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amphtaminedreams · 2 years ago

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Currently Obsessing Over, Debrief No.3: All Hail Queen Vivienne Westwood & Here’s to her Eternal Reign

-Vivienne photographed in June 2012-

“Fashion: I really love doing it. It’s really a kind of lifeline to me. It’s recharging my batteries. It’s exciting. I love what we’re doing, and I think the next thing we are doing is the best thing I have ever done. Because it’s totally political.”

-With Chrissie Hynde & Jordan at the SEX boutique in Chelsea, 1976-

-Clockwise L-R: making an appearance on the runway with husband Andreas Kronthaler at the Andreas Kronthaler for Vivienne Westwood 2016 Menswear collection, in 1976 with Chrissie Hynde & Jordan, c. 1976, and in 2012 in her studio-

-in attendance at memorial for Vivienne @ Southwark Cathedral, Friday 17th February 2023, centre: Lila & Kate Moss, clockwise L-R: Alexa Chung, Matty Bovan, Christina Hendrix & husband, Helena Bonham Carter, Ellen von Unwerth, Farida Khelfa, Lucinda Chambers, Elle Fanning-

-Anson Boon in attendance at memorial for Vivienne @ Southwark Cathedral, Friday 17th February 2023-

Look, I am far from a royalist but as London Fashion Week draws to a close, the weekend saw a who’s who of the fashion mourn a Queen of the people whose crowning would’ve truly made me reconsider my position. It goes without saying that the impact Vivienne Westwood has had on both her contemporaries and a younger generation of up and coming designers is monumental, but above and beyond that, what made her such an incredible individual was the consistency with which she stuck to her principles over the years and championed a fairer world, free of structural barriers, discrimination and the destructive force of rampant capitalism on the earth.

-Upper left portion: Vivienne Westwood RTW S/S 2016, & bottom right: Vivienne Westwood RTW S/S 2017, then whole image clockwise L-R: Vivienne Westwood RTW F/W 2010, & RTW F/W 2009-

-Charles Jeffrey LOVERBOY collections, Clockwise L-R: Menswear RTW F/W 2020, RTW F/W 2022, RTW Menswear S/S 2018, RTW S/S 2023-

-Undercover collections, clockwise L-R: RTW F/W 2011, RTW F/W 2013, RTW S/S 2004, RTW S/S 2009, RTW S/S 2011-

-Matty Bovan collections, L-R: RTW F/W 2018, & S/S 2019-

-Ambush Resort 2023-

-Vivienne Westwood RTW, top to bottom: F/W 2007, S/S 2013-

-Undercover collections, L-R: RTW F/W 2019, RTW S/S 2022, RTW F/W 2020-

-Stella McCartney collections, L-R: RTW F/W 2018, RTW F/W 2017, F/W 2020-

-Undercover collections, upper left portion, clockwise L-R: RTW F/W 2003, RTW F/W 2015, RTW S/S 2005, RTW S/S 2007, then whole image clockwise L-R: RTW S/S 2015, RTW S/S 2014, RTW F/W 2014-

She didn’t have to be That Bitch, in an industry which too often actively worked and continues to work against her goals, but she did at risk to her own success, and she made some fucking incredible clothes whilst she was at it.

Vivienne had every capability of being a thorn in the side of the industry figureheads operating business models domineered by overconsumption and yet her legacy will outlive every trend cycle imaginable ten to the dozen, reminding us that above all, principles & passion are the best thing we have if we want to truly make in impact.

