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).