September marks a rebirth. Cities awaken, calendars fill up, and fashion, as usual, dictates the rhythm of change. From New York to London, from Milan to Paris, Fashion Weeks once again capture the world's attention. However, the Spring/Summer 2026 season feels distinctly different: it's not just a showcase of trends, but the stage for a genuine generational revolution.
This year, all eyes are on the
new creative directors stepping into the spotlight and making their debuts at major fashion maisons. Young promises as well as established names are ready to imprint their vision on heritage brands. A creative relay race that reflects how the industry now lives in an era of constant uncertainty and transformation. Gone are the days of decades-long reigns like those of
Karl Lagerfeld or
Giorgio Armani. In today's high-speed fashion cycle, creative tenures often last less than five years.
The causes are many: an obsession with novelty, market pressures, investors' expectations, and the amplified role of social media, which feed the hype but make it increasingly difficult to build a consistent language in the long term. This raises an important question: will these debuts solidify new creative identities, or will they lead to a never-ending chase for the next big surprise?
This season, Milan and Paris transform into open-air laboratories of aesthetics, crossroads of visual storytelling and cultural metamorphosis.
From September 23 to 29, 2025, Milan opened its doors to a memorable season. Not only for the intensity of its schedule, but for the symbolic weight that this edition carries with it: this was the
first Milan Fashion Week without Giorgio Armani, who passed away on September 4. The city paid tribute with quiet reverence and standing ovations, most notably during the
Emporio Armani show, a moving retrospective celebrating fifty years of the man who redefined the very concept of
Italian elegance.
The void left by King Giorgio is both a warning and a responsibility. While Armani embodied continuity, today's fashion thrives on speed and change. It's no coincidence that this edition was dominated by an unprecedented number of new creative directors, each tasked with shaping the future of their maisons and proving that innovation and legacy can coexist.
Between homages to the past and glances towards the future, Milan became a creative laboratory, ready to rewrite the codes of contemporary luxury.
It’s the debut most discussed:
Dario Vitale steps into
Donatella Versace's shoes, leading the house into a new era following its acquisition by the
Prada group. His aesthetic is more pared-back and essential, foreshadowed at the Venice Film Festival, where
Julia Roberts embodied the new
Versace in a minimal, refined creation. No more baroque excesses: Vitale focuses on
understated sensuality and
quiet intimacy. His first collection was presented on September 26 in a private event, away from the noise of traditional fashion shows.
After her time at Carven,
Louise Trotter arrives at
Bottega Veneta. Having officially taken the helm in late January 2025, she made her long-awaited debut during Milan Fashion Week, presenting her first collection for the brand. Her vision is one of
clean lines,
essential volumes, and
whispered elegance, recognizable without the need for loud logos. Anticipation has already been building after
Jacob Elordi appeared in Venice wearing a Trotter look, embodying an idea of beauty that is both timeless and authentic.
September also marked the debut of Simone Bellotti, taking over from Lucie and Luke Meier. His approach is rooted in radical minimalism, where fabrics take center stage and tailoring returns to be pure architecture for the body. A return to the maison’s origins, with eyes firmly set on the future.
After Alessandro Michele's departure and Sabato De Sarno's brief tenure,
Gucci now entrusts its identity to
Demna Gvasalia. There was no traditional runway show for his arrival. Instead, a
creative triptych consisting of a
photographic lookbook, a
spontaneous photocall in Milan’s Piazza Affari, and a short film directed by
Spike Jonze. The result was a surreal tale that erased the past and sparked debate, even though the true runway debut is still to come.
If Milan celebrated continuity through Italian heritage, Paris became the stage for reinvention. From September 30 to October 6, the French capital turned its spotlight on a week blending spectacle and introspection, turning runways into theatrical and conceptual stages. Each maison took the opportunity to rewrite its own codes through poetic references and aesthetic provocations, in a succession of debuts destined to redefine the language of contemporary fashion.
October marked Jonathan Anderson's debut with Dior's women's ready-to-wear collection. After a soft prelude in Venice, where actresses Alba Rohrwacher and Greta Lee wore his creations, Anderson brings his signature blend of heritage and modernity. His appointment comes at a pivotal moment for Dior, which, under new Global PR Director Peter Utz, is doubling down on the power of celebrity storytelling in shaping its narrative.
Among October’s most intriguing debuts are Miguel Castro Freitas at Mugler and Mark Thomas at Carven. Two very different maisons in terms of history and identity, but united by a delicate challenge: reinterpreting their past without betraying it. Castro Freitas inherits the legacy of Mugler, a brand synonymous with theatrical sensuality and sculptural silhouettes, with the intention of preserving its visionary power and, at the same time, updating it to contemporary sensibilities. Mark Thomas, meanwhile, takes the reins at Carven to revitalize the storied house, propelling it toward a dynamic and international future.
October also welcomes Jack McCollough and Lazaro Hernandez, the duo behind Proenza Schouler, who bring to Loewe their signature architectural volumes and contemporary edge. A new chapter for the Spanish maison, increasingly central to conversations about innovative luxury.
One of the most anticipated debuts is that of
Pierpaolo Piccioli, now tackling
Balenciaga’s conceptual language. After redefining couture through an inclusive lens at Valentino, his vision may once again redefine the aesthetic codes of the maison.
Known for his
experimental edge and the ability to mix couture and streetwear codes,
Glenn Martens joins
Maison Margiela. His daring vision seems naturally aligned with the maison’s nonconformist spirit, heir to Martin Margiela’s radical thought. We expect a
ready-to-wear capable of pushing boundaries, while remaining faithful to the cult of deconstruction.
Celebrated for his radical and sustainable approach,
Duran Lantink debuts with
Jean Paul Gaultier with the intention of reinterpreting the irreverence of the house in a contemporary key. Famous for his use of
upcycled materials and provocative flair, Lantink brings a language that merges irony, inclusivity, and experimentation, perfectly in line with Gaultier’s rebellious spirit.
The most symbolic transition is Matthieu Blazy’s move to Chanel. After reviving Bottega Veneta, he now inherits one of fashion’s most iconic legacies, his debut marking the start of a new chapter for Mademoiselle Coco’s legendary maison.
More discreet but equally significant, Michael Rider continues his path as creative director of Celine. After a careful first phase, he now consolidates a vision that alternates sharp tailoring with modern lightness. The goal is to keep the brand in balance between Parisian tradition and modern spirit, offering ready-to-wear designed for a sophisticated, ever-moving clientele.
Between highly anticipated debuts and milestone anniversaries, the 2025/26 season marks a turning point: luxury is redefining itself. No longer just status, but language, identity, and also responsibility.
Through their runways, Milan and Paris mirror broader cultural shifts: from quiet luxury and the art of subtraction to the rediscovery of re-wear and the power of celebrities in validating new aesthetics.
The future of fashion is unfolding here, between heritage and innovation, between past and future. And this year, every debut isn’t just a collection, but the promise of a new story.
Caricamento Edicola