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I can’t stop thinking about how fashion keeps recycling itself, sometimes in the least expected ways. The runway collections in Paris, for example, left me simultaneously nostalgic and intrigued by their gestures toward a return to 1980s opulence. It wasn’t just an aesthetic recycling, but rather a deliberate reinterpretation that feels oddly relevant. Designers seem to be extracting the essence of power dressing from the ’80s, updating the look and provoking the question: What are the possibilities for power dressing in 2025? Take, for example, the revival of 1980s power coats, part of the “boom boom aesthetic,” a term Emilia Petrarca and Sean Monahan have used to describe fashion’s new frontier of Gordon Gekko–style, greed-is-good chic. The thick wool statement outerwear, with oversize shoulders and lapels (perfect canvases for brooches and/or belts), has appeared at The Row, Ashlyn, Stella McCartney, and Givenchy, as well as on the street (see The Cut E.I.C. Lindsay Peoples). And while this back-to-the-’80s moment resonates with current cultural and political shifts—Donald Trump, of course, remains the most emblematic expression of that decade—participation doesn’t signal political alignment. Even the one percent has its ideological diversity, after all.

Photos: Courtesy of Ashlyn, The Row, and Givenchy

Outerwear, moreover, is one of the few fashion investments that consumers still consider worthwhile, giving brands an opening to inch up their price points. The vintage inspiration creates ample resale shopping opportunities, too—don’t forget to check out the men’s section.

When WSJ’s Sarah Spellings documented Gen Z’s growing appetite for fur in the vintage market, one furrier made the bold prediction that the look would make its runway return within two years. That prophecy actually materialized within two weeks—fur saw a 280 percent increase from the year before in runway looks for the Fall/Winter 2025 season.

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Paris Fashion Week delivered the proof with a mix of real and faux fur: Fendi, The Row, Alaïa, Miu Miu, and, most surprisingly, sustainability-minded Gabriela Hearst all showcased fur in their collections. Hearst’s version is already available for preorder on her site for $32,000. As designers often do with special pieces—and, in this case, it’s made from actual vintage stock—preorder allows the brand to manage inventory, and not make a size that won’t eventually sell. Fendi, of course, began as a fur and leather shop in 1925, and has maintained a consistent presence ever since. But fur’s growing appearance elsewhere signals a dramatic cultural pivot after a seismic shift away from the material in recent years. Between 2017 and 2021, we witnessed a domino effect of antifur commitments across luxury fashion, coinciding with #MeToo and D.E.I. initiatives. PETA declared victory after Gucci banned fur in 2017, which triggered Burberry, Prada, Versace, and major retailers like Saks, Nordstrom, and Macy’s/Bloomingdale’s to follow suit. Department stores shuttered their once-thriving fur salons as global production plummeted. According to the Fur Free Alliance, fur production dropped 85 percent over the past decade, from 140 million animals in 2014 to roughly 20 million in 2023. When I reached out to multiple department stores that had previously closed their fur departments, none would comment on whether they plan to reverse course. This seemed like a display of strategic indecision—or careful calculation of customer sentiment. Rickie De Sole, Nordstrom’s fashion director, told me that the retailer plans to buy the trend for outerwear (citing “fuzzy textures,” shearling, and faux fur) and accessories (expect Miu Miu stoles to be replicated by many high-street brands come fall). De Sole also cited fur as an indicator of “maximalist opulence” trends gaining ground over luxury minimalism. Boom boom, indeed. There’s a compelling economic calculus for luxury brands here, too. Fur’s premium price points are potential revenue buffers against ongoing economic uncertainty. It’s too early to say whether all of this represents a genuine longer-term shift, or just another swing of the fashion pendulum. There’s also ongoing debate over whether faux or real fur is “better” (environmentally, or otherwise) given that the faux version contains microplastics.

Halfway into her Paris trip, Lauren messaged me about the remarkable proliferation of Marant hats from the quintessentially Parisian brand’s still relatively new menswear line. The guys in Paris are wearing these the way they wear Alo Yoga baseball caps in L.A.: constantly, with an almost unhinged zeal. It’s interesting that Isabel Marant would be the brand to benefit from late-stage merch consumption: Her wares, which never waver from her core bohemian-rock-star competency, don’t read as thirsty. Of course, the Marant logo is big stateside, too, at least with East Coast Gen Zers out to redefine the meaning of preppy. If you are confused by my use of preppy here, don’t worry—at first, I was too. But my tween daughter has helped me understand that the ’80s Greenwich-style prep has been replaced by vibrant colors, maximalist accessories, and status-signaling logos—less old school Ralph, more TikTok-friendly brightness. Marant’s boho chic aesthetic, with its playful patterns and French girl insouciance, hits that sweet spot. (There is also this TikTok moment…) According to one observant Gen Z watcher, university students are very into the Marant sweatshirts, too.

For Isabel Marant, ubiquity is a good thing. (Montefiore Investment acquired a controlling 51 percent position in the business, in 2016, and ran an unsuccessful sale process a few years back.) The line went from being an IYKYK cool French girl brand to an It-label best known for a curious wedge sneaker. In the past decade, they’ve spent time increasing global distribution, and ensuring that they sell far more than that shoe. Now, the kids want it. And, wouldn’t you know, the wedge sneaker is getting hot again. When nostalgia hits the runway, the ripple effects in the resale market are immediate and intense. Case in point: Following Chloé’s Fall/Winter 2025 show, an insider from The RealReal shared with me that Paddington bag sales surged 48 percent week over week, and that searches are up 6x over a year ago. Demand is up (if you have one and are looking to sell, now would be the time) as the average selling price has doubled since last year. In fact, searches for all Chloé bags have risen 14 percent. Finally, a super-rounded heel is making a comeback. Perhaps the Phoebe Philo influence is strong, or a high heel is needed to go with the ladylike pencil-skirt-and-oversize-coat look. Lauren spotted this heel from Courrèges, and, of course, there are now countless versions of this Loewe toy stiletto, as well as Amina Muaddi’s version and Alaïa’s patent slingback. Post-pandemic, consumers are reluctant to return to anything that isn’t a comfortable shoe, and the wider toe box of a round toe gives you some wiggle room there.

Re: Dario Vitale at Versace: “He’s been at Miu Miu for 10 years. But Miu Miu really took off in the past three, after Miuccia brought in [stylist] Lotta Volkova. It’s just something to think about.” —An executive Re: The Saks Global PFW push: “[Chairman] Richard Baker and his wife going to fashion shows in Paris… not a good look, given the situation.” —A vendor Re: The Gucci employee reaction: “Half are disgusted. Half liked it.” —An insider-insider Re: The recent episode of Fashion People on The Row: “As a European, I would never spend money on The Row… if I had the money. Way too basic, as you say. Phoebe Philo, on the other hand, is sexy. I think you are right about the impact of art/humanities.” —A listener Re: The Rent the Runway stock decline: “The stock was so low the Nasdaq made them do a combo (the opposite of the split). It was 10:1. So the stock is actually trading at $0.40, which is 0.1 percent of the I.P.O. It’s down 99.9 percent, not 99 percent.” —A concerned investor

Have a great weekend, Lauren P.S.: We are using affiliate links because we are a business. We may make a couple bucks off them.

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