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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?

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Fashion Retailers: Part of an Industry Unwilling to Change

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Challenging the status quo for a sustainable future


Today, fashion retailers are part of an industry that continues to uphold a culture that fiercely defends the status quo. Specifically, fashion retailers contribute to this stagnation, showing little interest in exploring new, innovative ways of operating their businesses.

Profit remains the guiding principle of the fashion industry. This relentless focus blinds it to the true cost of doing business: the exploitation of labour and natural resources. Ethical practices take a backseat, as they don’t align with profit-driven motives. In fact, respectful work doesn’t generate massive returns; only extraction and exploitation do. But in this race for profit and growth, the system is falling apart.

The role of fashion retailers


In this unstable context, the role of retailers becomes particularly intriguing to examine. Despite ongoing conversations with industry peers, we see no signs of change. There’s no intent, no effort to try something different. Retailers, facing declining sales and increasing store closures, feel trapped in a vicious cycle. Believing they have no alternatives, they continue ordering excessive stock and relying on heavy discounts. But these actions only fuel the system that’s contributing to their downfall.

Following the system may seem like the path of least resistance for now, but it’s clear that the system is broken. Corporations, brands, retailers – they all know it. Yet by conforming to these failing norms, they accelerate the industry’s downward spiral.

Amidst this turmoil, brands, retailers, and all industry players must make a concerted effort to grasp the complex realities shaping today’s market. The luxury sector, for instance, finds itself in a state of stagnation. The niche clientele that supported independent brands in the ‘90s and early 2000s has dwindled to near extinction. Today, both affluent and less affluent consumers gravitate toward cheap, disposable fashion.
Is this a temporary shift? Or have people’s attitudes toward fashion fundamentally changed?

Fashion retailers vs change


If overproduction was already senseless, now in the face of the climate crisis, it’s even more absurd, as consumers are no longer willing to buy these products. So why are fashion retailers still unwilling to change their buying practices? Why do they ignore small independent brands focusing only on those who produce huge quantities?

The question is no longer if the system will collapse. It seems we’re already on the brink. The real question is how much longer we – fashion retailers, brands, the industry – will prop it up before embracing the change that’s urgently needed.

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Designers Repeating Themselves vs Journalists’ Commentary

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Paris Fashion Week SS25 highlights the death of fashion criticism


At Paris Fashion Week SS25, we saw the emergence of constructed silhouettes and a renewed desire for more dressy styles; a longing to dress up once again. However, the most striking observation is designers repeating themselves. That coincides with the disappearance of what once was true fashion criticism.

In his critique of Milan Fashion Week, Tim Blanks of B.O.F. highlighted a lack of identity among Italian brands. So, what should we say about Paris Fashion Week? Aside from a few exceptions, like Chloé, Saint Laurent, Yohji Yamamoto, Chanel or Miu Miu — who delivered shows deeply rooted in their brand’s identity and heritage — most others could have been anyone.

Fashion criticism and designers repeating themselves


We’ve seen high praise for Alessandro Michele’s work at Valentino, which is surprising given that his approach seems merely centred on his own aesthetic. It’s as if he’s saying, ‘I love flea market style, and that’s what I bring wherever I go.’ Hasn’t he replicated what he did at Gucci? The only difference is the brand name. But just as one swallow doesn’t make a summer, a bow or a frill doesn’t make Valentino. So, it’s puzzling to read such glowing reviews from journalists when social media reactions have been far less favourable. Many users have called it a Gucci replica, with comments like ‘he destroyed one brand, now he’s doing the same to Valentino,’ and ‘he doesn’t realise people are tired of this.’ Others suggest, ‘he should launch his own brand.’ We’ve explained why he won’t in a previous discussion. Here’s an excerpt:

But why don’t these creative directors launch their namesake brands? They avoid it because out of that box, they lose their relevance. Their skills rely on immense archives and huge investments. They excel at styling and marketing, but the creativity of a fashion designer is a different matter. Their ego overpowers.

Indeed, the journalists’ comments couldn’t be more disconnected from those on social media.

The death of fashion criticism


So yes, we agree with Tim Blanks that brands lack identity. But someone must inform him that this issue isn’t exclusive to Milan. Top brands that have lost their original designers have completely lost their identity as well. They’re now focused solely on making money, and it’s hard to tell one from the other. Boundaries have blurred, and this is one of the reasons why fashion has lost its appeal.

However, we disagree with Tim Blanks and other journalists who praise designers who keep repeating themselves wherever they go. It seems they’re doing it just to secure their front-row invitations.

Fashion hasn’t just lost its identity. Also, it has lost its sense of critique. One style, one pattern, one mindset. No room for dissent.

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Stefano Pilati and The Fashion Compromise

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Integrity or selling out to make a living in the fashion industry?


Stefano Pilati and his recent fashion compromise with Zara has generated significant buzz. However, this collaboration raises questions about selling out in the pursuit of profit. Let’s delve into the rationale behind this move and explore the broader dynamics of the fashion industry that often drive such decisions.