-12 Emerging Designers on How Vivienne Westwood Inspired Them, AnOther Magazine, Autumn/Winter 2021 issue-

-”Pirates” collection, 1981: Though by this point Vivienne had already established a name for herself within the industry, namely through the widespread popularity of the Chelsea boutique she opened with partner Malcolm McLaren in 1971 and her work styling the Sex Pistols, whom McLaren managed, it wasn’t until a decade later that she made her runway debut with her “Pirates” collection. And you know what? She was so right for that. These are men who sail the world in pursuit of Jewells, ffs. How historically accurate that statement is, I have no clue; Peter Pan probably isn’t the best frame of reference. All I know is that ruffles and Jewells and big hats and bold patterns are absolutely my cup of tea and all those of us girlies with a preference for maximalism owe Vivienne Westwood a thank you for helping the stiff upper lipped power players of that period realise that.-

-”Britain Must Go Pagan” collection, S/S98 RTW-

-Clockwise L-R: Vivienne Westwood RTW F/W 1993, RTW S/S 1994, RTW F/W 1994, RTW S/S 1997, RTW F/W 1995, RTW S/S 1994-

-Arguably, the early years of Vivienne’s runway residency was characterised by a consistent drive to dissect, explore, and push the boundaries of the fashion of bygone eras through her work in a provocative, tongue in cheek kind of way, but one that ultimately showed her knowledge and love of fashion. Her flirtation with the whimsical, ethereal hallmarks of romantic period dressing and references to the costume-like decadence associated with the nobility and wealth of the post-renaissance world helped to torpedo a giant, jagged hole through the perfectly polished wall high fashion had built around itself to retain its status as an interest reserved for the privileged.

Vivienne’s growing cultural relevance occurred in the midst of the 90s grunge movement that banished the illusion everything had to be perfectly refined at all times, and championed the gaudy, the over the top, the playful, controversial and performative. This time, counterculture was unruly, broody, and intentionally unyielding in a way that closely harked back to the values of the ‘70s London punk scene where VW had started out, and so it makes sense that interest in her work grew given the position her clothing came to be associated with in this decade

I don’t claim to be enough of a fashion expert to know the complete history of costume piece inspired designers and to be able to say Vivienne was the very first to bring this subversion of the expectation to appear aloof, elegant, and let’s be honest, occasionally boring as fuck, to the runway through her exploration of period clothing but she has to be one of the first to bring such a playfulness to it and her collections at the time certainly helped to reignite the childhood desire that exists in every person interested in fashion to play dress up.-

-Christian Dior Haute Couture F/W 1998, “Les Incroyables” collection-

-Christian Lacroix Haute Couture S/S 1998-

-Vivienne Westwood RTW F/W 1996-

-Christian Lacroix Haute Couture S/S 1999-

-Clockwise L-R: Vivienne Westwood RTW S/S 2013, RTW S/S 2012, RTW S/S 2014-

-Christian Dior Haute Couture S/S 1998-

-Vivienne Westwood RTW S/S 1996-

-Clockwise L-R: Vivienne Westwood RTW S/S 2010, RTW F/W 2015, lower right portion: RTW Menswear F/W 2017, RTW F/W 2011, RTW Menswear F/W 2017, & RTW F/W 2011-

-L-R: Vivienne Westwood Bridal Made to Order 2022, Vivienne Westwood Bridal Made to Order 2020.

Marriage:

*Reasons AGAINST: too many to list

*Reasons FOR: Vivienne Westwood’s bridal collections (and also a big party with all your friends that they feel morally obligated to attend, where you get to pick all the food and cheesy music is socially acceptable)-

-Vivienne Westwood Bridal Made to Order 2021-

-She further developed her brand’s reputation as a disruptor of the status quo in a time which saw young people in the Western world grow tired of the straight laced conservatism of the Thatcher/Reagan (forget Charlie Kelly and Frank Reynolds, these 2 were the OG gruesome twosome) and the tastemakers of the fashion world followed suit, lauding her work. As much as the impact of massive industry players is portrayed as having a trickle down effect (see what I did there) on the trend cycle, designers inevitably draw inspiration from the current social climate whether acknowledged or not and in this way the aesthetics adopted by boots on the ground, the influence of art and pop culture, makes its way back up to the runway where the Anna Wintours of the world have to like it. For people like Vivienne Westwood, Rei Kawakubo (founder of Commes Des Garcons), Ann Demeulemeester, and Yohji Yamamoto, who occupied much of the same avant-garde, anti-establishment scene from the ‘70s onwards with all 3 having been customers at Vivienne’s boutique and setting up shop in London at one point or another, incorporating that disruptive spirit probably felt like a return to their roots as designers.-

