creative directors

Giancarlo Giammetti: The ultimate word on creative directors

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Valentino’s co-founder declares: “Style must be defended like freedom”


At Rome’s Forme festival – a celebration of fashion academies – Giancarlo Giammetti delivered what may stand as his ultimate word on creative directors. Between recollections of Valentino’s golden era and warnings about today’s industry, one declaration rang out like a battle cry: 

“Style must be defended like freedom.”


The Valentino co-founder served as guest speaker for the third talk of Forme – Perspectives on Fashion, Art, and Creativity, held March 21-22 at Massimiliano Fuksas’ striking Nuvola complex. In conversation with Tg1’s fashion director Barbara Modesti before an audience of students, Giammetti wove personal history into a masterclass on fashion’s shifting values.

Beauty as a form of radical resistance


“True beauty transcends aesthetics,” Giammetti asserted. “For Valentino and me, it now represents peace and serenity.” This philosophy drives their PM23 Foundation at Rome’s 23 Piazza Mignanelli, where fashion and art converge deliberately. “We’re simply honouring what always was: to create beauty through art and fashion.”

The lost art of creative freedom


His advice to emerging designers cut through the noise: “Create what you love. Believe in what you do, in your style, and try to assert it – even if times have changed.” The comparison to his and Valentino’s early struggles was inevitable. “Valentino and I were two twenty-year-olds coming together, facing a thousand difficulties. Today, the times impose business logic, and designers are no longer free to create. The system demands economic values. But the true values are those tied to solitude, freedom, and beauty.”

He recalled Valentino’s epiphany in Barcelona: “Spanish women in red at the opera, crimson flowers everywhere – that became his red. Not a Pantone, but blood and passion made visible.”

Creativity, not algorithms


Giammetti’s voice turned wry discussing fashion’s digital decay: “We dined with Warhol; Valentino dedicated collections to Basquiat. Art has always been fundamental to him.”  

Now? Designers create for Instagram’s hunger, not women’s lives. “We didn’t need to make a fuss on the runway or send messages. Today, with social media, it seems that designers make clothes more for photos on social media than for women.”

He praised the talent in the room but issued a warning: “Defend your style. Creative directors now bend to corporate wills—Valentino’s era of four-person ateliers is gone.”

Heritage vs. hype: Giancarlo Giammetti on creative directors – The ultimate word


Here came his most pointed critique as he pronounced the ultimate word on creative directors:

 “The relationship between a brand’s heritage and business strategy must be respected by creative directors. It’s not about copying the archive, but neither should it be turned into a mockery.”

The unspoken reference to Alessandro Michele’s Valentino tenure hovered like Roman humidity.

Giancarlo Giammetti: Support to young creatives


When prompted for a favourite anecdote, Giammetti shared: “We were visiting Queen Elizabeth, and Valentino said, ‘Your Majesty, may I introduce my assistant?’ I wanted to die.”
The crowd erupted in laughter—and later, a standing ovation—as he confirmed the Garavani Foundation’s mission: “To support young creatives.”

Final thoughts


At Forme – Perspectives on Fashion, Art, and Creativity, Giancarlo Giammetti offered clear, wholehearted guidance. His reflections encapsulated an unrepeatable chapter in fashion history—a true lesson for the younger generation. Yet, it also served as a powerful reminder for those beyond their youth.

His support for emerging creatives was evident. Yet, what resonated most was his ultimate word on creative directors: respect heritage, don’t merely copy the archive, and never turn it into a circus—wisdom much needed in today’s collapsing fashion industry.

In short, Giammetti distilled sixty years of fashion work into pure doctrine:

  • Style is sovereignty – defend it or lose it.
  • Beauty is responsibility – not Instagram currency.
  • Legacy isn’t Lego – don’t dismantle what you should elevate.

In an industry suffocating under frequent changes and instability, his words charted a course.

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Demna at Gucci: How identity crumbles in fashion’s musical chairs game

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Innovation or overload: Is fashion’s new path inspiring or alienating?


The latest shuffle of creative directors—most notably, the appointment of Demna at Gucci—lays bare the fragility of identity in fashion’s relentless game of musical chairs. Just as we begin to acclimatise to one creative vision at the helm of a heritage brand, the winds change once again. But let’s be honest: is this truly innovation, or is it simply overload?

Put another way, is fashion’s frenetic, feverish delirium with designer reshuffles inspiring—or is it alienating its audience?

Recall what we wrote about Milan Fashion Week and, later, Paris Fashion Week. We celebrated the return to brand identity, the renewed focus on timelessness and heritage. We dared to hope for stability. And yet, less than a week later, identity seems to have been tossed out the window.

The Identity Collapse: Demna at Gucci


Just as we were beginning to appreciate a more identitarian Gucci—hoping for a true luxury revival—Kering announced the appointment of Demna Gvasalia as the brand’s new creative director. It’s as if Kering learned nothing from the chaos left in Alessandro Michele’s take—or the polarising fallout of Demna’s own tenure at Balenciaga. Was that really the vision Balenciaga needed? Transforming a maison synonymous with elegance and refinement into a dystopian, post-apocalyptic, East-European flea market aesthetic? To sell what—logoed baseball caps? Now, will the same happen to Gucci? A brand on the verge of death seems to receive its final blow.

The market’s reaction was swift: following the announcement, Kering’s shares plummeted by over 12%. Meanwhile, an Instagram poll by The Business of Fashion revealed that 64% of respondents believe Demna is the wrong choice for Gucci.

