Because here’s the thing about watching a creative director transition at a house like Loewe, the announcement is almost never the story. The story is what gets kept, what gets retired, and what gets reinvented in the first six months. Anderson left behind a very specific vocabulary: surrealist heels shaped like roses, tomato stem clutches, that viral trompe l’oeil denim, the whole “art school professor who somehow also dresses Zendaya” energy. McCollough and Hernandez do not speak that language. They speak a different one, breezier, more utilitarian, deeply Tribeca, and the SS26 debut at Paris Fashion Week was the first time anyone got to hear the accent. If you care about where luxury is heading in 2026, this is the transition to watch, and this is what actually changed.

Who Jack McCollough and Lazaro Hernandez Actually Are

Before the Loewe post Anderson era, McCollough and Hernandez were the guys who sold their entire Parsons senior thesis collection to Barneys New York in 2002, a story so fashion folklore at this point that it gets retold every September. They named the brand Proenza Schouler after their mothers’ maiden names and spent the next twenty three years building a label that the CFDA kept giving awards to and stylists kept putting on Michelle Obama, Chloe Sevigny, and basically every downtown woman with a Soho loft. Their aesthetic was never loud. It was the PS1 satchel with the fold over flap, the bias cut slip dress you could wear to a gallery opening, the boxy wool coat that looked like it cost three times what it actually did. Sharp, American, grown up, slightly intellectual. If Anderson’s Loewe was a Spanish surrealist painting, Proenza was a Donald Judd sculpture in a loft with good light.

Why LVMH Made the Call

When Anderson announced his exit in early 2025, he went to Dior Men, if you missed it, the shortlist of replacements read like a fantasy football draft. Instead, LVMH and Loewe CEO Pascale Lepoivre went with the duo who had never run a house this big, never worked under a conglomerate’s quarterly pressure, and had just stepped away from their own label in January 2025 to take the job. The logic, if you squint, makes sense. Loewe doesn’t need another conceptual genius right now, it needs someone who can translate Anderson’s cultural heat into consistent, sellable, everyday luxury. McCollough and Hernandez have spent two decades doing exactly that at Proenza, where “wearable” was never a dirty word. They are the Loewe new creative director pick for a house that wants to stop being a cult and start being a business.

The SS26 Debut: What Actually Walked

The Loewe SS26 show at Paris Fashion Week in October 2025 was the duo’s first full womenswear collection, and the reviews, WWD, W, Dazed, Who What Wear, landed somewhere between “relieved” and “surprised.” The palette was sunny and saturated: butter yellow, tomato red, washed denim, chalky pastels. There were logo embellished V neck sweaters layered over half buttoned poplin shirts with loafers, in a way one reviewer called “very after school” and meant as a compliment. The house’s heritage showed up as fringe trims, molded leather bodices, and a new Loewe towel dress shown in multiple iterations, a literal beach towel reworked into ready to wear, which is about the most Tribeca meets Madrid move imaginable. Critic Julie Gilhart, who bought the duo’s first Proenza collection in 2002, called it a “perfect 10.” The standing ovation, by all accounts, was not polite.

What’s Staying: The Bags That Built the House

Here is the question every Loewe customer actually wanted answered: do the bags change? The short answer is no, not yet, and probably not dramatically. The Puzzle bag, Anderson’s 2015 breakout design, the one that turned Loewe from a quiet leather house into a global obsession, is still front and center on loewe.com, with the small Featherlight Puzzle in nappa lambskin sitting at $4,800 and the mini at $3,850. The Flamenco clutch, which predates Anderson entirely and goes back to the house’s 1970s archive, still anchors the accessories wall at roughly $2,600 for the mini and $3,990 for the larger sizes. The Hammock, another Anderson era hit, remains in production, the compact version sits around $3,250, the Hammock Flip at $3,950. McCollough and Hernandez are smart enough not to kill the cash cows in year one. Expect evolution on hardware and colorways, not discontinuation.

What’s Quietly Getting Retired

What’s going away is harder to pin down but easy to feel. The surreal, high concept flourishes, the heels shaped like bars of soap, the tromp l’oeil t shirts, the runway props that looked like they were borrowed from a Venice Biennale installation, those were Anderson’s signature, and they’re not in the new vocabulary. SS26 had no gimmicks. The clothes stood on their own, which sounds like faint praise until you remember how many Anderson era pieces only made sense in the context of the show. Expect fewer viral “did you see this?” moments and more pieces you actually pull off the rail at Dover Street Market. That’s a trade some people will mourn and others will quietly celebrate while placing an order. For a broader read on how houses reset post icon, our luxury vs budget investment guide breaks down what actually holds value when creative direction changes.

