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Designers Repeating Themselves vs Journalists’ Commentary

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Paris Fashion Week SS25 Highlights the Death of Fashion Criticism


At Paris Fashion Week SS25, we saw the emergence of constructed silhouettes and a renewed desire for more dressy styles; a longing to dress up once again. However, the most striking observation is designers repeating themselves. That coincides with the disappearance of what once was true fashion criticism.

In his critique of Milan Fashion Week, Tim Blanks of B.O.F. highlighted a lack of identity among Italian brands. So, what should we say about Paris Fashion Week? Aside from a few exceptions, like Chloé, Saint Laurent, Yohji Yamamoto, Chanel or Miu Miu — who delivered shows deeply rooted in their brand’s identity and heritage — most others could have been anyone.

Fashion criticism and designers repeating themselves

We’ve seen high praise for Alessandro Michele’s work at Valentino, which is surprising given that his approach seems merely centred on his own aesthetic. It’s as if he’s saying, ‘I love flea market style, and that’s what I bring wherever I go.’ Hasn’t he replicated what he did at Gucci? The only difference is the brand name. But just as one swallow doesn’t make a summer, a bow or a frill doesn’t make Valentino. So, it’s puzzling to read such glowing reviews from journalists when social media reactions have been far less favourable. Many users have called it a Gucci replica, with comments like ‘he destroyed one brand, now he’s doing the same to Valentino,’ and ‘he doesn’t realise people are tired of this.’ Others suggest, ‘he should launch his own brand.’ We’ve explained why he won’t in a previous discussion. Here’s an excerpt:

But why don’t these creative directors launch their namesake brands? They avoid it because out of that box, they lose their relevance. Their skills rely on immense archives and huge investments. They excel at styling and marketing, but the creativity of a fashion designer is a different matter. Their ego overpowers.

Indeed, the journalists’ comments couldn’t be more disconnected from those on social media.

The death of fashion criticism

So yes, we agree with Tim Blanks that brands lack identity. But someone must inform him that this issue isn’t exclusive to Milan. Top brands that have lost their original designers have completely lost their identity as well. They’re now focused solely on making money, and it’s hard to tell one from the other. Boundaries have blurred, and this is one of the reasons why fashion has lost its appeal.

However, we disagree with Tim Blanks and other journalists who praise designers who keep repeating themselves wherever they go. It seems they’re doing it just to secure their front-row invitations.

Fashion hasn’t just lost its identity. Also, it has lost its sense of critique. One style, one pattern, one mindset. No room for dissent.

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Stefano Pilati and The Fashion Compromise

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Integrity or Selling Out to Make a Living in the Fashion Industry?


Stefano Pilati and his recent fashion compromise with Zara has generated significant buzz. However, this collaboration raises questions about selling out in the pursuit of profit. Let’s delve into the rationale behind this move and explore the broader dynamics of the fashion industry that often drive such decisions.

Niche fashion vs mass fashion

It’s important to distinguish between designing clothes for a limited niche and creating for the masses. In the first scenario, the designer gains prestige and glamour, ascending to the status of fashion’s elite. In the latter, the focus shifts to generating significantly more profit. There’s little reason for a renowned designer to collaborate with large fast fashion conglomerates. Except for the money. Especially when it involves a giant that, as the NGO Earthsight has revealed, contributes to the devastation of the Amazon.

Historically, designing for a niche market brought status but limited financial success. But in times of permacrisis, this becomes even more challenging as the niche shrinks, making the work less financially rewarding. It’s through this lens that we can interpret Stefano Pilati’s decision.

According to the launch statement from the Spanish giant, this capsule collection aims to embody a modern vision of dressing, promoting freedom of expression at its peak.

Of course for Zara, this is likely a winning formula: pair a renowned designer with a top model like Gisele Bündchen, styled in a chic Monica Vitti look, and bring in an iconic photographer like Steven Meisel to capture it all in a striking black-and-white campaign. And voilà! The result is a powerful image.

However, the conversation on social media revolves around a simple ‘do you like it or not’ debate, missing the deeper issues entirely. That’s not the point. What about the designer’s integrity? His consistency? Staying true to his vision? What about the respect for his audience and the trust built over time?

