{"id":4981,"date":"2024-10-15T08:50:02","date_gmt":"2024-10-15T06:50:02","guid":{"rendered":"https:\/\/magazine.lineapelle-fair.it\/?p=4981"},"modified":"2024-10-16T17:04:08","modified_gmt":"2024-10-16T15:04:08","slug":"fashion-takes-no-risks-and-plays-chess-with-old-designers","status":"publish","type":"post","link":"https:\/\/magazine.lineapelle-fair.it\/en\/focus-en\/fashion-takes-no-risks-and-plays-chess-with-old-designers\/","title":{"rendered":"Fashion takes no risks and plays chess with ‘old’ designers"},"content":{"rendered":"

Make way for the young? The new kid on the block? Not at all: at the moment of most significant uncertainty, fashion is playing chess with long-standing designers. So much for those who think that to innovate, you have to renew. It is far better not to take risks and rely on experience. And, perhaps, not only<\/strong><\/em><\/p>\n

by Domenico Casoria<\/em><\/p>\n

The latest whirlwind changes in <\/strong>the creative directions of <\/strong>designer labels signal a trend. At a time of most significant uncertainty<\/strong>, fashion is once again betting on the experience <\/strong>of long-established designers<\/strong> rather than on young up-and-comers, so much for those who think that to innovate, you have to renew. The answer, rather than in the new that is advancing, lies in the need to rely on experience. In some ways, this is not an encouraging sign.<\/p>\n

Once upon a time, there was a designer<\/strong><\/h3>\n

In a time not so long ago, designers did not just design clothes. They chose the fabrics, slept in the ateliers, and\u00a0arranged the nameplates on the guests’ chairs. So much has changed, and today, overseeing the destiny of a fashion house is the creative director<\/strong>. One who, broadly speaking, does not design but, above all, creates stories that must send the beholder – when he succeeds – into ecstasy. In the last few months, however, fashion seems to have entered the worst vortex<\/strong>, thanks to the slowdown in consumption and China’s decision to stop buying. We must take a step back, however. At the end of 2022, Alessandro Michele <\/strong>announced his divorce from Gucci<\/strong>. It is from that moment that we begin to see the cracks in the system<\/strong>.<\/p>\n

Fashion plays chess with ‘old’ designers<\/strong><\/h3>\n

Michele is a creative director in the literal sense<\/strong>. He creates, perhaps sometimes he designs, he chooses music, and\u00a0he handles fashion as a storytelling tool. In his place, Kering chose Sabato De Sarno<\/strong>, a young designer who has always worked behind the scenes. First, it is at Prada, then at Dolce & Gabbana, and then at Valentino. De Sarno’s approach seems useful at the height of the quiet luxury <\/strong>hype. Last month, Hedi Slimane, who had\u00a0<\/strong>apparently doubled sales at Celine in seven years, left. In his place, LVMH chooses Michael Rider<\/strong>. Not just any up-and-comer, but a designer who worked behind the scenes for ten years\u00a0when Phoebe Philo was creative director. A few weeks ago, Filippo Grazioli <\/strong>left Missoni’s direction. In his place is Alberto Caliri<\/strong>, who returns after working for twenty years alongside Angela Missoni. Three clues make a proof.<\/p>\n

Attempt to change, however<\/strong><\/h3>\n

The modus operandi that luxury groups are experimenting with today is a return to the skills of those who design the clothes<\/strong>: to those who know behind the scenes. The real point, however, is that it takes time to become a creative director. When Gucci published ‘Who is Sabato De Sarno? A Gucci Story<\/strong>‘, constructed <\/strong>the image of a creative director who was born a designer. An answer to this impasse might come from those brands that have not undergone any major shake-ups in recent years but have focused on new grafts, trying, however, to change something in their approach.<\/p>\n

For example, Miuccia Prada <\/strong>realised that her own vision was no longer enough to innovate. In fact, she is now joined by Raf Simons<\/strong>. Domenico Dolce and Stefano Gabbana <\/strong>have reversed course, abandoning the stereotypical image of Sicilian tradition. Finally, at Saint Laurent, Anthony Vaccarello <\/strong>meticulously targets his ideal of women. Whether this will be the right path, we shall see. Perhaps, once again, the answer lies in the middle: products made well, stories told well and, above all, designers who do not give up (or are defenestrated) at the first -1 %.<\/p>\n

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