Creative Crisis: Directors Make Changes Across Large Fashion Houses
In the past year, luxury fashion powerhouses have appointed new creative directors, and the industry anticipates dramatic change. From Gucci, Louis Vuitton, and Valentino to Tom Ford, Givenchy, Alexander McQueen, Chloé, and most recently, Chanel—the brands in question have driven global fashion trends for decades.
Fashion is supposed to evolve with pop culture, technologies, and new ideas. To some, these changes are exciting and refreshing. Still, fashion critics are skeptical of the ability of these new creative directors to introduce new ideas while staying true to the brand.
Gucci’s timeless designs and quality craftsmanship have spoken to audiences for decades, and Sabato De Sarno has proven his ability to maintain this quality with impeccable attention to detail. Unlike many other luxury brands that have been in trouble for increased prices with cheapened quality, it is evident that De Sarno was not willing to sacrifice Gucci’s reputation.
Upon comparison of two of the same Jackie handbags from 2022 and 2024, the improvement in quality under De Sarno’s leadership is astounding. The leather is softer, the interior lining no longer smells due to a manufacturing issue, and most notably to buyers, the gold hardware has been adapted to a soft, unique finish.
De Sarno’s new gold is a reflective, beautiful soft gold that effortlessly matches every metal finish and every skin tone, making Gucci’s products now more versatile and desirable to a select market of people.
While some new creative directors, like De Sarno, have made a good first impression, some are experiencing backlash on debut collections.
Seán McGirr’s debut of the new Alexander McQueen has not received much positive feedback. McQueen has maintained a reputation for creating funky pieces and putting on shocking runway shows, yet McGirr’s first show in Paris this past spring confused critics and loyal customers.
The show was meant to be inspired by Lee McQueen’s bird collection—featuring loud, large silhouettes and feathers galore—but many believe the collection lacked desirable products. Though the brand has always been edgy, McQueen and his successor, Sara Burton, were known for intricately tailored pieces that fit a feminine silhouette.
McGirr is now leaning into younger, looser silhouettes, which has left a cloud of confusion around the brand. The majority of the negative conversation exists on their social media platforms, where one user writes, “This is embarrassing the brand and Lee’s legacy.”
Gucci’s former creative director of almost 8 years, Alessandro Michele, has stepped in at Valentino and made it his own. The inspiration and silhouettes featured in his ready-to-wear collection are unlike anything Valentino has done in the past.
The question that needs to be asked as we experience a major shuffle in creative directors is “When does creative liberty go too far?”
Alessandro Michele is one of the most notable names in fashion, credited for “saving Gucci,” yet his Valentino collection that reflects his creative ability has not been well received by the loyal Valentino audience. A creative director’s primary task is to steer the direction of the brand, upholding its core values and visions, but when creative directors like Michele fail to separate their brand as an individual from the brand they work for, it costs their reputation and sales.
Many affluent shoppers adore the brand’s flattering clothing made from quality fabrics, and many of the most loved styles have remained consistent for years. Michele has seemingly disregarded these features of Valentino that attracted their loyal customer base and has accomplished arguably the most dramatic change in brand vision in recent years.
Though the ready-to-wear collection landed poorly, he has effectively pinpointed Valentino’s weakness in their accessories under Piccioli’s direction. The iconic rockstud was featured on outdated styles for too long, cheapening the brand’s overall aesthetic. Michele has managed to alter the rockstud collection to be a more modern and higher quality. His efforts have already created buzz around Valentino again and only time will tell if his work will positively impact the brand long-term.
Creative liberty and innovation are the basis of fashion, but staying true to the brand should be of utmost importance to creative directors. De Sarno dedicated his first year at Gucci to positive reformation and quality control, listening to the feedback of consumers, while others like McGirr and De Sarno faced the pressure of rejection.
It will be interesting to follow these creative directors’ decisions, predicting whether or not they will adapt their approaches or double down. In the next year, we’ll see Haider Ackermann’s make his Tom Ford debut in March and the highly anticipated announcement of who will take over at Chanel.
What is your opinion on the surge of new creative directors? Leave a comment below.