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The Great Transformation of the Fashion World: Fashion Enters a New Era
Apr
From empty chairs to surprising successions, the fashion world is undergoing one of the most profound transformations of the decade.
The year 2025 marks a major turning point in the history of modern fashion. Never before has the fashion industry witnessed such turmoil in the role of Creative Director—the figures behind the looks of the world’s most luxurious brands. A silent yet powerful “reshuffling” is taking place, as veteran names depart, new faces rise, and prestigious fashion houses are still uncertain about their creative futures.
In September 2023, Sarah Burton—an emblematic figure of Alexander McQueen for nearly three decades—officially parted ways with the brand. This decision closed a chapter where dark romance, drama, and McQueen’s legacy were preserved under the guidance of a loyal successor. Shortly after, in September, Sarah Burton once again made headlines when it was confirmed she would take on the role of Creative Director at Givenchy—a notable shift for the British designer and an opportunity for her to continue writing a new chapter at a renowned French brand. In March 2024, another shock occurred when Pierpaolo Piccioli left Valentino after nearly two decades, leaving a significant void in the poetic and humane image he had crafted.
At the same time, Alessandro Michele—former Creative Director of Gucci—was quickly announced as the successor at Valentino. This is an intriguing reunion characterized by baroque spirit, multi-layered culture, and uninhibited romanticism—elements that have become signatures of Michele’s career. While fashion enthusiasts eagerly awaited Valentino’s transformation, in September 2024, another major figure—Haider Ackermann—was announced as the new Creative Director of Tom Ford. Known for his gender-neutral elegance and unique handling of materials, Ackermann is expected to usher in a new chapter for the brand that has been synonymous with American sensuality and glamour.
As October 2024 rolled in, a series of events continued to create waves in the industry. Hedi Slimane departed from Celine, marking the end of a minimalist, “rock chic,” and highly personal era. In a short time, Michael Rider—who was leading the men’s division at Polo Ralph Lauren—was announced as the new Creative Director of Celine. A relatively low-profile figure, he is expected to bring a fresh perspective to the image of Celine women in the post-Slimane era. Almost immediately thereafter, Kim Jones also parted ways with Fendi, leaving the major fashion house in a state of anticipation for a successor.
As January 2025 arrived, the duo Jack McCollough and Lazaro Hernandez announced their departure from Proenza Schouler—the brand they co-founded—to officially take on the role of Creative Directors at Loewe. Meanwhile, rumors began to swirl about Jonathan Anderson—who achieved remarkable success at Loewe—potentially moving to Dior Men to replace Kim Jones. Although the information has not been officially confirmed, this upheaval suggests that Dior is seeking a strategic shift in its menswear segment.
January also marked a new milestone for Glenn Martens, who was announced as the new Creative Director of Maison Margiela. After making his mark at Diesel and Y/Project, Martens is set to challenge himself with one of the most iconic and hard-to-“tame” brands in fashion. With his nonlinear structural thinking, he is expected to carry on Galliano’s legacy in a uniquely intense and distinct manner.
By February 2025, Sabato De Sarno officially departed from Gucci—after just over a year as Creative Director. Although his tenure was brief, De Sarno initiated a more subdued chapter focused on materials and discretion following Michele’s flamboyant era. Another significant event took place: Demna left Balenciaga and officially joined Gucci. While Demna was previously known as a symbol of postmodern fashion with his satirical collections, Gucci is seeking a look that resonates more closely with the new generation. This unexpected pairing is believed to be a strategic move to reposition the brand in an increasingly rapidly changing market.
Then, in March 2025, the global fashion world was once again shaken. Donatella Versace—the irreplaceable icon of Versace—announced her departure from the brand after more than 30 years at the helm. Not only is she the sister of Gianni Versace, but Donatella embodies glamour, femininity, and Italian power—all encapsulated in the image of a platinum blonde woman with bold eyeliner. Her successor, Dario Vitale, is a relatively unknown figure to the public but is highly regarded internally for his strategic vision and ability to work with the brand’s legacy.
Throughout the ongoing chain of changes over the past year, the global fashion scene resembles a large chessboard, where every move made by the fashion houses carries strategic significance. These transitions are not merely about “changing personnel” but signal shifts in creative thinking, aesthetics, and how brands engage with the world. In this context, each seat—whether filled or still vacant, as seen at Dior Men, Fendi, or Balenciaga—has become a focal point closely monitored by fashion enthusiasts.
If fashion is a reflection of the times, then 2025 is a year of reconstruction and redefinition—where the old is cherished, yet the new continuously compels progress. When the runway lights come on, it is not just the clothing being showcased but also the power, vision, and stories that never cease to unfold.
