fashion marketing

Designer or image maker: who actually makes fashion now?

Reading Time: 3 minutes

The industry traded designers for pure spectacle. The market noticed.


Designer or image maker: fashion spent a decade pretending that was a false choice. The market made it real:  growth slowed in Europe; luxury sales in China remain deeply depressed.

These days, watching shows from New York to Milan to Paris, we can’t help but wonder: has fashion become pure entertainment? And if so, does the industry still need designers, or just image makers? 

The industry has always been partly entertainment. Now it is almost nothing but spectacle. Impressive runway shows, campaigns, and viral moments now matter more than the clothes themselves. The industry doesn’t want designers for their design skills anymore. It wants people who can create an image around fashion.

Designer or image maker. The distinction matters.

A designer’s job is to design clothes: to understand proportion, construction, fabric, silhouette, technique and how all those things come together on a body. An image maker’s job is different. It is to create desire, attention and a world people want to look at — and, ideally, belong to.

The fashion industry has increasingly rewarded the second.

It wants creative directors who can generate images, buzz, and viral moments. Creative directors are expected to build worlds. Celebrities bring their audiences with them. Influencers become the campaign. The clothes are almost secondary to the universe built around them.

Attention is the scarcest resource, and image makers are very good at attracting it.

For a while, this worked. 

But where does the spectacle end and the clothes begin to speak? 

Because when the show ends, that is what we are interested in: clothes. Not their social-media representation. Not the celebrity wearing them. And not the campaign. The garments themselves — the things we can actually wear, and want to wear.

And perhaps this is where fashion has lost something important: the ability to recognise value in design.

A beautifully designed garment does not necessarily produce a viral moment. Its value can be quiet. It can live in the cut, the fabric, the construction, the proportion, the way it moves on the body. It requires looking. Sometimes it requires knowledge.

Spectacle requires none of that.

It tells us what to look at.

And when an industry becomes increasingly dependent on attention, what can be seen easily starts to matter more than what requires understanding.

That question used to be philosophical. Now it is economic.

Luxury brands have spent years raising prices in the name of exclusivity, with runway shows growing bigger than ever. Yet demand has cooled. Perhaps consumers haven’t stopped wanting luxury. Perhaps they are becoming more selective about where luxury feels real. They grew less willing to pay luxury prices for products whose value they no longer recognise.

Because luxury hasn’t disappeared.

People still spend on exceptional experiences, craftsmanship, jewellery, hospitality, travel and objects that feel genuinely valuable.

The customers didn’t leave luxury. They left fashion’s version of it.

And that should worry fashion. What does the spectacle say when consumer desire falls? What happens when the attention machine keeps growing, but people become less willing to buy what they see? Ultimately, what’s the point of these huge shows, and who are they for?

Because an image can create desire. It can create excitement, status and conversation. In the short run. But an image cannot replace the thing itself. And that is where fashion’s spectacle collides with the market: consumers want less and less of what is selling. Quality has plummeted; exclusivity and scarcity, once the industry’s selling points, now read as artificial. 

Fashion doesn’t need fewer designers. It needs to remember why it needed them in the first place.

Image makers can create attention.
Designers create the reason to look.

Fashion needs image. It just can’t survive on image alone.

Designer or image maker: who actually makes fashion now? Read More »

Vogue World Milan and the spectacle of “Made in Italy”

Reading Time: 4 minutes

The lost meaning of Italian elegance and craftsmanship


Vogue World Milan is all over social media, but not for the reason one might expect. Rather than embodying class and sophistication, it generated enough grotesque memes to last for years. Some viewers even described it as a “plastic surgery expo.” Even Miuccia Prada appeared to have something to say without saying a word. So, spectacle yes, but not exactly in a flattering sense.

However, some people commented, “It was so Italian” — which left us astonished. What was so Italian about it? Just Milano and those sitting in the front row. Certainly not what Vogue claimed. In fact, it seemed closer to the Met Gala idea of fashion spectacle than to any distinct Italian vision.

Created by Anna Wintour in 2022 for philanthropic purposes, Vogue World is an international event less a fashion show than a highly produced spectacle that brings together designers, models, celebrities, performers, and technology. This Milan edition took place in Galleria Vittorio Emanuele II, bringing together Italian craftsmanship, fashion, performance, and technology.

