Fashion’s Whirligig!

Where we’ve been, and where we might be going; fashion in 2026, with 2027 on the horizon.

We’re back at work! Summer is over, time to get ready for next year.

As we watch the months in the world of fashion flash by, it’s nearly time to look at 2027 in depth and maybe start thinking about 2028? It is an ever turning wheel and while we may not be hamsters endlessly turning it with our paws, once on the fashion cycle it is hard to tear oneself off and away.

The shifting designers moving seemingly endlessly from house to house, have continued this year with Olivier Rosteing leaving Balmain and moving to Paco Rabanne, Matthieu Blazy and Jonathan Anderson are now settling in at Chanel and Dior respectively and the two factions and supporters remain vocal in their views on both houses.

Figures tell us that both houses are doing well from their new designers, so far. Chanel consistently holding top rank in global luxury consumer demand. Dior number one on Instagram.

Milan has vastly moved up in coverage, leverage, and attention alongside Paris. The classic houses from Max Mara and Brunello Cuccinelli, Pucci to Armani remain particularly important in the continuing story of discrete luxury.

On this subject, editors, stylists and indeed almost everyone in editorial, hates the continuing importance of this story and keeps trying to say it is over. It’s not.

Schiaparelli and Cos feature highly in attention on Tik Tok, Instagram etc. Cos as a “mid market “fashion brand moving slowly higher in price, whilst Schiaparelli have extremely limited sales outlets, with an emphasis on accessories. It is the exhibition at the V & A which has added to their profile.

Prada is still important whatever one may think, as is Miu Miu, although less than a few seasons ago.

Loewe and Coach are moving up the luxury index in China, whilst Gucci has huge social media presence everywhere which has yet to translate into cash, money, or actual sales. These three names indicate the tenuous nature of fashion right now. Sales and what used to be called “the bottom line” the money still counts for success in a fashion name. At Selfridges, the Coach pop up kept reordering and restocking. Whilst Dior had one delivery which sold well day one, and pretty well week one, but tailed off. Its all about price and attitude, what defines exclusive and “exclusive.” Note please Loewe is now under the brilliant direction of ex Proenza Schouler designers Jack McCollough and Lazaro Hernandez. The new pop ups for the season and the return to Palma Mallorca of Loewe are huge cause for celebration. Whilst in the last few years Coach is under the superb creative direction of Stewart Vevers, ex designer at Loewe!

High street fashion everywhere in the world lacks so many names, it is the smaller, local; (as in sold only in the country of origin, or sparingly available) that fill many shops and much online fashion talk. AI tells me that globally the names that are making waves in sales and cultural impact include Paloma Wool, St. Agni,

Reformation, Tyler McGillivary, and Connor Ives. I leave it up to the readers of Cellotape to make their own listings. One of my favourite examples is Ayham Hassan from CSM whose use of Palestinian heritage is both beautiful and emotional. Rianna + Nina in every shop or pop up from Paris to Greece continues to be amazing.

Note also how Copenhagen Fashion Week just showed an amazing collection by Galib Gassanoff who is Georgian, via Azerbaijan and based in Milan working with both women artisans, and deadstock. He also points towards the awards now so important by LVMH prize, and ANDAM award, CFDA, and International Woolmark Prize. Watch all these for hot new names, talent, ideas, and directions new designers are taking.

Deadstock, recycling, upcycling, limited editions, remaking, and many transformative methods of using the materials clothing is made from continues to be a vital thread in fashion. It is not the old story of “sustainability” or the dull muddy and itchy clothes we first saw as part of green fashion. Read carefully who is making what and how, and certainly also the culture of craft, hand made, limited and special is a huge area of fashion at all levels.

In the high streets of the world Zara and Mango are safe, and Massimo Dutti is moving upwards like Cos in its ability to translate classics, fashion and quiet luxury into pieces that sell. GAP and Abercrombie & Fitch are said to be reviving alongside the consistent success of Levi’s who have great customer trust. Whilst Sézane and Sandro and Maje are sustaining position. Note that all these names are producing smaller runs, smaller drops of stories and avoid cluttering up the floors of retail with less product. The boom times of huge stuffed rails and reordering a successful style are long gone, get it in, sell it, and move on. One cannot imagine launching huge global brands to blanket every mall and deliver the same product in bulk to every store, as once upon a time was the money making solution to fast fashion.

M & S, or Marks & Spencer are on a high curve, especially in women’s fashion, however since I live in Spain, for menswear here Emidio Tucci the “in house” menswear of El Corte Ingles is terrific, and they have Jude Law as the face of the brand. Indeed, Latin shops and stores from Medellin to San Paolo, from Madrid to Rio have their own culture of fashion and style that includes local labels, designers and chain store in house sub brands all doing excellent jobs.

