Y2K Fashion Has Taken Over. And Gen Z Is Loving It

Yasmeen Bekhit, a 22-year-old graduate student, holds her Y2K-inspired bag while posing for a photograph near her home in Manheim, Pa., Tuesday, June 27, 2023. (AP)
Yasmeen Bekhit, a 22-year-old graduate student, holds her Y2K-inspired bag while posing for a photograph near her home in Manheim, Pa., Tuesday, June 27, 2023. (AP)
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Y2K Fashion Has Taken Over. And Gen Z Is Loving It

Yasmeen Bekhit, a 22-year-old graduate student, holds her Y2K-inspired bag while posing for a photograph near her home in Manheim, Pa., Tuesday, June 27, 2023. (AP)
Yasmeen Bekhit, a 22-year-old graduate student, holds her Y2K-inspired bag while posing for a photograph near her home in Manheim, Pa., Tuesday, June 27, 2023. (AP)

First came the supposed death of skinny jeans. Then, the resurgence of cargo pants, halter tops and baby tees.

If there’s one thing retailers can agree on, it’s that Gen Z is hot for the early 2000s fashion trends now booming in popularity.

College interns and young workers are donning wide-legged slacks at the office. The claw clip, a retro hair staple, is back; as are mesh tops, miniskirts and a host of colorful apparel that can make consumers look like they stepped out of a Disney Channel show from 2004.

Fueled by social media platforms including TikTok, the so-called Y2K trend resurfaced as consumers began attending parties and going out after pandemic lockdowns. What began with hair accessories like butterfly clips and the comeback of straight-leg jeans has expanded to all-denim garments, cargo and flare pants and everything shiny, among other looks.

Casey Lewis, a New York trend analyst, noted so many micro trends — often tagged with the suffix “core” — cranked up in the past few years that she created a newsletter about them.

Think “Barbiecore” and “mermaidcore,” which highlight the hot pink reminiscent of Mattel Inc.'s Barbie doll or sheer materials with ocean-like hues and sequins. There's also “coastal granddaughter,” the youthful update that evolved from the “coastal grandmother” trend featuring oversized cardigans and linen sets.

“Gen Z is not even close to being done revisiting these old trends,” said Lewis, whose “After School” newsletter documents youth consumer behavior. “They are going to dig into every weird trend from way back when and bring it back.”

Retailers from high-end Nordstrom to discounters and fast fashion outlets are pushing the styles in campaigns and on shelves. And consumers seem to be eating it up.

Sales of women’s cargo pants jumped 81% from January to May, the latest month of available data, according to Circana, which tracks retail purchases. Low-cost fashion chains H&M and Zara say they’re seeing success with biker jackets, denim garments and crop tops. And Chinese fast-fashion retailer Shein, which markets to young women, said its baby tee sales have tripled this year, making them by far the hottest t-shirt style of 2023.

The company also is seeing a big jump in sales of flared pants, corset tops, metallic-colored clothing and women's track suits, which are often made from bright velour fabric reminiscent of some wardrobe choices by socialite Paris Hilton at the height of her popularity.

Style watchers classify it as part of the McBling era, which overlaps with Y2K but emphasizes flashier items personified by brands like Juicy Couture and Baby Phat, the iconic streetwear line by TV personality and designer Kimora Lee Simmons, which relaunched in 2019.

As always, trends are fueled by celebrities like model Bella Hadid, whose outfit choices are analyzed by fashion magazines and other on-lookers. Style also bubbles up directly from consumers via social media, challenging retailers accustomed to runway shows setting the tone.

“There’s not a year advanced notice that these trends are going to trickle down,” said Kristen Classi-Zummo, an analyst who covers fashion apparel for Circana.

Retailers, including Macy’s and Walmart, said they are paying closer attention to what pops up on social sites and analyzing topics searched by users. But it can be challenging to recognize the difference between trends that just generate attention versus those shoppers will actually buy, said Jake Bjorseth, who runs trndsttrs, an agency helping companies reach young consumers.

Alison Hilzer, Walmart editorial director for fashion apparel, said she's also seeing a lot of micro trends. Some have more longevity than others, making it challenging to figure out when to jump on them.

The discounter, which is marketing Y2K inspired cargo pants and Barbiecore, has been speeding up development to get trends to market faster, though the company declined to offer more specific details. Walmart also is following key influencers such as Alix Earle, who has collaborated with A-listers including Selena Gomez.

Despite retailers catering to young consumers, many aren't really buying. Instead, they are wearing items from each others' closets, helping fuel a resale market that has tripled since 2020, according to research by Boston Consulting Group and Vestiare Collective, a French luxury resale site. Affordability was the primary driver, but shoppers also bought used items to be more planet-friendly.

Yasmeen Bekhit, a 22-year-old graduate student in Manheim, Pennsylvania, said she frequents a local thrift shop almost every week and shops at resale sites like Depop, which offers Y2K-heavy options such as baguette bags and baggy jeans.

Bekhit typically gravitates toward looser, flowy pants, flare-legged jeans and tighter shirts like mesh tops, which help her stay cooler in the summer while wearing a hijab. She's inspired by the way former Disney Channel stars like Gomez and Hilary Duff used to style themselves, she said.

