Silvia Venturini Fendi

Fendi RTW Spring 2023

Fendi RTW Spring 2023

Silvia Venturini Fendi, with her uniform of shirt jackets, pants and heirloom jewelry, is the picture of “functional utility alongside femininity.”

Those four words sum up how Kim Jones characterizes his exploration at Fendi, and the core of the spring collection, his youngest and sprightliest effort yet for the Roman house, full of zesty colors, sexy shapes and a keen sense of fun.

The British designer has always said the women in his inner circle are his touchstones and sounding boards at Fendi, headlined by Venturini Fendi and her daughter Defina Delettrez Fendi, also his chief creative accomplices. And the initial feedback suggests the cargo pants are a hit.

Done up in satin and with the same double-F hardware found on the Baguette bag, whose 25th anniversary Jones just marked at a blowout show in New York with Marc Jacobs as his co-conspirator, these pants are likely to be seen on many off-duty models next season. Ditto the rubber platform shoes in quirky colors like mint — and the Rolls-Royce of jeans jackets, in closely cropped shearling and irresistible in camel.

The late Karl Lagerfeld, who designed Fendi’s fur and ready-to-wear for more than 50 years, is another guiding light for Jones, who homed in on the German designer’s collections from 1996 to 2002. He reprised a floral print and a logo from those years, and its overall spirit of “minimalist ease and pop-infused eclecticism,” according to the press notes.

“We go back and we look at everything — and then I pull out the things that I think are relevant,” Jones explained backstage before the show, explaining that he added in the vivid pinks, blues and greens afterwards to spice up the house’s base palette of neutrals.

While the shapes were pared down, the materials were not. Cue tabard-simple tops and dresses made of intricately woven leather, and T-shirt dresses and tops knitted from recycled mink.

Jones also had a strong feeling for satin this season, employed for sinuous dresses, skirts and apron-like appendages, but also as the lining for nip-waisted jackets and pencil skirts so meticulously finished they can be worn inside-out.

Obi-style belts threaded through the notched waists of coats and jackets looked a bit tricky, but signaled that Jones is starting to introduce elements from Fendi’s couture runway.

The designer also reached back to 1994 and brought back a leather version of a paper Fendi shopping bag, adding a chunky chain to give it a 2023 touch.

Most of the other bags were small, including a more rigid, architectural version of the Peekaboo and a minuscule version of the Fendi First, Jones’ first “It” bag, slung on a necklace and able to hold perhaps a few Tic Tacs.

Fendi to Hold Show in New York to Celebrate Baguette Bag at 25

Fendi to Hold Show in New York to Celebrate Baguette Bag at 25

“IT” BAG TO NY: Fendi took Instagram by storm Saturday, unveiling an accessories campaign fronted by Linda Evangelista to celebrate its signature Baguette bag’s 25th anniversary.
In addition to sharing campaign imagery, the luxury house controlled by LVMH Moët Hennessy Louis Vuitton said it will hold a runway show in New York on Sept. 9 to mark the bag’s anniversary which will come two years after Kim Jones joined the storied house as artistic director of couture and womenswear.
No other details on the show were available at press time. However, sources have told WWD that Jones is working on a collaboration with Marc Jacobs that could be unveiled during New York Fashion Week in September, which implies that the Baguette will somehow be part of it. 

Instagram netizens praised the campaign in which Evangelista is photographed by Steven Meisel against a grey backdrop holding two sequin-covered Baguette bags in different sizes paired with a grey sweater and satin baseball caps stockpiled on her head.

Related Galleries

The supermodel casts a diva gaze behind her pink-hued sunglasses and had fans on social media cheering her return in front of the camera.
First introduced in 1997 by Silvia Venturini Fendi, artistic director of accessories and menswear, the Baguette has been the ideal  canvas for many creative iterations over the years, including denim, embroidered jacquard, sequined, fur accented, hand painted versions and even a scented one introduced in 2019.
The accessory ignited the “It” bag craze and is currently enjoying momentum like other bags from the late ‘90s and early Aughts, tapping into Y2K nostalgia.
Back in the days its popularity was cemented after Sarah Jessica Parker’s character in the hit series “Sex and the City” sported a sequined purple version. She returned to show her love for the accessory in 2019 when Fendi debuted the #BaguetteFriendsForever communication project.

