Fashion in 2025: trend expert Julian Daynov

As 2025 draws to a close_ it is time to reflect on the past few months and look to the year ahead. We spoke with various industry experts about their expectations_ aspirations_ and highlights.

Julian Daynov knows the fashion industry from multiple angles: as a designer_ trend expert_ consultant_ and former buyer. This gives him a unique perspective on the past year and what the future holds_ from both a creative and a commercial standpoint.

What were your expectations for 2025?

My personal expectations for 2025 were marked by ambivalence. On one hand_ I hoped the industry would refocus on substance_ clarity_ and conviction after several loud and sometimes erratic years. On the other hand_ I was aware that genuine change takes time and is often not a linear process.

Were these expectations met?

Some of these expectations were met_ while others are still clearly in progress. I saw 2025 as a year where many industry players began to honestly assess their own relevance_ some by choice and others by necessity. Brands are once again asking fundamental questions: Why do we exist? Who are we truly working for? What responsibility do we hold_ both culturally and economically? I find this self-reflection to be both positive and essential.

Simultaneously_ I noticed how difficult the industry finds it to truly abandon old patterns. Speed_ constant visibility_ and short-term success still exert enormous pressure. I had expected that we would move away from this more quickly_ which has only been partially achieved. I do_ however_ see a growing awareness that this model is reaching its limits.

How was the year for you personally?

Personally_ 2025 was a very eventful and successful year for me. It was a year of refinement_ both in content and strategy. In my work_ I deliberately focused on projects that do not just claim a stance but embody it structurally. Creating spaces where fashion is understood as an expression of identity_ freedom_ and cultural movement_ rather than a mere consumer product_ was particularly important to me. This clarity confirmed my belief that reduction is often more productive than expansion.

What positively surprised me was the openness of many conversations. In 2025_ I encountered less superficiality and more depth_ particularly in my exchanges with young creatives and decision-makers who are prepared to rethink responsibility. This gives me confidence for the future.

From a purely business perspective_ it was a very strong_ packed_ and intense year. I worked on many global client campaigns and launched new projects. There were also collaborations with brands outside the fashion industry and successes for the brands I design for. A personal highlight was the launch of my own fragrance_ which became available in many countries from December.

Overall_ 2025 did not spectacularly exceed my expectations_ but it did confirm them in a very honest way. Change is happening_ but it is fragile. This is precisely why we need people_ brands_ and platforms that remain consistent_ even when immediate acclaim is absent.

What were the fashion industry highlights for you this year?

Globally_ it was a very turbulent year for business and for many of the leading brands that largely shape industry trends. I am certain that 2025 provided perfect inspiration for many documentaries and business consulting books. We saw designer shifts; waves of animosity towards luxury conglomerates; a lack of transparency within supply chains; and countless insolvencies in Germany. All of this is sobering and shocking_ but also motivating.

The highlights in the fashion industry this year were less about individual collections and more about a tangible shift in perspective. Fashion is starting to take responsibility again: culturally_ politically_ socially_ and economically.

In my work_ I focus on industry trends and developments that are poised to make a significant impact.

What trends have you noticed?

I am observing a stronger focus on substance. This includes clear identities_ sustainable processes_ and a conscious engagement with target audiences who can no longer be defined by traditional categories.

What lowlights shaped 2025?

On the other hand_ I also noted several lowlights in the fashion business in 2025. These included the cynical and hypocritical actions of global brands and fashion personalities supporting an ultra-wealthy country that condemns women and queer individuals; the transformation of cultural events into Amazon corporate events; the development of artificial intelligence in the fashion industry_ which is costing creativity and many jobs; and numerous revelations about the lack of transparency and modern slavery in the production facilities of mega-brands.

These were some alarming developments in the business that I found deeply concerning. It remains to be seen how all of this will translate into 2026.

Where will the fashion industry head in the coming year?

2026 will be a year of consolidation and conviction for the fashion industry. We are already seeing a shift in focus from mere visibility to authentic relevance. Brands that communicate clearly defined values and embody them in their design_ production_ and community engagement will see stronger growth.

