BEHIND CLOSED DOORS
THEY’VE BEEN DRESSING YOU for YEARS. BUT DO YOU KNOW WHO they ARE? MEET THE QUIET DESIGNERS, PREVIOUSLY BEHIND THE SCENES, READY to HAVE THEIR MOMENT
Sara McAlpine explores the new wave of ‘quiet’ creative directors at the helm of fashion’s biggest brands
When Karl Lagerfeld passed away in February, the industry held its breath. Which big name designer would Chanel draft to steer its empire? Who could possibly fill those signature black gloves? The answer: Virginie Viard, its little-known studio director, operating behind the scenes with Lagerfeld for three decades. He once said: ‘She’s my right hand, and my left. Our relationship is essential.’ So who better to ensure Chanel’s success in its next chapter?
There are a number of hires at major brands where ‘surprise stars’ have taken precedence over ‘star designers’ when it comes to new creative directors. Most recently, Viard at Chanel, Daniel Lee at Bottega Veneta, who worked under Phoebe Philo at Céline, as well as Casey Cadwaller at Mugler (formerly at Acne Studios), and Bruno Sialelli at Lanvin (most recently at Loewe). All relatively unknown. It makes sense that this approach is the new normal. As discerning customers, we know what we want. And we want to know that we can still get it when the creative director of a major brand leaves (or, in Chanel’s case, passes). Or we want to know where to look for the sumptuous, subtly tongue-in-cheek chic of Phoebe Philo’s Céline at Bottega Veneta, where new designer Lee once worked. Or the irrefutably Parisian cool of pre-Demna Gvasalia Balenciaga at Chloé, where Natacha Ramsay-Levi worked under Nicolas Ghesquière.
‘For creative talent in fashion, whether they’re known isn’t an issue,’ says Floriane de Saint Pierre, the headhunter behind key hires at Gucci, Salvatore Ferragamo and Saint Laurent. ‘Whether they can bring back the brand as an impactful player is the important question.’ Of course, this approach isn’t entirely new. The success of unknowns in the past can attest to that. For example, Valentino’s Pierpaolo Piccioli, promoted inhouse in 2OO7 having worked on the brand’s accessories; Sarah Burton, promoted at Alexander McQueen following the death of the label’s namesake in 2O1O; and Alessandro Michele, promoted at Gucci in 2O15, having hustled as the right-hand man to Tom Ford and Frida Giannini. But they’re outliers in an industry where big names – nearcelebrities in their own right – once presided over fashion’s major labels: John Galliano at Dior and Riccardo Tisci at Givenchy, who rocketed to success straight out of design school. Big-ticket names still have clout, with Virgil Abloh already established before being placed at Louis Vuitton, and luxury-group LVMH handing Rihanna the keys to her own house.
“Big ticket names still have CLOUT: even RIHANNA has espoused the virtues of HARD WORK ”
‘It’s interesting to see talent being recognised, especially at big houses,’ says Elizabeth von der Goltz, Net-a-Porter’s global buying director, who notes that taking a punt on an unknown name isn’t so much of a risk after all. Not when a designer has years of experience with big-name talent. ‘It plays to their advantage. They’re used to being part of large teams and producing elevated product. ’It means they have a record that speaks to their skillset and, importantly, what they might do next. ‘As a buyer, it helps to know who they’ve worked under, to understand their work and vision.’ That’s the exciting bit when shopping. ‘If you admire someone’s work, it’s natural to be interested in their new projects,’ says Ramya Giangola, the industry insider behind fashion consultancy Gogoluxe. Giangola has a huge Instagram following off the back of her personal style, with a feed featuring her in head-to-toe Old Céline and new Bottega. ‘I was excited to see what Lee would do at Bottega Veneta, and how much his time working with Phoebe Philo at Céline would influence his work. With what I’d heard, I was confident that I’d love his aesthetic,’ she says. That’s the advantage of hiring designers you may regard as formerly unknown pleasures, transitioning to centre stage – for brands, buyers and customers.
It’s a relief, no doubt, to see commitment visibly rewarded with trust, particularly at a time when opportunities seem to grow with one’s Instagram follower count. But, ironically, as quickly as fashion operates, it makes a case for the ‘long game’; putting in the hours – years, rather – of effort. It contradicts the narrative that young people are non-committal ‘snowflakes’ with a sense of entitlement. Two-thirds of 18 to 23-year-olds say their life goal is to make it to the top of their profession. But they’re not interested in moving up the ladder quickly, and 89% value ‘stability’ above a competitive salary and work-life balance.*
For fashion’s biggest brands, stability means remaining culturally relevant. ‘The issue that brands face today is remaining part of the conversation,’ says De Saint Pierre. ‘It’s about finding the talent who can achieve that.’ That speaks to the industry’s views, but on the consumer side (those of us waiting to click ‘confirm order’), there’s also the fact that we’ve grown used to getting what we want. And getting more of it.
Our Spotify, Insta-feeds and Netflix homepages use algorithms, telling us ‘You may also like…’ – something with an element of what you’ve enjoyed before (if you liked Russian Doll, you’ll like Dead To Me). Fashion’s shifting approach to hiring speaks to how brands sell, irrespective of industry. So promoting in-house or plucking someone with a proven track record from elsewhere makes sense for those pulling the purse strings. And it serves us as customers. The exciting bit, as always in fashion, is what the new creative directors do next. And the ‘unknowns’ coming with them.
“As a buyer, it helps to know who DESIGNERS have worked under, to UNDERSTAND their work and vision ”