In the efforts to attract new audiences and stay relevant in an evolving luxury market, creative directors are often tasked with rebranding renowned fashion houses. While this injects a fresh perspective to a Maison and opens the opportunity for profits, it can also be something of a double-edged sword that could chip away at the “true essence” of the founder’s heritage, shifting the focus from legacy to trend-driven appeal. As designers reinterpret brand histories through selective eras or aesthetics, the risk of diluting tradition grows, leaving fashion giants in a constant cycle of balancing reinvention at the expense of authenticity.

Rise of the “Rebranding” Era

The luxury fashion industry operates at a crossroads — where heritage and reinvention are constantly at odds. Previous years have seen the former appointments of visionary creative directors like Alessandro Michele at Gucci and Hedi Slimane at Saint Laurent illustrating how the industry (or rather their conglomerates) prioritises a bold, contemporary overhaul to captivate new audiences. Michele’s maximalist, vintage-inspired take propelled Gucci to fresh cultural relevance, while Slimane’s Saint Laurent fixated on the rock-and-roll aesthetic — sidelining other aspects of Yves Saint Laurent’s legacy. These shifts may generate buzz and financial success, but they often leave behind the nuanced, multifaceted heritage of the original founders.

Yves Saint Laurent was pivotal in shaping the 1960s mod era, introducing sharp tailoring, A-line silhouettes and clean, architectural lines that were more refined than the grunge-heavy Saint Laurent of today. His designs for women, like the 1966 Le Smoking tuxedo and safari jackets, embodied a forward-thinking modernity that was bold yet elegant. During his tenure, Slimane cemented the brand’s reputation as the go-to for skinny jeans, biker jackets and indie-rock aesthetics, largely omitting Saint Laurent’s more refined innovations. His version of Saint Laurent became synonymous with punk and youth subcultures, but at the cost of other dimensions of the brand’s heritage. Hedi Slimane’s interpretation of Saint Laurent’s legacy prioritised the brand’s rock-and-roll persona, but this narrow lens overlooks the full breadth of Yves Saint Laurent’s innovative fashion — from the renowned le smoking tuxedo jacket to his embrace of global inspirations. In focusing on one chapter, the brand lost the richness of its founder’s multidimensional story.

Similarly, it was McQueen’s dramatic silhouettes, controversial narratives and conceptual runway showcases inspired by historical events, personal struggles or macabre fairy tales — that challenged fashion norms. When Sarah Burton took over as creative director, she carried on McQueen’s craftsmanship but steered the brand toward a more wearable, commercially palatable aesthetic. While her designs retained McQueen’s appreciation for intricate details and couture-level execution, they lacked the raw, provocative edge that made his work so distinctive.

Despite this, Burton’s McQueen was successful, and her tenure was marked by technically brilliant designs. However, it was arguably tamer, prioritising elegance over shock value. Now, with Sean McGirr taking over, there is speculation about whether McQueen’s original daring spirit will return or if the brand will continue down a more “commercial” path. That being said, having a collection with “commercial” appeal is not necessarily a bad thing as evidenced by the success of Sarah Burton’s tenure and Maria Grazia Churi at Dior.

The Fine Line Between Evolution and Erasure

Maintaining a brand’s DNA while catering to modern audiences is an increasingly delicate balancing act. At Dior, Maria Grazia Chiuri’s feminist-driven collections have reshaped the house’s identity, infusing it with new cultural relevance — but at the expense of the romantic, architectural silhouettes that once defined Christian Dior’s vision. Similarly, Virginie Viard’s Chanel leans into the ease of wearability, yet risks diluting the theatrical craftsmanship that Karl Lagerfeld cemented as the brand’s modern identity. The challenge for these brands is not just about staying relevant but ensuring that reinvention does not come at the cost of heritage.