What It Means for the Rest of Loewe Post Anderson

The real stakes go beyond the runway. Anderson turned Loewe into a $2 billion plus house built on cultural relevance, the Rihanna campaigns, the Paddington collab, the Squid Game moment. McCollough and Hernandez now inherit that machine and have to keep it humming without copying the previous sound. Early signs suggest they’ll lean into wearability, repeatable silhouettes, and the kind of customer who wants Loewe craftsmanship without the inside joke factor. If that sounds less exciting than Anderson’s pyrotechnics, remember that Proenza Schouler Loewe is, at its core, a business decision, and businesses this size need designers who can deliver four collections a year without creative burnout.

Do’s and Don’ts

FAQs

Who is the Loewe new creative director after Jonathan Anderson? Jack McCollough and Lazaro Hernandez, the American duo who founded Proenza Schouler in 2002, were named co creative directors of Loewe in spring 2025. They officially took over in April 2025 and are responsible for all collections, womenswear, menswear, leather goods, and accessories. They remain minority shareholders and board members at Proenza Schouler but no longer design for that label.

When did Jonathan Anderson actually leave Loewe? Anderson exited in early 2025 after eleven years as creative director, during which he transformed Loewe from a quiet heritage house into one of LVMH’s biggest cultural engines. He moved to Dior Men shortly after, making his own debut at Paris Fashion Week later in the year. His final Loewe collection was the FW25 show in March 2025.

What was the Loewe SS26 debut collection like? The SS26 collection, shown at Paris Fashion Week in October 2025, was tactile, sunny, and considerably more wearable than late Anderson Loewe. The palette ran from butter yellow to tomato red to washed pastel. Standout pieces included a new Loewe towel dress, logo embellished V neck sweaters layered over poplin shirts, and intricately worked leather bodices that nodded to the house’s Madrid atelier roots. Reviews were strongly positive.

Are the Puzzle, Flamenco, and Hammock bags getting discontinued? No. All three remain in active production and are prominently featured on loewe.com as of 2026. The small Featherlight Puzzle retails around $4,800, the Flamenco mini clutch around $2,600, and the compact Hammock around $3,250. McCollough and Hernandez are expected to introduce new hardware, materials, and colorways over time rather than retire the core leather goods archive.

What makes McCollough and Hernandez different from Anderson stylistically? Anderson came from a conceptual, surrealist, art school professor school of design, his Loewe was full of references to sculpture, craft, and subversion. McCollough and Hernandez come from a New York minimalist tradition built on utility, clean tailoring, and sophisticated everyday dressing. Think Helmut Lang and Calvin Klein Collection rather than Comme des Garçons or Martin Margiela. The shift is from conceptual spectacle to wearable craft.

Is the Proenza Schouler brand still running? Yes, Proenza Schouler still exists as an independent company in New York. McCollough and Hernandez stepped away from designing for it in January 2025 to prepare for Loewe, but they remain minority shareholders and sit on the board. The house is continuing with a new design team, though at the time of writing the long term creative direction of Proenza Schouler has not been publicly announced.

Should I invest in Loewe pieces now or wait? For the heritage bags, Puzzle, Flamenco, Hammock, there’s no reason to wait. They’re not changing dramatically in the short term, and the craftsmanship that drives their resale value is being preserved. For ready to wear, the SS26 drop is worth watching in person before you commit, especially since the first pre fall and FW26 collections will give a clearer read on what the duo’s everyday Loewe actually looks like on the sales floor.

Where can I see the Loewe SS26 collection in full? The full SS26 runway video and lookbook are on loewe.com under the Stories section, and WWD, Dazed, W Magazine, and Who What Wear all published detailed reviews with runway photography. Paris based retailers and flagship Loewe boutiques in New York, London, and Madrid began stocking the collection in early 2026.

Conclusion

The Loewe new creative director transition is the most consequential house shake up of the year, and McCollough and Hernandez’s SS26 debut suggests the Proenza Schouler Loewe era will be quieter, more wearable, and more commercially sharp than Anderson’s. That’s not a downgrade, it’s a reset. If you’ve been circling a Puzzle or a Flamenco, now is a perfectly reasonable time. If you care about where luxury is heading, keep your eyes on Madrid.

