Why was this such a big deal? Well, as I wrote last year, couture occupies quite an interesting yet valuable place in today’s high-fashion landscape. The term itself refers to the art of hand-sewn, hand-embroidered garments that can take thousands of hours to make, using techniques mastered by only around 2,000 people worldwide.

While many big-name brands don’t make a significant fraction of their revenues from couture, and while the collections don’t always turn a profit, there is still an important cultural cachet associated with participating in haute couture week. And, in a brand showing the world they have the skills and craft and creativity necessary to do so.

Perhaps nowhere is this more important than at Balenciaga, whose brand origins are deeply rooted in couture. Actually, founder Cristóbal Balenciaga once famously said that if his brand did not produce couture, he’d prefer it didn’t even exist at all.

You can read more about this below:

So, what happened on yesterday’s Balenciaga haute couture runway? And what can it perhaps tell us about the state of luxury fashion today? Here’s what you need to know.

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You can read the whole thing below:

You might also recall that 2025 was a Pretty Big Deal for fashion. Last fall, we saw a great reshuffling of creative directors across some of fashion’s biggest brands. Household-names from Gucci to Chanel to Balenciaga to Dior showed off their first womenswear runway collections under new creative directors, giving a glimpse into where they—and fashion at large—would now be headed. Finally, it felt like the rest of the industry could stop holding its breath, waiting in anticipation.

Today, halfway through 2026, it feels like the fashion industry’s pace is somewhat picking up. Yes, there is still a lot of restraint and minimalism out there. And, the pendulum isn’t swinging back from the “quiet luxury” that dominated fashion the past couple of years and back to bolder, louder styles quite as quickly as maximalists would hope. But, hey, at least the pendulum is moving, and it is hopeful to see some of the luxury industry’s struggles finally begin to recover.

With most pieces (read: creative directors) of the luxury fashion puzzle now in their right place and settling in, it’s certainly interesting to take a look at how brands, six months into the year, fit into fashion’s new landscape. So, I did what I always do and turned to data and analytics for the answer, as well as to help contextualize what the industry really looks like today. Let’s get into the numbers.

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I can’t say I always saw mys…

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And, as we are now heading into warmer, more humid months, it was certainly interesting to see what colors and silhouettes and accessories might inspire and dominate summer wardrobes this year. Are we finally ready to put “quiet luxury” aside and embrace loud, shimmering patterns? What’s the verdict on heels versus flip flops? And, most importantly, is navy the new black???

So, as the pool chairs at Miami’s recently-reopened Delano hotel are a fabulous place to analyze runway footage, below are some of the notable moments that took place on Miami Swim Week’s runways, and what they might mean for summer fashion this year. And, of course, what they can tell us about today’s broader fashion industry; where we are and where we’re not. Let’s get into it.

NEUTRALS AND EARTH TONES AND MONOCHROME, OH MY!

Interestingly, many of the models who walked down Miami Swim Week’s runways wore monochromatic looks in neutral and earth tones. Given summer is often considered the season for brighter, bolder colors and patterns to shine, I was not expecting to see as many more restrained takes on resort-wear.

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Today’s fashion industry (notably, set against the backdrop of quite a bit of economic anxiety) is no stranger to recession indicators. Theories surrounding which fashion trends could signal looming economic decline dominated fashion discourse in 2025. Was it the rise in popularity of neutral tones? The widespread obsession with nostalgia? The whole “white tank top” craze?

And, while many recession indicators (including the lipstick index) have certainly been debunked a number of times, they’ve also, often, proven true. So, it’s time to check back in and see if the lipstick index still holds in 2026.

THE CURRENT STATE OF LIPSTICK

To understand how consumers are both talking about and engaging with the topic of lipstick online, I did what I usually do and pulled hundreds of online posts published in the past week mentioning the product, their engagement metrics, and their sentiment.

