Jack McCollough And Lazaro Hernandez Are Stepping Down As Creative Directors Of Proenza Schouler

In a blow to New York fashion, Proenza Schouler’s Jack McCollough and Lazaro Hernandez announced today that they’re leaving the label they founded in 2002 as young graduates of Parsons School of Design. McCollough and Hernandez, whose departure is effective 31 January, will remain on the board and continue to be shareholders, and the brand’s CEO, Shira Suveyke Snyder, who was hired in October, is heading up the search for a new creative director.

“We feel fortunate to have had the opportunity to build such an extraordinary team, some of whom have been with us since day one… We’re confident that we’ve been able to impart some of what fuels us creatively, and through them, Proenza Schouler will continue to evolve in a way that makes sense not only for the brand, but for the moment,” McCollough and Hernandez told Vogue.

“A search for our successor is underway, and it will be fascinating to hear what Proenza Schouler has meant to these individuals: so many memories, so many periods of work… it’s been two decades of collections. We started this company out of our bedroom while still students in school, barely into our twenties. We could never have imagined all those years back the transformative road that was ahead of us. We are lucky to have had an incredible support system around us, both within and outside the company, people who feel like family, and it is because of them that Proenza Schouler is what it is today, and we hope that in some small way, this journey has left a tiny, indelible mark on NY fashion.”

The designers celebrated that 20th anniversary in 2023, inviting Chloë Sevigny, one of their first celebrity fans, to open their autumn/winter show that year. McCollough described it as “our most personal collection yet — less revolving around a theme, [and] more looking at the actual women in our lives: what is it they want?”

Understanding what stylish women want is one of the designers’ strong suits; they’ve cultivated a cool-girl crew that includes stars like Sevigny and Natasha Lyonne, fashion insiders such as Moda Operandi co-founder Lauren Santo Domingo and W Magazine editor-in-chief Sara Moonves, and members of the art and literary crowds from Olympia Scarry to Ottessa Moshfegh, who’ve grown up alongside them. That cool factor helped land them the first-ever CFDA/Vogue Fashion Fund prize in 2004. Seamless, the Douglas Keeve-directed feature-length documentary about the competition, earned both designers their first mentions on IMDb.com. They also received numerous accolades from the CFDA over the years, including the 2003 Swarovski Award for Ready-to-Wear [now the Emerging Designer award], the 2009 Accessory Designer of the Year award for their best-selling PS1 bag, and the Womenswear Designer of the Year award in 2007, 2011 and 2013.

The Proenza Schouler origin story abounds with fairytale moments. When Hernandez, still a student, found himself on a plane with Vogue’s editor-in-chief Anna Wintour, he scribbled a note on a napkin and handed it over to her in first class. She was frosty, reportedly, but she passed his note along, and two weeks later, he had an internship at Michael Kors. (McCollough, for his part, worked at Marc Jacobs while still at school.) Fast-forward to their graduation in 2002: Julie Gilhart, then Barneys’s fashion director and a stalwart fashion scout, was in the crowd and liked what she saw so much she bought the collection for the agenda-setting New York department store.

Now, McCollough and Hernandez leave behind a brand rooted in American sportswear; though they’ve leaned into power tailoring and goddess dressing since the pandemic, their most recognisable hits include a dip-dyed velvet day dress, pleated midi-skirts, tie-dyed tees, and those still-iconic-all-these-years-later bustier tops and dresses.

Looking back at that Seamless documentary, of their nine fellow finalists, only one is still showing on the runway (Libertine’s Johnson Hartig). McCollough and Hernandez have faced their fair share of hurdles, as well, from investor troubles to a run of shows in Paris that, rather than catapult them to the big leagues they longed to join, ended after two seasons. Proenza Schouler is part of the New York establishment now, but they’ve held onto their “cool kids” image. And so the designers’ abrupt exit is guaranteed to fuel speculation about their next moves — they’re only in their mid-forties, after all.

