In times of (fashion) changesdi Stefano Guerrini
Raf Simons resigns from his role as creative director at Dior, Hedi Slimane leaves Saint Laurent after the last two acclaimed collections and, after having contributed to a significant increase in brand turnover, it is Pilati who is leaving Zegna and Alessandro Sartori is arriving to take his place and, to take over the role of creative director of the Ermenegildo Zegna brand, after his previous position at the helm of Z Zegna, he has to leave the same role at Berluti. Alber Elbaz is ousted from Lanvin, a brand that helped to make him a favourite on the French scene, and Massimiliano Giornetti also surprisingly leaves Salvatore Ferragamo after more than 15 years with the company, which he joined in 2000, becoming creative director of the menswear line in January 2004 and the womenswear line from the F/W 2010-11 collection.
Anthony Vaccarello arrives to replace Slimane and the brand’s decision to wipe its entire Instagram history gets the web in a frenzy. More discreetly, it is announced that the designer Bouchra Jarrar will fill the vacancy at Lanvin, while Jonathan Saunders should be arriving at Dior. All this while the first collection by Demna Gvasalia, from Vetements, as creative director at Balenciaga in place of Alexander Wang is positively received by critics, who ask themselves whether the designer will have enough time to develop his own aesthetics.
And after so many names and changes of roles, including Francisco Costa and Italo Zucchelli for Calvin Klein womenswear and menswear respectively, an event that has just been announced, the point is this: how does all this apparent confusion benefit the fashion system? Can changes in fashion timelines actually leave room for creatives to develop and impose their own aesthetics?
We have interviewed some industry insiders, asking them the same question and collecting their opinions on this issue, so relevant to the world of fashion. So here is the question, and the answers to it from four leading journalists.