-Vivienne Westwood Bridal Made to Order 2019-

-Yohji Yamamoto collections, L-R: RTW S/S 2015, & S/S 2016-

-Vivienne Westwood RTW, top to bottom: F/W 2008, S/S 2012-

-Yohji Yamamoto RTW S/S 2023-

-Vivienne Westwood RTW, top left: S/S 2009, remaining photos: S/S 2011-

-Top to bottom: Ann Demeulemeester RTW F/W 2019, & RTW F/W 2017-

-In this period where anti-fashion established itself as an integral part of what was decidedly “in”-fashion, new roots, which would go on to produce some of today’s boldest designers, buried themselves deep and inevitably soaked up Vivienne and her contemporaries’ celebration of androgyny, experimentation with subversive silhouettes and prints, and embrace of the dark and dramatic to tell stories through their styling which served as the antidote to the immaculate coordination of looks showcased by fashion giants like Chanel. Vivienne collections managed to grasp hold of the psyches of even the most prestigious designers, and the lasting effects were visible in the heavily period themed, almost theatrical collections, the debuts of which broke the expected mould for labels traditionally associated with a sense of refinement and/or glamour. That Donatella Versace, for example, would draw influence from punk aesthetics is unexpected but once you’re aware she’s expressed her admiration for Vivienne Westwood, there are a number of Versace collections over the years where you can’t unsee that inspiration. John Galliano was known to sit front row at her shows! John Galliano. That, baby, is one mighty flex.-

-John Galliano collections, top to bottom: RTW S/S 2018, RTW F/W 1997, RTW S/S 2019-

-Valentino RTW F/W 2005-

-Versace collections, L-R: RTW F/W 2017, RTW F/W 2013, RTW F/W 2018-

-John Galliano RTW F/W 2018-

-Ralph Lauren RTW F./W 2016-

-Vivienne Westwood RTW, upper left portion, clockwise L-R: F/W 2016, “, “, RTW F/W 2016, then whole image, clockwise L-R: RTW S/S 2015, RTW F/W 2012, F/W 2013, & F/W 2012-

-Versace RTW S/S 1994-

-John Galliano RTW S/S 1993-

-You could argue the prevalence of Westwood gowns amongst the rich and famous is kinda antithetic to its founder’s manifesto but we can’t be delusional and forget it’s a high fashion label we’re talking about and well, a business. Ultimately the craftsmanship and time which goes into original designs means red carpet photos are probs the closest 99% of us are gonna get but I’ll take it. I’m thirsty. Helena Bonham-Carter, one of the many prominent figures in attendance at Vivienne’s funeral, kinda symbolises the dichotomy; as much as her public image is of her as someone who exists outside the boundaries imposed by a privileged, aloof, very airbrushed elite, we are talking a woman with a double-barrelled family name which carries with it the exactly the kind of wealth and lineage you’d expect it to. But at the same time, she is someone who has chosen to break away from the expectations set upon her by this kind of background and do things her own way. Not so much so that her whole mismatched, slightly dishevelled whilst simultaneously very cool outer appearance isn’t made up of expensive, designer subcomponents, but if you’re going to have some brand loyalty, Helena being a Vivienne simp feels correct:

“I have an obscene amount, a sinful amount of her clothes. Decades’ worth. She wouldn’t like it, given she was always telling us to buy less.” Helena recalled buying her first pirate shirt, aged 15, from Westwood’s shop in World’s End “so I could be Adam Ant.” She explained how she once reprimanded a red-carpet journalist who asked why she always wore Westwood, because it was always “the same, same, same.” Bonham Carter replied: “No, no, no…. You have no idea how many ideas and choices have gone into this dress. She is never boring. And the dresses do all the work. All the actresses on this red carpet haven’t eaten for weeks—and I have had a full-fat English breakfast.” Of wearing Westwood she said: “I feel like who I want to be. I feel like a woman…. She has given me my armor to face the world for so many years.” She added: “Thank you for the cutting, the draping that makes your clothes so dynamic and alive, so much so that I wouldn’t be surprised to wake in the night and find them dancing in my closet, alive.”

