Why Fashion is Crashing?
But as with any designer for a luxury house, one successful show is never enough. That film has to be rolled over, again and again and again. January is haute couture; March is ready-to-wear; May is cruise; July couture again; September ready-to-wear again; November resort - or is it cruise again?
"It is a decision based entirely and equally on my desire," said Raf, while thanking Bernard Arnault, Chairman and CEO of LVMH, and Sidney Toledano, Dior's Chief Executive, who returned the compliment.
It has indeed. Like that bird in a gilded cage, creative people at the major fashion houses have everything: a circle of assistants, drivers, first class travel, access to elegant homes and celebrity clients. Everything, but time.
We watch designers adopting protection mechanisms, like Phoebe Philo of Céline refusing to move from her native England to Paris; or Hedi Slimane fleeing Paris after his Saint Laurent shows to his home and studio in far away Los Angeles.
The situation is not so easy for buyers and editors either, also trying to keep up with a punishing schedule. The pressure on retailing, aggravated by on-line sales and the speed of the digital world, has exacerbated the situation. People talk of "fast fashion" as though it is applied only to H&M or Uniqlo. In fact it is equally present in stores from New York's Bergdorf Goodman to Paris' Bon Marché. New lines are put up constantly, while the rest is marked down.
Then there is social media, as the voracious demands of Twitter, Instagram, SnapChat and Facebook eat into time and designers fight for attention and links to celebrities.
We used to call this game of vacant thrones fashion's "merry go round". But now the vision is much darker.
Who is next to be thrown into the lion's den?