. The apparent simplicity and great creativity of the pieces designed by Blazy had already proven commercially successful at Bottega Veneta_ his previous employer_ and could well boost sales for the illustrious French house too.

Highlights include: the shaggy earrings worn by the first model_ as well as all the tweed pieces reworked into a soft_ organic knit.

At Balenciaga_ Pierpaolo Piccioli is giving the Kering Group brand a new direction. Following the fusion of haute couture and streetwear proposed by his predecessor_ Demna_ the Roman designer is infusing a modern and much less divisive glamour. To describe his approach_ the new artistic director spoke of a “recalibration” of the house's heritage.

A key takeaway: Piccioli has carefully reinvented the City Bag_ one of the brand's bestsellers. This is an important point because although the brand's sales are down_ its leather goods segment is still performing well.

The LVMH house of Christian Dior presented Jonathan Anderson's first womenswear collection. Like Matthieu Blazy at Chanel_ the designer's signature style was evident. It appeared as a continuation of his creative exploration for Loewe_ where he led the creative direction for over ten years.

The pieces by Anderson_ sometimes highly conceptual_ break with the previous collections by Maria Grazia Chiuri_ whose approach some considered too commercial. It is likely that the show's retail offering will be supplemented with classic pieces_ particularly to avoid disappointing the community of loyal customers established by her predecessor.

As Anderson is no longer the artistic director of Loewe_ the role has been entrusted to Jack McCollough and Lazaro Hernandez_ whose first show took place on the morning of Friday_ October 3. Here_ there was no break_ but a clear continuation. The playful grammar that Anderson had developed continues in a graphic collection that mixes artistic pieces with everyday wear. 

A highlight: the re-edition of the Amazona 180 bag_ which the house describes as “a spacious_ double-sided version”_ to be worn open or closed.

Another major new development was the first collection by Duran Lantink for Jean Paul Gaultier. The creator of one of the most viral looks of AW25 Fashion Week (a man wearing a pair of fake breasts on his chest) had the creative responsibility of bringing Jean Paul Gaultier's ready-to-wear back to the runways. Known for his provocative and innovative fashion_ the Dutch designer stayed true to his style. The result was a divisive proposal_ featuring strong references to JPG codes and provocative silhouettes playing on nudity.

This season also marked the debut of Miguel Castro Freitas at Mugler_ the L'Oréal group brand whose image resonates with adjectives like dramatic_ spectacular and glamorous. The new artistic director focused on a sensual language of the hourglass silhouette and monochrome ensembles_ with a strong emphasis on the nude shade. 

A key takeaway: one of the most shared looks on social media was a light_ draped dress_ dotted with stars and held in place by small hoops on the model's nipples.

Sophomore

Givenchy_ Tom Ford_ Maison Margiela and Celine all presented the second collection from their artistic director. This is a key step that allows the brand to confirm a vision and identity_ but also to gain credibility and legitimacy with both consumers and professional buyers.

In March 2025_ British designer Sarah Burton_ artistic director of Givenchy_ another LVMH label_ had captivated everyone with sculptural cuts and looks with viral potential. Her position as a woman at the artistic helm of a luxury heavyweight is a rare occurrence in a sector that has predominantly appointed men to this role. Her feminine vision therefore generates particular interest in the industry_ beyond her characteristic talent.

Sarah Burton was probably aware of this uniqueness when she wrote this sentence to accompany the notes for the Givenchy SS26 show: “A powerful femininity. I wanted to explore the strength of women through the prism of female archetypes.”

The collection plays on contrasts between the classic and the subversive_ with couture or artistic proposals but also more commercial pieces_ like a cropped jacket_ a trendy jacket suitable for everyday wear.

At Celine_ an original strategy was chosen by making this new collection by Michael Rider a continuation of the first_ which was presented this summer and dedicated to the summer 2026 womenswear wardrobe.

“We considered this collection a continuation_ as if the July show never really ended_” explains Rider in the show notes. There could be two reasons for this decision. It could be a desire to firmly establish the new image of the Celine woman by Rider_ avoiding the dilution of the new artistic director's stylistic grammar in yet another unrelated collection. Alternatively_ it could be a style that is still finding its feet and taking its time.

For his first Celine collection_ Rider had drawn inspiration from elements of the Hedi Slimane era and the Phoebe Philo years (his two predecessors_ whose performances had led to an increase in sales). This second instalment therefore follows the same idea.

On social media_ what will be most remembered from Glenn Martens' second show for Margiela – and his first ready-to-wear collection – are the open mouths of the models wearing metal bars similar to dental cheek retractors.

The collection_ however_ was well received. The new artistic director focused on a key segment for the brand: tailoring. His silhouettes were wearable_ designed for “real life”_ with a subtle construction of sleeves with rounded shoulders.

Collections of continuity

Faced with the attention given to the Grand Debut shows (Chanel_ Dior_ etc.)_ the main challenge for luxury brands that opted for Collections of Continuity was to stand out and reclaim the spotlight. However_ in today's uncertain economic climate_ it was not the time for sensationalism or overly flashy images seeking attention at all costs. Consequently_ most brands preferred to reassure their clientele by opting for a sober approach. They chose a straightforward narrative focused on wearable clothing that avoids any scandal and maintains a positive tone_ far from the gloomy climate many countries are facing.

One of the brands to clearly express a desire for stability through its creations is undoubtedly Saint Laurent. Although the Kering Group house saw its figures decline in the first half of 2025 (current operating income down by 17 percent)_ the creative proposal of Anthony Vaccarello – who has been in the role for almost ten years – remains unchanged. It featured the same wide-shouldered silhouettes; the same heavy leather pieces; and the same decision not to send models down the runway with bags_ a key segment for luxury.

Highlights from this show include the imposing_ colourful dresses_ which appeared inflated and looked as if they could be folded into a handbag_ as well as a long series of trench dresses.

As usual_ Nicolas Ghesquière at Louis Vuitton built a collection around powerful storytelling. This season_ inspiration from the former summer apartments of Anne of Austria_ Queen of France_ informed a very “lounge” proposal_ focused on clothes designed for indoors. The show notes speak of “great freedom in dressing” and the “ultimate luxury of dressing for oneself and revealing one's true personality”.

“All we can do is follow the rhythm of our clients' hearts_” wrote Daniel Roseberry in the Schiaparelli show notes. His statement shows the brand's desire to frame its offering with a more humble approach_ one that is connected not to a designer's fantasy but to the desires of its clientele.

Among the standout pieces from the Schiaparelli SS26 ready-to-wear collection_ the knitted trompe-l'œil was a highlight_ being both wearable and powerful from an Instagram image perspective.

At Richemont-owned Alaïa_ Pieter Mulier continued his exploration of an innovative wardrobe of apparent simplicity_ focusing on “emotional clothing”. Here_ the inventiveness is surprising and touching_ with clothes that feel new (a rare feat in 2025) and technical feats that earn the admiration of connoisseurs.

Furthermore_ the choice of scenography_ with a mirrored ceiling and a digital floor projecting images_ reinforced the idea of introspection and contemplation_ inviting the audience to truly look at the clothes. Attention was thus drawn to strong_ distinctive pieces that allow the brand to establish an immediately recognisable signature.