
All eyes on fashion provocateur Demna as he attempts to revive Gucci's fortunes
The 44-year-old, who fled the war-wracked Georgian region of Abkhazia as a child and dropped his surname "Gvasalia" in 2021, will bow out with a last show for Balenciaga on Wednesday (July 9) before switching to Gucci – both firms owned by France's luxury giant Kering.
"Demna's contribution to the industry, to Balenciaga, and to the group's success has been tremendous," Kering chairman and CEO Francois-Henri Pinault said at the time.
"His creative power is exactly what Gucci needs."
Investors were not so convinced and shares in Kering, which counts on Gucci as its main profit generator, fell around 12 percent on the day of the announcement before slumping even further.
Other more established and mainstream designers from Hedi Slimane, Maria Grazia Chiuri or Pierpaolo Piccioli had been linked to the vacancy.
Some analysts have questioned whether Demna's recipe for success at Balenciaga – which leant heavily on provocative, streetwear-influenced design and showmanship – can be replicated at the more classic Italian house.
"He is iconoclast and ironic, which is good to attract attention toward a small brand like Balenciaga," Luca Solca, a luxury analyst at the Bernstein brokerage, wrote afterwards.
"However, we are not sure the strategy would work as well for a bigger brand."
Kim Kardashian (right) and Demna attends the 2021 Met Gala in New York City. via AFPRead more: 'Not enough': Demna's appointment as design head for Gucci met with doubts
'Absolutely uncompromising'
Demna's final show for Balenciaga will take place on Wednesday (July 9) during Paris Couture Week and he will join the Italian label the very next day.
During a decade at the Spanish-born but Paris-based brand, he drove sales and attention sharply higher with a mix of headline-grabbing creations as well as personal publicity – not always positive.
He achieved notoriety with his US$2,000 (approximately RM8,470) "Ikea" bag, a luxury leather version of the 99-cent original.
He followed it up with an US$1,800 (RM7,620) garbage bag – the so-called "trash pouch" – in a show in March 2022 that was dedicated to Ukrainian refugees.
Other daring designs included a head-to-toe black shroud that US reality television star Kim Kardashian – a personal friend – wore to the Met Gala in 2021.
A-list celebrity endorsements have been plentiful, but have not always worked out.
Kanye West – Kardashian's ex and another friend – opened Balenciaga's show in October 2022 shortly before the first of several anti-Semitic outbursts, and the group had to cut ties with the rapper.
Demna's lowest point came in February 2023 when he was forced to apologise for an ad campaign that appeared to reference child abuse and had underage models in what looked like bondage gear.
He has plenty of fans among Gen Z tastemakers, however.
"I've always gravitated toward Balenciaga, because I love Demna's vision," British pop sensation Charli XCX told British Vogue last year.
"He feels like he's speaking his own language, which is absolutely uncompromising, and to me, that's what makes a brilliant artist."
Read more: Demna must restore Gucci's 'fashion authority' – but who is he and can he do it?
'Aggression and darkness'
Annual sales at Balenciaga were estimated to be US$350mil (RM1.5bil) when he arrived and had surged to about US$2bil (RM8.5bil) in 2022, according to GQ magazine.
Gucci's fortunes have headed in the other direction: they slid 23 percent last year, prompting Kering to fire creative director Sabato De Sarno after only two years in the job.
Demna is a graduate of the Royal Academy of Fine Arts in Antwerp in Belgium and went on to work at Maison Margiela and Louis Vuitton.
He co-founded the label Vetements with his brother in 2014, a year before he was named to the top job at Balenciaga.
For many years, his childhood trauma fleeing pro-Russian separatists in his homeland affected his work, but he told Vanity Fair in 2021 that counselling, meditation and exercise had helped exorcise some demons.