Under Lagerfeld, Chanel experienced immense commercial success, yet his embrace of casual wear — T-shirts and even menswear — diverted the focus from the intricate, artistic side of Chanel that had made the brand a symbol of Parisian haute couture. Virginie Viard’s tenure has been marked by a softer, more approachable aesthetic that feels safe compared to Lagerfeld’s daring creations. While this has resonated with some consumers, it is also seen by some as less “groundbreaking”, losing the edge that Chanel once had.

Kim Jones — who draws inspiration from Christian Dior’s life and eccentricities — has successfully reinterpreted the brand’s legacy, offering a modern, gender-fluid perspective without losing its spirit. His Dior Men collections introduce layers of personal connection to the founder, giving consumers a deeper emotional bond to the brand. By referencing Dior’s life and eccentricities, Jones invites consumers to connect with the history of the brand on a deeper, more personal level. This adds layers to the designs and gives the collections emotional depth, rather than presenting them as mere reinventions of past glories. It enriches the brand narrative without losing its identity. Jones does not simply replicate Dior’s designs or ideas but reinterprets them, reflecting how the house’s rich history can be recontextualised in today’s fashion landscape. For example, he may reference Dior’s passion for gardens or the iconic New Look but adapts them with a modern, sometimes gender-fluid, sensibility that speaks to a new generation of luxury consumers.

Demna arguably played a huge role in transforming the Maison into a cultural phenomenon but was at times criticised for not successfully bridging his approach with Cristóbal Balenciaga’s original vision. His designs include everything from dystopian aesthetics and meme-worthy footwear (like the sock sneaker and Crocs collaborations) to provocative ad campaigns. Despite the contrast, Demna has echoed Balenciaga’s original craftsmanship in some ways. His tailoring — particularly in structured coats and draped dresses — nods to Cristóbal’s technical genius. However, his prioritisation of branding, streetwear and shock value has, at times, overshadowed this aspect.

Unlike many other luxury houses, Louis Vuitton has managed to modernise while remaining true to its origins. Founded in 1854 as a trunk-making company, Louis Vuitton’s DNA remains deeply embedded in its roots of travel. While creative directors like Marc Jacobs, Kim Jones, Virgil Abloh and now Pharrell Williams have introduced contemporary elements, the brand’s core identity — luxury travel — remains intact. Its iconic monogram, steamer trunks and travel-inspired accessories continue to be a cornerstone of its identity.

Unlike Saint Laurent or Balenciaga — which have undergone extreme transformations — Louis Vuitton’s evolution has been more seamless. Even with streetwear collaborations and experimental designs, its heritage as a trunkmaker and its commitment to artisanal craftsmanship remain central.

What Comes Next: The Future of Fashion’s Heritage Houses

As fashion moves into a new era of creative leadership, questions arise about whether heritage brands will continue reshaping their pasts or if the industry will see a return to their founding principles. Matthieu Blazy’s Chanel and Jonathan Anderson’s potential move to Dior Men could redefine house codes with a fresh perspective, while Alessandro Michele’s Valentino may pay closer homage to Valentino Garavani’s original elegance. On the other hand, history has proven that some of fashion’s most admired rebrands — from John Galliano’s extravagant Dior to Hedi Slimane’s singular take on YSL — had little resemblance to their founders’ original visions.

As it stands, Demna’s tenure at Balenciaga is at an end and he is moving to Gucci. Donatella Versace is stepping down from her role as creative director. Jack McCollough and Lazaro Hernandez — the visionary duo behind Proenza Schouler — are set to succeed Jonathan Anderson as LOEWE’s new creative directors. Matthieu Blazy moves to Chanel while Glenn Martens makes a move to Maison Margiela. Louise Trotter will be at the helm of Bottega Veneta while Michael Rider is at Celine and Simone Bellotti is Jil Sander. Jonathan Anderson is rumoured to be heading to Dior as roles in Fendi and Balenciaga are still open. As the fashion industry continue on its game of musical chairs, these brands will face tough decisions about how to evolve while maintaining their original identities.

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