Final thoughts


In the end, just as we began to appreciate fashion’s renewed focus on identity, it took mere days for the industry to unravel it all. Identity crumbles under the weight of sensational headlines and the incessant reshuffling of creative directors—a cycle that, in the long run, is exhausting. Demna’s appointment at Gucci is just one example. In the coming days, we’re likely to see more luxury brands playing this same game of musical chairs. Jonathan Anderson, for instance, has just left Loewe—but headed where? For conglomerates, consistency seems to be the least of their concerns. This cycle of constant change has become the new normal in the fashion industry—a chronic disease affecting all luxury brands in pursuit of profit and overgrowth.

This is a game that leads to a devastating collapse of identity. What feels like innovation is, in reality, overload. What should inspire instead alienates. And as the industry spins faster and faster, one can’t help but wonder: who, exactly, is this for?

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Isn’t the Relentless Game of Musical Chairs Fueling Fashion’s Inconsistency?

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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?

Isn’t the Relentless Game of Musical Chairs Fueling Fashion’s Inconsistency? Read More »

The Game of Musical Chairs and its Impact on Consumers

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Fashion reshuffling: an industry lost in translation, struggling to grasp the change


As 1Granary shares their Halloween-themed take on “Creative Director Musical Chairs,” the game of musical chairs in fashion, we felt it was the perfect moment to revisit our original blog post from July 29, 2024 – covering this topic.

These days, we are witnessing a fashion reshuffling, a game of musical chairs that mirrors the unserious behaviour of politics. Indeed, by hopping from chair to chair, trying not to lose visibility or power, fashion imitates politics.

The turbulence of fashion creative directors’ reshuffling


Recent news reports that Peter Hawkings is stepping down from his role at Tom Ford, Galliano will exit Margiela next autumn, and Virginie Viard has just left Chanel. Where are they headed next? Here and there, come and go. The industry is abuzz with speculation. In fashion, as in politics, enjoy the game!

This excessive mixing has significant effects: brands lose consistency, and consumer trust erodes. In fact, the original design codes and unique DNA that identified each Maison become blurred, making the brands look all the same. But egos are bigger than ever in the fashion industry. And so, keeping the chair – whatever it is – is the ultimate goal for designers.

Entering the era of creative directors frequent changes


It seems we are entering an era of frequent changes in fashion Maisons. This constant reshuffling and the game of musical chairs is becoming the norm. While a designer moving to a new brand might result in a short-term revenue boost, in the long run, brands lose consistency and integrity, risking their image. But for many designers, this game is the lifeblood of their egos.

However, the market for luxury goods is slowing down. Even strong brands and corporations struggle mainly because of the declining demand from Chinese and US clients. Additionally, a probe has linked brands such as Armani and Dior to sweatshops. Of course, they are not the only ones exploiting labour. Sadly, the practice is familiar to modern corporations. So talking about who goes where is the easiest way to avoid discussing these fundamental issues.

In light of this, we wonder: can the CEOs feel the deep change occurring in the fashion industry? Can they sense the earthquake shaking the foundation of a fashion system that has lost its way? Is it possible that consumers are realising luxury is no longer what it once was?

Creative directors & the game of musical chairs


In conclusion, to combat the industry’s slowdown, fashion houses are increasingly relying on the vision of creative directors, leading to frequent rotations at the helm of major Maisons. However, this fashion reshuffling addresses only a symptom of a much deeper issue: the loss of luxury’s true essence and the collapse of an outdated and inflexible system. 

Ultimately, can the industry believe that this game of musical chairs will resurrect the fortunes of its once-glorious past?

The Game of Musical Chairs and its Impact on Consumers Read More »

Fashion Reshuffling: The Game of Musical Chairs and its Impact on Consumers

/ Leave a Comment
Reading Time: 2 minutes

An industry lost in translation, struggling to grasp the change


These days, we are witnessing a fashion reshuffling, a game of musical chairs that mirrors the unserious behaviour of politics. Indeed, by hopping from chair to chair, trying not to lose visibility or power, fashion imitates politics.


The turbulence of fashion creative directors’ reshuffling


Recent news reports that Peter Hawkings is stepping down from his role at Tom Ford, Galliano will exit Margiela next autumn, and Virginie Viard has just left Chanel. Where are they headed next? Here and there, come and go. The industry is abuzz with speculation. In fashion, as in politics, enjoy the game!

This excessive mixing has significant effects: brands lose consistency, and consumer trust erodes. In fact, the original design codes and unique DNA that identified each Maison become blurred, making the brands look all the same. But egos are bigger than ever in the fashion industry. And so, keeping the chair – whatever it is – is the ultimate goal for designers.

Entering the era of creative directors frequent changes


It seems we are entering an era of frequent changes in fashion Maisons. This constant reshuffling and the game of musical chairs is becoming the norm. While a designer moving to a new brand might result in a short-term revenue boost, in the long run, brands lose consistency and integrity, risking their image. But for many designers, this game is the lifeblood of their egos.

However, the market for luxury goods is slowing down. Even strong brands and corporations struggle mainly because of the declining demand from Chinese and US clients. Additionally, a probe has linked brands such as Armani and Dior to sweatshops. Of course, they are not the only ones exploiting labour. Sadly, the practice is familiar to modern corporations. So talking about who goes where is the easiest way to avoid discussing these fundamental issues.

In light of this, we wonder: can the CEOs feel the deep change occurring in the fashion industry? Can they sense the earthquake shaking the foundation of a fashion system that has lost its way? Is it possible that consumers are realising luxury is no longer what it once was?

Conclusion


In conclusion, to combat the industry’s slowdown, fashion houses are increasingly relying on the vision of creative directors, leading to frequent rotations at the helm of major Maisons. However, this fashion reshuffling addresses only a symptom of a much deeper issue: the loss of luxury’s true essence and the collapse of an outdated and inflexible system. Ultimately, can the industry believe that this game of musical chairs will resurrect the fortunes of its once-glorious past?

Fashion Reshuffling: The Game of Musical Chairs and its Impact on Consumers Read More »