Designers Switching Houses & Moving to New Brands | Page 51 | the Fashion Spot

Designers Switching Houses & Moving to New Brands

Re: Lanvin, there's an interesting article covering the topic. It's a bit old now as it's from May, but still it gives an interesting insight.


misstweed.com

Apparently, the same thing is happening now at AZ Factory.
I’m confused about Lanvin. I don’t know if it’s the desire for the IPO that is at the core of the management problems but I thought they had a good one with Bruno. The brand is part of the conversation again.
Losing Bruno might hurt the brand more than they believe actually.

AZ Factory in all fairness has no reason to exist without Alber. It’s such an unclear fashion company in a way…They invites people to design seasonal collections but there’s no common thread between all of them. You don’t see any real homage to Alber. Maybe they should rename it first. At best close it and concentrate on Chloe.
 
My only issue (the issue that makes him downright incompatible with most couture houses' aesthetics) is that he probably considers (Hubert's) Givenchy to be a house that makes "b*tch clothing".

I like Yohji's work though.

It's not like Yohji couldn't do it, he did bags in collaboration with Hermes for A/W 2008 remember? But he's never been fully 'under' someone else's name as a label and I doubt he's going to start now. I would love to see his Givenchy, he has the dark romance that we came to associate with the Tisci years as well as the technical skills to give a couture-like feel to the construction of clothes, but I just don't think he'd do it.
 
I’m confused about Lanvin. I don’t know if it’s the desire for the IPO that is at the core of the management problems but I thought they had a good one with Bruno. The brand is part of the conversation again.
Losing Bruno might hurt the brand more than they believe actually.
I think that the weird "customer centric" direction Mr. Theory will probably damage Lanvin. Since the start of Sialelli's tenure four years ago, he has changed his aesthetic TWICE (Spring '21 and Spring '23) and they both were quite drastic changes.

Sialelli showed signs of industry interest in the beginning, but he switches aesthetics for Spring '21, alienating that audience. He then builds an audience for that new aesthetic with a immersive film for Fall '21 film and a comeback show for Spring '22, but doing a cold artsy film instead of a runway show for Fall '22 killed that momentum.

Come Spring '23, they're alienating the second audience again with completely stripped down minimalism. I didn't see anyone mention that show on social media, which is not a good sign.

However, I don't think any of this is Sialelli's fault, but more of the suit not knowing what they want to do with Lanvin.

AZ Factory in all fairness has no reason to exist without Alber. It’s such an unclear fashion company in a way…They invites people to design seasonal collections but there’s no common thread between all of them. You don’t see any real homage to Alber. Maybe they should rename it first. At best close it and concentrate on Chloe.
The seasonal amigo model is great for independent designers to show their work with corporate support, but switching the aesthetic AND designer each season a bad way to build a loyal clientele, who need a couple of seasons to attach themselves to a new designer and their design direction. To add to that, Alber hadn't even had the time to establish any codes for AZ Factory. It's a business entity with no identity.

If Richemont wants to elevate independent designers, they should create a Paris equivalent to Fashion East (a NPO that offers financial support, business consulting, PR and an on-schedule runway show to 3 to 5 selected designer for a maximum of three seasons) and put a focus on heavily refining Mulier's chaotic, but promising Alaïa and redirecting Hearst's sustainability developments towards a fresher, happier Chloé.
 
Demna renewed his another 3 years contract with Balenciaga this year, right before the fall/winter 22 show in march/february. If he leaves the brand next year, it for sure won't be because of contract expiration. They have to simply fire him, cause his contract won't expire till the end of 2024/beginning of 2025.
 
Loved the references to Hubert de Givenchy in the last show, very subtle, a lot of black still that would be nice to see more colours I think but the cuts are always fantastic
 
I don’t understand what AZ Factory is exactly but this is the closest to a clear strategy I found , via WWD

“Exclusively digital until now, AZ Factory will operate a pop-up store in Paris that will straddle the fashion weeks for men’s and haute couture — and foreshadow what Alber Elbaz’s start-up is morphing into.

