In an industry that operates on the concept of nonstop novelty and perpetual newness, the reverence and dependence on archival fashion seems unexpected and almost incompatible. However, delving into the current trends, one can discern a recurring adaption of vintage patterns, iconic products, and successful “IT” bags resurfacing with much aplomb decades later. Remember Fendi Baguette?
The hallmark of any new creative director is often formed by their adherence to (and interpretation of) a brand’s historic design DNA. Archives aren’t viewed by brands as relics, but often as the foundation for their creations. However, it bears in mind to question if designers are facing a ‘creator’s block’? Or is it simply a lack of bravery? Why are designers finding comfort in archives and not taking more risks?
Legacy brands reinterpreting their archives
Maison Margiela, under the visionary leadership of John Galliano, crafted the Recicla line in 2020—a testament to the enduring legacy of the Replica line launched in 1994. Repurposing and upcycling garments from diverse sources and periods, Margiela’s creations embodied a harmonious blend of nostalgia and innovation.
Christian Dior redefined fashion in the 1950s with his full skirts, A-lines, and pencil silhouettes. Fast forward to 2023, and Maria Grazia Chiuri recreated Monseiur Dior’s designs for the 21st century with her Fall Winter 2023 collection for Dior. Adding her own twists of course. “I wanted to give the collection a different point of view about the 50s,” stated Ms. Chiuri in her interview to Another magazine.
Saint Laurent’s Anthony Vaccarello, in 2017, took references from Yves Saint Laurent’s most popular designs, and revived them for his Spring Summer 2018 collection. Out came models in front of the lovely Eiffel Tower, trotting down the runway in billowy silk blouses, tulle tops accentuated with gold-coin dot prints and crochet tops that echoed Mr. Laurent’s famous Marrakesh vibe.
Balenciaga, under Demna Gvasalia’s creative helm, paid homage to their archives by referencing a floral print from the Spring 1964 haute couture collection in the Fall 2017 lineup.
As the ‘trend’ refuses to fade, the spirit of reinterpretation extends to other fashion powerhouses as well. Glenn Martens, the creative force behind Diesel and Y/project, breathed new life into Jean Paul Gaultier’s ’90s trompe l’oeil body prints for his Fall 2022 menswear collection. Versace’s Women’s Fall 2023 collection took inspiration from its 1995 dresses, while Sabato de Sarno took Gucci back to its historic, sensual roots with his first collection in 2023.
The red carpets of Cannes 2023 witnessed the resurrection of Christian Dior’s “Junon” dress, originally showcased in the 1949-1950 autumn/winter collection. Natalie Portman, adorned in this timeless creation, epitomized the seamless blend of vintage elegance and contemporary allure.
The Versace design that Jennifer Lopez wore to the Grammys in 2000 was brought back to life by Donatella Versace in 2019 by showcasing an updated version on the catwalk on model Amber Valletta. Gianni Versace designed the famous safety-pin dress for Elizabeth Hurley to wear to the 1994 premiere of Four Weddings and a Funeral. Actress Jennifer Lawrence wore the same dress without the safety-pin detail in 2018.
Growing importance of archiving
It wasn’t until the 1980s that fashion brands started to take the idea of archiving their collections seriously. Dior’s archive, for instance, was first created when the brand began preparing for its 40th anniversary exhibition in 1987.
Legacy luxury houses mostly archive in museums – signifying its importance. Lanvin’s archives reside at the Palais Galliera, the fashion museum formally known as the Musée de la mode de la Ville de Paris.
Despite the acquisition of Emilio Pucci by luxury conglomerate LVMH in 2021, the family-owned company has successfully retained complete control over its extensive archive. Housed within a 13th-century palazzo on 6 Via de’ Pucci in Florence, this historical building was opened to the public in 2018, serving as a testament to the brand’s rich heritage and a preview of its future collections.