-Extract from “Vivienne Westwood is Remembered in London” Vogue article, Luke Leith, published 17th February 2013 @ https://www.vogue.co.uk/news/gallery/vivienne-westwood-memorial-

-Helena Bonham Carter in Vivienne Westwood-

-FKA Twigs wearing Vivienne Westwood, photographed for her zine, published May 2019-

-You can’t talk about Vivienne’s impact on street style and its adoption by today's anti-it girl (which in itself has made her kinda the ultimate it-girl in my eyes, lmao) without a section dedicated to FKA Twigs, whose love of the designer is evident in her ethereal take on ‘90s grunge inspired fashion. If anyone doubts the existence of Vivienne’s influence on Twigs’ street style, may I gift you with knowledge that she included an absolutely STUNNNNINGGG feature about her whole COLLECTION of VW corsets in her zine. Money can’t buy you happiness but it can buy you archival designer pieces by the Grand Dame of Punk (no, I’m not talking about Karen from RHoP) and the ability to circumvent a year long waiting list for treatment of your ailments on the NHS sooo I mean…we’re talking substantial quality of life improvements here.-

-FKA Twigs personal style-

-Public figures in Vivienne Westwood over the years, upper left portion, clockwise L-R: Dua Lipa on the red carpet @ the 2021 Brit Awards, Kim Kardashian via Instagram backstage @ the 2019 Emmys, Winnie Harlow on the red carpet @ the 2019 British Fashion Awards, Kim Kardashian photographed in 2019, Kristen Stewart hosting SNL in Vivienne Westwood suit in November 2022, Lashana Lynch on the red carpet @ the No Time to Die premiere in 2021, Jade Thirlwall on the red carpet @ the 2021 Brit Awards, Elle Fanning on the red carpet @ the 2021 Vulture Festival, upper right portion: Bella Hadid’s street style ft. a love of Vivienne Westwood, bottom right portion, clockwise L-R: Dua Lipa on the red carpet @ the 2021 Brit Awards and on stage for the event, Billie Piper @ the 2021 UK Fashion Awards, Thandie Newton on the Cannes Red Carpet in 2018, Rihanna performing @ the 2012 Victoria’s Secret fashion show, Zendaya on the red carpet @ the Art of Elysium gala in 2016, Maude Apatow via Instagram photographed @ the 2022 Emmys afterparty, Alexa Demie @ an event for Tiffany & Co. in 2022, bottom left: Winnie Harlow on the red carpet @ the 2020 Vanity Fair Oscars afterparty-

-Vivienne’s personal style over the years, clockwise L-R: making an end of show appearance in December 2011, photographed c. 1995, @ the V&A museum in London in 1998, with Naomi Campbell at the 1993 Designer of the Year Awards, @ the opening of the Costume Institute’s Anglomania exhibition in 2006, with husband Andreas Kronthaler at Ascot in 1995, photographed by paparazzi c. 2009-

-Vivienne Westwood’s “Portraits” collection, 1991-

-You really can’t talk about the common appeal of Vivienne Westwood and the label’s legacy without an acknowledgement of the irreverence of the Portraits collection, which most likely constitutes the strongest imagery of the brand in most people’s minds. For all that rambling on I did about her challenging fashion conventions, the corset is probably, like, one of the most stereotypically feminine garments out there, and so it seems contradictory that it’s probably the most famous VW piece. That being said, you just have to look at the earliest prominent iteration of the staple showcased in Portraits; the way the shape was utilised flew in the face of all that was conventional and “demure” through its combination with religious iconography, micro skirts and nude illusion cut outs, in the ‘80s ffs, so need I say more about what it is that made it so groundbreaking? It was a moment that was emblematic of the middle finger to the world attitude that Vivienne’s collections are known for, and which makes it such an iconic, and true to brand piece that is still loved, emulated, and collected by a very lucky few today.-

