Ranking New Brand Directors

“Wow, he nailed it.”

That was my first reaction after watching Ann Demeulemeester’s SS25 show. After the brief tenure of Ludovic de Saint Sernin, a short-lived yet notable creative director, the brand decided to pass the torch to a bold new voice—the young prodigy, Stefano Gallici, born in 1996.

But perhaps “newcomer” doesn’t quite do him justice. Stefano built his credentials as an assistant designer to Haider Ackermann and spent the past three years designing menswear at Ann Demeulemeester before ascending to creative director through an internal promotion.

      

His debut collection was a true tribute to Ann Demeulemeester’s core identity, spotlighting signature white shirts, androgynous black jackets, and bold leather accessories. Gallici brought a delicate touch with a lavish use of lace, while cut-offs and cascading strings created elegant, flowing silhouettes. And for those with a penchant for edgy style, he infused punk rock elements that added a chic, rebellious flair. Among the show’s captivating looks, one image stood out: model Mateen Ismail’s (pictured left) mournful gaze embodied the haunting, melancholic look—a vision that captured the essence of the Ann Demeulemeester spirit.

       

With his "maximalism"—a blend of Renaissance-inspired classical symbols reimagined in all their lush, dramatic beauty—and his quirky “geek chic” pairings of brightly colored socks, hats, ties, and oversized glasses, Alessandro Michele brought a whirlwind of energy to the fashion world. Given his well-defined style, there was little doubt what kind of Valentino might emerge under his creative direction when the appointment was announced.

    

Born in Rome, Michele seems destined to lead a house that represents his hometown. His Valentino radiates his signature gender-fluid style merged with founder Garavani’s elegance, taking maximalism to a dazzling new extreme.

               

Yet, there’s a lingering hint of disappointment. With designers from major houses often circulating within the LVMH and Kering groups, it raises the question: "Is there anything truly new anymore?" The collection feels like an extension of his previous work at Gucci, making it hard to shake the sense of déjà vu.

     

A quintessential “Michele” take on Valentino. It's undeniably tasteful, but there’s a lack of freshness.

Sabato De Sarno at GUCCI

With Michele’s departure, Gucci was left with the question of who would fill his shoes. Amidst much speculation, Gucci appointed a relatively unknown designer born in 1983, Sabato De Sarno, from Italy. Reflecting back on Michele's own near-anonymous status when he was first appointed, it’s clear that Gucci has a penchant for making bold choices.

   

Sabato De Sarno ©wwdjapan.com

   

True to his emphasis on craftsmanship and tailoring, Sabato De Sarno’s debut collection for Gucci marked a sharp turn from the house’s maximalist past. His pieces were pared back, focusing on simplicity and minimalism—a stark contrast that’s evident just by glancing at the collection photos. 

      

Sabato De Sarno’s GUCCI SS19, SS25 ©vogue.com

GUCCI SS25 ©vogue.com

     

De Sarno’s Gucci is rooted in the basics: elegant, sophisticated, youthful, and bold. With that in mind, one can’t help but wonder if Gucci’s lavish, Michele-era store interiors might need a revamp to align with this refined aesthetic. The contrast between the current ornate interiors and the streamlined designs on display creates a disconnect. If De Sarno’s Gucci proves successful, could we see a global store overhaul? Just a thought—but I’m eagerly awaiting that day.

       

GUCCI FW24 CAMPAIGN ©fraeulein-magazine.e ©anothermag.com

  

Editor's Review Notes: ☆☆☆☆

It’s sexy. As an editor who considers sexiness the ultimate virtue, De Sarno’s Gucci is simply spot-on. Though it’s one of the brands with the most notable shift recently, this transformation is undeniably captivating.

  

Raf Simons at PRADA

In 2020, Raf Simons was appointed co-creative director of Prada. The Belgian designer’s resume speaks for itself; he’s made his mark at French powerhouse Dior, American giant Calvin Klein, and now at Italy’s iconic Prada. With each of these major houses, Simons has brought his own world into focus. How could he not make this list?

    

Raf Simons with Miuccia Prada ©wwd.com

     

Miuccia Prada and Raf Simons. While they share some similarities, their differences stand out. Miuccia’s eye for elevating femininity meets Raf’s futuristic, punk-infused use of color and pattern, creating an impeccable synergy.

