Who is in charge of fashion?

After Milan Fashion Week, one thing is certain: everyone is now fashion critics. This no longer just applies to the front row or the established editors of the shows, but also to analysts, Substack authors, TikTok commentators, luxury consultants, meme accounts and self-proclaimed aesthetes.

The more interesting question is not whether opinions polarize – they always have. What is more important is whose approval brands actually need to be successful.

The Gucci case study

The first catwalk collection for Italian fashion house Gucci under creative director Demna Gvasalia was bound to polarize. What was notable, however, was that the reactions were less harsh than those to his predecessor Sabato De Sarno. Its debut was widely viewed as commercially disappointing.

The criticism ecosystem is now widely branched out. Luxury analysts like Luca Solca and trade publications like WWD spoke out, as did institutional voices like Business of Fashion and other respected authorities. In addition, independent newsletters such as Linesheet and Instagram commentators published their assessments.

Some described the collection as a successful reboot – a necessary cleansing for Gucci’s next era. Others dismissed it as a mere offshoot of Tom Ford and even compared individual elements to the aesthetics of Philipp Plein. Some observers praised the clothing itself. Others focused on the casting of muscular men crammed into extremely tight-fitting T-shirts and pants. Questions were raised about the quality of the collection, as were doubts about its quality.

The camps were not only divided, but spoke different languages. When reactions vary so widely, the question for consumers is: Whose authority counts?

Critics also have preferences

Journalists, just like designers, have their preferences. Certain designers benefit from many years of critical goodwill. When was the last time industry writers gave a truly scathing review of Jonathan Anderson?

This isn’t necessarily a negative, just a reminder that fashion reviews are rarely neutral. Authors interpret through their personal taste, brand history and an intellectual framework. Some analyze meaning and narrative with surgical precision. Others focus on portability and product. Social media, on the other hand, often completely lacks nuance.

Bottega Veneta and the burden of expectations

Louise Trotter presented her second collection at the Italian fashion house Bottega Veneta. Many considered it to be stronger than their first, as it seemed more cohesive in tone and construction. Nevertheless, the oversized silhouette continued to divide opinions. For some it signaled self-confidence and authority. To others, she seemed clumsy and distant from everyday life.

The tension between catwalk staging and everyday suitability is hardly new. But the increased comments make the gap appear larger.

Prada: genius or selfishness?

At Italian fashion house Prada, the repeated runway sequence was hailed as conceptual brilliance by some traditional critics. The models walked back to remove layers of clothing, revealing gradual changes to the silhouette. Others questioned whether such exercises show that designers talk primarily to each other rather than to customers.

Is this intellectual stratification a stroke of genius? Or evidence of creative self-absorption? The answer depends entirely on perspective.

The only judgment that ultimately counts

This is where the numbers come into play. French parent company Kering has reported significant declines at Gucci in recent seasons. Revenues have fallen sharply compared to peak performance during the previous creative peak in 2022. When revenue falls so sharply, CEOs have to pull out all the stops to keep investors, markets and customers happy.

Consumer spending in China is gradually recovering and global demand for luxury goods is being recalibrated. Whether the tensions in the Middle East will end soon also plays a role. Nevertheless, it is not the catwalk reviews that will determine success, but rather the quarterly results.

Critics influence perception. Analysts influence investors. Social media influences the hype, but only the customers influence the balance sheets.

Perhaps the real change in Milan this season was not aesthetic but structural. The monopoly of opinion has dissolved. Authority is fragmented. Brands no longer design for fashion critics, if they ever really did.

In a time when everyone has a platform, neither the old guard nor the algorithm are the referees – but rather success at the checkout.