Interestingly, lipstick isn’t currently very popular, especially when compared to other lip products. Actually, lip liner is the most popular by far, currently around 172% more popular on average than lip gloss and lipstick. Lip gloss is then the second-most popular, with lipstick coming in third place. I mean, did Serena van der Woodsen get it right when she said “lipstick lasts longer but gloss is more fun?”!

So, according to the data, people aren’t super into lipstick right now, at least not as much as they’re into other lip-accentuating beauty products. And, as per the lipstick index, this should be a good, optimistic sign, right?

But, actually, this isn’t the whole story. And, there could be something else happening here altogether. Let’s get into it.

It might also be important to note that, last summer, Louis Vuitton released a $160 lipstick as part of their new beauty line in collaboration with Pat McGrath. This raised the question—especially considering how talk of recession indicators was dominating fashion discourse at the time—of just how much luxury brands were trying to recession-proof themselves. You can read more about this below:

INTRODUCING: THE LIP LINER INDEX

As mentioned, according to the data, the most popular lip product at the moment is liner. Though, lip liner’s current stardom is made particularly interesting when you notice how it correlates with lip filler’s (and more permanent, filler-based procedures in general) recent decline in popularity.

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So much of this finding-my-place journey—and the majority of opportunities that I’ve been able to pursue from building Data, But Make it Fashion—has been due to the data-driven fashion brand and trend analyses I publish publicly across social media platforms.

When I started posting daily on the Data, But Make it Fashion Instagram account in 2023, and watched it grow as a result, it wasn’t necessarily with the intention of having a popular social media page. Rather, with the understanding that having an online platform could open a lot of doors and opportunities within the fashion industry, and I wanted a shot at those opportunities.

Especially coming from this non-traditional-fashion-background, it wasn’t clear to me how I could even work in the industry to begin with. If I hadn’t begun posting online, sharing my more niche fashion-data insights with the world and watching them resonate, I’m not sure how I would have found my way in fashion at all.

So, for any of you who may feel similarly, or who might not know where to begin, here are some things that helped me do it.

PICK ME, CHOOSE ME, LOVE ME

There are thousands of fashion-related accounts and platforms online, sharing everything from industry news to runway reviews to campaign breakdowns to fashion history deep-dives, and so on and so on. So, it was important for me to consider why, among a sea of endless fashion content, would someone pick me?

I previously discussed the importance of knowing not just what you’re good at when it comes to fashion, but what you’re not so good at, too. And this is an imperative part of establishing yourself in online spaces.

Personally, I’m not great at talking to the camera (although I’m working on it). I don’t always notice all the correct historical fashion references. I can’t put together an engaging get-ready-with-me video, showing off products in an exciting way. I’m not great at making videos longer than one minute long. This is where other fashion accounts thrive. People aren’t going to pick me for any of these things. Instead, I focus on what I am good at and that will, perhaps, make me stand out instead.

For example, often after a runway show, my posts share insights on how the brand’s awareness has shifted since the new collection. Like, how Chanel’s popularity grew 15% in the day following Matthieu Blazy’s runway debut, or how the 2025 Victoria’s Secret Fashion Show was around 31% more popular versus the previous year’s. These specific data insights and corresponding thoughts are my area of expertise, and what people follow me for.

At first, when I began posting fashion discourse from this technology- and data analytics-based lens, I assumed this intersection would be far too niche to engage a wider audience. It’s been interesting to learn, over time, how to make even the more seemingly niche topics resonate with as many people as possible. (Mostly, as I previously phrased it, through throwing stuff at the wall and seeing what sticks). And, eventually, being as specific as possible regarding what my strengths were was a pretty solid idea.

SO YOU THINK THIS HAS NOTHING TO DO WITH YOU?

Just because there are a lot of people talking about fashion online already, doesn’t mean there’s no space left for new discourse. There are an endless number of things you can say about fashion. Because, well, fashion is everywhere, and intersects with just about everything.

