2024 ended with upheavals in the fashion industry and with creative directors of major fashion houses passing the vanguard to others. These changes will no doubt have a ripple effect on the fashion trends of 2025, which promises to be a year of disruption. From retail to design, emerging trends are set to redefine fashion as we know it.
With individuality and customisation taking centre stage, alongside the rise of secondhand fashion, technology’s growing influence, and the surge of genderfluid collections, established retailers and designers must adapt—or risk being left behind.
Tatler spoke with industry insiders—Tracey Cheng, vice president of merchandising at IT; secondhand fashion pioneer Sarah Fung, founder of The Hula; and visionary designers Kay Kwok of KWK by Kay Kwok and Derek Chan of Demo—to discuss how these seismic shifts will shape the fashion trends in 2025.
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Individuality
The Barbiecore trend has sparked a fashion movement, driven by social media algorithms (Photo: Instagram/@kimkardashian)
Valentino embraced a sea of pink for its fall/winter 2022/2023 collection (Photo: courtesy of Valentino)
Fashion has always been influenced by pop culture. As Sarah Fung, who once worked for the trend forecasting company WGSN, says: “I am fascinated by how design and hype can evolve from culture, art, music, technology and social interactions—trickling from the runway to the streets and vice versa.”
From one brand to another, from one collection to the next, every fashion item can reflect pop culture, and by choosing which pop culture moment you want to engage in through fashion, it can become a reflection of your unique tastes. As designer Kay Kwok says, “Individuality is about people being able to express their unique selves through their clothing”.
However, with the rise of social media, certain trends have gained exponential influence, often leading to large-scale fashion movements—such as Barbiecore, cottagecore, clean girl and more—that prompt many to conform to a specific look, making their style less individual and more uniform.
Saint Lauren Été 2025 (Photo: courtesy of Saint Laurent)
Prada SS25 (Photo: courtesy of Prada)
“I think individual style can coexist with trends,” says Tracey Cheng of IT. “There will always be people who don’t follow trends, who buy and style clothes according to their preferences. Or, they may understand the trend but interpret it in their own way.”
Whether or not we agree that trends sometimes diminish individuality, one thing is clear: 2025 marks the return of personal style. Major fashion houses like Prada in Milan and Saint Laurent in Paris are leading this shift, as seen in their spring/summer 2025 collections. These collections celebrate the idea that fashion is not just about following a theme, but about dressing for yourself.
“Over the past two decades, fast fashion has dominated, and people have ended up wearing ‘uniforms’ from the same fast-fashion chains,” Fung reflects. “It has been a creative lull, where we prioritised cheapness over craftsmanship and forgot to appreciate the art of fashion.”
Kwok adds that “individuality also means experimenting with unconventional materials like 3D printing and digital artistry to create wearable works of art that defy stereotypes and spark conversations.”
Customisation
Beyoncé in KWK by Kay Kwok Chapter 2, custom-made and 3D printing artwork (Photo: courtesy of Kay Kwok)
Fashion is becoming more personal—not only by allowing people to curate their own style and carefully choose which pieces to wear, but also by giving them the opportunity to personalise these items.
“There’s a growing appetite for customisation, especially among younger consumers who seek one-of-a-kind pieces that reflect their identity,” says Kwok. “From custom colours to modular designs, the demand for personalisation has skyrocketed, and I anticipate it becoming a staple in fashion.” Kwok’s own brand, KWK, has embraced this shift, exploring digital tools to offer tailored designs that blend cutting-edge technology with individuality.
Customisation is not only a powerful means of self-expression, but it also plays a key role in the growing movement towards more sustainable fashion. “Personalisation shifts the focus from mass production to meaningful, intentional design,” Kwok explains. “It encourages consumers to invest in fewer, more thoughtful pieces that resonate with their identity, reducing the waste associated with fast fashion. A personalised item becomes a treasure rather than a disposable product.”
Gucci custom-made jacket through Gucci’s do-it-yourself service introduced by Alessandro Michele (Photo: courtesy of Gucci)
This transition not only supports sustainability but also aligns with the demand for products that are more meaningful and connected to the consumer’s story.
While personalisation offers many benefits, it is not without its challenges, especially from a retail perspective. Cheng acknowledges the potential of customisation within the retail experience as it fosters long-term loyalty from customers but cautions against expecting it to become the central feature of all brands. “I think the execution of customisation is not easy,” she says. “There have to be constraints, or it could become very difficult to execute. Too many ideas and too many variations can lead to confusion. And if the fitting of a product can be customised without limits, the production costs will skyrocket.”
Brands that can successfully integrate personalisation without compromising on quality or sustainability will likely lead the way in the coming years, ensuring that fashion remains not only a means of expression but also a more thoughtful, conscious choice.
Vintage
Vintage bags from Celine, Gucci, Bottega Veneta and more (Photo: courtesy of The Hula)
Vintage fashion is experiencing a major resurgence, and 2025 is expected to see even greater demand for iconic pieces from fashion’s prime eras. It is now more accessible than ever, as the number of sellers continues to rise, moving from offline markets to online platforms like Vestiaire Collective and others.
Vintage clothing offers more than just a trip down memory lane. This fashion trend allows a wider range of consumers to access exceptional pieces that were once reserved for the elite. From Birkin bags to Chanel jackets, luxury items that were once difficult to obtain are now available to those willing to invest in timeless quality, without breaking the bank. Fung, who founded vintage fashion shop The Hula in Hong Kong, says, “I believe consumers are now looking back into fashion history because it provides a unique twist to someone’s style.”