The 3,500-square-foot space at 16 Rue de Minimes in the Marais district, open from June 21 to July 8, will be part specialty store, part showroom, part brand incubator and part cultural curator, elaborating on the serial collaborations initiated in the wake of the founder’s passing — with designer Thebe Magugu the first “guest amigo” and Esther Manas the second.

Magugu’s collection for AZ Factory will be on sale, Manas’ will be shown to buyers and press, while a third amigo, recent fashion graduate Cyril Bourez, will unveil 35 one-of-a-kind looks interpreting iconic Elbaz designs via upcycled vintage Americana: Hawaiian shirts, sports jerseys and the like.

Down the road, AZ Factory might even consider investing in some of the talents it brings in for projects, which would make it something of a mini conglomerate within Compagnie Financière Richemont, which forged a joint venture with Elbaz in 2019. The start-up unveiled its first fashions in January 2021, centered on smart fabrics and with storytelling, problem-solving and entertainment embedded in design, distribution and communications.

Disclosing all these new developments in an exclusive interview, Richemont executive Mauro Grimaldi called the pop-up “a tactile experience of what we want to do with AZ Factory in the future.”

Since joining AZ Factory last January, Grimaldi, a strategic adviser to Philippe Fortunato, chief executive officer of Fashion & Accessories Maisons at Richemont, has been fine-tuning and elaborating the strategy and business model, which retains Elbaz’s central idea of “smart fashions that care” launched via product “stories” rather than collections.

“We want to support independent creativity,” he said. “I think it’s something very important for all the big groups in luxury.”

Grimaldi, who was previously CEO of Printemps International, said AZ Factory is planning about six product stories a year with guest creatives, and it already has collaborating amigos lined up through March 2023.


While its first three guest creators qualify as young designers in need of support and help at a critical juncture in their development, AZ Factory is widening the profile of creative partners it will invite. These could include:

  • Well-known, seasoned designers who may be at a turning point, or a bit out of the spotlight, as Elbaz was when he forged the JV with Richemont
  • Recent graduates and high-potential students from well-known fashion schools
  • Left-field creatives not directly related to fashion. For example, AZ Factory already conscripted Italian DJ collective Club Domani from renowned Milan club Plastic for music creation, and possibly a merchandising project down the road.
All the guest amigos will find benefits analogous in some ways to fashion prizes, only offering an entire ecosystem — a design studio, atelier, marketing muscle and communications channels — all the team members recruited by Elbaz before his passing.

Grimaldi noted that Magugu and Manas “loved this exchange with strong professionals and the possibility to work with a wider team than they’re used to,” he said. “We offer them financial support… We produce and finance this collaborative collection, and we distribute it through our website and other platforms such as Net-a-porter and Farfetch.”

AZ Factory also organized a showroom for the Magugu collaboration and sold it into an extra 30 specialty stores, including Selfridges, Saks Fifth Avenue.

“There is such a huge curiosity and interest for new designers,” he enthused about the retail reception.

“From a consumer point of view, we would like to become a beautiful e-shop where you can find collections that are unique,” Grimaldi said. “So we are moving from being a brand to a tool to support, finance and distribute collections.”

He noted that some creative amigos could become a recurring part of the AZ Factory offer, while others might be one-offs. “Each collection will follow a different trajectory,” he said, noting that product stories would likely reflect a diversity of price points, and some will be distributed in only certain parts of the world. “We really operate with the eye of a retailer.”


Grimaldi noted that visiting designers could stay longer than one season, or even attract investment from AZ Factory.

“We only consider brands or designers with which we can potentially create a long-term relationship. And we start with a one-shot collaboration in the same way in which a retailer selects a new brand to carry, thinking of the long term, but perhaps ends up buying it for just one season.