Popular TikTok influencer Aliyah Bah, who amassed more than 2.5 million followers showcasing her Y2K-inspired look known as “Aliyahcore,” also inspires Bekhit. The look is a bit more alternative, often featuring miniskirts or shorts matched with crop tops, fishnet stockings and furry knee-high boots.

“I really love her way of styling outfits,” Bekhit said.

But for everyday, Bekhit said she typically looks up outfit ideas on social media and puts her own twist on them.

Retro hair also is making a splash. Tahlya Loveday, a master stylist at the The Drawing Room New York Salon, said she has seen a lot more '90s and Y2K trends, like spiky updos and space buns, bouncy blow-dried looks and block coloring, where sections of hair are colored in contrasting colors. Gen Z clients embrace those looks more than millennials, she said.

“For Gen Z, this is all new to them,” Circana’s Classi-Zummo said. “They’re really not reliving it. So while we might see it as something that’s cyclical and coming back, they’re kind of getting it for the first time.”



Margot Robbie, Oprah Watch Blazy Transform Chanel with Color and Craft

Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
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Margot Robbie, Oprah Watch Blazy Transform Chanel with Color and Craft

Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)
Models present creations from the Fall/Winter 2026 collection of French-Belgian designer Matthieu Blazy for Chanel during Paris Fashion Week, in Paris, France, 09 March 2026. (EPA)

Chanel 's Matthieu Blazy is still building. Six months into his tenure at the Parisian stalwart, the designer staged his second ready-to-wear collection at Paris Fashion Week Monday, where brightly colored cranes rose from a holographic floor — a deliberate signal that the construction is ongoing.

For Parisians who have spent years staring at the real thing above Notre-Dame cathedral, the set was perhaps less dreamy than intended.

The audience inside the Grand Palais suggested the foundations are solid: Margot Robbie, Oprah, Jennie, Kylie Minogue, Lily-Rose Depp, Teyana Taylor and Olivia Dean all turned up to watch the next floor go on.

Blazy took his cue from a quote from Gabrielle “Coco” Chanel: “We need dresses that crawl and dresses that fly.”

The collection was structured around that tension — plain against spectacular, function against fantasy — with a discipline his sprawling debut last October sometimes lacked.

The opening looks were austere by design. Black knit zip-ups, tweed blousons and boxy overshirts arrived with little more than four gold buttons to signal they belonged to Chanel.

In the vast runway space, they could read as underwhelming. But Blazy’s point was architectural: the suit, he said, is “the first brick” — and everything else rises from it.

That logic tracks to the founder.

In her apartment on Rue Cambon, a wall is covered in gauze painted gold — something poor made precious.

Chanel built a house on that idea, borrowing from everyday dress and elevating it. Blazy is doing the same with her codes, stripping the suit to a knit shirt jacket or pressed-tweed blouson before rebuilding it in silicone-woven fabric and metallic mesh.

The collection’s most provocative move was its silhouette. Blazy pulled waistlines dramatically low — belts slung to mid-thigh, pleated skirts starting where blazers ended.

The references were retro flapper filtered through a modern lens: drop-waisted twinsets, patchwork dresses with floral embroidery, vivid patterned knits with a twenties pulse.

A furry coat in bold geometric color could have been worn in a chic part of London's Camden.

Whether the ultra-low waistlines will land with the well-heeled clients who pack Chanel’s front rows is another question. Selling a radically new proportion to women with deep loyalty to the house is a different challenge than winning critical praise.

The final stretch answered that concern with force. Sequined plaid suits arrived in dazzling color. Beaded coats glinted with star-chart embroidery. Metallic mesh was woven to mimic tweed motifs, and several models wore pastel-tinted hair to match their looks.

Fabric flowers burst from bodices. Trailing ribbons, layered ruffles, and insect-wing detailing turned the runway into something closer to spectacle than commerce.

Blazy cast wide — teens through to women in their fifties — and let the show breathe, with a runway circuit that took models the better part of five minutes. He framed it all with seven pared-back black and cream looks, as if to say: whatever else changes, the Chanel you know isn’t going anywhere.

If this second outing holds — on the penultimate day of fashion week — Blazy has found something rare at a heritage house: a way to honor the founder’s voice without simply echoing it.


Hugo Boss Posts Annual Profit Above Expectations

The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)
The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)
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Hugo Boss Posts Annual Profit Above Expectations

The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)
The logo of German fashion company Hugo Boss is seen at a store in Vienna, Austria, November 23, 2016. (Reuters)

German fashion group Hugo Boss reported a higher than expected annual operating profit on Tuesday, despite a challenging market environment.

The company reported earnings ‌before interest ‌and taxes (EBIT) of ‌391 ⁠million euros ($455 million) ⁠for 2025, up from 361 million euros a year earlier, and above analyst's average forecast of 379 million euros in a company-provided ⁠poll.

"2025 once again highlighted ‌the ‌rapid transformation of our industry, shaped by ‌technological innovation, evolving consumer preferences ‌and ongoing macroeconomic and geopolitical uncertainty," Chief Executive Officer Daniel Grieder said in a statement.

