Does the fashion world still have room for creatives like Marc Jacobs?

In recent months, Marc Jacobs has returned to the spotlight. There has been talk of a possible sale of his brand by the LVMH group and speculation about his entry at Chanel. Completing the picture are his eccentric advertising campaigns, where he often appears in person, confirming himself as a consistently prominent name in the fashion landscape. The latest news? Anna Wintour has chosen him as a guest editor for the December issue of Vogue America. An unprecedented event: since 1988, every single edition of the magazine has been directed by Wintour herself. This special issue features Kaia Gerber on two covers shot by Steven Meisel, while the third results from a collaboration with painter Anna Weyant. The pages also include a beauty story with Alex Consani and Anok Yai, as well as a feature by Gregory Crewdson portraying Jacobs himself. A creative vision that marks a sharp departure from recent issues of Vogue, with the implicit message that Jacobs still has much to say and do.

Many believe that this project truly represents a strategic repositioning for Jacobs and his brand, which, as was rumored a few months ago, Bernard Arnault was considering selling to streamline LVMH’s extensive portfolio – a rumor yet to be fulfilled. After all, the designer transformed Louis Vuitton into a global powerhouse thanks to collaborations with artists like Takashi Murakami and Stephen Sprouse, cult accessory collections, and the creation of the first ready-to-wear line for the French maison. Now, the collaboration with Wintour raises questions about the future of Vogue itself. Although Wintour has reassured readers that her departure is not imminent, this gesture could signal a transitional phase and the search for a successor. The Marc Jacobs brand, with revenues of 600 million in 2023, driven by the global success of its Tote Bag, finds itself at a critical moment. Jacobs, a creative born in New York, has drawn from the city's energy to redefine the concept of contemporary luxury. Is he the ideal candidate for one of the many vacant seats in major fashion houses? Or will his fate be similar to other creatives, like Riccardo Tisci (guest editor for the latest issue of Boy Brother Friend magazine), who have found themselves somewhat on the fringes of the industry?

From a broader perspective, the question remains whether being a former successful creative director represents an opportunity or a limitation for a high-profile future role. Jacobs himself has proven capable of evolving. Three-minute flash runway shows, doll-like models, off-calendar events: his ability to rewrite the rules of the industry makes him an interesting figure and a mind to watch. But what would happen if he brought this energy to a major fashion house? It is clear, however, that in 2024 the role of a creative director is increasingly bound by market dynamics. Selling is the absolute priority, and the freedom to revolutionize a brand is rare – a creative like Alessandro Michele is the exception that proves the rule. In the face of such a strong will to upend the rules and conventions of the fashion system, it remains to be seen whether Marc Jacobs is evolving and ready (or willing) to re-enter the game as a creative director or if all these strategies are merely aimed at generating buzz around his brand. His gradual return to the spotlight does not provide answers but undoubtedly, Jacobs represents much more than just a simple "nail art."