What Blazy has delivered so far, one ready to wear debut, one couture outing, and a pre fall lookbook that leaked out of Place Vendôme like a rumor, suggests he understood the assignment better than anyone betting against him. His Chanel isn’t a reinvention in the Hedi at Celine, scorched earth sense. It’s slower, stranger, more forensic. He’s reading the archive like a novel, not a catalog, and the SS26 show at the Grand Palais in March 2026 made it obvious he plans to rewrite entire chapters. Here’s the real inside read on who Blazy is, what he did at Bottega, what his debut actually revealed, and which of the sacred codes he’s protecting versus quietly retiring.

Who Matthieu Blazy Actually Is (And Why Chanel Chose Him)

Blazy is not a personality designer. He doesn’t post, he rarely gives interviews, and when he does, he talks about materials the way chefs talk about stock. Born in Paris, raised between Belgium and France, trained at La Cambre in Brussels, he built his resume in the rooms where craft gets interrogated: Raf Simons at Jil Sander, Maison Margiela’s Artisanal atelier under Martin Margiela himself, then Celine under Phoebe Philo, then Calvin Klein with Raf again, and finally Bottega Veneta, where he succeeded Daniel Lee as creative director in November 2021. That CV is not a coincidence. It’s the most quietly rigorous design education in luxury, and it made him the rare candidate fluent in both haute atelier culture and the kind of minimalist tailoring Chanel had been starved of. When the Wertheimers needed someone who could speak to Coco’s obsession with how clothes move on a real body, they hired the man who had spent three years proving you could sculpt flannel out of a calfskin.

The Bottega Years: Trompe L’Oeil, Intrecciato, and a Craft Revival

Blazy’s 2021-2025 run at Bottega Veneta is already being taught in fashion schools, and rightly so. His first show introduced the now legendary trompe l’oeil leather jeans, perfectly pressed, perfectly worn in denim that turned out to be hand painted nappa, and the trick wasn’t the gimmick, it was the philosophy. He treated leather as a language, not a category, and built an entire universe around it: the Kalimero bag in 2022, the Andiamo in 2023, the knitted leather sock slippers, the flannel shirts that weren’t flannel at all. He revived intrecciato as a technique rather than a logo and gave the Green credibility Daniel Lee’s viral phase never quite earned. By the time Kering confirmed in December 2024 that Louise Trotter would succeed him at Bottega, Blazy had already tripled the house’s fashion gravity and was openly being discussed as Chanel’s next artistic director. The industry saw it coming. The speed with which it actually happened still shocked people.

The Viard Exit and the Eighteen Month Vacuum at Chanel

To understand why Blazy’s arrival feels like a reset, you have to remember how strange the transition was. Virginie Viard, Karl Lagerfeld’s right hand for nearly thirty years and his direct successor from 2019, left Chanel on June 5, 2024, with immediate effect and no successor named. Chanel spent the rest of 2024 running on studio autopilot, pushing out a cruise show and a couture collection without a single attributed designer, which in this industry is the equivalent of a royal family refusing to name an heir. The rumor mill churned through Pierpaolo Piccioli, Sarah Burton, Hedi Slimane, even Jonathan Anderson. When Blazy’s appointment was finally confirmed in late 2024 for a 2025 start, it closed a chapter the house had been quietly struggling to write since Karl’s death in 2019. Viard’s Chanel was gentle, nostalgic, sometimes flat. Blazy’s, on the early evidence, is none of those things.

Inside the Grand Palais: What SS26 Actually Looked Like

The ready to wear debut at the Grand Palais in March 2026 is the one everyone will remember, and not because it was loud. It was the opposite. Blazy took his bow in jeans and a T shirt, a gesture no previous Chanel designer would have dared, and the collection itself read as what critics are calling a “quieter revolution.” Tweed and bouclé appeared weightless, cut into oversized blazers with masculine shoulders and low slung trousers that moved like pyjamas. Charvet collaborated on the shirting, pulling from Coco’s menswear obsession rather than her 1980s Hollywood phase. The 2.55 reappeared broken in and softened, almost slouchy, photographed as if it had already lived a life. Jersey and silk did most of the quiet work, and the palette, ivory, black, a bruised pink, a deep navy, stripped out the sugar Viard had been adding. The Grand Palais rose in a standing ovation. Anna, Edward, the whole front row. Vogue Scandinavia called the follow up couture outing a study in “lightness and metamorphosis.” AnOther said Blazy was “transmogrifying the simple into the sublime.” The read was unanimous: this is a Chanel that intends to be thought about.

