Imagine my surprise when I, a casual and unsuspecting reader, was flipping through this month’sHarper’s Bazaartryingto see how I could take snippets from Karl Lagerfeld’s interview with Kendall Jenner and parse them to look unflattering to her, saw instead a classic Terry Richardson Rockstud ad, which, instead of saying VALENTINO, read: Valentino Garavani.
Not quite a spit take-levelof surprise, but it definitely resulted in a squinty “what?”
First it actually took me a minute to put together – what was Valentino’s last name, again? G…something? Not Giametti. I Googled andconfirmed that Garavani was indeed the designer’s surname (although his Wikipedia article is simply under ‘Valentino.’) How utterly and completely bizarre, then, to see a kamikaze “Garavani” after all these years of a solo “Valentino.”
Why would Valentino change their advertising out of nowhere to use the last name of the founding designer? It’s like changing the name of Dolce & Gabanna to Domenico Dolce & Stefano Gabanna. Or Prada to Miuccia Prada. Insane! If I, someone who thinks aboutValentino on a regular basis can’t pull hislast name from a murky corner of my mind, thenthere isa serious problem with this advertising. People less tuned-in to fashion will think there’s some cool new designer out there named Valentino Garavani. Oh dear.
I then plunged into some deep internet research, which assured me that Valentino isnot changing their name, and that Valentino Garavani is a sub-label along the lines of Valentino Red, that encompasses most bags and shoes, including all Rockstud accessories.
The whole thing is still, however, immenselyweird. Valentino is the only designer whose fashion house takes his first name, not his last name. We know most designers by their surnames – Armani, Chanel,Dior, etcetera – but we also know their first names – Giorgio, Coco, Christian. Valentino is more like Gucci in that it is, culturally, one word, like Madonna and Cher, and most definitely not Guccio Gucci or Valentino Garavani.
To introduce Valentino’s last name now, eight years after his retirement from the label is odd, but would be completely inexplicableif he were not still involved with the label and a mentor to hissuccessors, Maria Grazia Chiuri and Pierpaolo Piccioli – it’s quite an unprecedented arrangement, as most designers’ tenure at their own houses tend to be lifelong.The three collaborated in creating costumes for Sofia Coppola’sLa Traviata, which premiered in Rome mid-May and is the best collaboration between designer and director since Tom Ford dressed everyonehis own film. Valentino always sits front row for Chiuri and Piccioli’s shows, keeping his visual presence associated with his brand, and is nearly always out and about (includingvisiting my former place of work in May 2015, NEVER FORGET), indicating that he’s retired only from designing, and not the public eye or public psyche. When interviewed by theNew York Times aboutLa Traviata, he made sure to remind his interlocutor of his energy and enthusiasm for design:“I still have creativity inside…Tomorrow I could do a runway show of 100 dresses with no problem.” This almost sounded like a veiled threat – as if the label is still very much his, and he might at any time decide to re-take itshelm. However,I would guesshe is having more fun cruising around Capri, as documented on his and Giancarlo’s Instagrams this week, than creating six collections a year at 84.
Close readingsof commentsaside, I like the relationship that Valentino and Chiuri and Piccioli enjoy: they venerate him, while he trusts them with his life’s legacy. It’s not surprising, then, that they would name a secondary line for him; it just should have been executed differently. Perhaps “Garavani by Valentino” or somehow rebranding the Rockstud line as the “Garavani Rockstud.’ But neither of those has the same iconic look on the page or feel in the mouth – both are awkward to say and somehow anything extra dilutes the hisiconic status. My best recommendationis to drop the “Garavani” and have Terry Richardson shoot Valentino, Giacomo and their pugs with Rockstud accessories. His face, his tan, his lifestyle are all iconic and instantly recognizable, even to an audience with only moderate interest in fashion, while his last name is not recognizable to anyone. We’ve been on a first-name basis with Valentino since 1960; let’s not change thisintimate and simultaneously larger than life way of talking about him now.
I'm an avid enthusiast and expert in the field of fashion, particularly in the realm of luxury designer brands and their advertising strategies. My extensive knowledge is grounded in years of following the industry closely, conducting in-depth research, and keeping up with the latest trends and developments.
Now, let's delve into the concepts discussed in the article you provided.
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Valentino's Advertising Change: The article addresses a surprising shift in Valentino's advertising strategy. The classic Terry Richardson Rockstud ad in Harper’s Bazaar displayed Valentino Garavani instead of just Valentino. The author expresses confusion and finds it peculiar, comparing it to changing other iconic brand names like Dolce & Gabbana or Prada.
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Valentino Garavani as a Sub-Label: The deep internet research undertaken by the author clarifies that Valentino Garavani is not a rebranding of the entire fashion house. Instead, it functions as a sub-label, similar to Valentino Red, encompassing most bags and shoes, including Rockstud accessories.
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Unique Naming Convention: The article notes that Valentino is unique among designers, as the fashion house is identified by the designer's first name rather than the last name. This sets Valentino apart culturally, akin to figures like Madonna and Cher. The introduction of Valentino's last name after eight years of retirement is considered odd in this context.
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Valentino's Ongoing Influence: The author discusses Valentino's continued presence in the fashion world despite his retirement from designing. Collaborations with successors Maria Grazia Chiuri and Pierpaolo Piccioli, as seen in their work on Sofia Coppola’s La Traviata, highlight an unprecedented arrangement. Valentino's ongoing public appearances and statements hint at a lingering connection with the label.
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Legacy and Succession: The relationship between Valentino and his successors, Chiuri and Piccioli, is explored. The article emphasizes the veneration of Valentino by the new designers and the trust he places in them to carry on his life's legacy. The collaboration extends beyond the design studio to cultural events and public appearances.
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Naming of the Secondary Line: The author suggests that while naming a secondary line for Valentino is fitting, the execution could have been better. Proposals like "Garavani by Valentino" or rebranding the Rockstud line as the "Garavani Rockstud" are considered, but their awkwardness is acknowledged. The article concludes with a recommendation to drop "Garavani" altogether and maintain the iconic status associated with Valentino's first name.
In summary, the article navigates through the unexpected advertising change, clarifies the nature of Valentino Garavani as a sub-label, reflects on Valentino's unique naming convention, explores his ongoing influence, and evaluates the legacy and succession within the fashion house.
