Words by Frances Davis

Edited by Rachel Hambly and Bailey Tolentino

Fashion houses such as Gucci and Dior have long been renowned for their historicism, craftsmanship, and marvelous design. Their annual runway shows highlight their designers’ meticulously created and curated visions. The major shows, staged in Paris, Milan, London, and New York, consistently ignite international debate on the success of a collection, its designer, and the brand at large. Each show a fashion house puts on is a testament to its ability to push creative boundaries, experiment with materials, presentation, or norms, and maintain a position at the forefront of design trends. These collections are not merely aesthetic showcases—they represent the imaginative creativity and innovative capacity of a designer and their team, serving as an ongoing test of a brand’s reputation.

What’s often overlooked by the amateur appreciator, however, is the business behind the spectacle. Ultimately, runway collections are designed to present the very essence of a brand. Without significant profit, a house could fail to amass funds sufficient to sustain the extravagant productions that have become synonymous with the high-fashion calendar. Within this framework, each collection becomes an exercise in balance. Designers must maintain an artistic reputation within the industry while also producing items that will sell—a challenge amplified by the fact that the average price point of these items far exceeds what most people can or will spend. The tension between creative freedom and commercial necessity defines much of contemporary high fashion, which we see play out with each season’s runway collections.

For example, Demna’s La Mecenate look for Gucci’s Spring 2026 Collection: a gilded gown with beaded fringe and embroidery reminiscent of a Baroque painting embodies exceptional artistry, yet its price tag of over £3,000 makes it difficult to imagine as a high-volume seller. Similarly, pieces like the Ragazzo look: a minimal black loincloth, may captivate attention and promote conversation around the brand, but are unlikely to generate meaningful profit. Yet these extravagant creations fulfill another purpose: they build the mythology of the brand. Gucci, an Italian fashion house established in 1921, has always existed to make consumers and critics alike question fashion norms and explore the limits of high-fashion artistry. To counterbalance each critical aspect present within the industry, Demna incorporates more accessible items—jackets, handbags, and accessories—that maintain the Gucci aesthetic but are far more commercially viable.

Demna for Gucci, S26: looks *La Mecenate* and *Ragazzo* (wwd)

This dual strategy is not unique to Gucci. Jonathan Anderson’s tenure at Dior (notably his SS2026 collection) similarly illustrates the interplay between the avant-garde and the sellable. His manipulation of materials like organza, tulle, and silk mikado results in breathtakingly sculptural pieces that will time and time again impress his global audience, but cannot be depended on to sell widely. Alongside these complex gowns, however, are the classic handbags and footwear that Dior has forever been recognized for—accessories that have repeatedly been proven wearable, timeless, and highly profitable. These act as the financial backbone of the house, supporting the more experimental, less commercial designs that might not define, but definitely bolster its artistic prestige.

The central question then becomes: what does it mean for something to be “sellable”? In the context of large fashion houses, “sellable” does not simply refer to mass appeal or accessibility—it encapsulates a product’s ability to generate profit while reinforcing the brand’s identity. Fashion houses exist within a capitalist framework, romanticized as they may be. They are businesses that must sustain growth to survive, and this growth is dependent on constant inflows of cash. The ability to attract visionary designers, fund couture ateliers, and stage monumental shows— aspects the brands rely on within the artistic and legacy-oriented side of the industry— all depends on commercial success.

Ultimately, the modern fashion industry operates on a precarious equilibrium. High fashion houses must balance the creation of “wearable” or “sellable” items that ensure financial sustainability with the pursuit of avant-garde designs that challenge, inspire, and redefine the boundaries of creativity. One aspect not yet touched on is the importance of knowing one’s audience: on one hand, it is an exclusive group of people who can afford and care to buy and wear these pieces. On the other hand, these brands must grapple with a world that has gained pretty all-inclusive access to the industry with widespread use of the internet. With the whole world as a distant audience to these shows, brands must acknowledge and accept an increase in criticism. This delicate interplay between commerce and artistry—between the sellable and the spectacular—is what keeps fashion alive, relevant, and endlessly fascinating.

Balancing the Sellable with the Spectacular