-Vivienne Westwood RTW S/S 2023-

-It’s only half the picture to say Vivienne’s participation in the fashion industry contradicts her personal politics, which completely ignores how much of her fortune has been redistributed through her activism over the years; to advocate for her brand is to advocate for the anti establishment mission she has made an inextricable part of it, which over the past few decades has ranged from her vocal commitment to fighting climate change, her stance on sustainability, her support of Chelsea Manning and Julian Assange, and notably her Ethical Fashion Africa campaign, shots from which feature below.-

-Andreas Kronthaler for Vivienne Westwood RTW, clockwise L-R: S/S 2008, S/S 2007, S/S 2019, “-

-Andreas & Vivienne at Paris Fashion Week, 2nd October 2021-

-Andreas Kronlather for Vivienne Westwood RTW, top: S/S 2016, bottom L-R: S/S 2018, S/S 2014-

-”, top L-R: RTW S/S 2006, RTW F/W 2014, & bottom: RTW S/S 2023-

Ending with the content Vivienne would most likely find to be closest to her heart is a reflection on the Andreas Kronlather for Vivienne Westwood, surely the purest form of her punk spirit that will go on without her. Undeniably, Vivienne has had no greater influence on anyone than her husband, Andreas, with whom she publicly entrusted the more affordable offshoot of her brand, and whose creative relationship first began when he began working under her wing in the late ‘80s. They were artistic geniuses, revolutionaries, and basically the much more aspirational version of the rockstar bf/gf model bc/gf duo. Above all they were cutie pies<3

-Andreas Kronthaler for Vivienne Westwood RTW, clockwise L-R: S/S 2010, “, F/W 2017, & F/W 2015-

-”, L-R: RTW S/S 2017, RTW S/S 2009, RTW F/W 2016-

Though for the majority of the 30+ years they spent collaborating Andreas chose to be a silent contributor, the name change of the red label offshoot to Andreas Kronthaler for Vivienne Westwood was the clear realisation of his journey in becoming an equal partner and suggests that over time, the direction of influence evolved from the latter over the former to a much more reciprocal force.

-”, L-R: RTW F/W 2012, RTW F/W 2018-

-”, left portion: RTW F/W 2010, top right portion: RTW S/S 2011, bottom right portion L-R: RTW F/W 2013, RTW F/W 2011-

-”, L-R: RTW S/S 2006, RTW S/S 2014-

-”, L-R: RTW F/W 2019, RTW S/S 2015-

I’m going to get real cheesy here but I have to say it: there is no doubt that whilst he continues to showcase his designs, Vivienne’s presence in the industry will not cease to be felt. Regardless-we’ll miss you anyways, Queen.-

-Vivienne photographed at the end of her RTW F/W 2016 runway presentation, February 2016-

-Vivienne photographed attending premiere screening at Regent Street Cinema, November 2022-

Vivienne Westwood, April 1941-December 2022

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fashion-runways · 2 years ago

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GCDS at Milan Fashion Week Fall/Winter 2020 if you want to support this blog consider donating to: ko-fi.com/fashionrunways

#gcds #fashion #runway #detail #milan fashion week #mfw #fall winter #fall winter 2020 #2020 #menswear

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highendhoney · 2 years ago

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Thom Browne FW20-21 Paris Men Fashion Week.

#Thom Browne #FW20 #FW21 #FW20-21 #2020 #2021 #Paris #Menswear #Paris Fashion Week #FW #Food #Fall/Winter

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confessionsfromthesecondrow · 2 years ago

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Fashion In Flux.

As 2022 drew to a close, the tectonics slowly began shifting; now, as we embark into 2023, fashion is finally facing a major vibe shift.

While the past seven years have been peppered with rising talents and breakout stars, following the last seismic shift, it has undeniably been a two-man race between Gucci’s Alessandro Michele and Balenciaga’s Demna.

Until it wasn’t.

Following Michele’s recent announcement that he’d be parting ways with the Italian house, occurring almost simultaneously with Balenciaga-gate, fashion finds itself in a state of flux.

Michele’s appointment as creative director back in 2015 came as something of a surprise – triumphant over more recognisable names including Riccardo Tisci, Christopher Kane, Joseph Altuzarra, and Tom Ford, again – with Kering’s chief François-Henri Pinault tasking the designer with taking the house in a ‘daring direction’ following predecessor Frida Giannini’s early exit.

