Fashion’s Boring-and-Expensive Era Is Over
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Fashion’s Boring-and-Expensive Era Is Over

From Gucci to Valentino, designers have a new ethos: Fun

By JACOB GALLAGHER
Wed, Jun 19, 2024 9:41amGrey Clock 3 min

Not long ago, designer Jonathan Anderson attended a music festival where he surveyed the crowd and thought, Now this is where all the fashion has been lurking.

“I saw more people dressing more in high fashion than actually what was happening in fashion,” said Anderson , who designs the British clothing brand JW Anderson, as well as LVMH’s Loewe.

The free expression of these festival goers stuck with Anderson as it clashed with the risk-shy attitude that has guided much of luxury fashion in recent years. “I wonder,” said Anderson this past weekend in Milan, “has fashion become so conservative whereas what’s happening out there is actually way more avant-garde?”

Just a couple of years ago in Milan, “quiet luxury ” was on the tip of everyone’s tongue. This collocation was a simplistic shorthand for where fashion was going: pricey but prim; light on logos but heavy on the wallet; all cashmere everything in grey, beige, navy.

Fashion is a creative industry and designers can only cup their mouths for so long. At the latest edition of Milan men’s fashion week, shouts in the form of new, notice-me clothes broke out from the runways.

“People want uniqueness, maybe they want something which is challenging somehow,” said Anderson, speaking after the latest JW Anderson show, which was widely held up as the most successful collection of a muddled Milanese sprint.

Highlights included winsome cardigans with children’s book depictions of London terrace houses, leather jackets contorted by ski-slope-like hems and a kitschy sweater showing a smirking pint of Guinness—an upmarket riff on a Dublin tourist souvenir.

The day after Anderson’s show, came the surprise online release of a bulging 171-outfit lookbook from Valentino, the first stab from the label’s new creative director Alessandro Michele, who helped lift Gucci to a more than $10-billion brand before leaving in 2022.

At Gucci, Michele ushered in a maximalist fashion moment, and based on this initial showing, his taste for theatrics is intact. Against a backdrop of winter-mint curtains, feather-haired models (often wearing gigundo nerd glasses and hoops of pearls) sported floppy dog-ear ties, Kermit-green suits and tapestry prints. Flipping through the collection, all the tired but fitting Michele comparisons came rushing back: Wes Anderson films, kooky grandmothers and leopard-clad psych-rock bands.

Valentino, which is part-owned by Kering, also made its commercial intentions clear by sending out 93 close-up photos spotlighting easy-to-buy accessories like V-logoed sandals and rectangular handbags.

Notably, Sabato de Sarno, the still newish creative director who replaced Michele at Gucci, seemed to be shrugging off his own restraints. Neither De Sarno nor François-Henri Pinault, CEO of Gucci parent company Kering, spoke to the press after the show, but the collection was a departure from the brand’s recent strategy of focusing on classic, trend-agnostic pieces that cater to older, wealthier clients.

Model on the runway at the Gucci fashion show during Milan Fashion Week Menswear Spring/Summer 2025 held at Triennale di Milano on June 17, 2024 in Milan, Italy. (Photo by Aitor Rosas Sune/WWD via Getty Images)

De Sarno’s surf-inspired offering bounded between skin-revealing mesh polo shirts, skimpy thigh-high shorts and camp-collared shirts with blooming hibiscus flowers prints. It would be hard to imagine much of it on anyone over 29. (Actor Paul Mescal, 28, was already in the front row in a pair of those shorty shorts.)

Youthful abandon was the theme at Gucci’s mightiest Milanese competitor, Prada. “Sometimes when you get older you start to overthink a lot and you limit yourself,” said Raf Simons , who is co-creative of the brand with Miuccia Prada , the grand doyenne of Italian fashion. “When you are young, you just go. We like that spirit.”

Models wore navel-exposing shrunken sweaters and pre-wrinkled sportcoats, a seeming nod to teens who haven’t yet learned the wonders of ironing. A lurid palette of hot pink and electric blue spoke to juvenile fashion experimentation.

Throughout the long weekend in Milan, the feeling settled in that this new, shoutier tone was a necessary course correction during an unsteady period for the apparel industry, and really, Europe at large.

The chatter of the front row centred on this month’s European Union elections which saw a surge in support for right-wing candidates, catching pundits and leaders like French President Emmanuel Macron by surprise. Inflation also remains stubbornly high.

Pressingly, for the fashion world, some of the world’s largest luxury labels have been reporting a glut of unsold products and a dearth of shoppers. Past strategies don’t seem to be working and one could tell that brands were ready to try anything to spur shoppers to spend a bit more.

Even at Zegna, a label so synonymous with quiet luxury that the cast of “Succession” wore it on that money-mad show, the clothes were more conspicuous. In between its Learjet-bound sotto voce suits, one found vivacious coral patterned jackets in blue and yellow.

“For sure playing more with colours and prints, we had fun,” said Zegna’s artistic director Alessandro Sartori following his show. “It’s a sense of freedom that I wanted to express.”



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Sparkling wine flows as Australian winemaker takes out top international award

The Tasmanian-based winemaker was among a number of Australian producers to be honoured at the event in London this week

By Robyn Willis
Thu, Jul 11, 2024 2 min

An Australian winemaker has taken out the top prize for sparkling wine at the International Wine Challenge, the first time a local winemaker has done so. It marks just the second time in the competition’s 40-year history that the award has gone to a winemaker outside France’s Champagne region.

Tasmanian-based House of Arras’ chief winemaker, Ed Carr, was presented with the award for Sparkling Winemaker of the Year at a special ceremony in London earlier this week.

“I’m incredibly honoured to be named this year’s Sparkling Winemaker of the Year. It’s a challenge to describe the feeling, but I’m proud to be recognised amongst my peers for such a significant international award,” Mr Carr said.

The IWC is considered one of the world’s most rigorous and impartial wine competitions. This year, France topped the medal tally with 72 gold, 394 silver and 455 bronze medals – extending their haul by 84 more wins than last year.  

The 40-year-old competition is considered one of the most influential events in the winemaking calendar.

Australian winemakers took out second place, with 54 gold, 250 silver and 154 bronze medals. Australia also won 19 trophies, 10 of which went to South Australia.

House of Arras also received the Australian Sparkling Trophy for its 2014 House of Arras Blanc de Blancs, as well as two gold and six silver medals.

Tasmania’s cool climate and soil make it ideal for producing world-class sparkling wine says Ed Carr (pictured).

Mr Carr said Tasmania’s cool climate and terroir were equal to the world’s best sparkling wine regions. The wins follow a strong showing this year at Australia’s National Wine Show and the Decanter World Wine Awards, where House of Arras also collected awards.

“2024 has been an outstanding year on the awards front, and I’m honoured to add this recent recognition from the International Wine Challenge to the mantle,” he said. 

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This stylish family home combines a classic palette and finishes with a flexible floorplan

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Just 55 minutes from Sydney, make this your creative getaway located in the majestic Hawkesbury region.

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