Exclusive: Adwoa Aboah is a “Fashionable Superwoman” in Fendi’s New Peekaboo Bag Film

Exclusive: Adwoa Aboah is a “Fashionable Superwoman” in Fendi’s New Peekaboo Bag Film

Photo: Courtesy of Fendi
In celebration of the new Peekaboo Petite and Micro handbags, Fendi has joined forces with Italian film director and friend of the house, Luca Guadagnino, to create a short film starring former Vogue Arabia cover star Adwoa Aboah. The campaign film created by the Call Me By Your Name director features the top model soaring through Rome over through its rooftops before eventually landing on Fendi’s Palazzo della Civiltà Italiana.
Photo: Courtesy of Fendi
“With the DNA of Fendi being Rome, we, of course, talked about Rome – but instead of being in Rome, being above Rome,” says Guadagnino of the film’s concept. “We had this idea of levity – of the Peekaboo bag, at the center of the movie, being the magical driver behind Adwoa flying over the ancient city.”
Photo: Courtesy of Fendi
Aboah was chosen by the Italian fashion house for their shared values around women empowerment and independence. The film sees her depicted as a “fashionable incarnation of superwoman” flying over Rome’s skies in a dreamlike fantasy before touching down on Earth to determine her fate, claiming her own autonomy. “I think that carrying a Peekaboo says something about a very strong, powerful, and empowered person who is not afraid to hide,” says Silvia Venturini Fendi, creative director of Fendi. “It has its two compartments — one you can keep close to you and closed, and the other where you can choose to reveal something of yourself to the world.”
Photo: Courtesy of Fendi
“I feel part of Fendi,” says Guadagnino of working with the fashion house. “I am very close friends with Fendi – as a brand for sure but, most importantly, as a friend of people who are pillars of the company. I feel a very deep connection with the brand – and my mother used to wear Fendi back in the 70s and 80s so the logo, the type of materials, the quality and the design of Fendi have always been part of my imagery.”
Photo: Courtesy of Fendi
Read Next: 5 Things To Know About Fendi’s Soft-Meets-Hard Milan Fashion Week Fall 2022 Show

Fendi Men’s Fall 2022

Fendi Men’s Fall 2022

“The desire to celebrate is back.” So believes Silvia Venturini Fendi, as she reflected on the “dressing ceremony, which we’ve risked losing” given the lack of special moments in the wake of the COVID-19 pandemic. Now she feels “this need had returned in full force.”
The collection she presented for fall was clearly aimed at meeting that need. The looks were polished and blended dandy touches and feminine elements but were never too formal. For example, traditional Vichy tweeds and houndstooth patterns were revisited, either scaled down or up.

Venturini Fendi worked with new proportions and mixed different shapes, returning to the cropped double breasted jacket she presented for spring but also offering more fluid volumes.
“I hate the word comfort — we’ve been wearing pajamas and sweats for too long — but nobody wants to feel constrained in rigid or formal clothes,” she said.

Accordingly, blazers looked like capes and coats opened on the sides or the back to allow freedom of movement and the addition of inserts. Pants were also slit on the back of the ankles. Bermudas were roomy and wide pants swayed with a trailing half-skirt. Outerwear was marked by dropped shoulders and Dolman sleeves.

