fashion education

Pierpaolo Piccioli Announced Departure From Valentino

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Fashion industry: financial gain at the expense of creative vision


Seismic news rocked the fashion industry: Pierpaolo Piccioli, the creative force behind Valentino, has announced his departure. This startling development prompts us to question, even further, the essence of fashion itself.

Piccioli’s sole leadership modernised Valentino with unparalleled and undeniable beauty. His visionary approach to fashion exuded poetic elegance, expressed through magnificent couture pieces. Also, he championed inclusivity and diversity, embodying a powerful political stance. 

PP Piccioli: an exception in the fashion industry

However, Piccioli has been an exception in fashion: he’s been the only designer who has fully respected the Maison’s DNA he designed for. (We wrote about it here). Very few others have shown such humble respect for the founder. In fact, Mr Valentino’s own words after the announcement sum it up perfectly: 

“Thank you, @pppiccioli, first and foremost, for your friendship, respect, and support.
You’re the only designer I know who hasn’t tried to distort the codes of a major brand by imposing new ones and the megalomania of a ridiculous ego. “

Mr Valentino via Instagram

Mr. Valentino’s insights shed light on the contemporary approach of creative directors in their roles. The presumed objective is to revitalise the brand’s image, infusing it with modernity. However, lacking humility or reverence, many creative directors recklessly discard past achievements. More often than not, this results in designs devoid of beauty or purpose, merely serving marketing interests. In other words, the fashion industry is all about financial gain at the expense of creativity and consistency.

It’s undeniable that the luxury sector is experiencing a slowdown. But it’s crucial to recognize that creative designers don’t have a magic wand. Moreover, no other designer can uphold Valentino’s legacy to the extent that Piccioli has thus far.

Financial gain vs creativity and consistency

Indeed, it’s disconcerting how the fashion industry incessantly targets younger generations. The reality is, most young people cannot afford a 2,200 euro mini dress! So, this prompts reflection on whether the true essence of design has shifted towards more accessible items. Should we expect fashion Maisons to sell logoed baseball caps?

Should we anticipate another ‘Balenciagan’ spectacle? Or a new lace & blossom Alessandro Michele’s Gucci style? These are just a couple of examples of larger-than-life egos in the industry. Alessandro Michele’s radical transformation of Gucci begs some questions. After he killed Gucci’s heritage, will the Maison ever regain its credibility? And does it make any sense to risk a similar fate for Valentino?

Conclusion

In conclusion, Pierpaolo Piccioli announced his departure from Valentino, leaving many perplexed. Beyond expressing admiration for the immense beauty that he has brought to the forefront over the years, we struggle to grasp the underlying rationale. Or, perhaps, we understand it all too well. But we are fed up with that game.

We invite you to share your thoughts in the comments below!

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Destroy to Create

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Reimagining the fashion industry


Destroy the fashion industry, dismantle it entirely, to create something better.
On the day Dries Van Noten bids farewell to fashion, let’s take a moment to acknowledge all the brands that continue to put in the effort to create something meaningful amidst the senseless fashion landscape of today.

Actually, there were indications of Van Noten’s decision to step down from his eponymous brand. Specifically, when he launched the beauty line. In fact, it is telling that luxury brands are recognized more for their perfumes, lipsticks, or nail polishes than their clothing lines! Which says a lot about people’s perception of fashion. Now, Van Noten’s announcement explains the motivation behind the beauty line. Of course, it was a strategic, calculated business move to play it safe.

However, throughout his career, Van Noten remained steadfast in his singular vision, unfazed by the dictates of the press. He proudly declared himself a “small brand in a big fashion industry,” embodying a spirit of defiance against conformity.

Generating a new fashion industry #formodernhumans


Therefore, we think about all the designers we meet in our fashion research, aiming to assemble a wardrobe of meaningful pieces. Beyond the commercial giants, there is a multitude of small to tiny brands that offer exceptional value. These brave creatives are a beacon of hope. They dare to challenge the status quo, striving to redefine the essence of good design. And that in a world where people can only understand a famous label but hardly go beyond that.

