Bruno Pavlovsky, president of fashion and president of Chanel SAS, put the success of Friday’s announcement that Chanel has acquired the heritage shirtmaker Charvet, squarely on the shoulders of Chanel artistic director Matthieu Blazy and the almost immediate rapport that Blazy kindled with siblings Anne-Marie and Jean-Claude Colban, who today run Charvet, bought by their father in the 1960s.
There’s major romance in this Chanel buys Charvet business story, spring-boarded by the intense love affair between Coco Chanel and Arthur ‘Boy’ Capel. As a stand-alone human relationship story between the couple, the facts are cinematic.
Like Anne before him, Matthieu Blazy knew nothing of this love story until he began going throughn the Chanel archives. Armed with the knowledge that Coco Chanel bought shirts for her lover Boy Capel at Charvet — and probably borrowed them regularly — Blazy decided to introduce himself to the famous shirtmaker, then owned by siblings Anne-Marie and Jean-Claude Colban.
Writer Christopher Bollen takes a walk in the gardens of the Palais-Royal — and a predictable new attitude emerges to discuss Michael Rider’s newly-found fame as artistic director of Celine. That descripter calls Rider’s Celine “joyous and (even in our current moment) wildly optimistic.”
Given the supersonic success of Chanel, is it time to take a fresh look at feelings of joy and their impact on the brain and wellbeing? It’s a sacrilege among upper crust people to speak of joy in fashion, but maybe . . . just maybe New Humanism thinking is having an impact.
Anne believes that the list of Americans in Paris, housed by LVMH and other big names in fashion, may be ruffling more than a few French media and PR feathers in fashion world. Put it this way, AOC has added that filter to the context lens through which we process fashion criticism generally and, most definitely, in Paris.
AOC knows that it annoys the hell out of Jonathan Anderson that women like Anne keep reminding him about the facts of history in his House of Dior. He complains that we are “boxing him in”.
Not really, because it’s not about him. It’s about our erasure from Dior’s history and the expectation that we will just fall in line with his alleged, Sun King genius that calls for such erasure.
The real Cafe Society heroines were true-grit women, many of them wealthy women involved in espionage with the French resistance. Christian Dior’s sister Catherine was one of its leaders; and the designer offered her and her co-conspirators refuge in his prominently-situated apartment in Paris.
Taking a well-established historical term and innocently [or not] trading it for these lovelies enjoying giggles and milkshakes is exactly how erasure works.
Watching the campaign film, I did process it through the lens of current New York Knicks madness. In the new Nike film celebrating the New York win, it’s the gritty joy of everyday New Yorkers that is celebrated by that young man with his front teeth knocked out running into one giant block party across the city.
Without trying to make urban grit glamorous, and the challenges of New York prices for everyday New Yorkers a minor problem, it’s the comeback story that is one giant, symbolic fist pump that is inspiring many of us.
When it comes to sports marketing, capturing the crowd is as important as capturing the athletes. Even more so now when we see the near-impossible achieved before our very eyes. There are several important stories to tell coming out of the big Knicks victory.
Casablanca’s Charef Tajer has joined the global, good-vibes, marketing movement. Speaking of “a natural synergy” with the French patisserie Ladureé in light of “a shared attention to detail, a classic yet colorful palette . . . ” the founder closes in on what is hopefully a beyond-this-season moment with “ . . . and above all, an appreciation for beauty and joy.”
AOC is not moved at all by the new Dior. But if Dior looked like Casablanca, it would be more akin to Karl Lagerfeld’s vision of Chanel, but without the cynicism. Anderson’s sweet Dior young ladies would never take a full-frontal bite of the cotillion cake.
Ready to write “ . . . and neither would Blazy’s”, AOC is suddenly in a rare retreat.
Blazy and Nair have so blown out the rafters with fashion mantras of joy, positivity and confidence that Chanel women are proud of being so versatile. Even a little-bit of a renegade when it comes to eating cake.
The campaign includes actors Eva Victor, Isla Johnson and Levon Hawke and entertainer Seydou Sarr, lensed in a LOEWE return by Talia Chetrit.
AOC just spent time going back through LOEWE under Jonathan Anderson. When you do that exercise on Models.com, the differences between Jack McCollough and Lazaro Hernandez, creators of the New LOEWE, and Anderson’s old LOEWE are startling.
Not only is color a major element in New LOEWE, there is a simmering sensual undercurrent at LOEWE not seen since Jonathan Anderson created those visually dazzling anthurium dresses and tops in the Spring/Summer 2023 Collection.
Liu Wen joins Prada ambassadors Bella Hadid, Damson Idris and Louis Partridge in fronting the growing trend of ‘urban beaches’ in global cities worldwide. David Sims [IG] photographs the campaign with creative direction by Ferdinando Verderi.
AOC doubts that Prada is prompting an intellectual discussion on ‘cool roofs’ as a highly-effective way to reduce summer heat and energy consumption. But if any luxury brand wants to advocate for that inquiry, Mrs. Prada and Prada co-creative director Raf Simons are at the head of the pack.