“Each of the projects we are doing, potentially, they can become long-term ones,” he added. “We have values in common, which are Alber’s values, and from there we start.”

“If we succeed in financing, and distributing a certain number of emerging brands, this could become for sure a profitable activity,” he said, drawing an analogy to successful multibrand showrooms with a strong curation of brands and business outcomes.

The pop-up gives further clues about AZ Factory’s cultural and esthetic universe: Participants include stylist and photographer Maripol, who will display Polaroids and jewelry, and hit the decks with her son; Milanese ceramics studio Atelier Brume; jewelry designer Marion Vidal, and fragrance house Sous le Manteau.

“We love this idea of keeping the [AZ Factory] project as a kind of ‘mutant’ entity that adaptS itself to different situations,” Grimaldi said. “It can bring the group new energy, new inspirations and new different angles to continue to analyze what is happening in fashion.”

It sounds interesting and maybe not so far from Fashion East , more like a showroom idea of different designers. I don’t think there were a lot of options to save this brand, but this strategy might be the most feasible option.
 
Demna renewed his another 3 years contract with Balenciaga this year, right before the fall/winter 22 show in march/february. If he leaves the brand next year, it for sure won't be because of contract expiration. They have to simply fire him, cause his contract won't expire till the end of 2024/beginning of 2025.

Thank you for this clarification!
 
I’m confused about Lanvin. I don’t know if it’s the desire for the IPO that is at the core of the management problems but I thought they had a good one with Bruno. The brand is part of the conversation again.
Losing Bruno might hurt the brand more than they believe actually.

AZ Factory in all fairness has no reason to exist without Alber. It’s such an unclear fashion company in a way…They invites people to design seasonal collections but there’s no common thread between all of them. You don’t see any real homage to Alber. Maybe they should rename it first. At best close it and concentrate on Chloe.

Absolutely agree on Sialleli. He's super talented, more talent than they deserve.

Regarding A to Z, I think they need to hire someone to replace Alber to give the brand some direction.

This whole thing with brands being a curated showcase for other talent looks good on paper but in reality it's not actually appealing for consumers

People like consistency, they like to know what a brand stands for. They want something to sink their teeth into.
 
Such a shame Trotter is already out. Her shows were actually visually impactful and interesting enough to make Lacoste relevant. That said, their strategy of producing a small fraction of the runway collections had been such a disservice to her vision, same with the lookbook-oriented approach they took for the upcycled season. I wish she gets appointed somewhere else soon, at a brand where she can really explore her point of view.
 


That makes sense, her first three collections for Lacoste were really cool, but she failed to keep up that hype during COVID-19 times.

Lacoste is shifting to a collaborative approach, which makes sense as Lacoste was never the brand to have a singular creative director's vision that permeated through the entire entity. Most of the runway offering didn't even arrive in stores.

As for Trotter, I'd personally like to see her attempt to jolt a bit a life into Hermès. Seeing a mix of her Lacoste's trippy energy mixed with her Joseph's sober elegance would be interesting to see.

Lacoste and Louise Trotter Part Ways
The French sportswear brand had not put on a runway show since September 2021.

By LILY TEMPLETON
JANUARY 6, 2023, 3:54AM

PARIS — Louis Trotter is leaving her position as creative director of Lacoste after a four-year tenure.

Trotter had been in charge of the fashion show and general collections and the company noted her contribution to its shift initiated towards women’s wear, lauding the “real consistency” she brought to its overall offering.

She had joined the company in 2018, showing her first collection in February 2019 during Paris Fashion Week.

“I feel the most honored to have served the legacy of Rene Lacoste, whose sporting values I will carry with me. I am very happy to have joined this unique brand that perfectly combines heritage and avant-gardism,” Trotter said in a statement announcing her departure, adding her hope that her creative team would “continue to flourish.”

Lacoste president Thierry Guibert thanked Trotter for “her creativity and commitment and for her contribution to the brand’s legacy.”