Fendi’s craftsmanship was reflected in the etched O’Lock shearling and a complex intarsia shearling. The O’Lock chain motif appeared as a new monogram on pieces.
The color palette was mainly understated and natural, with touches of strong raspberry and mocha as the designer emphasized the textures and the bold graphic patterns.
The Fendi man is no wallflower and is sure to have fun with the brand’s array of accessories including, this season, plenty of jewelry.  While “cufflinks used to be their must-have jewels,” said the designer, now it’s time for men to sport delicate floral brooches, crystal FF pendants and O’Lock chokers, as well as that evergreen string of pearls.
And what better way to dress up than to carry a Baguette in the same fabric as the clothes –“almost an extension” of the garments, said Venturini Fendi – or supersized as an FF-embossed soft trunk. On the other end of the spectrum, the brand’s signature best-seller was shrunk as a miniature chain bag or shown in metal and Plexiglass.
Other accessories included two-tone wingtip Chelsea boots, patent O’Lock loafers with scalloped trims and a new sneaker with a stretched FF logo. The Peekaboo bag was pared back to a large, structured shopper with FF logo paneling, also shown in the season’s Vichy check wool, named Peekaboo FForty8.
There were plenty of striking sunglasses and the designer turned one of the most classic men’s accessories into “a fetish,” displaying watches on Mary Jane brogues closed with wristwatch straps.
Venturini Fendi also presented the brand’s first wallet for cryptocurrency as both the O’Lock motif and the Baguette design were transformed into luxury tech accessories for the Ledger Nano X, the leading digital hardware wallet for cryptocurrency and digital assets.
Whatever the currency, Fendi’s fall collection will have customers reaching for their wallets.

Fendi Unveils ‘Hand in Hand’ Exhibition in Rome

Fendi Unveils ‘Hand in Hand’ Exhibition in Rome

MILAN – Fendi is opening the doors of its Roman headquarters, Palazzo della Civiltà Italiana, to the public to showcase an exhibition celebrating Italian artisans’ most exquisite creativity and talent.Starting on Saturday, visitors will have access to the building’s first level, where Fendi has installed the “Hand in Hand” exhibit, which will be open until Nov. 28.
The showcase collects 20 one-of-a-kind Fendi Baguette bags that the brand’s artistic director for accessories and men’s wear Silvia Venturini Fendi developed in collaboration with 20 ateliers and workshops, each located in an Italian region, from Trentino Alto Adige and Valle d’Aosta to Calabria and Sicily. Precious metals, stones, molded leather, as well as special techniques, including mosaic, hand embroidery and weaving, were employed to craft the exclusive designs.

Related Galleries

Fendi “Hand in Hand” exhibition in Rome.
Courtesy of Fendi

“This successful project enabled us to map the incredible artisans operating in our country,” Venturini Fendi said. “It has been a sort of full-time job but extremely rewarding. We had the chance to meet fantastic people and, since there is such a richness in Italy and we are receiving so many requests from ateliers from all the regions, we decided to go ahead with the project and do a second round.”
The first iteration of the “Hand in Hand” project,” first unveiled in 2020, “is a new starting point for us,” said the designer, adding that the Baguette, the iconic bag she designed in 1997, will remain the protagonist of the initiative. “The Baguette is our most versatile design, the most suitable to millions of interpretations.”
The exhibit offers an immersive experience, combining the celebration of traditions with a strong high-tech component. A 98.4-foot polished black table showcases each bag in an installation that also includes sketches, materials and technical tools, while a screen embedded into each workstation streams a documentary offering exclusive insight into each atelier. Behind the table is a giant LED wall showcasing behind-the-scene videos of the project and revealing the secrets of the artisans involved.
“While this upcoming weekend the artisans will be physically present at the exhibition, greeting visitors at their workstations, in the following weeks, they will be able to connect with us from the ateliers popping up on the LED wall,” Venturini Fendi explained. “We expect a lot of people to visit the exhibition, including students. We hope that through this project we will be able to communicate the important message that training to become an artisan should not be seen as a fall-back, but as an incredible opportunity to express creativity and create art.”