A popular rumour — in an industry that seems to be feeding on them these days — names them as successors to Jonathan Anderson at Loewe, who has, in turn, been rumoured to be headed to Dior. The designers didn’t respond to a question about these rumours. In any case, they’re certainly leaving a hole in this season’s fashion week calendar. Asked if they are leaving the door open to one day return to their positions as creative directors of Proenza Schouler, McCollough and Hernandez said, “Who knows what the future holds for any of us, but after a lot of thought, we feel ready to turn the page on this chapter in our lives… We are the people that we are because of the extraordinary individuals we’ve met and the unforgettable experiences we’ve had through the work we do. We feel an immense sense of gratitude. Proenza Schouler has been the defining story of our lives until now, but we have always believed that a life well-lived should consist of multiple and diverse chapters and to date, we’ve only had one. We look forward to seeing what the future holds and will continue to dream big and be open to whatever comes our way.”

Big picture: New York has a creative director job opening — a rare occasion here. “We are searching for a visionary leader who can seamlessly pick up where Jack and Lazaro have left off and honour the brand codes they have developed,” Suveyke Snyder told Vogue. “This person should have the love for concept, technique and craftsmanship that will push us forward into our next chapter.” And, “our global search will accelerate now that this news has been made public. With an extraordinary atelier and a world-class studio, we expect a seamless transition as we identify a new design lead and set timelines for the future.”

Chanel Appoints Matthieu Blazy As Artistic Director

Chanel has appointed Matthieu Blazy as its artistic director of the house’s fashion activities, responsible for all haute couture, ready-to-wear and accessories collections, the house announced on Thursday, putting an end to months of intense speculation. He will report to Bruno Pavlovsky, president of Chanel Fashion and Chanel SA.

Alain Wertheimer, global executive chairman, and Leena Nair, global CEO of Chanel, called the designer in a joint statement “one of the most gifted designers of his generation”. “His vision and talent will reinforce the energy of the brand and our position as a leader in luxury. Under Bruno Pavlovsky’s leadership, we are confident that Matthieu Blazy will continue to shape what’s next and write a new page in Chanel’s creation,” they said.

“I am convinced that he will be able to play with the codes and heritage of the house, through an ongoing dialogue with the studio, our ateliers, and our maisons d’art,” Pavlovsky said. “His audacious personality, his innovative and powerful approach to creation, as well as his dedication to craftsmanship and beautiful materials, will take Chanel in exciting new directions.”

Following the sudden departure of Virginie Viard from Chanel in June 2024, the job has remained vacant, culminating in an avalanche of rumours surrounding who would end up with what is arguably the most coveted job in fashion. In the past six months, designers from Hedi Slimane to Simon Porte Jacquemus were considered front runners.

Blazy, who joins from Bottega Veneta, has an impeccable track record, making him well suited to the role at Chanel, which involves designing 10 collections per year (two ready-to-wear, two couture, two pre-collections, one cruise, one Métiers d’art, plus Coco Beach and Coco Neige). The Paris-born, 40-year-old designer graduated from Brussels’s La Cambre in 2007 and has held designer stints at Raf Simons and Maison Margiela, where he earned his couture stripes designing the brand’s Artisanal line and gained recognition for his work. In 2014, he became senior designer at Céline, under Phoebe Philo, before reuniting with Raf Simons at Calvin Klein as VP of design for womenswear and menswear from 2016 to 2019. In 2020, he became Daniel Lee’s right hand at Bottega Veneta as design director. After Lee’s sudden exit, he was appointed creative director in 2021 and presented his first collection for the Italian house in February 2022.

Under Blazy, Bottega Veneta became one of Milan’s hottest brands, with a strong focus on craftsmanship. The brand has proved particularly resilient in the luxury downturn. Sales were up four per cent in the first nine months of 2024 to €1.23 billion, making it the top-performing brand among Kering’s fashion houses. The spring/summer 2025 show was well received, with standouts including deliberately creased pieces, striped shirting, fluid all-leather paillette evening dresses and more. Earlier on Thursday, Bottega Veneta announced that Louise Trotter would succeed him as creative director of the Italian house.

