Thanks, Martin. Someone had to say it. I've often wondered how Raf always lands on his feet after spectacular failures. What he did to Calvin was a crime. The fashion press has been asleep at the wheel for a while now. The industry needs honest critiques of shows instead of the light reportage we have now. This is the first intelligent review I've read in a long time.
What happened at Calvin was totally criminal. One of the best American brands of the last 50 years decimated after a few seasons. I don't know exactly how Raf always manages to fail up, but he's mastered it. How many of us could destroy multiple businesses in a row and keep getting promotions?
I think a lot of it has to do with a fashion press that largely doesn't know a whole lot about clothing. They long ago declared Raf a genius intellectual (and what he did at Jil Sander was indeed special), and so anything he does now is still seen through that lens, even if they don't really understand it. And of course, being at Dior and CK (which are big advertisers) means that there was likely much promotion from the likes of Vogue, Bazaar, etc. and that momentum has continued. Having said that, i don't work in fashion, so who knows! And it still remains a mystery to me why Miuccia chose him as a partner.
I agree with your assessment! I think the majority of the fashion press today knows almost nothing about clothing design or fashion history. Raf has indeed ridden the Jil coattails for some time, and it is kind of brilliant the way he's managed to go so far on that one gig. Why Miuccia chose him is also confusing to me. They clearly share an interest in art, but that's not nearly enough to keep a brand like that going.
The honesty with which this is written is so needed in our industry. The silence is destroying any possibility of new, actually talented designers taking the reins of a house where they could get their grounding and eventually receive proper backing for an eponymous label. Not the other way around a’la the proenza boys. It is time for this industry to actually invest in up and coming talent. Mentor them and allow they to learn the business
Yes, mentorship is so important! There's a part of me that worries that like so much of business and politics, an older generation has refused to let younger people come up in a serious way. Fostering new talent is crucial. I think the lack of that is no small part of why the industry feels so tired creatively. And the Proenza situation could be a newsletter unto itself! Maybe that'll be my next one.
Seems like he’s rinsing and repeating his misbegotten Calvin project…without managing to transcend it the second time around. He also had Matthieu Blazy and Pieter Mulier on his team for many years too…
Totally! Calvin is such a shame because I respect that brand's legacy so much. And yes, Matthieu and Pieter were critical parts of the formula when they all collaborated.
Raf “lost it” years ago, he’s been going through the motions ever since.
Prada and Miu Miu work because of Miuccia, not him. Not coincidentally, Miu Miu (where “la Signora” pours her heart and where Raf is virtually non-involved) is far more successful, even taking into account the different scale.
And yet, *both* Prada and Miu Miu work because - I believe - they manage to do what Sabato de Sarno’s Gucci is failing to accomplish: eminently wearable stuff that has a veneer of intellectualism (or perversion) elevating it above mere luxury merch.
Well, Prada doesn't work anymore, even with Miuccia. Like I say in the piece, I agree that Miu Miu works because Raf stays out of it. But even Miu Miu will need to find its footing again since the resignation of Dario Vitale as its most recent collection was not quite as strong.
Very true! I'm all for designers returning to ideas but I think it's critical that those ideas a) are good to begin with and b) actually evolve into a new place.
It was a crime what RS did to the vision that Calvin Klein spent so long building. I also noticed very limited applause at the end of this Prada show (but maybe that doesn't mean much). RS gives the impression of being more of a stylist these days than a designer.
Interesting observation! I hope more people openly speak about how awful the collections are becoming, but after seeing all the praise the last womenswear collection got, I probably shouldn't hold my breath.
Martin! As always, I really enjoyed the points and critiques you raised in this piece. Raf undoubtedly has a vision and strong ideas, but it seems that at some point, things slip, and the result often turns into a collection that feels chaotic, unwearable, and questionable. I would love to hear from the design team to understand their perspective—what they notice and experience in the day-to-day process and real execution. I also think this reflects the broader disarray we’re witnessing in the world right now. The turbulence of our times seems to be seeping into creative directions and decision-making in ways that feel both fascinating and unsettling. And unfortunately, articles and publications that engage in real fashion criticism are becoming increasingly rare. To articulate, think, and build analytical perspectives requires time, study, and depth—qualities that seem harder to find in today’s fast-paced environment. Looking forward to your take on the Proenza situation!!
