There seems to be someconfusion here - I am refering to an entire system of going about the fashion industry in Japan compared to other parts of the world, the way Menkes is also calling it Japan's "secret weapon"...ugh........I hate stupid cliches, especially as titles... and please...it's a "secret weapon" only if it actually has the power to pose some threat to the current industry leaders. Watch out Louis Vuitton! Here comes Limi Feu!
I don't think that Tao (32...) is definitely going to inherit CdG, she's just a protege who is given permission to launch a small collection of her own after 8 years! And that is supposedly a special talent spotted by ReiK. Look at the fortunate young ones in Europe, in contrast.
Whatever you think of the strategy of Chloe, Rochas, Balenciaga, the crucial question is, does it work? Whichever brands they have worked for, Hedi Slimane, Raf Simmons, Phoebe Philo, Theyskens, have firmly established *their own names*, the label loses credibility when they leave, eg. YSL Homme since Slimane left. They are super young, talented, ambitious and super valued. The system in Europe favours them.
Of course many of the Japanese guys are alive, and except for Miyake, still designing their own labels. I am not suggesting that they quit and let someone take over, read the posts. However, the Japanese apprentice system would have meant, if hypothetiocally transfered to Europe, that someone like Hedi Slimane has to slave in Karl Lagerfeld's atelier for a decade before the Kaiser permits him to launch a tiny handkerchief collection of his own as he reaches middle age.
And look at Miyake's new designer, is he making waves and doing for this big brand what Ghesquiere is doing for Balenciaga? Is he even known? I read somewhere that Yohji Yamamoto wants his daughter to take over, it doesn't matter that she is not especially talented or even interested. This is surely the way to kill this brand, when you handpick a successor vs. making the decision based on what would make a success, but of course it's his private business ultimately. Chloe, Lanvin, etc. all made very realistic decisions based on business, the designs must sell, and they manage it with great success, artistically and commericially without obliging anyone to do a 10 year apprenticeship.
I think only the Italians come close with this family business thing, but then the Italians enjoy particular advantages, not the least of which is a traditional clustering of industry strengths that the family networking strengthens. Still, Missoni, Etro can do better.
You also take different parts of my post and juxtaposed them with other parts that bear no relations. When I referred to Belgium's success in the fashion field, I'm refering to their fashion system's success and impact relative to their country's size, wealth and economic clout, compared to Japan's fashion industry's success relative to Japan's overall global standing. I wasn't saying Belgium hires designers of other nationalities! That part was referred to in the earlier section about the openness of Europe overall, that it takes in non-Europeans, eg. Tom Ford, Marc Jacobs, Elbaz (Israeli?), etc. Even CdG, YY, IM all got their breaks in Paris.
Surely no one believes that Japan doesn't have talented young designers. Menkes thinks that the apprentice system is their "pearl in the crown", but well, where is this crown to crow about? And when I read about the severe, conservative system of the apprenticeship, and about Japan's lack of fashion industry success in the global market compared to its power, it looks as if it is more of a liability than a benefit, and explains why so few young Japanese designers have taken on the world.
I don't think that Tao (32...) is definitely going to inherit CdG, she's just a protege who is given permission to launch a small collection of her own after 8 years! And that is supposedly a special talent spotted by ReiK. Look at the fortunate young ones in Europe, in contrast.
Whatever you think of the strategy of Chloe, Rochas, Balenciaga, the crucial question is, does it work? Whichever brands they have worked for, Hedi Slimane, Raf Simmons, Phoebe Philo, Theyskens, have firmly established *their own names*, the label loses credibility when they leave, eg. YSL Homme since Slimane left. They are super young, talented, ambitious and super valued. The system in Europe favours them.
Of course many of the Japanese guys are alive, and except for Miyake, still designing their own labels. I am not suggesting that they quit and let someone take over, read the posts. However, the Japanese apprentice system would have meant, if hypothetiocally transfered to Europe, that someone like Hedi Slimane has to slave in Karl Lagerfeld's atelier for a decade before the Kaiser permits him to launch a tiny handkerchief collection of his own as he reaches middle age.
And look at Miyake's new designer, is he making waves and doing for this big brand what Ghesquiere is doing for Balenciaga? Is he even known? I read somewhere that Yohji Yamamoto wants his daughter to take over, it doesn't matter that she is not especially talented or even interested. This is surely the way to kill this brand, when you handpick a successor vs. making the decision based on what would make a success, but of course it's his private business ultimately. Chloe, Lanvin, etc. all made very realistic decisions based on business, the designs must sell, and they manage it with great success, artistically and commericially without obliging anyone to do a 10 year apprenticeship.
I think only the Italians come close with this family business thing, but then the Italians enjoy particular advantages, not the least of which is a traditional clustering of industry strengths that the family networking strengthens. Still, Missoni, Etro can do better.
You also take different parts of my post and juxtaposed them with other parts that bear no relations. When I referred to Belgium's success in the fashion field, I'm refering to their fashion system's success and impact relative to their country's size, wealth and economic clout, compared to Japan's fashion industry's success relative to Japan's overall global standing. I wasn't saying Belgium hires designers of other nationalities! That part was referred to in the earlier section about the openness of Europe overall, that it takes in non-Europeans, eg. Tom Ford, Marc Jacobs, Elbaz (Israeli?), etc. Even CdG, YY, IM all got their breaks in Paris.
Surely no one believes that Japan doesn't have talented young designers. Menkes thinks that the apprentice system is their "pearl in the crown", but well, where is this crown to crow about? And when I read about the severe, conservative system of the apprenticeship, and about Japan's lack of fashion industry success in the global market compared to its power, it looks as if it is more of a liability than a benefit, and explains why so few young Japanese designers have taken on the world.
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