I suppose aesthetic danger in fashion means being free to reimagine and innovate how clothing interacts with the human body, taking risks without being constrained by the rules of the market. Yet fashion isn’t art. Fashion designers must confront the physical limits of the body, whereas 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, today’s rules of fashion are dictated by large conglomerates, a battle of Titans that often crushes smaller or mid-sized brands. How can you take aesthetic risks in this climate, if you’re not protected by the deep pockets of a fashion jaggernaut? Also — the skyrocketing prices in fashion are staggering—where does this come from? Answers tend to be opaque, depending on who you ask. How can a designer’s message of joy (this was the overall mantra this season) be embedded in the creation of a dress that cost as much as a teacher’s monthly salary? Who will joyfully spend $1,000 on a white T-shirt (I won’t name names)? Is high fashion truly democratic? I wonder.
Shortly after landing in Milan yesterday—Boom! Hedi leaves Celine, replaced by Michael Rider, while Filippo Grazioli exits Missoni. Shakeups galore. Suddenly the final ominous scene in Hedi’s Celine spring 25 video—antique chandeliers crashing to the ground at Château de Compiègne—made perfect sense. It seemed to symbolize not only his personal departure but also be a metaphor for the industry’s current state. Yet, throughout fashion weeks, when designers showcased incredible resilience, almost defiance, it felt truly invigorating. Feeling that resilience and defiance brought me—yes!—joy, especially at Marni, Bally, Bottega Veneta, Valentino, and Loewe. And kudos to the brave, talented younger designers —Sunnei, Rokh, Nicolò Pasqualetti, and Duran Lantink —who deserve praise for persevering in such a tough environment, fearlessly embracing aesthetic danger.—Tiziana Cardini