Racked: All Posts by Natalie SchreyerThe National Shopping, Stores, and Retail Scene Bloghttps://cdn.vox-cdn.com/community_logos/52809/32x32.0..png2015-05-06T13:00:02-04:00https://www.racked.com/authors/natalie-schreyer/rss2015-05-06T13:00:02-04:002015-05-06T13:00:02-04:00Eight Fascinating Fashion Designer Longreads
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<img alt="Karl Lagerfeld at Chanel's couture show in Paris, July 2014. Photo: Getty." src="https://cdn.vox-cdn.com/thumbor/3NpXdBAWWhfmx2ncqlGIBbxCY8w=/262x0:4493x3173/1310x983/cdn.vox-cdn.com/uploads/chorus_image/image/46283538/451834066.0.0.jpg" />
<figcaption>Karl Lagerfeld at Chanel's couture show in Paris, July 2014. Photo: Getty.</figcaption>
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<p class="c-entry-disclaimer"><i>Racked is no longer publishing. Thank you to everyone who read our work over the years. The archives will remain available here; for new stories, head over to Vox.com, where our staff is covering consumer culture for <a href="https://www.vox.com/the-goods">The Goods by Vox</a>. You can also see what we’re up to by <a href="https://vox.com/goods-newsletter">signing up here</a>.</i></p>
<p>No aspect of fashion journalism is quite as tricky—or as potentially rewarding—as writing in-depth about designers. Given the right access and the right quotes, a profile can make an aloof egoist look human and vulnerable, or make a shy artisan seem warm and appealing. To follow up on our list of <a href="http://www.racked.com/2014/12/24/7563299/best-itgirl-profiles">incredible It Girl profiles</a>, we've rounded up eight amazing articles about designers from Christian Dior to Rick Owens. Occasionally controversial, often surprising, but always fundamentally truthful, the following selections uncover the untold stories of the world’s leading fashion designers.</p>
<h3>John Galliano</h3>
<p><b><i><a href="http://www.vanityfair.com/style/2013/07/galliano-first-interview-dior-sober">Galliano in the Wilderness</a></i>, Ingrid Sischy </b></p>
<p>In his first interview following the anti-Semitic outburst that led to his dismissal from Dior in 2011, John Galliano speaks to Ingrid Sischy about his rise from a marginalized childhood in South London to the helm <span>of one of France’s most distinguished couture houses. </span><span>Alongside allies like Naomi Campbell, Jonathan Newhouse, and Anna Wintour, Galliano describes his descent into madness, his efforts at recovery, and the unquestionable talent that made him a superstar.</span></p>
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<span>In the finale to this delicate, melancholic profile, Sischy tells the story of her own brother’s tragic death from alcoholism—the same disease that plagued Galliano—and comes to the emotional conclusion that after two years of atonement and rehabilitation, the time had come for Galliano's return. [</span><span>Vanity Fair, July 2013]</span>
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<h3>Azzedine Alaïa</h3>
<p><b><i><a href="http://www.nytimes.com/2010/12/09/fashion/09ALAIA.html?pagewanted=all&_r=0"><span>Azzedine Alaïa: The Master of the Female Form</span></a></i>, Cathy Horyn</b></p>
<p>Prominent fashion critic Cathy Horyn’s understated portrayal of Tunisian-born Azzedine Alaïa’s time-honored techniques and devotion to craft is a privileged look at one of fashion’s few remaining independent voices.</p>
<p>Impervious to pressure, Mr. Alaïa continues to show collections at his own pace outside the fashion week schedule. From his stint as assistant to a midwife to his time as a costume designer at the Crazy Horse, Horyn’s insightful profile tells the story of a man bewitched by the female body. Subdued and resolute, Alaïa lets his work speak for itself. [<span><i>The New York Times</i>, December 8, 2010]</span></p>
<h3>Christian Dior</h3>
<p><b><i><a href="http://www.nytimes.com/2002/08/18/magazine/the-last-temptation-of-christian.html" style="text-decoration: none;">The Last Temptation of Christian</a></i>, Tim Blanks</b></p>
