Op-Ed | Why Rihanna’s Fenty is that the finish of the Star Designer

Op-Ed | Why Rihanna’s Fenty is that the finish of the Star Designer

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Op-Ed | Why Rihanna’s Fenty is that the finish of the Star Designer
Op-Ed | Why Rihanna’s Fenty is that the finish of the Star Designer

Op-Ed | Why Rihanna’s Fenty is that the finish of the Star

Designer

 

Op-Ed | Why Rihanna’s Fenty is that the finish of the Star Designer
Op-Ed | Why Rihanna’s Fenty is that the finish of the Star Designer

The gaggle of designers, from Maria Grazia Chiuri to Simon Sublime Porte Jacquemus, WHO flocked to greet Rihanna last weekday as she debuted her new LVMH-backed luxury fashion line, were guests at their own ceremonial occasion. Not virtually, of course. however, the arrival of Fenty could be a harbinger signaling the approaching death of their profession.

It’s not simply that Rihanna isn’t a designer. The logic goes way deeper.

Remember, the terrible role of the style designer could be a comparatively recent invention that dates back a mere one hundred fifty years. beginning within the 1800s, designers began grouping along the varied stages of the inventive method — from cloth analysis to cutting and stitching, once fragmented and handled by numerous craftsmen — underneath their own brand’s names. Once their label was seamed into a garment, the main points of the provision chain disappeared, with the complete work attributable to the designer.

The designer has become a figure of speech. If before the nineteenth century, one had to understand a tailor, associate degree needleworker and a button-maker, currently one required to understand solely the name of one person — the one related to the thought of the look, instead of those liable for truly realizing it.

To be sure, having one name on a garment label created for extremely effective promoting. It created a robust and singular purpose of reference. And, as time passed and therefore the apparel industry became a world, fashion designers were more and more inspired to act, not solely as creators of ideas, however as celebrities, visible within the limelight. Cue the designer, currently born-again as a star designer, hopping from gala to interview.

Fenty… is born from one factor only: Rihanna’s public

     image.

Consider the case of the late Yves Saint Laurent. within the 70s and 80s, each facet of his personal life, from his own naked body within the far-famed Jean-Loup Sieff photograph to his alleged addictions (the hit fragrance narcotic being a daring relevance these rumors), was controlled to draw in attention and sell.

The international success of YSL, that created Saint Laurent himself a story, in conjunction with the increase of Giorgio Armani and Valentino Garavani, crystal rectifier the approach for the likes of John liqueur and Tom Ford. even though their names weren’t invariably seamed into the labels of the brands that they worked, they were promoting masters inspired by their employers, LVMH or Gucci cluster (now Kering), to invariably be within the forefront associate degreed to push an artsy and eccentric persona. as a result of by taking center stage, the complete inventive method was attributable to their genius, obscuring the thousands of others whose work contributed to their merchandise, shows, and advertising campaigns.

But the arrival of Rihanna’s Fenty has pushed the thought of the star designer to its logical conclusion — and edge. Fenty isn’t related to a group of craftsmen, however, neither is it related to a designer. it’s born from one factor only: Rihanna’s public image. It’s a post-designer whole associate degreed an experiment that might well signal modification for the approach the posh fashion game has vied.

Of course, the pop star hasn’t ditched fashion designers altogether. they’re still there to try and do the particular work of planning Fenty’s collections. however within the age of social media, as fashion becomes less concerning garments and additional concerning diversion, designers are also no match for true celebrities like Rihanna in their ability to collect a community and drive sales, forcing designers, very similar to the craftsmen WHO preceded them, to require a backseat.

After all, WHO desires a star designer after you have a true star?

Liroy Choufan could be a lecturer at Shenkar School of Engineering and style and a fashion author and research worker primarily based in Tel Aviv-Jaffa.

The views expressed in Op-Ed items area unit those of the author and don’t essentially mirror the views of The Business of Fashion.

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