On the other hand, Galliano has his own very distinct artistic vision, as does Margiela (the man and the house). How long should you expect Rembrandt to keep painting Picassos?i would much rather have him stay at margiela until he is tired with fashion. After the last show, he can do whatever he wants to the brand and the insta crowd will eat it up.
Unfortunately none of the houses now are what they were under the founders. thats just how it goes.On the other hand, Galliano has his own very distinct artistic vision, as does Margiela (the man and the house). How long should you expect Rembrandt to keep painting Picassos?
That´s a very important question, a key one. The root of the problem is that HR/Headhunters from brands are only interested in designers coming from an expensive fashion school. If you studied in an unknown public school, then you are invisible to them.The question we should ask is why the young designers are so mediocre nowadays than brands prefers to choose either the same old names or designers coming from certain studios.
The thing is Rembrandt never painted Picasso. Galliano couldn't be less interested in actual Margiela. It has been Galliano 2.0 under Martin's name since the day one. He was just a bit lighter with historical references at the beginning.On the other hand, Galliano has his own very distinct artistic vision, as does Margiela (the man and the house). How long should you expect Rembrandt to keep painting Picassos?
Esa es una pregunta muy importante, clave. La raíz del problema es que los recursos humanos y los cazatalentos de las marcas solo están interesados en diseñadores que hayan salido de una escuela de moda cara. Si estudias en una escuela pública desconocida, entonces eres invisible para ellos.
Tienen que aprender que ir a una escuela de moda cara no significa tener talento (sino simplemente tener el dinero para pagarlo). Y que el talento se puede encontrar en cualquier parte, no sólo en los pocos lugares en los que insisten en buscar. Porque están perdiendo mucho talento ahí fuera, que no tiene/no tenía ni un centavo para inscribirse en Parsons, CSM, Esmod o cualquier otra escuela de lujo.
Of course!!The truth is that it is not every day that Rembrandts or Picassos or a fashion genius like John Galliano are born.
Excuse my ignorance but do these headhunters use linkedin? I feel like fashion people don't even use that (never looked it up tho) lol.That´s a very important question, a key one. The root of the problem is that HR/Headhunters from brands are only interested in designers coming from an expensive fashion school. If you studied in an unknown public school, then you are invisible to them.
They need to learn that going to an expensive fashion school does not mean having talent (but just having the money to afford it). And that talent could be found anywhere, not just in the same few places they insist on searching at. Because they are missing a lot of talent out there, who don´t/didn´t have a dime to enroll into Parsons, CSM, Esmod or any other luxury school.
I don´t know if they use Linkedin...but I can tell you that there have been several platforms focused in fashion (and they are all gone). Talenthouse, V-files, Iqons...all disappeared.Excuse my ignorance but do these headhunters use linkedin? I feel like fashion people don't even use that (never looked it up tho) lol.
Fashion design should have a platform like dribble and behance. It would be interesting to open the possibilities for hiring talents outside of elite schools or brands.
1000000000%That´s a very important question, a key one. The root of the problem is that HR/Headhunters from brands are only interested in designers coming from an expensive fashion school. If you studied in an unknown public school, then you are invisible to them.
They need to learn that going to an expensive fashion school does not mean having talent (but just having the money to afford it). And that talent could be found anywhere, not just in the same few places they insist on searching at. Because they are missing a lot of talent out there, who don´t/didn´t have a dime to enroll into Parsons, CSM, Esmod or any other luxury school.
The fashion European community, particularly Parisian and Italian isn’t very large. There are a lot of people knowing each other, a lot of people coming out of esteemed studios.Excuse my ignorance but do these headhunters use linkedin? I feel like fashion people don't even use that (never looked it up tho) lol.
Fashion design should have a platform like dribble and behance. It would be interesting to open the possibilities for hiring talents outside of elite schools or brands.
Yes but education anyway is getting more and more expensive…Even more considering that the industry is a little bit more structured than before.^To study fashion abroad, and especially in Paris, you kinda have to be a “rich” kid… Maybe not rich, but if you are average you can’t.
Duperre and a Berçot are famous because they are in Paris. Outside Paris, even in France, if you study fashion anywhere else you are f*cked.
Fashion is elitist. And that’s part of its course in 2024 tbh.
Isn’t it just easier to be friends with a rapper? Or better yet, just be a rapper? Or is that just Louis Vuitton?Yes but education anyway is getting more and more expensive…Even more considering that the industry is a little bit more structured than before.
It makes sense to go to a fashion school at a fashion capital anyway…
But I think today rich kids who just want the prestige usually go to CSM rather than French schools.
But yes, going to a fashion school is the same that going to a business school. And it can be worse because it’s even more time consuming because it’s a field that takes a lot in a personal time too. So you need a financial support…
Understandable but lazy. If they want fresh ideas, new blood, they should cast a wider net.The fashion European community, particularly Parisian and Italian isn’t very large. There are a lot of people knowing each other, a lot of people coming out of esteemed studios.
You have headhunters who goes to fashion schools or festivals/contests but coming from a studio from a good designer is actually such a testament to someone’s supposed talent, standards and professionalism that it’s understandable to see why they are following that route.
LinkedIn can be interesting to keep up with the activities of some people in the industry following a news for example but I don’t think it’s that useful.
And in reality, schools students are great for studios. And not all schools are luxury or for rich kids. What is interesting is that some schools open doors for internships through their old graduate who became stars. Someone like Alexandre Mattiussi went to a public school, Duperre. The you have Studio Berçot and IFM who are maybe less glamorous than CSM or La Cambre (I don’t think Parsons has the same prestige today) but who are also efficient.
I think the standards are higher in French schools anyway because the technical side is still valued when at CSM for example, it’s all for creativity. And there’s anyway an ecosystem to nurture talents in France. But it’s tougher.
Jacquemus dropped the ball when he left school but maybe judging by his trajectory, he made the right choice.