Chanel will be a much bigger test for the designer. The company’s revenues hit $19.7 billion in 2023, up 16 per cent year on year, making it the world’s second-largest luxury brand behind Louis Vuitton. (The fashion business, including bags, ready-to-wear and footwear, generated roughly $14 billion, according to estimates by HSBC managing director Erwan Rambourg.) The company, now led by CEO Leena Nair, has doubled revenues in the last decade and this appointment will play a key role in the next phase of growth – not to add to the pressure of earning the job.

“I am thrilled and honoured to join the wonderful house of Chanel. I look forward to meeting all the teams and writing this new chapter together,” Blazy said. He will join the house in 2025.

Bottega Veneta Taps British Designer Louise Trotter As Creative Director

Louise Trotter will succeed Matthieu Blazy as Bottega Veneta creative director, parent company Kering and Bottega Veneta announced today in a joint release.

“Her aesthetic seamlessly combines exquisite design with sublime craft, and her commitment to cultural advocacy aligns beautifully with our brand vision,” Bottega Veneta chief executive Bartolomeo Rongone said in a statement. “Through her sophisticated lens, Bottega Veneta will continue to celebrate its heritage while preserving modern relevance.”

Francesca Bellettini, Kering deputy CEO in charge of brand development, added: “Louise brings a wealth of experience and a fresh perspective to Bottega Veneta’s tradition of bold creativity and unparalleled excellence. She is the ideal creative talent to carry forward, alongside Leo Rongone and the Bottega Veneta team, the remarkable journey initiated with Matthieu Blazy, to whom I extend my heartfelt gratitude for his visionary creativity.”

Trotter joins from French heritage brand Carven, where she has been creative director since February 2023. Before that, she was creative director of Lacoste between October 2018 and January 2023, following a nine-year stint at Joseph. She joins Bottega Veneta with the brief to build on Matthieu Blazy’s strong legacy at the house.

Blazy joined Bottega Veneta in 2020 as design director and was appointed creative director in November 2021 after Daniel Lee’s sudden exit. Under Blazy, Bottega Veneta became one of Milan’s hottest brands, and has proven particularly resilient in the luxury slowdown, being the top performing brand among Kering’s fashion houses. Sales were up 4 per cent in the first nine months of 2024 to €1.23 billion, which is no mean feat in today’s environment and a relief for the conglomerate while its largest brand, Gucci, has been navigating a turnaround.

The spring/summer 2025 show was well received, with deliberately creased pieces, striped shirting and a fluid all-leather paillette evening dress among standouts. The playful show, set with animal-shaped bean bags and featuring an energetic front row, also highlighted the brand’s marketing savvy. “In his two and a half years at the label, Blazy has turned Bottega Veneta into the show of Milan Fashion Week,” wrote Vogue Runway and Vogue Business global director Nicole Phelps.

“I also want to express my profound appreciation for Matthieu, who has been an extraordinary partner in infusing our brand with desirability, emotional resonance and intellectual identity,” said Rongone.

In her three seasons at Carven, Trotter managed to inject new energy into the house, owned by China’s ICCF Group. “Carven’s Louise Trotter is finding her groove,” British Vogue’s Julia Hobbs wrote this summer. Fashion consultant Julie Gilhart told me after Trotter’s debut show at Carven: “It feels sophisticated and chic, wearable, and I am sure it will sell in the stores.”

Her “quiet luxury” aesthetic, mixed with a sense of femininity and coolness, appears to be the right fit for Bottega Veneta. Trotter will be the only female designer at the creative helm of a Kering-owned fashion house following the departure of Sarah Burton from Alexander McQueen.

“The house’s storied legacy of artistry and innovation is truly inspiring, and I am excited to contribute to its future and celebrate its timeless vision,” Trotter said. She will join Bottega Veneta at the end of January 2025.

John Galliano Is Leaving Margiela

As it turns out, the internet-breaking Maison Margiela Artisanal show in January was John Galliano’s swansong at the house. The designer is leaving after 10 years, he announced in a heartfelt post on Instagram.

