On Monday, Tom Ford revealed that Peter Hawkings is stepping down as creative director after just over a year in the role. This leaves the brand in the company of Chanel, Givenchy, and Dries Van Noten, all currently operating without a designer and lacking clear creative direction.
The uncertainty in the fashion world is further fueled by ongoing speculation about other brands that still have artistic directors, although rumors suggest changes may be imminent.
Here’s a snapshot of the current rumors:
- Sarah Burton, who left Alexander McQueen last year, is reportedly heading to Givenchy soon.
- Hedi Slimane is rumored to be leaving Celine for Chanel, with Michael Rider from Ralph Lauren expected to take over at Celine. Despite these rumors, Slimane remains at Celine, and Chanel’s head of fashion has denied the move. There’s also speculation that Slimane might go to Burberry instead.
- John Galliano is rumored to be considering moves to Chanel, Dior, or Fendi.
- Kim Jones, currently at Fendi women’s wear, is rumored to be replaced by Alessandro Michele, although Michele has moved to Valentino instead. Other names like Pierpaolo Piccioli and Maria Grazia Chiuri are also being mentioned.
While such speculation can be entertaining, it often stems from mere whispers and wishful thinking, potentially used as a tactic in contract negotiations but ultimately benefiting no one. It creates instability for designers, their teams, and consumers.
Familiar names may seem like safe choices, but they are not the only options. Many talented designers are waiting for their chance, as shown by Pharrell Williams’s appointment at Louis Vuitton men’s wear. Fashion house decision-makers are likely having complex discussions about talent and strategy beyond public awareness.
For example, Riccardo Tisci was once expected to succeed Donatella Versace, but the deal fell apart over the label name.
The current rumors about Galliano began with the fashion newsletter Miss Tweed, suggesting Dior was a possibility. This speculation arose partly because Galliano has not renewed his contract with Margiela, which expires in October, and he has been seen at LVMH headquarters. However, considering Galliano’s previous tenure at Dior and the circumstances of his departure, a return might not be in either party’s best interest.
Dior has grown significantly since Galliano’s time, now staging six major women’s wear shows a year in different countries. Galliano’s creative process requires time and experimentation, which may not align with such a demanding schedule. The pressures that led to his initial downfall would likely resurface.
Instead of revisiting the past, it might be better for LVMH to remain loyal to its current team at Dior and possibly consider Galliano’s return to his namesake brand, allowing it to serve as a fashion laboratory for innovation.
It would also be refreshing for other fashion houses to take a chance on new talent and give them time to develop their unique aesthetic. Fashion thrives on innovation, bringing new, exciting designs that ignite desire and promise transformation. This spirit of discovery keeps audiences engaged, attending shows, and following social media feeds.