Like sports (who’s the most fashionable Formula 1 driver?), entertainment (what were actors wearing at this year’s Oscars?), music (what did Karol G wear during her Coachella performance, and why was it important?), finance (does stock market growth correlate with the popularity of short shorts in menswear? maybe a bit of a stretch but hey, a correlation is a correlation!), and so on.

Not to mention there’s no list of fashion-related things you have to talk about; no universally correct path to get to the same place. While fashion month and runway shows and celebrity red carpets are an important part of the industry and the trends that become popular on a large-scale, that’s not all there is. There is so much more.

Besides, taking a step back from the fashion industry, and paying attention to other spaces, is a monumental part of better understanding fashion in the first place. Take, for instance, my analysis of how orange became the color of the year in 2025, where I cited examples across sports and music and celebrity pop culture and technology. Remembering that fashion is everywhere helps me not only talk about it more consistently throughout the year, but also in probably more interesting ways, too.

You can read more about how orange became the 2025 color of the year below:

THE IMPORTANCE OF SPEED

At the end of the day, regardless of whatever fashion-related topic you’ve decided to talk about, talk about it quickly. Speed, when it comes to discussing fashion online, is imperative.

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Of course, some attendees interpreted the theme quite literally, wearing clothing that referenced, well, actual works of art.

Like actress Rachel Zegler’s white gown made by South-Asian-American designer, Prabal Gurung (one of my favorite New York Fashion Week designers), referencing French painter Paul Delaroche’s The Execution of Lady Jane Grey. Or, like Colombian singer Maluma, who wore a Tom Ford suit in homage to Colombian artist Fernando Botero, accentuated with Bvlgari emeralds (the national stone of Colombia).

Other attendees let their looks be the actual works of art, themselves. Like model Paloma Elsesser’s dress which was patchworked from thirty vintage gowns sourced from eBay, beautifully constructed into one, showstopping piece. Or, like actress Chase Infiniti’s rainbow-colored Thom Browne look made up of 1.5 million (yes, million) sequins with tiered silk fringes in over 600 different colors. I mean, wow.

Some other attendees, well, perhaps missed the mark altogether. So, in the aftermath of what was meant to be Fashion’s Biggest Night (though, that has recently been up for debate), I did what I always do and turned to the data to understand what happened, what viewers cared about, and what brands came out as winners. Let’s get into it.

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Especially when trying to bring together two fields that feel quite inaccessible and exclusive—technology for its rigid “tech bro” stereotypes, and fashion for its The Devil Wears Prada-esque air of exclusivity—it’s certainly been a learning journey to understand how I could make this intersection as accessible as possible, and truly resonate.

Today, nearly seven years later, I’ve found my place in the fashion industry, albeit in quite an untraditional way (“data analyst” probably isn’t the first job that comes to mind when you think of working in fashion).

So, I thought I’d share some lessons that helped me establish myself not only within the niche intersection of fashion and technology, but also in the greater fashion industry overall. Based on my personal experience, of course.

ON THROWING SOMETHING AT THE WALL TO SEE IF IT STICKS

When trying to carve out or establish yourself within a space (and especially within a specific niche), there’s not always a dedicated playbook to follow.

For example, when I first considered posting data-analytics-fashion content online, how could I ensure it was both detailed-enough yet still-accessible to folks outside of both fashion and technology altogether? What was the best way to make this very-niche information fun and exciting? How could I get people who knew little about either space simultaneously interested in both?

And while there are so many valuable things I learned about the fashion and technology industries alike through books (some of my best recommendations here), and podcasts (more recommendations here), and listening to advice from others, there are some things I could not have learned without simply getting started. So, to answer all these questions and more, I just had to, well, do it.

My New Years’ resolution in 2023 was to post one thing on Data, But Make it Fashion every day. This meant that, every day, through putting something new out there and seeing how people responded to it, I was learning how to best communicate my fashion-tech ideas and carve out this space even further. Quickly, I better understood what to do as well as what not to do; what to focus on and what to scrap altogether.