<p><b></b><span>Tim Blanks’ chronicle of Dior’s last days is peppered with charming descriptions of the French couturier’s idiosyncrasies, including his penchant for consulting fortune tellers and the obsession with decadent meals that would ultimately bring about his demise.</span></p>
<p>Tragically insecure, Monsieur Dior had embarked upon a journey to the fabled spa destination of Montecatini, Italy—a place beloved by the opera composer Verdi, who was convinced it held the secret to eternal youth. On a quest to lose weight inspired by his dalliance with a young man thirty years his junior, Dior traveled to Montecatini in spite of the dire warnings of his fortune teller, Madame Delahaye. Sadly, on his last night in Tuscany, he would suffer a heart attack and stroke, his passion for food having finally consumed him. [<span><i>The New York Times Magazine</i>, August 18, 2002]</span></p>
<h3>Karl Lagerfeld</h3>
<p><b><i><a href="http://www.newyorker.com/magazine/2007/03/19/in-the-now" style="text-decoration: none;">In the Now: Where Karl Lagerfeld Lives</a></i>, John Colapinto</b></p>
<p><span>"You will think I'm a madman," Karl Lagerfeld says as he leads John Colapinto through his former residence in Paris. </span><span>A converted</span><span> </span><span>eighteen-thousand-square-foot mansion buried in books, magazines, CDs, iPods, and photographs, Lagerfeld's home at the time was </span><span>famous for containing "the most beautiful room in Paris." It also included </span><span>a recreation of his childhood bedroom in rural northern Germany, complete with the original furniture and art.</span></p>
<p>In addition to such gems, we learn of Lagerfeld’s ceaseless appetite for knowledge, a habit that prompts him to tell the author convoluted stories of obscure historical characters for over two hours. At the same time, he repeatedly insists t<span>hat only the present matters in his designs, eschewing the concept of archives by throwing every sketch in the trash. [</span><i style="line-height: 1.44;">The New Yorker</i><span>, March 19, 2007]</span></p>
<h3>Tom Ford</h3>
<p><b><i><a href="http://nymag.com/news/features/32120/#">Tom Ford After Sex</a></i>, Vanessa Grigoriadis</b></p>
<p>Labeled "the only handsome male fashion designer" by author <span>Vanessa Grigoriadis, </span><span>Tom Ford is depicted in this </span><i style="line-height: 1.44;">New York</i><span> magazine story as a charismatic man of refined tastes, trailed by a Scottish butler wielding bottles of Coca Cola. Ford's blend of high and low is most evident in his </span><span>disarming openness about sex, a subject on which he speaks freely and comfortably, admitting that he likes to look at naked people. Grigoriadis even notes that he arrived at an interview flashing "a postcoital stare." </span><span>[</span><i style="line-height: 1.44;">New York</i><span>, May 28, 2007]</span></p>
<h3>Oscar de la Renta</h3>
<p><b><i><a href="http://francescastanfill.squarespace.com/oscar-delarenta">Living Well is Still the Best Revenge</a></i>, Francesca Stanfill</b></p>
<p>The eclectic social life of Oscar and Francoise de la Renta is recounted with grace and warmth this profile of the couple for the <i>New York Times Magazine</i>. Known for hosting dinner parties featuring personalities from politics, publishing, journalism, and the arts, the De la Renta's made entertaining a central part of their lifestyle.</p>
<p>A former <span>French Vogue</span><span> editor, Francoise de la Renta is portrayed as a demure yet rigorously intelligent companion to Oscar. The story implies that she was the secret weapon behind his success, and although she insists otherwise, Francoise is undeniably the focal point of Stanfill’s analysis, giving readers a new lens for viewing both the Dominican Republic-born designer and the New York society figures who formed his upper-crust clientele. [<i>The New York Times Magazine</i>, December 21, 1980]</span></p>
<h3>Helmut Lang</h3>
<p><b><i><a href="http://nymag.com/nymetro/shopping/fashion/features/3346/" style="text-decoration: none;">A New Yorker by Design</a></i>, James Kaplan</b></p>
<p>Throughout the 1990s, Austrian designer Helmut Lang consistently upended fashion’s status quo with his cutting-edge, luxuriously minimalist designs. <span>As this comprehensive article by </span><i style="line-height: 1.44;">New York</i><span> magazine’s James Kaplan describes, he also took bold business risks that forever changed the industry.</span></p>