Staged on September 22nd, the event was in collaboration with the Milan Municipality, Teatro alla Scala and its Academy. More than 500 guests were seated along the four arms of the Galleria. The front row was historic and exceptional: many of the biggest names in Made in Italy were there — Miuccia Prada, Raf Simons, Donatella Versace, Pierpaolo Piccioli, Domenico Dolce, Stefano Gabbana, and more. The event raised €2.65 million for the Biblioteca di Quarto Oggiaro redevelopment and expansion.

According to the official programme, Vogue claimed to move through “The Artisanal Revolution,” “The Industrial Revolution,” “Made in Italy,” “The Age of Intelligence,” and “The Imagination Revolution.” Vogue specifically said the event was intended to address the value of craftsmanship in the age of AI.

But was Vogue World Milan really so? 

Elegance, craftsmanship, Italianness — these didn’t seem to be the main values. Elegance, in particular, seemed a lost concept. 

There is an interesting contradiction at the heart of the evening. Vogue explicitly presented the event as a celebration of “Made in Italy,” craftsmanship and the human touch in the age of AI, while sponsors including OpenAI and Meta supported the event. The very forces the spectacle claimed to examine were footing the bill.

So, Vogue World Milan claimed to celebrate “Made in Italy” and craftsmanship. Yet the spectacle seemed to undermine both. Most importantly, what does it mean to celebrate “Made in Italy” when the people and production system that actually make it possible are increasingly under pressure? 

For an event ostensibly celebrating human craftsmanship and “the human touch,” Vogue World Milan’s defining moment was four robots waving at the crowd. A fitting confession that fashion would rather borrow Silicon Valley’s hype than trust its own hands. The irony runs deep: Vogue World was billed as a tribute to Italian artisanal tradition, yet the segment everyone talked about featured Unitree humanoid robots wearing nothing at all, doing little more than waving and mimicking a lasso motion.

Il Fatto Quotidiano called the staging “extremely didactic.” A wooden model of the Duomo, tailors in white coats, then the Industrial Revolution, then the irruption of technology, all seasoned with ostentatious luxury and so much show-off that it left doubts about the event’s true meaning: a mere and self-referential celebration of fashion as the status quo.

On her Instagram, Frida Giannini highlighted the disconnection between the rhetoric of Italian craftsmanship, elegance and “Made in Italy”, and the extravagance of the event itself. She wrote:

“Tacky and ridiculous… Nonsense. Nonhumor. Nonelegance. Only an embarrassing circus. For Milano and Italy… With Open AI and robots??? Please, a bit of consistency. And dignity. So sad.”

She was having fun, she swore — but only because she could see all the details of those creepy faces having fun. The point stands: the inconsistency between the rhetoric and reality wasn’t a detail. It was the whole show.

While Italian craftsmanship was being celebrated as a marketing slogan, a few kilometres away the Made in Italy supply chain was enduring one of its most dramatic moments. The figures released by Milan’s CGIL paint a stark picture: in just three years, Milan’s fashion system has lost a quarter of its exports (−23.3%), sliding from over €3 billion to under €2.3 billion. Artisan businesses are shuttering (−19.7% in clothing, −17% in leather). And hours of temporary layoff schemes (cassa integrazione) soared in the second quarter of 2026. (source: Il Fatto Quotidiano)

The hands that actually make Made in Italy possible went unmentioned.

Is this Italian? Is this Italian elegance? Or is it simply a spectacular representation of what fashion has become — a circus of its own making?

Find the response in Miuccia Prada’s eyes.

Vogue World Milan and the spectacle of “Made in Italy” Read More »

Sustainability didn’t fall out of fashion. It was never really in fashion.

Reading Time: 5 minutes

What fashion’s retreat from sustainability, as the climate crisis becomes more urgent, says about the industry’s business model


A personal perspective by Rosita Cigliola

Yesterday it was sustainable. Today it is AI-powered. Tomorrow it will be something else.
The Financial Times has just asked what happened to sustainability in fashion. After years of ambitious commitments, brands are quietly retreating from targets, scaling back initiatives and putting profitability at the centre of the conversation.

The obvious explanation is that sustainability failed. 

But I think something else happened. Sustainability didn’t fall out of fashion. It was never really in fashion. At least, not in the way the word suggested.

During the pandemic, when factories closed, shops emptied, and fashion had the opportunity to look at itself in the mirror, sustainability became one of the industry’s favourite words. Brands and experts announced commitments (for instance, Rewiring Fashion). Collections became conscious—even fast fashion. Businesses became responsible. Materials and packaging became eco-friendly. Circularity was everywhere.

The language was reassuring. 