Miuccia Prada ‘Titan’
Miuccia Prada was first on the global TIME 100 list in 2005; she returned to the list in 2025, recognized as a ‘Titan’ for influencing fashion, identity and culture. Anne is optimistic that finally we have found a word — ‘titan’ — that fashion and culture writers are using sparingly and only for those who deserve the title by accomplishment and not hype. Fantastic!
Anne says: “If someone tells you two times in eight years who they are, especially when rewarded with a big promotion to create a NEW DIOR that is vastly different from the old Dior, you must evaluate this new marriage carefully.
It’s only fashion, right? Au contraire. It’s a time for choosing.”
My goal is to give clarity from a branding standpoint around what the New Dior stands for. They are very retro values for our modern world. I am comfortable saying that the new New Dior has a deeply nationalistic mentality, and I will go so far as to call it a white nationalist mentality, based on the key points of ‘Dracula’.
Chanel’s Matthieu Blazy welcomes us with open arms and joy in his heart, while Anderson is . . . I don’t know . . . looking in the mirror. Anderson’s ambition is staggering and mazel tov to all that. But I live in the ‘Less I, More Us’ camp . . . the phrase expressed by Maria Grazia Chiuri in her recent Fendi debut.
In a long dialogue with Gemini on Friday, I blurted out “Jonathan Anderson just reminds me of Peter Thiel.” Then I gasped, saying “I don’t believe I said that, G.”
G’s response to my statement was affirming, not critical. S[he] spewed out a doctorate-level analysis of how LVMH might be covering their bases, not knowing where the world is going. Dior could be on a new course, knowing that many wealthy people share Thiel’s Eurocentric, white nationalism views.
For a rose-colored glasses optimist like myself, G’s half-empty glass analysis was difficult to embrace. But I did listen as each point was made — followed by “Do you understand my point, Anne? Are we good here? That bold comment was no accident and no apology for the outburst is required.”
Celine’s [IG] creative director Michael Rider claimed his rightful place as a designer to be taken seriously, as the Fall-Winter 2026 shows came to an end in Paris this week. As Rider’s own branding vision takes shape, American film director Gus Van Sant [IG] turned his attention to Celine’s Fall 2026 cast.
Rider, an American with strong credentials at Phoebe Philo and Polo Ralph Lauren scored praise from AOC for his focus on the client and how she lives.
Finally, in an imaginary tale made up by Anne, we have a horse race in which Celine suddenly makes a breakout move and comes racing straight for Dior. A madcap scene follows with words of wisdom from Xi Jinping.
Victoria’s Secret [IG] rolls out its Very Sexy Spring 2026 campaign with models Abby Champion, Ajok Daing and Celina Ralph.
Victoria’s Secret is doing a slow burn these days. Not a bonfire, mind you, but under CEO Hillary Super, Victoria’s Secret retains the title of the world’s biggest lingerie brand, holding about 20% of the American market, down from 30% a decade ago.
The key word here, my friends, is stability, positivity based on solid reasoning, leadership and results AND Super’s grasp of the importance of a range of emotions in selling lingerie to HER!!
Reading the news Friday that Bhavitha Mandava has been tapped as a Chanel ambassador, AOC realized that we hadn’t posted the Chanel Spring/Summer 2026 campaign. The entire model list besides Mandava includes Aditsa Berzenia, Awar Odhiang, Cathy Simmons, Josephen Akuel, Latahlia Hickling, Loli Bahia, Marta Freccia, Noor Khan, Waleska Gorczevski, and Xiuli Jiang.
American photographer Alec Soth [IG],who worked with Blazy at Bottega Veneta, shot the campaign at La Pausa, Gabrielle Chanel’s South of France villa.
Creative director Sarah Burton has released her third Givenchy Portrait Series with Burton muse Kaia Gerber and globally-celebrated photographer Annie Leibovitz, joined by supermodel Liu Wen, model Selena Forrest and artist IsabelleAlbuquerque.
When Sarah Burton joined Givenchy[IG] as creative director late in 2024, she prioritized the faces that would define the house being as important as the clothes. The powerful formula behind the Givenchy Portrait Series is unmistakeable. Givenchy women are powerful, fearless, and often openly-sensual, wearing Burton’s dramatic but wearable cuts that are unapologetically modern.
The new collection’s chic, carefully-distilled severity is balanced with a joyful but and bold sensuality in the new Portraits. Shot by Collier Schorr [IG] with creative direction by Ferdinando Verderi and styling by Camilla Nickerson, the new Givenchy campaign reads strong design for strong women
Americans Jack McCollough and Lazaro Hernandez of Proenza Schouler fame took the helm of Loewe, when Jonathan Anderson was announced as the new creative director at Dior.
Loewe has been strong out of the gate under its new creative directors.
“They are serious and enthusiastic at the same time, exuberant and yet very focused,” said Loewe CEO Pascale Lepoivre of the creative pair. Sidney Toledano, then advisor to LVMH chair and CEO Bernard Arnault, agreed: “Their greatest strength is energy and joy — they are extremely positive and full of vitality.