What He’s Keeping from Coco, Karl, and Viard

Blazy is too smart to burn the codes. The tweed is staying. The chain, the camellia, the pearl, the quilted leather, the two tone shoe, all present, all recalibrated. What he’s keeping from Coco is the menswear DNA, the borrowed from the boys tailoring, the insistence that a Chanel woman should be able to walk, sit, and breathe in what she’s wearing. What he’s keeping from Karl is the scale and the theatricality of the set (the Grand Palais itself is non negotiable). What he’s keeping from Viard, interestingly, is the softness, her looser silhouettes, her distrust of corsetry. What he’s quietly burning is the logo heavy, bow in the hair, tourist gift shop Chanel that crept in during the late Lagerfeld years and never fully left. Matthieu Blazy Chanel is, if the first two shows are a map, going to be a house for grown up women again.

How to Read a Chanel Under Blazy: Do’s and Don’ts

FAQs

Who is Matthieu Blazy and why did Chanel hire him? Blazy is a Belgian French designer, 41, trained under Raf Simons, Martin Margiela and Phoebe Philo, and most recently creative director of Bottega Veneta from 2021 to 2025. Chanel hired him because he combines atelier level craft fluency with a minimalist, material first point of view, exactly the corrective the house needed after the Viard years.

When did Virginie Viard leave Chanel? Viard exited on June 5, 2024, with immediate effect, after nearly thirty years at the house and five as artistic director. Chanel ran without a named designer for months before confirming Blazy.

When was Blazy’s Chanel debut? His ready to wear debut was the SS26 show at the Grand Palais in March 2026, followed by his first haute couture collection shortly after. Both were met with standing ovations and serious critical praise.

Who replaced Blazy at Bottega Veneta? Louise Trotter, previously creative director at Carven and Lacoste, was named Bottega Veneta’s creative director in December 2024 and started at the end of January 2025.

What did Blazy do at Bottega Veneta that made him famous? He’s best known for his trompe l’oeil leather work, most famously leather pieces painted and treated to look exactly like worn denim or flannel, and for reviving intrecciato as a craft statement rather than a logo.

Is Blazy keeping the classic Chanel codes? Yes, but selectively. Tweed, bouclé, the 2.55, the camellia, pearls and chains all remain. What’s being retired is the logo forward, overtly decorative Chanel of the late Lagerfeld era.

How does his Chanel compare to Karl Lagerfeld’s? Karl’s Chanel was theatrical, maximalist, and culturally noisy. Blazy’s is quieter, more tactile, and more focused on how clothes actually feel on the body. Different instruments, same house.

Should I buy into SS26 as an investment piece? The softened 2.55 and the Charvet collaboration shirting are the early collector picks. First season pieces from a major creative director debut historically hold value, and Blazy’s are already being chased on resale.

Conclusion

The Matthieu Blazy Chanel era is not going to be loud, and that is precisely why it’s going to matter. He inherited a house weighted down by its own mythology, Coco’s ghost, Karl’s shadow, Viard’s cautious interregnum, and instead of shouting over it, he’s turning the volume down until you can actually hear the fabric. The Grand Palais debut was less a coronation than a thesis statement: Chanel is a craft house, a menswear inflected tailoring house, a house for women who dress for themselves. If he keeps his nerve through the next four seasons, this will be the reference point the 2030s fashion conversation circles back to. The real test starts with pre fall. The real verdict comes with FW27. Either way, the most mythologized house in fashion finally has a designer worth the myth again.

That’s the trick, and it’s also the risk. Bottega Veneta under Daniel Lee became a meme (the green pouch, the curly candle); under Blazy it became a cult (the trompe l’oeil denim, the leather tank). Trotter has inherited a house at its cultural peak and has said, essentially, let’s stop shouting. For a brand whose founding motto was literally “when your own initials are enough,” the move makes sense on paper. In practice, pulling it off means Trotter has to convince an audience raised on Instagram moments that restraint is still worth $4,000. So far, from the front row to the resale market, the early read is that she might actually do it.

