Frida Giannini - Designer

[DK92]

I was happy to see Maria Sharapova wearing one of her designs at the VF Party yesterday... And even happier that Demna was looking through Frida Kahlo's trash can for one of his creations.

Not my keyboard automatically playing Frida Kahlo... 😩

 

[Lola701]

I would argue that making great dresses is a different conversation to contribution to fashion…
And never ever in her tenure her Redcarpet looks either in Gucci custom or Gucci Premiere were a topic of any disagreement.

 

[FashionPower]

She recently released a pretty unhinged interview (in italian) for an indie italian project / media.
I translated it via Gemini. Some extracts really show how much of a drama queen she was / still is:

- The DRAMA with a New York Times journalist. Who is the woman who got banned from Gucci shows?
Interviewer: Why do you think fashion journalists often write ridiculous "puff pieces" (marchette) instead of serious, critical, and independent articles?
Giannini: Not always, in my opinion. I’ve met many serious journalists who were very strong in their severe criticisms. If you are a humble person, you accept criticism in a different, intelligent way, because you always learn something for your growth. What I don't accept are personal attacks... those lead nowhere and are never constructive. Just humiliating.
Interviewer: Do you remember any?
Giannini: Of course.
Interviewer: Like what?
Giannini: That I had blonde hair and only hired blonde models.
Interviewer: Who wrote that?
Giannini: A journalist from the New York Times with a mustache, a beard, and very long hair on her legs. She never entered one of my shows again.

- The way she pointed out she's still the Gucci creative direction with the longest tenure
Interviewer: In your ten-plus years directing Gucci, did you ever feel alone, despite the large crowd of collaborators and "courtiers"?
Giannini: Ten, to be precise: 2005–2015. Alone? Never. Because even while traveling the world, I always knew that those four or five very dear friends and my family were waiting for me at home.

- The way she avoided the questions about her being axed off:
Interviewer: How did you handle the shock of being "ousted"?
Giannini: You say I was ousted? Fine, let's say I was ousted! Look, falls always teach you something. The ones that hurt the most are definitely the "lapses in class" (cadute di stile).
Interviewer: What were your last days at Gucci like?
Giannini: Why this obsession? First of all, I didn't know they would be my last days. However, the feeling I had on the final day was Fellini-esque: I opened my desk drawer and took my toothbrush and a photo of my daughter. I was so annoyed by the "lapse in class" I mentioned before that I left all my stuff there: clothes, books, notes, and photographs. I was just disgusted.

Full interview:

---

The Interview: Frida Giannini on Music, Fashion, and Rome​

Interviewer: Frida Giannini, let’s start with your book. Where does the need to publish a book on music and fashion come from?

Frida Giannini: In my life, music and fashion have always gone hand in hand. Music interprets culture, society, dreams, inspiration, and the future. I wrote this book because I felt it in my soul; I was fortunate enough to inherit (and listen to) a collection of over 8,000 vinyl records. There were moments when I chose to prioritize and care for my loved ones, turning down job offers. In my mind, I’ve always wanted to write about the relationship between music and fashion…

Interviewer: Meaning?

Giannini: Telling stories through images and portraits of my favorite musicians. David Bowie, for example, was an innovator, a visionary; he always created trends, but as soon as someone tried to copy him, he immediately shed his skin and completely reinvented himself. For me, he was the greatest performer of all time and the first musician to collaborate with fashion and designers like Yamamoto—something that has since become standard practice.

Interviewer: While writing it and digging through your memories, did you discover anything about yourself—perhaps something unpleasant?

Giannini: Nothing unpleasant, honestly. Obviously, when I started writing, the emotions were strong because I kept thinking of my uncle Daniele, who died tragically young in a car accident. I owe my knowledge and love of David Bowie to him! I continue to cultivate that love and passion for music.

Interviewer: Among the greats you mentioned, I was puzzled by the inclusion of Lady Gaga—an absolutely mediocre artist, poorly dressed, and certainly not "great." Why her?

Giannini: Melchionda, I don’t agree with you at all. I find Lady Gaga to be a great composer; she’s a great performer, she plays the piano divinely, the guitar, and like David Bowie, she has the strength to constantly reinvent herself. When thinking of a female alter ego to David Bowie, she immediately came to mind.

Interviewer: You were born and raised in Rome, but for work and pleasure, you’ve traveled the world. In the end, though, you always come home. Is it provincialism? Chronic nostalgia?

Giannini: It’s absolutely true that I’ve traveled the world, just as it’s true that I’ve lived in different cities—London, Milan, Florence, you name it. However, I’d like to break this stigma regarding Roman provincialism. While people visit other cities for tourism or business, in Rome, we are lucky enough to find foreign artists, painters, musicians, scholars, and actors who choose to live here. They are clearly drawn to the "fascination of decay," but also to Roman exuberance and, finally, the Roman art of improvisation and the light that you can only see in Rome.

Interviewer: Really?! Listen, why do you think Rome counts for nothing—or almost nothing—in fashion compared to Milan, staying within your field?

Giannini: Well, it wasn't always like that. Initially, Rome was the hub, the center of Alta Moda (Haute Couture), which trained the best premières of the most important ateliers that are still deeply rooted in the city today. Over the years, our French cousins were better at snatching that leadership away from us—the "Couture," so to speak. On the other hand, we were lucky to have giants who are no longer with us—Valentino, Armani, Ferrè, Versace... With them, Made in Italy and prêt-à-porter were born, leading to the growth of the entire Italian supply chain and the massive importance Milan holds today.

Interviewer: As you said, people remember the giants even now that they’re gone, but what about the few other brands that have been knocked down like "poor bowling pins" over the last decade? Why?

Giannini: Unfortunately, in the last thirty years, there has been no investment in the fashion system. This obviously caused a very significant economic crisis, which worsened post-Covid. Many companies involved in the fashion industry became weaker and more fragile. Consequently, they were forced to sell to large financial groups. The "bowling pins" weren't fighting against a bowling ball; they were fighting an enormous meteorite.

Interviewer: Don’t you think that repeating how "cool" Roman decay is has eventually made this city irrecoverable?

Giannini: Do you know where the concept of Roman decay actually comes from?

Interviewer: You tell me.

Giannini: In the 19th century, a little-known artist in Rome named Pannini—also called "The Ruinist"—painted ancient monuments from the Augustan age left in ruins amidst overgrown greenery and pastures. He inspired the Frenchman Thomas Couture, whose painting Romains de la décadence emphasizes bacchanals and orgiastic fury surrounded by statues and imperial columns, highlighting their decline.

I ask myself: how can we think of building a subway in Rome without considering what might emerge from an excavation? It brings to light centuries of historical and artistic layers that represent nearly 20% of the world's artistic heritage (from the seven Kings of Rome to the Augustan Empire, from the Renaissance to the Baroque and Rationalism). Yet, there is a decay that still hypnotizes and moves me—like the cats that mysteriously wander among the Republic-era temples of Largo Argentina.

Interviewer: During the years you traveled extensively, you always chose a very private life. What do you loathe about high society (mondanità), especially the Roman scene? The vulgarity, the need to be seen at all costs, the vapid gossip?

Giannini: There is an age for everything. I used to be very social; I frequented all the trendiest, coolest clubs. But I did it when I felt like it and when I could, because I started working very young and couldn't stay out late every night.

Interviewer: But that was when you were 20…

Giannini: No, you’re wrong… I still love to dance.

Interviewer: Today, at a mature age, what can’t you stand about Roman high society?

Giannini: First of all, I feel "forever young." I don't loathe it; I simply don't know it.

Interviewer: You don’t like the "salon" life?

Giannini: I certainly don't love being a "professional attendee" at every event because it requires time and curiosity, and frankly, I’m not interested. I prefer to be selective, to invite people over, and to enjoy special moments.

Interviewer: Through fashion, you tried to dress women well and make them more beautiful. Does it not horrify you, walking through the city, to see thousands of female faces disfigured by plastic surgery? Rather than faces, I’d call them monsters…

Giannini: Do you think they are only in Rome?

Interviewer: No, but I’m talking about Rome because we live here.

Giannini: I assure you that in the rest of the world, I see even worse. I don't think Roman women are stereotyped or aesthetically homogenized.

Interviewer: Okay, but does it not horrify you?

Giannini: Look, I don't like to criticize anyone. Often, behind a "touch-up," there can be serious illness, insecurity, or depression. If a procedure can help you feel better, why judge?

Interviewer: Isn't coming home after being away for so long a little bit like dying?

Giannini: Not even a little. For me, it’s a rebirth. I’ve always been very proud not only of my Roman origins but also of my neighborhood, Monteverde Vecchio. I’ve always detested "esterofilia" (the obsession with everything foreign) and those who hide their origins. Walking up the slopes of the Janiculum hill at sunset and seeing that pinkish light layering over the entire city—I think that’s priceless, and it still moves me.

Interviewer: In your ten-plus years directing Gucci, did you ever feel alone, despite the large crowd of collaborators and "courtiers"?

Giannini: Ten, to be precise: 2005–2015. Alone? Never. Because even while traveling the world, I always knew that those four or five very dear friends and my family were waiting for me at home.

Interviewer: Were you more afraid of the balance sheets or people’s judgments?

Giannini: Both. Judgments can help you grow, and balance sheets can get you fired—though that wasn’t my case, you just have to look at their current balance sheets...

Interviewer: Do you remember any collections that, looking back now, you consider ugly or forgettable?

Giannini: Honestly, no. I think I created collections that followed my personal and professional growth. Being hyper-critical of myself, it's obvious that I loved some more than others.

Interviewer: Curzio Maltese, speaking of Renzo Piano, wrote: "More than buildings, he creates life, exchange, energy. In one word: joy." For you, what was designing clothes?

Giannini: I totally agree with Maltese. Even today, when I draw by hand, I feel those same sensations. I find it fundamental to do that before moving everything to an iPad. In any case, you can only use new technological devices if you have a free hand and a vision.

Interviewer: Did you ever have delusions of omnipotence during the Gucci years?

Giannini: Absolutely not! I’ll tell you why: one day—we were in London—Tom Ford (I had moved to the City for him) called us for a meeting. Sitting at an endless table, with his emotions hidden behind his Aviator glasses, he told us he would be leaving soon. From that moment, after taking on the role of Creative Director as his successor, I told myself every morning: "If they replaced Tom, they can get rid of me at any moment." I always kept in mind what could happen, and that always stimulated me to do better.

Interviewer: How did you handle the shock of being "ousted"?

Giannini: You say I was ousted? Fine, let's say I was ousted! Look, falls always teach you something. The ones that hurt the most are definitely the "lapses in class" (cadute di stile).

Interviewer: What were your last days at Gucci like?

Giannini: Why this obsession? First of all, I didn't know they would be my last days. However, the feeling I had on the final day was Fellini-esque: I opened my desk drawer and took my toothbrush and a photo of my daughter. I was so annoyed by the "lapse in class" I mentioned before that I left all my stuff there: clothes, books, notes, and photographs. I was just disgusted.

Interviewer: Why do you think fashion journalists often write ridiculous "puff pieces" (marchette) instead of serious, critical, and independent articles?

Giannini: Not always, in my opinion. I’ve met many serious journalists who were very strong in their severe criticisms. If you are a humble person, you accept criticism in a different, intelligent way, because you always learn something for your growth. What I don't accept are personal attacks... those lead nowhere and are never constructive. Just humiliating.

Interviewer: Do you remember any?

Giannini: Of course.

Interviewer: Like what?

Giannini: That I had blonde hair and only hired blonde models.

Interviewer: Who wrote that?

Giannini: A journalist from the New York Times with a mustache, a beard, and very long hair on her legs. She never entered one of my shows again.

Interviewer: How many members of the press tried to butter you up just to get a favor, an invitation, or a gift?

Giannini: None!

Interviewer: Are you sure?

Giannini: Absolutely. And besides, I’m not a person who grants interviews—or favors—easily.

Interviewer: What is those of your generation lacking to be compared to those "giants" of the past?

Giannini: Simple: we aren't the founders of the company! We are design consultants or employees working for other people's companies.