It’s a formula we’ve similarly seen strike gold in the years since with Daniel Lee at Bottega Veneta and Daniel Roseberry at Schiaparelli, but it has also been catastrophic, in the case of Justin O’Shea’s breakneck seven-month tenure at Brioni and Lanvin’s seemingly revolving front door.

Revisiting his Autumn/Winter 2015 debut (the unofficial one), Michele’s maximalist magpie tendencies weren’t as grandiose as we’ve come to expect, but his willowy boys with their luscious locks, pussybow blouses, fur-lined slippers, and nerdy, oversized reading glasses were a world away from the stark streetwear we were seeing in menswear at the time. Similarly, his womenswear debut was an entirely different offering to Miuccia Prada’s smart and subversive Prada, Hedi Slimane’s svelte and skanky Saint Laurent, Nicolas Ghesquière’s sleek and chic Louis Vuitton, or Phoebe Philo’s salve for all wounds, Céline – before Slimane later axed the é.

After presenting four collections – his AW15 menswear and womenswear debuts (presented separately, before the brand went co-ed in 2017) a Resort 2016 show in New York, and a stepped-up sophomore menswear outing – Michele was awarded International Designer of the Year at the 2015 British Fashion Awards for having ‘set the fashion agenda’ and ‘confirming Gucci’s position as a truly directional fashion house.’

Meanwhile, Demna, who we now know as the mononymous creative director at Balenciaga, was still somewhat unknown, just beginning to step into the limelight as design lead at Vetements, presenting his sophomore collection during the same season. He would be named as Alexander Wang’s successor seven months later in October 2015.

In the years that followed, both designers began laying the foundations to create the behemoth brands today, albeit at opposite ends of the spectrum – Balenciaga the dark and dirty counterpart to the romance and nostalgia of Gucci.

There’s the inescapable assault from both brands as the go-to for your celebrity faves: from Balenciaga’s Kim Kardashian, Kanye West, Dua Lipa, Elliot Page, Justin Bieber, Isabelle Huppert, Michaela Coel, Nicole Kidman, and Kylie Jenner to Gucci’s Harry Styles, Jared Leto, Lana Del Rey, Florence Welch, Måneskin, Miley Cyrus, Phoebe Bridgers, Billie Eilish, Dev Hynes, Idris Elba, Janelle Monáe, Julia Garner, Andrew Garfield, Jodie Smith, Jack Grealish – you get it.

Yet amid standout shows (Autumn/Winter 2018, Spring/Summer 2019, Resort 2020, and Autumn/Winter 2022) meme-orable moments (from severed heads to platform Crocs) and cohort of collaborations (adidas times two, Palace, The Simpsons, Disney, and even each other in fashion’s first multiverse moment) their commonality stretched beyond the creative into their forward-thinking business mindset. Whether partnering with the World Food Programme, aiding employees to find safe abortions, ditching fur, platforming upcoming design talents, hiring diehard stans, or branching into beauty, Demna and Alessandro represented a ‘new’ kind of creative director – simultaneously scrutinising the finer details while taking scope of the bigger picture.

Yet it’s this painstaking attention to detail that makes Balenciaga’s recent ad scandal even more perplexing. Despite the brand initially blaming production company North Six – with a $25m lawsuit that was swiftly dropped – insiders question, rightfully so, how such images could see the light of day with so many stakeholders involved.

Regardless of which side of the scandal you find yourself on, it’s impossible to ignore the endurance of this particular controversy. Thanks to the Right’s rebirth of ‘Satanic Panic’, luxury brands are forced to walk an ever-shrinking tightrope to do the ‘right’ thing, not because they want to, but because they have to in order to protect their bottom line. Remember when controversial ads were en vogue?

Since Balenciaga-gate, Gucci found itself under similar criticism following the release of its ‘HA HA HA’ campaign – featuring Harry Styles wearing a teddy bear t-shirt toting a mattress that denigrators said belonged to a ‘toddler’. In a now deleted TikTok video, Coach was decried for Disney-themed teddy bears in its Sydney store that were described as ‘satanic’ and ‘evil’.