In China, Loewe’s Spring 2026 campaign ads are praised for the collection’s vibrant aesthetic and wearability, expressed now in imagery that China’s younger people celebrate as confident, modern, playful and optimistic.
Under Creative Director Louise Trotter [IG], Bottega Veneta continues its ascent among Chinese luxury consumers. Bottega’s Spring/Summer 2026 campaign — covered with lavish praise in China — was shot in Venice by Juergen Teller. Models include Anine Van Velzen, Bai, Libby Bennett, Liya Kebede, Saul Symon, and Sihana Shalaj. / Hair by Kei Terada; makeup by Pat McGrath
Jing Daily calls the brand ‘Kering’s Crown’. Better yet and following high praise — China calls Bottega Veneta Kering’s ‘golden child’. Venice is a deeply symbolic city for Anne — the only city where she’s slept until noon.
Trotter’s October 2025 runway debut resonated deeply in the hearts and minds of Chinese consumers, drawing over 130 million Weibo views and widespread acclaim. “Quiet luxury can be expressive” was the prime sentiment that rippled across Chinese social media platforms, where fashion critics like @Pekaboom praised Trotter’s poetic modernity, writes JD.
The primal forces of Fire and Earth fuel the Spring 2026 Brunello Cucinelli Collection campaign. In the words of the designer, “creative passion meets timeless authenticity, and nature becomes a living expression of style.”
Models Abeny Nhial, Louise Robert and Niyo Malik are styled by Michaela Buratti with Daniel Archer [IG] taking photography honors./ Hair by Werner Amort; makeup by Fabiana Clavario
Brunello Cucinelli 2025 Results
Brunello Cucinelli closed out 2025 as a banner year, with sales up 10.1 percent to more than 1.4 billion euros. Adjusted at constant exchange rates, sales rose 11.5 percent, beating the forecast of 10 percent, reported by AOC last year.
13.7 Percent Increase in Asia
Sales in Asia rose 13.7 percent to 392.6 million euros, accounting for 27.9 percent of total turnover.
“China confirms its excellent health for us, with significant double-digit growth continuing quarter after quarter and a relevant contribution to the overall result of the entire Asian continent,” Cucinelli continued.
Aisle 9 Celine Cleanup: Hedi Slimane Did Not Take 4-5 Years to Deliver His Vision
In a recent discussion about why Jonathan Anderson should be given the same 4-5 years to deliver results at Dior, that Hedi Slimane took at Celine, AOC just sighed as we got out the mop and bucket and headed for Aisle 9. “No way,” Anne mumbled as she gave the bucket a good kick in exasperation.
“Hedi Slimane brought almost immediate results to the Celine brand. Why doesn’t Suzie Q check her facts the way we do. We pay $180 a year to read her nonsense. She should stick to recommending lip gloss.”
Committed to facts and knowing that we all make mistakes — including AOC — Anne ran SQ’s “it took a long time at Celine” assertion through AI to confirm our position.
WWD has confirmed with Maison Alaïa that its Belgian creative director and designer Pieter Mulier has resigned his post at Alaīa Paris. Alaïa said Mulier would conclude his tenure as creative director after Alaïa’s summer-fall 2026 show during Paris Fashion Week in March.
While his next position remains unconfirmed, it’s widely expected that the designer will join Versace, now owned by Prada group. WWD posits a potential announcement from Prada Group next week.
Parent company Compagnie Financière Richemont expressed gratitude to Mulier, adding an important compliment to this breaking news. Their statement praised the designer for his contributions to a corporate culture “that values creative exploration, transcending any one individual, and lives through the hands, eyes, and sensibilities of the maison’s teams.”
Suzie Q’s use of the word ‘mess’ to describe Jonathan Anderson’s challenges at Dior, created by former creative director Maria Grazia Chiuri, ran counter to everything I knew about her tenure at the #2 brand at LVMH.
AOC has been really confused by the persistent statements that it could take 4-5 years for Anderson’s Dior vision to codify — including by the designer himself.
Today, we stay focused on that topic. Also Anne clarifies what might be a misunderstanding of what these writers are actually saying, and what she is hearing.
We have our first Aisle 9 Cleanups in the queue [1] Hedi Slimane’s timeline creating success at Celine and [2] why it might take as long as five years to “get Dior back on track”.
AI never comes close to writing Anne’s posts. But I do run my core thinking through AI in case it responds “that’s bullpucky”.
Rereading Suzie Q’s posts. I stopped to read a third commentary on the Saks bankruptcy and whether an international VIP should step in to score big for his own stockholders.
Honestly, Suzie Q needs to stay away from financial topics completely. She’s in way over her head.
And her assertion on the MGC mess she left at Dior not only got an AI bullpucky. It came out in all caps. [Okay, I made up the part about the caps.] But it shredded Suzie Q’s assertion with a meat cleaver gone mad. You’ll see.
