Discussion: The State of Kering

[PDFSD]

Bring back Frida! She should have never gone into a relationship with the CEO or else her tenure would have last longer.

the ceo was going to fire hire so going with him saved her to stay longer the story has been told by both in interviews

 

[Lola701]

Bring back Frida! She should have never gone into a relationship with the CEO or else her tenure would have last longer.

Thank god they were together. He supported her ideas and I’m not sure another CEO would have supported the fact that Gucci started to push leather a lot, distancing themselves from the logo and things like that.

She left earlier because the new CEO didn’t liked her. But she was going anyway. She was supposed to leave in 2015.

I bet she didn’t know that the person who consider her as a sister wanted her spot.

 

[Lola701]

the ceo was going to fire hire so going with him saved her to stay longer the story has been told by both in interviews

I re-watched her documentary lately and in a weird way, despite not liking her work, I connected heavily with her as a woman who has to make decision but seeing Alessandro and all those people from Walter and others was weird.
I almost felt like their was some build up resentment from them towards her being so focused on her vision and dismissing her concept.

When she wanted modernity (something I relate to) and said to Alessandro that his bags are some old ladies but not modern, I kept saying to myself: That man is hating you Frida!

 

[PDFSD]

Thank god they were together. He supported her ideas and I’m not sure another CEO would have supported the fact that Gucci started to push leather a lot, distancing themselves from the logo and things like that.

She left earlier because the new CEO didn’t liked her. But she was going anyway. She was supposed to leave in 2015.

I bet she didn’t know that the person who consider her as a sister wanted her spot.

leading up to her removal that person already had warned her and they had already a rif and he was planning already to leave as well till hat meeting with the new ceo took place and he got the offer

 

[PDFSD]

I re-watched her documentary lately and in a weird way, despite not liking her work, I connected heavily with her as a woman who has to make decision but seeing Alessandro and all those people from Walter and others was weird.
I almost felt like their was some build up resentment from them towards her being so focused on her vision and dismissing her concept.

When she wanted modernity (something I relate to) and said to Alessandro that his bags are some old ladies but not modern, I kept saying to myself: That man is hating you Frida!

it goes both ways she was also mean and vindictive/elitist toward other woman especially, like how you see her now on IG that's how she was with in the walls of Gucci Palazzo.

i am sure the gays around her could not stand her even if they were well paid minions including her nr 2 Alessandro.

she was known to not wanting to let the teams/or stylist try new things she would always remove and edit things down to nothing and had a narrow view on fashion that was only shinny and jet setter meets art deco like her house in rome and gucci store refurbished under her direction.

this was the frustration i understood from people that worked with her for years , then she was obsessed to come across as knowing what she wanted and being short and deceive about it as a boss /leader.

they told me it was not even aloud to wear brands like prada etc in the design office or even birkenstocks lol nothing that would not fit with in her idea of luxury.

this made for flat outcomes for many collections as experimationed was not given time nor space to happen she would do collection in short period.

the result was the zara stigma that plagued her end years and resulted in her end at gucci

 

[Lola701]

it goes both ways she was also mean and vindictive/elitist toward other woman especially, like how you see her now on IG that's how she was with in the walls of Gucci Palazzo.

i am sure the gays around her could not stand her even if they were well paid minions including her nr 2 Alessandro.

she was known to not wanting to let the teams/or stylist try new things she would always remove and edit things down to nothing and had a narrow view on fashion that was only shinny and jet setter meets art deco like her house in rome and gucci store refurbished under her direction.

this was the frustration i understood from people that worked with her for years , then she was obsessed to come across as knowing what she wanted and being short and deceive about it as a boss /leader.

they told me it was not even aloud to wear brands like prada etc in the design office or even birkenstocks lol nothing that would not fit with in her idea of luxury.

this made for flat outcomes for many collections as experimationed was not given time nor space to happen she would do collection in short period.

the result was the zara stigma that plagued her end years and resulted in her end at gucci

Oh! While I have to admit that I subscribe to the idea of modernity and liked her Glamour stores (Stefano stores were better though), we saw through the results that her taste was questionable.

And in a way, there are some parallels between her and MGC. They seems very stubborn into their ways and therefore, we saw how the collections looked.

I would love to have the opinion of someone from her studio over those pants she used to make. For the life of me, I still don’t get why those pants made it to the runway seasons after seasons.

