fashioneducation

Moda Povera by Olivier Saillard

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A meaningful interpretation of fashion

On February 2nd, we attended “Moda Povera VI: Les Vêtements Des Autres” – a poetic performance by Olivier Saillard. It took place at Triennale Milano in collaboration with Fondation Cartier pour l’art contemporain. 

As a matter of fact, considering the latest events associated with fashion, Triennale Milano is emerging as the premier destination to celebrate fashion as culture. Which seems a big challenge lately.

On the occasion of Ron Mueck’s exhibition, open until March 10, Triennale Milano and Fondation Cartier pour l’art contemporain give carte blanche to the fashion historian Olivier Saillard, who will curate three performances part of the “Nomadic Nights.”

Moda Povera by Olivier Saillard
Moda Povera by Olivier Saillard

Olivier Saillard in his words

To introduce the event, we think it makes sense to share Saillard’s words, as we find them remarkably poignant:

“Fashion weeks serve to present, season after season, a prospective vision of the clothes to be worn in the future. Thanks to fashion shows, a theatre of appearances is created, not only on the catwalks but, above all, among the guests, famous people or unknown. Strangely enough, the dress presented, of which one can assess with relative comparison the similar creativity from one designer to another, no longer seems to be a priority. The person who promotes it with a post counts more.

My goal is to propose my idea of Fashion Week against this asphyxiated system. The one with which I want to show the intimate role of everyone’s clothes and give the spectator, the guest, the poetic position in the relationship with her clothes. To the new clothes, I contrast ours from the past, from the life we have lived through.

On the occasion of a participatory fashion show, I want to present a non-prospective collection like those of others, but on the contrary, a retrospective and introspective one.

For this reason, we recommend that every guest participate in the Moda Povera VI fashion show with a garment of their own choice. A beloved dress coming from your own wardrobe or a dress from a loved one. These clothes, left at the entrance, will be the object of a performance by a collective of ten models who will parade in each other’s clothes.

During an event in which the fashion show carves out a space among the spectators-actors, the models show the poetry of everyday life, of the ordinary, and of everyone’s clothing, creating a true ceremony of intimacy.

It’s no longer about the designer, the brand, or the logo. Here, it is a question of traces, of wear and tear, of caresses of clothes, carbon paper of each of us.

All types of clothes are accepted and searched for: used, everyday, banal or ordinary clothes, fashion clothes, work uniforms, formal dresses, etc…”

Olivier Saillard

Moda Povera: the performance

At the entrance, the staff collects the garments and pins a beige grosgrain ribbon on which they write in black the name of the guest. Once tagged, the garments become an integral part of the performance. Each performer, wearing a black gown, calls a garment by name. Then, delicate touches, almost like caresses, communicate sensations, attention, memories. A subtle ambience of intimacy and care quietly unfolds and involves the spectators by creating an experience of participatory theatre.

Can clothes regain and convey a profound meaning? In the hands of Olivier Saillard, yes. An intense performance also thanks to the ten models who embody effortless elegance and grace, qualities now on the brink of disappearing.

Inspired by Arte Povera – an avant-garde movement of the 1960’s making use of simple, often natural or recycled material – Moda Povera by Olivier Saillard is a poetic interpretation of clothes. But it goes beyond that. In fact, it restores dignity to a fashion field that has lost any trace of culture.

Fashion that becomes art; fashion that is culture.

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An Earthquake in the Fashion Industry

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What Happens to Luxury E-Commerce?

An earthquake is going on in the fashion industry, invisible to most. It’s about luxury e-commerce. Specifically, Farfetch, which was about to collapse.

The platform represents the e-tailer everyone talked about. For mainstream fashion shoppers, dazzled by the lights plus an excessive selection, being absent from it meant not belonging to the right circle. For retailers, it was a possibility to make a lot of money. However, the supermarket setting did not intrigue niche fashion enthusiasts at all.

What is Farfetch?

Farfetch is a marketplace that connects brick-and-mortar fashion boutiques. Therefore, people from anywhere in the world can buy their favourite items from a boutique on the other side of the globe and get them delivered to their doorstep. Afterwards, since focusing on the luxury segment, they have started offering services directly to fashion brands. Also, they bought the London boutique Browns.

Who’s behind the group?
Investors gather the Chinese Alibaba; Artemis, the holding company of the Pinault family, owners of Kering; and the Swiss luxury group Richemont.

How does the business work for Farfetch?

They take a 30% cut from all the retailers as they can connect to a worldwide audience. However, born in 2007, the company became profitable in 2014. But, they could hardly maintain the profit. The company shares, valued at about 20 billion dollars at its peak, lost about a third of their value, dropping to a record low of 60 cents. Now, the firm has a market value of $250 million. In fact, the platform was close to bankruptcy.

What happened?

