Adam Selman at Victoria’s Secret
A decision that intrigues as much as it seduces. Lingerie giant Victoria’s Secret appoints Adam Selman as Executive Creative Director. Behind this recruitment lies a clear message: it’s time to break with fixed codes.
A profile for change
Adam Selman, renowned for his avant-garde designs for Beyoncé and Katy Perry, embodies a style that challenges the norm. His stint at Savage X Fenty, Rihanna’s inclusive brand, has already demonstrated his ability to combine fashion with a social message. This experience makes him a key player in the cultural transition that Victoria’s Secret now seems keen to embrace.
An urgent repositioning
The days of perfect angels seem long gone. Since the controversies surrounding former CEO Les Wexner andEd Razek‘s inappropriate comments, the brand has experienced a slow erosion of its image. Victoria’s Secret has tried to correct the situation: launch of VS Collective, diversification of ambassadors, pause for classic fashion shows. But the question remains: is it enough?
The Adam Selman challenge: rewriting the myth
Under the direction of Hillary Super, who previously collaborated with Selman at Savage X Fenty, the appointment seems strategic. Together, they could inject fresh energy into a brand in search of relevance. The objective? To create impactful “cultural moments”, in tune with the expectations of a young, inclusive and demanding public. Adam Selman will have to navigate between respect for heritage and profound modernization. His past, marked by his beginnings under Zaldy Goco (creator of the mythical wings), adds an interesting tension: will he emancipate himself from this winged heritage?
Has the transformation already begun?
The acquisition ofAdore Me and the return of the catwalk show in 2024 demonstrate a desire for concrete change. But the stakes are much higher: repositioning Victoria’s Secret between luxury and fast fashion. A tricky equation to solve, even for a seasoned designer.
Also read: Angèle becomes the new face of Chanel perfume