Gender neutrality will become an operational reality_ not just a concept. Silhouettes_ sizing logic_ and presentation formats will become more fluid. This is not for the sake of a trend_ but because consumers are simply demanding this freedom.

The link between creativity and responsibility must continue to grow in importance_ not just regarding sustainability but as a holistic corporate culture. Those who can combine economic efficiency with cultural significance will be the ones to make a difference in 2026.

For industry players_ this means not only providing aesthetic inspiration but also acting as a catalyst for new perceptions. This goes beyond the boundaries_ categories_ and traditional expectations of a fashion brand or a category player.

What needs to change urgently?

The speed at which meaning_ newness_ and coolness are expected to be produced is what urgently needs to change. The fashion business has long mistaken quantity for relevance. We need fewer cycles and more substance; less reaction and more conviction. Brands must stop chasing fleeting TikTok trends and instead take responsibility for their own narratives and stand for something.

The fashion business is at a point where cosmetic corrections are no longer enough. The most urgent change required is a fundamental shift in the understanding of value. For too long_ success has been defined solely by speed_ volume_ and paid visibility. This model is not only ecologically and socially problematic but also economically short-sighted. Fashion needs time again for development_ craftsmanship_ and conviction. This means fewer drops and less overproduction_ in favour of clearer concepts and more durable products.

A second key point is credibility. Sustainability_ diversity_ and gender neutrality can no longer be mere campaign buzzwords. They must be structurally embedded within a company_ reflected in its leadership_ design processes_ casting decisions_ and how collections are presented and sold. Consumers today are extremely sensitive to contradictions. Brands that communicate a stance without embodying it will ultimately lose trust and relevance.

Furthermore_ the power dynamics within the industry must shift. Creative work_ cultural research_ and curatorial expertise must be valued as highly as short-term sales figures. Fashion is not an isolated product; it is part of a cultural discourse. Anyone who takes this discourse seriously will invest not only in marketing but also in education_ context_ and community.

Inclusion is another crucial aspect. This means rethinking structures_ not just extending existing norms. Body images_ gender categories_ and age limits must be approached more openly_ which includes retail_ sizing systems_ and communication. Fashion should not dictate who people should be. Instead_ it should create spaces for them to define themselves.

Finally_ the fashion business needs more courage to embrace reduction. Not every idea needs to be scaled_ not every collection needs to be globalised. Local relevance_ cultural depth_ and clear identities are often more valuable today than maximum reach. When fashion is once again understood as a cultural asset – with economic responsibility and social impact – a more stable_ honest_ and sustainable system will emerge. In my view_ this paradigm shift is long overdue.

What are your plans for 2026?

For 2026_ I have made a conscious decision to prioritise depth over speed. My focus will be on further developing my existing partnerships and platforms.

Neudeutsch will be positioned more strongly as a curatorial space_ not just for fashion but for cultural relevance in a broader sense. I aim to make the dialogues between fashion_ art_ design_ and society more visible and physically tangible. Shows are planned for Berlin's Gallery Weekend and Art Week_ in Copenhagen_ and potentially in Miami. These moments offer a tremendous opportunity to embed fashion more deeply within the context of contemporary art and to engage new audiences. I am particularly interested in how fashion can function as a cultural medium within these formats—not as an illustration_ but as a dialogue.

A key focus will be the continued development of my retail consulting_ store design_ and coaching projects. These projects treat shopping as a cultural experience rather than a mere transaction and aim to rethink retail spaces.

In my collaborations with international fashion brands_ I aim to create new forms of engagement that are deliberately minimalist_ high-quality_ and clearly positioned in their content.

I will further expand my projects as a designer and creative director for fashion and accessory brands. I am very proud of Rossi's success and the fact that we have created a “blueprint for modern brand building” out of Germany with the brand; my design philosophy for gender-neutral silhouettes and styles now extends from shirts_ trousers_ and bags to interiors and fragrances.

I firmly believe that sustainable relevance can only be built on a foundation of trust and shared conviction. For me_ 2026 is about creating lasting structures and platforms that can evolve without losing their identity. I see 2026 as a year where curating_ networking_ consulting_ and co-creating are not just methods but a mindset: attentive_ collaborative_ and uncompromising on quality.

This interview was conducted in writing.