Not your average fashion week gossip.
- Milan’s Misgivings
Milan’s Fashion Week was most notably the least patronized of the international fashion weeks in both designer showcasing and media attention:
Sometimes “less is more”, just isn’t the case
Compared to NY and London who showcase 10 (London) to 14 (NY) shows per day, Milan couldn’t possibly keep up. The MFW schedule only allows for a measly 2-3 shows per day. Ken Downing, fashion director of Neiman Marcus told WWD shortly after the conclusion of Milan Fashion Week, “They need to condense the calendar to put more shows within the course of the day, or they need to entice other designers to start showing here so that we’re filling this time in with collections that we should be looking at.” (BoF)
Competing with Oscar – If You Can’t Beat ’em, Join ’em
Milan Fashion Week happens to overlap with the fashion-centric red carpet galla that is the Oscars. Even though Hollywood stole most of the media attention away from Milan Fashion Week, the Italian designers managed to bring the attention back to them without competing with the event;
A NYT article released shortly after this years Oscars revealed that 3 major Italian brands: Versace, Armani, and Valentino represented 75 of the 418 women archived in the NYT. Then there is the addition of all the men clad in Armani Suits. Itailian brands are aware that using the Oscars is a necessary marketing platform, especially since the limelight gets refocused on the event at a time when Italian designers should be headlining news.
- Click is the new Clap
“Everyone is so busy updating their social media accounts during show finales, they no longer take the time to acknowledge the designers’ hard work.” –(BoF)
With the addition of the app, Vine mere days before the launch of Fashion week, social media platforms that are so important to fashion brands reached an all-time high. Audience members were so enthralled with keeping up web appearances, that they fail to commend designers in real time, in real life.
No longer are the days when a designer can deduce success by the applaud at end of the show; the real success is in the virtual “shares” and “likes” among the online community.
- Pretentious Paris
With the rise of young designer initiatives around the globe, experts have been discussing the reasoning behind the lack of support for young, up-and-coming French designers.
“In France, fashion is taught like an art,” Ms. Dufour, longtime supporter of young designers in Paris, told BoF, “It’s been like that for a long time. In England and New York, every one knows it’s an industry. For twenty years or more we have had this problem of [poor] training. French fashion education has to change, they are still focused on the bourgeoisie.”
The tradition of Haute-Couture in France seems to be undermining the ability of French designers to display their personality. French designers who have only shown haute couture are finding it difficult to relate to the wider scope of the fashion scene (most notably discussed was Maxime Simoens’ RTW collection at Paris Fashion Week).
Ms. Dufour says, “Haute Couture is a handicap. It’s a savoir faire, but no more than that. Point of view and personality is what we need [more of] in Paris.” (BoF)
- Most talked-about shows
– Riccardo Tisci for Givenchy: “the strength of gypsies meets the romanticism of a Victorian feeling.”
– Rick Owens for Chanel and Chanel’s “Globalisation” show
– Mary Katrantzou use of digital trickery
– Marc Jacobs scaled back, simple and elegant show for Louis Vuitton
– Hermès intimate show in the library of Lycée Henri IV