The problem was that the business model remained awfully familiar.
Fashion still needed to sell more clothes.
And more clothes.
And more clothes.

In fact, this was the uncomfortable contradiction at the heart of the sustainability conversation: an industry built around growth, overproduction and overconsumption was trying to present itself as increasingly sustainable without even questioning the pattern itself.

In This is Greenwashing, we argued this was no accident. Sustainability had become a marketing language – a collection of attractive but often vague words that allowed brands to communicate environmental responsibility. A responsibility that didn’t necessarily require demonstrating systemic change. The industry didn’t need to lie outright. It simply needed to choose its words with care.

Conscious.
Responsible.
Eco.
Green.

Words that sounded like progress. But words that required considerably less evidence than the impression they created. That impression was enough.

Now persistent economic volatility continues to affect the markets, and something revealing is happening.
When sustainability was fashionable, brands could afford to talk about it. But when it became too expensive, too complicated or commercially inconvenient as other costs increased, those commitments became less urgent.
That tells us something important. Especially now, when extreme weather is no longer an abstract warning for a distant future but a reality unfolding all around us. 


The climate crisis did not become less urgent. Sustainability became less convenient.

The problem wasn’t a lack of good intentions. They were in abundance. The incentives were wrong. And sustainability was turned into a marketing strategy to reach those incentives.

The underlying problem is that the rules and rewards of fashion have not fundamentally changed. 
Producing and selling more generates more revenue. Companies are rewarded for sales growth and profit. Investors expect financial returns. Sustainability can cost more and reduce margins. But voluntary environmental targets often have no consequences if they are missed. 
And perhaps that is why I am less surprised by the retreat than some people seem to be. 

What surprises me more, though it shouldn’t, is how quickly the industry has found another story. AI. 

AI is now everywhere in fashion. 

AI for demand forecasting.
AI for product development.
AI for personalised shopping.
AI-generated models.
AI-generated campaigns.
AI for supply-chain management.
AI for sustainability reporting. 
AI to reduce waste.
AI to make fashion more efficient.

Efficient, not sustainable.  

Sustainability seems to disappear beneath yet another change in marketing labels.

Some of these applications may be useful. AI can help brands analyse enormous quantities of information, identify inefficiencies and improve forecasting. The technology itself is not the point, although its massive freshwater and energy consumption raise serious sustainability questions. The problem is what happens when technology becomes a marketing adjective. Because we have seen this movie before. Replace sustainability with AI-powered and ask the same questions.
What exactly does it mean?
Where is it being used?
What has actually changed?
What problem does it solve?
What evidence do we have?
And – most importantly – does it change the business model, or does it simply make the existing business model faster?

That last question matters enormously in fashion. If AI allows a company to predict demand better and therefore produce fewer unwanted garments, wonderful. If it allows a company to generate thousands of new designs faster, create more marketing content and accelerate production of more things nobody needs, then efficiency has not necessarily made fashion more sustainable. It may simply have made overproduction more efficient.

This is where the sustainability conversation went wrong.

We became fascinated by the solution before asking whether we were solving the right problem. We celebrated recycled polyester without asking how many polyester garments we actually needed. We celebrated resale platforms without understanding the impact on the environment – or that they were pushing overconsumption further. We celebrated circularity without asking how much clothing was entering the system. In essence, we celebrated innovation without asking whether innovation was reducing consumption or simply making it easier.

Now AI arrives with the same seductive promise: technology will fix the mess. Perhaps it will fix some of it — the business problems, not the environmental ones. But technology cannot decide what fashion should produce. Which, on a deeper level, also means what world we do want.
People do. 
Companies do.
Consumers do.
And ultimately, the business model does.

There is also a delicious irony here.

We spent years telling consumers to look for the green label. Now we may tell them to look for the AI label. And if history is any guide (even this seems quite dubious lately), we should be careful. Because once a word becomes valuable enough to sell something, marketing will learn how to use it. 

This does not mean that sustainability was meaningless. Nor does it mean that every brand that made environmental commitments was acting cynically. There are designers, manufacturers, and brands doing serious work. And there are consumers who genuinely want fashion to have less impact. But meaningful change was never going to come from vocabulary alone. 

A more sustainable fashion industry cannot be created by changing the adjectives attached to the same products, the same volumes and the same incentives. That is the uncomfortable part. And perhaps the most useful conclusion we can draw from sustainability’s disappearance is not that fashion has abandoned the environment. It is that we should finally stop confusing talking about change with changing the system. 

