Jean Paul Gaultier by Duran Lantink: when experiment fails to deliver the magic

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Deconstructing the hype: how Gaultier codes got lost in translation at FW26 Paris Fashion Week


At Fall/Winter 2026 Paris Fashion Week, Jean Paul Gaultier by Duran Lantink provoked mixed reactions. Some welcomed its playful spirit, while others raised harsher criticisms about its wearability.

The collection felt more like a pure exploration of creativity and technical possibilities. It reiterated several of Gaultier’s iconic concepts — masculine and feminine codes (what we now call genderless fashion), underwear as outerwear, sporty chic, and tattoo imagery. Yet, despite these nods, Lantink’s interpretation marked a clear departure from the brand’s traditional aesthetic.

To be fair, this FW26 collection appeared more resolved than Lantink’s first attempt. Still, the clothes didn’t feel like Gaultier. Instead of channelling the brand’s distinctive magic, the designer seemed to prioritise his own chaotic vision.

But what happens when the experiment fails to deliver the magic?

An experiment without the magic: Jean Paul Gaultier by Duran Lantink


Lantink proposed heavily exaggerated and distorted silhouettes: raised shoulders floating far away from the body, abstract S-shaped figures with jutting breasts and derrières. The result was sculptural, almost architectural — but also highly restrictive. (Watch the show here).

While some praised the collection as art or celebrated its playfulness, most pieces felt futuristic to the point of impracticality. They were statements, rather than garments meant to be worn.

And this is where the comparison with Gaultier becomes unavoidable.

Jean Paul Gaultier is the designer who taught us so much about fashion. Many of the concepts that are now widely celebrated — gender fluidity, the transformation of underwear into outerwear, the playful mixing of cultural references — were introduced by him forty years ago.

We remember it well. When we were young, we bought his clothes. Men’s or women’s, it didn’t matter to us. And we still have them in our wardrobe; they are perfect and even fashion-forward now. (Which raises another point: the most sustainable clothing is that which you never throw away — yet designers who focus solely on sustainability rarely achieve this kind of durability or appeal.) Later, we also curated Gaultier pieces for our boutique. His designs carried a particular energy — beauty, humour, and a certain magic. Yes, Gaultier could be strange. But even in its strangeness, his fashion remained wearable.

It’s impossible to say the same about Lantink’s pieces.

Which raises a broader question: this constant urge to reinvent, to shock, to create something radically new— where does it lead?

Final reflections


Ultimately, Jean Paul Gaultier by Duran Lantink felt more like an exploration of boundaries than a fashion collection. But when experimentation fails to deliver the magic, what remains? A display of creativity from which nothing survives beyond the runway. 

So we are left wondering: is Paris Fashion Week becoming a stage for unwearable clothes?

Of course, some brands have built their identity on that very idea — fashion as pure spectacle. But Gaultier was never one of them. His magic lived in the tension between fantasy and wearability.

Which leads to a more uncomfortable question: what’s the point of it in a world where nobody wants to buy well-made garments anymore?
A theatre piece with no purpose?

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A point on sexiness: Haider Ackermann for Tom Ford, FW26 Paris Fashion Week 

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Gucci vs Tom Ford:  from mere provocation to seduction – what marks the difference


We recently explored the theme of identity at Milano Fashion Week, where Demna made a point about sexiness at Gucci.

It was the worst version of it.

As the fashion caravan moved to the Fall/Winter 26.27 Paris Fashion Week, we witnessed another interpretation—one that stunned for its precision and beauty. A perfect execution.

Demna’s debut was, undeniably, an ugly spectacle. He replicated the Balenciaga formula of distortion and cynicism, repurposing even the Tom Ford–era archives in a way that felt superficial and cheap. If his intention was to hold a mirror up to a grotesque contemporary aesthetic, he succeeded. But the question lingers: beyond provocation, what was the point?

For a brand in a serious downturn, the shortcut to quick sales has always been the most literal and commercial version of sex. But is provocation all that remains?

At Fall/Winter 26 Paris Fashion Week, Haider Ackermann for Tom Ford delivered a definitive answer.

He offered a completely different point on sexiness — a masterclass in elegance. Every detail felt precise: the cast, the music, the design, the tailoring.

Inside an all-white box, models of all ages wandered through a minimalist setting where tailoring and glamour came alive through a refined sense of style and colour. The show opened with a persistent sound that gradually intensified with the notes of Chopin’s Nocturne No. 20 — poignant piano and violin — ushering in an atmosphere of effortless seduction.

Sensuality emerged through androgyny and a play of opposites: razor-sharp masculine suits contrasted with the barest styling — a tiny belt on naked skin — and tapered, feminine evening gowns.

“My language here is that of seduction,” Ackermann stated. “Hard and soft. Sharp and enveloping.”

In fact, all contrasts emerged beautifully. With class. (Watch the show here).