<p><span>Lang pioneered the current fashion show schedule after announcing in July 1998 that his Spring 1999 collection would be shown in September, prior to the European shows, rather than the traditional November showing that reigned at the time. In so doing, Lang triggered a domino effect that cascaded across the wider industry, prompting Calvin Klein to follow suit.</span></p>
<p>He also debuted the first digitally-available fashion show, filming his winter 1998/1999 collection in an empty studio for his website and distributing it to editors via CD-ROM. Both Anna Wintour and Suzy Menkes panned the choice, yet the popularity of live-streamed fashion shows is now a hallmark of every fashion season.<span> [</span><i style="line-height: 1.44;">New York</i><span>, July 27, 1998]</span></p>
<h3>Rick Owens</h3>
<p><b><i><a href="http://www.anothermag.com/fashion-beauty/7272/rick-owens-on-controversy-and-adolescence" style="text-decoration: none;">Rick Owens on Controversy and Adolescence</a></i>, Susannah Frankel</b></p>
<p><span>Susannah Frankel, the l</span>ongtime fashion editor of the <i>Independent</i> and current fashion director at the U.K.’s <i>Grazia, </i>has interviewed some of fashion’s biggest names, including John Galliano, Miuccia Prada, and Tom Ford. In her candid dialogue with Rick Owens, she gets the famously iconoclastic designer to talk about everything from his goth reputation to his provocative <span>spring/summer 2014 presentation, which featured step dancers instead of models. </span><span>"We’re going to have to talk about race at some point," Owens says. "And how does someone like me do that without sounding completely condescending?" </span><span>[</span><i style="line-height: 1.44;">AnOther</i><span>, April 13, 2015, originally printed in </span><i style="line-height: 1.44;">AnOther</i><span> magazine S/S14]</span></p>
https://www.racked.com/2015/5/6/8559619/fashion-designer-longreadsNatalie Schreyer2015-03-17T13:34:50-04:002015-03-17T13:34:50-04:00Reviewed: Robin Givhan's Book on the Night that Changed Fashion Forever
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<img alt="Photo courtesy Flatiron Books" src="https://cdn.vox-cdn.com/thumbor/G1JvOPIxvUXbxSo9InQsI1fJwYk=/0x0:4398x3299/1310x983/cdn.vox-cdn.com/uploads/chorus_image/image/45919176/battle-of-versailles_3_2015.0.0.jpg" />
<figcaption>Photo courtesy Flatiron Books</figcaption>
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<p class="c-entry-disclaimer"><i>Racked is no longer publishing. Thank you to everyone who read our work over the years. The archives will remain available here; for new stories, head over to Vox.com, where our staff is covering consumer culture for <a href="https://www.vox.com/the-goods">The Goods by Vox</a>. You can also see what we’re up to by <a href="https://vox.com/goods-newsletter">signing up here</a>.</i></p>
<p>On November 28, 1973, in the ornate Théâtre Gabriel at the Palace of Versailles, five American upstart designers faced off against five legends of French haute couture in a dazzling charity fashion show that would later be dubbed "The Battle of Versailles" by Women's Wear Daily's John Fairchild.</p> <p dir="ltr"><span>As Pulitzer Prize-winning journalist Robin Givhan explains in her exceptional new book, </span><a style="line-height: 1.44; background-color: #ffffff;" href="http://www.amazon.com/The-Battle-Versailles-American-Spotlight/dp/1250052904">The Battle of Versailles</a><span>, this grand event reflected the social upheaval of the era, from the Civil Rights movement in the U.S. to labor disputes in late ‘60s France. The rise of Black Power had inaugurated the "black is beautiful" mantra, Maya Angelou had published </span><i style="line-height: 1.44;">I Know Why the Caged Bird Sings </i><span>four years earlier, and female participation in the workforce had grown by almost 50% since the 1950s. Designers and advertisers were growing interested in black models, ten of whom appeared at Versailles. The sexual revolution inspired American designer Stephen Burrows's featherweight, curve-hugging jersey dresses, and the growing independence of the country's working women was on display in Anne Klein's streamlined sportswear.</span></p>