Quite literally imagine yourself throwing pieces of content at a wall (informative videos, graphics-heavy Instagram carousels, something you spent nine minutes on, something you spent nine hours on), and checking if it “sticks”. And go from there.

Not to mention that, often, these learnings contradicted what I may have expected to happen. You hear it all the time in social media—the post that took you nine minutes to create will go viral, while the one that took you nine hours to make will be a flop. These things, of course, you can only learn by doing.

Some of my most viral online posts are when I analyzed the wardrobes of TV characters, like Sex and the City’s Carrie Bradshaw or Friends’ Rachel Green. Others are about colors, like the recent rising popularity of blue, or the prominence of orange last year, which I found people were quite passionate about.

I wouldn’t have known any of this (what topics people are interested in, what to keep posting, how to share this information, in what format and to what degree of detail) if I hadn’t just tried, and thrown it all at the wall in the first place.

IT WORKS UNTIL IT DOESN’T

So, you’re throwing stuff at the wall and seeing what sticks. You’ve found out what works. Great! But what happens when what once stuck, just doesn’t stick anymore?

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The predictability of fashion is also seen on a shorter, seasonal cycle, with trends naturally rising and falling on an annual schedule. Like swimsuits rising in popularity during the summer, or burgundy becoming the go-to color in the fall, or jackets seeing a surge during the winter. Duh.

So, now that the weather is finally getting warmer and we’re headed into spring, florals are once again rising in popularity. Right on schedule. However, even though it isn’t particularly “groundbreaking” to see florals around this time of year (as Miranda Priestly famously noted in The Devil Wears Prada), there is still something interesting that can be learned from analyzing their current rise, anyway.

In fact, this year’s “florals for spring” resurgence is actually not so business-as-usual. When I took a look at Google and Pinterest search traffic, I found that searches for florals are, on average, around 36% higher right now versus this time last year. Huh. Florals are, like, really in this spring.

So, while it’s certainly expected to see this fashion fad rise in popularity right now, why are florals rising a lot more than usual? What’s happening to make this year’s spring, and the popularity of florals that naturally comes along with it, so different?

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I understand that fashion and technology seem like two completely di…

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It’s not particularly groundbreaking to say that investing in beauty is a smart move for brands. The overall beauty industry is projected to grow by around 6% annually from 2024-2028, and could become a nearly $600 billion market by 2030.

And, for high-fashion and luxury brands specifically, beauty is a good way to expand into a more affordable product offering, and allow brands to reach even more consumers without sacrificing their luxury allure. Like how Louis Vuitton sold lipstick for $160 which, while certainly expensive for lipstick, is a far more accessible way for consumers to engage with the brand than a four-thousand-dollar leather handbag.

I wrote more about this Louis Vuitton lipstick, and what it could probably tell us about the luxury landscape, last September. You can read more below:

Despite any makeup craze, however, when I took a look at online posts and press published over the last six months mentioning makeup versus skincare, I found that the real consumer enthusiasm is actually within the latter. While makeup is still the primary conversation driver—there were over 200% more online articles and press referencing makeup—posts mentioning skincare included more positive language. Around 60% more positive language, on average, to be exact.

But, what does this makeup versus skincare data even mean? And what are we supposed to do with this information, anyway??

WHAT’S GOING ON BEHIND THE NUMBERS

As brands continue to prioritize building a presence in the beauty space, it’s good to know not just what beauty-related topics consumers are talking about, but also how they’re speaking about them. And, as the above data demonstrates, while skincare might not have as large of an audience as makeup, it certainly has a more enthusiastic one.

Naturally, then, skincare seems like a worthwhile investment in which to build consumer trust and excitement; that this is where you could generate more dedicated hype around a product.

