7 posts tagged "Alessandra Facchinetti"
Today, Tod’s announced the appointment of Alessandra Facchinetti as the new Creative Director of its women’s ready-to-wear and accessories collections. Facchinetti, who has previously designed for Miu Miu, Gucci, Valentino, and Moncler, as well as her own line with Pinko, Uniqueness, will take her post this March and present her debut collection during Milan fashion week in September 2013.
Victoria Beckham Branches Out, Facchinetti’s Back In Fashion, Adventures In Uncool Clubbing, And More…
Ladies looking to add more Posh to their wardrobe will be happy to know that Victoria Beckham is launching a diffusion line, Victoria by Victoria. The singer-turned-designer’s newest dress collection, launching Spring 2012 at a starting price point of $550, is softer and less structured than she’s done in the past. [WWD]
Rumors that she’d join Tom Ford have followed Alessandra Facchinetti since she left Valentino in 2008, but today brings news of a different venture. The Italian designer is teaming up with Pietro Negra, the co-founder of Pinko, for a new line called Uniqueness. [WWD]
Legendary art dealer Larry Gagosian’s massive collection of priceless artwork nearly went up in flames the other night when a fire started in his kitchen. Miraculously, the 50 firefighters that put out the fire in Gagosian’s mansion in the Hamptons managed to save all of the artwork from water or fire damage—and one very large flat-screen television. [Page Six]
And is “cool” over? The Times charts the rise of club culture in non-club spaces, like Madame Wong’s and China Chalet (both, by day, middling Chinese restaurants). Why now? “I’m so tired of places that are cool,” The Journal‘s Michael Nevin told the paper. Is it once again hip to be square? [NYT]
There’s another seat open at the designer fashion table. News broke today that Tommaso Aquilano and Roberto Rimondi (above), creative directors of Gianfranco Ferré, are out at the Italian house (no word on their namesake collection, which presumably will continue for the present). Reports blame dwindling sales for the duo’s departure. But they’re only the latest in a string of designers who have left or been ousted from their positions at major European labels: Milan Vukmirovic at Trussardi 1911; Clare Waight Keller at Pringle of Scotland; Vanessa Seward at Azzaro. (Christophe Decarnin is out at Balmain, though under murkier circumstances; and of course, John Galliano has been let go from both Christian Dior and his namesake label. Although Chloé’s Hannah MacGibbon has been signed for another season, some industry observers are speculating that her time at the label is nearing a close—a speculation not necessarily refuted by the terse statements label CEO Geoffroy de la Bourdonnaye has been giving the press.)
No one would argue that getting fired is fun. But it’s worth remembering that, in fashion at least, many of those who have been removed from their posts—either gently (with contracts not renewed) or not so gently—have gone on to bigger and better. The classic example is Yves Saint Laurent. The young designer took the top spot at Christian Dior when Dior himself died suddenly in 1957. Saint Laurent created a few headline-making shows, but soon after ran afoul of the management and was summarily dismissed. The result? His own label, founded in 1961. The rest, as they say, is history.
In more recent years, there’s the famous story of Marc Jacobs, fired from Perry Ellis after his seminal Spring ’93 grunge collection—too hot for the American label’s taste, but seen in retrospect as enduringly influential. (Patrick Robinson also got the axe at Perry Ellis before landing at another American sportswear legend: The Gap.) Both Peter Dundas and Giambattista Valli exited the house of Ungaro under dark clouds; today, their collections (for Emilio Pucci and for Valli’s namesake line) are among the most admired in fashion. Olivier Theyskens has gone from Rochas to Nina Ricci to current acclaim at Theory, and Alessandra Facchinetti, formerly of Gucci and Valentino, has found new life working on Tom Ford’s womenswear. As for Ford, he has seen both sides: famously losing his Gucci crown before starting his own empire, while also electing not to retain Alber Elbaz at YSL in the late nineties. “From every place or everything you do, you learn what to do and also you learn what not to do,” Elbaz told Style.com of the experience in an interview last year. “I would not change anything if you would ask me. I would still go through the experience I went through. I learned a lot from it. I went through a certain experience that wasn’t easy, but guess what? Nothing is easy anyway, so I’m fine with that.” As the creative director of Lanvin, Elbaz has brought the label back to relevance and racked up success after success; it may not be easy, but he sure makes it look that way.
What will the future hold for Aquilano and Rimondi, Decarnin, or even Galliano (whose own rather more complicated situation is discussed at length in WWD today)? Too soon to tell. Some will argue that in today’s economic climate opportunities will be fewer and corporate titans more inclined to pick low key, perhaps unknown designers. But to judge from the past, fashion is a merry go-round (or should that be rollercoaster?), and for some of these designers at least, it’s entirely possible that the best is yet to come.
There will be divas. Based on real-time accounts of Dolce & Gabbana‘s bosom-heaving front row this afternoon in Milan—Scarlett! Eva! Freida! Kate!—their Extreme Beauty in Vogue party tonight will be chockablock with bellissima. [The Moment]
No, the Times isn’t the first on the scene to the Snuggie phenomenon. But its hard-hitting report on the blanket with-arms’ serious electric-shock factor is a word of warning to any potential Snuggie convert.
The gloves are off at the Italian design house, which this week let go Alessandra Facchinetti as the designer of the main line in favor of the accessories team of Pier Paolo Piccioli and Maria Grazia Chiuri.
Alessandra Facchinetti’s statement to the press:
“It was with deep regret that I learnt from the press that I would no longer be working with Valentino. This news came as a great surprise since the company’s top management has not yet seen fit to inform me of the above.
“I would like to thank Valentino S.p.A. for showing their appreciation of my “creative contribution and my sophisticated talent,” although I deeply regret the fact that this talent and contribution do not seem to have been adequately acknowledged.
“I find it extremely sad that a brand label of the caliber of Valentino, which has made history in the world of fashion, has been the subject of rumors for the past two weeks.
“Despite everything that has happened, I sincerely feel that this experience has empowered me because I know that my work has been deeply appreciated throughout the world. I would like to thank all my co-workers and all those people who have shown me both loyalty and affection.”
The House of Valentino’s statement to the press:
“I think it is a wise decision.
“To pretend to transform and revolutionize the Valentino style is a utopia which is a loss from the start.
“Valentino’s style is very strong and recognizable, which can only be taken forward, with necessary updating, by those who love it, respect it, and, above all, know it perfectly.
“Pier Paolo and Maria Grazia are company-oriented people, and it is right to give them a chance to bring forward a style, which, alongside Valentino, they have developed.”
“They are two serious, capable professionals that I had alongside me for many years. They always demonstrated an enormous respect and love for my work.
“There is an existing archive with thousands of dresses where they can draw and take inspiration from to create a Valentino product that is relevant today.
“It is a shame that their predecessor didn’t feel this need.
“I wish them all the success.”