For Balenciaga, the fallout (still falling) from its Chernobyl has seen Kim Kardashian, the poster child for Demna’s Balenciaga, noticeably out of the brand claiming to be ‘shaken by the disturbing images’ and ‘re-evaluating her relationship with the brand’. After appearing in the brand’s AW22 campaign, Euphoria’s Alexa Demie deleted all Balenciaga images from her Instagram feed and promptly unfollowed for good measure. Then the Business of Fashion rescinded its ‘highest honour’, the Global VOICES award and instead asked the brand representatives to attend to explain the saga – they declined.

As the brand’s first show post-Balenci-gate approaches, the mind intrigues whether deep-thinking Demna will address the controversy. Amid the storm that has permanently taken root above Balenciaga HQ, the designer and CEO Cédric Charbit seem to be on borrowed time.

So, who does that leave in line to succeed fashion’s Iron Throne? At the end of 2022, Miu Miu took home Lyst’s title of hottest brand of the year for the first time – beating away heavyweights Balenciaga (who has topped the chart six times) and Gucci (topping 10 times and never placing lower than 4th).

Thanks to its viral micro skirt set – which solidified its status on countless covers and via Shein knock-offs and homemade Halloween costumes – Miuccia trebled down from Spring/Summer 2022 through to Spring/Summer 2023, turning Moo Moo into a cash cow with churning out micro bras and adorable accessories.

There’s also the new guard of next gen designers invited to make their mark at hallowed houses: Ludovic de Saint Sernin and Harris Reed will shortly present their debuts for Ann Demeulemeester and Nina Ricci respectively, while Maximilian Davis will reveal his sophomore runway collection for Ferragamo. With luck, an exciting opportunity to see what they’ve got, and not another revolving door. Bianca Saunders and Priya Ahluwalia next please!

Will Matthieu Blazy achieve a hattrick at Bottega Veneta? What has Raf Simons got up his sleeve? What Ever Happened To Phoebe Philo? With heavyweights in limbo – Alessandro Michele, Riccardo Tisci – a hotly anticipated debut from Daniel Lee at Burberry, and open spots at Louis Vuitton menswear and Gucci, the guillotine looks like it’s readying for more chops with LVMH’s recent CEO moves.

Time to place your bets.

#fashion #balenciaga #gucci #demna #demnagram #alessandro michele #miu miu #miuccia prada #matthieu blazy #daniel lee #phoebe philo #raf simons #bottega veneta #burberry #louis vuitton #prada #lvmh #kering

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amberfaber40 · 2 years ago

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Lvmh acquisisce la Off-White di Virgil Abloh e Etro | iO Donna

Acquisti che scuotono il segmento dei gruppi del lusso, già in pieno fermento

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Dolce & Gabbana Spring 2023 Ready-to-Wear Collection

Dolce & Gabbana Spring 2023 Ready-to-Wear collection, runway looks, beauty, models, and reviews.