"Fashion used to feel like a battle for me. That is why there was a lot of aggression and darkness in what I did. Today I feel at peace with the system," he said. – AFP
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Star
19 hours ago
- The Star
Judas Priest, Rick Springfield, John Oates and Bob Geldof reflect on 40 years of Live Aid
NEW YORK: Forty years ago, the legendary Live Aid concerts aimed to do a lot of good - helping to raise over US$100mil for famine relief in Ethiopia and inspiring worldwide awareness for a cause it might otherwise have ignored. Simulcast from Philadelphia and London on July 13, 1985, Live Aid was the most ambitious global television event of its time: 16 hours of live music in two different continents featuring Queen, The Who, a Led Zeppelin reunion and more. A lot has changed in the years since. "Live Aid, '85 to now, is the same distance as the Second World War from Live Aid," notes Rick Springfield, laughingly. "That's how long ago it was.' Artists who performed at Live Aid - Springfield, organizer Bob Geldof, Hall and Oates' John Oates and Judas Priest's Rob Halford - reflected on the event and its impact in interviews with The Associated Press ahead of the 40th anniversary on Sunday (July 13). Here's what they had to say: At John F. Kennedy Stadium in Philadelphia, Springfield performed between Run-DMC and REO Speedwagon - just a taste of the diversity of performers featured on the transnational lineup. "Run-DMC, I remember thinking, 'What is this? Three guys talking over a record player. What is that? Little did I know that it was about to change the whole game," he says, laughing. He remembers playing an electric set - no "Jessie's Girl,' because "back then, it was just my first hit.... It hadn't gone on to become this cultural thing." Hall and Oates' John Oates had a different experience. His band also played in Philly - their hometown - and in 1985, his band was one of the biggest on the planet. They played near the end of the night, joined by the Temptations' Eddie Kendricks and David Ruffin and remained on stage to back the Rolling Stones' dynamic frontman Mick Jagger. The British rockstar had a trick up his sleeve. "He didn't tell us that he was bringing Tina Turner out," Oates says. "We had rehearsed a certain amount of songs with him. But then when he brought her out, it just jacked up the level of energy like you can't believe." Judas Priest singer Rob Halford counts "Mike and Tina, of course,' as one of his Philly Live Aid highlights. "Led Zeppelin, too." But most exciting of all for the heavy metal frontman? Meeting folk hero Joan Baez. The band had previously covered her classic "Diamonds and Rust." "I thought, 'Oh my God, she's gonna come and kick me in the ass for wrecking her beautiful song,'" he recalls. "She gives me a quick hug and goes, 'The reason I'm here is because my son said to me, if you see Rob Halford from Judas Priest at the Live Aid Show in Philadelphia, will you tell him from me that I prefer Judas Priest's version to my mom's version?'... It was a display of such kindness." Twenty years after Live Aid, Geldof organized Live 8 - an even larger undertaking in the new internet era, with 10 concerts happening simultaneously and across the globe. If the trend were to continue, there should be another event taking place this year. Notably, there isn't. Geldof says that's because there couldn't be a Live Aid-type event in 2025. He cites social media as a cause. In his view, algorithmic fracturing has made it impossible to create monolithic musical and activistic moments. Instead, he views the current media landscape as bolstering "an echo chamber of your own prejudices." For something like Live Aid to work, "You need rock 'n' roll as a creature of a social, economic and technological movement," he says. "And I think the rock 'n' roll age is over.... It did determine how young people articulated change and the desire for it.... That isn't the case anymore." Springfield agrees. "I think we are too divided," he says. He believes the world wouldn't be able to agree on a single cause to support, or even which musicians to back. "You could never do a thing with the size of Live Aid unless it was some kind of universal thing of, 'Let's bring everybody together.'" "Never say never, but I highly doubt it,' says Oates. "The landscape of music and entertainment in general has changed so drastically." He points to "We Are The World," the 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon and many more, as an example. "The idea of that happening with the stars of today all in one place, I can't even imagine that. And plus, who would they be?... How many songs are released every day?" Halford echoes the other's sentiments. There's an undeniable "extremism in the world right now,' he says, that would make a Live Aid event challenging to pull off in 2025. But he doesn't think it's impossible. He uses January's Fire Aid - the LA wildfire benefit concert featuring Billie Eilish, Stevie Wonder and a Nirvana reunion - as a recent example. "There will always be empathy from people,' and in the right hands, maybe another event like Live Aid could take place. "It was a tremendously beautiful, humanitarian example... that provided us opportunity to do something ourselves to help."