Fendi “Hand in Hand” exhibition in Rome
Courtesy of Fendi

Venturini Fendi also highlighted the further social impact of this initiative. “We collected so many anecdotes along out trip across Italy, but there is something that I think has a particular relevance,” the designer said. “After working on the project with us, the young owner of Marche’s Bottega Intreccio in Mogliano, which is specialized on weaving willow branches, was informed by the mayor of the town that the municipality will return to plant willow trees. This is a great achievement for us, since this reflects the most authentic spirit of the initiative.”

Over the years, Fendi has paid great attention to the preservation and evolution of the Italian artisanal heritage.
Along with showing great commitment to the education and training of young talent through the Massoli Academy in Rome, which trains new tailors, and the participation in the LVMH Institut des Métiers d’Excellence training program, Fendi also operates an internal school in Bagno a Ripoli where the students train in an area equipped with modern machinery and work tools that are used in the practical activities that make up 80 percent of the program, while there’s a meeting room for the remaining 20 percent, dedicated to theoretical training. The newly planned Fendi Factory in Bagno a Ripoli will have even bigger spaces dedicated to this.
Unveiling the secrets behind the creation of its luxury products, Fendi also participated to the LVMH’s Journées Particulières initiative for years through a unique exhibition showing live the work of its artisans — from couture to ready-to-wear, fur, leather goods and shoes to watches and furniture pieces.
Fashion’s Artisans and Workers Forge Connections to Survive
Dior Medallion Chair Exhibition to Make U.S. Debut During Design Miami and Art Basel at SuperBlue
Gagosian Opens Third Gallery in Paris With Alexander Calder Exhibit

Fendi Gets Psychedelic for Summer 2021 Capsule

Fendi Gets Psychedelic for Summer 2021 Capsule

MILAN — Following the collaboration unveiled at the latest edition of Design Miami, Fendi teamed up again with New York-based visual artist Sarah Coleman, who cut her teeth next to archi-star Peter Marino and built a name for herself by manipulating designers’ materials to rethink everyday objects through an ironic filter.
The fruit of the partnership between Fendi accessories and men’s creative director Silvia Venturini Fendi and Coleman is a range of eye-catching products, from ready-to-wear to accessories, which have been collected in a summer 2021 capsule collection. The capsule will hit Fendi’s worldwide boutiques and the brand’s online store on May 13.
“Sarah has a great sense of artistic fun and clever irony. I was naturally drawn to her work and we first explored a collaboration with our Miami Design District boutique during Design Miami last December,” said Venturini Fendi. “We always love to partner with new designers who share the values of Fendi, yet with their own personal style. Sarah not only values craft, but challenges it with her subversive sense of humor, taking it into new directions.”

“My intention for the collection with Fendi was to be very playful and free. Silvia asked me to be ‘disruptive,’ to push the limits and get outside of the box, this gave me a huge amount of inspiration and confidence,” Coleman said. “She is so authentic to herself and the brand with a visionary’s perspective. I was so empowered by Silvia and the Fendi team to be myself. It was an incredible experience and I really cannot find words to express my gratitude.”

Fendi Summer 2021 Capsule 
Fendi Summer 2021 Capsule

In particular, Coleman offered her interpretation of the signature FF logo pattern that was twisted and turned, creating the FF vertigo motif. Coleman explained that she got inspired by the ’70s psychedelic aesthetic, which she mixed and matched with references coming from the brand’s archives. “[There] I found countless incredible images, materials, drawings and pieces that have made Fendi what it is today. Having access to explore and use this as inspiration was a major factor in what made this collection special for me,” the artist said. “I see logos as a neutral, you can bring them into anything and they work every time. The FF logo designed by Karl Lagerfeld is so timeless. It’s beautiful, it’s transformative, it just goes with every flow, which is why it has stood the test of time. There is nothing trendy about it. It is art, design, architecture, movement, all in one. It can be used in so many different ways, it can be played with, it can be changed, but at its core, it’s always this powerfully iconic print.”
In the accessories range, the FF Vertigo is printed or embossed on a range of leather bags, rendered in a summer yellow and blue palette. Standouts include the new Baguette 1997, a reedition of the legendary bag style designed by Venturini Fendi, featuring slim sides and a flappable handle, as well as new interpretations of the Peekaboo ISeeU design, now available also in a version for men, as well as in a smaller size.
Splashed on rtw pieces for women, men and children, the FF Vertigo motif also pops up on the featherweight Fendi Force high-top sneakers and on the collection of timepieces, showing the strap in calfskin leather or stainless steel. The watches are embellished with another pattern created by Coleman, the FF Fisheye, where the FF logo gets wavy, as if it’s being seen though a fish-eye lens.

