Questioning the strategy behind the constant change of creative directors
A while back, we wrote a post about creative directors and the relentless game of musical chairs—a situation that has become increasingly common. Now, the topic has resurfaced abruptly across several fashion brands. As they hop from chair to chair, is it about power, visibility, or something else?
Last week, breaking news revealed significant shifts at the helm of major brands. Specifically, Galliano has departed from Margiela with no news yet of his next destination. Matthieu Blazy left Bottega Veneta for Chanel, while Louise Trotter departed Carven to join Bottega Veneta—finally, a woman at the forefront. Moreover, rumours are circulating about Jonathan Anderson preparing for a new role.
These frequent changes evoke the game of musical chairs: they provide plenty to talk about but often leave people perplexed. Yet, this appears to be the prevailing strategy of luxury fashion brands, with designers seemingly changing every few years.
What is the strategy behind the relentless game of musical chairs?
But what is the strategy behind these moves? Is it simply a way to stay in the spotlight, dominate conversations, and remain relevant? Are brands confident that luxury shoppers prefer fleeting buzz over meaningful products that embody the values of a specific brand—products of which there is almost no trace?
Many creative directors show little to no respect for the heritage and DNA of the brands they represent. Meanwhile, scepticism towards the concept of luxury continues to grow, even because luxury products do not keep their promise. Do they not realise that this constant game of musical chairs risks further damaging the image of luxury itself?
Conclusion
This excessive shuffling has significant consequences: brands lose identity and consistency, while consumer trust erodes. The original design codes and unique DNA that once defined each maison become blurred, leaving the brands looking increasingly alike. Yet, in an industry dominated by oversized egos, appointing a new creative director seems to be the ultimate goal for luxury brands—even at the cost of trust and respect.
In conclusion, this constant turnover appears to be the prevailing strategy for luxury maisons—something consumers will need to get used to. But is this revolving door truly beneficial for the brands? Or is the relentless game of musical chairs only fuelling fashion’s inconsistency?