Visions Episode 9 - The Future of Fashion: What Will 2030 Look Like?

Taking a long-term view of fashion means moving beyond the industry’s cyclical rhythms. The recently wrapped Spring–Summer 2026 season was particularly eventful, especially in the luxury sector, where an unprecedented game of musical chairs has brought creative director shifts at most major houses, just as growth in the segment begins to slow. Beyond the short term, the industry and its ecosystem are undergoing structural transformations. Yet in an environment of continual change, looking to the long term remains a challenge.

Nevertheless, three major forces are reshaping an industry whose transformation has only just begun, with technology providing new tools that accelerate the shifts already in motion. Recognition of the climate crisis and environmental impact is now enshrined in European law, prompting industry players to realign, a shift that will only deepen. Regulation is evolving at the European level, establishing a new legal framework.

Frédéric Godart, a sociologist and professor at INSEAD, has made fashion a central focus of his research and analysis. Speaking at the most recent edition of Première Vision Paris, he explored the close relationship between fashion and society. Drawing on his observations of current shifts, Godart examines the unique character of recent transformations and outlines possible paths toward 2030, placing them in dialogue with today’s wider social changes. Until now, the industry has been defined by six major symbolic principles, shaped over centuries, from the Renaissance to the modern era. But the scale of technological transformation today is such that a seventh principle must now be added, one that helps us understand both today’s challenges and the outlook for 2030.

The first of these guiding principles is distinction. Fashion has always allowed individuals to define themselves and signal their status — it is inherently tied to identity. But what’s changed in recent years? Today, fashion status is no longer measured only by the ownership of exclusive pieces; it’s increasingly defined by experience. “For example,” notes Godart, “it might mean taking a selfie in front of the newest luxury hotel in Santorini.” Status is evolving alongside new modes of consumption. With the rise of responsible fashion, “having visible signs of repair — showing that one consumes sustainably — can also convey status.”

The second principle concerns what Godart calls the “centralization of fashion”. He highlights how this industry creates a convergence of everything that revolves around influence, circulation, and image. From the Court of Versailles under Louis XIV to today’s four Fashion Week capitals — Paris, London, Milan, and New York — the pattern holds true. In recent years, he observes, Paris and New York have attracted the greatest attention: “I once thought this centrality would give way to new fashion stages — in São Paulo, Mumbai, and beyond — but that hasn’t happened yet,” notes Godart. “All activity remains concentrated around Paris and New York. London is losing ground, Milan is holding steady, and Madrid is gaining visibility through its industrial activity.”

Fashion also operates according to a principle of autonomy of styles and trends.

“Fashion has been self-referential since the era of Marie-Antoinette and Rose Bertin, the first fashion merchant to present her client with a selection of new styles and trends, rather than one official look,” explains Godart. “Fashion continually feeds on itself, drawing from its archives and the creative vision of artistic directors who reinterpret the identity of each brand. Algorithms, too, are self-referential, reinforcing this principle of autonomy by drawing on the past and playing with probabilities.” 

The remaining three principles shape today’s fashion industry even more profoundly.

• The first, personalization, emerged in the 19th century with Charles Frederick Worth — the father of haute couture — who pioneered the modern fashion show, introduced the concept of seasonal collections, and designed garments for every moment of the day.
• Through the decades, the power of symbolism has grown, with each brand carrying its own universe of autonomous symbols reimagined by each new creative director.
• The structuring of fashion groups into Empires, which dates to the 20th century, has never been more pronounced than it is today. Fashion ranks among the major global industries, with leadership shifts frequently taking place across sectors. As an example, Godart cites the recent appointment of Luca de Meo, formerly CEO of Renault, to lead Kering — a move that marks another step in the industry’s normalization.

“We’re now seeing fashion groups structured much like other global industries. Think of Gucci, Yves Saint Laurent, and Balenciaga under the same umbrella — it’s a bit like Alpine within the Renault group,” explains Godart. “These Empires are delineated by borders, as the recent reshuffling demonstrates, creative directors move between brands but always within those limits. This grouping of brands into vast corporate empires is becoming increasingly the norm, and we may see others rise in the future. Attempts are already underway to establish such groups in India and China. Still, the model isn’t absolute: Chanel and Hermès, for example, continue to prosper on their own terms.

The rapid digital acceleration that began in 2019 has ushered in a new wave of challenges. “Since then,” explains Godart, “certain issues can no longer be addressed without technology, from product authentication to measuring and reducing environmental impact.” For the sociologist, this shift raises a key question: “Can fashion be digitized in the same way the music industry was? Blockchain has become a central focus, a deep structural transformation reshaping the field. It may even represent the only truly sovereign technological pathway for Europe. This is where we move from theory to implementation,” he adds. “Blockchain solutions have now fully integrated environmental considerations and offer tangible tools to help reduce the industry’s footprint.”

Technology is not only reshaping fashion’s six founding principles, it is also giving rise to a seventh, coined by Godart. Drawing on the English term “ownership,” he reinterprets it as “accountability” — a concept he sees as central to the future of fashion. All innovations related to blockchain, he argues, will be connected to this idea of accountability. 

“Accountability will become essential — because consumers are demanding it; because the European Union has established a legal framework that will continue to play a global regulatory role; and because technologies such as blockchain now make it possible to fulfill this new act of accountability. What we embed in garments — not only materials, but also emotional, historical, and narrative dimensions — will increasingly matter. In time, objects themselves may come to carry their own stories.” 

Within this new era of responsibility, the Digital Product Passport (DPP) — a digital record for each item — may become even more significant than European legislators initially envisioned. “In the future,” suggests Godart, “it could evolve into an independent source of value. Once connected to the blockchain, it would open the way to a range of new services. From a simple barcode, one could trace an item’s entire story — the photos taken with it, the memories it holds. It is not at all unlikely that the DPP could one day become the very core of an object’s value.”

Another key idea shaping fashion’s future is the concept of co-creation or co-design. “The major segments of the industry — haute couture, ready-to-wear, and fast fashion — will remain,” says Godart, “but different rhythms will begin to coexist within the creative cycle. With increasingly personalized algorithms, consumers will be able to take part directly in the design process, pushing personalization to new levels. We saw an early glimpse of this with NFTs, which have since faded, but the concept will re-emerge in another form. By 2030-2035, robotic systems integrating AI could make such solutions economically viable. Looking further ahead, and without venturing into science fiction, once nanotechnologies are more advanced, we can imagine products capable of self-creation.”

Many sociological studies foresee rising social tensions in the years ahead. How should the fashion world address these issues? And how can brands engage in constructive dialogue with activists on these topics? 

“I’m thinking in particular of issues such as fur or the future of leather,” notes Godart. “But the same applies to broader social topics on which brands are now expected to take a position — diversity, body positivity, and others. How can brands take into account the demands of activist and advocacy groups and work more collaboratively, rather than risk heightening tensions? Blockchain can help them provide tangible proof of their commitments, offering tools to ensure that what they say truly aligns with what they do. Brands will need to engage with their consumers to encourage greater accountability. It represents a fundamental shift.”

For the sociologist, the increasing emphasis on accountability within the industry and among brands — one of the major challenges for fashion’s future — will take shape horizontally, between brands and consumers, through greater transparency and authentic engagement. For the sociologist, one of fashion’s greatest challenges for the future lies in building accountability — not top-down, but horizontally, between brands and consumers, through greater transparency and true commitment.

Discover more episodes in the Visions series