TREND| Pre-Fall 2026 Review - The Art of Reading The Room

Today, as a result of the Internet and World Wide Web information is at an abundance and growing. These advancement has led to the creation of a two-way line of communication between consumers and fashion brands - designers and business managers. Anyone who has an opinion can distribute that opinion to the masses. This nonstop feedback loop can also be describe as a figurative double edge sword. 

Designers who are appointed to lead the creative outputs of the world's most renowned fashion labels are selected because of their unique point of view. However, even with their strong aesthetic convictions they no longer operate from the ivory towers of New York, Paris, and Milan neither does the business have a monopoly over the market for novelty clothes. As the availability for comparable and high quality trendy clothes expands designers must balance their keen sense of direction with the outspoken needs and taste of their consumer base. And of course brands cannot and do not seek to appease everyone nevertheless there is a fine balance between the authority that comes with setting the design course and "reading the room." 

GUCCI

I previously wrote a post about my initial response during the Spring 2026 shows of a few of the new designers presenting for their first time at some of Europe's most beloved fashion labels. In writing my round-up I went back and forth in my head whether or not I should include Demna's initial digital presentation as Gucci's artistic director - I choose the ladder. I give Demna some grace because similarly to Jonathan Anderson (although I did review Dior) I felt they had been appointed and accepted a complex task. From the creative perspective I knew both could rise to the occasion because they are literally two of the leading mainstream fashion designers of the last 15 years. However, where I thought the complexity would come in is in the execution. As someone who has worked in corporate retail I know the time required to onboard, research, edit, re-edit, then finalize a flushed out point of view and I knew neither designer would have the appropriate amount of runway (lol no pun intended) to properly prepare for their first outing.

For his second effort, Gucci's Pre-Fall 2026 collection Demna crystallized his vision which he also photographed the look book images of. The objective was to create products that excited him acknowledging in an interview with Vogue "...A lot of people try to rationalize fashion, but it's not rational: it's about creating an unexpected and absolutely unnecessary desire." In creating a collection of  unnecessary desires he also tapped into the very real human emotion of FOMO - fear of missing out.  Demna shared his own personal experience with FOMO "...I love when I see something and I don't need it - because nobody needs fashion - but I have a FOMO of not having it..." I think FOMO should be included as one of the modern day deadly sins placed somewhere in the mist of lust, envy, and gluttony. 

Today's social paradigm is based on a manufactured sense of "staying ahead" whether that be the latest clothing trends, TikTok dance, or the adoption of artificial intelligence software; it can be disorienting for the faint of heart. Fashion by nature is always fleeting and in sharing his own experience is an additional reason why I believe Demna relates to the market so well - he is part it, creates it, and yet wrestles with it. 

The focal point of Pre-Fall 2026 was Demna's interpretation of the transformative era of Gucci during the reign of Tom Ford. What was refreshing about the collection was his ability to tap into the essence of what we loved about Ford's vision - the attitude, the style, the unfussy and straight forwardness of the clothes, and its wearability. The collection included suiting providing women both pants and skirt options. The initial interpretation through the American lens by Ford of "Italian Minimalist  Sleek" then reimagined again by Demna. The collection was 90's-coded including high/low pieces - leggings, fitting mini skirts, bomber jackets, band-aid skirts, jeans - that could easily be dressed up or down. I also like the color scheme of the collection consisting of mainly dark colors as the foundation - black, navy blue, brown - with hints of patterns and subdued colors like deep plum or a blood red. 

I like the collection and it will resonate with Demna's client. 

However, as someone who use to shop vintage before it gained popularity; I have purchased authentic Tom Ford era Gucci in vintage shops in New York City and on the Internet. Ford's collection is heavily circulated in the second-hand fashion sphere and I think there will be a portion of consumers who would rather invest in "vintage" (lol clothes only ~30 years old) Tom Ford Gucci then the copycat.  

DIOR

To put it plainly I was totally underwhelmed by Jonathan Anderson's Spring 2026 debut collection as Dior's artistic director. I thought it was overly sentimental about the past and was more fitting for a museum exhibition; rather than for the highly competitive fashion goods marketplace. The collection had an obnoxious and condescending air about it. And on top of everything else there was absolutely no element of wearability - excluding the denim mini skirts - the clothes seemed more appropriate as fantasy cosplay then for the realities women face during their daily commute on New York City public transportation. 

In contract for his second installment for Dior's Pre-Fall 2026 collection I felt it was aesthetically attuned with today's luxury client and presents a elevated interpretation of the Dior woman. Dior's client is usually described as a "mother and daughter" and this collection further develops that relationship; providing age neutral stylish options in everyday clothing. 