Because if sustainability disappears when climate change gets brutally real, it was not a business principle. 

It was a trend. 

Sustainability didn’t fall out of fashion. It was never really in fashion. Read More »

Hype — can it really sustain fashion brands?

Reading Time: 5 minutes

How independent labels struggle when hype isn’t enough to sustain a business in a weak market


When hype fails to pay the bills, the party is over for fashion brands.

For decades, the fashion industry has been obsessed with one currency: noise. We have watched brands skyrocket to fame based on a viral logo, a celebrity sighting, or a sell-out drop that crashes websites. But recently, the music has stopped for some of the industry’s most beloved “cool” kids.

The recent news of Sunnei’s bankruptcy and Marine Serre entering judicial receivership seeking court protection has reverberated through the independent fashion scene. These weren’t obscure brands struggling for relevance. They were influential labels that appeared to be doing everything right from the outside.

Their situations are different, but both illustrate how creative success and commercial resilience are not necessarily the same thing. A brand can remain culturally relevant and still face a business crisis.

Both Sunnei and Marine Serre have been darlings of the fashion week circuit. They have built their reputations on the pillars of modern success: scarcity (or the illusion of it), buzzy collaborations, and an impressive list of celebrity supporters. They understood the algorithm. Yet, understanding the algorithm didn’t stop them from hitting a wall.

This led us to ask a critical question: what is hype, really? And more importantly, can hype alone sustain a fashion business?

Graphic reading "Visibility isn't viability," capturing the article's key takeaway that hype in fashion doesn't equal business sustainability

The hype curve


To understand the crisis, we have to understand the mechanics of hype. Hype is a rocket, not a foundation. It propels a brand from obscurity to prominence at a speed that traditional luxury houses could only dream of.

But here is the harsh reality many independent labels eventually face.

As attention grows, brands often interpret rising visibility as permanent demand. They hire staff, expand production, increase investments, expand into new markets, or launch new projects, expecting growth to continue.

What many don’t anticipate is that hype follows a predictable curve. Once a brand reaches its peak, a natural correction is almost inevitable. But if a business has been built on the assumption that demand will continue indefinitely, even a normal decline can quickly become a serious problem. The mistake is assuming that attention automatically translates into long-term business growth.

This observation isn’t just theoretical. It comes from our experience working with emerging brands over the past two decades, combined with continuous analysis of the fashion system.

Hype may create extraordinary visibility, but visibility alone cannot sustain a business over time. The paradox is that when everyone is talking about a brand, exclusivity can start to disappear. Early adopters move on to the next underground name, while consumers who bought into the brand for its status begin looking elsewhere. The peak is followed by a hangover, and that hangover can be brutal.

Most importantly, visibility doesn’t automatically translate into sales. Media attention, celebrity endorsements and viral moments may generate awareness, but they don’t necessarily create loyal customers or sustainable revenue. Likes don’t pay suppliers, and headlines don’t guarantee repeat customers.

The conglomerate safety net vs the independent tightrope


The most dangerous aspect of this cycle is the lack of a safety net.

Unlike brands owned by major luxury conglomerates such as LVMH or Kering, independent labels are walking a tightrope without one. When a conglomerate-owned brand experiences a slowdown, the parent company can absorb losses, reinvest in marketing and wait for consumer demand to recover.

Independent labels don’t have that luxury. They operate with thinner margins and fewer financial resources, without the economies of scale or purchasing power enjoyed by the large groups. Many also depend on external investors who expect returns within a relatively short timeframe.

They are also particularly vulnerable to cash-flow pressures. Wholesale partners may reduce or delay orders, payments often arrive months after production costs have been incurred, and even a temporary drop in sales can quickly become a liquidity crisis.

In a volatile market — where geopolitical tensions, economic uncertainty or changing consumer sentiment can affect demand almost overnight — that combination can become a dangerous trap for a business built around popularity.

The danger of overexposure


There is a cruel irony in fashion: the very strategy that makes a brand successful can eventually weaken its position.

When every celebrity is wearing your crescent moon print (Marine Serre) or your playful deconstructed tailoring (Sunnei), the magic begins to fade. Consumers become desensitised. Hype is fragile because it depends on constant novelty and the energy of the crowd.

Stability, on the other hand, takes years to build. It requires consistent quality, genuine customer relationships, financial discipline and a business model that doesn’t depend on the next viral moment.

Brands can’t build trust by chasing social media trends.