At the opening of the brand’s Champs-Elysées flagship store, the executive had pointed out Trotter’s contribution to Lacoste’s enduring sports casual identity, which saw the brand weather the pandemic better than most.

Trotter’s future plans could not be immediately learned.

Her latest designs were showcased during an intimate presentation in Paris. They will be sold as part of the spring 2023 offering.

Trotter’s departure arrives at a moment where Lacoste is rethinking its creative approach, stating that it would take the shape of “a collaborative studio model focused on a collective vision.”

The brand will also be celebrating its 90th anniversary in 2023.

Recently, the French brand also announced in December that it had signed a 15-year worldwide licensing agreement with Interparfums SA and the launch of a new perfume line in 2024, after wrapping up its existing relationship with Coty.
Source: WWD
 
She was really great for Lacoste. She is really good with knitwear.
Their strategy has always puzzled me in a way. A small selection was available in their e-shop and Tom Greyhound is probably the only shop I know that stocked some of her stuff.

I don’t know. If she got to be on the forefront, I can see her at Chloe. I can also see her being part of Alexandre Mattiussi’s team or Acne Studios.

I’m more excited on what’s next for her than what’s next for Lacoste.
 
She was really great for Lacoste. She is really good with knitwear.
Their strategy has always puzzled me in a way. A small selection was available in their e-shop and Tom Greyhound is probably the only shop I know that stocked some of her stuff.

I don’t know. If she got to be on the forefront, I can see her at Chloe. I can also see her being part of Alexandre Mattiussi’s team or Acne Studios.

I’m more excited on what’s next for her than what’s next for Lacoste.
Trotter as the artistic director at Chloé would be so interesting to see, especially because I know she'd keep up Hearst's sustainability strategy, but in a fresher, more modern delivery in clothes.
 
She was really great for Lacoste. She is really good with knitwear.
Their strategy has always puzzled me in a way. A small selection was available in their e-shop and Tom Greyhound is probably the only shop I know that stocked some of her stuff.

I don’t know. If she got to be on the forefront, I can see her at Chloe. I can also see her being part of Alexandre Mattiussi’s team or Acne Studios.

I’m more excited on what’s next for her than what’s next for Lacoste.
Trotter as the artistic director at Chloé would be so interesting to see, especially because I know she'd keep up Hearst's sustainability strategy, but in a fresher, more modern delivery in clothes.

i think Chloe could be a great match.. Louise Trotter has a proven track record of selling pret a porter at different price ranges.. and I agree with you concerning sustainability.. Hearst branded that at Chloe but her catwalk shows have been weak.. Louise could definitely continue that strategy but give a more dynamic catwalk show and selling collections which Hearst lacks in her limited skill set
 
New collaboration at AZ Factory:
EXCLUSIVE: AZ Factory to Showcase Fledgling Designer Tennessy Thoreson During Paris Couture Week
A graduate of HEAD Geneva, the French designer will reveal 12 looks during a "theatrical show" on Jan. 23.


By JOELLE DIDERICH
JANUARY 3, 2023, 1:00AM


PARIS — AZ Factory is doubling down on its commitment to support emerging talents by staging an event during Paris Couture Week as a showcase for the work of Tennessy Thoreson, a recent fashion school graduate taking his first steps in the industry.

Having pivoted to a platform for collaborations with guest creatives, or “amigos,” following the untimely death of its founder Alber Elbaz in 2021, AZ Factory is set to present what it bills as a “theatrical show” on Jan. 23 featuring 12 looks by Thoreson inspired by the concept of “super heroines and their exceptional powers,” the house revealed exclusively to WWD.

Richemont executive Mauro Grimaldi met the French designer at his graduate show at the Geneva University of Art and Design (HEAD) in November 2021, where Thoreson won both the Eyes on Talents award and the bachelor Bongénie Prize with his sharp fantasy silhouettes with pops of acidic color and faux fur.

