The impact of parasocial relationships on fashion in 2025

In 2025, the fashion industry became more personal. Runway presentations were made more accessible through livestream parties and backstage films. Celebrities appeared more approachable, and brands increasingly established themselves as part of digital pop culture. What social media had initiated years ago—making fashion more tangible and breaking down elitist structures—continued to evolve. The industry is no longer content with mere self-representation; it actively seeks dialogue with its audience. This shift is shaped by a concept long established in the world of celebrities: the idea of parasocial relationships.

The term describes emotional bonds through which audiences feel close to public figures. In 2025, this phenomenon gained new societal relevance and was named word of the year by the Cambridge Dictionary.

The Year in Data report, created by PR and image agency Karla Otto in collaboration with Lefty, classifies this development as a cultural and economic turning point. The analysis shows that in 2025, fandoms became the most important driver of Earned Media Value (EMV) for brands. They had a greater impact than classic influencer strategies or traditional celebrity placements.

Fandom as a new driver

2025 was marked by moments that made the fashion world seem more open and approachable. Celebrities and brands offered previously rare insights. Actor Timothée Chalamet appeared at his own lookalike contest. The cast of the series Severance brought the format to real spaces in New York and London. Katseye, a US-based group with strong K-pop connections, began to redefine how fandoms are built and nurtured long-term. Established fashion houses like Dior also adopted a more personal communication model. They invested specifically in global brand ambassadors to accompany the arrival of creative director Jonathan Anderson.

The video platform TikTok played a central role in this, developing into a crucial tool for cultural relevance. As one of the fastest-growing platforms of the year, its influence was both quantitative and structural. The format, which rewards authenticity and immediacy, proved ideal for building parasocial bonds. According to the report, brands with a TikTok-first strategy achieved the strongest growth in their media impact.

While TikTok changed brand communication, fandoms—fan communities of specific celebrities—increasingly shaped the perception of Fashion Month. For the first time since front-row attendance tracking began in 2022, Thai drama actresses Orm and Lingling took the top spots, surpassing the previously dominant K-pop stars. This development highlights that fashion's most influential audience is expanding beyond established entertainment categories, with new cultural fandoms gaining importance.

Fan communities are proving to be an active ecosystem that supports both talent and brands. Celebrities leverage the mobilisation of their communities to increase visibility at events and strengthen brand partnerships. At the same time, fans themselves are gaining economic relevance. According to a 2024 study by the music platform Music Radar, around 10 percent of Gen Z now earn income through fan-based online activities. This creates a new attention economy in which fans not only consume culture but actively co-produce it.

In parallel, entertainment companies are beginning to strategically integrate fan content into their communication. Katseye's official fan account project, Eyecons, serves as a key example in the report. Here, fandom is no longer seen as an external phenomenon but is managed as an integral part of brand and talent strategies.

This development is of central importance for fashion houses. When fan culture determines visibility and reach, targeted connection to existing communities becomes a strategic necessity. A new partnership model is emerging, in which brands become part of communities that already have their own dynamics, codes, and cultural influence.

Rise of individualistic profiles

In addition to the changing dynamics between fans and brands, the report identifies other trends that are redefining the demands and expectations placed on talent. The declining importance of classic influencers in favour of individualistic profiles with a clear stance, a distinct voice, and a unique personality is noticeable. The 'personality hire' trend underscores the value of humour, quirkiness, and meme-worthy gestures.

Simultaneously, the multi-hyphenate model is gaining importance. Audiences are showing a growing interest in personalities who move confidently between different disciplines. This embodies the desire for versatility and credible expertise beyond clearly defined roles.

Curators are also becoming increasingly relevant. In a media landscape saturated with content, the ability to identify, classify, and contextualise what is relevant becomes a form of influence in itself. Stylists, art directors, moodboard accounts, and Substack authors act as cultural filters. They offer their audiences a clearly defined perspective on style, aesthetics, and taste.

Finally, the report highlights the shift from commentators to critics. Voices like Lyas (French fashion narrator, social media star, and commentator) or Hanan Besovic (Croatian-American fashion commentator) have evolved from mere observers to recognised industry authorities. Their impact is based on long-term trust built within their communities and illustrates the growing importance of parasocial relationships. They are now an integral part of the fashion ecosystem.

These shifts in the understanding of talent cannot be viewed in isolation. They are an expression of a deeper change in the relationship between the public, identity, and influence. What connects personalities, curators, and new critics is their ability to create closeness and build trust over time. It is precisely at this point that parasocial relationships act as a unifying principle, linking individual profiles, communities, and brands into a shared cultural space.