Unfortunately for some creative directors, the way their teams talks about them is always telling. In a way she got it in common with Stefano…

 

[PDFSD]

Mimma Viglezio on linkedin.com

So, yes, it was time. 20 years later, FHP is stepping down. That part wasn’t surprising. What was surprising was the appointment of Mr. De Meo.
I assumed that his deputy CEO, Francesca Bellettini, formerly CEO of Saint Laurent, was being groomed to take over. And it made sense. Ms Bellettini has had tremendous success at Saint Laurent. It seemed only logical that she would be next in line.
But that didn’t happen. Instead, a man was chosen, again, a proven leader in the car industry, not fashion. Ms Bellettini will remain as Associate CEO, and she’ll be key to helping Mr. De Meo navigate the particular rules of the fashion world (if there are any still left). In short, she will be his coach!!
Meanwhile, De Meo will be tasked with reviving Gucci, a 104-year-old brand that represents roughly 45% of Kering’s revenue and 60% of its profits. No small task.
I do think it was time for FHP to pass the baton, and I also know that Bellettini was part of the executive team and therefore played a role in making the mistake of appointing Sabato Di Sarno after Alessandro Michele left his role as Gucci Creative Director; Still, bringing in De Meo, a respected automotive executive known for product-focused leadership, is bold and risky. Our sector is facing real challenges, and while a sharp product focus is important, it can also become a trap. Yes, the product must be impeccable: desirable, high-quality, priced right, and creative. But it can’t be the only thing.
In fashion, the brands and the designers are stars too. The spreadsheets cannot drive the creative vision. The magic comes from giving creatives the space to do what they do best, especially in ready-to-wear.
I hope Mr.De Meo understands and respects that. I don’t know how brand vs. product plays out in the car world, but I do know a thing or two about fashion.
And as for Ms. Bellettini, how does she feel about another outsider, another man, being picked to lead? We’ll soon find out.
Visit LinkedIn

​

reply´s on the text above from : ​

​

Astrid Wendlandt​

misstweed.com

- I think de Meo will change the leadership. Heads will roll….

Paolo Piantella​

Strategic Communication & PR Director

- Astrid Wendlandt I think you are right considering how things have been poorly managed so far…

Astrid Wendlandt​

misstweed.com

- Paolo Piantella yes only Pinault might block certain tough decisions


loving this public chats on linkedin lol

 

[PDFSD]

WWD​

CEO TALKS: Kering’s Francesca Bellettini​

The executive unpacked a flurry of designer and CEO changes, and shared her views on creativity, mentorship, change and the power of saying "yes."
ByMILES SOCHA

JUNE 27, 2025, 1:00AM​

Francesca Bellettini MARCO CELLA/COURTESY OF KERING


Earlier this year, Kering quietly changed its corporate tag line from “Empowering Imagination” to “Creativity Is Our Legacy.”
The new slogan revs up Francesca Bellettini, Kering’s deputy chief executive officer in charge of development, for it crystallizes her passion for working with top designers, ignited when she had the chance early in her career to interface with Helmut Lang.
“I really saw how a collection is done out of nowhere, from a white piece of paper, from sensitivity, and that for me was magical,” she related.

Fast forward to today, and Kering has put creativity at the center of its strategy.

An investment banker who segued into business development, and later communications and merchandising for fashion houses including Prada, Gucci and Bottega Veneta, Bellettini seems to thrive on challenges, even relishing the opportunities that can be seized during downturns and crises — including the one currently weighing on the luxury sector, and on Kering in particular.

Indicative of her ease with change, Bellettini honored an interview appointment with WWD fixed a few weeks before the surprise announcement that Renault Group’s CEO will become Kering’s new CEO on Sept. 15, succeeding François-Henri Pinault, who remains chairman.

“I know that Luca de Meo has an incredible track record and history, so it will bring only good to the group,” she said, flashing a big smile.

It was WWD’s intention to unpack the many decisions she spearheaded over the past year, in concert with Pinault, that leaves three Kering houses with new creative directors — Gucci, Balenciaga and Bottega Veneta — and four with new CEOs, at Gucci, Balenciaga, Brioni and Saint Laurent, where she relinquished the CEO title to manage the workload overseeing a stable of brands that also includes McQueen, Pomellato and Queelin.




In a wide-ranging conversation, Bellettini discussed her management style, mentorship, succession planning and the power of saying “yes.”

