What retailers and other industry experts are hoping for with this fall’s unprecedented number of designer debuts? Unbridled creativity.

What they’re more likely to get? Carefully calibrated collections.

“I’m hoping for freshness, though I suspect risks will be measured,” said Courtney Grant, senior vice president of buying at California-based retailer Elyse Walker. “Fashion could use a shake-up, but today’s economic and political climate encourages caution.”

“Of course, we all hope that this unprecedented number of designer debuts will launch a burst of creativity, and we probably will see some of that,” echoed Valerie Steele, director and chief curator at The Museum at the Fashion Institute of Technology in New York. “However, we’ve seen that in recent years, both consumers and big companies tend to prefer heritage and familiarity over novelty and risk.”

“I want to be emotionally moved and fall in love with fashion again,” said consultant Julie Gilhart, founder and president of Gilhart & Co. “It’s been business-first for a while now so I’d like to see it turn to creativity first because I think that is where the most interesting, new business is found.

“Careful calculation will probably be the order of the day: familiar heritage spiked with just a dash of fashion newness,” she added. 

Victoria Dartigues, merchandising director for fashion and accessories at Samaritaine Paris, agreed on the need for creative renewal.

“The turbulence in the industry right now is proof that freshness and bold ideas are essential,” she said. “On the other hand, this has to be balanced with commercial discipline. After several challenging seasons, brands must deliver collections that not only inspire but also sell, with strong merchandising and real wearability.
 
“Another key issue will be pricing,” she said. “Too often we’ve seen prices increase without transparent justification compared to the actual craftsmanship or materials. In today’s sensitive market, consumers expect more clarity, and this will be an important test for many brands this season.”

She ticked off Chanel, Gucci, Loewe and Marni as the debuts she is most looking forward to. However, she cautioned: “Reinvention cannot come at the expense of erasing the brand’s foundations, especially in such a fragile market context.”

Gilhart held out hope that “all the excitement of the new debuts will have a halo effect of delivering even more exciting, salable collections from already known designers.”

To be sure, the stakes will be high in the attention sweepstakes, heaping pressure on brands without new designers to grab some of the spotlight.

“I’d like to see more soulful storytelling than trends,” Gilhart added. “It’s interesting to know more about what went into the creation of the clothes and accessories and what makes it so special.”

All the Debuts Ahead

Retailers seem most excited for Matthieu Blazy’s first collection for Chanel, Jonathan Anderson’s first womenswear effort for Dior, Demna’s first presentation for Gucci, and Pierpaolo Piccioli’s debut as creative director of Balenciaga.

Other debuts include Louise Trotter at Bottega Veneta, Dario Vitale at Versace, Simone Bellotti at Jil Sander, Jack McCullough and Lazaro Hernandez at Loewe, Miguel Castro Freitas at Mugler, Duran Lantink at Jean Paul Gaultier, Mark Howard Thomas at Carven and Glenn Martens at Maison Margiela, showing his first ready-to-wear designs after a couture debut last July.

“This is a historic moment in the fashion industry.…I am looking forward to all of the designer debuts this fall,” said Roopal Patel, senior vice president, fashion director at Saks Fifth Avenue and Neiman Marcus. “It will change the landscape and set the tone for this next shift in fashion. It is a reset and a reboot. I am excited for this and feel this is going to be a moment of great creativity and pushing things forward.”

In Patel’s estimation, consumers “are very aware of the designer fashion musical chairs over the last year and have been anticipating the spring 2026 collections with great enthusiasm.”

Steele had a contrarian view.

“Most consumers are not aware of changing designers, they focus on brand names and brand hotness,” she argued. In her view, “changing designers is not the solution to fashion’s bigger problems.” 

Elyse Walker’s Grant mused: “It will be interesting to see whether loyalists follow designers to new houses or remain tied to the labels themselves. Fashion is in a game of musical chairs — and clients will decide who wins.”

Here’s what other buyers and experts around the world had to say about the blockbuster season, with shows kicking off in Milan on Sept. 23 and winding up in Paris on Oct. 8:

Bosse Myhr, director of menswear and womenswear, Selfridges: “I am hoping to see an evolution of the brands, unlocking a new level of desirability through fresh creative visions. Newness and innovation have always been among the most important drivers of our business, and they remain what our customers are looking for. The introduction of new designs, styles and innovative approaches to brand communication will be key elements I am watching for.