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<p><q class="pullquote"><span>In effect, the evening's performance represented the triumph of a liberating future over the rigid formality of the past.</span></q></p>
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<p>Packed with stars of the international jet set, diplomats, royals, and style columnists, the opulent theatre—dripping with seven chandeliers, lined with blue velvet benches, and dotted with gold pillars—served as a dramatic backdrop for the designers and their competing egos. By the end of the evening, after two hours of ostentatious presentations by the French featuring elaborately constructed stage sets and a live orchestra, the Americans and their ready-to-wear had trumped the French tradition of custom, made-to-order gowns and introduced the concept of modern sportswear that remains the dominant style of dress today. In effect, the evening's performance represented the triumph of a liberating future over the rigid formality of the past.</p>
<p><span>While the Americans' fashion philosophy had advanced in light of civil rights developments, the customs of the French remained based on an entrenched legacy of nobility dating back to Marie Antoinette. To be part of the exclusive French fashion world, with its personal fittings and lavish parties, a woman needed the right family lineage, social standing in society, and connections. </span><span>But as the powerful transformations of the late ‘60s and early ‘70s began to dominate the cultural conversation, the status quo began to change. The new comfortable silhouettes and fabrics not only transformed the American fashion industry, but catalyzed an evolution toward the prominence of ready-to-wear in France.</span></p>
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<p class="caption">Stephen Burrows and friends on Fire Island. Photo courtesy Flatiron Books.</p>
<p><span>In this heightened environment of progress and rebellion, five American designers traveled to Paris for the charity event that changed fashion forever.</span></p>
<p><span>Dominican Republic-born Oscar de la Renta was coming into his own as a designer of sweeping, romantic gowns. De la Renta competitor and friend Bill Blass had begun creating easy daywear inspired by New York's café society. Roy Halston Frowick—a Midwesterner who started out as a window dresser and hat-maker in Chicago—was now a wealthy designer to the stars known solely as Halston. Anne Klein, the show's only female designer, was lambasted by the other participants for her casual sportswear separates made for the modern working woman.</span></p>
<p>The final American designer, an earnest African-American FIT graduate named Stephen Burrows, is in many ways the star of Givhan's story. An independent thinker, his bold color combinations, feather embellishments, and sultry silhouettes were derived from the disco era of drugs and dancing on New York's Fire Island.</p>
<p dir="ltr">They confronted five giants of French design: Hubert de Givenchy, Marc Bohan of Dior, Pierre Cardin, Emanuel Ungaro and Yves Saint Laurent. <span>Known for his close relationship with treasured client Audrey Hepburn, Hubert de Givenchy's studied structural lines and sumptuous evening wear were a byproduct of his friendship with Spanish couturier Cristóbal Balenciaga. Bohan, a shy, unassuming fellow who took over Dior in 1961, gained fame for what editors labeled the "Slim Line," a more subtle, less exaggerated approach to design. </span></p>
<p dir="ltr"><span>Pierre Cardin—notorious for his myriad licensing deals on everything from cigarette lighters to wigs—was one of the first French designers to enter ready-to-wear, provoking the disdain of colleagues including Balenciaga. </span><span>Another disciple of the aforementioned couturier, Emanuel Ungaro's clothes were a romantic ode to bohemia featuring minidresses in layered patterns and delicate fabrics. Finally, Yves Saint Laurent—an unstoppable force in French fashion—had forever altered the design landscape with the debut of his women's tuxedo, dubbed le smoking, in 1966. He would continue on to become a legend, both for his collections inspired by such varied influences as Mondrian, Africa, bikers, and gypsies, and for his infamous hard-partying ways.</span></p>