WWD: About the new corporate tag line: Why is creativity so central to the group’s legacy, and how does this tag line guide and inspire you?

Francesca Bellettini: For the past 10 years, the group really focused on luxury, and so we wanted to define ourselves in an even better and unique way vis-a-vis others that may have another idea of how to make the business. It’s very important, the combination of the two words…because legacy is something that evolves. Legacy starts from your heritage, starts from your history, but what fuels the legacy is creativity. The creativity of today builds a legacy of tomorrow.

WWD: Some people perceive Kering as more of a “fashion” player than a typical “luxury” player, implying that it relies more on trends and heat than brand heritage and DNA, savoir-faire, etc. Do you agree with that?

F.B.: That’s a misconception in my view. We create trends through creativity, we don’t follow trends. Creativity doesn’t mean that you don’t consider the heritage of the brand. We have many brands that have been created very long ago. Think of Gucci, think of Ginori 1735, think of Balenciaga. They all have a heritage, but again, they were all founded on creativity. Through creativity, we keep our heritage alive.

I’m in love with creativity as a manager, and so being in the fashion industry is a plus, because it gives you the opportunity to work with creative people and to create a business out of incredible creative ideas.




WWD: What sparked your passion for working with designers?

F.B.: Early in my career, when I was in Prada, I started to work with Helmut Lang, where I was operations manager. The company was small, so I had a super direct relationship with Helmut. And I learned so much.

Then I saw that in this industry, there is a role also for businesspeople, because that creativity needs to become a business.

WWD: You have three new creative directors making debuts this fall at three big Kering brands. Can you talk about that?

F.B.: Every brand has its own momentum. What is true is that Gucci needed a new injection of creativity, and we planned to bring that at a certain moment. In the last two years before the change of creative director, we worked on the brand to prepare the territory for a new, strong injection of creativity. Demna was, for me, an obvious choice. It’s very clear to me what Demna can bring to Gucci, a brand that benefits from a tension between heritage and newness. Demna is going to build on the heritage of the brand, build on the iconicity of the brand, but inject his strong creativity, his point of view, to recreate desirability.

Louise Trotter, Demna and Pierpaolo Piccioli. Courtesy Photos
Demna had to accept the job. It was not an imposition to take the job at Gucci, but of course it necessitated a search at Balenciaga. This brand probably needed to build on what Demna has been doing in the last 10 years and this is why the search for the new creative director of Balenciaga was very narrowly focused. When meeting with Pierpaolo [Piccioli], his project for Balenciaga was amazing, exactly for that, because he presented a project that was a build-on. The 10 years of Demna at Balenciaga have been incredible. They have opened doors for the brand that no one else could have opened. I don’t need to describe Pierpaolo’s capability on couture volumes, it is well known. But the striking point was his ability to connect and build on what had been done.




In the case of Bottega Veneta and Louise Trotter, it’s a different story, because Matthieu [Blazy] decided to take another opportunity. It opened up the opportunity for us to search for a person that could accelerate certain ideas that we had for the brand. So we were searching for a creative director that had the same sensitivity as the brand. The choice of Louise was done quite quickly and was quite obvious to myself, Leo [Rongone, Bottega’s CEO] and François-Henri, because of this connection.

We have been very fast and very precise in those recruitments and didn’t lose any time. We are quite prepared. We know the talents that we have internally. We have mapped the talent outside. The choice of the right creative person for a certain moment in a brand is the most important one.

WWD: Kering has had a reputation for recruiting hidden or number-two designers if you look back at the hiring of Daniel Lee for Bottega, Alessandro Michele and Sabato de Sarno at Gucci and Blazy for Bottega. Your three new creative directors are quite well known. Does this represent a change in strategy?

F.B.: No, it’s not a change in the strategy. You simply need to get the right person. It’s not that I decide, ‘Oh, here, I want the famous person. Here, I want a number two.’…It has to be a perfect match. In particular, their sensitivity needs to be correct for the brand. I don’t believe that every creative director can be good for every brand. There has to be the sparkle in the eyes when they talk about it.




WWD: Exactly how much creative freedom are your creative directors given?

F.B.: I prefer the words trust and respect. Freedom implies that you can give it and to take it away. For me, it’s more about saying to the designer, “I trust you in your role.” If he or she stays within the framework of the brand, I love to empower creativity. I love to see ideas that I would never think of. In this sense, it’s the freedom of the CEO to be able to say yes to creative ideas.