So, we applaud these courageous dreamers, recognizing that we must dismantle the existing paradigm to usher in a new era of fashion. We must destroy to create a better fashion industry. Disrupt the conventional way of operating the business, the unethical practices, and the machinations of commerce. In their place, let us construct a new lexicon. One that starts by acknowledging reality. One rooted in accountability. And that promotes responsible creativity with respect for people and the planet.

In a world where we are drowning in plastic, waste and too much of everything, less is deemed more, but quality must reign supreme. We must embrace a philosophy of value, cherishing each garment as a testament to craftsmanship and integrity.
Destroy to create means leave the superfluous and embrace the essential, for in destruction lies the power to generate the new.

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The Algorithm Dictatorship

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Exploring challenges for niche fashion within totalitarian thought


The algorithm dictatorship, sculpting the fashion industry with utmost precision, has created a perfect regime where every click, swipe, and trend is meticulously curated. Yet, beneath this facade of efficiency, the danger of totalitarian thinking looms large.

In the ever-evolving landscape of fashion, where trends shift like sand dunes in the wind, algorithms emerge as a formidable force, reshaping the industry in unprecedented ways. In recent years, algorithms have become the silent puppeteers pulling the strings behind our screens. They curate our social media feeds, tailor our online shopping experiences, and even influence the designs we’re presented with.
According to Business of Fashion, ‘algorithms are increasingly driving what consumers see, like, buy, and wear, and not always for the best.’

While on the surface, this might seem like a convenient way to streamline decision-making and personalise experiences, the reality is far more complex. In fact, it’s never been easier to manipulate the masses. Like never before, people have the same faces, the same clothes, and the same accessories. Ultimately, the same conformist, homogeneous mass thought.

Niche fashion & the algorithm dictatorship


People like us, independent minds passionate about niche fashion, can see the danger of the algorithm dictatorship. Niche fashion thrives on creativity, individuality, and unconventional styles. Therefore, it finds itself at odds with the algorithms. But in a world where algorithms prioritise mass appeal and mainstream trends, the space for niche fashion to flourish is shrinking.

However, the issue goes beyond mere visibility. It strikes at the heart of diversity and innovation within the fashion industry. Algorithms, by their very nature, favour the familiar over the unfamiliar, the safe over the daring. While algorithms excel at processing large quantities of data, they may overlook or undervalue items or trends with lower levels of engagement or popularity. In essence, algorithms prioritise the visibility and promotion of items associated with larger numbers, potentially overshadowing niche or less prevalent offerings. This means that emerging designers and niche labels, already operating on the fringes of the industry, struggle to compete for attention against established brands.

Specifically, algorithms contribute to the homogenisation of fashion, stifling creativity and diminishing the sense of discovery and excitement intrinsic to niche fashion. The possibility of stumbling upon a unique piece that speaks to your soul is gone. Instead, we’re fed a constant stream of cookie-cutter styles tailored to fit within the narrow confines of algorithmic preference.

Alternative sources #formodernhumans


To resist this contemporary totalitarian regime, the first step is to understand that algorithms control what we see. Second, seek out alternative sources of inspiration. This could involve following independent fashion designers on social media, exploring niche fashion blogs and publications, or shopping at small independent boutiques. Also, choosing alternative social media like the Fediverse. Therefore, prioritize platforms which offer diverse perspectives.

In conclusion, the algorithm dictatorship has created a totalitarian regime that manipulates people’s preferences in the fashion industry. And, more generally, in our lives. But amidst the stifling conformity, a rebellion brews: a call for passionate individuals to preserve the essence of niche fashion. A call for individuals to reclaim their autonomy.

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What Happened to Slow Fashion?

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An opportunity lost in the shadows of rapid change


What happened to slow fashion? As the foundations of the old world crumble, the emergence of a new one is fraught with struggles. Amidst this turmoil, we find ourselves pondering the fate of slow fashion.

Fashion industry: contradictory news


Headlines boast of growth and soaring sales for some brands, yet these reports seem akin to acts of sleight of hand, illusion games. Indeed, they prioritise the interests of banks over the stark realities that surround us. Moreover, these narratives clash with reports of top conglomerates stockpiling billions in unsold inventory.

In the relentless cycle of overproduction, an increase in output translates to a surge in revenue. However, much of this surplus finds its way to the incinerator rather than into the luxury retail.

