“Navigating Sterility, Mega-Structures, and the Search for Fashion’s True Essence”
The colossal machinery that drives the fashion industry is showing signs of strain and discontent. Over the past 24 hours, two separate articles published in distinct newspapers have bemoaned the sterility that has begun to pervade an industry increasingly marked by an aseptic, mechanized, and risk-averse ethos. One of these articles, titled “The Fashion World Has a Talent Problem,” authored by Cathy Horyn for The Cut, and the other, an interview conducted by Silvia Sciorilli Borelli with the legendary Giorgio Armani for the Financial Times, converge on a shared critique. They both lament the gentrification of an industry that, at least in its theoretical essence, achieved its most profound cultural contributions when it existed in a more organic and unadulterated state, as opposed to the current mode of intensive cultivation.
Giorgio Armani, a luminary in the world of fashion, has been particularly vocal in his criticism, with a focus on major conglomerates like LVMH and Kering. Armani questions the motivation behind these French giants’ ambitions, remarking, “These French groups want to do everything; I don’t understand it… it’s somewhat absurd. Why should I submit to the dominion of one of these mammoth structures devoid of individuality?” He further elaborates that the act of fashion creation has become increasingly arduous in contemporary times because of the ephemeral nature of trends, stating, “What appeals to young people today may not hold their interest tomorrow… and this subculture of VIPs dictating trends is indicative of a deficiency in culture and substance.”
In this discourse, a poignant critique emerges from within the industry itself, signaling a collective yearning for a return to a more authentic, less commercialized form of fashion, where creativity and substance are revered above expedient trends and corporate homogeneity
A sentiment shared by many, to be perfectly candid, is poignantly echoed in Horyn’s article. Even Sydney Toledano, a towering figure within the fashion industry, presiding over the colossal expanse of LVMH’s Fashion Division, candidly admits, “I’m not nostalgic because if you dwell in nostalgia, you’ll find yourself perpetually frustrated. In the era of Galliano, Dior remained a modest-sized enterprise; we could converse daily and promptly resolve issues as they emerged. We harbored the mindset of artisans. However, the contemporary demands may necessitate a different approach.” This contemplation has been on the minds of many this week, notably marked by the debut of emerging designer Peter Do, who presented a rather lackluster collection for the rejuvenation of Helmut Lang. This transformation was seemingly executed under the watchful, apprehensive gaze of Fast Retailing’s managerial hierarchy.
Further fueling these reflections, Sarah Burton’s departure from Alexander McQueen, a label founded by one of fashion’s most profound visionaries, has left many pondering the fate of an artistic legacy now reduced to a few superficial elements. The once-vibrant and pulsating essence that Lee McQueen injected into the catwalk has seemingly been freeze-dried into a synthetic formula that pales in comparison to its former glory. Louis Pisano, with a touch of sublime and biting irony, quipped on Twitter that Burton’s most enduring contribution to fashion might well be the “Oversized trainers,” which, ironically, could be considered the cornerstone of the brand’s undisclosed financial records (never subjected to detailed scrutiny). This stands as a symbol, if you will, of the paradox wherein the transformation of fashion culture into an industry has commodified artistic heritage into a commercial juggernaut. Simultaneously, this commercial success has allowed the brand to persist beyond the tenure of its founder—an outcome whose virtue remains a subject of debate.
Armani astutely observes that luxury conglomerates have, to a certain extent, lost their distinctiveness. This rings true in an era where virtually every high-end brand endeavors to offer an exhaustive spectrum of products, attempting to permeate every conceivable segment of the market. Armani’s anecdote about a poignant encounter with an elderly lady, moved to tears by a photograph together, underscores a shifting paradigm. This lady, who likely never had the means to indulge in Armani’s couture creations, now has an array of accessible options at her disposal. She can purchase foundation, a logo-emblazoned t-shirt from a diffusion line, a pair of trainers, and even a piece of Armani furniture. The avenues to engage with the fashion system have multiplied, some more modest than others, but price remains the primary differentiator.
It’s crucial to acknowledge that the privilege of adorning oneself with luxury goods, as Horyn elucidates (in alignment with Eugene Rabkin), is not an inherent, unassailable entitlement. The fashion system thrives on exclusivity, a notion succinctly articulated by Louis Pisano in his tweets: “people desire brands to prioritize art over profit, yet they express dismay when brands fold and designers are let go due to financial constraints, even though they scarcely purchase items from these brands.”
In light of profitability imperatives, these colossal fashion houses, which have evolved into billion-dollar behemoths, have adopted a strategy reminiscent of fast fashion giant Zara: the relentless production of novel items, ensuring customers return frequently, offering an all-encompassing array of products, ranging from evening gowns to ping-pong paddles, from mascara to upholstery. Paradoxically, this approach proves efficacious, mirroring the trajectory of Inditex, Zara’s parent company, which recorded a substantial 16.6% sales surge in the first half of 2023. Furthermore, Inditex contemplates elevating its pricing strategy, emulating the luxury industry’s practices. Strikingly, the lines between luxury and fast fashion blur, as luxury becomes ‘zarified,’ while Zara evolves into a ‘luxified’ entity.
“In contemporary fashion, a prevailing sentiment echoes through the words of Armani, who pondered, ‘Today’s designers often find their muse in the annals of history, and unless they dare to do something truly audacious—a ‘mattana,’ so to speak—it often feels like they’re not forging new frontiers.’ This sentiment reverberates within the corridors and chambers of the fashion industry, where insiders, in hushed tones, frequently conclude their discussions on the creative weariness pervading the system with a philosophical sigh: ‘It’s all been done; we’ve witnessed it all before.’ Indeed, how many times can one reinvent a sweatshirt, a blazer, or a skirt?
This evolution also reflects a shift in the role of creative directors—a move from traditional designers to curators and aggregators of pre-existing symbols, akin to recyclers and playlist composers. Intriguingly, even the most heralded innovator of the past decade, Virgil Abloh, argued that modifying an existing design by a mere 3% could yield something entirely novel. This subtle transformation in values heralds a transition from the meticulous craftsmanship of yesteryears to the precision-driven efficiency of today.
However, what transpires when the engine powering this industry begins to falter? Notably, Bernard Arnault’s recent investment of €215 million in LVMH—a fashion conglomerate—led to a 14% decline in its market value following a financial report that exposed weakening sales in key markets like the United States and China. At this colossal scale, it’s curious to witness how even the slightest tremor from industry giants sends ripples of unease and apprehension throughout the vast sea of anonymous investors, diluting the commanding stature of any company forced to capitulate to this enigmatic force.
Perhaps, amid this turmoil, there lies a glimmer of hope for a paradigm shift—perhaps not the utopian ‘degrowth’ envisaged by Professor Latouche but a recalibration capable of awakening an industry that has grown so immense that it now risks weighing itself down, bringing about a return to its core principles and creative vitality.”
curlycurlworld: Get Twisted with CurlyCurl: The Latest in Curls, Coils, and Confidence! 
One thought on “Unveiling the Discord in Fashion: Voices of Critique from Within”