For those interested:
http://www.thefashionlaw.com/home/c...-thing-hedi-slimane-for-celine-will-sell-well
http://www.thefashionlaw.com/home/c...-thing-hedi-slimane-for-celine-will-sell-well
Any guesses or speculation for Hedi’s 1st collection?
- Thread starter Spellwriter
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“A real designer,” Rabkin states, “understands that a vision is a dynamic thing, not a static one, and that his or her role is to build upon that vision to create something, if not entirely new, then at least fresh … What we got from Slimane were banal sartorial archetypes that we’ve seen way too many times. In fact, by now, Slimane’s banality is his most defining feature — a signature of sorts.”*
Still yet, Rabkin states, “This hot mess” will sell. That is something that is almost universally agreed upon when it comes to Slimane, Celine debut included. As for whether that makes the design “good” or “real" is still up for debate, as is the question of whether such an inquiry (and those “good,” “real” qualities) is even relevant given the conglomerate-driven, overly corporatized industry that is fashion in its most current state.
This season made one long-standing principle in the business of fashion very, very clear – whether it be by way of Riccardo Tisci’s very wearable offerings at his Burberry debut or Slimane’s reliance on his tried-and-true aesthetic and the inherently marketable pieces that come along with it: Fashion might be trendy (particularly in the age of Insta) and the merits of “real” design might still be relevant and worth pushing for, but the money that can be made from it (and the hype that can be driven by way of social media to fuel more sales) is what matters more than anything else.
The appointment of Virgil Abloh to the helm of the Louis Vuitton menswear division, the brand’s collaboration with Supreme before that, and still yet, the recent announcement that Versace will be acquired by Michael Kors Holdings (likely because it is too difficult to exist and grow as an independently-held brand in the corporate fashion landscape) and the other recent indie buy-outs at Dries Van Noten and Missoni also speak very clearly to this fact, one that has inevitably tripped the scale of favor commerce over art, something that is becoming increasingly obvious as the conglomerates buy up more names in the fashion ecosystem.
In this equation, Slimane’s debut collection is almost certainly going to be one of the most successful of the season, critics (and any emphasis on “good” design) be damned.
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Lol, 'Banal' came to mind this morning when I woke up thinking about all of this. It sounds to me that people are settling. Just because something is, doesn't make it so. At some point people are gonna want more.Still yet, Rabkin states, “This hot mess” will sell. That is something that is almost universally agreed upon when it comes to Slimane, Celine debut included. As for whether that makes the design “good” or “real" is still up for debate, as is the question of whether such an inquiry (and those “good,” “real” qualities) is even relevant given the conglomerate-driven, overly corporatized industry that is fashion in its most current state.
This season made one long-standing principle in the business of fashion very, very clear – whether it be by way of Riccardo Tisci’s very wearable offerings at his Burberry debut or Slimane’s reliance on his tried-and-true aesthetic and the inherently marketable pieces that come along with it: Fashion might be trendy (particularly in the age of Insta) and the merits of “real” design might still be relevant and worth pushing for, but the money that can be made from it (and the hype that can be driven by way of social media to fuel more sales) is what matters more than anything else.
The appointment of Virgil Abloh to the helm of the Louis Vuitton menswear division, the brand’s collaboration with Supreme before that, and still yet, the recent announcement that Versace will be acquired by Michael Kors Holdings (likely because it is too difficult to exist and grow as an independently-held brand in the corporate fashion landscape) and the other recent indie buy-outs at Dries Van Noten and Missoni also speak very clearly to this fact, one that has inevitably tripped the scale of favor commerce over art, something that is becoming increasingly obvious as the conglomerates buy up more names in the fashion ecosystem.
In this equation, Slimane’s debut collection is almost certainly going to be one of the most successful of the season, critics (and any emphasis on “good” design) be damned.
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*emphasis mine. Frame it, put in up on the wall.
Is it over dramatic to say that I’m kinda in mourning? I went to the Celine boutique in Beverly Hills this weekend and picked up the flap WOC, I’m kinda on a buying ban right now after that whole trip because I was extremely spendy overall, but I think I’m gonna regret it forever if I don’t pull the trigger on a Big Bag before this absolute circus takes over.
Saw this on Instagram and thought it was hilarious:
I have just realized Chloe has also introduced a new "C" logo hardware/clasp. This is going to be the season of 'not another C-logo bag' yawn... 
Both were equally boring. Chloe's felt like a fake piece, it looked tacked on. Very out of place.I have just realized Chloe has also introduced a new "C" logo hardware/clasp. This is going to be the season of 'not another C-logo bag' yawn...
To be fair, he did put some blue bags among the black, white and pinks on the mirror-tables..
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Still, such a stricking contrast to Philo’s sophisticated use of color...
Wild! Rebel! Edgy!To be fair, he did put some blue bags among the black, white and pinks on the mirror-tables..
With the exception of the black and grey I don't like the colours. Where are the neutrals? I just hope that there are more colours and styles than what we see here.