Further underscoring the disintegration of the traditional fashion world are the ongoing bankruptcy reports. Most recently, Matches Fashion has found its place on this list. The Fraser Group, two months after the acquisition, claims the luxury e-tailer is on the brink of insolvency, a casualty of slowing demand for high-end products. Fraser laments: ‘The company systematically missed the targets of its business plan and, despite the group’s support, continued to record significant losses.’

Deciphering the destiny of slow fashion


In the wake of the pandemic-induced instability, sustainability has emerged as a cornerstone of discourse. Slow fashion, heralded as a rational solution to the problem of overproduction and resulting surplus inventory for shops, has garnered significant attention.

So, we’ve seen a lot of talks, round tables with the usual experts. Of course, by giving a voice to the same names that had caused the overproduction issue. A possible solution emerged, but after a few years of discussions on slow fashion, almost no one talks about it.

So, what happened to slow fashion? Was it just a temporary marketing strategy? Indeed, it languishes in obscurity, championed only by a handful of new brands struggling to gain traction. Meanwhile, the fashion industry remains wedded to antiquated profit models, heedless of its impending catastrophe.

The truth is, the world of fashion as we have known it has long been on shaky ground, particularly since the 1990s. But this reality holds little sway over the major players who continue to prioritise short-term profit over long-term sustainability.

Despite appearing as a missed opportunity amidst the whirlwind of rapid change, our commitment to and belief in slow fashion remains unwavering. We wholeheartedly support its principles and practices.
Please don’t hesitate to reach out to us with any thoughts or reflections you may have on this matter!

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Hints of Sustainability at PFW

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Are these sustainability efforts credible?


On the last days of Paris Fashion Week Fall/Winter 24-25, hints of sustainability emerged. Yet, amidst these hopeful murmurs, recent revelations cast a shadow of doubt over the industry’s commitment to genuine change.

Stella McCartney’s fashion show opened with a call to action to save the planet. In the video, Mother Nature sends a message to humanity: “It’s About Fucking Time.” Perhaps gentle words are no longer sufficient to spur the necessary transformation. Indeed, the stark reality of increased pollution rates this year tempers our optimism.

Apparently, Stella McCartney, an environmental activist, operates through sustainable practices. In fact, the media present her as one of the brands more involved in the discussion around sustainability.

However, reports from Business of Fashion unveil staggering figures of unsold inventory weighing heavily on these conglomerates. We quote B.O.F.: “LVMH and Kering are grappling with billions of dollars of unsold inventory.”

Analysing sustainability hints and related news


Now, let’s compare the two pieces of news in an attempt to understand more about sustainability. In this juxtaposition, a disconcerting dissonance emerges.

LVMH and Kering are the largest conglomerates in the fashion industry. LVMH owns Louis Vuitton, Givenchy, Dior, Fendi, Celine, Kenzo and many more. Kering owns Gucci, Balenciaga, Bottega Veneta, McQueen, Saint Laurent, and more.
Despite both groups having billions of dollars of unsold inventory, they have made countless new samples for the fashion weeks. No one tried to create beautiful presentations with fewer garments. Moreover, they are ready to churn out tons of new clothes and accessories for the Fall/Winter 24-25 season.

In 2019, Stella McCartney signed a deal with LVMH group to accelerate its worldwide development in terms of business and strategy. Before, the designer partnered with the rival conglomerate Kering. So, McCartney stands at the intersection of conflicting narratives.

Can a designer embedded within a behemoth corporation, driven by perpetual growth and overproduction, truly champion sustainability? Stella McCartney’s game recalls the manoeuvres politicians play. Perhaps sustainability in fashion remains a game of optics, a veneer to placate conscientious consumers.

Conclusion: unanswered questions


The hints of sustainability that emerged at Paris Fashion Week appear diluted, if not altogether illusory. The sobering reality of overproduction and the unsolved dilemma of excess inventory force us to confront uncomfortable truths about the industry’s commitment to change.

In conclusion, lingering questions remain with us: What fate awaits the mountains of unsold garments? Will they be incinerated, shipped off to distant shores, or left to languish in forgotten warehouses? And can we truly place our trust in designers who navigate the corridors of power within colossal conglomerates?

The answers to these questions may hold the key to unlocking a more sustainable future for fashion. One grounded not in superficial gestures but in substantive action and genuine accountability.

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