Fashion’s Great Game of Musical Chairs is Subsiding, Experts Say

Fashion‘s revolving door — which has been spinning at top speed — should slow down considerably in 2026, according to executive search experts.

“It is expected that all recent nominations will be highly successful, limiting the great game of musical chairs for such top houses,” Floriane de Saint Pierre, founder of her namesake executive search and consulting firm in Paris, said in an interview.

She was referring to the fact that Dior, Chanel, Gucci, Balenciaga, Celine, Loewe, Givenchy, Maison Margiela, Fendi, Tom Ford, Jil Sander, Bottega Veneta, Mugler, Jean Paul Gaultier, Dries Van Noten and Lanvin were among European brands that made a designer switcheroo over the past year or so, marking a great generational change in luxury.

Some of those designers have moved to new roles, while others are looking for new jobs — or taking a break — and the changes are set to transform the industry for the first time in more than a decade. Jonathan Anderson logged 11 years at Loewe before moving over to Dior; Olivier Rousteing 14 years before recently stepping down, and Véronique Nichanian 37 years as men’s artistic director of Hermès. Next year, Grace Wales Bonner will succeed her.

(See WWD’s updated list of the longest-serving creative directors here.)

Although de Saint Pierre is confident that the merry-go-round has stopped, Mary Gallagher, senior consultant at Find executive consulting, didn’t rule out some additional movement.

“Despite the domino effect of this past year, there are still some brands with open creative director chairs, some that might be rethinking their recent choices, contracts that might not be renewed by one or the other side, and management/investors wanting to reposition or to sell brands,” she said without naming specific brands. “In addition, there are probably going to be a few more surprising blindsides in 2026.”

One came early when Prada Group parted ways with Versace‘s newly appointed creative director Dario Vitale. The separation was announced only two days after Prada completed its acquisition of the brand on Dec. 2. Brioni followed up a few days later, saying it was parting ways with its design director Norbert Stumpfl after seven years.

Vitale’s exit could set up at least one major designer switch in 2026. Sources said the lead candidate to take over the creative reins at the Italian fashion house is Pieter Mulier, creative director of Maison Azzedine Alaïa. That would create a big gap, given Mulier’s success in growing the French brand, which is owned by Compagnie Financière Richemont.

Moira Benigson, founder and chair of The MBS Group, said that although 2026 should be “fairly settled,” the market is so volatile right now “there could be further changes.” 

Besides Versace and now Brioni, the widely known empty seats include Bally, following designer Simone Bellotti’s move to the helm of Jil Sander.

Although the dust is now settling around top creative roles at big European houses, there has been a “knock-on effect across many departments in each brand, including design, marketing and communications,” according to Gallagher.

“Merchandising is a perennial recruitment, which doesn’t typically depend on a changing creative director. The most successful merchandisers are those who esteem creativity, speak a designer’s language, and can build the right structure so that the designer’s artistic vision will shine. If that relationship doesn’t gel, it probably won’t last very long,” she added.

Karen Harvey, chief executive officer at Karen Harvey Consulting, said merchant leaders — who can carry the title chief merchant or chief product officer — have been the most sought-after professionals over the past year.

De Saint Pierre agreed the next wave of recruitment “will likely focus on reinforcing the creative directors’ teams, particularly across product and image. Strengthening these areas will be essential to properly support the new creative visions and ensure cohesive execution.”

Yet she argued that the need for creative talent today “is much broader in terms of sectors and geographies,” which could open up a host of new searches.

“Any influential brands in any geography and sector — fashion, beauty, jewelry, hospitality, cars, food and beverage, etc. — need great creative talent, on products, visual expression and experiences,” de Saint Pierre said.

To be sure, there is some famous talent on the market.

Among the fallout of the colossal game of musical chairs that played out in fashion in 2025 is a growing list of idled creative directors.

John Galliano, Hedi Slimane, Olivier Rousteing, Dario Vitale, Francesco Risso, Kim Jones, Matthew M. Williams, Sabato De Sarno, Casey Cadwallader, Roland Mouret and Luke and Lucie Meier headline a growing list of designers currently taking a break, dabbling in one-off design projects, plotting their next move — or perhaps rethinking how they might reintegrate into a fast-changing, sometimes unforgiving fashion system. Other big names on the market include the likes of Riccardo Tisci and Kris Van Assche.

According to Emma Davidson, managing director of luxury fashion recruitment firm Denza, “there are fewer big names going around for another spin in the machine.”

“It’s natural that a time comes when someone has years of expertise and a stunning creative eye, but they are no longer able to connect with what is happening in the current market. And I think brands are savvy enough,” she said. “I love seeing new names in houses now. I just hope brands give the new names time for designers to find their way, really support the creative team.

“I don’t know where the most recruitment action is going to be, but the key recruitment request is for a creative who can bring a unique identity and refocus brand DNA,” Davidson added.

De Saint Pierre cited pockets of action in the U.S., where Calvin Klein recruited Italian designer Veronica Leoni; in Japan, where fast-fashion giant Uniqlo is stockpiling blue-chip creative talent, last year tapping former Givenchy and Chloe designer Clare Waight-Keller for a new Uniqlo C range, and in China, where Kim Jones and Kris Van Assche recently unveiled fashion project with Bosideng and Anta, respectively.

