Who is going to Balenciaga now?

Fashion, like nature, abhors a vacuum and rushes to fill it. But who can fill the void that Demna will leave at Balenciaga? Over the past decade, the brand has become the most delightfully ambiguous in contemporary fashion – every piece, every collection was a reflection on the true nature of luxury, beauty, and commerciality. The Balenciaga customer could be both a discerning connoisseur and a logo-hungry fashionista, an intellectual in search of a dramatic coat, or a raver buying the most aggressive sneakers imaginable. Yet, a change was needed: after the pretentious scandal over the advertisements that erupted in November 2022, the atmosphere had shifted. Suddenly, and with varying reactions, both the press and the public began to point out issues that had previously been overlooked: the repetitive collections, the excessive reliance on logos, the formulaic collaborations, and the overly simple designs sold at ever-increasing prices. Not that Balenciaga had stopped being popular – it had simply stopped surprising. In this sense, the reshuffling at Kering’s top management makes sense: Gucci needed a “fashion authority,” and Balenciaga simply needed a refresh. Now that the brand has regained its prestige, why not steer it towards less ironically luxurious and instead more serious and concrete territories? From the whirlwind of fashion rumors, two names have emerged: Pieter Mulier and Riccardo Tisci. But there is also a third option, about which no rumors are circulating at the moment.

Each of the two names makes sense for different reasons. Mulier, for instance, went from being Raf Simons’ right-hand man to leading Alaïa in 2021, bringing the brand back into the spotlight with considerable force and completely rewriting its appeal for an entirely new generation. Mulier comes from the same school as Demna, the legendary Royal Academy of Fine Arts in Antwerp, and shares with him a similar attraction to dramatic silhouettes and drapery – he also has a touch of eccentricity, but it is always disciplined by a strong sense of synthesis that gives great cohesion to his collections. During his time at the brand, Mulier also created an it-bag, the Teckel, and a pair of ballet flats widely copied by almost every imaginable brand. In short, the designer would be perfect if Kering’s management wanted to give the brand a more “serious” and refined direction while preserving its avant-garde essence, especially in view of the Haute Couture production he might have to oversee. 

Another name that many are hoping for is Martine Rose. By now, everyone knows how instrumental Rose’s consultancy was to Balenciaga during the early years of Demna’s tenure. The designer has undoubtedly demonstrated her ability to strike the same chords that Demna has played for years, and her raw and caustic aesthetic, her talent for redefining the architecture of classic garments, and her skill in creating rich tonal and stylistic contrasts have made her a cult designer—especially in her native England. Rose would undoubtedly give a jolt to the brand’s commercial offering, though a potential question mark is whether she would be willing, if Kering’s top executives wanted her, to steer her everyday aesthetic toward more refined directions. With football-inspired T-shirts, a strong connection to printed graphics, and constant sportswear references, Rose’s vision seems to appeal to younger market segments that Kering, in its quest for elevation, might not appreciate. Nevertheless, despite her apparent distance from the world of flash and celebrities, Rose has managed to create one of the strongest sneaker collaborations of 2024, the Nike Shox MR4, and her designs have been featured in viral outfits worn by Timothée Chalamet and Kendrick Lamar’s Super Bowl look. Certainly, Rose would represent (at least conceptually) the most immediate continuation of Demna’s work, particularly in terms of the brand’s commercial aspect.

Another name being mentioned for Balenciaga is John Galliano, who would be magnificent, especially for Haute Couture. Galliano is one of fashion’s last mega-stars, a cross-generational figure whom everyone would love to see working at a legendary brand like Balenciaga. In fact, when leaving Maison Margiela, the British designer wrote in his farewell letter: «The rumours…Everyone wants to know and everyone wants to dream. When the time is right, all will be revealed». This suggests that his career is far from over. As several social media users have pointed out, much of Galliano’s recent work echoes the lines and silhouettes of the Maison’s founder. However, a lingering question remains: can Galliano engage with pop culture in the same way that Demna has, and in the way that many customers now expect from the brand? The idea is certainly appealing—Galliano is the ultimate superstar designer, and his track record in sales is impressive: Maison Margiela has grown enormously under his leadership, though much of that success can be attributed to Renzo Rosso’s strategic commercial vision.

The reasons behind the creative change were, in fact, both creative and commercial: after being Kering’s second most important brand after Gucci, Balenciaga was increasingly relegated to the "Other Houses" section in the brand’s financial statements. Not explicitly mentioning its sales and growth, grouping the brand together with Brioni, Alexander McQueen, and the jewelry division, means that sales, while robust or at least stable, were not significant enough to warrant the same dedicated section that Gucci, Saint Laurent, and Bottega Veneta received. To give the brand and its sales a new momentum, it is doubtful that Kering will decide to invest in another emerging creative. The experiment of introducing a new creative voice at Gucci has not gone particularly well, and the pace of fashion is too ruthless: it is necessary to play it safe and hit the target without hesitation. The good thing, however, is that Demna is not leaving a house in disarray – quite the opposite. But will the next tenant be up to the task?