The future of creative directors between star and emerging designers

A new map emerges for the creatives who steer the style of luxury fashion houses from just one year ago. Roughly one year after Alessandro Michele’s departure from Gucci (see MFF of november 24, 2022), which served as a symbolic year zero for the fashion revolution that has since redefined fashion geographies, significant changes in style leadership have been heavily discussed. The latest appointment that has sparked discussion among insiders is Walter Chiapponi’s entry (or return) to Blumarine (see MFF of November 2), who replaced the much younger Nicola Brognano. Chiapponi has an impressive industry track record, having worked at Givenchy, Valentino, Gucci, Miu Miu, Bottega Veneta, and finally Tod’s, where he departed in the summer. Chiapponi’s situation highlights a strategic opposition in the luxury industry that appears to divide companies and groups, particularly French giants like Lvmh and Kering. With a focus on artistic appointments, is it more advantageous to prioritize a star or an outsider?

On one hand, Lvmh, a powerful group led by Bernard Arnault, appears unwilling to deviate from the long-standing practice of favoring star designers, meaning those creatives with established reputations, extensive experience, and impressive skill sets. These designers include Maria Grazia Chiuri and Kim Jones at Dior, Kim Jones at Fendi’s women’s line as well, Nicolas Ghesquière at Louis Vuitton’s women’s line, and Hedi Slimane at Celine, or individuals that are all versatile and globally recognized talents sought after for their design expertise like Pharrell Williams, a former successful entrepreneur, artist, and music producer, that took over Virgil Abloh’s legacy for Louis Vuitton men’s line last February. The brand is projected to consolidate its position as a cultural brand, evident from the statement fashion show on the Pont Neuf in Paris that marked Pharrell’s debut. Rumors suggest that Alessandro Michele may join Fendi ( se e MFF of September 13). He previously worked behind the scenes at Gucci from 2002 to 2015 and was creative director of the fashion house for seven years. For this roman designer, becoming a superstar designer and possibly moving to Lvmh may just be a matter of formality.

As demonstrated by the Gucci affair, quite a different approach is the one chosen by François-Henri Pinault. Similar to swiss Richemont’s strategy, this approach entails taking artistic risks and aiming to surprise customers. Sabato De Sarno was appointed to lead the Gucci brand in January, following Alessandro Michele and previously serving as Pierpaolo Piccioli’s right-hand man at Valentino for over a decade. This approach also worked with georgian designer Demna at Balenciaga, who succeeded Alexander Wang in 2015, after working at Maison Margiela and Louis Vuitton under Marc Jacobs. Recently, Kering appointed Seán McGirr as Alexander McQueen’s creative director. The selection was unexpected, coming shortly after Sarah Burton’s final show, which welcomed the irish designer, who previously worked at JW Anderson menswear, to the fashion label founded by Lee Alexander McQueen. While at Richemont, another relatively unknown designer, german Chemena Kamali, took over Gabriela Hearst’s legacy from Chloé. Born in 1981, Kamali started her career at the fashion house founded by Gaby Aghion before becoming the design director for women’s ready-to-wear at Saint Laurent.

Luxury players are obviously divided between those who prefer product certainty and those unafraid of creativity. However, the system has frequently gambled in the past year, relying too heavily on a strategy unable to keep up with emerging trends. It fails to assist in the evolution and development of an aesthetic language that successfully appeals to the market while also aligning with a brand’s stylistic codes, as shown by the rapid hiring and subsequent departures of Ludovic De Saint Sernin from Ann Demeulemeester, replaced after one season by another young talent Stefano Gallici, and Rhuigi Villaseñor from Bally, who was soon replaced by design director Simone Bellotti, formerly of Dolce&Gabbana, Bottega Veneta, and Gianfranco Ferrè. Also noteworthy are the relatively short tenures of Charles de Vilmorin at Rochas, and Serhat Isik and Benjamin A. Huseby at Trussardi. In the current time of numerous vacant positions, it remains uncertain which direction fashion houses without a creative director will take. Will they opt for the security of a renowned designer or take a chance on a promising newcomer? Let’s not dismiss any possibilities, at least until the year comes to an end, which has spared no one. (All rights reserved)