On a larger scale, how can people continue to trust an industry that sends such contradictory messages? A fashion industry that, in the pursuit of profit, is even willing to contribute to the devastation of the Amazon?

Integrity or compromise?

Yes, we get it. Making a living in today’s world is harder than ever. Even the TV news reminds us that having a job no longer guarantees a decent life. It’s unsettling, isn’t it? So, we can understand Mr. Stefano Pilati and his compromise with fast fashion.

But, the freedom of expression – as the partnership promotes – only holds meaning when it aligns with the reality around us, such as respecting workers’ rights and safeguarding natural resources.

And so, in response to the question of integrity or selling out to make a living: Can you think of any valid argument that justifies the morality of exploiting labour and destroying the Amazon rainforest?

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Who Said Women in Men’s Clothes Aren’t Feminine?

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Saint Laurent SS25 Paris Fashion Show: Style, Gender, Patriarchy and Feminism


Who said women in men’s clothes aren’t feminine? We find it puzzling that there remains one dominant, traditional, patriarchal, and commercial idea of how women should look. Despite designers over the years presenting broader visions, one specific image continues to dominate.

Yesterday, we had the chance to view the Spring-Summer 25 Saint Laurent fashion show at Paris Fashion Week (watch it here). With a certain pleasure, we noticed how, unlike former designers who removed Yves from the brand name, Anthony Vaccarello revisited the original designer and creator of the brand. Specifically, he brought Mr. Yves Saint Laurent back onto the runway. So, elongated, refined figures walked down the runway in oversized suits that evoked the iconic designer himself. And it was remarkable.

This collection challenged the rigid idea of femininity that women themselves often can’t escape. So we ask again: who said women in men’s clothes aren’t feminine? It’s precisely the opposite – and it’s nothing new.

Yves Saint Laurent – 1967: First Pantsuit


“A year after the tuxedo, Yves Saint Laurent proposed his first pantsuit in his Spring-Summer 1967 collection. It was an unusual design for a suit, which was traditionally worn with a skirt. Just as he did for the tuxedo, Saint Laurent adapted the traditionally masculine suit for the female body. The sleeves were fitted and the waist belted, while the wide pants were flattering for the legs. He added typically female accessories, such as heels and jewelry, but still had his model wear a necktie and felt hat.” (source)

Fast-forward to 2025: Anthony Vaccarello pays homage to the original vision of Mr. Saint Laurent, reviving a look that challenged gender norms in its time and still does today.

In fact, this concept expresses a powerful challenge to traditional notions of gender in fashion. It demonstrates that femininity is not defined by wearing clothes traditionally associated with women. A woman can embody femininity while wearing what is considered “masculine” garments – and look incredibly refined doing so.

This shift reflects a broader cultural movement. Designers, fashion icons, and feminists have long argued that fashion should not be confined by gender. Figures like Coco Chanel, who popularised trousers for women, and Yves Saint Laurent, who introduced the women’s tuxedo (Le Smoking), played pivotal roles in reshaping this narrative.

What happened next?


So, from a cultural perspective, what happened after Chanel? What happened after Yves Saint Laurent? And what happened to feminism? If designers like Saint Laurent showed us that femininity transcends garments, why does contemporary feminism seem to lean more toward the image of Marilyn Monroe rather than the elegance of Saint Laurent? Why has this nuanced view of style and gender been overshadowed by more commercialised, sexualized aesthetics?

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Milano Fashion Week SS25 Celebrates Ignoring the Storm

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Exploring Fashion’s Refusal to Acknowledge Reality


Milano Fashion Week SS25 has just closed, and while the event was celebrated with high-energy words, it has done so by ignoring the storm brewing around the industry. The message seemed to be: No worries, better times will come. But, the contrast between the stakeholders’ storytelling and the fashion industry’s current struggles is hard to overlook. Despite the glamour, both the Chamber of Fashion and most brands continue to turn a blind eye to the undeniable realities – financial instability, unsustainable practices, and a larger economic and planetary crisis.

This disconnect is unsettling, as the focus remains on maintaining an illusion of success while the foundation crumbles.

