Why are female creative directors still rare in the luxury sector?

The game of musical chairs is in full swing in major fashion houses, between sudden departures and rapid appointments. The latest: Jonathan Anderson leaves Loewe and Demna Gvasalia moves to Balenciaga. While the former is expected to succeed Maria Grazia Chiuri at Dior, the latter quickly transferred from one Kering house to another. These changes, closely watched by the public, are crucial for brands seeking renewal and appeal. Yet, amid this shuffle of creative directors, one thing remains clear: women are still underrepresented. This phenomenon is particularly pronounced in Paris and Milan, contrasting with the rise of female figures leading brands, especially in London.

At the helm of Versace since her brother Gianni’s death in 1997, Donatella Versace stepped down right after Paris Fashion Week. Her successor, Dario Vitale, formerly at Miu Miu, was appointed immediately. This rushed transition sparked outrage among designers, including British creative Charles Jeffrey, who stated on Instagram: “There is hardly any amazing women in creative director roles in this industry and one goddess had stepped down, let’s give her ten seconds, let’s have a moment and celebrate her.” Donatella Versace, a leading figure in Italian fashion alongside Miuccia Prada, did not receive the tributes one might have expected after three decades at the brand’s helm. A similar fate seems to await Maria Grazia Chiuri, the first woman to lead Dior, as Jonathan Anderson looms as her likely replacement. In contrast, Chanel took time to plan a smooth transition between Virginie Viard and Mathieu Blazy, allowing the studio to handle the interim before his official appointment.

Luxury giants LVMH, Kering, and OTB dominate the women’s fashion market, yet their creative leadership remains largely male, despite catering primarily to female consumers. Who better to design women’s wardrobes? Apparently not women—at least not at OTB, where no female designers lead its brands (Diesel, Marni, Maison Margiela…). LVMH shows a slight opening with Maria Grazia Chiuri (soon to leave) and Sarah Burton at Givenchy. At Kering, only Louise Trotter heads Bottega Veneta’s creative team. This lack of representation is even more striking considering that 80% of fashion school graduates are women. While many hold key behind-the-scenes roles, they rarely take center stage. Kering touts its commitment to gender parity, boasting 55% female managers and ranking among the most women-inclusive companies in the CAC 40. Yet, in reality, the top creative director roles remain almost entirely male.

According to a Business of Fashion study, only 3 of the 10 most talked-about brands at Paris Fashion Week are led by women. Ironically, these brands were founded by the very women who still run them today: Victoria Beckham, Stella McCartney (who recently bought back her shares from LVMH), and Miuccia Prada. Does one have to create their own brand to become a creative director? This reality pushes many female designers to launch their own labels, particularly in the UK, with Grace Wales Bonner, Gabriela Hearst, Martine Rose, and Mowalola Ogunlesi. In France, Solène Lescouet; in Denmark, Magda Butrym; in Poland, Cecilie Bahnsen; and in Spain, Paula Canovas del Vas are gaining recognition. These new voices, shaping fashion with their own visions and identities, may redefine the industry's future. While fashion often stays ahead of societal trends, in this case, it lags behind. Far from achieving workplace gender equality, women still struggle to reach top positions, and creative direction in major fashion houses is no exception. Until equality becomes the norm, fashion will likely continue to be led predominantly by men.