A rendering of the Fendi Caffè at Miami Design District 
Courtesy of Fendi

Celebrating the joy of the summer season and life outdoors, Fendi and Coleman used their FF Vertigo print on limited-edition items developed in collaboration with specialists. The capsule includes a customized Vintage Polaroid OneStep Close-Up 600 instant camera; a bento box developed with Alessi, as well as a tent and a men’s technical backpack produced by Ferrino.
The Fendi summer 2021 capsule also channels a ’90s intentionally kitschy vibe by presenting a selection of Baguette 1997 bags decorated with bold sequins and intricate floral embroideries.
To celebrate the launch of the collection, Fendi has planned a series of pop-up shops and Fendi Caffé locations across the globe in key locations, including Miami Design District, Shanghai and Milan, where the brand is opening a customized temporary coffee shop at Rinascente’s department store.

Kim Jones Plans ‘Real Clothes’ for Fendi RTW Debut

Kim Jones Plans ‘Real Clothes’ for Fendi RTW Debut

“It’s quite a neutral collection to start the ball rolling,” Kim Jones said of his hotly anticipated ready-to-wear debut at Fendi today during Milan Fashion Week. “It’s real clothes.”
Jones approached the fall 2021 collection with an extensive crawl through the Fendi archives, much reflection, and deep discussions with Silvia Venturini Fendi and his trusted inner circle of fashionable women.
He also applied his meticulous and methodical approach to revving up heritage brands, having racked up an impressive track record at Dunhill, Louis Vuitton and Dior, where he remains artistic director of men’s collections in addition to his new duties as artistic director of Fendi’s haute couture, ready-to-wear and fur collections for women.

In an exclusive and wide-ranging interview in Paris, Jones spoke excitedly about his foray into women’s fashions, and the honor and challenge of taking up a role previously held for 54 years by fashion legend Karl Lagerfeld, who died in 2019.
It is understood Jones has harbored ambitions to design women’s wear for some time, and held discussions with Versace and Burberry in recent years. He closed his swan song show for Louis Vuitton in 2018 with Kate Moss and Naomi Campbell striding out in monogram trench coats.
Jones famously amassed an impressive collection of rare vintage fashions spanning some 500 pieces, which he recently donated to an undisclosed museum, and it includes seminal looks by Vivienne Westwood, Leigh Bowery, Rachel Auburn and others.

Related Gallery

“Women’s wear is something that I’ve always looked at because it was more interesting to research and look at women’s wear than it is for men’s wear,” Jones said, seated in his office at Dior. “And obviously, a lot of my friends are women, and they wear my clothes.”
His ambitions for today’s show do not include any grandiose artistic vision or revolutionary fashion statement.
He simply wants to make “clothes that women will want to buy. I’m not gonna lie. I think that’s what my job is. I want all my friends to go, ‘I want that straight away,’” he said.
Jones said he doesn’t like being compared to Lagerfeld, and who would, considering the German designer’s illustrious and unprecedented fashion career not only at Fendi, but also Chanel, Chloé, his signature fashion house and a staggering array of unexpected design projects, from pens and tableware to luxury hotels and condo projects?
“I think I have the same work ethic, you can ask Silvia at Fendi,” Jones said, allowing one commonality with a designer he respected and admired to the max. “He was always super nice to me.”
Yet Jones does echo Lagerfeld in his wholehearted embrace of the fashion industry’s furious pace, his just-shut-up-and-do-it ethos, and his acknowledgement that fashion, however creative and artistic, must always be at the service of a brand and its business imperatives.
“For me the customer is always number one. It’s something I learned from Yves Carcelle when I joined Louis Vuitton, and it’s something that’s always stuck in my mind,” he said, referring to the late Louis Vuitton chief executive officer who helped build the historic trunk maker into a global luxury powerhouse.