It would be easy to say no all the time — no because there’s no budget, no because it’s too risky. You have that power when you are the boss.…Whenever I say no, it always comes with the reason why. But a yes to a creative idea can bring you to the magic. And when you have incredible creative people working with you, that’s what you want to do. So if that means a freedom, it’s freedom. But for me, it’s more trust and being aligned with what the brand has to do, what the brands represent. And of course, if you see suddenly a creative person going outside whatever is the framework of the brand, the positioning of the brand and what has been decided together, of course we intervene, but it’s a dual work. It’s a mutual respect and a mutual trust. At the end of the day, we are all working for the brand, and that’s the conversation that happens constantly.

WWD: You obviously said “yes” to Saint Laurent Productions, which catapulted the brand into film production?

F.B.: It was [Saint Laurent creative director] Anthony Vaccarello’s idea based on his understanding of the brand. When he presented to me this idea and the way in which he articulated it, I fell in love with it. I thought it resonated very much with the brand, because it’s a form of collaboration at the end of the day. And a brand today cannot resonate only with product. It was a form of collaborating with other artists, in this case directors, actors and expanding the brand in a territory where we were not before. And if you think about the return that the brand had thanks to that initiative, in terms of awareness, in terms of the people that are going to watch the movie and they see “Saint Laurent Productions by Anthony Vaccarello,” it’s impressive.




We were also able to create experiences for our clients — film premieres, talks with the actors, podcasts with the directors. Imagine if I would have said, “No, because that is too strange, too expensive.” And then we wouldn’t have produced “Emilia Pérez” and won Golden Globes, Césars and Oscars. It’s a great example of what is right for a brand moving in a different territory.

WWD: Gucci is obviously a key focus for the group, given its scale and important profit contributions, and its worrisome slowdown. Can you give your prognosis?

F.B.: We had to work on operations first because the brand had been growing so quickly and it achieved a level of sales that was incredible. When you grow so fast, the structure needs to adapt, but then you don’t have the time to plan it perfectly.

We decided to reassess all of this and to take the opportunity to intervene on certain processes and operations, to fix them, from the organizational structure to the level of new products you put in stores versus carryovers.

As Gucci was growing, it was also becoming more retailized. Now almost 95 percent of sales are via directly operated stores, so basically, it’s a retail company. We reviewed the structure of the retail function within the company, the structure of the merchandising, and also worked on the quality of the products.

I must praise Sabato, who was really, really fond of products, and helped the company a lot in improving the quality. Gucci today is, for sure, in better shape and in a better situation to be ready for the injection of the creativity that will come from Demna. But again, it’s teamwork. One could not exist without the other one. It’s not Demna alone that is going to change the trajectory of Gucci, it’s the team with Demna.




WWD: You once told me that you don’t mind operating in a downtown, insofar as you can better detect the impact of your decisions and strategies than in boom times, when all boats rise. How are you tackling the current morose and volatile climate for fashion and luxury?

F.B.: In a moment of crisis, it’s always an opportunity to relook at yourself. You need to be very pragmatic and stay focused on the things that you can control.

The worst would be to be defensive and to say, “I don’t change, because I’ve always been doing things in a certain way.” Everything needs to be reassessed with a sense of urgency, without creating panic, because panic is the worst enemy of good business, along with fear….What I love is always having a portfolio of actions that bring results at different times. If you would only do actions that bring short-term results, you risk compromising the positioning of the brand.

You need to be very aware of when you can expect the results to come. If you put in place an action plan that you think is going to give the results in a month and the result is not coming, you need to shift gears. If you put in place an action plan knowing that the results are going to come in six months, in a year, you don’t have to panic if you don’t see the results straightaway.

I don’t want to waste the opportunity of a crisis to fix certain things.


Stefano Cantino, Federico Arrigoni, Gianfranco Gianangeli and Cédric Charbit. Courtesy Photos
WWD: Since you were named deputy CEO in charge of brand development, Gucci, Saint Laurent, Balenciaga and Brioni have all named new CEOs. Can you elaborate on the rationale for these appointments?




F.B.: These CEOs were chosen thinking about where the brands have to go. What is the strategy for the brand, short, medium and long term? And do they have the skills to deliver that? I know all of them — the new CEOs — personally, and worked with them in the past.

