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I think aesthetic risk in fashion means being free to reimagine and innovate how clothes interact with the human body, to take risks without being constrained by the rules of the market. But fashion is not art. Fashion designers deal with the physical limitations of the body, while artists deal with the boundaries of perception. And art can be more overtly political, while fashion has become inextricably linked to the people-pleasing entertainment industry. Moreover, the rules of fashion today are dictated by large corporations, a battle of Titans that often crush small or midsized brands. How can you take aesthetic risks in this context, if you are not protected by the deep pockets of a fashionista? Also fashion prices are skyrocketing where does this come from? The answer tends to be unclear, depending on who you ask. How can a designer’s joyful message (this is the mantra of the season) be combined with the creation of a dress that costs a teacher’s monthly salary? Who would happily spend $1,000 on a white T-shirt (I won’t name names)? Is high fashion truly democratic? I wondered.
Which got me thinking: Are brands as engaged as they should be with the times we live in?
Willy Chavarria did so in New York, in what was for me the most moving show of the season, a
show that embraced America’s diversity and breathed new, thrilling life into the usual uniforms. Designers, sensitive as they are, tapped into a general sense of dread and anxiety; one of Miuccia Prada’s Miu Miu collaborators declared “we’re at the end of the line” in a newspaper called The Truthless Times that was handed out in our seats. But bringing all that anxiety to the runway was impossible for many. Instead, they rallied around themes like joy (Marni), childlike wonder (Bottega Veneta, Loewe), and algorithm-defying individuality (Prada, Valentino, Louis Vuitton). Nicolas Ghesquière says he wants to create pieces you can’t name. His words keep ringing in my ears: “If you don’t take an aesthetic risk every season, you’re not playing fashion.” Aesthetic risk may be enough of a risk. What does everyone else think? Nicole Phelps
Shortly after landing in Milan yesterday Boom! Hedi left Celine, replaced by Michael Rider, while Filippo Grazioli left Missoni. The changes are constant. Suddenly, the ominous final scene of Hedi’s spring 25 Celine video antique chandeliers crashing to the ground at Château de Compiègne made perfect sense. It seemed not only symbolic of his own departure but also a metaphor for the current state of the industry. But throughout the fashion weeks, when designers showed incredible, almost defiant resilience, the feeling was truly uplifting. That sense of resilience and defiance gave me yes! joy, especially at Marni, Bally, Bottega Veneta, Valentino, and Loewe. And kudos to the talented, courageous young designers Sunnei, Rokh,
Nicolò Pasqualetti, and Duran Lantink who deserve credit for persevering in such a harsh environment, unafraid to take aesthetic risks. Tiziana Cardini
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