Beyond being a repository of the company’s legacy, this architectural gem functions as both a research centre and an incubator for special projects. In response to the burgeoning resale market, the brand now envisions utilizing this setting to offer authentication services, showcasing how archives can extend beyond mere repositories of knowledge, finding practical applications in the ever-evolving landscape of the fashion industry.
How do they archive
Even the method of archiving is quite intriguing. It’s nothing less than preserving treasure. Balenciaga’s archives can be found in an unadorned concrete warehouse space in Paris, housing a treasure trove of 6,000 items. Among these artifacts are sculptural silk ball gowns, cocoon-shaped coats, and a historic tobacco-brown chenille-embroidered lace coat once cherished by Wallis Simpson, Duchess of Windsor—all elegantly veiled in calico garment bags.
To ensure the preservation of the most delicate pieces, meticulous measures are taken. They are carefully wrapped in acid-free tissue paper, safeguarding against the threats of dust and moths, and then gently laid to rest in industry parlance known as ‘coffins,’ sturdy cardboard boxes. Handling these archival treasures is a practice adorned with reverence, as cotton gloves are donned to shield the textiles from the erosive effects of human skin acids.
Dior archives are handled with equal care, presented within temperature-controlled vitrines, ensuring a meticulous balance between conservation and display.
Archives for fashion inspiration
A key reason for adapting old, successful collection is the price escalation it so easily justifies. The consumer feels that they are “buying into history”. Familiarity, in fashion, breeds not contempt, but contentment. And the consumer is often willing to pay a premium price to have a piece of the brand’s legacy, recognizing the value of possessing a tangible part of fashion history.
Case in point? When Givenchy was in a blank space without a creative director, the design team turned to its archives for the fall-winter 2024 collection.
Another reason for this is that archival fashion gives immediate recognition to young or relatively unknown creative directors. You may not have known Maria Grazia Chiuri’s name in 2016, but you recognize Monsieur Dior’s wasp-waisted Bar jacket and the wide-spread skirt. Pharrell Williams – musician-turned-menswear designer for Louis Vuitton, didn’t have to go too far back for inspiration. He took cues from Virgil Abloh’s streetwear codes for his first collection for the brand.
Quite amazingly, it works, all due to our combined global appetite for vintage, for an authenticity that we believe can only be found in the past.
Another critical aspect is the speed at which fashion houses now need to churn out collections. Designers typically produce four collections a year along with multiple interim commercial or capsule collections, some designing for two or more different labels. Mr. Gvasalia has Vetements along with Balenciaga, Karl Lagerfeld had his namesake line and the co-creative director role at Fendi, while Virgil Abloh had Off-White and Louis Vuitton.
Reviving from an existing style sheet, therefore, is an easier fix for an industry demanding ever more from its designers, a practice that’s been employed with increasing frequency since the early 1990s. The old industry standard was two collections a year, in spring and fall, and now most big brands produce five or six every year.
From a business stand point, when a brand becomes a subsidiary of a public company like LVMH and Kering, some expectations are predictable. Shareholders want profitability and growth, so designers produce more and take fewer risks by seeking out their past successes.
A taste of nostalgia in popular culture
It is evident that people will always have a taste for the nostalgia of decades past. Case in point are the TV shows that are so popular right now – Bridgerton, The Queen’s Gambit, The Crown, Downton Abbey, even a redo of Sex and the City, Gilmore Girls and Gossip Girl. There has always been a constant push and pull between the present and the past and there is no way to fully remove yourself from a connection to history.
The marriage of history and innovation remains a hallmark of the fashion industry’s enduring legacy and appeal. Mr. Lagerfeld was arguably the first to revive an age-old designer label through archival respect when he was appointed artistic director of Chanel in 1982. Being the trailblazer that he was, it is safe to conclude that revival has always been a norm in the history of fashion, a perennial and prevailing paradigm. Expect to see more historical gems being continuously reinterpreted for an audience that understands legacy, and purity, coupled with innovation.