Thank you for reading, Marcela! You bring up a great point about the team. I'm not sure if its structure has changed, but I recall several years ago that Raf would effectively have a designer for every kind of garment (sweaters, pants, dresses, etc.) and pick what he felt were the best options from each to form a collection. I think that would add to the disparate feel of each collection, but I'd love to chat with someone who had firsthand experience. And I really need to hop on that Proenza piece!
Not alone at all! For reasons I'm assuming have to do with advertisers and just generally wanting to feel cool, the fashion press at both legacy media outlets and newer social media platforms would lead viewers to believe these shows are brilliant when they aren't. I really hope the illusion gets shattered sooner rather than later.
Well, like I mentioned in the piece, he hasn't achieved that either. He didn't achieve commercial/business success at Jil, Dior or Calvin (all had poor sales), so his track record would point to no. However, Prada as a business is so big, the sales of bags, shoes and sunglasses can do a lot to offset his work, but those have their limits as well, particularly if more people start to sour on the runway shows.
Vogue! I've never seen such bad pix, but then, I don't see all that much. There's something off about the lighting and the colour balances. Maybe the photographer was given crazy art direction? The pattern of fabulous success followed by self-destructiveness that you talk about is interesting. Unfortunately, it's a big part of life, craft, and art! Also the dependence on collaborators can be a danger sign too. Fascinating. And there is probably not much one can do about it.
I wouldn't be surprised if there was odd lighting on the runway and maybe some compensations were necessary. And the whole cycle is super fascinating. I just wish the industry would stop hiring the same people who always fail up.
Thanks, Martin. Someone had to say it. I've often wondered how Raf always lands on his feet after spectacular failures. What he did to Calvin was a crime. The fashion press has been asleep at the wheel for a while now. The industry needs honest critiques of shows instead of the light reportage we have now. This is the first intelligent review I've read in a long time.
What happened at Calvin was totally criminal. One of the best American brands of the last 50 years decimated after a few seasons. I don't know exactly how Raf always manages to fail up, but he's mastered it. How many of us could destroy multiple businesses in a row and keep getting promotions?
I think a lot of it has to do with a fashion press that largely doesn't know a whole lot about clothing. They long ago declared Raf a genius intellectual (and what he did at Jil Sander was indeed special), and so anything he does now is still seen through that lens, even if they don't really understand it. And of course, being at Dior and CK (which are big advertisers) means that there was likely much promotion from the likes of Vogue, Bazaar, etc. and that momentum has continued. Having said that, i don't work in fashion, so who knows! And it still remains a mystery to me why Miuccia chose him as a partner.
I agree with your assessment! I think the majority of the fashion press today knows almost nothing about clothing design or fashion history. Raf has indeed ridden the Jil coattails for some time, and it is kind of brilliant the way he's managed to go so far on that one gig. Why Miuccia chose him is also confusing to me. They clearly share an interest in art, but that's not nearly enough to keep a brand like that going.
The honesty with which this is written is so needed in our industry. The silence is destroying any possibility of new, actually talented designers taking the reins of a house where they could get their grounding and eventually receive proper backing for an eponymous label. Not the other way around a’la the proenza boys. It is time for this industry to actually invest in up and coming talent. Mentor them and allow they to learn the business
Yes, mentorship is so important! There's a part of me that worries that like so much of business and politics, an older generation has refused to let younger people come up in a serious way. Fostering new talent is crucial. I think the lack of that is no small part of why the industry feels so tired creatively. And the Proenza situation could be a newsletter unto itself! Maybe that'll be my next one.
Would love your take on the Proenza situation and (apparently) moving on to Loewe.
That may just have to be one of my next stories!
Seems like he’s rinsing and repeating his misbegotten Calvin project…without managing to transcend it the second time around. He also had Matthieu Blazy and Pieter Mulier on his team for many years too…
Totally! Calvin is such a shame because I respect that brand's legacy so much. And yes, Matthieu and Pieter were critical parts of the formula when they all collaborated.
Raf “lost it” years ago, he’s been going through the motions ever since.
