{"id":5053,"date":"2024-11-14T09:45:45","date_gmt":"2024-11-14T08:45:45","guid":{"rendered":"https:\/\/magazine.lineapelle-fair.it\/?p=5053"},"modified":"2024-11-20T12:12:26","modified_gmt":"2024-11-20T11:12:26","slug":"three-clues-make-a-proof-luxury-is-hostage-to-fast-fashion","status":"publish","type":"post","link":"https:\/\/magazine.lineapelle-fair.it\/en\/trend-en\/three-clues-make-a-proof-luxury-is-hostage-to-fast-fashion\/","title":{"rendered":"Three clues make a proof: luxury is hostage to fast fashion"},"content":{"rendered":"

A genetically modified idea of luxury, which in its premises seems exclusive but which conceals the paradoxes of an industry that is now wrapped in itself. It is that of the new fast fashion which, in order to be perceived in a ‘higher’ way, co-opts high-end stylists and changes the rules. But in what way?<\/strong><\/em><\/p>\n

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

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If two clues seem a coincidence, three make a proof. After the announcement of the collaboration between H&M <\/strong>and Glenn Martens<\/strong>, it is now clear that fast fashion <\/strong>is undergoing a profound mutation<\/strong>. If the industry giants continue to fish from the designer purse, it cannot be said that luxury has an answer at hand. With the consequent death of the pr\u00eat-\u00e0-porter came a new idea of fashion, which inevitably passes<\/strong> right through fast fashion. Risks included.<\/p>\n

Three clues make a proof<\/strong><\/h3>\n

In February, the American company Gap <\/strong>– which had been in crisis for a few years – appointed Zac Posen <\/strong>as creative director. The objective? To entrust the reins of a denim and lifestyle brand to a designer with noteworthy expertise, but now out of the fashion business. After a few months, Claire Waight Keller<\/strong>, formerly Givenchy<\/strong>, was appointed creative director of the Japanese brand Uniqlo<\/strong>.<\/p>\n

In October, however, the 100-piece collection designed by Stefano Pilati<\/strong>, creative director of Yves Saint Laurent <\/strong>for three years, arrived in Zara <\/strong>stores. Pilati, who had disappeared from the radar, also returned with a photo campaign shot by the legendary Steven Meisel, in which he posed with supermodel Gisele B\u00fcndchen. Finally, the recent collaboration between H&M and Glenn Martens, the current creative director of Diesel<\/strong>, will design a collection for the Swedish brand next autumn.<\/p>\n

Hostage to fast fashion <\/strong><\/h3>\n

Marriages between creative designers and fast fashion brands are nothing new. However, it is now clear that the structural approach of these projects changes the image of brands that were born as an alternative (and opportunity) for lower-middle-class consumers. So much for pr\u00eat-\u00e0-porter, which has turned into a system of <\/strong>inaccessible products<\/strong>, especially after the dictatorship of luxury caused prices to skyrocket<\/strong>.<\/p>\n

Fast fashion has, therefore, decided to focus on a generation of experienced designers to raise its image <\/strong>– apart from the criticism of production methods – and position itself in the segment that used to be pr\u00eat-\u00e0-porter. Focusing on contemporary communication <\/strong>and choosing those customers who today cannot spend on haute couture but who have the ambition to have a garment or an accessory, which, in its premise, resembles something exclusive.<\/p>\n

The immobility of luxury <\/strong><\/h3>\n

The loss of a slice of the luxury market also means rethinking <\/strong>what used to be the categories with which fast fashion products were identified. Is a collaboration with a designer or the appointment of an established creative director enough to erase the stigma <\/strong>carried by these giants? Not to mention the increase in prices that the new fast fashion has undergone, forcing lower-middle-class consumers to turn to platforms such as Shein <\/strong>or Temu<\/strong>.<\/p>\n

Without losing sight of the haemorrhaging of creativity <\/strong>– by now rampant in the world of luxury – which, however, does nothing to stem the shift towards new shores. A genetically modified idea of luxury<\/strong>, which in its premises seems exclusive but which hides the paradoxes of an industry now wrapped in itself. “Pr\u00eat-\u00e0-porter is dead, long live pr\u00eat-\u00e0-porter!”.<\/p>\n

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