Uproar over Zara and Galliano: 'This is a power move from Inditex'
One day after the announcement that John Galliano is collaborating with Spanish retailer Zara_ reactions from fashion professionals are flooding in. The fact that a fashion icon whose work has defined haute couture is now aligning with one of the world's largest fast fashion retailers has struck a nerve in the industry. What exactly is behind this?
From outrage to understanding
In a brief statement on Tuesday_ Zara confirmed the two-year creative collaboration with Galliano. He will be allowed to delve into the brand's archives to deconstruct and revive garments from previous lines in a series of seasonal collections. The first will be released in September 2026.
According to luxury fashion expert Dr Hakan Karaosman_ the deal is a “power move” by Inditex. The expert believes the company is trying to fill a gap in the market: products that offer consumers status at a reasonable price. On LinkedIn_ he explains how this gap emerged: “Luxury brands are seeing a decline in impulse purchases because younger generations find luxury less and less relevant. They are beginning to realise that owning one or two luxury items does not automatically mean you belong to the elite. This is an illusion that brands have exploited for years through influencer marketing.” By purchasing a Zara coat by Galliano for a fraction of a salary instead of a whole one_ you can still benefit from the brand name and the designer's creative identity.
Independent designer-consultant Silvia Pellegrino responds fiercely from Barcelona. “Whatever Zara is prepared to pay for Galliano his name association is not enough. Today we talk so much about dynamics_ profits and strategy when discussing fashion_ and yet we forget that fashion is primarily about something more powerful that cannot be controlled or contained on a spreadsheet: creativity_ art. Is Zara good at numbers because they actually don_t create anything and just copy designs?” She therefore calls Galliano's choice for the role an ethical surprise.
Oana Leonte_ former marketing director at Puma_ adds to the LinkedIn discussion that Zara has very little archive to draw from in the first place. Most of it is inspired by other designers. If anyone can bring dead things back to life_ it is Galliano. However_ she questions whether that is enough_ as the success relies on “borrowed meaning”—a reputation derived from external collaborations. Recently_ Zara also had (short-lived) collaborations with designers Narciso Rodriguez and Ludovic de Saint Sernin; Steven Meisel_ who handled the photography for Zara's fiftieth anniversary; and Vincent Van Duysen_ who designed Zara's new concept store in Barcelona. None of this_ including Galliano_ is from Inditex itself.
On the other hand_ she points out how Zara could use the concept of the archive strategically_ even when it does not hold as much meaning as it does for luxury fashion houses. She writes: "They are asking him to go inside what Zara already is and find what is worth keeping. That is a more interesting ask (than whether Zara has an archive in the first place_ ed.). And it contains_ if it works_ the possibility of something genuinely transformative."
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According to Swedish master tailor Linda Carlen_ the big question is not what Zara gains from the deal_ but what it will do to Galliano's own reputation. On LinkedIn_ she analyses his latest couture collection for Maison Margiela (spring/summer 2024)_ through which he symbolically broke with his past at Dior. This past_ despite his incredible artistic work_ ended in controversy. Racist and antisemitic remarks led to his departure from the house. By now joining forces with Zara_ “he is slapping haute couture in the face_ and he is doing it loud and clear.”
From a business perspective_ there is more understanding. E-tail expert Elisabetta Borghi describes the deal on LinkedIn as an inevitable step. Zara's market position is more fragile than its annual figures suggest_ with revenue growing by only 1 percent in 2025. “In recent seasons_ Zara has tried to move into the higher segment_” she writes_ pointing to more luxurious fabrics_ clean silhouettes and less flashy campaigns. “But the inspiration was too obvious. Ralph Lauren references were barely concealed. Chanel codes were transposed onto 49-euro blazers. Even consumers with no background knowledge felt that something was not right.” In a direct_ multi-year collaboration with a tailor like Galliano_ Zara might be able to grow into its own identity.
The chain and the artist
The reactions also rightly pointed to the designer collaborations with H&M_ a tradition that began in 2004 with Karl Lagerfeld_ then creative director at Chanel. The series also included Stella McCartney (2005); Viktor & Rolf (2006); Rabanne (autumn 2023); and most recently_ Glenn Martens (2025). With each edition_ the collections sold out within hours. They were enthusiastically received by the media. To celebrate twenty years of guest designers_ H&M even released a limited reissue of what have now become collector's items.
That H&M received less criticism may have to do with the timing. Only in recent years has it become clear that the incessant stream of 'collabs' can also come at a high cost to independent brands_ wrote fashion commentator Brett Staniland_ who goes by Twinn Brett_ on his Substack. Moreover_ H&M has its long-standing reputation as a “Scandinavian_ 'clean'_ friendly_ environmentally conscious and quality brand_” states Staniland. “H&M is softer and more accessible than the edgier Zara_ making it attractive to a wider audience. They are perhaps the best marketers and the best greenwashers in the world.”
The Zara collaboration also distinguishes itself from H&M's capsules through a long-term mentality_ states Ana Vareva_ owner of the German Fashion Consulting Group. “Unlike those short collabs_ this feels strategically coherent and long-term_” she writes. “Zara has already increased the quality and distinctiveness in the mid-market segment in recent years. A collaboration with Galliano will justify the higher prices_ emphasise (creative_ ed.) talent_ and strengthen the brand's positioning.”
Galliano: a man of many faces
John Galliano was born on November 28_ 1960_ in Gibraltar and moved to London with his parents at the age of six. He did not finish school_ a foreshadowing of his headstrong characteristics as a fashion designer and entrepreneur. Instead_ he studied textiles and went on to the prestigious fashion institute Central Saint Martins. The fascination with historical costumes he developed there is evident throughout his entire body of work. In 1995_ Galliano became the first Briton to be appointed head of a French fashion house_ at Givenchy. A year later_ LVMH moved him to Christian Dior. His fifteen years at the fashion house (1996–2011)_ with theatrical themes such as Egyptian princesses_ gypsies and showgirls_ are considered one of the most extravagant periods in modern fashion history.
What remains is the question of whether Galliano can express his vision in a company that is fundamentally different from haute couture or prêt-à-porter. In his 42-year career_ he has repeatedly managed to find beauty in dusty brands and ugliness. This now seems to be his assignment from Marta Ortega Pérez.