just a thought – designeritus
The inflation of the designer-cult bubble occurred during the 1980s and into the early 1990s, while my generation was growing up. A few designers figured out how to capitalize on the ideas of turning personality into a brand, creating a popular awareness of designer names. The economy was getting better and people were interested in buying up to designer price points. This was the period where branding and licensing made a few designers really, really, rich. The lavish lifestyles of fashion designers in the late 1980s and early 1990s was even more notorious than the clothes – open an early issue of W and see vast spreads on the mansions of fashion designers, with nary a frock in view.
The major moment of the designer died off in the 1990s. Over-licensing had worn the welcome for branded apparel. As the economy slowed in the early 1990s the middle class consumer turned towards franchises like the Gap, and away from designer brands. Still, for the children of the 1980s there was an indelible impression of the stardom of the fashion designer – and in their parents, a vague notion that there was good money in it. The result; the explosion of popular college and university fashion programs with every interest in promoting this powerful dream and the complete inability to deliver it.
I don’t think that there is anything silly about wanting to be a fashion designer. It is no different then dreaming of being a rock star or being a movie director – at its best its a striving to create and express and serve, at its worst its a desire to be rich and envied. In most humans its somewhere in between and there is nothing wrong with being human.
I think what is wrong is confusing the trappings of the successful designer with what the fashion designer actually does. This is when the dream turns into designeritus. The runway show, the burden of manufacturing, sink the aspiring designer. Too many designers are trying to do it all. It is possible, but the level of capital and commitment and cleverness required is so high that fatalities are frequent.
Successful designers all have some things in common. A very strong point of view. A very competitive nature. A distinctive personality. A driven desire to dress people. The super-rich fashion designers of the past generation started as employees (Donna Karan, Yves Saint Laurent), freelancers (Karl Lagerfield), or accessory designers with a single product (Ralph Lauren, Halston). Over a period of time their success in the early endeavors brought them the trappings – the runway shows, their own names on labels, the licensing deals, the employees, the contracters. When they were in the right place at the right time, it brought them the money.
The take away, for me, is that the successful designers do not start with the trappings. Designeritus reverses the natural process – victims start out with the money, spend it all on the trappings, and end up having to freelance or get a job.
My theory: the designs, the scene and developing a distinct point of view are the most important things when you begin. If you have what it takes you will over time naturally amass a supportive team that will bring with it the trappings of successful designerhood – the shows, the press, the staff, the sales, the production. When times are good and you are in the right place, the money will come.
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Confused? Think I am diagnosing without a license? Pun intended. Let me have it in the comments.
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Not confused – I completely agree! It’s nice to read something more thoughtprovking, thanks!
great posting! i think that what’s clear in most of the designers mentioned (with the exception of ze super-rich Lagerfeld — he really established the tradition of being a distinct ‘hired gun’ designer tweaking an older house’s tradition… but did he really go w/out cash? there was that mother of his who rented the big french rivera villas for the entourage…) is how important it is when you’re starting out how by any means *unnecessary* designeritus is.
of course, you can’t really blame us, as we’re the generation that grew up with the flashy FTV imagery — this fantasy is what first took our breath away. we weren’t too hip to our own industry disappearing post-free trade, post-recession. our elders were pretty naive to it. plus — and i’m obv drifting from international context to canadian, apologies if it’s ot — how well were most designers in securing licensing and holding onto it? i can only really think of Alfred Sung/Club Monaco/Mimran, etc.
i find this moment very interesting, and not in this whole f/w 09 embrace/nostalgia for the 80s, but for my own understanding of how we’ve all gotten to this present moment. of designeritus…
reeraw – KL bootstrapped in the sense that he used other people’s money and not his own to establish his career.
re: who to blame – I’ll have to come back to that. Great comment!
Interesting post.
When I started watching Project Runway, I was surprised that so many of the contestants had their own labels when, from my vantage point, it seemed like they needed a couple years of apprenticeship to get a better grasp of their trade.
I think what you wrote applies to all fields.
I agree with Rebecca, but I think the issue is that were is a Canadaian based designer going to apprentice? It’s not like there is the possibility of getting a low-level job at Marc Jacobs and learning a thing or two before breaking out on your own. Even if you live in a major city, there are very few jobs – even for free – to even land. What a prospective designer to do? It’s leave of DIY imho. This is of course a veer off course of the original post which I really enjoyed and hope you continue to write more like it!
Yesterday I posted about fashion’s current “It” label, Balmain. It appears as if they’re charging an exorbitant amount for their “designer jeans” while their menswear licenses are still selling poly-cotton shirts at Sears. It makes me believe that we’ve reached critical mass again. Licensing is dead, for now.
Great article…
In my opinion the amount of schools for “fashion design” is just overwhelming…the fashion industry is one of the hardest to survive in. I think the schools are not giving a realistic point of view on being a designer, nor prepare you for working for yourself.
I am constantly surprised how easy it is to get into schools here.
Most of the design schools in my country, to get in, you have to go through a crazy amount of tests starting with some knowledge about fashion history, sketching to plain old sewing, even if its just basics…
I think more schools should have an eliminating process like that, and than we would have less graduating “designers” working as sales help, because its not that easy to get a work in the industry…
I guess, I just have to remind myself, that I do live in a very capitalistic country and schools have to make money as well…
Ok, this was a long point of view, somehow relevant to yours. ;)
Danielle,
your “just a thought” has really turned into a GREAT thought! I absolutely agree that the one thing successful designers have in common is a strong, distinct style, personality and point of view. Being unique makes all the difference!
Ada, I agree with you. Designer schools nowadays are succeeding at training students to follow instructions and routines that quite frankly are non-existent in the realistic fashion world. Coming out of school, fashion design graduates are not prepared to work independently, and deal with the challenges with which they are faced. To succeed in the fashion world, a student must learn how to stand out. It’s a tough world out there.
“Of course, you can’t really blame us, as we’re the generation that grew up with the flashy FTV imagery” – reeraw
With the first part of the post I tried to explain how come so many of us are swayed by the glamour – I’m not trying to blame anyone, just pointing out that its a shame so many people are confused.
Rebecca and Serah-Marie – agree that these opportunities are too rare and too many designers forge ahead without them – its a greater risk. Still, the option of starting out by designing an accessory or one or two key pieces is open to everyone.
Auntie Fashion – totally agree that licensing as we knew it in the 1990s is all but dead – unless you count the new “designer collaborations” with all the discount retailers (H&M, Target, et al)
Ada – fashion schools are totally complicit – no wonder so many fashion grads are angry at their educators!
[...] I’m impressed with both of these designers for thinking of resourceful, clever ways to get their lines out there – and what gives me a lot of confidence in them for future seasons is their clear-eyed assessment of the value of a fashion show versus the cost. All one has to do is look at programs of previous fashion weeks to see how many new designers fall into the deadpool after one or two fashion shows. I have mused before on why that is in my post designeritus. [...]