In 2019, Farfetch acquired the Italian New Guards Group, license-owner of Off White and others, reporting unexpected losses of about 2 billion dollars. In other words, by abandoning its inventory-free marketplace strategy, Farfetch lost its original, cost-effective pattern. Yet, their business peaked during the pandemic. But, as the company pursued growth, costs increased simultaneously.
Indeed, the New Guards acquisition reported a 40% drop in sales.

Two more factors contributed to the downfall: brands wanted more control over their products and the discount policy. Moreover, a slowdown in the luxury market had an impact on sales.

Farfetch was supposed to buy a 47.5% stake in Yoox-Net-a-Porter Group, but perhaps we won’t see this deal.
After the share price plummeted, a white knight came to save the e.tailer: the Korean group Coupang, Inc.

What to expect from this earthquake in the fashion industry

For those who see fashion as creative expression and not a giant supermarket, Farfetch isn’t fascinating. Indeed, many call it the ‘Amazon of fashion’ – a destination thriving on relentless discounts.
A few freethinkers might wonder where on earth those exaggerated quantities of garments would be sold. Though it is good to witness brands talking about sustainability while partnering with a company that made overproduction in the fashion industry its business model!

Eventually, an invisible earthquake is happening in the fashion industry, which may result in a tsunami. All the brick-and-mortar retailers connected to the platform have lost their lucrative toy. But, planning to sell through Farfetch, they still have ordered immense quantities of fashion garments. Since local customers were just a tiny percentage of their business, where would they sell their huge stock? Where will they sell the unrealistic budgets pushed by the marketplace?

Now, what should we expect? Will brick-and-mortar ‘Farfetchers’ survive? Or will they fall under the tsunami?

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The Luxury Brands

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Unravelling the Psychological Effects on Consumers

Luxury brands hold a unique allure that extends beyond the possession of high-end products. These brands are not just about material possessions. In fact, they are about status, identity, and the dance between desire and fulfilment. So, I intrigue you to explore the complex interplay of emotions, perceptions, and societal influences that shape our relationship with luxury products.

The symbolism of status

Luxury brands often serve as symbols of social status and wealth. Indeed, a designer handbag, a luxury car, or a unique timepiece can elevate an individual’s perceived status in society. Psychologically, this association with prestige triggers a sense of accomplishment and reinforces one’s social identity. So, the external display of luxury items becomes a visual cue to others, communicating success and affluence.

But is it gold all that glitters?
It’s crucial to acknowledge that the status associated with luxury items is often a construct and may not necessarily reflect true personal achievements. Specifically, wealth’s display through luxury possessions might be more about perceived status than authentic accomplishments. This can contribute to a sense of superficiality in pursuing social recognition.

The pursuit of exclusivity

The scarcity and exclusivity associated with luxury products contribute to their allure. Limited editions, rare materials, and meticulously crafted designs create a sense of exclusivity that appeals to consumers’ desire for uniqueness. The psychological impact is profound, as individuals feel a deep feeling of importance and distinction when they possess something that not everyone can have.

Self-expression and identity

Luxury brands often serve as a canvas for self-expression. In fact, the choices individuals make when selecting luxury items reflect their personalities, tastes, and aspirations. Through these purchases, consumers shape their identity and convey aspects of their character to the outside world.

Emotional fulfilment

The act of acquiring a luxury item is often accompanied by a surge of positive emotions. From the anticipation of making the purchase to the euphoria of possession, luxury consumption triggers feelings of happiness and satisfaction. Also, a sense of accomplishment. These emotional responses create a strong association between luxury brands and positive experiences, fostering a continuous cycle of desire and consumption.

In conclusion, luxury brands weave a complex orchestra of emotions, desires, and societal expectations, influencing consumer behaviour profoundly. The psychological effects range from the satisfaction of status symbols to the fulfilment of emotional needs and the expression of individual identity.

On the flip side, the psychological effects of luxury consumption spiral into a dangerous cycle of excess. The insatiable desire for status, exclusivity, and emotional gratification may propel individuals to continually seek the next opulent acquisition. This relentless pursuit fuels a voracious appetite for the latest trends releases. But also plunges society into the treacherous depths of overconsumption.

Ultimately, the pressure to maintain or increase one’s perceived status drives a culture on the verge of excess, promoting unsustainable consumption patterns that jeopardise responsible consumerism.

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Credit: Post written by Gabriela Preuhs, a Brazilian scholar pursuing studies in economics and psychology at Cattolica University in Milan; currently interning with suite123.

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Decoding Margiela’s Gallianification

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Exploring the Impact of Galliano’s Vision on Maison Margiela and the Fashion Industry

Decoding Margiela’s Gallianification, completed in the recent Artisanal SS24 couture show, prompts questions about the direction of the fashion industry.

As John Galliano fully embraces his creative role at Margiela, we witness a brand transfiguration under a new vision. The show, a clear display of Galliano’s aesthetic, raises inquiries about the essence of this transformation. Why not celebrate Galliano’s vision under his own brand name? What is the significance of reshaping Margiela into something it originally was not?

