The extent to which the next designer mines the horsey heritage and the Ford component, or rejects them, remains to be seen. Several major names have been floated as possible replacements for Giannini, including Tisci, Tomas Maier, Joseph Altuzarra and Christopher Kane. His LVMH contractual situation aside, Tisci would be lights out. He counts among the most closely watched drivers of fashion today, his work indicative that homage to house codes matters less than creating exciting fashion. That said, Givenchy is a very different kind and scale of business. Tisci hasn’t had to make sure his designs for Givenchy work back to a huge classics business.
Maier is even-keeled and disciplined, and as creative director of Bottega Veneta, oversees the creative output of Kering’s second-largest business, one performing beautifully right now. He understands luxury and not trading down. His Bottega bags are gorgeous and often inventive while incorporating the signature woven element. Though Maier’s clothes have been less consistent than his accessories and sometimes awkward, his best work is his most recent. His last collection infused sophisticated chic with an artful touch.
Altuzarra would be amazing for Gucci, but whether Gucci would be amazing for Altuzarra is another story. His is a decidedly sensual aesthetic. He could run with the sexy thing without falling prey to Ford mimicry. But, even after the Kering investment in his company, Altuzarra has been mindful of expanding his own business slowly. To suddenly concern himself with how last season’s bag re-issues are performing online and in hundreds of stores around the world — and make no mistake, he would have to be so concerned — could distract from his essential creative development.
Ditto Christopher Kane on the development front. During his stint at Versus he gained some experience working within the confines of a larger, established brand, though hardly one the scale of Gucci. His charming aesthetic is younger and less obviously sophisticated than Altuzarra’s.
Kering has an interesting, diverse stable of designers at its major houses. In addition to Maier: Stella McCartney, a trailblazer in ethical fashion with a grounded real-woman aesthetic. McQueen’s Sarah Burton, a rare artistic breed and de-facto couturier. Balenciaga’s Alexander Wang, a bold young talent unafraid to fuse street and couture concepts. YSL’s Hedi Slimane, probably the most fascinating designer working today. The shows look to me like the emperor’s new (contemporary) clothes. But the numbers say that a lot of women are buying in.
All of which may play into Pinault’s thought process as he determines how to position the Gucci brand for its next phase, and who is best to take up that creative mantle. Gucci is the flagship. Getting it right — beginning with clear articulation of what Gucci is and should be — is essential.