What’s more, vintage pieces often boast superior quality—materials were more refined, and craftsmanship was prioritised in pre-mass-market production. Fung continues, “People used to pay more for special pieces and keep them, handing them down through generations. For example, The Hula sells vintage Chanel from the Karl Lagerfeld era, which many consider to be superior in quality and design compared to today’s Chanel. This can be said of many brands, as the rising costs of raw materials and labour have impacted contemporary production.”
The Hula warehouse in Quarry Bay, Hong Kong (Photo: courtesy of The Hula)
Fung further advocates for a shift in how brands engage with their archives: “Retailers should consider reselling their archive pieces or creating upcycled collections. Creating one-of-a-kind items showcases a brand’s creativity—something fast-fashion brands can’t replicate. I particularly admire how ‘Upcycled by Miu Miu’ creatively reimagines past collections, as well as how Jay Ahr by Jonathan Riss transforms Louis Vuitton Keepall bags and Birkin bags into unique works of art. These upcycled pieces should be embraced as art by the fashion industry.”
Vintage fashion plays a crucial role in promoting sustainability, offering a powerful antidote to the environmental degradation caused by the modern fashion industry. With the rise of fast fashion, the environmental impact of clothing production has skyrocketed. Vintage provides a solution to that: it allows garments to be reused and reintroduced into the market, dramatically reducing the demand for new, resource-intensive production.
Technology
Coperni always creates a wow effect when it comes to incorporating technology into the design process (Photo: courtesy of Coperni)
In an era where technology permeates every aspect of our lives, it’s no surprise that it’s also reshaping the world of fashion. From artificial intelligence to 3D printing and smart fabrics, the boundaries between technology and creativity are increasingly blurred.
As Derek Chan of gender-fluid fashion label Demo explains, “Technology is revolutionising the way designers approach fashion. At Demo, we see 3D printing and smart textiles not just as tools but as mediums for storytelling. It allows us to push the boundaries of craftsmanship and blend traditional materials with futuristic accents.”
Kwok, who integrates technology in his creations, adds, “3D printing has been transformative, beyond aesthetics, wearable tech and smart textiles open new dimensions in functionality and interactivity.”
While technology is certainly changing the design process, it has yet to make a significant impact on the retail experience, according to Cheung. She acknowledges the potential of virtual fashion in showcasing brands or items that aren’t yet available but points out that, post-Covid, shoppers have returned to a more tactile, in-store experience where touch and feel remain essential. “It’s more like an add-on, providing extra experiences,” says Cheung.
3D-printed wearable sculpture by Kay Kwok (Photo: courtesy of Kay Kwok)
So, is the fashion industry shifting from a hands-on craft to a more tech-oriented field? And, if so, do the next generation of designers need to master technological skills as well? Both designers weigh in.
“The modern designer’s toolbox has expanded to include skills like 3D modelling, coding and even AI,” says Kwok. “These tools unlock new creative possibilities while promoting more sustainable practices, like virtual prototyping to reduce waste.”
Chan adds, “Technical proficiency is increasingly essential, especially for designers aiming to stay ahead in a rapidly evolving industry. While artistic vision remains crucial, mastering skills like 3D modelling allows designers to turn abstract ideas into tangible, functional creations. It’s about balancing the tactile and the digital.”
Gender-fluid fashion
Demo outfit (Photo: courtesy of Demo)
Demo outfit (Photo: courtesy of Demo)
Over the past few years, young people have actively worked to challenge traditional norms and promote a more inclusive society. In the fashion industry, this cultural shift has translated into a growing demand for gender-fluid collections—a movement already embraced by leading brands like Gucci, Maison Margiela and Telfar. Research conducted by fintech company Klarna reveals that nearly 50 per cent of Gen Z consumers globally have purchased fashion items outside of their gender identity. Additionally, about 70 per cent of consumers express interest in buying gender-fluid fashion in the future, with younger generations leading this shift.
For Chan, gender fluidity lies at the heart of his design philosophy at Demo. He says, “Gen Z is challenging traditional norms and seeking authenticity, which naturally aligns with gender-neutral fashion. At Demo, we’ve always believed that clothing should be a medium for self-expression rather than a binary framework. This generation’s influence will likely push brands towards more inclusive and fluid designs, expanding diversity not just in clothing but in the entire fashion narrative.”
Harry Style became an icon of gender-fluid fashion
But what does the future of fashion design look like in a world where gender fluidity is becoming mainstream?
In practical terms, it means a shift towards clothing that prioritises versatility, neutrality and inclusivity. We can expect to see designs that are less defined by traditional gendered aesthetics, with a focus on adaptable fits, shapes and colours. Clothing that anyone, regardless of gender, can envision themselves wearing—without feeling restricted by conventional categories—could soon become the norm.
However, this shift is not without its challenges. The traditional retail system, long divided by gender, creates hurdles for the widespread acceptance of gender-neutral collections. As Chan notes, “The biggest challenge lies in breaking free from conventional retail structures. Traditional merchandising categorises clothing by gender, making it difficult for gender-neutral collections to stand out or be accessible. But this also presents an opportunity for retailers to rethink their strategies—curating collections by style, functionality or personal expression rather than by gender.”
Rethinking marketing strategies is another crucial aspect of promoting gender-neutral fashion. Chan emphasises the importance of collaborating with Gen Z influencers in digital campaigns to reach a broader, more inclusive audience. “These collaborations have helped us reimagine our social media presence and visuals, creating a dynamic space that celebrates individuality and sparks meaningful conversations.”
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