Tempo di shopping per Lvmh. Dopo l’annuncio del ritorno dell’ex Celine Phoebe Philo con il suo brand, che avrà proprio una partecipazione nel gruppo di Bernard Arnault, il colosso del lusso torna sotto i riflettori per le sue ultime acquisizioni. A partire da Off-White, il marchio di Virgil Abloh, l’eccentrico stilista alla guida della collezione uomo di Louis Vuitton. Ma anche di Etro, il brand italiano ora nell’orbita del fondo L Catterton, partecipato dal magnate francese.Leggi anche› L’eredità e il ritorno di Phoebe PhiloL’acquisizione di Off-WhiteOff-White, che ha presentato la collezione autunno inverno 2021/2022 Laboratory of Fun il 4 luglio con una sfilata-concerto aperta da Bella Hadid in mini abito di velluto blu elettrico, oggi finisce nella galassia del gruppo d’Oltralpe. Una cessione di maggioranza, al 60%, della Off-White LLC, la società proprietaria del marchio omonimo fondato nel 2013 e diretto da Virgil Abloh, guida artistica della collezione uomo di Louis Vuitton dal 2018 – nonché lo stilista più seguito del momento. L’operazione, soggetta alle approvazioni di legge, dovrebbe essere completata in 60 giorni. Bella Hadid alla sfilata Off-White AI21/22.Leggi anche› Virgil Abloh è il nuovo direttore creativo della linea maschile di Louis VuittonUn’intesa promettente per ambo le parti: la partnership infatti prevede di sfruttare le competenze del designer al fine di collaborare con altre realtà di Lvmh, anche al di fuori dell’ambito moda. «Per quasi un decennio, abbiamo costruito Off-White come marchio generazionale, in grado di sfidare lo status quo. Ora potrà evolvere grazie alla potenza di Lvmh» ha dichiarato Abloh. «Non vediamo l’ora di supportare il team nel guidare la crescita di Off-White e di lavorare insieme per portare la sensibilità unica di Virgil a una gamma più ampia di categorie di lusso» ha detto invece Arnault. Una decisione storica, considerato che Abloh si appresta così a diventare il primo uomo di colore nelle fila di un grande conglomerato luxury. Leggi anche› Com’è andata la Paris Fashion Week maschile primavera estate 2022L’investimento in EtroLvmh, che controlla quasi un sesto del lusso mondiale e ha in portafoglio marchi che vanno da Bulgari a Dior a Fendi, continua quindi la sua strategia di ampliamento del portfolio. É notizia recentissima l’acquisizione, attraverso il fondo L Catterton Europe, della casa di moda italiana Etro. La società di private equity globale, partecipata dalla Financière Agache di Arnault, prenderà una partecipazione di maggioranza al 60% nella Maison, lasciando il restante 40% alla famiglia Etro.Una finalizzazione delle trattative iniziate nella primavera 2021: «dopo quasi 55 anni alla guida del marchio, crediamo che la collaborazione con L Catterton avvierà una nuova fase di crescita e di consolidamento del ruolo di Etro tra i fashion brands più longevi e prestigiosi» ha dichiarato il fondatore, Gerolamo “Gimmo” Etro (che assumerà l’incarico di presidente della società).Operazione “svecchiamento” per il lussoConsiderato anche l’ultimo acquisto in termini di tempo di L Catterton, il marchio di sandali Birkenstock, la strategia di Lvmh è chiara: puntare sui brand più innovativi amati dai giovani da un lato, investire sul prestigio tramite l’acquisizione di marchi classici, come Etro, dall’altro. Lo scopo? Svecchiare il mondo del lusso e renderlo più appetibile che mai, soprattutto per le nuove generazioni.Leggi anche› Il gruppo LVMH ha comprato Tiffany & CoUn’operazione già in atto, confermata anche dagli ultimi movimenti in atto negli altri grandi gruppi del lusso: la quotazione in Borsa di Ermenegildo Zegna, ad esempio. L’operazione avverrà attraverso la fusione con la spac Investindustrial acquisition Corp, una società-veicolo varata a fine 2020 per portare aziende italiane negli Usa. Zegna avrà un valore iniziale atteso di 3,2 miliardi di dollari, con una capitalizzazione di mercato prevista di 2,5 miliardi: ovvero, tanti soldi da investire in nuovi progetti.Ricevi news e aggiornamenti sulle ultime tendenze beauty direttamente nella tua postaIscriviti alla newsletterLeggi anche› Buon compleanno Re Giorgio. La sua carriera in 20 look memorabiliContinua inoltre a fare notizia il piano di John Elkann per costruire un potenziale conglomerato di lusso attorno a Ferrari, a partire dall’investimento in Giorgio Armani. Secondo rumors il rampollo della famiglia Agnelli si sarebbe offerto di acquisire una quota di minoranza nella casa di moda, anche se la proposta di alleanza per ora sarebbe stata respinta da re Giorgio, saldo alla guida e forte dei suoi appena compiuti 87 anni.iO Donna ©RIPRODUZIONE RISERVATA

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