The rise of the new maximalism

Amid the FW25 discussions surrounding design and body proportions, the revival of 1990s haute couture collections, and the reversibility introduced by Zomer and Marie Adam-Leenaerdt, another narrative fueled this season’s fashion dialogue. This narrative signals the gradual, yet undeniably striking, resurgence of a new, riveting exchange in fashion that reclaimed maximalism. But here’s the question: is this the maximalism we once knew? Or has it evolved, reshaped by time and trends, into something entirely new? Are we witnessing history repeat itself, or is this aesthetic being shaped by cultural conversations and efforts from the houses to win big?

Not long ago, maximalism was a concept with a singular identity: bold, extravagant, and often synonymous with a few fashion houses. Visionaries like Lee McQueen, Simone Rocha, Marc Jacobs and Alessandro Michele pushed the boundaries of this aesthetic over the decades. Alexander McQueen, during his groundbreaking tenure at his namesake label from 1992 to 2010, elevated maximalism to unprecedented heights. Season after season, he championed a flamboyant creativity that transcended the pre-established norms, culminating in designs that were nothing but a tale of transformation. But today, the narrative around maximalism is shifting. A broader, more nuanced dialogue is emerging, one that redefines what maximalism can mean in the modern creative and commercial landscape. This new wave of maximalism doesn’t always seek extravagance, complexity or to exemplify the loudest era; sometimes, it speaks a language of subtle contrasts and expressions, and as a philosophy that transcends juxtapositions. Can maximalism coexist where minimalism has thrived? At first glance, the answer might seem like a resounding no. Yet, this season, those boundaries are beginning to blur, and fashion houses are leaning into this ambiguity to shape the influence of fashion and business needs at a given moment in time. 

Alaïa, for example, shows a voice deeply rooted in the body’s natural contours, sculptural experimentation, and cultural intersections. Tubular-waist skirts drew inspiration from diverse traditions and eras, while three-dimensional dresses twisted and turned, celebrating beauty ideals across time, geography, and aesthetic philosophies. Pieter Mulier’s decision to distance himself from Azzedine Alaïa is leading a creative exploration aimed to conceive clean evolution while honoring the brand's DNA. Meanwhile, Schiaparelli’s ready-to-wear ‘Lone Star’ proves the point of the season. Daniel Roseberry shared his sentiments. “I was inspired to create a wardrobe that would speak to the contradictions inherent in women’s lives. How could I give them something that would allow them to feel dominant when they needed to be… without sacrificing their sense of tenderness?” While Roseberry has already reimagined the vision of Schiaparelli through couture, this ready-to-wear collection balances a plot fostered by both sides of the story. With 1940s-inspired shoulders and surrealistic jewelry, the collection centers around maximalism without forgetting to add some minimal lines to the conversation. Haider Ackermann at Tom Ford and Julian Klausner at Dries Van Noten delivered standout debuts, each offering their unique spin on polished maximalism. At Tom Ford, though, it was almost as if it did not exist, with minimal motorcycle jackets standing alongside hourglass-shaped sculpted blazers on the runway, as a sign of a broad spectrum of movement between maximalism and minimalism, with a take on modern sensibility. Dries Van Noten, on the other hand, embraced a seamless blend of imagination and practicality. Once again, the imagination is cautious, but not forgotten. 

Duran Lantink’s latest collection exemplifies a successful take on fashion, showcasing jackets crafted from zebra-print pony hair, reworked snakeskin, velvet leopard prints and dresses featuring interlocking forms, hand-knit by a group of women in the Netherlands using merino wool. However, this isn’t about traditional loudness; it’s about a fashion house actively redefining its concepts and exploring deeper layers of meaning. Meanwhile, Zomer’s designs present vivid sculptural shapes and rich textures, challenging conventional notions of clothing. By embracing playfulness as a mode of expression, the AW25 collection explores morphology through unconventional styling and garment placement. A collaboration with knitwear designer Cecile Feilchenfeld further enhances this exploration, pushing the boundaries of how garments interact with the body. On the other hand, Sacai’s designer and creative director, Chitose Abe, introduces a fresh perspective on maximalism. Her vision revolves around the gesture of wrapping, incorporating knitted panels into blazers, down jackets, and military-inspired pieces, extending even to shirts and pants. The collection features teased fabric "feathers," sequins, and fur-like trims, all aimed at expanding the possibilities of a single silhouette. As the lines between maximalism and minimalism continue to blur, the future season promises to be as dynamic as it is unpredictable.