Yesterday afternoon, The Union was graced by a man who certainly knows his fashion: Hubert de Givenchy. The eponymous founder of fashion powerhouse Givenchy is just one of many designers who began their careers by designing, creating and self-promoting. While Givenchy as a French aristocrat certainly had a leg-up into the fashion world, the design, flair and excitement associated with his creations and styling of numerous icons such as Audrey Hepburn and Jackie Kennedy were all his own. The House of Givenchy has also nurtured various designers, including John Galliano the late Alexander McQueen, Julian Macdonald and more recently Ricardo Tisci.Yet The fashion industry is undergoing a distinct change that many will argue is not for the better.
Fashion has always formed a close relationship with celebrities, whether they are the muse for a collection, model, or be spokesperson for a campaign. The uniting of an actress or singer to a designer or brand can often become the most influential part of an advertising campaign. From Marilyn Monroe’s iconic perfume ad with Chanel, to recent endorsements by fashionistas such as Alexa Cheung and Taylor Momsen, the fashion industry has closely followed the rise of celebrity and society’s obsession of ‘what are they wearing’. Yet a new fetishism has emerged within fashion: celebrities are no longer satisfied with simply wearing the clothes, there is now a burgeoning desire to design them.
It almost began with a sniff of cocaine. Kate Moss, one of Britain’s most successful supermodels, was caught in a drug scandal in 2005, resulting in being dropped from various labels such as H&M, Burberry and Chanel. However, picked up by Philip Green, owner of the Arcadia Group, the commodification of Kate Moss’ name was a commercial success. The following years have seen ranges from Lily Allen for New Look and Beth Ditto for Evans – yet it is not only the High Street that has witnessed a ‘celebrity revolution’. Although Victoria Beckham’s first designer work was a denim collection for Rock & Republic, she launched her own label during New York’s 2008 fashion week: with various pieces of her recent collections worn by supermodel Elle Macpherson and Leighton Meester.
Yet the transition of celebrities to fashion designer is not always smooth. In September 2009, it was announced that Lindsay Lohan was to become the artistic adviser for French Fashion house Ungaro, but a collection presented with designer Estrella Archs in October received poor reviews, and Lohan left the company in March 2010. Furthermore, many are questioning the propriety of celebrities becoming designers when they have often received no or little training. In February 2010 it was publicized that Olivia Palermo, of The City fame, was to become a spokesmodel for Matches’ Freda label, and recently she has launched a range of jewellery in collaboration with Roberta Freymann. Celebrities or socialites are seen to be using their own status to perpetuate themselves and their designs in the fashion industry, regardless of their competence, originality of creativity. In Kate Moss’ debut collection for Topshop a simple t-shirt vest sold for £12, double the price of Topshop’s own designs.
However, it is not in the realm of celebrities moving into fashion design that this aesthetic incest is taking place. While designers themselves have always had some status of celebrity (it helps by selling something that has your name on it), in recent years programmes such as Project Catwalk have raised the profile of many designers in the non-fashionista world. T4’s recent offering, Frock Me With TK Maxx has seen Henry Holland’s transition from the sewing machine to the camera lens. Not only is he dressing people, but he interviews the very celebrities he is dressing.
The question is, why should we care? For one, the application of a name or profile to a designer or brand can often not only increase profitability but also raise awareness: Emma Watson’s collection for People Tree has certainly raised valid points about ethical fashion. Yet it is the budding designers that this current fad is affecting. The power of the brand-name obsession, created and sustained by celebrities themselves, runs the risk of not only undermining years of study but also overshadows true creativity and flair. For celebrities, designing seems a leisure activity, an additional stream of income and a further commodification of their own name, but for designers themselves it is a passion and a career. In an industry where competition is still fierce, it utters a solemn request to celebrities: perhaps they should stick to their day jobs?
