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As a new generation of designers takes the reins, the role of the fashion critic is rapidly evolving. What was once the domain of a select few editors in the front row has now become a spectator sport: millions of people offering instant judgments online. This shift has sparked debates about free speech in an industry known for strict image control, writes WWD.

In Paris, runway viewings organized by self-styled “fashion agitator” Lyas drew over 13,000 attendees to the sustainable fashion hub La Caserne. Following similar events in London and Milan, the eight-day La Watchparty festival streamed shows from Dior, Chanel, Saint Laurent, Courrèges, and Balenciaga on giant laptop screens. Participants scanned QR codes to rate collections, and some even took the stage to share their opinions.

“Today, anyone can be a commentator, critic, or even a journalist—and that’s exactly what I became,” said Lyas, born Elias Medini, who is part of a new wave of social commentators offering candid reviews of fashion weeks. This season saw 15 debuting designers, making Spring 2026 one of the most anticipated in recent years.

According to Karla Otto, Lefty, and CTZAR, partner agencies of The Independents, the season generated $881 million in media value, up 5% from the previous year. Social commentators alone accounted for $9.7 million, either through invites to shows or by creating content around them. Notable voices include Luke Meagher (Instagram: Hautelemode), Australian stylist Kim Russell (The Kimbino), and Hanan Besovic (Ideservecouture).

“Their appeal lies in unique, unfiltered opinions. In a world overloaded with information, audiences crave individuality, which these commentators provide,” says Lissy von Schwarzkopf, global director at Karla Otto.

The “Trolling Fest”

For designers, this democratization of fashion critique can be brutal. Days before his highly anticipated debut of the Dior womenswear collection, Jonathan Anderson described it as entering a gladiatorial arena:

“Never have I felt such pressure. It used to be fashionable to love fashion; now it’s fashionable to destroy it. Everyone has an opinion. It’s a lot of noise.”

Alessandro Michele, in his first year at Valentino, spoke of haters and rumors surrounding his departure: “People love to gossip. Fashion is pop culture now, but the level of discourse has dropped.”

Edward Buchanan, Bottega Veneta’s first art director in the 1990s, urged commentators to remain intelligent:

“Otherwise, it’s just trolling from the comfort of home. Many comments attack the person, not the work. Critique should be informed; context matters, or it’s just words.”

A Question for Critics

Berlin writer and influencer Brenda Weischer (Brendahashtag) believes traditional media bears some responsibility:

“A TikTok review is more engaging than a Vogue Runway review. Media ignored commentators, hoping they’d go away,” she said.

Professor Benjamin Simmenauer of the Institut Français de la Mode in Paris added that online critics are responding to a system they don’t trust:

“Official reviews are often soft and subjective, so people fill that gap themselves. Fashion has become entertainment, and shows are now perceived as visual experiences rather than just products.”

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