Midway through the show, the words and music of The Beloved took over, underscoring the show’s ethos until the end:

Let’s come together / Right now / Oh yeah / In sweet harmony.

Final thoughts


At FW26 Paris Fashion Week, Haider Ackermann didn’t simply design clothes for Tom Ford; he created a sensual universe.

He proved his ability to evolve the brand while remaining faithful to its core DNA of desire and glamour. It was, without question, one of the most beautiful shows of the season. In doing so, he made a point on sexiness — quietly demonstrating to Mr Gvasalia the difference between sensuality and vulgarity. And he reminded us that sexiness is an art, not a provocation.

In a world increasingly defined by absurdity — where even governments announce war to the soundtrack of the Macarena — Ackermann offered a rare moment of beauty, elegance, and poise.

Let’s come together / Right now / Oh yeah / In sweet harmony.

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Milano Fashion Week fur debate: activism, heritage and the youth paradox

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While activists push for elimination, younger consumers rediscover fur


The Milano Fashion Week fur debate intensified during the Fall/Winter 2026 shows, as activists renewed pressure for a complete ban while signs emerged of a generational return to fur.

On Sunday, 1st March, campaigners protested outside the show of Giorgio Armani — despite the fact that the Armani Group adopted a fur-free policy nearly a decade ago. The strategy was symbolic: activists are urging influential brands to pressure Camera Nazionale della Moda Italiana (CNMI) to exclude labels that still use fur. (Source: Fashion Network).

The demonstrations were coordinated under the umbrella of the Coalition to Abolish the Fur Trade (CAFT), with banners reading “Milano Fashion Week Go Fur-Free” and chants directed at departing guests.

An animal rights activist participates in a demonstration at Milan Fashion Week FW26, holding signs that read 'Stop Fur' and 'Say to Fashion Week Stop Fur!' to protest the use of animal fur in the fashion industry.
Activists at Milano Fashion Week

The real target, however, is structural.

Unlike London or New York, Milan has not adopted a full fur-free policy. And, as long as powerful houses continue to defend their use, the issue remains open.

Among them is Fendi, owned by LVMH — a group that continues to invest in fur. Fendi’s historical identity is deeply rooted in fur craftsmanship, making the debate not only ethical but also cultural.

Inside the shows, the message was more nuanced. Newly appointed creative director Maria Grazia Chiuri presented “repurposed” furs — archival pieces reworked rather than newly produced garments.

Reworking fur can be interpreted in different ways.
Is it a transitional gesture?
A pragmatic response to sustainability concerns?
Or a way to preserve the aesthetic legitimacy of fur while softening its image?

One activist described it as potentially “a step forward,” yet warned that LVMH’s continued investment in fur production makes such gestures appear isolated — perhaps even a form of greenwashing.

And here lies the real contradiction.

Milano Fashion Week fur debate: when activism meets market demand


While activism gains visibility, parts of the market — particularly younger consumers — are showing renewed interest in fur garments.

Industry reports highlight a growing demand not only in luxury segments but also within vintage and heritage-driven consumption. The appeal seems less about status and more about narrative: coats reminiscent of mothers and grandmothers, archive silhouettes, timeless materials. (Source: Pambianco).

This is not simply nostalgia — it reflects a measurable shift in consumer interest.

For some young consumers, fur appears as durability, authenticity, longevity — the opposite of fast fashion. The ethical dimension, however, remains unresolved.

The question is no longer only whether fur should be banned.

The deeper question is whether fashion is capable of truly letting go of certain materials — or whether it will continuously reinterpret them under new labels: recycled, repurposed, heritage.

Final thoughts


Although fur farming has been banned in Italy since 2021, imported and repurposed fur remains visible on Milan’s runways, keeping the debate alive. At the European level, further regulatory discussions are underway regarding fur farming. Should legislation eventually restrict production, the debate may shift from moral pressure to structural transformation.

Until then, the Milano Fashion Week fur debate remains suspended between two forces:

  • public ethical activism
  • and a cultural fascination that refuses to disappear

Fur is no longer simply a material.
It has become a symbol of fashion’s difficulty in choosing between memory and change.

The real question may not be whether fur is trending again, but whether heritage, recycling and nostalgia are being used to soften — rather than resolve — an industry that has not fully transformed.

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Identity in focus at Milano Fashion Week FW26.27

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The power of a defined image, between reaffirmations and debuts


Between the reaffirmation of established designers and the uncertainty of high-profile debuts, Milano Fashion Week FW26.27 placed identity squarely in focus. The power of a defined image dominated the narrative, tempered by a distinct sense of pragmatism.

This is not a brand-by-brand breakdown. It’s an attempt to trace a few key ideas—and what they say about fashion right now.

When provocation becomes the only image


Gucci — the most anticipated debut was, undeniably, ugly. That familiar ugliness Demna carries with him. He essentially replicated the Balenciaga formula for Gucci: the same aesthetic of distortion, cynicism, and provocation. Even when accessing the archive — including references to Tom Ford — the repurposing felt superficial, almost careless. Executed in the cheapest way possible.