How the Blazy to Chanel domino fell

To understand why Trotter’s appointment was such a surprise, you have to rewind to December 12, 2024, the day two press releases broke within hours of each other. First: Chanel confirmed Blazy as its new artistic director after months of speculation, ending John Galliano’s long goodbye and closing out what had been the most watched creative director search in years. Second: Kering announced that Louise Trotter, then creative director of Carven, would replace him at Bottega Veneta starting January 2025. The speed was the story. Most houses take six to nine months to name a successor; Bottega locked Trotter in before Blazy’s office chair had cooled. It read as a group that had done its homework quietly for months, then executed in a single afternoon.

The other subplot everyone noticed: Trotter became, on day one, the only female creative director at Kering, a group that owns Gucci, Saint Laurent, Balenciaga, Alexander McQueen and Bottega. In a year where Chanel, Celine, Dries Van Noten and Tom Ford had all named men to their top creative posts, putting a woman in charge of the most craft obsessed house in the Kering stable looked less like a statement and more like a correction.

Who Louise Trotter actually is

Trotter is not a mystery, she’s just been working in the grown up corner of the industry. After Northumbria University, she cut her teeth at Whistles in London, then moved to New York in the early 2000s for senior womenswear roles at Calvin Klein, Gap and Tommy Hilfiger, the kind of CV that teaches you how to scale a collection, not just design one. From 2009 to 2018 she was creative director of Joseph, the minimalist British label your cool aunt still swears by for cashmere and tailored trousers. If you owned a pair of Joseph’s Zoom trousers in the 2010s, that was her touch.

In 2018 she took over Lacoste and did something smart: she stopped treating it like a polo shirt company and started treating it like a sportswear house with a 90 year archive. She was the first woman to hold the role. Then, in February 2023, ICCF owned Carven hired her to reboot a sleeping Parisian couture name. Two short years at Carven Trotter territory produced critical raves, a few sell through hits, and, crucially, a ready to wear point of view polished enough for a Kering headhunter to pay attention.

The SS26 debut, and why the room exhaled

The Bottega SS26 show in Milan on September 27, 2025 was Trotter’s thesis statement. No guest stars on the soundtrack, no influencer gifting chaos. Models walked out in fluid leather dresses, boxy blazers cut with the kind of shoulder that feels more Savile Row than Milanese, wide leg trousers in deep oxblood and mustard, and black coats so clean they almost read as sculpture. The palette leaned into deep earth tones, vibrant yellows and burgundy reds against Bottega’s signature neutrals, familiar to any Blazy fan, but styled with a noticeably calmer hand.

The show’s most photographed pieces were the strangest: “chubby” coats and skirts built from colourful strands of recycled fiberglass, which Trotter and the Bottega atelier had learned to weave like Intrecciato. They shimmered, they caught the light, they looked like magnified butterfly wings. It was a clever gesture for a brand celebrating the 50th anniversary of its Intrecciato leather weave, take the craft, apply it to a material nobody associates with luxury, and let the artisans prove the point. Critics at WWD, Hypebeast and Wallpaper* all filed the same verdict: post Blazy Bottega is now a real chapter, not an interim.

What “post Blazy Bottega” actually looks like on a hanger

For shoppers trying to figure out whether their wishlist is about to change: the core Bottega codes are staying. The Andiamo, the Hop, the Sardine hardware, the Jodie, all still there, all still hovering around that $3,200-$5,500 ready to wear suit range and $2,800-$4,200 bag range. What’s shifting is the silhouette vocabulary. Blazy’s Bottega loved a tight knit and a leather trompe l’oeil; Trotter’s is already drifting toward longer coats, softer shoulders, and a less body conscious trouser. Think less “look at this clever garment” and more “look at how this woman is standing.” If you’ve been eyeing a Bottega blazer at Net a Porter or 24S, the SS26 cuts are the first real Trotter signal, worth trying on in person before committing. For the mid tier shopper, the read across is that Toteme, Khaite, and The Row are about to get a very serious competitor at the same editorial altitude. For more on how to navigate shifts like this, see our luxury vs budget investment guide.

Do’s and Don’ts

FAQs

Who is Louise Trotter and why does she matter at Bottega Veneta? Louise Trotter is a British designer from Sunderland who trained at Northumbria University and built her career through Whistles, Calvin Klein, Gap, Tommy Hilfiger, Joseph, Lacoste and Carven before Kering named her creative director of Bottega Veneta in December 2024. She matters because she’s the first woman ever to lead Bottega, the only female creative director currently at Kering, and she arrives with a reputation for quiet, craft heavy design rather than viral stunts, which is exactly the lane Bottega wants to own in the post Blazy era.