For now, Galliano is tight lipped on his next move. “The rumours…Everyone wants to know and everyone wants to dream. When the time is right, all will be revealed,” the designer wrote. “For now I take this time to express my immense gratitude. I continue to atone and will never stop dreaming.”

Galliano was appointed creative director at Margiela in 2014, his first posting since his scandalous exit from Dior in 2011. (His redemption journey was charted in the documentary High and Low: John Galliano, released in March this year on Amazon Prime). Since then, he’s taken the cult label, beloved of art and fashion insiders under incredibly private founder Martin Margiela, to new heights.

“Working with John was one of the most significant and impactful experiences of my life. He mentored me and showed me his vision, enriching me culturally and allowing me to bring some of that vision and culture to the rest of the Group,” said Renzo Rosso, chairman of Maison Margiela owner OTB Group in a statement released today. “I feel privileged to have worked with two legends like Martin [Margiela] and John. Martin made this house a reference and an icon, John made it the most cutting-edge couture house in the world.”

Galliano’s cultural impact and technical and inventive Margiela creations have had a halo effect on the brand as a whole, Rosso told Vogue Business in a recent interview. OTB took full ownership of the brand in 2006. Founder Margiela retired in 2009, and the label was run by an anonymous team (one that for a time included Bottega Veneta creative director Matthieu Blazy) until Galliano’s appointment.

OTB doesn’t break out revenues, but Margiela sales grew 23 per cent in 2023, even before the January show. Similarly, sales grew 24 per cent in the 2021-2022 period. An example of Galliano’s impact is that the Tabi, the iconic Margiela shoe originally launched in 1988, has become ubiquitous on the streets of Paris, London, New York and other major fashion capitals in recent years since he’s boosted brand awareness. The shoe even became the subject of a viral story on TikTok, in which a New York man stole a pair after a date, which was covered by Vogue, Dazed and The New York Times. There are 26.5 million posts that mention “Tinder tabi thief” on the platform.

Widely revered as one of fashion’s most talented couturiers, Galliano creates a world and a story behind his clothes. He famously briefs his models on the entire backstory of their look, from Kate Moss as a runaway princess (John Galliano spring/summer 1994) to Gwendoline Christie as a sultry doll in the most recent Margiela couture show (spring/summer 2024).

Speculation continues to swirl about Galliano’s next move. But any other appointment, particularly at the big LVMH or Kering houses, would certainly be a change of pace for the designer. In a fashion world dominated by novelty, clickbait and low-hanging fruit, as most luxury houses churn out in excess of six collections a year, Galliano has remained staunchly dedicated to slower, intricately considered fashion. At times, Margiela has shown sporadically over recent years, in line with Galliano’s own schedule rather than the break-neck fashion calendar.

As for the empty seat at Margiela, the rumour mill has already been churning. When asked about Glenn Martens’s work at Diesel in a recent Vogue Business interview, OTB’s Rosso likened him to Galliano: “It’s really thanks to Glenn that [Diesel] is becoming so cool, so fantastic,” he said. “Glenn is a couturier, not just a designer. Like John Galliano, couturiers have a different way of designing. Every single piece has a story to tell.”

Fourteen years sober today, Galliano is humble about the opportunity Margiela and Rosso afforded him. “Gratitude to my fashion family for this life-saving creative moment and the safe place we have built together. My teams, whose support has been tender and courageous, have walked with me along this narrow pathway to the here and now.”

Rosso is confident in the future of Margiela, building on Galliano’s legacy. “Our industry has a habit of thinking in decades and these 10 years of incredibly intense work, amazing shows and installations, extraordinarily beautiful product, have laid the foundations for the future of Maison Margiela, which I am very excited about,” he said in a statement. “I wish my dear friend John the best of everything, and I know that there will be other projects for us to collaborate in the future.”

Dries Van Noten Finally Names A Successor

The long wait is over: six months after beloved designer Dries Van Noten presented his last collection, his eponymous house has appointed Julian Klausner as creative director – in charge of women’s and men’s collections. The 33-year-old Belgian designer, who has worked alongside Dries Van Noten on the women’s collections since 2018, “represents a natural connection between the past and the future”, the house said in a statement on Monday.