Luxury groups ‌have been struggling with tighter consumer spending, with the ⁠sector ⁠hit by slowing demand for fashion and accessories particularly in the US and China.

The premium fashion retailer said it will propose a dividend of 0.04 euros per share for 2025, compared with 1.40 euros a year earlier.


Stars Hit Paris Runways, but Fall’s Real Trend Was Dressing for Hard Times — and Real Life

 Models present creations by designer Victoria Beckham as part of her Fall/Winter 2026/2027 Women's ready-to-wear collection show during Paris Fashion Week in Paris, France, March 6, 2026. (Reuters)
Models present creations by designer Victoria Beckham as part of her Fall/Winter 2026/2027 Women's ready-to-wear collection show during Paris Fashion Week in Paris, France, March 6, 2026. (Reuters)
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Stars Hit Paris Runways, but Fall’s Real Trend Was Dressing for Hard Times — and Real Life

 Models present creations by designer Victoria Beckham as part of her Fall/Winter 2026/2027 Women's ready-to-wear collection show during Paris Fashion Week in Paris, France, March 6, 2026. (Reuters)
Models present creations by designer Victoria Beckham as part of her Fall/Winter 2026/2027 Women's ready-to-wear collection show during Paris Fashion Week in Paris, France, March 6, 2026. (Reuters)

The celebrities came first, as they always do at the Paris runways.

After Oprah Winfrey stole the show in the opening stretch of the nine-day week, Naomi Watts and Kai Schreiber were at Balenciaga. Rooney Mara, Diane Kruger, Alexa Chung, Elizabeth Olsen and Yseult turned up at Givenchy.

Sarah Paulson and Tracee Ellis Ross watched Celine. Chappell Roan was at Vivienne Westwood and then at McQueen, where Myha’la and Sophie Thatcher were also there. Chanel was still to come Monday, and Louis Vuitton capping the season Tuesday.

But this week was about more than the front row.

Paris Fashion Week ’s biggest houses are in reset mode, and the designers leading them are trying to answer the same hard question: How do you dress people when the world feels dark, loud and unstable?

First came clothes built to shield: high collars, wrapped coats and strong tailoring.

Then came the silhouette: a sharper line, as designers moved away from years of oversized dressing and back toward shape.

The third trend was glamour that looked less polished. Hair was messier, makeup was smudged, clothes felt rougher and the mood was darker. Luxury no longer looked sealed off from real life.

Armor for anxious times Balenciaga led the first trend.

In his second show, Pierpaolo Piccioli built the collection around darkness and the search for light, working with “Euphoria” creator Sam Levinson on a set tied to the series’ return.

The mood pushed the collection toward unease.

On the runway, that became balloon bombers, cocoon backs, portrait collars and face-framing necklines that made the body look guarded.

Even the softer draped dresses kept that mood: these were clothes for a hard world.

Givenchy pursued a similar path and made it more personal. Sarah Burton’s third show felt like the one where her point of view clicked.

She was not proposing one ideal woman, but many women and many ways of being strong, with exact tailoring, strong coats, peplum hips, velvet, shearling and evening looks grounded in real life.

Burton's collection was about how women put themselves back together in the world they are living in. That idea gave the clothes force. They were polished, but still connected to it.

Junya Watanabe pushed the idea furthest, turning gloves, motorcycle gear and emergency blankets into couture-like forms.

McQueen did the same, with Seán McGirr talking about paranoia, perfection and the strain of always being seen. His slashed leather trousers, low-slung minis and chainmail-like textures suggested exposure, but also defense.

The second big trend was silhouette.

After years of volume, slouch and oversized ease, Paris is moving back toward the body.

Celine made that shift most clearly. Michael Rider’s third outing felt like a designer settling into his idea.

He wanted clothes for living in. His coats and suits sat closer to the torso. His trousers kicked out in cropped flares. His menswear came in long, narrow overcoats that looked crisp rather than inflated.

Rider also suggested that the long dominance of oversized dressing may be breaking.

His version of sharpness was not stiff or nostalgic. It had ease, but it also had character.

Classic clothes came back with a little edge: smaller details, stranger proportions, a more exact line.

That made Celine a clear mood-setter.

Paris runways were after presence, just no longer through sheer size.

You could see that shift elsewhere, too. Burton relaxed the strict hourglass she established earlier at Givenchy, but she did not give up shape.

Piccioli used collars and cocoon backs to frame the figure rather than bury it. McQueen’s low-rise minis and neat boots pointed the same way.

The season’s line was stronger, cleaner and closer to the body. After years of volume, Paris was asking for something more exposed. Stand up. Be seen. Take shape.

The third trend was less polished glamour.

Designers still wanted beauty, but they wanted friction too.

Rider evoked the messier inner lives beneath beautiful clothes.

Piccioli used shadow to keep darkness close.

Burton filled Givenchy with distinct female characters instead of one polished ideal.

Paris repeatedly rejected sterile luxury. Taken together, the strongest shows suggested a week less interested in escape than in resilience. The best designers were not trying to make the world disappear.

They were trying to arm women for it.