Why did Matthieu Blazy leave Bottega Veneta? Blazy left because Chanel made him an offer that, in luxury terms, only comes around once a generation. After three years running Bottega Veneta and turning it into a critical darling, he was appointed artistic director of Chanel on December 12, 2024, officially starting in April 2025 and debuting his first Chanel collection at Paris Fashion Week in October 2025. His Bottega tenure is now regarded as one of the strongest three year runs in recent luxury memory.

What happened at the Bottega SS26 debut? The Bottega SS26 show took place at Milan Fashion Week in September 2025 and served as Trotter’s first collection for the house. It featured fluid leather dresses, boxy tailoring, deep earth tones with hits of mustard and burgundy, and standout fiberglass “chubby” coats and skirts woven using Intrecciato techniques. Reviews in WWD, Hypebeast, Grazia and Wallpaper* were broadly positive, framing it as a confident, quieter new chapter.

What did Louise Trotter do at Carven? At Carven, Trotter spent roughly two years (February 2023 to January 2025) rebooting the ICCF owned Parisian house with a ready to wear point of view that leaned into soft tailoring, easy dresses and a distinctly non nostalgic use of the brand’s couture archive. Her Carven shows earned strong trade press reviews and re established the label as a Paris Fashion Week fixture, which is what made her a credible Bottega hire.

Is the quiet luxury trend over now that Trotter is in? No, if anything, Trotter’s arrival extends it. Quiet luxury as a social media trend may have peaked around 2023, but Trotter’s entire design language is built on restraint, fabric quality and silhouette over slogan. Her Bottega is likely to keep the category alive for another two to three seasons, just with more rigor and less Succession reference cosplay.

Will Bottega Veneta prices change under Louise Trotter? Prices are unlikely to drop. Ready to wear is expected to stay in the $3,200-$5,500 range for suiting and coats, with bags from roughly $2,800 to $4,200 for everyday styles and significantly higher for Intrecciato intensive pieces. If anything, expect a small creep upward on craft heavy items as Trotter leans into hand woven and specialty material capsules.

Should I buy Blazy era Bottega pieces now? If you love them, yes, but at retail or reasonable resale, not at panicked markups. Archive demand for Blazy era trompe l’oeil and leather tanks is rising, but the smart play is to buy pieces you’ll actually wear rather than speculate. Trotter’s debut shows that the house isn’t abandoning Blazy’s codes, so there’s no fire sale coming.

What should I watch for in Trotter’s next collection? Watch how she handles accessories in FW26, bags are where Bottega actually earns its margins, and Trotter’s first full season of leather goods under her own direction will tell us whether she’s keeping Blazy’s hits or quietly retiring them. Also watch the Intrecciato anniversary capsules, which are the clearest signal of where she sees the craft heritage going.

Conclusion

The Louise Trotter Bottega Veneta era started with a whisper, and that may turn out to be the loudest thing about it. In a season where most houses were chasing noise, Trotter’s quiet, craft first debut showed that post Blazy Bottega isn’t interested in playing the same game, it’s writing a different one. Keep an eye on FW26 and the next round of Intrecciato capsules; if SS26 was the thesis, the next year is where Trotter proves the argument.

The stakes here are almost cartoonishly high. Gucci generates more than half of Kering’s revenue, and the house has now posted ten consecutive quarters of sales declines, including a 22 percent drop across 2025 and another 14.3 percent slide in Q1 2026. Analysts do not expect Gucci to return to growth until 2027 at the earliest. So when Demna walked his debut “Primavera” collection down the runway at Palazzo delle Scintille in Milan, he was not just showing clothes. He was being asked to save the single most important brand in the Kering portfolio. For Gen Z shoppers who grew up on Alessandro Michele’s maximalist, gender fluid Gucci and then watched De Sarno’s quiet minimalism land with a thud, this is the first time the house has felt urgent in years.

From Balenciaga to Gucci: Why This Move Broke the Internet

Demna spent a decade at Balenciaga turning a sleepy couture house into the most memed luxury brand on the planet. He gave us the Triple S sneaker, the Hourglass bag, the ironic oversized hoodie at couture, and the $1,790 IKEA tote. Love it or loathe it, he defined how millennials and Gen Z understood luxury in the 2010s and early 2020s. So when Kering moved him across the portfolio to Gucci in July 2025, it was not a lateral transfer. It was the group betting its biggest asset on its most polarizing designer. No other appointment in recent memory, not Hedi Slimane to Celine, not Matthieu Blazy to Chanel, not Pierpaolo Piccioli to Balenciaga, carried this much financial weight.