When some designers arrive at a house, they often erase what was done by their predecessor, wiping clean social media feeds and sometimes complete product lines. Not Jones, who enters a solid and sizable business, part of luxury giant LVMH Moët Hennessy Louis Vuitton. He said he’s seen other designers “go into a house and completely change things around and then get stuck when nothing sells.”
“And that’s not my job,” he said, adjusting his face mask and occasionally taking a sip of Perrier. “I think it’s really important to respect what the house is, especially when you’ve got someone there whose name is actually across the door.”
Jones comes into the role with immense respect and affection for Venturini Fendi, whom he met about a decade ago at a luxury goods conference, immediately striking up a friendship.
The British designer collaborated with Venturini Fendi, artistic director of accessories and men’s wear collections, and her daughter Delfina Delettrez Fendi, jewelry creative director, on his spring 2021 couture collection for Fendi, shown in Paris last month. He said it was equally important to have received positive feedback from Bernard Arnault, chairman and CEO of LVMH, and his wife Hélène; as well as the past CEOs of Fendi, Michael Burke and Pietro Beccari, who attended the filming of the couture show in a modernist glass maze set in the Palais Brongniart.
“My two roles are to do my job for A, the brand, and B, for her. The value of the family is ever present, so I want them to be happy with it. You know, I guess that’s me. It’s not about my ego. It’s about doing a job.
“I’m sure Karl felt the same with brands that he did. Not that I’m referencing myself as Karl, but you know he did Chloé, Fendi and Chanel, all at the same time, and each had different signatures. And I think it’s possible to do that when you’ve got good teams at each house,” Jones said, recalling that when he operated his signature label from 2003 to 2008 after graduating from Central Saint Martens in London, he consulted with other brands to bring in more money. “You put on your different headset, something I’ve always been used to.”
Indeed, he declared that overseeing two luxury brands is “more fun. Doing three shows in two months is kind of great.” he said. “I’m not gonna lie, it’s been difficult doing it under lockdown. Because you know, I can’t go home for the weekend, or I can’t pop out somewhere for three days for a mini break. You know, it’s just that you have to be in one place, and I’m not very good at doing that.”
Yet despite the trying circumstances, Jones insisted on readying a couture collection for spring — something Fendi had never done — because he had already masterminded his “Orlando” theme and preferred to get on with the job as quickly as possible.
“He knows how to blend his vision with the heritage of Fendi,” Venturini Fendi said in an interview, noting the Roman house is to mark its centennial come 2025. “His work at Louis Vuitton and Dior showed us that he knows how to respect and how to use this story as a starting point for his vision….It’s not just about Kim; it’s about the brand.”
In addition, “he’s also a voracious observer of the moment, of people, and what are people’s desires and what do people need,” she continued. “He’s very interested in knowing what they’ll want.”
When Jones arrived at the Roman house last fall, Venturini Fendi accompanied him to the archive, and he settled on the oldest pieces: luggage, whose parchment and leather colors inspired the palette for his rtw debut. “It’s very elegant, it’s very neutral-toned, I would say very Fendi,” Venturini Fendi declared.
Although Fendi has enjoyed unprecedented consistency in its design office thanks to Lagerfeld, Jones said he sees the fashion image at the Roman house as “really malleable.”
“They’re silhouettes that can be updated quite easily,” he said, also lauding its formidable legacy in leather goods. “When I look at all the houses, Fendi’s bags are the most unique across the group.”
For his debut rtw effort, Jones zeroed in on three groups of bags from the early ’90s — not including the Baguette, introduced in 1997 — to see how they are constructed, and he transferred elements from the hardware, stitching and details onto the clothes. That implies “lots of handwork” and “quite high price points,” but Fendi has customers who seek this, Jones noted.
While Jones is honored and humbled to take on a design job previously held by Lagerfeld, he said he certainly doesn’t dwell on it.
“I just get on with my work, and I don’t think too much. I just think that it’s good to be really honest about that. Because, you know, if you do these jobs at this level, if you think about it too much, you could drive yourself crazy,” he said. “I think I’m doing really good work. And I’m not being arrogant by saying that, but I think anyone else that works in my position that’s doing as much would probably feel the same with themselves.”
Fendi is probably first and foremost known as a fur house, and Jones arrives at a time when Venturini Fendi was already grappling with a new way forward, given how fraught and complex the use of animal skins has become.
“We’re looking at ways of how we work that ethically and, you know, in a better way,” Jones said. “It’s too early for me to talk about.”
