The Business of Fashion Podcast
Episode: Tim Blanks and Imran Amed Reflect on the Biggest Fashion Month Ever
Date: October 10, 2025
Episode Overview
In this episode, BoF editor-at-large Tim Blanks and founder Imran Amed share an in-depth, passionate recap and analysis of what they call “the biggest fashion month ever.” The pair explore the wave of change across the industry, from high-profile creative director debuts at houses like Chanel and Dior, to polarizing moments at Versace, Loewe, Jean Paul Gaultier, Balenciaga, and others. They discuss the tension between brand heritage and a new designer’s vision, the pressures of instant critique in today’s social media-fueled landscape, and what these moments mean for the future of luxury fashion. Throughout, they maintain an honest, collegial, and sometimes playful tone, providing both industry insight and genuine emotion.
Key Themes and Discussion Points
Setting the Stage: A Season of High Stakes
- Both hosts express excitement and trepidation at a fashion month laden with high expectations, industry flux, and the need for rejuvenation in luxury (02:16).
- Imran notes a feeling of “flatness” in the industry and wonders if this string of debuts will provide needed new energy.
Quote:
"Everyone was entering this season with such high expectations... but also for a fashion industry that's in flux and looking for some new energy because things have honestly felt a bit flat."
– Imran Amed (02:16)
Who Comes First: Designer or Brand?
- Recurrent debate: is it more about the designer’s signature or upholding the brand's codes?
- New roles for designers Jonathan Anderson at Dior, Mathieu Blazy at Chanel, Duran Lantink at Jean Paul Gaultier, Jack McCullough & Lazaro Hernandez at Loewe, and Simone Bellotti at Jill Sander.
- Tim likens designer approaches to method actors versus movie stars, noting some immerse in the brand (method) and others project their own identity (star) (06:10).
Quote:
"You have a method actor who goes into a role and becomes the character... or a movie star who goes into the role, like Elizabeth Taylor, and is Elizabeth Taylor in the role. There was a little bit of that."
– Tim Blanks (06:10)
Universal Acclaim: Mathieu Blazy’s Debut at Chanel
- Both agree Chanel was fashion month’s standout – a debut balancing archival reverence, personal expression, and lightness, injecting joy and mass approval (07:36 – 15:45).
- Tim highlights Blazy’s decision to “personalize Chanel” by focusing on Coco Chanel the person and storytelling through craft and lightness.
- Imran observes that the collection made classic Chanel codes (e.g., boucle suits) instantly feel outdated – a transformative moment for the brand.
Quote:
"He struck a balance there that I think the balance was the challenge between what Chanel was and what Chanel needs to be."
– Tim Blanks (11:11)
Memorable Moment:
"At the end, when Awar o Diang closed, that show did that little spin in that beautiful closing look with the huge volume... It was just joyful. I have been listening to 'Rhythm Is a Dancer' on repeat ever since that show."
– Imran Amed (15:36)
Dior: Risk-Taking and Polarization Under Jonathan Anderson
- Jonathan Anderson’s first Dior collection opens with an “audacious” film by Adam Curtis, using horror and subversion to address fashion’s enchantment and its toll (16:34 – 25:00).
- Both see the debut as experimental, intentionally messy, and in need of time for a clear vision to emerge.
- The pressure for “quick takes” and social media criticism is called out as unfair; the Loewe example is cited, reminding listeners it took Anderson a decade for his creative direction to peak.
Quote:
"Adam Curtis just went hell-bent for leather... His blend of fashion and horror... was totally in your face. I could watch that film over and over again."
– Tim Blanks (16:34)
Quote:
"Do not tear us to shreds for one season's work. You know, give us time."
– Tim Blanks (paraphrasing designers, 18:21)
Versace & Jill Sander: The Return of Energy and Minimalism
- Versace’s Dario Vitale is praised for channeling “new wave” energy; Imran relishes the atmosphere despite mixed critical response online, highlighting the difference between in-room experience and digital perception (30:21 – 34:06).
- Simone Bellotti at Jill Sander is credited for returning the brand to “intense purity” and minimalism, resonating deeply with Tim as “quite emotional” and about “touch.”
- Bellotti seen as a rare, true “method actor” in contrast to star designers projecting their own imprint (35:11 – 38:46).
Jean Paul Gaultier by Duran Lantink: Outrage & Provocation
- Duran’s debut seen as both compatible with the house and controversial, with his “anatomically correct naked man bodysuit” going viral but overshadowing other achievements.
- Tim notes that, while polarizing, Lantink represents “the face of the future,” admired for his genuine risk-taking (39:52 – 44:04).