I love to work on succession planning. I think that is the duty of a manager to study and groom talent. I love to work with people who are great, who have skills that are better than mine, because then you keep learning.

It’s a very important responsibility of every manager and every CEO to build a team below him or her of great talents for the brand, and also for the group.

WWD: A good number of prominent CEOs inside Kering and outside have worked under you. Can you talk a little bit about mentoring, transmission and building tomorrow’s fashion leaders?

F.B.: To mentor, the first thing that you need to do is listen. Because if you don’t listen to the person, and you think that you can use a formula with everybody, it doesn’t work. When you are a boss you need to adapt yourself in the way you liaise with people to make yourself understood.

In Italian, we have two words to define two different kind of leaders.

An authoritarian leader relies a lot on the power. “I’m the boss. I tell you what to do. We go — bam!” They usually surround themselves by “yes” people, they don’t like very much confrontation. They can bring results, for sure, but they tend to create an environment of fear, where people don’t speak up. And in my view, in particularly in a business that has to deal with creativity, if you create fear, you’re done.




The other kind of leader still decides, still knows that he or she is the boss, but stimulates a dialogue, listens and try to create a team and is very aware that a collective intelligence is much better. You see it also in sports. When you build a team where everybody is a super champion, most of the time, you win nothing because they are on the field thinking only about themselves and what they can do. When you build a team of great players and you have a great coach that finds a way to make them play together, that’s when they win everything, and that’s the one that I prefer.

Three people that were working for me got promoted while I was CEO of Saint Laurent: Emmanuel Gintzburger to Alexander McQueen, Cédric Charbit to Balenciaga, and Leo Rongone to Bottega Veneta.…I always said to the team, “When you see your colleague being promoted to CEO, it’s because this person is a great talent, but also because we are strong enough as a team to go without that great talent.” You need to search for people that can work very well together. And I tend to focus more on the strengths of people rather than on the weaknesses.

It doesn’t mean that everybody can arrive to the top, but we don’t need only top people. We need great people across the organization.

When I see my team growing, I’m happy. I don’t know if it’s because I don’t have children. But when I see people that I believed in, and mentored, and they make it, I’m very happy.

WWD: Can you also talk about how your formative experiences in investment banking shaped you into the CEO you are today?




F.B.: In investment banking, you learn very quickly the importance of the teamwork. You never work alone, and you work a lot, and you know that to succeed and to finish the project, the team has to function, and everybody has to do their job.

I also realized how much I love numbers. I was always very good with numbers at school…they speak to me. And when I moved into merchandising, I learned how numbers could help you working also with creative people.

The first person who told me I could be a good merchandiser was Mark Lee, when he was CEO at Gucci and I was doing business development for the brand. He said, “I think you have the characteristics to be a good merchandiser, because a good merchandiser needs to be good with numbers, but at the same time, also have a sensitivity for products, because you have to have the rational part, but also being able to embrace the creativity.” And so he gave me my first job in merchandising at Gucci.

All my career has been very helpful to become a CEO, and every experience that I did was very helpful.

WWD: How would you describe your leadership style?

F.B.: Putting it at the service of the group and not only a brand. My style in working with the CEOs has been this one, staying close to them, having a role also of mentor. You know that the CEO is a very lonely person. In a a company, you need to be quite strong. Of course, you have your team, and the team is close to you, but you also need to protect them. You cannot throw your worries, the tension, the stress of certain situations to your team.




When I was CEO of Saint Laurent, there was more distance from François-Henri. When he created my job, it was to create an intermediary in between his role and the brands. He was also preparing a succession, but it was to create an intermediary that could narrow the gap with him being chairman, CEO and also the shareholder of the group.…Each of our brands needs to build a strong relevance. And that’s what we have been working on.

WWD: There are still relatively few women CEOs in our industry, and you happen to be in a group with many initiatives to advance women’s causes and help women in need. How do you use your platform to aid progress?

F.B.: I hope that I can serve as an example for all the girls that have the ambition to grow and to have a career, and I love speaking in front of university students. I really hope that by looking at me, they can think, “If she can do it, I can do it, too.”

We are in a group that values diversity, and I value diversity very much, too. Sixty-three percent of our employees are women, 57 percent of our managers are women, and more than 45 percent of our executive committee members are women, so a lot of progress has been made. You need to be given equal opportunities, and that’s the culture of Kering.