“I expect the heritage brands not to remain quiet, but instead to double down on their efforts to communicate with strength and clarity. The pressure to deliver an exciting collection feels higher than ever this September, with expectations at a peak. My hope is that we will witness one of the strongest fashion weeks to date, with every brand showing its very best.”

Linda Fargo, senior vice president, fashion director and store presentation, Bergdorf Goodman: “This is perhaps one of the most interesting moments in the arc of fashion that any of us will experience.…The debut of Matthieu Blazy for Chanel tops my list for ‘most anticipated’ fashion moment of the season, and such a visionary appointment.

“Some of the most exciting moments will come from the brands who debuted new creative directors last season. The first debut seasons are often rushed and nerves can stifle the best of them. Second seasons are typically some of their best, as the new designers have come to better internalize their new house and crystallize where they’re going. The bar is high this season, and we anticipate that all the brands will be raising their expectations of themselves to keep pace with the prevailing energy.”

Alix Morabito, director of women’s buying, trade and special projects, Galeries Lafayette: She cited a handful of Milan debuts at some of the most anticipated to bolster smaller houses, including Bellotti at Jil Sander and Trotter at Bottega Veneta. In Paris, she is “thrilled to see how Duran Lantink at Jean Paul Gaultier will bring his free spirit, joyful energy, inventive creativity and genuine engagement.”
 
“With so many singular personalities, unique journeys and powerful brands, I hope for an unprecedented surge of creativity, joy, innovation and surprise. Above all, I wish for meaningful design. Today more than ever, the industry needs purpose — and fashion must embrace both people and culture. I’d like to see an end to trend-driven, disposable fashion, and instead welcome bold, thoughtful design that celebrates individuality, craftsmanship and culture.”

Isla Lynch, buying director, Ssense: Lynch is most looking forward to Bellotti and Blazy’s debuts. “Both are exceptional design talents, with a proven ability to sell the dream while simultaneously delivering highly desirable, commercial products at scale.
 
“I expect them to lean on established brand codes to maintain authenticity and commercial appeal, but I also anticipate they’ll push boundaries to assert their own fresh interpretations.”
 
“I expect a renewed emphasis on product and truly exceptional design. Customers are growing weary of endless reinterpretations of so-called ‘wardrobe staples’ like cargo pants, denim, chore jackets, leather outerwear on the runways. What’s needed now is a return to fashion that inspires, built on products that reignite a sense of fantasy. Luxury at its best shouldn’t be easily ‘duped’ — it should feel singular and special.”
 
Joseph Tang, fashion director, Holt Renfrew: “With all of these designer debuts, we hope to see collections that not only provoke new and innovative design ideas, but we also hope to see how brands can forge meaningful connections with consumers. We want to see brands reflect the values and aesthetics of today’s dynamic lifestyles while still surprising us with fresh points of view.
 
“We’ve loved the recent embrace of strong, powerful dressing, and we’re keen to see that language evolve, particularly through bold explorations of shape and silhouette. For brands like Chanel, Dior, Gucci and Balenciaga, the accessories and footwear categories are especially ripe for reinvention. With so many designers stepping into new roles, there’s a real opportunity for a new era-defining ‘It’ bag or ‘must-have’ shoe to emerge.
 
“Many consumers may not know each designer by name, but they absolutely feel the impact once the collections arrive in-store. Our role as a retailer is to translate these shifts into experiences and assortments that resonate with how our customers live, work and express themselves. The brands that succeed will be the ones that not only innovate but connect emotionally and practically with real people’s lives.”

Rickie De Sole, vice president, fashion director, Nordstrom: “It’s impossible to choose just one debut to be excited about.…This is a real moment of change in our industry and one we’re thrilled about. There’s a general sense of excitement for the unknown.

“I think the most important thing for a creative director is to design collections that feel relevant to the world we live in. Fashion is at its best when it reflects the spirit of the time while also pushing us forward. That’s what I hope these debuts deliver — fresh perspectives that are grounded in the present yet open the door to new ways of imagining how we will dress in the future.…What matters most is how these creative shifts translate into clothes, accessories and ideas that resonate in [consumers’] daily lives.”

Tiffany Hsu, chief buying and group fashion venture officer, Mytheresa: “We’re looking forward to seeing how Pierpaolo Piccioli’s debut at Balenciaga bridges the brand’s heritage with his own ultra-feminine, romantic aesthetic. Dario Vitale’s first collection for Versace also marks a significant shift for the house, given his impactful tenure at Miu Miu, we expect his approach to inject a refined modernity into Versace’s bold, unmistakable codes. While we may not expect theatrics at Bottega Veneta, we anticipate a beautifully considered debut that honors Bottega Veneta’s artisanal roots. It’s a brand of strategic importance to us, and we believe her vision will resonate strongly with our clientele.

“We anticipate some designers will make bold, visionary statements, while others may take a more strategic, evolutionary approach. Both can be powerful, but originality is what truly excites our customer.”

Giuseppe D’Amato, buying and merchandizing director, Rinascente: “This fall will be a particularly dynamic season, with numerous creative debuts scheduled across Milan and Paris. Among the most anticipated are Blazy at Chanel, Demna at Gucci, Pierpaolo Piccioli at Balenciaga, Jonathan Anderson at Dior womenswear, Jack McCollough and Lazaro Hernandez at Loewe, Louise Trotter at Bottega Veneta and Dario Vitale at Versace. Each of these maisons has a powerful heritage, and what is most compelling is seeing how these designers will reinterpret such iconic identities and bring new energy to the market. It’s the collective momentum of these debuts that will set the tone for the industry moving forward.

“I expect an unprecedented wave of new energy and disruptive creativity. What will be most notable is how designers will push boundaries while still respecting the iconicity and heritage of their maisons. The real challenge is to reinterpret those identities in a way that feels powerful, relevant and true to their legacy — while creating desire and capturing the attention also of new generations. These debuts will set the creative direction, but there is also the expectation that collections will be developed in a balanced and wearable way, according to the market needs.”

Will Zhang, buyer, SND: “I am especially looking forward to Glenn Martens’ debut at Maison Margiela. We have long collaborated with Y/Project and Diesel, and Glenn’s work has already built a loyal following within our stores. I am also eager to see Duran Lantink at Jean Paul Gaultier and Louise Trotter at Bottega Veneta. As a personal admirer of their works, I believe each of them brings a unique energy that promises to be refreshing for the industry.

“Most consumers aren’t acutely aware of designer rotations. Their focus remains on whether a product feels desirable and worth investing in. For brands, the responsibility is to translate these creative changes into a clear design language, immersive store experiences and compelling storytelling that make the difference perceptible to the consumer. For the heritage brands without leadership changes, we still expect them to bring forward fresh ideas rather than leaning towards the safe side.”

Eric Young, buyer, LMDS: “I look forward to the possibility of a little industry revival. The global fashion retail scene hasn’t been easy lately, so if fresh creativity and design can help turn businesses around — even just a little — that’s already thrilling. Things might not feel completely unrecognizable, but that’s the beauty of fashion: what looked wrong yesterday can suddenly feel irresistible today.

“What matters most is whether new designs and new creative directors can actually crack open consumers’ wallets. Of course Demna has legions of loyal fans, but let’s not forget that a lot of the fashion business comes from casual shoppers who happen to walk into a store. If these people are hit by the fresh wave of fashion trends from Paris, that could mark the real beginning of a recovery story.

“In China, brand recognition and knowing your customer profile are equally important factors for heritage brands. Take Ferragamo as an example — I really enjoyed their shows, always tasteful, never blindly following the trends. But walking into the stores feels different — it’s not so easy to achieve that elegant, sophisticated image Maximilian [Davis] has built through the merchandising.”

Eduardo Lucero, fashion designer and professor of design/illustration, Otis College Fashion Design: “I am most looking forward to the collection of Pierpaolo Piccioli for Balenciaga. I would love to see how he translates some of his romantic vision and applies it to the sleekness and modernity of Balenciaga’s heritage looks from recent collections. I am also excited for Jonathan Anderson’s approach to the house collections of Christian Dior.

“I would love for heritage brands that don’t have a new creative director to take chances and experiment with new proportions and combinations that still give a nod to the house DNA but also lay the groundwork for further exploration and innovation by a future director….The fashion trend that I would like to see end is the segregation between classic day and luxurious evening looks. Mix it all up — tailored sober jackets with shimmery eveningwear fabrics; menswear silhouettes with classically feminine touches and treatments all blended together; retro and futurism. We need a new fashion language in order to feel reenergized about style and styling.” 

Brigitte Chartrand, buying and merchandising officer, Net-a-porter: “I am really looking forward to Pierpaolo Piccioli’s debut at Balenciaga and Dario Vitale’s first season at Versace. I’m curious to see how they both interpret their historic house codes. I also can’t wait to see how Simone Bellotti molds his creative vision at Jil Sander, particularly as someone who wears minimal and feminine pieces. Of course I am excited to see Matthieu Blazy’s debut at Chanel and Jonathan Anderson’s debut women’s show at Dior. Blazy’s Bottega Veneta ready-to-wear was a staple in my wardrobe, and his creativity will shape a new era at Chanel.

“I am keen to see consistency amongst the newness for heritage brands. Take Chemena Kamali’s Chloé: I hope to see her continued brilliant evolution of the house’s bohemian codes that singularly inspired and brought back that unique aesthetic, becoming a cultural phenomenon.”

Andrew Dryden, co-owner, Departamento: “Having five of our designers change hands in one season is unprecedented for us. I am most excited to see the debuts this fall from Jil Sander [with Simone Bellotti] and [next season at] Marni [with Meryll Rogge]. Both individuals are immensely talented and underdog picks, which always is the most exciting for us. I felt like that was the case with the Celine debut of Michael Rider and he really surprised the world.
 
“Our clients are very excited for this new sea change of designers. The one aspect I think people don’t quite appreciate is just how long it takes before we will start to see those changes in-store. For example, despite [John] Galliano being out of Margiela since last year, all the work we are receiving for fall 2025 — and even pre spring 2026 — is all done from his direction. Needless to say, it will be quite a big transition for us this next year.”

Maud Pupato, buying director for luxury womenswear, Printemps: “I have two main expectations. First, a big one for ready-to-wear: to see and understand what will be the next big trend taking over or transforming the current wave of minimalism/quiet luxury that has been here for a long time now. Despite the fact that maximalism and embellishments are already back in opposition to this main trend, I trust that something else is ready to emerge and it will both dictate the styling and consumption behaviors.

“I also have high hopes for accessories, especially on bags, which is a category that has been quite challenged lately. With the place and functionality that our phones are taking, bags [have] become another kind of companion and deserve to be highlighted. I definitely want to see more bags and more accessories in general; I think it’s a great category to develop both on a commercial and creative point of view.”

Federico Giglio, chief executive officer, Giglio.com: “Historic brands are expected to be solid, consistent and able to enhance their archives without upheaval.

“It would be desirable to see an end to excessive logomania and the pursuit of fleeting micro-trends. On the contrary, it would be stimulating to witness a rediscovery of craftsmanship, attention to detail and quality materials, capable of restoring value and durability to fashion.

“The most careful consumers notice creative changes, while for most, what they find in stores will matter most: brand recognition, aesthetic consistency and the ability to offer desirable products will drive their interest.”

Paola Russo, owner, Just One Eye: “[I’m looking forward to] Dario Vitale at Versace. It’s a historic transition for the house of Versace so it will be interesting to see this debut. I’m expecting overall fashion newness. But more commerciality with established creatives moving through well-known houses: Proenza boys at Loewe, Matthieu Blazy at Chanel, Jonathan Anderson for Dior women’s, Pierpaolo Piccoli at Balenciaga. These brands are already global machines so it’s just a matter of injecting newness. It will be interesting to see Demna’s take settle in at Gucci. He came into Just One Eye recently so it’s nice to see creative directors still visiting specialty retailers, even if it’s for inspiration.

“I’d like to see this fast fashion or quickness die down a bit. We need to see more originality and less gimmicks or quick copies. We also don’t need leaked fashion looks on much anticipated big screen films.”

Anna Lottersberger, dean, Ferrari Fashion School: “The most obviously anticipated moment is, I believe, Demna’s debut at Gucci, which is putting its trust in a designer whose vision cannot be dictated by merchandising. My hope is to behold something unexpected that might raise eyebrows or even provoke discomfort, offering visual suggestions that look beyond the comfortable horizon. I am also intrigued by Duran Lantink at JPG and am eager to see a fresh exploration of his original spirit — playful, sensual and inventive in the reinvention of existing garments. I would also have so ardently wished to witness Meryll Rogge’s first Marni collection this September — how we hunger for that vibrancy.”

Massimiliano Giornetti, director, Polimoda: “I hope this new dance of designers will reconnect fashion with its true essence: an artistic expression designed by humans, for humans. Merchandising and marketing rules have created fatigue and standardization in fashion, widening a sociological gap and resulting in missed opportunities for consumers. I think nowadays fashion is not reflecting the essential elements for them, such as being a powerful tool to express a sense of belonging to a community or a subculture. I hope the new season will be free and not standardized by trends and market studies based on artificial intelligence research and that in the near future designers will no longer be judged by numbers and growth, but by their ability to influence art, music, cinema, literature and habits.

“In a time of economic crisis, it is important for the fashion industry to show respect for important social and political changes. However, quiet luxury has resulted in a dangerous standardization and flattening of product offerings, killing consumer desire. Similar products, available in myriad beiges and camels, have led to a sudden disinterest in fashion, which, combined with the disproportionate price hikes, is causing the greatest debacle ever witnessed in the history of fashion.”

Marissa Galante, fashion director, accessories and beauty at Bloomingdale’s: “I’d love to see the end of fast-moving micro-trends and a stronger focus on investment fashion — pieces that balance creativity with longevity. The designers I’m most excited about — Blazy at Chanel and Anderson at Dior — are pushing fashion in that direction: clothes and accessories that are not just visually compelling but crafted to last.

“For the houses without a creative transition, there’s real strength in continuity. When the vision is clear, heritage brands can use this moment to refine and deepen their codes rather than reinvent them. Prada under Miuccia Prada and Raf Simons is a perfect example — their partnership continues to feel both consistent and surprising, evolving the brand’s intellectual edge and subversive minimalism season after season. And while not a debut, I also love what Chemena Kamali is doing at Chloé — her deeply romantic, feminine vision feels true to the house’s spirit yet refreshingly modern.”

Tiziana Fausti, owner of 10 Corso Como and Tiziana Fausti: “I’m particularly intrigued to see how Pierpaolo Piccioli will balance his romantic aesthetic with the raw and provocative energy that has defined Balenciaga in recent years, in contrast to its past. And also, Duran Lantink. He’s irreverent, conceptual and unafraid to subvert expectations — perfect for Jean Paul Gaultier.

“I’d like to see the obsession with viral fashion slow down. The over-styled, instantly clickable look often lacks soul. I hope we will return to clothes that move with the body and with time, pieces that become part of your life. What I’d love to see emerging is a more emotional resonance in fashion — garments that carry meaning, that invite you to feel something, not just to be seen. There is a growing appetite for slowness, intimacy, authenticity. We’re seeing this in the rise of tactile fabrics and softer silhouettes. These are signs that people want to reconnect with the emotional side of dressing — less performance, more presence.”

Karen Binns, stylist: “I’m looking forward to seeing Dior’s women’s show because of the challenge of it all to completely redirect the Dior woman to a new state of mind — a more sensual and prolific version of the modern woman today. I would love to see a newer attitude and the interpretation of what makes a woman interesting, as well as attractive.”

Sev Halit, buying manager, End.: “Most debuts feel more measured than radical these days, with brands so aware of the commercial stakes, but with so much change happening across the industry, there are bound to be flashes of real creativity.

“I’d love to see the churn of micro-trends ease up — the constant cycle of ‘viral’ looks has really diluted fashion’s sense of longevity. What I’d like to see instead is a shift toward practicality and durability: technical outerwear, versatile pieces and clothes designed to live well beyond a single season.”

Rafael Jimenez, founder and director, Plan-8 showroom: “Customers are very confused at the moment and their faith in authenticity has been eroded. The logical milestone to gain back that trust is to focus on what you’re good at and be specific to your client. At least I hope so. Having so many new designers debut at once may actually confuse further an increasingly distrustful client and redirect them toward all-time safe fashion investment purchases. This is an opportunity for brands like Tom Ford, which debuted last season under Haider Ackermann with a powerful, statement-making collection, to regain the trust of clients who once followed a very clear brand positioning — one created by a founder who brought a strong identity of glam, freedom and sexiness to fashion.

“The information I get from the stores and the clients is a lack of interest as a result of overwhelming choice. Designers’ voices are not identifiable, nor is the value of the pieces, as you can get everything discounted anywhere at any time. They now follow fashion mostly as a cultural entertainment. I think that is why brands that have a unique voice are doing well against all odds in every segment. For instance, Hermès and Comme des Garçons, or niche cult designers such as Paul Harnden, Elena Dawson, Marc Le Bihan and even Carol Christian Poell. They all have a steady, loyal customer base.”