NON FASHIZON

Hedi Slimane, the designer, exudes an indisputable aura, despite his penchant for producing a standard issue of indie rock gear for Celine that seems interchangeable with his creations at Saint-Laurent. Meanwhile, Virgil Abloh has held a significant influence over not only the fashion industry but also contemporary culture for years prior to his passing. Despite having designed an extensive array of products, it is difficult to recall a signature style or a memorable Off-White show.

Karl Lagerfeld, widely regarded as the arch-type of the 'larger than life creative director', has had a significant influence not just in fashion but also in popular culture. It is noteworthy that fashion designers are not typically recognized by the average person outside of the fashion industry. Lagerfeld's persona has remained a prominent figure for decades. However, his collections for Chanel were mostly indistinguishable, consisting of a vague and forgettable combination of Parisian haute bourgeois uniform, which is a stereotype in the minds of foreigners.

While it's important to acknowledge the talent of the aforementioned designers, it is worth noting that when we think about them, what often comes to mind are specific items or their distinctive public personas, rather than shows or innovative contributions to fashion or to designs aesthetic development. 

On the other hand, collections and aesthetic contributions to design generally from the likes of Alexander McQueen, John Galliano, Thierry Mugler, Martin Margiela, Rei Kawakubo, Yohji Yamamoto, Rick Owens, among others, are deeply ingrained in our collective consciousness.

Contemporary luxury brands dont seek larger-than-life personalities to lead their fashion houses, but rather the thin veneer, a pale image of such an individual.

The creative directors in the fashion industry today are often pliant company minions, lacking the grandiosity of their predecessors or design talent. Any creative designer who still harbors illusions of grandeur is quickly reminded that the brand and merchandise are the key to fashion success, often leading to their dismissal. Alessandro Michele is a recent example of this trend. Although he increased Gucci's sales by multiples, his personality began fusing with the brand, which may have made management uncomfortable. “When a designer such as Alessandro Michele becomes too present for a brand – and customers start developing an emotional attachment towards that designer – it actually threatens the shareholders and management who in the end do not want a house to depend too much on a single individual,” says fashion critic Philippe Pourhashemi.

The conflict between the brands and creative directors is a manifestation of a symbiotic relationship that pervades the fashion industry. Some brands prefer to appoint creative directors from their existing staff, and once in their new roles, these directors are content with their increased visibility and higher salaries. Consequently, they tend to prioritize the brand's supremacy over their own creative vision, as evidenced by figures such as Virginie Viard at Chanel and Sarah Burton at Alexander McQueen.

Indeed, the success of a creative director is no longer solely dependent on their design skills and vision, but on their ability to create and maintain a strong personal brand and social media presence. This shift in priorities has resulted in an increasing number of brands hiring creative directors based on their celebrity status and social media influence rather than their design expertise. However, as the example of Matthew Williams and Givenchy shows, hype alone is not enough to ensure commercial success, and ultimately, it is the quality of the product that will determine its longevity in the market.

Warhol's view on the devaluation of artwork was evident in the name he chose for his studio, "The Factory." He implied that the mass-produced nature of his art made it similar to that of industry, and that his brand was what gave it value. Today, with the prevalence of logomania and plethora of collaborations that simply bash two logos together, it seems like a similar trend is occurring in fashion. 

This trend appears to be an attempt to conceal a lack of actual design. Warhol's famous quotes, such as "Good business is the best art" and "Everyone will be world-famous for fifteen minutes," accurately predicted the age of mass media, in which fame became more important than art. The era that followed Warhol's was one of post-art, which benefited commerce but not art itself. The work of artists such as Jeff Koonz and Damien Hirst appears sophomoric, and is only favourably compared when next to the work of hyped-up artists like Kaws and Daniel Arsham.

The fashion industry is currently experiencing a comparable phenomenon, and design is suffocating.