I don't think selling well and being also a strong creative director should be separated as a good qualities to have in one CD, i do think it's part of the skill set of being a good creative director ideally ...like NG at LV the reason why they are doing well is because he is pushing on development on all levels that helps everyday products be better (even if ugly many times) and gives the commercial collections lots of details to add on to basic or more commercial product this for me is related to his design skills and having a strong vision in order to push for wider product offering.
Dior with galliano had also this trickle down look at the saddle bag its extem idea /shape of a bag (even it was a copy of a 70´s gucci saddle bag) yet became so normal now for me its shows the skills of Galliano to not only make you dream but also sell allot and make new classics that is desired by many different people.
I might be in the minority here but i love the reality of high fashion used and worn and translated in real life moments, i don't enjoy fashion like a fantasy only movie or ig post or red carpet i personally find it restrictive and not interesting just flat.
i like when brands sell well and have hit product...even if i don't want it for me.... i hate when they don't sustain it and nurture longevity but replace it with mediocre merch.
i like things that are build to innovate and last long
We are on the same ideology then.
I really believe that creativity generate sales that should generate more creativity.
But I do believe in creativity with a sense of pragmatism.
And I also believe in the fact that creativity comes in different forms. Sometimes, it’s as subtle as fabrics development or construction. But that comes from the strength of a vision.
The beauty of fashion is that the promise is never the same. Someone can enjoy MaxMara with the same energy as Junya Watanabe or Sacai.
In the same way that someone can enjoy pieces from a tenure of a designer they hated.
I hated Raf Simons’s tenure at Dior and while I have never been a Dior woman (in spirit), my favorite Dior pieces that I own are from his era.
We should all leave this comparing and debating over who deserves what be, this is not leading anywhere.
In an era of corporatism in most art forms, it’s becoming painfully clear that signing with the big corporations means a certain degree of sell out. People like Jil Sander and Helmut Lang famously refuses to make those concessions and it’s a miracle Alaia managed to play for so long by his own rules. I believe a lot of the dearly missed designers of yesterday chose not to partake in the system as it is now. I very much believe some designers value their integrity and happiness over the validation of the biggest jobs available…
But the environment was much more different back then. And there was also a sense of naivity. I don’t think a lot of designers in the 90’s, for the most successful, expected that much of success, brands that survive them and things to go that way.
And I believe that the tales of designers (in France there are so many) who weren’t supported business wise by the right people changed the outcome of a lot of careers.
Alaia was saved by Prada. I’m not sure he was that happy when things went bad. But at the same time, he was front row at every Dior for years. He had a lot of pride but he was very happy when Prada and Richemont handled the business part.
I think that designers takes big brands today for different reasons than before.
Unfortunately, it’s the only environment that kind of allows you to create with a real sense of creative freedom at some point. The ability to work with the best artisans, to have a skilled studio, to maintain those operations.
Today I feel like there’s no small brands anymore. And when someone is doing start up, we are expecting big brands treatment.
In a way it has become a safety to have those kind of platforms.
The only place that i see people praising Nicolas Ghesquiere is here, TFS.
That’s why TFS is the best place!