MILAN — Capucci is one of the latest fashion casualties.
Two years after a much-publicized relaunch, Franco Bruccoleri, chief executive officer of Capucci Corp., confirmed that the company's ready-to-wear line is being suspended.
"It's the end of a dream we had all worked so hard for. We were a group of poets and this was a magnificent project," said Bruccoleri in a phone interview.
The last collection was produced for spring 2005. The executive said he had to close the company despite positive reaction from buyers, and attributed the decision to a difficult market.
"With our last season, we counted 87 clients, and all were very pleased with the product, but, unfortunately, some of our shareholders pulled back and were no longer willing to invest money in the project," he said.
While some sources say the financial difficulties are serious, Bruccoleri said he was working at "fixing problems that arose in an already difficult moment. We are honest professionals and we are looking for a more adequate financial solution."
Sources here say the economy did not help the business, but some said Bruccoleri underestimated the challenges of launching a new collection. "There were a lot of initial investments that were not followed up by a true expansion of the brand," said one source.
Bruccoleri was adamant that design and style were not issues, praising Bernhard Wilhelm, the brand's creative director. "Bernhard is one of the best designers in the world and we have a fraternal relationship that was not ruined by these problems," he said.
Wilhelm and his partner, Jutta Kraus; Imitation of Christ designer Tara Subkoff, and Spain's Sybilla were the design team chosen by Bruccoleri to create the rtw line, reimagining Roberto Capucci's exclusive couture designs. The first collection bowed for fall 2003.
Capucci was a fixture at the rtw presentations here and fully supported Bruccoleri's project. "I accepted [a role in] this project because the intention, right from the start, was to create ready-to-wear that would reflect the thought and the idea of uniqueness that went with my profession as couturier, and which would not reproduce complicated dresses in second-choice clothes," he said at the time.The elegant Capucci was known in the Sixties and Seventies for his constructed looks, and his use of pleats and such innovative materials as stones combined with various fabrics and nylon. The couturier was not available for comment at press time.
Bruccoleri, a respected figure in the fashion industry here who began his career in distribution and introduced to Italy such designers as John Galliano, Dries Van Noten and Helmut Lang, said he terminated the Capucci collection as a sign of respect for Capucci, "whose name must be protected."
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast