THE FASHION RESHUFFLE
- Francesco Lo Iacono
- Oct 11
- 5 min read
After months filled with announcements, rumours, new appointments, and what felt like an endless game of musical chairs, the Spring/Summer 2026 collections showcased during the September–October 2025 fashion shows in Milan and Paris are now behind us.
Weeks of great anticipation have passed, accompanied by polarising discussions across the internet, social media, and various publications, but above all, there was excitement, at least from my perspective.
This season was intended to be more than just a display of clothing, with many emphasising this moment as a strategic and cultural reset in fashion.
But what if clothing were to take centre stage, as they are meant to?
Designers, creative directors, and brands were approaching this season as a chance to start fresh, a moment to show their new creative vision and redefine their role in an industry that is evolving at an unprecedented (and weird?) pace.
Part of this excitement was undoubtedly fueled by a shift in leadership at several major fashion houses, with Spring/Summer 2026 marking the first full season where these new visions would be revealed.
I must confess, I was genuinely excited and ready to be surprised by these new collections, perhaps with a bit too much anticipation. Times are steadily evolving, as collections are showcased in real-time, consecutively. It feels nearly impossible to hit the pause button and fully digest each collection.
As an illustrator, I chose to focus on the debuts of some of these new designers, creating a series of new illustrations inspired by the Spring/Summer 2026 collections.
So I took the time to truly appreciate these new collections, lingering on the details and the looks that hit me the most. I really felt as if I were falling in love all over again. I experienced the beauty and excitement anew.
It comes back to clothing for me, less about the surrounding elements, the celebrities, the hype, the strategies. I value the love, the craftsmanship, the effort, and the time that designers and their teams invest in creating those stunning garments and looks.
Matthieu Blazy's inaugural collection for Chanel was possibly the most eagerly awaited event of the season. The skilled designer, previously with Bottega Veneta, was expected to infuse a daring revival into the brand's legacy.
In this case, the cosmic-themed set design was genuinely stunning, which is why I chose to include it in my illustration as well. The collection was rooted in the present, appearing less polished and more contemporary, presenting a fresh perspective for the legendary French label, reinterpreting some of the house's traditional elements, such as tweed and camellias, in the unique manner Blazy had already begun to delight us with during his time at Bottega Veneta.
The designer had been closely associated with the image of Balenciaga, where he successfully reshaped it for nearly a decade. I was truly intrigued to witness Demna pushing his boundaries with the Italian powerhouse that is Gucci.
Demna’s inaugural Gucci collection, La Famiglia, was unveiled as a digital lookbook featuring 38 unique characters that represent Gucci’s essence.
This is not intended to be the Spring/Summer 2026 collection of the house; Gucci - La Famiglia made its way to a few Gucci stores worldwide shortly after its presentation, breathing new life into the Italian brand, which is now in search of a fresh and immediate identity.
Alongside the launch was a short film titled The Tiger, directed by Spike Jonze and featuring Demi Moore among others. This innovative approach is designed to serve as a mere appetiser for the vision of Gucci that Demna is currently developing. I am eager to see what comes next.
Simone Bellotti's first collection at Jil Sander was possibly one of my top picks of the season, and I would genuinely love to wear it myself. It presented a minimalistic, soft, clean, and wearable vibe.
The colour scheme was both essential and beautiful, inspiring me to enhance my illustration through a delicate game of positive and negative spaces.
Simone Bellotti creates with his customers in mind, presenting a curated and sophisticated collection that does not chase fleeting trends.
Dario Vitale's inaugural collection for Versace at Milan Fashion Week was possibly one of the most divisive moments of the season, at least online. Vitale introduced a modern aesthetic and a fresh interpretation of sensuality at Versace, contrasting with the more straightforward sexiness the brand has been recognised for over the years, which may have unsettled the fashion crowd more than anything else.
Vitale offers a significant transformation for the brand, drawing inspiration from Gianni Versace's archives, almost pondering what type of women and men the late designer would portray if he were still alive today.
I was personally captivated by the colour palette of the collection, the nods to 80s silhouettes, all of which were reflected in my illustration, where I nearly diverged from the collection itself, amplifying the colour scheme to align more with the atmosphere created by the fashion show.
Louise Trotter's first collection for Bottega Veneta was impeccable, showcasing a harmonious blend of softness and structure reminiscent of the brand's signature intrecciato, which was prominently featured in both accessories and clothing.
Following his menswear debut last summer for the legendary house of Dior, Jonathan Anderson dared to re-enter its realm, showcasing his interpretation of the Dior woman.
Several of the looks reflected their menswear counterparts, establishing a cohesive vision for the first time, as Jonathan Anderson now oversees both collections simultaneously.
His first womenswear collection for Dior continued to delve into the iconic and historical motifs of the French house, reinterpreting them through a contemporary lens and the distinctive perspective for which the designer is renowned, both for his own brand and his past tenure at Loewe.
Jonathan Anderson rose to the occasion, presenting a confident woman who oscillates between more commercial elements and more poetic, abstract, and audacious moments.
Numerous looks included headpieces designed by Stephen Jones, a long-time Dior collaborator, who partnered with Jonathan Anderson for the first time.
While watching the live-stream, I immediately knew that I wanted to include one of the headpieces crafted by the renowned milliner in my illustration, designed as a modern take on the one featured in the iconic New Look by Christian Dior.
Pierpaolo Piccioli's appointment as the new creative director of Balenciaga seemed like a natural fit to me; the designer has long been recognised as a devoted admirer of Cristóbal Balenciaga's work, frequently referencing him in his Valentino collections.
Piccioli's initial foray into Balenciaga is marked by a thoughtful, elegant and sophisticated approach.
The collection, titled The Heartbeat, was revealed during Paris Fashion Week at the brand's 17th-century headquarters, precisely where Demna showcased his retrospective exhibition for Balenciaga.
Behind this collection lies a desire to not alienate Demna's typical Balenciaga clientele while honouring the brand's heritage, all filtered through the insightful and humanistic lens of Pierpaolo Piccioli.
The outcome is a seamless fusion of couture elements and casual wear, serving as an ideal appetiser to the first, most anticipated haute couture collection for Balenciaga.
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