WWD: You have a reputation for being a very hands-on CEO, and you initially held onto the leadership of Saint Laurent when you became deputy CEO of Kering. Is it hard to let go, or are you easily finding your rewards in different ways?




F.B.: It has been a process. I cried when I abandoned the role of CEO of Saint Laurent, but I wanted to give it up to make sure that I could do well my job as deputy CEO of Kering. I could not continue to do both, especially because I am also responsible for development of the jewelry brand since January. (Note: Since the interview took place, Kering also appointed a new CEO for the DoDo brand.) Also, we were ready with the succession planning. Cédric is the perfect person to take Saint Laurent to the next level. Of course, Saint Laurent is my baby. I’ve been there 10 years, so of course I was very emotional the day I had to leave that role.

But I also learned how you can contribute from a distance. A critical part of my job today is not to substitute the CEO. I am the deputy CEO of the group in charge of brand development, so I help them developing the brand, but I would never decide in their place. Of course, if I think they are making a mistake, I intervene and I say it. There is a very open and regular dialogue, but it’s very important that I respect the role, because I need the best professionals in those positions, and I need CEOs with full power.

WWD: How far do you sketch out the roadmaps for the houses under your purview?

F.B.: You need to have a long-term vision. The DNA of the brand is forever, like the DNA of a person. We all evolve as people, we all adapt, we all change, but we don’t change who we are. I always give this example when I must define a brand. A brand for me is like a person. It has its own characteristics, values, certain icons, certain elements. And then it evolves with the times. A brand has to consider opportunities, business evolution, new markets, new ways of consumption, but the creativity always must respect the fundamental values and the brand territory.




For example, now we talk about brand experiences, something never mentioned even 30 years ago. We were talking about mostly products, and in multibrand retailers. Now we are talking about products in your own stores and experiences to make sure the client is engaged.

WWD: Is there still room for taking risks in the luxury landscape of today?

F.B.: There are opportunities for the luxury industry to take risks, to embrace creativity even more — it’s very important. Whether it’s a well-known designer or a newcomer — it doesn’t matter. This industry needs a stronger creative point of view. We need to sell the dream. You need to inspire, because we don’t make things that people need. We do things that people want. It’s very different. And the ability to create desirability is the difference in our industry.

WWD: Finally, you’ve worked side by side with François-Henri Pinault for many years. How do you feel about the changing of the guard?

F.B.: In our industry, we have to be open to changes and open to questioning ourselves. I happen to know Luca de Meo a little bit. We got to know each other because we were both interviewed for a book that has been published about Italians in Paris. We have some friends in common.

For me, he’s a super manager. It’s incredible what he has been doing, not only at Renault, but also before. Luca de Meo is a superstar in Italy, and we all know how strong he is, so I am eager to see what he’s going to bring. I’m very open to changes. From changes, we can all learn and be excited. So I’m excited for this new chapter.




I’ve been in this group for more than 20 years. I’ve seen many changes happening. Every change brought something good. François-Henri stays as a chairman. So that’s also important, because I think one of our values is also to be a family-led group, and this is still a family-led group, because François-Henri is our chairman, and the Pinault family is our major shareholder. But it’s great to have a leader like Luca de Meo joining us with his track record.

​

 

[FashionPower]

If it had not been for Demna and Vaccarello...

 

[PDFSD]

its more this for me :
I happen to know Luca de Meo a little bit. We got to know each other because we were both interviewed for a book that has been published about Italians in Paris. We have some friends in common.

Such a low hanging fruit thing to say lol it smells of pick me girl fear of future rejection.

Just note how good you know or think he is basta no need to underline your detailed proximity to his circle or to him , this i typical behavior of aligning yourself in hope to be part of a circle etc what people do when they name drop at gatherings or office with new incoming boss.

She reminds me of a mix of the 2 below psychological and social dynamics ideas:

Ingratiation (a Persuasion/Social Influence Tactic)​

• This is a strategy where someone tries to make themselves more likable or valuable by aligning themselves with respected figures. It can involve flattery, conformity, or (in this case) highlighting connections.

Protective Self-Presentation (Impression Management)​

• This person may be engaging in a defensive tactic to avoid appearing replaceable by tying their value to their associations rather than their own skills.

