The original version of this article was published in Italian by the same author on 14 March 2025.
From the runways of Paris and Milan, fashion’s most influential capitals, emerging trends in brand communication are taking shape.
Fashion Week has long been the stage where brands unveil not only their collections but also their communication strategies.
In the past, the spotlight was on the collections, with ateliers and catwalks primarily catering journalists and buyers.
However, the digital era has upended this dynamic, transforming both how brands present themselves and the audience they seek to reach.
The media impact of a show has become crucial, not just complementing the clothing but often overshadowing it.
As a result, the highly coveted front-row seats – an integral part of a brand’s communication strategy – are now carefully assigned to influencers, TikTokers, and entertainment celebrities, aligning with the brand’s image and amplifying its visibility.
A striking example of integrated communication between fashion and other creative industries is Parthenope, the latest film by Paolo Sorrentino.
The protagonists wore outfits designed by Yves Saint Laurent, which also co-produced the Oscar-winning director’s feature.
As a result, the film’s leading actors took centre stage at the brand’s fashion shows, reinforcing the deepening synergy between fashion and cinema.
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Democratic fashion
For years, luxury – and fashion as one of its key expressions – has been rooted in exclusivity, with events accessible only to a select circle of industry insiders and top clients.
The rise of digital media initially offered a partial opening to a broader audience, paving the way for today’s live-streamed fashion shows.
These are now broadcast not only on official platforms, such as those of the non-profit National chamber for Italian fashion, but also widely shared on social media, particularly Instagram.
To maximise reach, brands featured in the official fashion week calendar have increasingly partnered with media outlets, expanding the visibility of their live streams.
For several seasons, now, and as seen again in the latest fashion week, some maisons have opted to stream their shows directly through major fashion publications like Vogue.
However, one trend that has notably declined in the most recent season is the push to make fashion more accessible by opening shows to a wider audience beyond industry insiders.
In previous years, for example, Diesel offered free tickets to its show and even allowed a global audience to tune in live via Zoom.
Similarly, Marco Rambaldi staged his runway in Milan’s Piazza Tomasi di Lampedusa, enabling the public to watch from the outside.
Despite this shift, the industry’s effort to embrace a more mainstream presence remains evident in the way brands seek to establish closer connections with everyday life.
In the city
During fashion weeks, many brands roll out gifting strategies in high-profile areas of the host cities, setting up stands or newsstand-style kiosks to distribute branded merchandise and promotional items.
At the latest Milan Fashion Week, Loro Piana transformed a kiosk near the city’s fashion district into a post office.
The initiative featured vintage-style postcards showcasing past advertising campaigns and a newspaper, Cronache del Marchio, tracing the brand’s century-long history.
Beyond promoting the event, Loro Piana’s social media channels spotlighted the craftsmanship, quality, and technological innovation that define the brand’s identity and set it apart in the industry.
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On stage
Fashion weeks’ runway, now firmly established as a full-fledged media spectacle, remains central to shaping a brand’s exposure and public perception.
The strategic inclusion of viral elements designed to capture attention on social media is no coincidence, given the strong presence of influential figures on Instagram and TikTok.
Several standout moments emerged from the recent Paris and Milan fashion weeks: Duran Lantink showcased prosthetic latex tops mimicking anatomical forms, while Giuseppe Di Morabito staged a striking finale featuring Ameca, the world’s most advanced humanoid robot.
Taking a similarly cinematic approach – but appealing to a more niche audience – Marine Serre paid tribute to Twin Peaks, designing both the runway set and garments as a homage to David Lynch, who passed away last 16 January.
Conversely, The Row took a starkly different stance, rejecting viral theatrics by once again banning phone use during its show.
This decision underscores a reconsideration of the runway’s role, pushing back against fleeting social media hype in favour of refocusing attention on the garments themselves.
In their faces
As brands increasingly build their communication strategies around specific values, aligning with carefully chosen entertainment figures helps reinforce both their aesthetic and identity.
A prime example of this approach is Alessandro Michele, a designer who has imposed a distinctive creative vision, amplified by a diverse cast of personalities wearing his designs.
At Valentino’s latest show, the guest list featured several figures previously associated with Michele during his Gucci era – actors Jared Leto and Alessandro Borghi, singer Chappell Roan, and model Bianca Balti, among others.
This season’s communication strategy has focused on a carefully balanced mix of online and offline channels. Yet, despite the significant effort and resources invested in creating viral moments, their impact remains short-lived.
By emphasising ideals, uniqueness, and differentiation, brands use fashion weeks to forge deeper connections with their target audiences, shifting toward a consumer-centric approach.
However, the consumer’s role is shifting from a mere client to an active participant who amplifies a brand’s recognition and influence.
This evolution reflects a communication strategy that moves beyond pure economic profit, embracing a broader cultural narrative rooted in shared social values.