“I have complete confidence in Julian’s creativity and vision,” Dries Van Noten added. “He is not only a talented designer but also a clear choice to take over after my departure. His deep understanding of the brand and its values will ensure a seamless transition and a bright future,” he added.

By promoting from within and choosing a relatively young Belgian designer, the Puig-owned house shows it values continuity over disruption. After graduating in fashion design from Brussels’s renowned visual arts school La Cambre in 2016, Klausner began his career as a junior designer at Maison Margiela before joining Dries Van Noten in August 2018 as womenswear designer. He now has big shoes to fill.

A member of the Antwerp Six collective, Van Noten launched his men’s line in Antwerp in 1986 and, in 1993, brought his brand, with the addition of a womenswear line, to the Paris runways. “I’m known for colour and prints and embroideries,” he told Vogue in 2007. “Normally the more clashing it is, the more that I like it.”

In 2018, Van Noten sold a majority stake to the Spanish beauty and fashion conglomerate Puig (which began trading as a listed company in May 2024) but continued his role as chief creative officer. In 2022, the designer launched his first beauty line under Puig. In June 2024, after a final celebratory show for a crowd that included many other fashion designers and journalists, he stepped down from day-to-day operations. The spring/summer 2025 women’s collect ion presented in September 2024 was designed by the house’s studio. Van Noten sat front row, however, a little hidden, closer to backstage, as he didn’t want his presence to overshadow the work of his colleagues.

Reflecting on the evolution of the role of a creative director in an interview with Vogue Business back in June, he said that designing for Dries Van Noten “is not like a job where you can do just the big lines. It’s very hands on. It’s somebody who really breathes the love for garments and beauty, really enjoys being busy with fabrics and all those things – not somebody who thinks about marketing”. Having spent a significant part of his career at the house, Klausner will have experienced those values firsthand.

“The incomparable legacy that Dries is leaving behind is monumental, serving as an endless source of precious inspiration. I look forward to embarking on new ambitious challenges while honouring the heritage we all cherish,” Klausner said.

Puig doesn’t break down sales of individual brands, but said in its third-quarter earnings statement that its niche brands, which include Dries Van Noten, Byredo and Penhaligon’s saw “increasing momentum” and “delivered double-digit growth”.

Klausner will present his first women’s collection as creative director on 5 March during Paris Fashion Week. The house will skip the runway show during Paris men’s week in January and instead will present it in a lookbook directed by Klausner. His first men’s show is slated for June 2025.

Peter Do To Exit Helmut Lang After Less Than Two Years

Peter Do is departing Helmut Lang, the brand and the designer announced today. “I want to express my gratitude to my Helmut Lang team who have been integral in supporting my vision,” said Do in a statement. “It’s been an incredible journey to be tasked to carry on the legacy of Helmut Lang.” Kazumi Yanai, the chairman of Helmut Lang, said: “I want to express my deepest gratitude to Peter for his exceptional creative leadership and vision and wish him continued success in his future endeavors.”

Do joined the cult label last year, presenting his first collection at New York Fashion Week for spring/summer 2024 to a mixed reception. A sophomore show followed in February, which received warmer reviews but still didn’t quite capture the elusive appeal of the brand and its much mythologised founder.

The brand skipped fashion week altogether in September, and has yet to show a spring/summer 2025 collection. He is not the only designer who has struggled to reboot the dormant label. Helmut Lang was founded in 1986 by the self-taught Austrian designer, and has passed through many hands since he left in 2005 to focus on his art practice.

A resurrection was first attempted in 2007 when it was acquired by Link Theory Holdings (now part of Fast Retailing) from the Prada Group, with Michael and Nicole Colovos hired as creative directors. The design duo buffed away the edginess of the label, sending it down a more contemporary path. They departed in 2014, after which the label was managed by an in-house team until Isabella Burley, the then editor-in-chief of Dazed, was hired as an “editor-in-residence.” Burley tapped Shayne Oliver, the much-lauded Hood By Air founder, in 2017 to design a spring/summer 2018 collection, which was heralded as a great collection, if not a faithful Helmut Lang offering. Mark Thomas and Thomas Cawson followed in 2019, departing after presenting a spring/summer 2020 collection.

