THE TOP PICKS OF 2025

In line with the British Fashion Awards, our audience unanimously voted Jonathan Anderson as the 2025 Designer of the Year, awarding him 62% of the votes. And it comes as no surprise, as the young prodigy has firmly established himself as one of the industry’s most influential figures.

His work as Creative Director at Dior and J.W. Anderson, and previously at Loewe, stands out not only for its technical mastery. Jonathan Anderson is defined by his ability to move people. His profound love for craftsmanship has been evident in each of his projects, being the creative mind behind milestones such as the Loewe Puzzle bag, celebrating its tenth anniversary this year, and a series of artistic collaborations that reflect his reverence for the visual arts.

To this trajectory he now adds his most decisive chapter: his appointment as the sole Creative Director of Dior, taking on, for the first time in the house’s contemporary history, womenswear, menswear and haute couture under one unified vision. His debut for the Spring/Summer 2026 menswear collection was received as an aesthetic revolution for the house. His work strikes at something essential to the human experience: emotion. His capacity to move audiences has defined his career from the beginning, opening the doors of the industry with notable force.

As runner-up, the audience chose Miuccia Prada, a figure who requires no further consolidation. For five decades, Miuccia Prada has challenged the system from within. Innovation and a pioneering spirit are her hallmarks, and her creative alliance with Raf Simons has strengthened her commitment to contradiction as a method: masculine and feminine, beautiful and uncomfortable, industrial and emotional… everything coexists within a single language and set of codes.

From the meteoric rise of Miu Miu to her commanding vision for Prada, her work continues to operate as an intellectual laboratory where body, politics, technology and desire converse fluidly. Prada conceives fashion as a moral exercise before an aesthetic one. For her, creation is not merely about seduction, but about assuming responsibility for what is made, what is sold and what is communicated. In contrast to Anderson’s dreamlike optimism, Miuccia embodies permanent critical tension without abandoning a sense of the visionary. Two different viewpoints that, together, define much of the creative rhythm of 2025.

With 38% of the votes, Miu Miu is crowned the brand of 2025, confirming that its momentum represents a true shift in contemporary taste. No longer “Prada’s rebellious little sister,” the house founded by Miuccia Prada in 1992 has reached a cultural maturity that sets trends on a global scale. In recent years, Miu Miu has set the rhythm of fashion. Micro-miniskirts, ballet-core, underwear-as-outerwear and the subverted school uniform all originate on its runways before becoming mass phenomena.

What we call the Miu Miu effect lies in its ability to merge playful rebellion with conceptual intelligence. Its garments spark debate because they do not seek consensus. They embrace contradiction, irony, and the beauty of imperfection. The “Miu Miu girl” is not defined by age, but by attitude: intrinsic rebellion. Unbothered, serene and unpredictable. Its success is, above all, economic. In 2024, the brand doubled its revenue with growth above 100%, reclaiming the top spot on the Lyst Index as the most sought-after brand in the world. And in 2025, it once again rose to number one globally.

Miu Miu also operates as a cultural laboratory where fashion, film, music and intergenerational casting converge: Drew Barrymore, Willem Dafoe, Milla Jovovich, Chloë Sevigny. A constellation of muses that keeps alive an identity rooted in youthfulness and the extraordinary.

29% of the votes placed Celine as runner-up in the Brand of the Year 2025 category, thanks to its serenity, consistency and an elegance that speaks in a quieter voice. The maison enters a new chapter under Michael Rider, a designer who is not here to reinvent everything, but to edit the house’s history. Trained under Nicolas Ghesquière at Balenciaga, Phoebe Philo at Celine, and within the Polo Ralph Lauren universe, Rider understands the wardrobe through the lens of everyday life, in its most sophisticated form.

His first two collections, Spring 2026 and Summer 2026, function as a diptych: first the courtyard of Rue Vivienne, the brand’s headquarters, and then the Parc de Saint-Cloud, a setting removed from home. In both, the proposal avoids starting from scratch. It restores Philo’s refined intellectualism, preserves Slimane’s bourgeois rebellion, and adds a signature layer: a more human, movement-driven preppy-bourgeois sensibility. Twisted blazers, silk scarves reworked into tops and dresses, fitted denim, cocoon volumes, and a new Celine Luggage that smiles with its curved zipper.

That Celine has consolidated itself as the audience’s second-favourite brand speaks volumes about a shared desire in the industry: we are drawn to a maison that does not make sharp turns, but remains faithful and consistent to its story. Rider proposes an elegance in motion, designed for streets, parks and commutes, not only the runway.

With 47% of the votes, Anok Yai is crowned Model of the Year 2025, confirming her place on the podium of supermodels within the cultural imagination. Her arrival in the industry was as meteoric as it was symbolic: discovered in 2017 when a photo of her at Howard University’s homecoming went viral, she went from biochemistry student to opening Prada’s runway in 2018 in a matter of months. Since then, her career has been a succession of milestones.

Anok transcends the idea of being merely an aesthetic ideal. Her strength lies in a rare combination of magnetism, visual intelligence, and a calm presence that carries through runways, red carpets, covers, and editorials. Her relationship with fashion is always collaborative. Those who work with her agree that she does not simply “wear” clothes, but interprets them and gives them force. Her personal style weaves together afrofuturism, science fiction, Victorian references, classic glamour, and street codes, forming a visual identity that resists categorisation.