Other Noteworthy Shows and Moments
Alaïa by Pieter Mulier
- Explores themes of tension and release through innovative silhouettes; some critics raise questions of misogyny due to restrictive designs, but Tim clarifies the pieces' functionality and lightness.
- Both note Alaïa's ability to offer genuinely new shapes and ideas rarely seen elsewhere (44:21 – 46:42).
Balenciaga by Pierpaolo Piccioli
- Mixed reactions; Tim finds it “rushed and messy,” lacking the polish of Piccioli’s past couture triumphs. Points to pressure on fast turnarounds (50:06 – 51:00).
Givenchy by Sarah Burton
- Praised for elegance, wearability, and subtle “imp of the perverse;” inspiration comes from a book of honeymoon photographs exuding love and sensuality (51:40 – 54:04).
Miu Miu by Miuccia Prada
- Defiant, challenging, and referencing working-class women—evokes both praise for rebel spirit and critique for potential tone-deafness regarding domestic labor (54:04 – 56:52).
Bottega Veneta by Louise Trotter
- Trotter’s debut focuses on craft and oversized tailoring; Imran notes the absence of her typical ready-to-wear presence—it’s a “wait and see” situation (57:07 – 58:08).
The Pressure and Pace of the Modern Fashion Industry
- Discussion throughout touches on the relentless speed of review cycles, social media judgment, and what Imran calls “dopamine culture” (the demand for immediate hits and viral content) (18:21, 20:08).
- The need for “empathy” and understanding: creative directors are under immense scrutiny and pressure, yet are still human. Both stress the importance of allowing time for designers to settle at their new houses (25:37, 26:33).
Fashion in a Troubled World
- Sparse direct commentary on global or political events, with one noted exception: Alessandro Michele makes a statement against fascism at his show, reflecting on fashion’s historical engagement with crises (48:27 – 49:42).
- The joy and optimism of the Chanel show are framed as a welcome relief during challenging times (59:30–60:39).
Notable Quotes & Memorable Moments
-
On Chanel:
"He managed to do a Chanel that reflected her, but also reflected his feelings about what she’d done with his vocabulary, which is very craft-oriented and experimental."
– Tim Blanks (09:41) -
On Dior’s Opening Film:
“Fashion enchants people, casts a spell over them, but then also leaves them despairing in a way... Beauty and horror.”
– Tim Blanks (21:17) -
On empathy:
“They get built up into these like superstars, but you know, at the end of the day, they're human beings.”
– Imran Amed (26:46) -
On Versace:
“I wanted to be those kids. They came out, they had this, like, insouciance and cool factor. I would love to go hang out where they're going to hang out. I want to dress the way they dress.”
– Imran Amed (31:49) -
On Sarah Burton’s Givenchy:
“She has got all those little couture tricks. I can't wait to see what happens when she finally does a couture collection. But I really loved her collection.”
– Tim Blanks (53:20) -
On Miuccia Prada and Miu Miu:
“She is the queen of defiance.”
– Tim Blanks (56:52)
Timestamps for Key Segments
- 00:04: Opening and framing of fashion month’s high expectations
- 03:22: Debate: designer vs. brand identity
- 07:36: Universal acclaim for Chanel/Mattieu Blazy
- 16:34: Jonathan Anderson’s Dior and Adam Curtis collaboration
- 30:21: Versace’s new energy and live-vs-digital experience
- 34:06: Jill Sander’s purity and Bellotti’s approach
- 39:52: Jean Paul Gaultier by Duran Lantink—provocation and risks
- 44:21: Alaïa, tension, and body-restraining silhouettes
- 50:06: Balenciaga by Piccioli—time pressure and expectations
- 51:40: Sarah Burton’s Givenchy—modern elegance
- 54:04: Miuccia Prada’s Miu Miu—defiant domesticity
- 57:07: Bottega Veneta by Louise Trotter—craft and oversizing
- 59:04: Final reflections: optimism, empathy, and the endurance of joy
Closing Thoughts
- The season is marked not just by an array of new creative directors, but by the complexity of managing legacy and personal vision, the weight of social media scrutiny, and the need for kindness and patience.
- Imran advocates for a non-zero sum mindset: “Fashion week doesn’t have to be a zero sum game. Everyone can be successful.”
- The episode ends on a hopeful note, celebrating the power of fashion to create moments of joy and togetherness, even in dark times.
Final Quote:
"Empathy. Give people a break… this doesn't have to be now."
– Tim Blanks (61:29 – 61:54)