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So, last season, where we saw a first glimpse of this new, luxury fashion landscape, was Pretty Exciting. This latest season, however, where we saw the sophomore collections at these brands and thus an additional insight into what their future might hold, was also quite significant. And, could confirm any assumptions of where we thought the industry would be headed in 2026, versus where it actually is.

So, similarly to how I analyzed the big creative director debuts from last Paris Fashion Week, I pulled online press articles and their sentiment surrounding four of this season’s runway collections—Chanel, Dior, Balenciaga, and Loewe. To understand, six months since their debuts, not only how they’re resonating with consumers, but also what they could signal about luxury fashion’s current landscape. Here’s what the data has to say.

CHANEL: IT’S BUZZIER THAN EVER

First, the brand who had the strongest reach this fashion month (or, who saw the largest amount of published online articles and press) was Chanel. Matthieu Blazy’s Chanel has seen around twice as much online coverage this month versus the other brands on average. That’s a lot of buzz.

Of course, this might not seem so surprising. Chanel was also the most talked about show last season and, as I noted then, it’s not particularly groundbreaking that bigger, household-name brands see the strongest reach.

But that’s not to diminish the data, either. Not all big brands see such an impact across mass consumers following their runway collections (as we’ll discuss later in this article). Matthieu Blazy’s Chanel runways, then, are certainly good at getting people—both within the fashion industry and otherwise—excited and talking.

Not to mention that much of the press surrounding Chanel this month wasn’t necessarily about the brand’s latest runway collection, but about how Matthieu’s first Chanel collection had hit the stores and was causing quite the craze. Much of it, actually, is already sold out.

So, there you have it—more data points on how strongly this new era at Chanel is resonating with consumers. And how, ultimately, among a sea of many buzzy creative director debuts, Matthieu’s Chanel is certainly standing out as one that’s working really, really well.

DIOR: MAKING ITS MARK

Next, we have Dior, who has certainly been winning over consumers with every additional collection ever since Jonathan Anderson showed his first, menswear runway for the brand back in June. This season, we saw his second womenswear collection for Dior, and people (objectively) loved it.

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Gucci’s parent company, Kering, has reported declining sales for three consecutive years now. And, while these declines do seem like they’re starting to slow and signal a potential return to growth, the pressure is still on at Gucci. Especially considering it’s Kering’s largest brand by both sales and profits.

So, whether or not Demna—who was credited for transforming Balenciaga into a “cultural phenomenon”—can revitalize Gucci is, quite literally, a billion-dollar question.

Now, one week since his runway debut, it’s interesting to analyze the show’s reception, dissecting not only what we saw on the runway, but also how this new Gucci fits into high-fashion’s greater landscape. And, what it says about what the fashion industry needs versus doesn’t need today. Let’s get into it.

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However, while data analytics is certainly a more objective, numbers-based space than fashion and design, there are actually m…

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This isn’t particularly helped by the fact that many prominent American designers and brands, including Mary Kate and Ashley Olsen’s The Row and luxury fashion house Tom Ford, have chosen to show their runways at Paris Fashion Week instead.

However, with over sixty runway shows on the calendar this season, New York Fashion Week is still going strong. And, clearly, there is still a significant impact and cultural weight attached to putting on a New York runway. I mean, remember how Calvin Klein saw a nearly 190% spike in popularity when it returned to the NYFW calendar after six and a half years?

So, season after season, it is certainly frustrating to keep hearing claims that New York Fashion Week is “dead”. Different, sure. But dead?? And, actually, rather than competing with other international fashion houses, New York Fashion Week serves a different purpose altogether. Let’s get into it.

BUT FIRST, A BRIEF HISTORY LESSON

I recently started reading “Empresses of Seventh Avenue” by Nancy MacDonell, which chronicles the rise of the American fashion industry in the 1940s as access to European fashion, and specifically French fashion, was compromised during World War II. Up until then, American designers closely followed and even directly copied the fashion coming out of Parisian houses, which were seen as the gold standard of style. This idea, dating back to Louis XIV, was referred to as “the French legend.”