SS24 Haute Couture: Margiela’s Gallianification completed

A play of lights and shadows. In an underpass of the Seine, a theatrical representation showed the ritual of dressing, using the body as a canvas, attempting to express the emotional form of man. Like puppets moved by invisible strings, the models seemed to come to life step by step together with the clothes and accessories they wore. Lace, latex, very tight corsets, jackets and suits with visible stitching.
In fact, Margiela Artisanal SS24 couture show was one of the most beautiful during the recent Haute Couture Week in Paris. Definitely, Galliano knows what couture is. Yet, it was 100% Galliano and almost no trace of Margiela, if not for a few tabi shoes or the four-corner white-stitch of the logo.

A brief background

In 2011, Dior ousted John Galliano after a video emerged in which the British designer hurled anti-Semitic insults at a couple in a Paris bar. So, following the scandal, he was fired from his own fashion label, majority-owned by Dior.
In 2014, OTB – Only The Brave, Renzo Rosso’s company – appointed John Galliano as designer for Maison Margiela.
The news, to us, sounded like a joke. For instance, it was like asking Dolce & Gabbana to design Helmut Lang. Two different visions, opposite perspectives, indeed. Both should exist in the fashion industry, providing a diverse representation. Yet, each one under the creative guidance of a designer who can allow a specific sensibility to emerge.

Implications for the fashion industry

Of course, in the hands of Galliano, Margiela took a different turn. And now, with this Haute Couture skilful show, Gallianification of Margiela has been fully completed. Therefore, a reputable designer becomes the creative director of another label, taking just a few hints from the original designer. And in the end, celebrates his own vision of fashion, but under another brand name.

Perhaps, a revenge for Galliano in a field deprived of meaning. However, we wonder, what’s the point of this? Why doesn’t Galliano do Galliano under his own brand name? Why do they need to transform Margiela into what Margiela is not?

In the grand spectacle of Galliano’s creative takeover at Maison Margiela, the Margiela Artisanal SS24 couture show provided a poignant chapter in the ongoing saga of Gallianification. As the brand transforms under Galliano’s unmistakable vision, we’re left contemplating the broader implications for the fashion industry. In fact, this issue regards all the luxury brands in which the creative founder is no longer in charge. Specifically, we suffer for Margiela because we adore it, the original… Martin Margiela. In fact, we carried MM6 in our boutique in the past.

Decoding Margiela’s Gallianification unveils an absurd reality: an industry once celebrated for its idiosyncrasy now seems an empty vessel awaiting the next lucrative trend. Simply a game. But where is the fashion industry heading with these games?

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Couture: The Future of Fashion

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Crafting Tomorrow’s Wardrobe through Quality, Customization, and Conscious Production

On our journey to trace the future of fashion, Paris Haute Couture Week SS24 offers a chance to reinforce our viewpoint on the industry. What becomes evident is the link between couture and the sustainable paradigm needed to shape the industry’s trajectory.

SS24 Haute couture

Haute Couture for luxury houses serves as a mere reaffirmation of brand power. With an endless array of outfits, it appears evident that luxury brands – and the fashion industry as a whole – fall short of comprehending the essence of sustainability and adopting a long-term perspective.

This season, collections managed to break away from monotony. Gaultier by Simone Rocha impressively redefined the designer’s DNA, while Chanel exuded loveliness. The Gallianification of Margiela seemed finally completed. Beautiful, but no trace of Margiela anymore, if not for some tabi or the logo. Yet, it’s Pierpaolo Piccioli for Valentino, who earns the title of a true couturier, always impeccable in his superfine tailoring and magnificent creativity.

However, among the most elaborated and creative silhouettes typical of Haute Couture, more clean and perfectly tailored pieces completed the collections. Which translates into timeless, meaningful garments for everyday style. In fact, beyond the glamour, Haute Couture provides an opportunity to reflect on the future of fashion.

Couture & sustainable fashion

In its essence, couture means made-to-order garments of impeccable quality produced in limited quantities. Therefore, it inherently embodies sustainability. In this tailoring realm, quality takes precedence over quantity, focusing on the meticulous creation of timeless pieces that embody the ethos of minimalism.

Specifically, this sustainable essence of couture is a pattern that represents the future of fashion.

At its core, couture’s commitment to made-to-order garments, crafted with unparalleled quality, shatters the notion of disposable fashion. The bespoke nature of these creations allows for customization, fostering a connection between the wearer and the garment that transcends the fleeting trends of fashion.

Indeed, by opting for fewer pieces produced in limited quantities, artisanal production aligns with conscious consumption. It’s a departure from the relentless pursuit of newness. And a testament to the idea that true luxury lies in the careful curation of one’s wardrobe. Less but better.

As we trace the steps and missteps of fashion brands, one aspect becomes apparent. The future of fashion lies not in the mass production and fleeting trends but in the intentional creation of timeless pieces that endure beyond seasons. Couture serves as the vanguard and back to the past, revealing tomorrow’s wardrobe through quality, customization, and conscious production.
A blueprint for a fashion industry where sustainability and style seamlessly coexist.

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