Perhaps the most surprising and significant change is Demna Gvasalia’s appointment as the new artistic director of Gucci, leaving his post at Balenciaga after ten years at its helm. Both houses are under the Kering conglomerate, with this shift being understood as an internal reshuffling. Under Demna, Balenciaga became synonymous with deconstruction, irony, and a postmodern, dystopian aesthetic; as well as much controversy, with viral moments like the Simpsons collaboration and $1850 extreme distressed sneakers being a hit and miss with Balenciaga’s couture heritage.
At Gucci, a house known for maximalist glamour under Alessandro Michele and quiet luxury under Sabato De Sarno most recently, Demna’s appointment has confused fashion journalists and reporters alike —while Gucci’s share price plummeted following the news. Demna’s penchant for subversion may be at odds with Gucci’s heritage and traditionalist position in fashion, and as he did so at Balenciaga; is Gucci ready to be turned into something more provocative and conceptual, entirely through Demna’s singular vision?
Jonathan Anderson’s recently announced departure from Loewe marks the end of an era defined by craft-driven innovation. Since taking over in 2013, Anderson transformed Loewe from a relatively small luxury leather goods house into one of the most sought after, creatively inspired labels in the industry. His tenure was characterised by an emphasis on sculptural silhouettes, his signature humour injected surrealist influences and an intellectual approach to fashion.
Anderson’s work at Loewe was deeply tied to artisanal techniques and modernist references, often drawing from fine art and architecture. Drawing on the label’s Spanish heritage, Anderson is credited with reigniting the industry’s adoration for hand-craftsmanship. His exit leaves a major creative void at the house, and fashion insiders are keenly watching who will take over. Reports suggest that Anderson is leaving to focus on his eponymous label, JW Anderson, as well as to explore new creative ventures.
Donatella’s successor, Dario Vitale, comes from Miu Miu. This signals a potential evolution for Versace, possibly leaning into a more youthful, subversive take on glamour while maintaining its Italian opulence; and it’s always nice to see when an ‘old guard’ stalwart is able to ready themselves to hand over legacy and opportunity to a new generation. There are also murmurings that the Prada Group is in talks with Versace’s parent company, Capri Holding, to purchase the Italian brand.
Finally, minimalism’s favourite mecca, Jil Sander, has appointed Simone Bellotti as its new creative director following the departure of husband and wife duo Lucie and Luke Meier. The Meiers had steered Jil Sander toward a poetic minimalism that incorporated softer, romantic elements, and reinvigorated our collective sense for Jil Sander’s place as a truly modern expression of silhouette and restraint. Bellotti, who has experience at Bally and Gucci, is expected to maintain that balance of classic tailoring through a contemporary lens.
Critics of these shifts have noted that once again, there are no women, Black or People of Colour among these appointments; which remains an ongoing issue in the industry’s leadership structures. This lack of diversity continues to fuel conversations about systemic barriers and the need for more inclusive representation at the highest levels.
One thing about fashion— it’s always going to keep us on our toes.
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za