Also she contradicts herself with first saying now they are focusing on fashion creative as past was a lot focus on luxury which is total BS and the WWD writer gently pushed back and she then gives a weak answer saying: That’s a misconception in my view. We create trends through creativity, we don’t follow trends. Creativity doesn’t mean that you don’t consider the heritage of the brand.

Mixing the idea od heritage with luxury in order to prove her point that Kering was not being (WWD: Some people perceive Kering as more of a “fashion” player than a typical “luxury” player)

Ping Pong of Wordplay Scrabbler that should be behind her CEO title.

Tired of her repetitive choices and no accountability and trying to sell fashionability (her word) as the new genius idea.

odd timing of this interview as well very long and shallow not saying much more like a public CV bio

 

[Nimsay]

Beletini was passed over bc YSL is basically nothing now. I told you guys last year ol girl was over…YSL is selling decade old accessory designs and RTW nobody cares about. It is the worst top tier brand in the world right now.

 

[oioioi]

Beletini was passed over bc YSL is basically nothing now. I told you guys last year ol girl was over…YSL is selling decade old accessory designs and RTW nobody cares about. It is the worst top tier brand in the world right now.

Do you think there will be a CD change at YSL soon with Cedric going back as CEO, and a new incoming Kering CEO?
Since Vaccarello hates accessories on the runway and is very strict on the type of heelwear they show.
I remember his and Bellettini's joint FT interview a few years ago saying their agreement was she could do whatever leathergoods off the catwalk but he had total say in what's shown, no bags there etc.

 

[Phuel]

its more this for me :
I happen to know Luca de Meo a little bit. We got to know each other because we were both interviewed for a book that has been published about Italians in Paris. We have some friends in common.

Such a low hanging fruit thing to say lol it smells of pick me girl fear of future rejection.

Just note how good you know or think he is basta no need to underline your detailed proximity to his circle or to him , this i typical behavior of aligning yourself in hope to be part of a circle etc what people do when they name drop at gatherings or office with new incoming boss.

She reminds me of a mix of the 2 below psychological and social dynamics ideas:

Ingratiation (a Persuasion/Social Influence Tactic)​

• This is a strategy where someone tries to make themselves more likable or valuable by aligning themselves with respected figures. It can involve flattery, conformity, or (in this case) highlighting connections.

Protective Self-Presentation (Impression Management)​

• This person may be engaging in a defensive tactic to avoid appearing replaceable by tying their value to their associations rather than their own skills.

Also she contradicts herself with first saying now they are focusing on fashion creative as past was a lot focus on luxury which is total BS and the WWD writer gently pushed back and she then gives a weak answer saying: That’s a misconception in my view. We create trends through creativity, we don’t follow trends. Creativity doesn’t mean that you don’t consider the heritage of the brand.

Mixing the idea od heritage with luxury in order to prove her point that Kering was not being (WWD: Some people perceive Kering as more of a “fashion” player than a typical “luxury” player)

Ping Pong of Wordplay Scrabbler that should be behind her CEO title.

Tired of her repetitive choices and no accountability and trying to sell fashionability (her word) as the new genius idea.

odd timing of this interview as well very long and shallow not saying much more like a public CV bio

She’s a sign of the fashion times we live in: It’s an inevitability that individuals of her ilk would dominate teh highest positions in the industry and her tastes and preferences are the result that shape a fashion era. There are many of her ilks I’ve come across now plaguing creative positions but truly belong in the business department, not creative. Just because she may dress the part, look the part, even well-rehearsed talking the part, doesn’t mean she’s right for the part. I can see why she genuinely has an affinity with Anthony: They are from the same shallowest end of their so-called championship of creativity.

(Lola still going on about Frida's pant LOOOOL)

 

[PDFSD]

She’s a sign of the fashion times we live in: It’s an inevitability that individuals of her ilk would dominate the highest positions in the industry and her tastes and preferences are the result that shape a fashion era. There are many of her ilks I’ve come across now plaguing creative positions but truly belong in the business department, not creative. Just because she may dress the part, look the part, even well-rehearsed talking the part, doesn’t mean she’s right for the part. I can see why she genuinely has an affinity with Anthony: They are from the same shallowest end of their so-called championship of creativity.

(Lola still going on about Frida's pant LOOOOL)

10000% agree

 

[FashionPower]

Do you think there will be a CD change at YSL soon with Cedric going back as CEO, and a new incoming Kering CEO?
Since Vaccarello hates accessories on the runway and is very strict on the type of heelwear they show.
I remember his and Bellettini's joint FT interview a few years ago saying their agreement was she could do whatever leathergoods off the catwalk but he had total say in what's shown, no bags there etc.

