Why Fashion Brands Are Expanding Across The Gender Divide

KUALA LUMPUR, 22 SEPTEMBER 2026 —

Fashion houses are blurring the line between menswear and womenswear, with legacy brands such as J. Press and emerging label Olivia von Halle expanding into opposite‑gender collections as consumer demand shifts toward a more fluid luxury wardrobe.

“For us, the Laurent pajama had already developed a very loyal male following over many years, so we knew there was a genuine appetite for more,” the founder told Forbes. Similarly, J. Press has seen women buying its classic menswear pieces for decades, prompting the company to develop a dedicated womenswear capsule that builds on its historic identity.

The rationale behind the gender‑crossing expansions is anchored in preserving brand DNA while adapting fit and silhouette to suit the new market. Von Halle stresses that the translation should focus on “the point of view, not the product,” arguing that attributes such as craftsmanship, quality and attention to detail are not inherently gendered.

“The things that define a brand – craftsmanship, quality, attention to detail – aren’t inherently feminine or masculine and, for us, the silk, signature prints and sense of indulgence translated very naturally,” she said. In practice, the brand’s menswear offerings prioritize luxury and ease, aiming to become part of everyday wardrobes without sacrificing the indulgent feel that attracted male customers initially.

J. Press’s approach to its inaugural womenswear line follows a similar logic of heritage‑driven adaptation. President and creative director Jack Carlson points to iconic pieces such as the Oxford cloth‑button‑down shirt, the Shaggy Dog sweater, the navy blazer and the tweed sport coat as the foundation for the new collection. “It starts with what J.

Press does best,” Carlson explained, adding that the challenge lies in “getting the fits and silhouettes right.” To broaden the range, he enlisted longtime friend Steven Stolman, formerly of Lilly Pulitzer, to design skirts and dresses that complement the brand’s classic aesthetic. Carlson frames the expansion as a response to the historical J. Press customer base, noting that “the historical J. Press customer (mostly men) and asking: who are the women around him?

How do they dress? How did they dress? How would they dress today?” guided the development of the women’s capsule.

Other brands are testing the reverse pathway, with Swedish label Toteme moving from a decade‑long focus on women’s fashion to a debut men’s collection launched this summer under Alexander Häggblad, formerly of Celine under Hedi Slimane. The collection adheres to Toteme’s understated style rather than creating a separate identity for men, underscoring the industry’s growing confidence that a brand’s core aesthetic can transcend gender boundaries.

Industry observers note that the loosening of traditional market divisions is reshaping luxury consumption.

Von Halle observes that “the boundaries between traditional womenswear and menswear are becoming much less rigid, and customers are increasingly looking for a complete world from the brands they love.” She adds that menswear provides an “attractive way for an established brand to broaden its reach without losing the identity it has built,” creating opportunities to “increase its relevance and extend its relationship with customers beyond its traditional category.” Carlson echoes this sentiment, describing the expansion into women’s apparel as “more fun” and a chance to “feel the energy when the first women’s look came down the runway,” while emphasizing the need to stay true to the brand’s roots.

The shift is also evident among male consumers who are now more open to exploring fashion on their own terms. Von Halle remarks that “the old rules around what is considered masculine have softened, and there’s much more freedom to appreciate colour, print, luxury and even traditionally feminine design codes.” This cultural change is mirrored in the historical precedent of women adopting menswear staples, exemplified by Fran Lebowitz’s reported ownership of 4,000 J.

Press Shaggy Dog sweaters, a figure cited in The New York Times.

While the trend is gaining momentum, designers caution that successful gender‑crossing launches depend on authentic customer signals rather than speculative market forecasts. Von Halle stresses that “the strongest launches happen when the commercial opportunity is a consequence of something real that is already happening with your customer.” For J.

Press, the existing female interest in its menswear pieces provided a clear impetus to develop a women’s line that respects the brand’s heritage while meeting contemporary style needs.

The broader industry narrative suggests that classic American style is experiencing a revival, creating space for women at historically male‑oriented houses and vice versa. Carlson notes that “the renewed interest in classic American style creating more space for women at historically male brands like J. Press” is not a new phenomenon, but one that now enjoys greater visibility and acceptance.

He concludes that maintaining authenticity to the brand’s origins remains the guiding principle as these houses navigate the evolving fashion landscape.

As more luxury houses announce gender‑fluid collections, the market will watch how heritage brands balance tradition with innovation, and whether the expanding consumer appetite for inclusive wardrobes translates into sustained growth across both menswear and womenswear segments.

Related: J. Press · Jack Carlson