Interviewer: Do you really think it’s just that? Or is it a lack of true talent, genius, intuition, or tenacity?

Giannini: Let me give you some examples: John Galliano and McQueen are true talents; Yves Saint Laurent was already a great talent at Dior before founding his own brand. The big difference, in my opinion, is autonomy: the ability to manage a budget, freedom, and a global vision of a project—from the conception of a runway show to the advertising campaign that sends out your real message.

Interviewer: Do you feel envy or resentment today seeing your peers—perhaps those who grew up with you—still on top and revered by hoards of lackeys?

Giannini: As Andy Warhol said, everyone will be world-famous for fifteen minutes. And then what happens? Today I see enormous talents who have rebelled against this system; poor talents who only rely on followers, with little experience or knowledge. Many designers can’t even talk to a tailor or a pattern maker.

Management has also changed. Today, for example, apart from Cartier and Hermès—who require you to make an appointment well in advance before welcoming you—I don't see the same lines at other brands. Instead, I see enormous empty spaces that only "scream" echo because they lack creativity, foresight, vision, and strategy. The failure to give young designers the chance to fully immerse themselves in a brand—in communication, window displays, advertising—has caused a merry-go-round of names that presents new scenarios every six months. Paradoxically, today it is fast-fashion companies that dictate the line to luxury enterprises.

Interviewer: Looking around, is there a brand for which you hope for a phone call to announce your appointment?

Giannini: I will never give you a name, sorry. And besides, I like the "surprise effect."

Interviewer: Does it make sense to charge "fools" 7,000 Euros for a bag that cost maybe 70 Euros to produce?

Giannini: That’s a very interesting question! To calibrate a product's price properly, you first need to choose high-quality raw materials and then understand the real price range of the product. Working for Liberty, I proved that you can make, for example, a beautiful cashmere coat with the best Italian manufacturing without necessarily charging insane prices. I’ve never understood the exaggeration of those who want to make incredible, crazy profits. And it seems to me that it isn't bringing great earnings to the luxury sector right now. It would make more sense to have courage and not mass-produce everything.

Interviewer: Have you ever felt a sense of annoyance or rejection toward the "superfluous" things you were creating? What is a 5,000 Euro jacket if not superfluous?

Giannini: Look, if I decide to be a designer and I want to create a python bag, I can't let myself be bothered by how it's killed in Thailand! You have to have some consistency, come on! That said, I agree with you on the importance of not throwing things away, not wasting, and respecting the resources we have. I was the first to deal with sustainability (recycled paper packaging, for example) and to respect the budgets I had to limit waste. Surely my involvement in social issues has developed this sensitivity even further.

Interviewer: Meaning?

Giannini: Trying to pair every high-profile event with important international NGOs, whether large or small. In my opinion, big brands have the duty and the power to be a window to the world to create awareness and make a difference.

Interviewer: If you were to return to the spotlight as a Creative Director, is there one mistake you wouldn't repeat?

Giannini: Honestly? Never engage in personal relationships that could jeopardize your profession as well as your private life.

Interviewer: People have always talked about how invasive the "gay lobby" is in fashion. Is it just gossip, or does their power actually exist and is it hard to break?

Giannini: Do you realize that today there are only three female designers who also own their companies in fashion? In architecture, on the other hand, there is an abundance of female figures—Gae Aulenti, Zaha Hadid, Odile Decq, Paola Viganò, Ray Eames, Charlotte Perriand, and I could go on. It is clear, then, that there is a disproportionate imbalance between these two creative sectors—fashion and architecture—which have always been complementary. This should make people reflect. Ask yourselves, at this point, who invented fashion: Mademoiselle Coco Chanel.

Interviewer: What are the obsessions Frida Giannini fights against?

Giannini: Oh god... definitely a memory that makes me remember everything and gives me constant, restless impulses.

Interviewer: With your "elephantine" memory, can you also be very mean?

Giannini: Angry, yes. Mean, never! To finish answering your question, I also have a crazy need for control. Believe me, that doesn't make for a comfortable life. But I know where you’re trying to go with this…

Interviewer: Where, excuse me?

Giannini: To my sexual perversions? (laughs)

Interviewer: No, believe me…

Giannini: Look, my relationships don’t even make it past a two-week trial period anymore because I no longer have the patience. Honestly, I find the humanity out there to be mediocre and disturbing at times, partly thanks to social media.

Interviewer: Starting from the fairly obvious fact that "female solidarity" is total nonsense, what can't you stand about the female universe?

Giannini: I don’t know, I’ve never thought about it. I have certainly realized that people who have frustrations can definitely hurt you. But that doesn't depend on gender. One only needs to read Maria Rita Parsi’s book, Ingrati. La sindrome rancorosa del beneficato (Ingrates: The Rancorous Syndrome of the Beneficiary).

 

[blusheels]

Long shot here, but does anyone know who styled the Gucci shows during Frida's tenure?

 

[Squizree]

Why Balmain never hired her I'll never understand. The new guy is TRAGIC. Frida was born for that job.

 

[Scotty]

They stole Madonna's Frida jacket!!!

 

[DK92]

Long shot here, but does anyone know who styled the Gucci shows during Frida's tenure?

Maybe Alt? I’m not sure.

 

[Lola701]

Long shot here, but does anyone know who styled the Gucci shows during Frida's tenure?

Maybe Alt? I’m not sure.

Did she ever worked with someone on her shows? Wasn’t the styling internal?

She worked with Alt, MAS or Edward for campaigns but for shows, I’m not sure she used a stylist.

Why Balmain never hired her I'll never understand. The new guy is TRAGIC. Frida was born for that job.

Do you really think that she is in the radar of any Parisian people from the industry?
Ok revisionism is fantastic but for a lot of people, her Gucci was boring. It was only 11 years ago.

So that means that at least 2 generations of industry people were exposed to her work. And you kind of want to have that for your brand going from that stigma.
And then again, she has never worked in Paris and so will likely never be familiar with that culture of fashion.

 

[FashionPower]

Yeah, her appointment might have worked for a brand like Cavalli if they wanted to go full nostalgia with the revival of the Dundas early 2000's jet set glam and uber luxe with some safari / ethnic influence, but no way her POV would have worked for a parisian brand.
Frida can do OG Cavalli much better than Fausto if you ask me.

 

[PDFSD]

Long shot here, but does anyone know who styled the Gucci shows during Frida's tenure?

Marie Amelie Sauve first seasons
Alister Mackie
Katy England
Katie Grand final season
sure there are more but these i remember in a second

Maybe Alt? I’m not sure.

yes as well she is credited for gucci by gucci adv the one Directed by David Lynch

Frida famously did not get along with female stylist they never lasted ........ she got along more with males like Alister Mackie

 

[PDFSD]

Did she ever worked with someone on her shows? Wasn’t the styling internal?

She worked with Alt, MAS or Edward for campaigns but for shows, I’m not sure she used a stylist.



Do you really think that she is in the radar of any Parisian people from the industry?
Ok revisionism is fantastic but for a lot of people, her Gucci was boring. It was only 11 years ago.

So that means that at least 2 generations of industry people were exposed to her work. And you kind of want to have that for your brand going from that stigma.
And then again, she has never worked in Paris and so will likely never be familiar with that culture of fashion.

Yes she worked with stylist for fashion shows it was never publicized / promoted as the stylist where not back stage either besides here and the design team
the seaons consulted stylist they would arrive as guest of the shows

Alessandro in Gucci was the only creative director that never had a stylist for any shows , only on set stylist for adv for like hero shots and the extras etc but everything was decided already from show looks.

Frida first show you can see MAS influence in the silhouette the short NG dresses and the lean boyish pants looks etc

Frida is not a creative person she is an editor of creativity , yes she has a love for 70´s but that not define being creative as in point of view.
Miuccia is more creative person with point of view and taste than (a Frida) even if she is not a typical designer creative director that draws or drapes etc and even she uses stylist to collaborate with

 

[nationalsalt]

Giannini: Do you realize that today there are only three female designers who also own their companies in fashion?

I wonder which three she is referring to? Stella McCartney, Phoebe Philo, Anna Sui, Simone Rocha and Diane Von Furstenburg all own their companies according to google (and maybe others I'm forgetting?)

 

[Lola701]

Yes she worked with stylist for fashion shows it was never publicized / promoted as the stylist where not back stage either besides here and the design team
the seaons consulted stylist they would arrive as guest of the shows

Alessandro in Gucci was the only creative director that never had a stylist for any shows , only on set stylist for adv for like hero shots and the extras etc but everything was decided already from show looks.

Frida first show you can see MAS influence in the silhouette the short NG dresses and the lean boyish pants looks etc

Frida is not a creative person she is an editor of creativity , yes she has a love for 70´s but that not define being creative as in point of view.
Miuccia is more creative person with point of view and taste than (a Frida) even if she is not a typical designer creative director that draws or drapes etc and even she uses stylist to collaborate with

Ok interesting.
Thank you. I always suspected it but was never sure about it precisely because her work became more consistent when Alt stopped doing the campaigns.
When MAS did the fabulous campaigns with McDean, it was easy for me to imagine that she may have a say in the styling. Alt’s styling in shows was very products-heavy and the campaigns were kind of obvious. But from 2010 to 2015, I didn’t really sensed the « stylist touch » touch.

I assume anybody who styled a campaign also styled a show…
She worked with Nickerson too right?
So she must have the most insane roaster of stylists lol.

I almost feel bad for Katie Grand for styling that terrible final season.

An « editor of creativity » is a nice term. It’s so beautifully said that it could pass for a compliment lol.
But yes her work for Gucci at least suggested a rather generic taste.
I strongly believe that good or great designers, whether we like them or not, have that sense of weirdness in their taste that makes a difference and that can sometimes elevate everything.

Miuccia isn’t conventional, Consuelo wasn’t, Phoebe isn’t. Frida, Maria Grazia or even Sarah Burton are very conventional.

 

[PDFSD]

I wonder which three she is referring to? Stella McCartney, Phoebe Philo, Anna Sui, Simone Rocha and Diane Von Furstenburg all own their companies according to google (and maybe others I'm forgetting?)

The Row counts for 2 more lol (Chanel & LÓreal minority investor now )
Miuccia Prada (majority share)
Rei Kawakubo
Victoria Beckham
Tory Burch

Catherine Holstein of Khaite
Rachel Scott of Diotima
Gaëlle Drevet of the Frankie Shop
Aurora James of Brother Vellies
Emily Adams Bode Aujla of Bode
Gilda Ambrosio & Giorgia Tordini of The Attico
Supriya Lele
Simone Rocha
Grace Wales Bonner
Martine Rose
Roksanda Ilinčić
Ahluwalia
Gabriela Hearst
Dami Kwon and Jessica Jung’s Seoul-based label We11done
Zimmermann, the Australian-born Nicky Zimmermann


Isabel Marant (French private equity firm Montefiore Investment, which acquired a 51% stake in 2016. Founder Isabel Marant retains a stake in the company)

Vera Wang As of January 2025 is owned by WHP Global, Vera Wang, who previously owned the brand independently for 35 years, continues to serve as the founder and chief creative officer and holds a stake in the new ownership group.


etc etc etc etc

 

[PDFSD]

Ok interesting.
Thank you. I always suspected it but was never sure about it precisely because her work became more consistent when Alt stopped doing the campaigns.
When MAS did the fabulous campaigns with McDean, it was easy for me to imagine that she may have a say in the styling. Alt’s styling in shows was very products-heavy and the campaigns were kind of obvious. But from 2010 to 2015, I didn’t really sensed the « stylist touch » touch.

I assume anybody who styled a campaign also styled a show…
She worked with Nickerson too right?
So she must have the most insane roaster of stylists lol.

I almost feel bad for Katie Grand for styling that terrible final season.

An « editor of creativity » is a nice term. It’s so beautifully said that it could pass for a compliment lol.
But yes her work for Gucci at least suggested a rather generic taste.
I strongly believe that good or great designers, whether we like them or not, have that sense of weirdness in their taste that makes a difference and that can sometimes elevate everything.

Miuccia isn’t conventional, Consuelo wasn’t, Phoebe isn’t. Frida, Maria Grazia or even Sarah Burton are very conventional.

I assume anybody who styled a campaign also styled a show… yes
She worked with Nickerson too right? .......not sure could be she changed stylist like shoes lol

editor of creativity yes as in killer of creativity she never liked to try anything outside of the box (non commercial sexy glam , limited in scope of estetic beyond 60 & 70´s ideal of beauty yes 100% generic)
v
Frida, Maria Grazia, Virginie have a lot in common in sense of safety in taste and ease in cut and styling, somehow i only have most sympathy for Virginie because all i know of her is she was humble and low key and areal loyal nr 2 person doing her best.

Frida, Maria Grazia both claim things in press like they are appointed leaders of feminine creativity etc (even if MGC is nice to her team Frida is only to her chosen select few)
both are very performative in there ways of projecting an image and how they want to be seen by the public

VV not she just a nerdy lady doing occasional bad styling choices & cuts with an obsession with white stockings lol

Miuccia is a strong personality and says things as she feels with in her team circle ..... in bigger or unknown crowds she is truly shy for real.
and yes she is unconventional and really likes to twist things, challenge her own bourgeois ideas , she is obsessed with ideas.
(its pity with raf there has been a more contrived aura around everything at prada , but at miu miu you can see a bit more dare and freedom of her old self even if at times she is not always into it every season but that was always like that some season the team push more other seasons she is in top form and is the most radical in person in the room with her team )

i understand the sceptical idea online /TFS against the brand now but the foundations are real of her ways of thinking and building Prada around it.

Phoebe from Celine days and now with her brand i know she is also about pushing ideas and its true she is maniac in sense of changing and questioning her collections 100 x (Miuccia was allot like this as well so i get that quest, even if the outcome looks like reduced its because of months or weeks of trying extreme things to end up with something pure and hopefully new)
Its funny both Miuccia and Phoebe have the guts to do experiments but in the end they like real items Miuccia likes clothes that can only be made industrially /flat 2d and Phoebe likes that your butt looks look in a pants or the drape of a jacket is right and that there is utility.

its like simplicity end result with a challenging journey.

and with the best collections you can feel its authenticity and its not forced the outcome ( simple or more daring )

wich miss in Frida and MGC because they operate on beauty as status as the start and end goal.

 

[Lola701]

I assume anybody who styled a campaign also styled a show… yes
She worked with Nickerson too right? .......not sure could be she changed stylist like shoes lol

editor of creativity yes as in killer of creativity she never liked to try anything outside of the box (non commercial sexy glam , limited in scope of estetic beyond 60 & 70´s ideal of beauty yes 100% generic)
v
Frida, Maria Grazia, Virginie have a lot in common in sense of safety in taste and ease in cut and styling, somehow i only have most sympathy for Virginie because all i know of her is she was humble and low key and areal loyal nr 2 person doing her best.

Frida, Maria Grazia both claim things in press like they are appointed leaders of feminine creativity etc (even if MGC is nice to her team Frida is only to her chosen select few)
both are very performative in there ways of projecting an image and how they want to be seen by the public

VV not she just a nerdy lady doing occasional bad styling choices & cuts with an obsession with white stockings lol

Miuccia is a strong personality and says things as she feels with in her team circle ..... in bigger or unknown crowds she is truly shy for real.
and yes she is unconventional and really likes to twist things, challenge her own bourgeois ideas , she is obsessed with ideas.
(its pity with raf there has been a more contrived aura around everything at prada , but at miu miu you can see a bit more dare and freedom of her old self even if at times she is not always into it every season but that was always like that some season the team push more other seasons she is in top form and is the most radical in person in the room with her team )

i understand the sceptical idea online /TFS against the brand now but the foundations are real of her ways of thinking and building Prada around it.

Phoebe from Celine days and now with her brand i know she is also about pushing ideas and its true she is maniac in sense of changing and questioning her collections 100 x (Miuccia was allot like this as well so i get that quest, even if the outcome looks like reduced its because of months or weeks of trying extreme things to end up with something pure and hopefully new)
Its funny both Miuccia and Phoebe have the guts to do experiments but in the end they like real items Miuccia likes clothes that can only be made industrially /flat 2d and Phoebe likes that your butt looks look in a pants or the drape of a jacket is right and that there is utility.

its like simplicity end result with a challenging journey.

and with the best collections you can feel its authenticity and its not forced the outcome ( simple or more daring )

wich miss in Frida and MGC because they operate on beauty as status as the start and end goal.

Funny that you mentioned Virginie. I didn’t mentioned her because I think she is not at all generic in terms of taste. I think she might be more complex in her taste actually.
She is a terrible designer to me but Karl took so much of a place that it was almost impossible to develop some kind of inner personal taste as a designer for her.

For me, her Chanel was an act. She tried to retranscript the eras she liked and the spirit she liked in Karl’s past.

Virginie dressed nothing like her designs and there were profiles on her, what she liked prior to Karl’s death that never suggested the outcome of her work as a designer.

I hope she will go back to costume design because I truly think that the kind of projects she will attach herself with would actually indicate more about her taste.

Don’t get me wrong, her styling choices and propositions displayed a questionable taste but it could be rooted in something more than pure aesthetic questions.

When you look at her, the way she dressed, the way she presented herself in her official portraits, it’s kind of hard to imagine her designing so many obnoxious sugary collections.

I totally agree about MGC and Frida compared to Phoebe and Miuccia but you know what is fascinating? The fact that Frida and MGC can showcase qualities they lacks in designing clothes when designing bags.
Suddenly, they are able to embrace creativity, actual design, luxury and ideas.

The first Fendi show of MGC was that. The bags were objects of desire. The clothes weren’t. I have to give it to Frida at Gucci because sometimes she showcase some beauties but the expression of creativity was felt in bags and shoes.

I wonder if there’s still a place for Frida in today’s world of fashion. She is at the age of still being able to do whatever she wants but the Liberty collab was meh.

Could she do a collab with Zara?

 

[reese06]

What would be the point of Frida doing a Zara collab or anything high street or contemporary market?

I’m a fan of her body of work but it would reveal that Gucci did much of the heavy lifting for her tenure, yeah? Once you remove Gucci from the equation, you’re left with what already exists at the level of Zara and Top Shop. That was always the criticism of her design language during her tenure. Her Liberty London collaboration confirmed it. Perfectly nice, completely redundant for today's fashion.

She created great collections with the resources she had but nothing distinctive for any major brand to say "We want Frida in 2026".

Perhaps if she stayed in the industry, I would have preferred her at Fendi, rather than MGC since Sylvia as solo CD doesn't seem to ever be in the cards.

 

[PDFSD]

What would be the point of Frida doing a Zara collab or anything high street or contemporary market?

I’m a fan of her body of work but it would reveal that Gucci did much of the heavy lifting for her tenure, yeah? Once you remove Gucci from the equation, you’re left with what already exists at the level of Zara and Top Shop. That was always the criticism of her design language during her tenure. Her Liberty London collaboration confirmed it. Perfectly nice, completely redundant for today's fashion.

She created great collections with the resources she had but nothing distinctive for any major brand to say "We want Frida in 2026".

Perhaps if she stayed in the industry, I would have preferred her at Fendi, rather than MGC since Sylvia as solo CD doesn't seem to ever be in the cards.

she did also christmas knits for QVS years ago

 

[FashionPower]

Is she throwing shade at Demna and De Meo?
"It' s very fun all this interest around me everyday , since few months which of course I really appreciate...BUT.. knows if this buzz will move something intriguing anf dare???will see...."

She's so UNHINGED, I would love MGC to act like her!

 

[Frida]

Marie Amelie Sauve first seasons
Alister Mackie
Katy England
Katie Grand final season
sure there are more but these i remember in a second

yes as well she is credited for gucci by gucci adv the one Directed by David Lynch

Frida famously did not get along with female stylist they never lasted ........ she got along more with males like Alister Mackie

I remember Marie-Amélie Sauvé started with Gucci Cruise 2006, handling both the shows and the campaigns. She also styled the first couple of menswear shows, and I think her run wrapped with Spring/Summer 2007, including the campaign with the Radio Dept. soundtrack.