Malay Mail
a day ago
- Malay Mail
Highlights from Paris Couture Week: Floral trends, star-studded shows, and new faces in fashion
PARIS, July 13 — Paris Haute Couture Week has wrapped up after four days of shows that featured the end of an era at Balenciaga, the start of a new one at Maison Margiela, and some surprise appearances and absences. AFP looks back on the key moments of the Autumn-Winter 2025-2026 season: New eras Demna bowed out at Balenciaga after a decade in charge with a show on Wednesday that drew the usual smattering of celebrities to the front rows but had some surprise models on the runway. Kim Kardashian channelled Elizabeth Taylor as she walked the room in a sultry slip dress, while veteran French actress Isabelle Huppert appeared in a turtleneck pulled up to her ears. Belgian Glenn Martens debuted at Maison Margiela the same day. Critics praised his bold first steps as a replacement for British design legend John Galliano, who stepped down in January. The New York Times called Martens' 'Artisanal' collection, which included thrifted clothing, a 'brilliant no-holds-barred debut' while Women's Wear Daily said it 'tilted the Paris house in a dark, daring and DIY direction'. Armani's absence One notably absentee was Giorgio Armani, 91, who had already cancelled his menswear show in Milan due to health reasons. He also missed the Paris Armani Prive show on doctors' orders. 'In 20 years of Armani Prive, it's the first time I'm not in Paris,' he said in a statement sent to AFP. 'My doctors advised more rest, even though I felt ready.' He added that he had 'followed and overseen every aspect of the show remotely', stressing: 'I approved and signed off on everything you will see.' A model for Armani Prive. — AFP pic Cardi B's couture New York rapper Cardi B had a busy week in Paris and seemed intent on out-couturing many of the models. She appeared at the opening show of the week on Monday at Schiaparelli in a traffic-stopping tasselled neckpiece and posed with a crow perched on her hand outside the Petit Palais exhibition space. The next day, she turned heads at Stephane Rolland, with a sculptural black headpiece that surrounded her like a religious shroud. On Wednesday she was front row at Balenciaga. The rose trend Floral patterns were everywhere, with the rose especially dominant. Giambattista Valli adorned airy gowns with oversized fabric roses, Elie Saab featured them on princess-style dresses, while Armani Prive used pearl-embroidered roses. Balenciaga incorporated rose sequin prints into a skirt suit and Robert Wun showcased black-and-white roses on a structured strapless crinoline dress. A model presents a creation for Elie Saab. — AFP pic Best of the rest Syrian designer Rami Al Ali made history as the first couturier from his country to take part in the official Paris calendar, choking back tears at the end of his show of exquisitely tailored pieces. Dutch duo Viktor & Rolf delivered a typically playful and sculptural spectacle, while Hong Kong's Robert Wun burnished his reputation further with some striking looks inspired by cinema and theatre. — AFP


The Sun
2 days ago
- The Sun
'Eternal City' Pompeii Exhibition Opens in Hunan, Marking New Sino-Italian Cultural Exchange
CHANGSHA, CHINA - Media OutReach Newswire - 11 July 2025 - On July 8, the exhibition 'Encountering Pompeii: The Eternal City' opened at the Hunan Museum's Special Exhibition Hall 1. It is jointly organized by the Hunan Museum, Naples National Archaeological Museum, Archaeological Museum of the Campi Flegrei in the Castle of Baia, and the Collections Department of Naples University 'Federico II,' with Beijing Shengxuan Cultural Group Co., Ltd. as co-organizer. Duan Xiaoming, Director of the Hunan Museum, noted in his opening speech that this year marks the 55th anniversary of China-Italy diplomatic ties. This exhibition continues the museum's collaboration with Italian cultural institutions, following the 'The Trans-Cultural Exchanges and Interactions Between Italy and China From the 13th Century to 16th Century' (2017), 'Ancient Egyptian Finds Exhibition' (2018), and 'She Walks in Beauty: Women of the Han Dynasty and Roman Empire' (2024), showcasing close cooperation in heritage preservation and exchange. The exhibition highlights the ancient Roman city of Pompeii, buried and preserved by Mount Vesuvius' eruption in 79 CE. Once a thriving Mediterranean trade hub, Pompeii was first settled by the Oscans in the 8th century BCE, later allied with Greek city-states, and became a flourishing Roman metropolis. UNESCO calls it 'the only archaeological site offering a complete picture of an ancient Roman city.' More than 130 original Italian artifacts—many debuting in Hunan or even China—are on display, including frescoes, sculptures, bronzes, and gold. Paired with recreated scenes, they vividly portray Pompeii's grandeur, daily life, and artistic culture. The exhibition comprises four sections: 'Lost Civilization: A City Frozen in Time'; 'The Best Place on Earth: Pompeii and Its Surroundings'; 'Stories of the Ancient City: Lives of Pompeiians'; and 'The Tragedy of the Volcano: Eternal Awe and Love.' A concluding immersive space with multi-channel projections and 3D effects lets visitors experience Pompeii and reflect on life's fragility amid disaster. On opening day, the museum also hosted a live dubbing performance and an academic lecture by Italian experts. The exhibition runs through November 2.