Niche fashion vs mass fashion


It’s important to distinguish between designing clothes for a limited niche and creating for the masses. In the first scenario, the designer gains prestige and glamour, ascending to the status of fashion’s elite. In the latter, the focus shifts to generating significantly more profit. There’s little reason for a renowned designer to collaborate with large fast fashion conglomerates. Except for the money. Especially when it involves a giant that, as the NGO Earthsight has revealed, contributes to the devastation of the Amazon.

Historically, designing for a niche market brought status but limited financial success. But in times of permacrisis, this becomes even more challenging as the niche shrinks, making the work less financially rewarding. It’s through this lens that we can interpret Stefano Pilati’s decision.

According to the launch statement from the Spanish giant, this capsule collection aims to embody a modern vision of dressing, promoting freedom of expression at its peak.

Of course for Zara, this is likely a winning formula: pair a renowned designer with a top model like Gisele Bündchen, styled in a chic Monica Vitti look, and bring in an iconic photographer like Steven Meisel to capture it all in a striking black-and-white campaign. And voilà! The result is a powerful image.

However, the conversation on social media revolves around a simple ‘do you like it or not’ debate, missing the deeper issues entirely. That’s not the point. What about the designer’s integrity? His consistency? Staying true to his vision? What about the respect for his audience and the trust built over time?

On a larger scale, how can people continue to trust an industry that sends such contradictory messages? A fashion industry that, in the pursuit of profit, is even willing to contribute to the devastation of the Amazon?

Integrity or compromise?


Yes, we get it. Making a living in today’s world is harder than ever. Even the TV news reminds us that having a job no longer guarantees a decent life. It’s unsettling, isn’t it? So, we can understand Mr. Stefano Pilati and his compromise with fast fashion.

But, the freedom of expression – as the partnership promotes – only holds meaning when it aligns with the reality around us, such as respecting workers’ rights and safeguarding natural resources.

And so, in response to the question of integrity or selling out to make a living: Can you think of any valid argument that justifies the morality of exploiting labour and destroying the Amazon rainforest?

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Who Said Women in Men’s Clothes Aren’t Feminine?

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Saint Laurent SS25 Paris fashion show: style, gender, patriarchy and feminism


Who said women in men’s clothes aren’t feminine? We find it puzzling that there remains one dominant, traditional, patriarchal, and commercial idea of how women should look. Despite designers over the years presenting broader visions, one specific image continues to dominate.

Yesterday, we had the chance to view the Spring-Summer 25 Saint Laurent fashion show at Paris Fashion Week (watch it here). With a certain pleasure, we noticed how, unlike former designers who removed Yves from the brand name, Anthony Vaccarello revisited the original designer and creator of the brand. Specifically, he brought Mr. Yves Saint Laurent back onto the runway. So, elongated, refined figures walked down the runway in oversized suits that evoked the iconic designer himself. And it was remarkable.

This collection challenged the rigid idea of femininity that women themselves often can’t escape. So we ask again: who said women in men’s clothes aren’t feminine? It’s precisely the opposite – and it’s nothing new.

Yves Saint Laurent – 1967: the first pantsuit


“A year after the tuxedo, Yves Saint Laurent proposed his first pantsuit in his Spring-Summer 1967 collection. It was an unusual design for a suit, which was traditionally worn with a skirt. Just as he did for the tuxedo, Saint Laurent adapted the traditionally masculine suit for the female body. The sleeves were fitted and the waist belted, while the wide pants were flattering for the legs. He added typically female accessories, such as heels and jewelry, but still had his model wear a necktie and felt hat.” (source)

Fast-forward to 2025: Anthony Vaccarello pays homage to the original vision of Mr. Saint Laurent, reviving a look that challenged gender norms in its time and still does today.

In fact, this concept expresses a powerful challenge to traditional notions of gender in fashion. It demonstrates that femininity is not defined by wearing clothes traditionally associated with women. A woman can embody femininity while wearing what is considered “masculine” garments – and look incredibly refined doing so.

This shift reflects a broader cultural movement. Designers, fashion icons, and feminists have long argued that fashion should not be confined by gender. Figures like Coco Chanel, who popularised trousers for women, and Yves Saint Laurent, who introduced the women’s tuxedo (Le Smoking), played pivotal roles in reshaping this narrative.

What happened next?


So, from a cultural perspective, what happened after Chanel? What happened after Yves Saint Laurent? And what happened to feminism? If designers like Saint Laurent showed us that femininity transcends garments, why does contemporary feminism seem to lean more toward the image of Marilyn Monroe rather than the elegance of Saint Laurent? Why has this nuanced view of style and gender been overshadowed by more commercialised, sexualized aesthetics?

🖤 Dive into our latest post, and don’t hesitate to reach out. You can comment here below (just register first), or drop us an email or WhatsApp. We’d love to hear from you! Whether you have questions, feedback, or just want to say hello, we’re all ears. 

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