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<p><q class="pullquote"><span>Analytical and detailed, Givhan's chronicle contextualizes the event within a heated era of social change.</span></q></p>
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<p dir="ltr">Through extensive interviews with the remaining designers, models, and journalists who were present at Versailles—along with observations from scholars like Harold Koda, Curator in Charge of The Costume Institute at the Metropolitan Museum of Art—Givhan carefully weaves together the narratives of each designer and model. <span>Analytical and detailed, her chronicle contextualizes the event within a heated era of social change. Her anecdotal style of writing is compelling and easy to read, and her ability to draw modern comparisons—the relative restraint at today's Met Gala and Washington soirees, for instance, in contrast to the garish display of millions of dollars worth of jewels by the guests at Versailles—makes this nostalgic story of a night in 1973 feel not only relevant, but current.</span></p>
<p>In her columns at <i>The Washington Post</i>, Givhan has become known for her keen ability to examine fashion through the mirror of larger socio-cultural trends, a talent that makes her uniquely qualified to tackle the tale of Versailles. Due to the limits placed on the presence of photographers and press at the event by Marie-Helene de Rothschild—the eccentric socialite who served as the event's chairwoman on the French side—documentation of the night remains limited. In light of this fact, Givhan's meticulous reporting becomes even more valuable.</p>
<p>For history buffs, <i>The Battle of Versailles</i> is a tale of how the cultural revolution of the ‘60s and ‘70s, from student protests to disco fever to the rise of Black Power, led to widespread social changes that opened doors for minorities and women. For fashion enthusiasts, the book is an inside look at a night of glamour and enchantment featuring ten of the most revered and controversial designers ever. For the casual reader, it's a masterful hybrid of research and storytelling of the night that American fashion came alive on the world stage.</p>
https://www.racked.com/2015/3/17/8235033/Robin-Givhan-Battle-Of-Versailles-reviewNatalie Schreyer2015-02-18T13:13:49-05:002015-02-18T13:13:49-05:00Oscar de la Renta's Successor Stays True to His Singular Vision
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<p class="c-entry-disclaimer"><i>Racked is no longer publishing. Thank you to everyone who read our work over the years. The archives will remain available here; for new stories, head over to Vox.com, where our staff is covering consumer culture for <a href="https://www.vox.com/the-goods">The Goods by Vox</a>. You can also see what we’re up to by <a href="https://vox.com/goods-newsletter">signing up here</a>.</i></p>
<p>Peter Copping's first collection looks to the future while respecting the past.</p> <p>In October 2014, an aging Oscar de la Renta designated British designer Peter Copping as his chosen successor. Suffering from lymphoma and increasingly conscious of his house's legacy, de la Renta initially <a href="http://www.nytimes.com/2015/02/15/fashion/keeping-the-oscar-de-la-renta-name-alive.html">planned</a> to work alongside Copping in anticipation of his eventual departure, imparting his method and gradually preparing for the day when the younger man would take his place. Tragically, de la Renta passed away just one week after the appointment was announced. Last night marked the debut of Mr. Copping's first collection for the legendary label.</p>