The optics were loaded from day one. Demna is not a heritage house safe pick in the mold of a Sarah Burton or a Louise Trotter. He is the guy who put Kim Kardashian in full body Balenciaga at the Met Gala and sent a model walking through simulated snowstorms in a puffer coat as political commentary. Gucci, meanwhile, is the 105 year old Florentine house of Jackie bags, Horsebit loafers, and Tom Ford’s 1995 velvet suits. The cultural collision was the whole point. Kering wanted shock. They wanted conversation. And with the Demna Gucci pairing, they absolutely got it.

Inside the Primavera Debut: What Demna Actually Showed

Demna’s first full Gucci collection, titled “Primavera” after Botticelli’s painting at the Uffizi, dropped on February 27, 2026, during Milan Fashion Week. Eighty three looks. A cast that included Kate Moss, Emily Ratajkowski and Karlie Kloss. A finale that saw Kate close the show in a glittering cutout maxidress with a whale tail thong, which is the single most photographed fashion image of the year so far. The collection was described by WWD and W Magazine as “body first,” hedonistic, and deeply referential to Tom Ford’s fall 1995, fall 1996 and spring 1997 Gucci, which is arguably the most iconic three season run in the brand’s history.

What did that look like on the runway? Fluid tailored suits in liquid weight fabrics. Low cut blazers. Trousers with horizontal hip pockets. Slip dresses cut razor thin. Then, next to all of that, the Demna signatures: leggings, tracksuits, oversized everyday basics twisted just enough to read “luxury” rather than “athleisure.” He was deliberately building a full wardrobe of archetypes rather than a mood board. Before Primavera, he had already tested the waters with “La Famiglia,” a surprise see now buy now lookbook dropped in December 2025 at ten Gucci boutiques globally, giving VIC clients first access.

The Critics: Mixed, But Tilting Positive

Let us be honest, because luxury editorial that pretends everything is fabulous is boring. The Primavera reception was split. Bernstein’s luxury analyst Luca Solca publicly scored the collection 7.6 out of 10, calling it “clearly not a home run, but still an improvement” and explicitly ranking it above De Sarno’s own 6.8 scored debut in September 2023. The industry consensus: the tailoring worked, the suiting worked, and Demna’s range as a designer was undeniable across eighty plus looks. Critics were less kind about the bags and shoes, which were flagged as underwhelming, and some forum voices found the leggings vulgar rather than sensual.

But here is the important part for any reader trying to understand what the Demna Gucci story actually means. In luxury, a 7.6 debut during a ten quarter sales slump is not a failure. It is a foundation. Hedi Slimane’s first Celine show in 2018 was also savaged before it became the most commercially successful debut at the house in a decade. Demna has runway to grow, pun intended, and Kering CEO Luca de Meo has publicly framed the turnaround as “gradual,” not a quick fix.

What It Means for Shoppers: The Gucci You Can Actually Buy

For the Gen Z and millennial reader wondering whether any of this affects what shows up on Net a Porter, Mytheresa, or 24S: yes, almost immediately. Demna’s first drops are already shoppable. Expect the Gucci archive to get quietly reshuffled, with the Horsebit 1955 bag, the Jackie 1961, and the classic Princetown loafer staying firmly in the core lineup while the hardware, logos and leathers get modernized. The Ford era slip dress is going to become the buzziest Gucci silhouette for resort and SS27, and resale sites like Vestiaire Collective and The RealReal are already seeing search spikes for “Gucci 1996” and “Tom Ford Gucci archive.”

If you are shopping on a real budget and want the Demna Gucci look without the Gucci price tag, the smart shopping play is clear. Look at Khaite slip dresses around the $900 mark, Aritzia Babaton liquid trousers under $200, Reformation’s satin bias cut columns in the $250-$350 range, and for the low cut tailored blazer, COS and Mango Selection are both cutting shapes that read within spitting distance of Gucci Primavera. Pair any of them with a vintage Gucci Horsebit loafer from resale and you are, visually, on the brief.