Wearing a custom design by Dilara Findikoglu, with exposed corsetry, lace, and measured gothic drama, Anok turned her award acceptance into an image destined to endure. Her win, after three consecutive years of nominations, symbolises a profound shift within the industry.

As runner-up, one of the most singular figures of the current landscape, Alex Consani represents a new way of being a model in 2025. Her presence overflows the traditional boundaries of the profession, moving between fashion, humour, and activism without hierarchy. Consani is a voice of her generation, embodying the joy of not taking life too seriously. Yet her voice is neither comfortable nor neutral. She speaks about identity, politics, privilege, fear, and the future with a candour rarely seen in the industry.

Her impact cannot be measured solely by runways or campaigns, but by the way she occupies public space. In magazines, social media, and on red carpets, Alex introduces her activism and ethical stance. For her, speaking out is a core part of existence, and visibility comes with the responsibility to provoke discomfort when necessary.

With 65% of the votes, the most anticipated debut of 2025 was, without question, Jonathan Anderson at Dior. The expectation was not simply about a change of name on the door, but about the deeper question behind it: how would one of the most influential designers of his generation interpret the house that invented the New Look? The answer arrived with the Spring-Summer 2026 menswear show, a collection that acted as a hinge between archive, present, and future.

Yet it was the womenswear show that truly set the conversation ablaze. Everything opened with a small cardboard box placed at the centre of the runway, marked with the 1946 logo that Anderson has revived. Inside it, an inverted pyramid functioned as a screen for a film by Adam Curtis, a collage of memories: Dior, Bohan, Ferré, Galliano, Simons, Chiuri. Before a single garment appeared, the message was unmistakable: stepping into the “house of Dior” means engaging in dialogue with all its ghosts.

On the runway, the homage unfolded as a sequence of near–haute couture pieces. The Bar jacket, cannage, tricorne hats, echoes of Marie Antoinette and the New Look coexisted with Anderson’s arty irony and meticulous craftsmanship. Teen miniskirts inspired by Galliano, hybrid smoking-leggings that straddled couture and streetwear, flower shoes and origami-like heels proved that spectacle could coexist with new ways of wearing. The dialogue with the menswear collection, presented months before, closed the circle: silhouettes responding to each other, building a coherent Dior universe under a single creative mind and a parallelism between menswear and womenswear.

This debut is perceived as a long-term contract between designer and Maison: absolute respect for the archive, the desire to move people, and a new identity rooted in style rather than viral noise. For our audience, this was more than the most anticipated show of the year: it was the beginning of a decisive era.

With strong support from voters, the second most anticipated debut of 2025 was Jack McCollough and Lazaro Hernandez at Loewe. A choice charged with a different, quieter, and deeply symbolic expectation: witnessing how one of the houses most closely linked to contemporary craftsmanship would enter a new phase without betraying its DNA.

Following Jonathan Anderson’s departure, the challenge was immense. Loewe arrived at this transition as a cultural laboratory with a strikingly defined artistic identity. McCollough and Hernandez chose not to break with that heritage, but to reinterpret it through the lens of the present.

The collection breathed a marine, Mediterranean, and physical sensibility. Jackets with precise structures, mini-dresses rendered as colour plates, ultra-light parkas, and a chromatic study of reds, yellows, and oranges that evoked an abstracted, never literal, vision of Spain. In accessories, the new Amazona 180 bag marked the beginning of a new iconography, alongside viral pieces such as the mussel-covered bag and moulded-rubber shoes.

With a resounding 79% of the votes, Vogue is crowned as the most influential magazine of 2025 according to our audience. This was a year shaped not only by its content, but by a profound structural shift in its editorial leadership, its approach to digital storytelling, and its sustained ability to set the cultural tempo of global fashion. For Vogue, 2025 marked both a historical transition and a reaffirmation of its power.

The appointment of Chloe Malle as Head of Editorial Content for Vogue USA symbolizes the beginning of this new chapter. After more than a decade inside the house, overseeing digital content, Malle steps into the creative helm at a pivotal moment, as Anna Wintour shifts part of her focus toward Condé Nast’s global expansion, spearheading events such as the Met Gala and, notably, Vogue World, which has now become one of the industry’s most significant cultural spectacles. Under Malle’s digital leadership, Vogue.com has doubled its direct traffic, achieved double-digit growth across key metrics, and strengthened its role as a trend-setting platform.

Vogue no longer merely narrates fashion: it dictates and choreographs it. Events like Vogue World have cemented a hybrid format where performance, city, and runway converge, positioning the magazine as a global cultural producer. In parallel, the expansion of editorial newsletters, the rise of its podcast The Run-Through, and the renewed prominence of verticals such as Bridal and Vintage highlight its exceptional ability to engage multiple generations without diluting its historic authority. Strategically, the unification of its global editions under a single content framework, while maintaining space for regional and national expression, marks a symbolic consolidation of all the Vogues of the world.

In 2025, Vogue re-emerged as the symbolic epicentre of the fashion system, a place where past, present, and future coexist under a renewed editorial logic.

As runner-up, i-D magazine, an underground icon of the 90s, entered a new editorial phase this year. Acquired by Bedford Media from Vice Media in 2023, the publication paused all print operations only to relaunch it this year with a renewed technological and underground focus. Though the road ahead remains long, it continues to stand as the reference magazine outside the industry’s more hegemonic circuits.