In an interview with Vogue the designer shared his goal while creating this collection "It's the idea of the reality of the girl of Dior. How do we remove the stifling-ness of Dior?" I think Jonathan has started to answer his own question offering - a fur hood cement color hoodie styled over a more formal dress or skirt paired with flats and a lady purse; this was actually one of my favorite looks from the collection. There were also several jean options that could very well transition from the most casual look wore with a t-shirt or dressed up with a feminine blouse. I also loved the shoe category ranging from flat mules which he also offers seasonally for his JW Anderson line, I loved the ankle strap chucker platforms, the leather thong sandals and Birkenstock-esque style. The general styling of the collection was also strong; a rendition of the Bar jacket as a boxy silhouette long double-breasted grey with black lapel coat paired with the Birkenstock-esque sandals, I also really loved the black denim barn style jacket with the black fur trim paired with grey pleated ballon trousers and what looks like black leather sandals, and a reinterpretation of the Arizona Trapeze coat circa 1948 as a chocolate brown loosely draped shawl like jacket with a leather closure paired with baggy jeans, grey mules and patent leather lady purse. The styling proved modern and elegant options for running errands, work, and occasion dressing.  

This collection brought Dior into 2026 offering her a conceptual wardrobe to suit her modern and dynamic lifestyle. The concept of elegance is not solely reserved for a specific socioeconomic class; modern luxury meets the client where she is and works with her (not against her) as she moves throughout her day- however that day may look through various lifestyles lens. Jonathan Anderson in conversation with Women's Wear Daily expands upon this topic "Clothing is evolving and is changing, and I feel like Dior has got the capacity to invite multiple types of women in. For me, Dior is a very inclusive brand in that way..."

CHANEL

I was first introduced to Matthieu Blazy through his work at Kering owned Bottega Veneta. I found his work to be stylistic, vibrate, and most importantly wearable. The collections were modern; I could imagine women from diverse backgrounds wearing the pieces and the clothes not negatively interfering as she carried out her normal day to day. 

However, that sensibility has yet to materialize in any significant way in his work as Chanel's artistic director. Thus far the work produced at Chanel stands in stark contrast from Bottega Veneta; it has little to no investment value because of it's limited wearability, the collections lacks range seeing as they cater to event or occasion dressing predominately, and aesthetically are undesirable. 

Women today require realistic solution for their dynamic lifestyles and she needs both style and comfort from her clothes. 

For the Pre-Fall 2026 collection entitled “The C Line” was held at the Bowery Train Station in New York City's LES (Lower Eastside) neighborhood - in reality the actual C Line does not stop at Bowery. A stop and area which I am very familiar with in the past I worked in SoHo and lived in the Bedford-Stuyvesant neighborhood of Brooklyn. I would frequently travel back and forth via the J train to Bowery I also use to go to bars and restaurants in the area. During an interview with Vogue the designer shared his idea behind the show location "I was interested in the New York subway because I think it's the one and only city of the world where every strata of society are using it, and I think its a place that has no hierarchy." I also share this observation while I lived in New York City that the subway is the greatest common denominator. Conversely, the collection seemed more fitting for the members of the elite and well guarded women only New York City Colony Club. 

The clothes, first and foremost are simply not cool or cute; they are old in the sense of "old-fashion" or "dated." In my initial review of the designer's debut collection I mentioned that it had no element of a modern fashion line including of the 77 Looks only four included formal trousers and there were not jeans. It seems that my feedback somehow got back to the right people (lol) for the Pre-Fall 2026 not only was there a greater ratio of pants - 13 out of 81 total looks, the opening look was a pair of jeans and in total collection included three styles. 

The designer in a Women's Wear Daily interview said the collection was "...very character-driven" his citations included "...a '70s journalist...", an "...'80s businesswoman..."and Gabrielle "Coco" Chanel first trip to America in 1931. In the same the interview Bruno Pavlovsky, president of fashion and president of Chanel SAS disclosed that in the United States for the privately held company "...ready-to-wear is fly." 

However, women today - specifically in the United States require realistic solution for their dynamic lifestyles and she needs both style and comfort from her clothes. She has no options for work, after work, dinner, shopping, grocery shopping, or just to look cute for a new Instagram post.

The collection and based of the designer's mood board are out-dated references and is disconnected with the market's current taste level. Chanel under the direction of Matthieu has not offered a compelling solution that is not based on a caricature of a woman.