Fur is making a powerful return to the fashion world—both on the runways and in everyday wardrobes—but this resurgence is igniting fresh controversy over its environmental and ethical implications.
From New York to Paris, fur dominated the autumn/winter 2025-26 catwalks. Top designers like Tory Burch, Simone Rocha, Fendi, and Miu Miu embraced fur-centric styles, while celebrities including Hailey Bieber, Kendall and Kylie Jenner, Taylor Swift, and Rihanna were spotted wrapped in both faux and vintage fur.
The last major shift in fur fashion occurred in 2017 when Gucci declared it would go fur-free. The move, hailed by animal rights groups, inspired other luxury brands to follow suit. However, this led to a rise in synthetic fur, which has brought its own environmental challenges. Unlike natural fur, most faux furs are made from fossil fuel-based materials that contribute to long-term pollution.
The trend’s return in early 2024 was largely influenced by the rise of the “mob wife aesthetic”—a bold, glamorous contrast to the minimalist “stealth wealth” trend. According to Natascha Radclyffe-Thomas, associate professor at Ravensbourne University in London, this nostalgic flair is typical of fashion’s cyclical nature and provides a form of escapism.
Radclyffe-Thomas, who witnessed Gucci’s historic fur-free announcement firsthand, acknowledges the complexities of faux fur. While once viewed as cheap and playful, today’s high-quality faux furs are so realistic that many consumers can’t tell them apart from the real thing.
Yet the shift toward synthetic fur is not without consequences. Polyester, the most commonly used fibre, makes up 57% of global textile production. Even recycled polyester is problematic, as it’s usually made from plastic bottles—not old clothing—making it non-recyclable and destined for landfill.
To address these concerns, fashion rental services are playing a growing role. At By Rotation, rentals of faux and wool coats have increased steadily, even before the latest fur trend hit the runway. Eshita Kabra-Davies, founder and CEO of By Rotation, credits this to the longevity and durability of quality faux furs, particularly from brands like Charlotte Simone, whose designs have been worn by stars like Taylor Swift, Dua Lipa, and Madonna.
The resale and vintage markets are also thriving. The global secondhand clothing market is projected to hit $367 billion by 2029. Since the debut of the latest fall/winter collections, demand for both faux and real vintage fur has surged.
Holly Watkins, owner of vintage boutique One Scoop Store in north London, has shifted toward selling high-quality faux fur in response to changing consumer values. She still occasionally offers rare vintage real fur pieces, believing that extending the life of existing garments is better than contributing to landfill. However, she remains more concerned about polyester’s environmental footprint, given its inability to biodegrade.
Still, Watkins observes that vintage fur remains popular, especially among younger customers. Many stores, particularly in west London, never stopped selling real fur, and Gen Z shoppers appear to be driving this revival. A recent Wall Street Journal headline—“Fashion Turned on Fur. Young Customers Want More”—reflects this shift.
In the U.S., Madison Avenue Furs, the largest buyer of pre-owned fur, reports a significant spike in vintage sales. Owner Larry Cowit says he’s seen an influx of college students shopping for fur for the first time in years. These customers often prefer vintage options for ethical reasons, choosing pieces made decades ago over newly produced animal products.
Cowit notes that customers are snapping up vintage mink, fox, and beaver coats from luxury labels like Dior, Fendi, Oscar de la Renta, Prada, and YSL. “Once these brands come in, they go rather quickly,” he says.
While much of the fur seen on runways is faux, some designers continue to blur the lines. At Paris Fashion Week, Gabriela Hearst unveiled a mink coat made from vintage fur. Hearst brands herself as a pioneer of “luxury with a conscience.”
Animal rights activists, however, remain staunchly opposed to any form of real fur. Emma Håkansson, founder of Collective Fashion Justice, argues that vintage fur still glorifies animal cruelty. “Regardless of when the damage was done, vintage fur remains clothing made from the skin of a needlessly killed and caged animal,” she says. “It is an ongoing symbol of human supremacy over other animals.”
Meanwhile, a new generation of fur alternatives is emerging. BioFluff, a material science company, has developed Savian—a 100% plant-based fur made from nettle, flax, and hemp grown in Europe and produced in Italy. Savian debuted as a longline coat by Stella McCartney at COP28 in 2023 and was later used by Danish label Ganni for a handbag collection at Copenhagen Fashion Week in 2024.
Roni Gamzon, BioFluff’s co-founder, says the company is collaborating with luxury, mid-range, and affordable fashion brands to scale up production. Still, competing on price remains a challenge due to the fashion industry’s dependence on inexpensive, mass-produced synthetic fabrics. “So many brands have built a reliance on low-cost synthetic materials manufactured at mass in the Far East, making it impossible for us to compete purely on pricing,” Gamzon explains.
BioFluff is part of La Maison des Startups, an innovation program backed by luxury conglomerate LVMH. Ironically, LVMH also supports the International Fur Federation and contributes €300,000 to Furmark, a global certification system for real fur.
Whether faux or real, fur remains one of the most polarizing materials in fashion. A 2013 scientific study found that the production of natural mink fur had a higher climate impact than faux fur, challenging the belief that synthetic alternatives are worse for the environment. Considering that roughly 100 million animals are killed for fur annually and over 100 billion garments are produced each year (65% of which are discarded within 12 months), critics question whether producing any new fur garments—real or fake—is truly sustainable.
Cowit maintains that the choice between real, faux, or vintage fur should lie with consumers. Radclyffe-Thomas, while personally against real fur, acknowledges that cultural context complicates the issue. During her time in the U.S., she encountered communities where hunting and trapping are traditional practices. “For many Indigenous cultures, fur and animal skins are part of a cultural heritage used for ceremonial and everyday dress,” she says.
She also recalls learning fur sewing techniques as a student, an experience that opened her eyes to the harsh reality of animal use in fashion. “Those classes brought home to me the reality of the number of animals killed for clothing,” she adds. “It pretty much cemented my personal view: I have never considered buying real fur.”
As fur returns to the forefront of fashion, the debate grows louder. While the material may offer glamour and nostalgia, it also forces difficult questions about sustainability, ethics, and the future of responsible style.
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