Olivier Lapidus Departs from Lanvin

Olivier Lapidus, photo by Pascal Le Segretain

Lanvin parted ways with its artistic director Olivier Lapidus yesterday, the French fashion house reported. Mr. Lapidus, who joined the brand in the summer of 2017, had only overseen two shows at the struggling brand. His sudden departure is one that some are calling a pattern.

Joanne Cheng, interim CEO of Lanvin told WWD, “Olivier steered the Maison through a transitional period between ownerships,” and “We thank him for that, and wish him every success for his own brand and future endeavors.” The in-house design team will be responsible for further collections until a new artistic director is found.

Last month the Maison was acquired by Fosun International, a Chinese conglomerate after a bidding war ensued to purchase and revive the brand, which has been struggling with declining sales and an identity crisis for the past several years. After the sudden firing of acclaimed designer Alber Elbaz in 2015, the company hired Bouchra Jarrar, who lasted for 16 months. Quickly afterward, Lanvin brought in Mr. Lapidus.

Alber Elbaz, photo by Inez Van Lamsweerde and Vinoodh Matadin

It seems clear that the house has been struggling to identify their customer, further reflected by the stark contrasts between the last three artistic directors. The shoes left behind by Alber Elbaz, creative director for 14 years, are indeed proving difficult to fill. Mr. Elbaz joined Lanvin in 2001 and remained the creative director until 2015. During his tenure, he is credited with finding the optimal balance between heritage and commercial success at one of the oldest couture houses in France. In addition to his unique interpretation of fashion, he was beloved for his warm heart and genial personality.

Perhaps due to the acquisition by Fosun and a desire to start with a clean slate, or maybe as a result of the harsh words of fashion critics towards Lapidus’ work, the house will need to attract new talent. We will certainly be looking forward with eager anticipation to the new chapter of this iconic house.

WHAT TISCI MEANS FOR BURBERRY

Text by Rishabh Manocha

Riccardo Tisci is no novice in the landscape of fashion. His conceptual prowess, studded with an eccentric interplay of leather, hardware, embellishment, and lace raised many eyebrows during his time as Givenchy’s creative director. Tisci hails from London’s Central St. Martins where he spent his young days mastering the art of subversive, unapologetically sexual, coarsely dramatic imagery. He will now return to the British capital to take the helm as Chief Creative Officer at Burberry.

The appointment wasn’t anticipated, but it is well known that Marco Gobetti, newly- appointed company CEO isn’t predictable either. Chief amongst Gobetti’s credits is the utter transformation of Celine and Givenchy to the forefront of Paris catwalks in recent years. Gobetti, a close friend and mentor of Tisci’s, laid out plans later last year to completely overhaul the brand character of Burberry.

The brand, which is known for its strong links to British heritage and traditions, will now inevitably face one of the most momentous transformations of our time. From being at the pinnacle of embracing technology in fashion to defining British fashion identity, Burberry has always executed timely strategy. However, as sales began to decline and the call for houses to revisit their marketing and production strategies becomes more resounding, this appointment indeed seems apt. Gobetti, in a statement last year, mentioned how Burberry had lost its distinct voice by catering to a middle-market audience. An increased supply and reduced demand indeed presented a major setback for company sales and share prices. However, he added that Burberry would now return to the rungs of true luxury catering mostly to the high-end consumer, with a renewed focus on accessories. This transition he anticipated would be rewarding.

It also means that two Italian pioneers in their respective rights will run the most significant house in British fashion. Their collaborative approach has proven to be both commercially profitable and artistically refreshing in the past. Tisci’s penchant for streetwear is bold, audacious, and revitalizing. His transformation of the sweatshirt as an object of high fashion is perhaps most reflective of his influence on contemporary culture. The collaboration with Nike to stylize the sneaker, Rihanna’s look on her Diamonds World Tour in 2013, and the dramatic designs worn by countless stars at red carpet events around the world manifest his ability to, time and again, give us a more compelling version of his philosophy. It remains uncertain how much the superficial image of Burberry will change. However, the clash, perhaps a harmonious clash of the two schools (Burberry and Tisci) remains one of the most highly anticipated phenomena to soon unravel.

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Givenchy Jeans Campaign

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Spring/Summer 2013 Givenchy Campaign
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Riccardo Tisci with Beyoncé, wearing Givenchy by Riccardo Tisci

Photographed by Anton Corbijn, Vogue, September 2015

March 18, 2013 – Toronto, Ontario, Canada – RIHANNA performed a sold out show at the Air Canada Centre during her ‘Diamonds World Tour.

Kim Kardashian takes a selfie with Riccardo in custom Givenchy during a fitting for her wedding at Versailles
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