<p>Copping's skills were never in doubt. A graduate of the famed Central Saint Martins—which counts Alexander McQueen, John Galliano, and Stella McCartney among its alumni—he worked alongside Marc Jacobs at Louis Vuitton for more than a decade. His feminine detailing like lace insets, diaphanous fabrics, and meticulous embellishment made him a natural fit at Nina Ricci, where he <a href="http://nymag.com/thecut/2014/10/everything-you-need-to-know-about-peter-copping.html">was named</a> artistic director in 2009. (De la Renta reportedly began pursuing him shortly after his appointment there.) In this first collection, Copping faced a daunting task: to demonstrate his understanding of de la Renta's tradition and values while showcasing his own sensibilities and offering a new direction for the line.</p>
<p dir="ltr"><q class="pullquote float-right"><span>Last night, the new Creative Director of one of the most distinguished fashion houses in America proved himself a worthy choice.</span></q></p>
<p>Last night, the new Creative Director of one of the most distinguished fashion houses in America proved himself a worthy choice. A study in contrasts, the collection melded dense geometric prints with airy florals; opaque, weighty fabrics with fragile lace; and high demure necklines alongside leg-baring cocktail dresses. Rich burgundy furs evoked a vision of imperial Russian opulence while a feather-accented skirt, beaded cap sleeves, and a stone-encrusted cropped jacket conjured Jazz Age charm and its boundless 1920s optimism. While prim skirtsuits—a staple of both Mr. De la Renta and Mr. Copping in his years at Nina Ricci—made appearances throughout the show, subtle alterations like flouncy A-line shapes and discreet pockets elevated De la Renta's classic uptown look for a younger customer.</p>
<p>De La Renta was known for cutting a dashing figure—including occasional forays into singing and dancing. Copping is considered more unassuming, but he paid homage to the house's dramatic namesake with eternal ODLR signatures like refined belted waists, bow adornments, tiered ruffles, and intricate rosettes. Nevertheless, he asserted his independence through original touches like a sliced skirt on a fringed, 70s-inspired black party dress and an off-the-shoulder gold brocade mini-dress with a sheer lace panel bordering the hemline. Embellished gowns in radiant shades of royal purple, aqua, and bordeaux red honored the legacy of Mr. de la Renta's red carpet tradition and Mr. Copping's years ensconced in Parisian glamour.</p>
<p>Copping may consider adding more than just his fresh young vision to the famously uptown label. While de la Renta is undeniably a womenswear brand, Alex Bolen, CEO of Oscar de la Renta and stepson-in-law of the man himself, said in <a href="http://www.mediaredefined.com/qa-alex-bolen-ceo-of-oscar-de--995572240.html?curator=MediaREDEF">FashionREDEF</a> today, "I think that there are some obvious categories that we're not participating in, like menswear, that could very quickly become a more integral part of our business." He notes Copping has "a lot of ideas about menswear" and leaves the door open while remaining careful to emphasize authenticity above all. Although Copping dismissed the idea of pursuing menswear at Nina Ricci in a 2012 interview with <a href="http://www.wmagazine.com/fashion/2012/05/peter-copping-nina-ricci/">W Magazine</a>, the well-known dapper dress of De la Renta himself could serve as inspiration for a future exploration of the category.</p>
<p>If Copping's mulling over some changes, he's also being intensely thoughtful about the way he navigates the brand's past. In a touching tribute, he addressed De la Renta's emotional departure in the show notes by expressing his regret at never having the chance to work with the man who put such faith in him. Declaring his intention to<a href="http://www.nytimes.com/2015/02/17/fashion/celebrating-oscar-de-la-renta-and-his-successor.html?ref=fashion"> "start a new chapter for the house,"</a> a deferential Copping conveyed both respect and hopefulness on his journey to lead one of America's most beloved fashion houses into the future.</p>
https://www.racked.com/fashion-week/2015/2/18/8062865/nyfw-2015-oscar-de-la-renta-collectionNatalie Schreyer2015-01-15T12:56:39-05:002015-01-15T12:56:39-05:00Only One Man Belongs at Gucci, and His Name is Tom Ford