De Saint Pierre said “very solid career profiles combining vision and talent in tune with today’s society are always in demand, whether the profile is known or unknown. Some prefer to work as creative consultants, allowing them to collaborate simultaneously with multiple brands across a variety of fields.”

She noted that those who prefer to stay in fashion might consider a second-in-command role.

For example, former Lanvin creative director Bruno Sialelli is now head of design, ready-to-wear, at Phoebe Philo in London.

Find’s Gallagher said in an interview that creative directors currently “on pause” are for the most part “excited about what the future will hold and are not hung up on titles.”

“Creativity is their natural element so with or without a maison, they design things, be it consultations, collaborations, working in other industries, personal projects, or just taking time to regroup,” she said.

She added that working for a high street retailer can also be an attractive option. “There’s no longer a stigma or snobbism about going down-market when the project is exciting to a creative director who wants to build something.”

Besides Waight-Keller, other examples of runway designers pivoting to the high street are Zac Posen, now at Gap; Jonathan Saunders, recently named chief creative officer at & Other Stories, and Aaron Esh, taking on a similar role at AllSaints.

According to Benigson, “the high street is catching up, and has caught luxury napping, living in the past, and not keeping up with where customers are going.”

She pointed to “overinflated prices for goods that can be as nicely made and on trend on the high street” at places like Gap, Marks & Spencer, Uniqlo, Zara and H&M.

There are other frontiers that idled designers can consider, among them “technology specialists with AI, chief customer officer roles, and people who are forward-thinking looking at customer journeys,” Benigson said.

The most recent new recruits in luxury — Atlein’s Antonin Tron for Balmain; Meryll Rogge for Marni; Maria-Grazi Chiuri for Fendi, and Wales Bonner for Hermès — suggest there is demand for both famous and lesser-known names.

Denza’s Davidson came out on the side of younger, lesser-known names.

“I have adored Meryll Rogge’s work since her graduation. It does not surprise me at all that she has arrived at Marni,” she said. Davidson also applauded the earlier appointments of Miguel Castro Freitas and Duran Lantink at Mugler and Jean Paul Gaultier, respectively.

“They don’t need to connect with the new generation of fashion consumers. They are already tapped in simply because of their age,” she said. “There has been a huge shift in fashion, and I think consumers are now wanting to express their individuality. And the brands that are flopping are the ones that are too safe. Even brands like Zara are striking out with unique branding.…I am so happy there are new names getting key positions in various companies. I have been so bored with the shows the last few years.”

Harvey noted with second-in-command designers comes “lower expectations, a little more time for them to get their feet on the ground with a brand, and naturally, due to where they are in their own stage of development, they are in touch with many of the important and changing dynamics with consumers.”

That said, she stressed that “product has never been more important, and we need that inherent design acumen that comes from creative directors raised in a generation where they had to have that important, more traditional training.”

According to Gallagher, “it’s not just about the designer’s provenance or even about a high profile, because the company may have new strategies and leadership who are steering the brand to a different place. Depending on where the brand wants to go, a marquee designer might be a ‘get’ for prestige, or a lesser known name might be touted as a ‘bold discovery.’”

Benigson also noted that some designers “seem to be put in for ‘show,’” mentioning the 2023 hiring of Pharrell Williams as men’s creative director at Louis Vuitton, and more recently Jaden Smith as men’s creative director at Christian Louboutin.

De Saint Pierre said fashion houses with revenues below 500 million euros probably “cannot afford a marquee name on an exclusive basis.”

“On the other hand, independent designers or number twos offer talent, expectations aligned with the size and the organization of the brand and a fresh name,” she opined.

There are other advantages to taking a risk on a number-two designer. Negotiations with marquee creative directors can often be complicated in terms of high salary and benefits demands, control rights, willingness to keep other consultancies or one’s own brand, not being open to relocate or not being interested in performance and data, de Saint Pierre said.

Gallagher added: “The most off-putting conditions are if there is no connection and understanding between the creative director and the CEO. Without a collaborative effort and a shared direction, it won’t be a long-term success.

“I think truly modern creative directors have rejected the ivory tower,” she explained. “Beyond experimenting with new ideas in every collection, they also want to be close to the business and image, and to understand the global customer, so the new breed welcomes input from cross-functions. The studio versus commercial is no longer church and state. Embracing merchandising’s expertise, while allowing for imagination, invention and innovation at the top tier, affords a designer real power to create a balanced collection the customer will desire.”

Harvey said it’s “not a one- or two-person show anymore to lead these brands. It’s a four-legged stool at best.”

In her estimation, “there is too much change, too much required in terms of always engaging with consumers across multiple platforms, and with the return of retail we must create end-to-end experience, and this is a lot.”

In addition, “as retail, hospitality, fashion and luxury finally converge, a creative director who’s going to be successful will need to understand that collaboration is not something we just do with outside brands, partners or influencers. It must happen inside brands.”

— With contributions from Samantha Conti (London)