Grimaldi said he was impressed by Thoreson’s technical skills and distinctive aesthetic, and his skill for storytelling, rooted in female and queer empowerment, inclusivity and joy.

“His vision of fashion and of society was very clear and really current, and at the same time, he has an amazing, super emotional, way to communicate,” he recalled. “When you meet a designer that has technical skills, a very sharp aesthetic, a strong storytelling and the ability to communicate it — in my vision, this designer has most of the elements that can take him or her to success.”

With strong links to the drag community, Thoreson embodies AZ Factory’s ethos of “smart fashion that cares,” the executive said.

“We thought this idea of a heroine really resonated with one of the pillars of Alber’s philosophy, which was the idea that clothing can offer you a kind of protection from the outside world,” Grimaldi said. “As a kind of extension of this idea, we love this idea of a collection of 12 looks, each of them with a superpower.”

The designs will be available for custom order, with fittings to take place at AZ Factory’s atelier located at the Fondation Cartier in Paris.

“It will work as a true couture experience for a new generation, for people that are probably today much more into streetwear or a different approach to fashion,” Grimaldi said. “It’s a product, but it will also be an experience.”

As reported, AZ Factory is planning six presentations a year with guest creatives. While couture week is reserved for emerging talents, the ready-to-wear shows will be a time to unveil collaborations with more established designers that have the potential to become permanent, such as Lutz Huelle, who brought his expertise to the spring 2023 collection.

The brand will present confirmed or internal projects on the pre-collections schedule, with a repeat collaboration from 2022 slated for next May or June. AZ Factory’s initial slate of partnerships also included Thebe Magugu, Ester Manas, Cyril Bourez, Sheltersuit and Italian DJ collective Club Domani.

After hosting a first pop-up store in Paris during the fashion weeks for men’s and haute couture last summer, Grimaldi is considering another temporary space in 2023, though he has ruled out the idea of a permanent flagship for the brand. AZ Factory works with around 50 retailers worldwide, including Selfridges, Saks, Bergdorf Goodman, Printemps and I.T.

“We are not looking for a 200-door distribution. We are growing step by step with the right people,” he said. “We are not into creating a huge business with no limits, but we are really into protecting and incubating designers that need to be protected, whatever stage they are at.”

Elaborating on the rationale behind working with “absolute beginners,” such as Bourez and Thoreson, Grimaldi said the idea was to develop a network of talents around parent company Compagnie Financière Richemont.

“These projects that we present during couture, they do not have an immediate focus on commercial potential, but they represent Richemont’s commitment to support the next generation of designers,” said Grimaldi, a strategic adviser to Philippe Fortunato, chief executive officer of Fashion & Accessories Maisons at the luxury conglomerate, which owns brands including Chloe, Cartier and Alaïa.

“Even if we start with a one-shot collaboration, we look for people that potentially can become permanent collaborations for the group in different ways. It could be with AZ Factory directly, it could be with another house of the group, it could even be that at a certain point, with some of them, we decide as a group to support them and to invest in their own brand,” he explained.

“For sure, we never select designers with whom we already know from the very beginning that there will not be space for a second or a permanent episode,” he added. “The original idea about AZ Factory is to create solid and non-conventional relations between one of the biggest conglomerates and independent designers.”

While fashion prizes have grown in size and stature in recent years, AZ Factory’s platform vaults recent graduates straight into a luxury group, with full access to creative and product development teams, as well as marketing and communications resources.

“This is the real beauty: we offer talented people an opportunity even before they are ready from a structural point of view,” Grimaldi said. To wit, Thoreson has yet to found his own brand. Following a stint at Chloé, he is now interning at Paco Rabanne.

“We offer them the possibility to realize their very early dreams. And at the same time, we try to offer them a first scheme to structure these dreams into a true collection,” Grimaldi said. “On the other side, what we receive from that is that we have the possibility to create a dialogue with designers that can be leaders in the industry in the future.”
Source: WWD
 

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