That said, expect some fur in the fall 2021 collection “because there are customers that want it.”
Fendi is also known for tailoring, coats and dresses, which historically sell well, according to Jones. “I didn’t know a huge amount about the Fendi customer before, and I’m learning on the job,” he said. “But I’m surrounded by a studio full of women that are very passionate about clothing. And if every single woman in that studio wants the pieces that we’re designing, then that’s a good sign.
“It’s a funny brand, Fendi. You know it and you don’t know it,” he mused. “I’m looking at it in quite a commercial design aspect, really. And I wanted it to be a palate cleanser.”
When the British designer arrives at a brand, he likes to scope out new territory, and for Fendi he already spies opportunities in shoes, and a broader offering of dresses and clothing items.
“Just easy pieces,” he said. “It was very designed as a silhouette and now the modern market requires it be designed as singles.”
Knowing Fendi’s reputation for outerwear, something Jones loves designing, he felt it natural to create coats in double-face fabrics, of which he said Lagerfeld was not very fond. “So you know, really looking at things that are very Italian in their traditional craftsmanship, and playing around with those ideas.
“It’s nice to have a shift, but not a groundbreaking shift,” he said of his first collection.
Jones didn’t flinch when asked if Fendi is expected to grow under his watch.
“That’s my mission,” he said, while demurring to share any particular business targets. “I like to see people wear what I design, or the things I work on. I think there’s nothing bigger than the thrill of seeing a stranger buy and wear your product. And when I’m in the street and I see people head-to-toe [in Dior] in Japan, New York or L.A., I think it’s super nice. And it’s touching.”
Given travel restrictions that continue to shift, Jones has not settled into a schedule as he would in normal times, but he said he’s managed to effectively juggle demands at Fendi and Dior. “I have a core team that’s with me in both. And then I have two really good teams in both houses,” he said, describing both brands as having a “family” atmosphere.
“I feel like they’ve been taking me in as part of the family. I listen to what they say,” Jones said of Fendi. “I work for the brand. The brand is first.”
To be sure, he was thoroughly impressed with the capabilities of Fendi’s ateliers.
“It’s nice to see things be created in a different way in front of you. I think that’s probably what the beauty of women’s wear is,” he said. “The only thing that overwhelmed me a little was the sheer amount of embellishment and embroideries and all those things that you could possibly do. You know I’m very clear and concise in my work.”
For his rtw show today, Jones plans to livestream a catwalk event at Fendi’s vast showroom space on Via Andrea Solari in Milan.
“I think people enjoy seeing the runway experience. I think it’s what they want to see, especially when you’re buyers buying clothes, virtually. Now they want to see how the pieces move and understand them,” he said.
That said, Jones is also eager to exalt the workmanship of his Fendi collections, which is why he released a dreamy 20-minute film about three weeks after the Jan. 26 couture show presenting the mood and detail of the clothes and accessories. “Because, you know, it’s quite easy for people to criticize things when they look at them online. When you see them in reality, you understand what goes into it. The savoir-faire and the techniques are really important.”
Jones has had a storied fashion career, with John Galliano snapping up his graduate collection. He initially launched a signature men’s wear label, and experimented with some women’s looks in 2004. Known for its sporty, streetwear edge, the Kim Jones brand lasted for eight seasons and attracted the attention of Dunhill, where he was creative director from 2008 to 2011.
Now a veteran of LVMH, Jones came on board in 2011 as men’s artistic director at Louis Vuitton, parlaying his zest for exotic travel into ultraluxurious collections with understated cool and sly functionality. He helped ignite the luxury streetwear phenomenon with the landmark 2017 collaboration with Supreme, the cult New York skate brand.
Since moving over to Dior Men in 2018, Jones has done collections with fine artists Peter Doig, Daniel Arsham, Kaws and Amoako Boafo, the surfwear maven Shawn Stussy, and Air Jordan. The latter yielded one of the most sought-after sneakers of 2020, the Air Jordan 1 OG Dior limited-edition.
Jones said some of the shapes from his debut couture collection will be felt in the fall show, but he stressed that “the ready-to-wear is setting the pace for where it will go,” he said. “I think it’s always nice to start with a bang and then, you know, we’ll set a pace in a different way.”
Jones’ couture effort had a period flavor owing to the twin muses of Virginia Woolf and her sister Vanessa Bell, both members of the Bloomsbury Set. Yet multiple decades were referenced. Jones revealed that he looked at Lagerfeld sketches from the time when each of his all-ages models in the show were born.
But don’t expect anything retro or vintage-looking on the Milan runway: “The Fendi ready-to-wear I’m doing now is of our times,” he said.
See also:

Kim Jones Aims Big for Dior

With Fendi Move, Kim Jones Expands His Impact

Seminal Moments: When Fendi Conquered the Great Wall of China

Exclusive: Fendi’s Iconic Baguette Bag is the Star of This Rhythmic Gymnastics Video

Exclusive: Fendi’s Iconic Baguette Bag is the Star of This Rhythmic Gymnastics Video

Fendi “The Baguette Dance” is the next edition in the Baguette Friends Forever series. Photo: Courtesy of Fendi

For the latest installment of the Baguette Friends Forever series, Italian fashion house Fendi presents its new video project, titled “The Baguette Dance” featuring the brand‘s iconic It bag.
The video sees five rhythmic gymnasts, all wearing Fendi gymnastic uniforms, celebrating the Baguette bag that is passed between each of them as they dance and move across the room. The rhythmic dance encapsulates the curves, edges, accents, and unique movement of the bag, in what is described as “more than just a tribute to the Fendi Baguette in name” but a tribute to the “Fendi Baguette in its purest form”.

00:00 / 00:00

The Baguette bag features the Italian label’s hypersoft, signature FF logo-embossed leather, and is presented in the video in five distinct colorways: black, yellow, pink, light blue, and red. It was originally conceived by creative director Silvia Venturini Fendi in 1997, and its continued success has seen Fendi‘s signature accessory regarded as one of the most iconic fashion creations ever made. The bag also gained popularity from its frequent appearance in the television show Sex and the City, in the late 1990s and early 2000s, as the accessory of protagonist Carrie Bradshaw, who is famed for the line “This is not a bag, it’s a Baguette!”.
Fendi “The Baguette Dance” is the next edition in the Baguette Friends Forever series. Photo: Courtesy of Fendi

The small, compact bag is often cited as one of the first “It” bags and was relaunched in 2019 with a legendary comeback campaign with the slogan #BaguetteFriendsForever. The return of the bag symbolized Fendi’s testament to women supporting women and the value of friendship.
Earlier this year, another short-film in the Baguette Friends Forever series was released, featuring model Winnie Harlow and her best friend, Jamaican influencer Shannon Hamilton, that saw the pair explore the glamorous sights of Miami with their Baguette bags in tow.
Read Next: Kim Jones Will Present His First Fendi Couture Collection January 27

PHP Code Snippets Powered By :