If his intention was to hold a mirror up to the contemporary landscape — to reflect the predominance of a gross aesthetic — then he succeeded. The image was brutally coherent.

But beyond that, what was the point?

The brand is experiencing a serious downturn. To reverse direction quickly, you think about what sells. And one thing has always sold, regardless of context: sex. Not refined sensuality, but its most literal and commercial iteration.
Perhaps it’s not even entirely his responsibility. Kering knows exactly what Demna’s vision is. So what did they expect? Is this the strategy? Is provocation the only remaining shortcut? 

When identity is in focus


On the other side of the spectrum, Prada was identitarian in a completely different way. Fifteen models and different versions of womanhood. By removing layers and adapting garments to diverse occasions, the show suggested that identity is not singular, but plural.

Innovative? Perhaps not radically. Layering is not new. But limiting the cast created clarity. And clarity, in today’s visual saturation, feels almost subversive. 
In our work with clients, we see how layering — though common in theory — is rarely mastered in practice. For women who rely on big names to legitimise experimentation, this might offer permission — and confidence.
However, the reminder that wardrobes, like women, can contain multitudes is powerful.

Dolce & Gabbana also returned to identity — their own. Sicily, devotion, sensuality. Their recurring codes, unapologetically reaffirmed. With Madonna in the front row, the message was amplified: heritage, spectacle, recognisability.

At Bottega Veneta, Louise Trotter’s debut was captivating. Brutalism softened by a hidden sensuality, grounded in the observation of Milanese women. Experimental craftsmanship, unexpected fabrics, bold silhouettes. A new direction — intellectual yet tactile. Here, identity was not nostalgia, but the construction of something new.

And then there is Antonio Marras. Marras remains Marras. Wearable poetry. A universe apart within the Milanese landscape. Fragments, intarsia, embroidery, striking red roses. Romantic, but never saccharine. His identity is so solid it does not need to shout. It simply persists.

Final reflections


Reaffirmations or debuts — identity in focus defined the season.

Perhaps this Fall/Winter 26 Milano Fashion Week wasn’t just about creativity.
It was about survival.

In a moment of market contraction and brand fatigue, identity becomes currency. 
The clearer the image, the stronger the grip.

But clarity built on shock is fragile.

The question is not who is louder.
It is who will still feel coherent in five years.

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Milano Fashion Week FW26.27: entertainment or pragmatism?

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Ready-to-wear: analysing what the point of fashion shows today is


Milano Fashion Week FW26.27 has just started, and with it a tension that feels impossible to ignore: entertainment or pragmatism.

For years, the runway has been a stage for spectacle — immersive sets, viral moments, emotional crescendos. But this season opens under a different mood. One that feels more rational. More measured. Perhaps more urgent.

The debut of Maria Grazia Chiuri at Fendi seems to crystallise this dichotomy. (Watch the video here).
A collection precise and controlled. Well-made, wearable garments. No excess. No overt dream. And no attempt to manufacture awe.

To Business of Fashion, she stated:
“I’m not an entertainment designer. It’s not important to create something for one shot, to surprise someone. Otherwise I would do a performance. This is another job.”

And she added:
“We have to be pragmatic. It’s time — it’s really time if we want to move to the future of this industry.”

Her words draw a clear line. Fashion design is not performance art. Surprise is not the goal. Pragmatism is not a compromise — it is a position.

Even trade headlines reflect this shift. Pambianco titled its coverage: “When pragmatism prevails over emotion.” A phrase that reads less like criticism and more like a diagnosis.

Perhaps Chiuri was not appointed to entertain. And if Fendi had been looking for spectacle, they would not have chosen her. This feels deliberate. Which brings us to a larger question: what is the point of a fashion show today?

If the majority of consumers buy mass-market clothing, how many will ever wear garments conceived for the runway? If fashion shows are no longer primarily about dressing bodies, what are they about?

Narrative? Positioning? Investor reassurance? Cultural relevance?

Final thoughts


If Chiuri is right, perhaps the point is viability. Not to create a viral moment. Not to chase wonder for its own sake. But to demonstrate that these clothes can exist in the real world — and sustain a house, a workforce, a business model.

The show becomes less fantasy, more proof of concept. But can a fashion show be matter-of-fact and still matter? Or is pragmatism itself becoming a kind of statement — a deliberate anti-spectacle in a spectacle-saturated world?

If the industry truly stands at a turning point — “it’s time,” as Chiuri says — then perhaps a rational debut is not the absence of vision. Perhaps it is a recalibration.

As the Milano Fashion Week FW26 begins, that tension — entertainment or pragmatism — feels less theoretical and more structural.

But maybe the real question is not whether fashion should entertain or be pragmatic. 

Maybe the question is: what does responsibility look like on a runway today?

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