Design and Beyond

The generational divide has become a cultural fault line in fashion, fueled by social media and echoed by fashion media eager to court younger audiences. The prevailing narrative insists that ageing creative directors monopolize the industry’s top positions, leaving little room for younger designers who, it is argued, could inject fresh energy and ideas into an allegedly stagnant system. The issue, however, isn’t talent—according to these voices—but age, a thinly veiled ageism that undermines the reality of what truly drives success in design. Over the past few years, this experiment in prioritizing youth over experience has played out, and its results are difficult to ignore. Take Sean McGirr, 35, at McQueen. His output thus far evokes McQ, the brand’s failed diffusion line, devoid of the drama and artistry that defined Alexander McQueen’s legacy. The decision to drop “Alexander” from the name feels premature and dismissive of the founder’s memory, a move that has alienated those who cherish the brand’s history. Sarah Burton, criticized in her time, now appears almost visionary by comparison. Then there’s Harris Reed, 28, whose work at Nina Ricci ranges from derivative to outright garish, while Maximilian Davis, 29, despite glimpses of talent, has yet to make Ferragamo relevant, with his collections falling increasingly flat. Meanwhile, Sabato De Sarno, 41, has managed to strip Gucci of its excitement, delivering collections so uninspired that even the sales numbers confirm the brand’s malaise. After a lacklustre debut, we were told to wait and see, but the verdict remains unchanged: his work is as dull as it is directionless. For those who couldn’t sustain even brief tenures, the story is worse. Rhuigi Villaseñor, 33, lasted just over a year at Bally before being replaced, and Ludovic de Saint-Sernin, 33, set a record for brevity, ousted from Ann Demeulemeester after one disappointing collection and just six months in the role. These failures highlight a glaring truth: the industry’s eagerness to appease social media’s demands for youth and newness has too often prioritized novelty over competence, resulting in a glaring lack of cohesion, vision, and respect for the craft. Yet, some brands are beginning to rethink this misguided approach. Lanvin recently turned to Peter Copping, 48, a seasoned designer with deep experience at Oscar de la Renta and Nina Ricci, earning praise for prioritizing skill and precision over age. Givenchy, after a lacklustre stint under 38-year-old Matthew Williams, returned to the proven talent of Sarah Burton, 50, whose expertise stands in stark contrast to her predecessor’s struggles. And John Galliano, 63, once again reminded the industry of what true brilliance looks like with his artisanal collection for Maison Margiela—a triumph so undeniable that even TikTok’s younger audience was mesmerized. The real issue, however, runs deeper. Fashion today seems trapped in a cycle of creative exhaustion, its education system is increasingly focused on identity-driven narratives rather than nurturing imagination, craftsmanship, or innovation. The result is a generation of designers more attuned to messaging than mastery. Yet, the existence of young talents like Kei Ninomiya at Noir or Nensi Dojaka proves that age is neither a limitation nor a guarantee of success. Designers like Anthony Vaccarello at Saint Laurent also show how evolution and experience can refine a creative voice over time. What the industry must recognize is that talent is the only true measure of worth in fashion—not age, race, gender, or orientation. The future of fashion depends on abandoning the shallow pursuit of trends dictated by social media and returning to this fundamental truth: great design comes from great designers, regardless of their demographics.