When speaking of American fashion designers in the late 1920s, MacDonell writes:

“The only thing stopping them from designing their own collections was the continued power of the French legend. What American women needed…were their own couturiers. They needed someone to create their own legend.”

So, the idea that New York—or American designers, for that matter—can’t compete with big, European luxury houses is not a new one. And, it seems the story is still being written today. But it’s important to notice that, especially given how the American fashion industry has evolved and become its own, independent force in the decades since MacDonell’s recounting, New York and Paris Fashion Weeks are celebrating very different things.

Here are three collections from this past New York Fashion Week that demonstrate the event’s importance and influence, and which you should definitely know about.

THE DESIGNERS KEEPING NEW YORK FASHION WEEK VERY MUCH ALIVE

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That’s right, Justin Bieber’s Grammys performance was perhaps as stripped down as it could get. No backup dancers, no backing track. Just him, his guitar…and a pair of boxers.

Following the Grammys, Bieber Fever went into full effect. Site traffic for Justin Bieber’s clothing brand Skylrk—whose logo was displayed all over his boxer shorts—saw their web traffic grow by 300% during the ceremony. Their inventory of boxers and socks completely sold out. And today, one week later, based on my analysis of online posts, their sentiment, and search traffic, boxers are already around 70% more popular overall versus last month.

Clearly, Bieber’s style had quite the impact across fashion and, as such, boxers are back on the rise. But actually, when you take a closer look at the data, something a bit more complex is happening here. So, what’s really going on?

THE OTHER SIDE OF THE STORY

When it comes to using data and analytics to understand fashion trends, it’s sometimes not just about observing an overall trend line, but more about what different forces are coming together to create the trend line in the first place. And, what happens when these forces might be opposing each other. Let me explain.

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Like last summer, when white tank tops were trending (not groundbreaking), and I found that their popularity was actually around 160% higher versus the same time the previous year (pretty groundbreaking). Or, when it seemed those Hervé Léger and Alaïa bandage dresses were having a comeback, and the data showed they’d risen over 600% in popularity in just one month (whoa). Because while it’s great to have assumptions proven right, often the strength of a trend can be more interesting to observe than the very trend itself.

So, imagine my contentment when, last week, I wanted to uncover if romanticism was trending in fashion. There have been many recurring motifs of romance and the Romantic era in both style and popular culture around us, so I was curious if the numbers could back it up. And, thanks to the data, I found not only that romanticism is in style…but actually by quite a lot.

According to Google search data, searches for “romance” worldwide are at a five-year high, and around 27% more popular in 2026 so far versus the last five years on average. And this didn’t necessarily come out of nowhere either, as searches have been steadily and consistently increasing around 8% annually since 2021.

Whenever a fashion fad emerges atop such a strong foundation, it suggests that it is likely not a micro trend; that it could be built to last for some time. So, romanticism is here, and it could actually have an impact across fashion in 2026. But, what does it even look like for romanticism to show up in style? And how did we get here???

EVERYTHING IS…ROMANTIC?

While there are many interpretations of what romance or romanticism in fashion could look like, here are just a few examples of how it’s currently appearing.

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And so far, the clothing we’re seeing on the menswear runways is pretty consistent with what we’ve seen in seasons past. We saw grey suits in around 13% of Zegna’s collection, navy blue suits in 7% of Giorgio Armani’s collection, and even brown and beige suits in 19% of Soshiotsuki’s collection. This season, it looks like it’s business (literally) as usual.

However, amidst the sea of suiting, there was one collection that everyone seemed to not just be eagerly talking about, but praising. And that would be Ralph Lauren.

That’s right, Ralph Lauren, perhaps the most notable American luxury fashion brand that almost always stages its runway shows in the United States, showed at Milan menswear week. Not to mention this was also Ralph Lauren’s first time back on the official men’s calendar in twenty years. Front row guests included Colman Domingo, Tom Hiddleston, and Henry Golding. It was a star-studded night to remember, and that’s not even including what happened on the runway. Of course, there were lots of suits, but there was also so much more.