The Kering Chess Game: Why This Is Bigger Than One Collection

Zoom out and the Demna Gucci move is really a referendum on the entire Kering group. The company has announced the closure of 175 underperforming stores globally, a distribution overhaul, and a full creative reshuffle across Balenciaga, Bottega Veneta and Saint Laurent. De Meo’s strategy is built on the assumption that a single designer can reset consumer perception of an entire house, and that Demna, specifically, is the only creative voice loud enough to cut through in a market where LVMH’s Louis Vuitton, Dior and Loewe are eating everyone’s lunch. If Demna lands Gucci, Kering gets its valuation back. If he does not, the group is genuinely in trouble. That is why editors across US Vogue, British Vogue, Dazed, Who What Wear and WWD are covering every Gucci drop like it is a live election result.

For a deeper dive on the broader luxury vs. accessible price debate this raises, our guide on Luxury vs Budget Fashion: What Should Women Invest In breaks down which pieces are actually worth the Gucci level spend.

Do’s and Don’ts

FAQs

Who is Demna and why is his Gucci appointment a big deal? Demna Gvasalia is a Georgian born designer best known for founding Vetements and then spending a decade as creative director of Balenciaga, where he turned the house into one of the most culturally dominant luxury brands of the 2010s. His move to Gucci in July 2025, replacing Sabato De Sarno, is considered the biggest creative director appointment of the decade because Gucci accounts for more than half of Kering’s revenue and has been in decline for ten straight quarters. No other recent hire has carried this much financial and cultural weight at once.

When did Demna’s first Gucci collection show? Demna’s first full ready to wear runway show for Gucci, titled Primavera, debuted at Palazzo delle Scintille during Milan Fashion Week on February 27, 2026. Before that, he released a surprise see now buy now lookbook called La Famiglia in December 2025, available at ten Gucci boutiques worldwide, which functioned as a soft launch for his creative direction at the house.

How was the Demna Gucci debut received by critics? Reception was mixed but leaning positive. Bernstein luxury analyst Luca Solca publicly scored the Primavera collection 7.6 out of 10, noting it was “more good than bad” and a clear improvement over Sabato De Sarno’s 6.8 rated debut. Tailoring and suiting were praised, while handbags, shoes and some of the sportier looks were criticized. Editors at WWD, W Magazine, Dazed and Who What Wear all flagged the collection as a credible new direction.

Is Gucci still a good brand to invest in for 2026? For long term buyers, yes, especially on archive bags like the Jackie 1961, Horsebit 1955 and vintage Tom Ford era pieces, which tend to hold or grow in resale value. For trend pieces from the first Demna drops, the smarter approach is to wait for the second and third collections before committing to seasonal items, since early era creative director pieces can fluctuate in perceived desirability once the house finds its new rhythm.

What should I wear if I love the Gucci Primavera look but cannot afford it? Build the silhouette with accessible price alternatives that mirror the shapes. Khaite and Reformation slip dresses, Aritzia Babaton fluid trousers, Mango Selection and COS low cut blazers, and Coach Tabby or secondhand Gucci loafers for the footwear anchor. The visual language of Primavera is bias cuts, liquid fabrics and stripped back tailoring, all of which translate down market more cleanly than, say, a logo heavy Balenciaga look.

Why did Kering pick Demna over a more traditional Gucci fit? Kering CEO Luca de Meo needed a designer with enough cultural heat to reverse a ten quarter sales slide. Traditional picks like Sarah Burton or Pierpaolo Piccioli would have signaled heritage house continuity, but Gucci needed conversation, not calm. Demna is, arguably, the only active luxury designer whose name alone can generate global press coverage, which is exactly the shock therapy a struggling brand requires.

Will Demna’s Gucci look like Balenciaga? Not really, based on Primavera. Demna leaned into Gucci’s own archive, particularly the Tom Ford era, rather than importing his Balenciaga signatures wholesale. You will still see his DNA in the proportions and the styling attitude, but the silhouettes are softer, more Italian and noticeably more sensual than the architectural hourglass shapes he became known for at Balenciaga.

How long until Gucci returns to sales growth? Analyst consensus, including Bernstein and several Kering coverage desks, does not expect Gucci to return to positive growth before 2027. The turnaround plan involves closing around 175 underperforming stores, reducing wholesale exposure, and giving Demna at least four to six full collections before judging commercial impact. Patience is officially priced into the stock.

Conclusion

The Demna Gucci era is going to define luxury fashion for the next five years, whether you love the Primavera debut or find it confusing. If you care about where the industry is heading, this is the story to watch, and the smart move is to study the collection, shop the archive pieces that have always mattered, and build the silhouette at your own price point until Demna’s second act arrives in September. Keep your Mytheresa alerts on and your resale tabs open.