What the new Celine has to do with porcelain from Meissen, the nonsense of social media, the must-have for spring summer 19 (at least according to the German Press Days) and the most contemporary concert ever. Here’s what happened last week
Meissen porcelain exhibition opening on Thursday
Since Hedi Slimane’s first show for Celine a couple of weeks ago, there’s been a lot of fuss about the new direction and the question why the designer stops dressing Phoebe Philo’s grown up, real-life woman who needs clothes for everyday life in favour of the clubbing twen. Even at Highsnobiety, generally reporting on street wear and not what is considered high fashion (whether that separation still makes sense is another conversation), the topic is being discussed: While Alex Rakestraw argues that Slimane’s commercially successful clothes deserve a break, Eugene Rabkin thinks that the designer simply lacks a vision. While I tend to agree with the latter, Jackie Mallon picks up the conversation and makes an interesting point on Fashionunited.
According to Mallon, in 2017 millenials were driving 85 per cent of growth in the luxury goods market. Gucci and Louis Vuitton are the most popular brands — 33 per cent of their growth comes from users aged between 21 and 33 years. 65 per cent of Saint Laurent’s growth comes from millenials. It is estimated that 45 per cent of all luxury spending will be made by millenials in 2025. Mallon argues that this might be the reason Slimane abandons the grown up customer Phoebe Philo addressed and turns to the younger. We’ll be watching closely if Slimane’s Celine turns out the commercial success he achieved for Saint Laurent.
Last Thursday the Staatliche Porzellan-Manufaktur Meissen opened their exhibition Modern Opulence in Berlin’s St. Elisabeth-Kirche. A majestic table that stretches along the entire length of the building and that reminded of the colourful Memphis style that was popular in the Eighties was the stage for an eclectic blend of the manufacture’s products, from tableware to decorative figures and ensembles.
As beautiful as it was, one question remained: Who is Meissen’s future customer? There certainly are still many people around the world who invest in china as a status symbol. However with dowries being a thing of the past, what do these products mean to the younger generations? And what does this mean for a business like Meissen (see the Celine argument above)?