So, what exactly was it about Ralph Lauren’s latest menswear collection that made it so incredible? And what does it mean for where fashion might be headed in 2026?

THE POWER IN KNOWING WHAT YOU’RE GOOD AT

I’ve previously written about the importance of brands knowing what they’re good at and, rather than innovating for the sake of innovating, sticking to it. Most notably, last year we witnessed the comeback arcs of brands like Burberry, Coach, and Tory Burch, which all had newly embraced their brand’s hallmarks consumers had come to love (plaid scarves, logo shoulder bags, and innovative shoes, respectively). And as simple as “stick to what you’re good at” may sound, it can actually feel counterintuitive in today’s fast-paced, micro-trends-driven fashion landscape.

Take, for example, high-fashion’s revolving door of creative directors, with many brands often swapping out designers with the hope of rejuvenating a brand and staying top-of-mind for consumers. And how along with a new designer usually comes a whole new brand identity. Like when Gucci went from Alessandro Michele’s loud maximalism to Sabato de Sarno’s refined minimalism in just one season; when Versace went from Donatella’s glamour to Dario Vitale’s colorful, ‘80s aesthetic in only a couple of months.

Ralph Lauren himself, however, has been at the helm of his brand since it was founded nearly sixty years ago. That kind of consistency—in both a brand’s creative director and its corresponding brand identity—is incredibly rare in luxury fashion today. Ralph Lauren, for decades, has been known for preppy, well-tailored, sporty, classic Americana style, and that’s exactly what we saw on last week’s runway.

It’s also a testament to how, rather than brands having to change course to keep consumers interested or to weather difficult patches (note how the great creative director reset of 2025 also occurred while the fashion industry was in quite the slump), perhaps one way to deal with fashion’s constant pressure for change is to…ignore it altogether? And, instead, be Really Freaking Consistent. At least at Ralph Lauren, it’s working.

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Today, as new, Spring 2026 ready-to-wear collections are starting to drop and become available to purchase, the buzz surrounding luxury fashion’s ultra-high-prices and many five-figure clothing items feels more prominent than ever.

Take Demna’s first collection for Gucci, for example, which includes a pink chiffon dress selling for $16,000, a blue shearling coat selling for $15,000, and another shearling coat—this time in tiger print—selling for $48,000. Yep, you read that right. Nearly fifty thousand dollars.

At this point, you’re lucky if you find a high-fashion price tag that doesn’t include a comma. And while high prices have always felt somewhat inherent to luxury fashion, what do these steep prices mean for consumers and brands alike? Actually, it’s not all that it seems.

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This was certainly no small announcement. Jonathan would be following in Maria Grazia Chiuri’s footsteps, Dior’s womenswear creative director for nine years, who quadrupled revenues during her tenure. But, Jonathan’s bar was actually set higher than that—he would become the first person after Christian Dior himself to oversee Dior completely, designing around 10 collections every year. Whoa.

However, the fashion industry had faith in Jonathan Anderson. He had, after over a decade at Loewe, transformed the brand from one only a few knew how to pronounce to one of fashion’s household names. He grew Loewe’s annual revenues to around $1 billion. He set the standard for how luxury fashion brands should connect with people on social media (remember that viral Loewe tomato bag?), and generated an endless lineup of buzz-worthy campaigns.

So, excitement for Jonathan taking over Dior was high, and rightly so. Now, six months after his debut, I was curious to analyze his impact at Dior thus far, and what it really looks like to bring a big, beloved, luxury brand into a new era. Here’s what the data says.

THE DEBUT…

Let’s go back to June of 2025, at Paris Menswear Week, where Jonathan Anderson showed his first collection as creative director of Dior. It was certainly the talk of the month.

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