John Lewis predicts tough times ahead whilst department stores globally are facing the same tough times, then Harvey Nichols was up for sale, now it’s part of Fraser Group who are now trying to take over Hugo Boss completely. Selfridges has invested hugely in their personal shopping set up and this has yet to be evaluated. I wonder if they will issue any statements of its reinvigorated approach. Liberty just played an absolute winner with its new mini movie featuring Helena Bonham Carter and showing their beauty Advent calendar, it’s brilliant.

Fashion books continue to include many small guides to single designers of luxury brands, whilst Chanel and Dior continue to be written about, but there are some exciting books coming out. “Fashion Saris of India: Traditions and Beyond by Rita Kapur Chishti” “The Six: The untold story of the Antwerp Six by Oscars van den Boogaard” “Iris van Herpen by Anneke Smelik” two Rizzoli volumes on Dolce e Gabbana – Arte Moda and Lace. Then there’s Ralph Lauren Catwalk: The Complete Collections: This is a massive 632-page purple and silver cloth-bound compendium published by Thames & Hudson that charts every single runway presentation from the brand’s history, whilst Schiaparelli: Anglomania appears from Skira and finally I would mention Jordan Roth: Radical Acts of Unrelenting Beauty looking at the fashion statements of this unique individual.

Of course, as I write we now know that John Galliano is the subject of the Metropolitan Museum New York’s next costume institute exhibition. It is literally the hottest topic days after its first announcement. I ask one question? I wonder since this burst upon the fashion world what the senior directors of the museum think about the reaction? Just remember that Max Hollein is Austrian and the most senior figure at the museum. So, I wrote this about two weeks ago preparing this piece. We now know the exhibition will not take place. Two questions immediately arise, what will replace this, and what must Anna Wintour be thinking? She is never thwarted, but on the other hand they’ve never announced a Met Costume Institute exhibition nine months before the opening, so were they testing the response?

The autumn collections in New York, London, Milan, and Paris will have some shifting focus since London, under the creative direction of the wonderful Laura Weir as CEO of the British Fashion Council, has lured McQueen back to the schedule, amongst a jam packed calendar. Debuts are around in Paris too, but it will be business as usual of back to back shows, appointments, meetings, discussions, and reporting.

The rumour is influencers are on their way out. This is fascinating gossip, or whatever. In those classic words ” watch this space.”

ASOS has completely shifted and is rather fascinating. They discovered their customers, well around 90%, aren’t interested in trends. They’ve got Pat McGrath and Lyas talking to us and the entire ethos seems to have shifted. Interesting.

The world of fashion shifts and we must discover names, brands, items, and the trail blazers as well as the proven and successful. I’d mention again Institution by Gassanoff, AI Instagram profiles by @hautvoire, Carol Woolton continues to be THE jewellry person to follow, whilst couture by Réagan Varross, is beautiful, Andrei Theodor Morgan-Iovu. Editor-in-Chief, Vogue Romania, which launches 2027, is a true creative, and obviously we all follow Vogue Adria, Vogue Arabia, and all the other exciting magazines across the globe. Make your own lists and renew and refresh who you follow, make discoveries, and support the new.

Finally, a word on shoots, stylists, and editorial. I think there’s going to be a shift as people rebel against the big houses telling them they can’t mix names, and labels, they can’t be wild and creative. We need great stylists to disrupt styling and make it more adventurous, to be aspirational and challenging to create memorable images. We don’t need weird or extravagant collections that do not sell or are to order only, but odd, eccentric pieces, or craft or couture pieces mixed with real clothes is the role of the creative team. How the hairdresser, makeup artist, location scout, model booker, photographer, and stylist all combine to create a narrative must return to being exciting. There is much interest in magazines especially limited edition, biannual and creative. Where are the next generation of stylists like Grace Coddington or Tonne Goodman?

I think that’s more than enough bits and pieces. In fashion terms we certainly live in interesting times. Just a few years ago during the global pandemic many designers vowed to cut the number of collections per year and also stop flying people across the globe to cruise collections. That has been forgotten. Do we need so many collections, so many designers, so much stuff? Vinted and vintage says we are recycling more, more conscious, but still the fashion machine churns out more of everything. That is still a fundamental problem and a conundrum- we love the business and we love fashion but how do we slow the wheel?

That’s all for now, but by the time you read this, fashion will have already moved on, and we will all be immersed in the next season, good luck!