the accuracy, the necessity, and the execution 

People quickly grow accustomed to a particular way of living. In a substantially rapid manner, we tend to desperately grasp for a safe haven of closure from the reality we grew fond of. If the present is familiar, if the current state of affairs is good let’s consciously remain within its realm. But nature rarely succumbs to human desire, thus the new way of being, change comes. The world can stay still only for so long. Change happens. Change comes out of greater or lesser anticipation. Sometimes however change comes unnoticed, too dull to achieve any form of response from the affected. Yet it also might bring various responses. From exasperating shock and surprise, through relief, and pure bliss to finally less fortunate outcomes, anger, disunion, and sorrow. Furthermore, Change usually sparks a sentiment of melancholy, of longingly looking behind our backs to contemplate how good those past times were and how no one indeed addressed it. 

The first half of 2023 brought us, fashion consumers with a substantial amount of intriguing changes. Peter Do as a creative director for Helmut Lang, Sabato De Sarno in Gucci, and Pharrell as Virgil Abloh’s fascinating successor of handling LV menswear. A breath of fresh air, often opening doors for a rather heated discussion over the accuracy, the necessity, and the execution of those changes. Probably the greatest, most ferocious argument over the aforementioned accuracy of such changes revolved around the appointment of Ludovic De Saint Sernin, designer for his sensual, gender-fluid namesake brand, as the new creative director, known for its rather austere, serene yet simultaneously dark silhouettes with a strong emphasis put onto sophisticated tailoring, established house Ann Demeulemeester.

The first reactions were quite a surprise, overwhelming anticipation for the fruits of such an intriguing pairing. Ann D as a brand lived through a number of significant changes, yet its creation always remained within the similar understanding and execution of the brand’s true identity, closely followed and observed by its most devoted clientele base. From one perspective it is fair to perceive Ludovic de Saint Sernin as a representative of a completely different vision of embracing the relationship between design, material, and their utility to conceptualize the human body. His designs might seem as much more of an open embodiment of the emancipation of sensuality, sexuality, glorification of silhouette, its construction, and lines. However do not be fooled, the Belgian fashion powerhouse also devoted itself to the pursuit of execution of a similar vision, an appraisal of a human body yet through quite a different medium and much more quiet expression prominent in their sophisticated cuts draped harmoniously around the figure.

The Ldss debut show brought mixed reviews, mostly not from fashion critics but rather from the brand’s “die-hard” enthusiasts, ultimately the true jury of the brand’s seasonal delivery and compliance to its core values. Presented during the Paris Fashion Week collection for the Fall/Winter 2023 season brought an absolute reinterpretation of Ann Demeulemesster’s one would say fundamental principles of embracing the female body. The once delicately accentuated sensuality and appeal of the human figure seemed much more like a forced act, an attempt to appeal to the larger public by making the intrinsic sophistication of the designs available and understandable, the infamous feather laid obnoxiously over the model’s breasts. 

But do not interpret my words mistakenly, undoubtedly overall impression from LDSS’s first unveiled collection was great, the garments and their construction were unmistakably beautiful, the sole issue being that it was not Ann D, the true Ann D, it was simply another depth of Ludovic. And I am not even mentioning those added colors. In addition, it is important to point out how welcoming LDSS to Ann Demeulemester’s house repositioned it, redefined it into a much different context, and pushed it into the hands of entirely new target customers with some of them completely unfamiliar with the brand, and its core values before this whole change. Soon enough after the presentation of objectively speaking, still young designer’s new, personal take on the house’s massive fashionable legacy we heard the news Ludovic de Saint Sernin exits Ann Demeulemeester (after only one season!). Thus, it is only fair to propose such a thesis that it is quite natural to observe change after change reoccurring within such a fast-paced and complex environment. Maybe it is now an aimless effort to pursue further discussion over an element that will quietly melt away into the sweet past irrelevance. Nevertheless, it might be important to note that the LDSS’s failure to assimilate within the well-protected structures of the house of Ann Demeulemeester encompassed in its own aesthetic and admiration of strongly held values that enforced houses’ specific aura, that lures and captivates its admirers, was not purely his own fault and mistake. It is only fair to look up much higher, than a creative mind that plays with fabric and silhouettes, through the bureaucratic forces that in their own tactics and strategies strive for financial performance and satisfaction to the shareholders. Yet, it may seem a little bit strange when the race for profit overpowers the core value of fashion which unmistakably derives its charm and sophisticated artistry from time that allows one to grow and develop one’s artistic vision. 

We as public, direct consumers of fashion creation and products must be able to learn how to deal with change and process its outcomes as a new opportunity to pursue discussions and reshape our minds. We cannot simply block it out and turn our backs on it, we also do not have to fully accept it nor support it, but we must let it develop fully. Let’s allow space for new thoughts and ideas to form integrally, in their own timeline, to their unabridged potential. Then finally we can address the underlying dispute over the accuracy, the necessity, and the execution of those changes.