Do’s appointment was the company’s first attempt at leveraging its high-fashion beginnings since Oliver’s one-off. It was tough going. He had to deal with an industry hyper-focused on Lang and his omnipresent archive, together with an impossible-to-satisfy fan base.

What the industry and OG Helmut Lang followers failed to recognise in their criticism of Do’s approach – which did keep the designer’s archive top of mind – is that the Helmut Lang brand is, today, not a founder-led label, but a global brand. Much of what made Helmut Lang ineffably cool at its peak in the ’90s and ’00s is that it remained one of Lang’s most compelling art projects as opposed to what it is now, a product and consumer-first fashion brand. Do’s role was to make it function as a brand in the era of viral products and celebrity dressing and It-bags, which is itself the antithesis of the Helmut Lang ethos. Do had continued working on his eponymous collection, having moved his shows to Paris since starting at Helmut Lang. Should he choose to return to NYFW, the city will be happy to have him back.

Kate Moss Makes Her Victoria’s Secret Debut At 50

When the first Victoria’s Secret show was held back in the ’90s, Kate Moss was busy being the poster girl for the decade’s grunge movement: smoking backstage at Isaac Mizrahi shows and joining Johnny Depp on the red carpet in minimal make-up and a messy bun. When it became a televised event in the early Aughts, it still wasn’t on the supermodel’s radar. “I saw bits of it, of course,” says Moss, reflecting on the army of bewinged glamazons that helped to attract an audience of millions at its peak. “But I wasn’t really an underwear girl… I wasn’t a Victoria’s Secret girl.”

That all changed tonight in New York, as the lingerie extravaganza returned for the first time in six years in truly blockbuster style – with Moss as the surprise casting coup in a night that was full of them. Somewhere between Doutzen Kroes losing a stiletto and a barnstorming performance from Cher, Moss appeared in a cloud of dry ice to walk the runway solo, save for a female guitarist belting out “I Love Rock And Roll”.

The track was apt. While the likes of Gigi Hadid and Paloma Elsesser – along with OG Angels including Tyra Banks and Alessandra Ambrosio – beamed and waved at the crowd as they walked, Moss retained her signature edge, slinking down the catwalk in a sheer black lace dress accessorised with a pair of (understated by VS standards) black tulle wings and a smouldering stare.

It was one of several wow moments in a high-energy show vaunted by the brand as representing a reinvented Victoria’s Secret – one that is more diverse, more body positive, more age inclusive. According to Kate – who describes the old shows as “enjoyably cheesy” – it’s also cooler.

It was the addition of Emmanuelle Alt, the former editor-in-chief of Vogue Paris who was brought on board to style the 2024 show, that persuaded Kate to take part for the first time. “She’s one of my favourite stylists,” says Moss, who spoke exclusively to Vogue ahead of the show. “Whatever she does, it’s gonna be cool. She’s got such a great eye, so I felt safe.”

Still, there were a few pre-show jitters for the super, who last walked the runway in 2022 for Bottega Veneta. “It’s fun and exciting, but I still get nervous,” she said. “It’s just on such a huge scale. When I used to do shows all the time obviously I didn’t even think about it – we’d just do back to back shows on the same day. Now it’s such a different thing, [the girls arrive] eight hours before a show for hair and make-up.” Some familiar faces backstage no doubt helped. “Lila’s here!” says Kate, whose 22-year-old daughter walked the runway in a pale pink lingerie set under a matching fringed jacket. “And a few of my friends, Joan Smalls, Carla Bruni…”

That mother and daughter both walked in the show is perhaps indicative of the broader audience – and customer base – that Victoria’s Secret is trying to reach. “Everybody buys clothes, not just 22-year-old girls,” Kate says of the importance of representation on the runway. “That’s why it’s good to show older women and bigger women, to be more inclusive of everyone. [Fashion as a whole] is definitely in a much better place.”