Last week, the fashion industry saw a significant shift as former Marni creative director Francesco Risso was appointed as the creative director of casual wear brand GU, owned by Fast Retailing, the parent company of Uniqlo. In addition to this role, Risso will also design a collaboration line with Uniqlo, marking a new era of collaboration between Western designers and East Asian fashion companies. This trend is indicative of a broader shift in the industry, highlighting that the center of gravity is no longer solely anchored in Europe.
This recent appointment follows a series of similar moves, such as Kim Jones being named creative director of Areal, a sub-brand under China’s Bosideng, known for its down jackets. Kris Van Assche, former creative director of Berluti and artistic director of Dior Homme, also collaborated with Chinese sportswear giant Anta on its new line, Antazero. British designer Daniel Fletcher joined Chinese label Mithridate as creative director in January 2025, while Clare Waight Keller was appointed global creative director of Uniqlo in September 2024.
The motivations behind these moves go beyond just financial gain, as highlighted by Yiling Pan, editorial director of Vogue Business in China. She explains that many East Asian companies, particularly in China and Japan, are still in the process of building their brands and are offering designers more creative freedom, longer-term opportunities, and greater creative control. Additionally, these companies often have stronger supply chain integration and faster time-to-market processes, making them attractive places for designers seeking new challenges and opportunities.
Daniel Fletcher, who recently joined Mithridate, echoed Pan’s sentiments, emphasizing the scale of the operation and the resources available at the company. He noted that working with a team of 50 people full-time has allowed him to focus on design, develop ideas more effectively, and overcome challenges that he faced in European production processes.
It is important to note that Asia is a diverse region, and fashion companies in China and Japan operate differently. Sonja Prokopec, academic director at ESSEC’s Academy of Luxury in Singapore, highlighted the differences, noting that Japan has a stronger focus on design and creativity compared to China. While Japan is considered a hub of design and creativity in Asia, companies like Bosideng are still working on building their creative identity. Prokopec emphasized that Japan’s emphasis on design and storytelling may be a reason why some Japanese brands are not as internationally recognized as their European counterparts.
Overall, the influx of Western designers joining East Asian fashion companies signifies a broader shift in the industry towards a more globally interconnected and diverse landscape. As these collaborations continue to evolve, it will be interesting to see how they shape the future of fashion and creativity on a global scale.