Final thoughts


So, is hype enough to sustain fashion brands?

The Sunnei and Marine Serre cases suggest a clear answer: no.

Hype is a powerful accelerant, but it is a poor fuel source. It can propel a brand to the top far faster than anyone imagined, but if the underlying business hasn’t been built to withstand the inevitable slowdown, the descent can be just as rapid.

For the independent labels watching this unfold, the lesson is clear: don’t confuse virality with viability. Build a business that can survive when the attention moves elsewhere.

Because fashion increasingly mistakes visibility for value. Algorithms reward constant novelty, but businesses survive on repeat customers, healthy margins and financial resilience.

Hype creates attention. Trust builds stability.

Hype comes and goes. Stability takes years to build.

Hype — can it really sustain fashion brands? Read More »

Fashion is no longer a job for fashion designers

Reading Time: 3 minutes

The appointment of Jaden Smith at Louboutin signals a new priority: star power over technical expertise


It seems increasingly clear that fashion is no longer a job for fashion designers. The industry’s new hiring practices are the most glaring evidence. The appointment of Jaden Smith—actor, rapper, and nepo baby—as head of Louboutin’s men’s division is not an anomaly. It is a pattern. It follows the identical playbook that brought Pharrell Williams to Louis Vuitton. These moves are not about design expertise; they are a calculated response to a deeper crisis. But do we really need celebrity designers?

Chasing hype over heritage, the industry faces an existential crisis 


The luxury fashion industry has fundamentally changed. Once the domain of visionary designers and family-owned houses, it has been reshaped by the forces of modern capitalism: marketing, algorithms, the influence of the relentless pace of fast fashion, and the insatiable demand for growth. In this new paradigm, the designer’s role has been diminished, their craft made secondary to a new bottom line. The result is an implosion: a loss of soul, meaning, and the distinct DNA that once differentiated one brand from the other. Marketing killed fashion, and yet they keep going.

Modern capitalism has eroded the perception of luxury itself. As brands scaled into monumental “cathedrals” with vast retail networks and gigantic egos to match, they sacrificed their intrinsic value for a hollow exclusivity. And fake scarcity. This identity crisis, combined with global economic instability, has led to a widespread luxury downturn. As a result, the clothes no longer sell themselves.

So, what is the fix for easy profit? Star power. Celebrities are the hyped-up solution to a problem of their own making. They generate immediate buzz, attract legions of fans, and create viral moments. A short-term lifeline for brands struggling to remember their own identity. Or simply trying to pay their costs. 

The paradox of fashion education


However, this shift makes the existence of prestigious, exorbitantly expensive fashion schools a profound paradox. For instance, a Bachelor’s degree in Fashion Design at Istituto Marangoni in Milan costs approximately €21,550 to €25,900 annually for the 2026/2027 academic year, including an annual enrollment fee of €4,000 and an international fee of €25,900 for non-EU students. For European students, the tuition fee is around €21,550 annually.  

This shift creates a devastating paradox: Why would a student invest such money to master a craft that the industry no longer values? Why specialise in a field where the top jobs are offered not to the most skilled, but to the most famous?

The craft behind the hype: why shoe design isn’t for amateurs


Not to mention that, from a technical perspective, shoe design is far more complicated than clothing design. Shoes must combine aesthetics, ergonomics, and durability. It requires knowledge of lasts, leathers, soles, stitching, and construction methods—cemented, Blake, Goodyear welt, and more. Comfort, weight distribution, and movement are critical, so design overlaps with engineering and biomechanics. Production is also slower and more expensive to change.

Clothing design is broader and trend-driven, with complexity in variety and fit. Shoe design is narrower but technically more intricate, since every millimetre matters for comfort and wearability. Shoes demand precision, not popularity. But knowledge isn’t a problem, unless you’re nobody.

Final thoughts


In conclusion, the choice is a strategic one. Brands prioritise expansion and rapid growth over heritage and craftsmanship. They don’t need a designer; they need a headline. This explains why Louboutin chose Jaden Smith—for his vast reach, not his mastery of lasts and leathers.

Clearly, fashion is no longer a job for fashion designers. The pressing question is not if this is true, but what this soulless, celebrity-chasing pursuit means for the future of creativity itself.


🖤 What are your thoughts? We want to hear from you:

💬 Comment below (registration is quick and easy)
📧 Send us an email
💬 Message us on WhatsApp

Your perspective is a vital part of this discussion.

Fashion is no longer a job for fashion designers Read More »