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<p class="c-entry-disclaimer"><i>Racked is no longer publishing. Thank you to everyone who read our work over the years. The archives will remain available here; for new stories, head over to Vox.com, where our staff is covering consumer culture for <a href="https://www.vox.com/the-goods">The Goods by Vox</a>. You can also see what we’re up to by <a href="https://vox.com/goods-newsletter">signing up here</a>.</i></p> <p>On Friday, December 12th, the fashion industry buzzed over the <a href="http://racked.com/archives/2014/12/12/gucci-frida-giannini-out.php">sudden revelation</a> that Gucci Creative Director Frida Giannini, along with her partner in business and life, CEO Patrizio di Marco, would officially depart Kering's largest brand. A global behemoth valued at $12.5 billion in 2014, Gucci is defined by distinctive leather goods, refined craftsmanship, red-carpet glamor, and a history of nearly a hundred years. While di Marco has already been replaced by Marco Bizzarri, Kering chief executive of luxury couture and leather goods, the vacancy of Gucci's creative and design head has led to a persistent debate over who is destined to lead the Italian heritage brand's resurgence in the luxury market.</p> <p>The current maelstrom is reminiscent of Gucci in the early 1990's, before the arrival of Tom Ford rescued the brand from financial troubles and design limbo. Over-leveraged, over-licensed, and near bankruptcy, the brand needed Ford and CEO Domenico de Sole (now the chairman of Tom Ford International) to help it shift from a fading bastion of luxury to a $10 billion powerhouse known for its sultry designs and hyper-sexualized advertising campaigns. In one <a href="http://www.independent.co.uk/news/people/10-of-the-most-controversial-fashion-adverts-9485543.html?action=gallery&ino=5">2004 shoot</a> later banned for its audacity, model Carmen Kass stands disrobed against a wall with a G carved into her pubic hair as a young man looks on.</p> <p><style>.site-rna .post .post-title { width: 1000px !important; padding-bottom: 8px; padding-top:6px } .site-rna .post h1.post-title a { font-size:48px !important} .site-rna #leadintro { width:1000px; font-size:16px } .site-rna .post .post-body .post-more {width:660px;} .site-rna .post .post-body img.bigpic {width:660px; max-width:660px !important; height:auto } .site-rna .post .post-body #leadphoto {width:1000px; max-width:1000px !important; height:auto } .site-rna .post .post-body .pullquote { float:right; width:250px; margin: 0 0 10px 14px !important; padding: 8px 4px; font-family:TradeGothicLTStdBoldCondensed; Helvetica, Arial; font-size:32px !important; line-height: 35px !important; border-top: 4px double #FF0000; border-bottom: 4px double #FF0000; } .post p { font-size: 17px; line-height:27px; margin-bottom:10px } .post h3 { font-family:TradeGothicLTStdBoldCondensed; Helvetica, Arial; font-weight:normal; font-size:38px; width: 660px; padding: 18px 0; line-height:40px; } .post h4 { font-family:TradeGothicLTStdBoldCondensed; Helvetica, Arial; font-weight:normal; font-size:36px; width: 660px; padding-bottom:5px; padding-top:14px; } .site-rna .post .post-title { font-size:36px !important; width: 660px; padding-bottom: 8px; padding-top:6px; line-height:40px !important } .post-metadata {margin-top: 500px !important } #column-right { padding-top: 905px } </style></p> <p>At this stage, the brand needs a creative director who can bring back the energy and dynamism of Gucci during the Ford days. Currently, the shortlist consists of Givenchy designer Riccardo Tisci, Bottega Veneta's Tomas Maier, and Saint Laurent's inimitable Hedi Slimane.</p> <p> <figure class="e-image">
