Understanding The New Worries Of Designers

2015 autumn and winter fashion week will come to a close in Paris. In recent years, John Galliano has been swept away by discrimination because of discrimination. Raf Simons has left the designer brand Jil Sander for 16 years, and Nicolas Ghesquiere and Marc Jacobs contract expired respectively from the Marc and Dior until the last few seasons. Galliano was selected by the Italy OTB Maison group to enter the brand Maison Martin Margiela, and the first show in the 2015 spring and summer summer series; Marc Jacobs left Louis Vuitton to shift its focus to personal brand and brand listing; Raf Simons was the new design director of the old fashion house.

The commercial tone of the brand group stimulates the consumer groups from a certain level. Young designer Alexander Wang and Northern Ireland designer Jonathan Anderson took over the old fashion house Balenciaga and Spanish leather brand Loewe respectively, and the Chinese designer Yin Yiqing who took over the fashion brand Leonard Leonard. It is easy to see that the group's intentions and motives to expand the young market are now being implemented.

The biggest problem in designer and fashion designer's business and design is how to balance them. After all, fashion has been promoted by commercial fashion, but fashion is bound to talk about design. Nowadays, market shunting is becoming more and more obvious. Brand acceptance of young designers is imperative. H&M and LVMH Awards are clearly benefiting from the resources of young designers. This is part of the market chain of sustainable development in business. It is inevitable that designers will win the collective brand after winning the award. Designers who have potential for development and can bring long-term benefits will not be allowed to leave. The designer who enters the brand, as a group or a brand holder, is bound to see the "commercial value" of the designer or his work, while the designer struggles in the "artistic value" and "commercial value" of the fashion. Today's Balenciaga consumer groups are becoming more and more young. In the past hundred years, Loewe, famous for leather goods, has changed to logo and design under the guidance of Jonathan Anderson, and its tough lines have gradually become soft and smooth.

The designer's radical reform is whether innovation stimulates the consumption of the market or the style of the former designer. Some designers seem to be looking for the wrong way. Riccardo Tisic took over Givenchy and was not thinking about the style of the partition and the former designer. It reflected "a great deal of negation of the whole brand's style." Although there are John Galliano and Alexander McQueen, the market seems to have been ignorant of the designer's artistic thinking, and the brand has been gradually utilitarian. Fashion is originally a business, but as fashion supporting fashion is lacking in its value, the business will be undefeated. When Alexander Wang takes over Balenciaga and Jonathan Anderson to take over Loewe, there will be extreme polarised opinions. Of course, whether Riccardo Tisic, or the latter two young designers, obviously can not be criticized for its design and commercial value, but compared with most of the designers who hold the brand discourse right, the commercial value is bound to be important -- after all, the market can decide the fate of the designer, and John Galliano and Christian Lacroix are examples.

However, designers should weigh the "commercial value" and "artistic value" of the design, a double-edged sword, and a sharp blade at the neck. " brand The effectiveness of designers is the intention to push brands to another level and dimension -- commercially and artistically. The designer takes the individualization of the brand personally, realizes his artistic ideal in the brand, and realizes the commercial value of himself in the business. Today's generation of veteran fashion houses and luxury brand designers increasingly deviate from the fairway and no longer consider and respect brand history. The group gives designers great room to play. The idea is that it can bring enough effective returns to the brand. Riccardo Tisic is absolutely a highly liberal designer. It does not even need to discuss brand culture, but directly gives viewers a contemporary culture. Alexander Wang, despite pushing Balenciaga to the younger market, has long been closed and traditional in its design. Latest fashion The passage, commercial immediacy, has also become the immediacy of art, with only one season to two seasons. Such examples are everywhere. They seem to be the inertia of fashion and business operation. Can no one really see the hidden waves behind these design inertia or just turn a blind eye?

The development of brand is not only inheritance but also extension. After Raf Simons took over Dior, in most people's view, there was a lack of dramatic tension of John Galliano or even a sense of fashion. Even the history of Dior's fashion house was worn out. On the contrary, Simons was just a few generations. Designer The designer who can best figure out how to restore the spirit of the brand is superior to the classic design of Archive. I have to mention Nicolas Ghesquiere, which has always been an avant-garde designer with experimental style. After entering the brand, her works are also excellent. The Louis Vuitton, which is started by leather products, is also a leather product. Ghesquiere's works, from a variety of fabric experiments and applications, as well as hard lines and styles, to a strong echo and rhyme with the brand leather, will push the simple leather products through the modern fashion to the future. The similarities between the two arts lie in their echoing and extending with the brand, which not only continues the style but also gives the innovation. In the business, it is also considerate and comprehensive. Compared with the different parts, it is a kind of dialogue with the audience and consumers. The most important thing is the foresight of the designer's work and the success of the business, and the design is the hard power.

However, when a designer enters a brand, he needs to think about and control how to design innovation with respect for the brand and its historical premise. The brand should treat the work in a macroscopic way and turn it into a commodity, while communicating with the market, it needs to step in step with the designer. Too many brands fight hard in the commercial market, and the historical sense and value of the brand art image are gradually lost. Most of them are willing to compromise before they get a short profit. Balenciaga can't see the progress of Alexander Wang in a single season. Loewe will not become more active because of the addition of Jonathan Anderson's young blood.