About Milano Fashion Week SS25


Magazines, TV news, and interviews painted an energising picture of the MFW SS25. “Many international buyers, most from Asia,” boasted Mr. Capasa. Yet behind the scenes, a different story unfolded. Some fairs experienced entire days without any attendance. It’s clear: selling something in a controlled environment means highlighting only the positives. But business as usual, amid economic, social, and planetary crises, feels deeply misguided.

We quote Cristiana Schieppati from “Chi è Chi News” as her words resonate with us:
“But let’s talk about this week, which has been a bit like my dog when I scold him, and he gives me that guilty look. Everything felt a bit subdued, with few people around (very few foreigners), lots of marketing, few newspapers handed out outside the shows, and many phrases like ‘hang in there, better times are coming, we’re doing fine despite everything.'”

This season’s runways saw more creativity, blending playful elements with good tailoring. Perhaps this was fashion’s attempt to deflect from the harsh reality. A desire to offer a bit of joy amidst an endless “permacrisis.” Archive pieces were given new life in chaotic, contemporary ways, encouraging individuality through personal style. The message seemed to be: wear clothes however you want, and bring statement pieces into everyday life with a casual twist.

And yes, we could mention some shows we found interesting. In fact, some designers did great work capturing the essence of their vision. For instance, Antonio Marras, Prada, Bottega Veneta and Moschino. But at this point, does that really matter? And what’s the sense in celebrating sustainability when the same names that dominate Fashion Week are rewarded year after year? How can the industry claim to be embracing change when it continues to spotlight the very players whose practices remain questionable?

Conclusion


Despite the brilliance of some collections, Milano Fashion Week SS25 has ultimately chosen to celebrate while ignoring the storm, showcasing the industry’s startling refusal to confront reality. Who needs to make a change if not the Italian Chamber of Fashion?

By the way, we have little reason to believe Paris Fashion Week will be any different.

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Italian Sweatshop Problem: Is it an Italian Issue Only?

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Challenging the B.O.F. Narrative Around Labour Exploitation in Fashion


Recently, The Business of Fashion (B.O.F.) raised a critical topic: the so-called “Italian sweatshop” problem within luxury brands. However, their statement suggested that this issue is uniquely Italian, framing it as a problem specific to the country. But is that really the case? Let’s dissect the nuances of this claim.

We’ve previously touched on the death of luxury – most notably in our post “Luxury is Dead”, where we discussed the April 2024 news of Giorgio Armani Operations being placed into receivership after allegations of labour exploitation. Just a few months later, in June, Dior found itself in court administration over similar accusations. These high-profile cases highlight a much broader issue that plagues the fashion industry: labour exploitation.

Fashion industry & the “Italian” sweatshop problem: is that really the case?


This problem is no secret. Exploitation is a widespread practice across the global fashion landscape, yet CEOs and corporate leadership often downplay it, pretending it’s an anomaly rather than a systemic issue. The focus on outsourcing production to far-off locations to maximise profits by replicating the fast-fashion model has been an intentional choice.

Also, a new challenge has emerged: international buyers, drawn to the quality and tradition of Italian craftsmanship, began demanding prices too low for authentic Made in Italy. As a result, to stay competitive, many manufacturers have turned to sweatshop practices to meet buyers’ growing demands.

International buyers (if they care) should ask themselves: is it realistic to purchase a Made in Italy handbag for around €40 wholesale?

So, when B.O.F. discusses the “Italian sweatshop problem,” we must ask: is this truly an Italian problem, or a global fashion issue? Yes, the investigation is Italian, but is Dior an Italian brand? Even if the manufacturer is Italian, where does the directive come from?

Conclusion


The conversation about labour exploitation in the fashion industry needs to break out of nationalistic confines. Most importantly, it needs to acknowledge that this is an industry-wide practice, regardless of the geographical location of the production.

In conclusion, focusing on Italy alone conveniently overlooks the real source of the problem: the profit-driven machinery of the entire fashion system. What’s being framed as an “Italian sweatshop” problem is, in fact, a reflection of how the fashion industry operates globally.

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