Galactic Vogue: Buyer Alix Morabito Unpacks Fashion's Bold New Era
Heralded as the "Fashion Week of the Century," this recent season of shows and presentations, spanning from New York to Paris via London and Milan, marked a pivotal moment for the luxury fashion industry. It was particularly rich in designer debuts and new creative directions, captivating audiences from September into October. FashionNetwork.com sought the expert opinion of buyers on this defining period, and Alix Morabito, Galeries Lafayette’s director of buying and merchandising, offered her enthusiastic and generous insights into the atmosphere and noteworthy unveilings.
Morabito’s overall view of the season’s creativity and commercial direction was remarkably positive, especially considering the industry’s current context of significant change and economic pressure. She acknowledged that brands face immense challenges: balancing deep-rooted heritage with innovation, embracing necessary risks, rekindling consumer desire, and restoring meaning to fashion. Before each show, she reflected on the immense vision, talent, and commitment of the individuals and teams driving these transitions. Her hope was for varied, surprising, and personal creative propositions that resonated with diverse journeys and house legacies, ultimately restoring fashion's cultural dimension and inspiring desire through "sincere" storytelling. This season, she affirmed, met these lofty expectations, proving eclectic, creative, lively, and vibrant, stirring both emotion and desire.
Among the season’s most successful creative director debuts and new directions, Morabito lauded the sheer creative strength, commitment, and humility displayed in facing house heritages. Jonathan Anderson at Dior, for instance, transitioned brilliantly into womenswear after redefining menswear, infusing the house’s heritage with a relaxed, youthful attitude. At Bottega Veneta, Louise Trotter presented a graceful evolution, marrying craftsmanship and innovation in a richly detailed, sophisticated collection imbued with an "Italianness" that defines her "wardrobe." Glenn Martens’ work at Margiela was praised for echoing Martin’s spirit with a frank, grounded approach full of relevant references and authentic appeal.
Further appreciating the innovative spirit, Morabito highlighted Jack and Lazaro’s sharp proposal at Loewe, which established new foundations for their domain through color, form, and a strong focus on leather ready-to-wear. Michael Rider at Céline confirmed his earlier vision, presenting a covetable woman – unapologetically bourgeois yet "cool," with instantly desirable outfits and accessories. While Demna’s new vision for Gucci was a highly anticipated first glimpse, Pier Paolo at Balenciaga skillfully navigated Cristobal’s heritage and Demna’s vocabulary to find a notable balance. Duran at JPG teased an exciting future with a few revealing looks, promising a fruitful pairing, and Simone Bellotti at Jil Sander, from his very first show, successfully reconnected audiences with the brand’s original approach and singular purity.
However, Alix Morabito expressed being particularly and profoundly moved by the new propositions at Chanel and Versace, both of which delivered breathtaking experiences in their unique ways.
At Chanel, Matthieu Blazy’s work was described as a thrill—a perfect alignment resulting from his humble yet masterful talent. He ingeniously brought Gabrielle and the brand’s 1920s beginnings back to life with assured nonchalance and ease, revisiting aesthetic codes without allowing them to dominate. Blazy reinvented the Chanel allure without revolutionizing it, a journey that began with spot-on teaser visuals by David Bailey and culminated on the catwalk with exceptional tweed work, vibrant colors, and reimagined iconic accessories.
Dario Vitale, meanwhile, successfully opened a new chapter for Versace. His vision was intimate, warm, generous, spontaneous, fun, and daring. Through the choice of venue, the collection, and the after-show experience, Vitale demonstrated a powerful capacity for storytelling, re-embedding the brand into people's lives and emphasizing Italian culture alongside Gianni Versace’s ethos. He remained true to the brand’s spirit while introducing a new vocabulary, resulting in a very rich, complete, and eclectic collection in merchandising terms, featuring highly desirable pieces like striped trousers, leather jackets, close-fitting dresses, and new accessories, appealing to a wider audience.
Looking at the broader trends emerging from Fashion Month, Morabito identified a colorful summer season blossoming with romantic, youthful femininity. This included retro inspirations referencing the 60s, 70s, and 80s, short babydoll silhouettes, lingerie lace and bra details, draped dresses and skirts, pop and acid colors, floral prints, kitten heels, and small wedge sandals. Preppy inspiration was also prominent, seen in "shrunken" volumes, the playful use of scarves, mini-skirts, shirting, men’s jacket ensembles, numerous checks, and knits worn over the shoulders or tied at the waist.
This soft femininity found its counterbalance in numerous sporty and technical references: bombers, slim trousers and leggings, swimwear, banding and slits, colorful shoes and trainers, multicolored stripes, and functional accessories. These new trends and contrasts enriched past seasons, and the array of singular propositions encouraged individual expression.
Beyond the garments, several proposed universes stood out for their striking impact and potential for strong in-store expression. The Chanel set, with its immense, majestic globes, evoked Karl's era, creating a theatrical, poetic atmosphere that felt timeless and transporting. At Versace, the intimate "fashion show" at the Pinacoteca Ambrosiana, set amidst Italian Renaissance art and featuring original, realistic installations, brought Gianni Versace’s intimacy to life, further extended by a generous post-show experience at the iconic Milanese delicatessen, Peck. Dior opened with a documentary by Adam Curtis, enriching its history and heritage. Céline invited guests to the Parc de Saint-Cloud, making nature a new element of expression, while Glenn’s orchestra for Maison Margiela, with children dressed as adults, was deeply moving, recalling the emotion of Martin Margiela’s original shows.
Among independent brands and young designers, Marie Adam Leenaerdt and Alain Paul garnered attention. Marie Adam’s collection continued its play with versatility and functionality, but with a refined focus on the woman, making the collection stronger and more commercial. Alain Paul, leveraging his ballet background, richly deployed storytelling within his collections, offering a clear and convincing interpretative angle that married creative audacity with market potential.
On the product side, several key pieces emerged as potential new sales drivers for the season. These included large leather jackets and bombers, white poplin blouses, tops and dresses, wrap skirts and dresses, baby doll dresses, leggings and high-waisted slim trousers, and cardigans. Notably, lingerie pieces like bodysuits, bralettes, bras, and swimwear are becoming increasingly visible and integrated into the ready-to-wear wardrobe.
The season’s material, texture, and color palettes were particularly energizing. The strong palette, featuring bold color combinations and even clashes, injected joy and dynamism into fashion after a period dominated by more classic, "quiet" tones or monochrome looks. Shades oscillated between intense flashes (reds, oranges, blues, yellows) and softer pastels (pinks, light blues, butter yellows), adorning entire silhouettes and accessories alike.
Finally, a strong trend emerged in accessories, particularly footwear. This season offered a vast array of shoes, rich in colors, patterns (flowers and checks), and material treatments (raffia, croc effect). Pumps were omnipresent, in various heel heights (high, kitten, or wedge), while sandals with mini wedges were also popular. Clogs made a comeback, and slim trainers and flip-flops maintained their presence.
Soft accessories also made a significant statement, with the return of the scarf and numerous hats/caps. The belt became a key element of the silhouette, featuring fashion-forward propositions and imposing buckles. Jewelry was abundant, marked by the return of large earrings, cuffs, and long chain pendants. In leather goods, the most noticeable styling move was the nonchalantly open bag. Functional developments like multi-pocket bags and belt bags gained traction, alongside more exceptional and collectible pieces such as bracelet bags, fringe bags, and "box" bags.