    

PRADA SS25 ©vogue.com

PRADA SS24 ©vogue.com

   

PRADA FW21 marked the debut menswear collection presented by both Miuccia and Raf Simons.

   

  

One day, should Miuccia Prada decide to leave Prada, it’s likely that Raf Simons will carry on her legacy. In this current partnership, he may be learning how to fully make the brand his own.

      

Editor's Review Notes: ☆☆☆☆☆

Unlike other fashion houses that see sudden shifts with new creative directors, the chemistry between these two is seamless, like a flowing stream. Should Raf one day take full creative control, what will Prada look like then?

       

      

Seán McGirr at Alexander McQUEEN

Lee Alexander McQueen.

Just hearing his name brings a pang of nostalgia. Some call him a tragic genius, and regardless of the label, it’s undeniable that he was a genius. The beauty McQueen presented was profound, showing that even the ugly and haunting could be exquisite.

  

Though his collections are no longer, the legacy of Alexander McQueen lives on. While he reportedly didn’t wish for his brand to continue after his passing, I’d like to think he would feel grateful to see his longtime friend and right-hand, Sarah Burton, uphold it for 13 years. As her chapter ended, the question of who would succeed her captivated fashion fans worldwide.

     

Seán McGirr ©salutlesgarcons.com

         

and then Seán McGirr showed up. In an industry increasingly calling for diversity, the appointment of another white male creative director sparked mixed reactions. I, too, had reservations, yet the heart often softens in unexpected ways.

      

McGirr’s debut FW24 collection for Alexander McQueen began with the haunting voice of Irish singer Enya. The moment the music played, my skepticism evaporated, and the clothes themselves faded into the background. I was left wiping away tears, contemplating that bittersweet, romantic, and elegiac experience. It was a poignant ode to both the departed and the living. There was none of the theatrical grandeur of McQueen’s shows in his lifetime, but witnessing this sacred new beginning felt reverent.

      

Alexander McQUEEN SS25 ©vogue.com

Alexander McQUEEN FW24 ©vogue.com

          

McGirr’s FW24 collection stands out for its “commercial” lean—a shift from the ethos of both McQueen and Sarah Burton. With the immense challenge of “reinventing” Alexander McQueen, I was curious to see how McGirr would handle the rebellious legacy left to him.

       

One standout was his reinterpretation of McQueen’s iconic Bumster pants. McQueen once described these ultra-low-rise pants not as a vehicle for exposure, but as “an extension of the lower spine.”

         

Lee McQueen’s iconic Bumster pants, Seán McGirr’s Bumster pants SS25 ©icon-icon.com ©vogue.com

       

McGirr’s updated version is more restrained, wearable yet still suggestive, now designed to sit just on the hips with a modern lace detail, giving it a fresh edge. His approach suggests he’s steering the house toward accessible, wearable clothing.

     

Even the pants below reflect a new commercial angle for McQueen, unseen in previous iterations. The boots, too, are relatively understated for McQueen, though metallic accents add a subtle touch that hints at a bold new path for the brand.

        

 

I’m reminded of a line from an interview with the late Lee Alexander McQueen that I once came across and still holds such power:

"The thing is not to take fashion too seriously. It's not going to cure cancer or AIDS. It’s just clothes. So don’t sit there telling me about the aesthetics of the jacket—it’s just clothes."

    

Editor's Review Notes: ☆☆☆   

Though McGirr’s commercial direction is clear, it's uncertain if it will truly resonate with consumers. And one wonders if it will satisfy those who still long for the McQueen of the past. Yet, I have hope for McGirr. Rather than embracing the darker, gritty tones that McQueen himself was drawn to, he believes fashion should stir excitement in people, but in an optimistic way.

    

News of yet another creative director switch seems to reach us just as we’ve adjusted to the last. These days, it feels as though “change” itself is the priority, more than preserving the existing identity of a brand. The interplay between the familiar and the new always holds interest. So, keep an eye on the transformations creative directors bring to the fashion landscape. There’s sure to be more intrigue ahead.