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<br><span class="credit">Riccardo Tischi, left, and Hedi Slimane, right. Images: Getty</span></p> <p>It is difficult to argue against Riccardo Tisci as a worthy successor, given his ten-year revitalization of Givenchy. Under his watch, the runway stalwart grew its revenues to a<a href="http://www.wwd.com/fashion-news/designer-luxury/guccis-sea-change-8075642">n estimated $433.3 million</a> in 2014. His Spring 2015 collection for the label, a predominantly black-and-white bonanza of leather, lace, embellishments, and spot-on styling, spoke to Tisci's ability to create a consistent brand message through edgy yet feminine pieces. Who can forget the rottweiler tote or the Bambi sweatshirt? Tisci has given Givenchy new life.</p> <p>However, Tisci is currently employed by Kering's direct competitor and arch-nemesis LVMH. It seems extremely unlikely that the luxury group helmed by Bernard Arnault would willingly part with one of the most important designers in its growing portfolio. Furthermore, Tisci's contract <a href="http://www.wwd.com/fashion-news/designer-luxury/guccis-sea-change-8075642">was reportedly renewed</a> through October 2015. While he may be an aesthetic match, his value as a candidate drops when viewed from a business perspective.</p> <p>Tomas Maier, who is currently in the process of expanding his namesake label, designs tailored pieces for daily living, including casual separates in cotton alongside swimwear and select accessories. The current spring offering conveys a utilitarian nautical fantasy. With the goal of two new store openings next year—in downtown Manhattan and Miami—he seems unlikely to accept a post at such a pivotal moment. His work at Bottega, meanwhile, is upmarket and luxe with thoughtful shapes and a masterful use of intrecciato (the leather braiding that identifies the label). While more compatible with the Gucci heritage, his ready-to-wear aesthetic remains understated and simple in contrast with the vitality and spirit of Gucci.</p> <p> <figure class="e-image">
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<br><span class="credit">Gucci's infamous "G" ad from the Tom Ford era</span></p> <p>In a surprise turn, Page Six <a href="http://pagesix.com/2014/12/15/gucci-eyes-yves-saint-laurent-exec-to-replace-creative-director/">reported</a> on December 15th that "fashion insiders" speculate that Saint Laurent's Hedi Slimane is on the list of candidates to replace Giannini. After taking over from Stefano Pilati in 2012, Slimane has imbued the French fashion house with an undeniable magnetism reflective of his rock music photography background and menswear tailoring talents. His skill and instincts have generated excitement and press for the now LA-based creative atelier. The abrupt addition of a new label to his responsibilities could stunt the momentum he has gained in only two brief years contemporizing Saint Laurent.</p> <p>Despite this abundance of talented candidates, the only designer who can truly reignite the fire at Gucci remains its original savior, a man whose name is synonymous with exclusivity, scarcity, and charisma: Tom Ford. In fact, rumors of Ford's return <a href="http://racked.com/archives/2015/01/14/tom-ford-gucci-rumor.php">made their way</a> across the industry only yesterday.</p> <p>Granted, Ford's ten-year tenure at Gucci did end in a public conflict with Francois Pinault of PPR, leaving him jobless and desolate. In a 2013 interview with Business of Fashion's Imran Amed, he <a href="http://www.businessoffashion.com/2013/09/the-business-of-being-tom-ford-part-i.html">confessed</a>, "I was unsure of what I'd do after [that] because, quite honestly, I was shell-shocked. I was very depressed about it." At the time, he wrote off the possibility of returning to fashion. </p> <p>Since then, however, Ford has built his own namesake fashion empire, growing from perfume, makeup, and eyewear (negotiated in a series of lucrative licensing contracts with Estée Lauder and Marcolin) to both women's and men's wear. The designer has stated that by early 2014, his business was on track to earn $1 billion a year in retail sales.</p> <p>So the man who once renounced fashion has staged the comeback of a lifetime. As the reinventor of such signature accents as the bamboo handle (a symbol of Gucci's seductive combination of exoticism and polish) and the tinted aviator sunglass (conjuring a provocative image of Studio 54 hedonism), Ford will forever be linked to the house of Gucci. Given the brand's flagging sales and persistently dull ready-to-wear, it's time for a renaissance. And Ford is the ultimate Renaissance man.</p>
https://www.racked.com/2015/1/15/7560789/tom-ford-gucciNatalie Schreyer