Seriously, Anthony needs to chill the f out and realize that if he doesn't want to be involved in accessories / merchandise development / creative direction he can always revive his own brand.
Being creative director of Kering's second most important Cash cow brand (whose 80% of revenues come from bags) while willing not to be involved in bags design is very hypocritical.
I don't think Ghesquiere wakes up every day with the urge to work with the LV monogram and the neverfull, but at least he fully embraced the brand business cause he realized that after all, LV would be less than half the size of what actually is without the monogram and the speedy and the never full. He found ways to elevate the monogram while not compromising his elevated / fashion forward vision. The Petite Malle is one of the most successful bags from LV (apart from the entry level ones) and that's NG design...
The way Anthony despises dealing with bags is very off putting honestly and If I were De Meo I would slap him so hard asking him to act like a proper adult: stop with the unwalkable heels and focus on bags that do not look like CHANEL reject with caviar leather and Cassandre logo!

 

[oioioi]

The way Anthony despises dealing with bags is very off putting honestly and If I were De Meo I would slap him so hard asking him to act like a proper adult: stop with the unwalkable heels and focus on bags that do not look like CHANEL reject with caviar leather and Cassandre logo!

So ideally a new CD at YSL but no idea? I hope so but the image and now they do SL Film Productions is to linked to him. Lets see!

 

[Phuel]

…Not sure if it’s outright hilarious in how much lacking of self-awareness— or admirable in “creative integrity” it all is that Anthony’s refusing to showcase and contribute to the logo’d bags. On the one hand, maybe it’s his protest that the retail fodder of bags/accessories/footwear of midrange standard don’t deserve a place in his shows. But on the other hand, this is someone of such limited creative talent, that his showings have become increasingly lazy to the point of only making the effort for a few looks ripped off wholesale from YSL 1988, only bloated to a collection with countless colorways. So perhaps he needs to improve his own standards before making any demands of the brand.

...Has he discovered Yves’ polka-dots and bolero jackets yet…???

 

[Creative]

Wouldn´t it better (and more appropriate) looking for a CEO with a fashion background? Does anyone know if in the car industry there are CEOs coming from the fashion industry??

You know, just because making/selling clothes is not the same as making/selling cars...just saying!

I’m with you here. I mean, if you have a background in fashion management no one wants you outside fashion, not even jewelry, which from my point of view is quite similar.

Imagine if you want to go to a car company I don’t know… I think to be good at something you need a little bit of passion and prior knowledge of the industry. This guy will be the next one deciding who goes to each maison… Not that the current managers at Kering did any good having a fashion background, but still…

Feeling kinda <<I love some of the Gaga’s songs but what the f* does she know about cameras?>>.

 

[FashionPower]

I’m with you here. I mean, if you have a background in fashion management no one wants you outside fashion, not even jewelry, which from my point of view is quite similar.

Imagine if you want to go to a car company I don’t know… I think to be good at something you need a little bit of passion and prior knowledge of the industry. This guy will be the next one deciding who goes to each maison… Not that the current managers at Kering did any good having a fashion background, but still…

Feeling kinda <<I love some of the Gaga’s songs but what the f* does she know about cameras?>>.

Guys you are forgetting fashion is not all about design...
Someone has to manage and take decisions regarding operations / marketing: licensing, outsourcing, plants productivity management, merger of plants / activities, marketing strategies, layoffs / workforce reduction and such
See the new guy as a glorified marketing manager whose primary focus is to reduce fixed costs, lay off as many people as possible and increase productivity without compromising the brands equity.

 

[PDFSD]

Guys you are forgetting fashion is not all about design...
Someone has to manage and take decisions regarding operations / marketing: licensing, outsourcing, plants productivity management, merger of plants / activities, marketing strategies, layoffs / workforce reduction and such
See the new guy as a glorified marketing manager whose primary focus is to reduce fixed costs, lay off as many people as possible and increase productivity without compromising the brands equity.

but this new guy has also an eye and interest in the design and halo of a brand thats why they talk about him in car business for his dual talent in management and vision of branding.

it will be funny to see if the gucci snakes will be able to seduce him to get there ways or he will be confident to know who really knows their sh*t and those that are just playing boss .