Prada and Miu Miu work because of Miuccia, not him. Not coincidentally, Miu Miu (where “la Signora” pours her heart and where Raf is virtually non-involved) is far more successful, even taking into account the different scale.
And yet, *both* Prada and Miu Miu work because - I believe - they manage to do what Sabato de Sarno’s Gucci is failing to accomplish: eminently wearable stuff that has a veneer of intellectualism (or perversion) elevating it above mere luxury merch.
But yes, the latest collection was very weak.
Well, Prada doesn't work anymore, even with Miuccia. Like I say in the piece, I agree that Miu Miu works because Raf stays out of it. But even Miu Miu will need to find its footing again since the resignation of Dario Vitale as its most recent collection was not quite as strong.
Brilliant! Who is responsible for the pix you showed? I notice they are not supporting the clothes, such as they are.
Thank you! These are the images that Vogue Runway sourced.
You weren’t exaggerating about the uncomfortable visual effect. The way those oversized and tiny silhouettes are paired is very off putting.
Very! It's almost as if the clothes themselves are cringing.
😂 This has me cracking up at 1 AM.
Excellent article, Martin! Those powder blue pants look just like the Raf Calvins I have. Running out of inspiration and phoning it in a bit?
Very true! I'm all for designers returning to ideas but I think it's critical that those ideas a) are good to begin with and b) actually evolve into a new place.
It was a crime what RS did to the vision that Calvin Klein spent so long building. I also noticed very limited applause at the end of this Prada show (but maybe that doesn't mean much). RS gives the impression of being more of a stylist these days than a designer.
Interesting observation! I hope more people openly speak about how awful the collections are becoming, but after seeing all the praise the last womenswear collection got, I probably shouldn't hold my breath.
Martin! As always, I really enjoyed the points and critiques you raised in this piece. Raf undoubtedly has a vision and strong ideas, but it seems that at some point, things slip, and the result often turns into a collection that feels chaotic, unwearable, and questionable. I would love to hear from the design team to understand their perspective—what they notice and experience in the day-to-day process and real execution. I also think this reflects the broader disarray we’re witnessing in the world right now. The turbulence of our times seems to be seeping into creative directions and decision-making in ways that feel both fascinating and unsettling. And unfortunately, articles and publications that engage in real fashion criticism are becoming increasingly rare. To articulate, think, and build analytical perspectives requires time, study, and depth—qualities that seem harder to find in today’s fast-paced environment. Looking forward to your take on the Proenza situation!!
Thank you for reading, Marcela! You bring up a great point about the team. I'm not sure if its structure has changed, but I recall several years ago that Raf would effectively have a designer for every kind of garment (sweaters, pants, dresses, etc.) and pick what he felt were the best options from each to form a collection. I think that would add to the disparate feel of each collection, but I'd love to chat with someone who had firsthand experience. And I really need to hop on that Proenza piece!
Omg I wasn’t the only one?
Not alone at all! For reasons I'm assuming have to do with advertisers and just generally wanting to feel cool, the fashion press at both legacy media outlets and newer social media platforms would lead viewers to believe these shows are brilliant when they aren't. I really hope the illusion gets shattered sooner rather than later.
this wasn't their best menswear but raf simons is a God given blessing to prada and they best be taking good care of that man.
really good article :)
Well, you're talking about the aesthetic end. Is it possible that he will do ok from a business view?
Well, like I mentioned in the piece, he hasn't achieved that either. He didn't achieve commercial/business success at Jil, Dior or Calvin (all had poor sales), so his track record would point to no. However, Prada as a business is so big, the sales of bags, shoes and sunglasses can do a lot to offset his work, but those have their limits as well, particularly if more people start to sour on the runway shows.
Vogue! I've never seen such bad pix, but then, I don't see all that much. There's something off about the lighting and the colour balances. Maybe the photographer was given crazy art direction? The pattern of fabulous success followed by self-destructiveness that you talk about is interesting. Unfortunately, it's a big part of life, craft, and art! Also the dependence on collaborators can be a danger sign too. Fascinating. And there is probably not much one can do about it.
I wouldn't be surprised if there was odd lighting on the runway and maybe some compensations were necessary. And the whole cycle is super fascinating. I just wish the industry would stop hiring the same people who always fail up.