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Memory: The first meeting.

So many years ago, my family moved to a new city. My parents had so many things to do, ingnoring me and leaving me alone. Always, when I was alone, I liked to go to some high places for no reason, perhaps in that kind of place I could find a sense of belonging! One day, I was lying on the tree facing the sky, I can not remember what I was thinking, suddenly, a sweet female voice came into my ears, “Hey, come down and play with me!”I sat up and traced the source of the voice. I saw a little girl holding a rubber band smiled and looked at me. I nodded my head and slided down from the tree. All the afternoon, I was looking at her dancing on the rubber band between the tree and me. ” Oh! Girls are playing like this!” I thought to myself. That year she was 9 years old and I was 10.

Later I learned that she was our new neighbor. And because of the design of the house, there was only a wall trip between her bedroom and mine. As long as we opened the window, we could chat. From then on, there was much more things for me to do apart from studying: playing with her, chatting with her and helping her do homework.
With the growth of us, our parents had begun to care about our psychological problems. At that time, puppy love was very popular. My parents was a bit worried because we often stuck together. As they fell embarssed to tell it out directly, so every time when we were together, they began to make fun of Mary,” When will you marry?” I simply ignored it, but Mary would be ashamed of it. Some days after , when my parents began to say about this, Mary said blushing,” He is my brother. ” I was shocked, but not knowing what that feeling was. I smiled, ” Yes! That is right. How can a brother marry sister?” Finally, they stopped say that thing.

As time went by, the middle school was in the end. We were in different schools, every morning I had to get up 1 hours earlier and went to her house, woking her up and watched her clean up and dress. I really felt very happy. Maybe I was really in love with her.

One day, on our way home. She whispered softly, ” So cold!” I did not know where my courage came from and caught her hands and embraced her. I said near her ears,” Mary,I ..i love you. Do be my girlfriend! I will buy Gucci jewelry for you. ” She buried her head into my chest and nodded. I was very exciting, holding her shoulder and did not know what to say. She looked at my face and said softly,” I am so happy!”

The time of happiness is always short. She was lost in the college entrance examination.Her parents had no time to take care of her, so she was sent to live in college. I could only see her once a month. At the end of a month, I could not wait to go to her college to see her, with my two sworn followers. We sat on the bench near her dormitory and waited for her for the whole afternoon. Finally, I saw her coming, no! not her, but them!!! There was a tall boy with glasses beside her. He held her hand and put a kiss on her forehead. Mary touched the Gucci Bracelets on her wrist and smiled. I could not hear what they were talking about, but it seemed that Mary was very happy. My two friends caught my shoulder tightly, they were afraid that I could not control myself. “Mary!” I walked towards them and said to,” This is my first time to do things that you do not like. But I hope that you do not stop me!”

Then I rushed to the boy and knocked him down..I kicked him and said stern words,” Keep far away from her. Understand?!” He said,” NO!!” and tried to drag himself from the ground. But I knocked him to the ground again. ” What did you say? Loudly!!” “No! Impossible!!” Mary had already broken down in tears. She wanted to hold him but was stopped by my sworn followers. I continued to kick him and said,” What? Repeat your words!” His mouth has been seeping blood, but he still stared at me and shouted,” I love her! Whatever happens, I will never leave her alone!”

I signed, holding him up from the ground and gave his hand to Mary. I touched her hair and said gently,” He is a good man, worthing your love. I promised to buy Gucci Necklaces and Gucci Rings for you. But now it is no necesarry. Ask him to buy all the gucci jewelry for you. I wish you happy!”

Then I turned away and left.

MAROSTICA, Italy — Renzo Rosso, the tattooed, Ducati-driving founder of denim giant Diesel, owns some of fashion’s most cutting-edge labels. In addition to the popular jeans-maker, Mr. Rosso’s holding company, Only the Brave, includes celebrated European fashion houses Viktor & Rolf and Maison Martin Margiela.

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Patrick McMullan

Founder Renzo Rosso, right, watches the Diesel Black Gold show last month in New York with Carine Roitfeld, editor of the French Vogue.
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But Mr. Margiela is gone, as is the designer of Diesel, which Mr. Rosso founded in 1978. Mr. Rosso has replaced them with unknown teams that rank lower in the brands’ hierarchy than business executives. The new creative director at Diesel is a magazine editor, not a clothing designer. Mr. Rosso believes his brands need trend-spotters more than someone who can craft a hemline.

On Friday, Maison Martin Margiela is presenting its first collection officially designed by the house’s anonymous 20-person design team at Paris Fashion Week. Not one of them will take a bow at the end of the show.

As luxury clothing begins to recover from an economic crisis that damped appetites for expensive goods, fashion houses are chipping away at the traditional model of all-powerful design chiefs that ruled for decades. Far from the unquestioned authority of famous designers such as Marc Jacobs at Louis Vuitton or Karl Lagerfeld at Chanel, younger fashion houses are giving more power to the business side. The rationale: Clothes need to sell.

“Creativity has given way to product development,” says Christophe Rioux, director of the luxury and creation department at French business school ISC Paris School of Management. “Managers are trumping designers because what counts is profitability.”

Designer and creative director are interchangeable titles at most houses. But at Diesel they are now redefining creative director. He doesn’t have to draw, sew or execute any of the traditional craftsmanship of fashion. Rather, he must keep his finger on the pulse of trends and edit ideas—telling the design team what kind of look he wants in clothes, accessories or furniture.

Only the Brave, a closely held company with annual revenue of €1.32 billion ($1.81 billion), like other high-end fashion companies, has seen sales decline with the recession, giving impetus to its new approach.

Some pin the beginning of the shift on Italian fashion house Gucci Group. In the wake of the 2002 economic downturn, Gucci shocked the industry when it didn’t renew the contract of celebrated designer Tom Ford and replaced him with a troika of unknown designers.

One of them, Frida Giannini, is still designing for the label today, but she has far less cachet—and power to decide—than Mr. Ford did. Even where there are still famous names, such as Mr. Jacobs at Louis Vuitton, the designer is kept in check by an equally powerful chief executive. They are backed by scores of assistants who create clothes and accessories adhering to a designer’s aesthetic.
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From the Diesel Black Gold fashion show last month in New York.

But the recent merry-go-round of designers at houses such as Nina Ricci, Pucci and Emanuel Ungaro highlights a flaw in the formula. Seasoned creative directors move from one label to the next without reigniting their fire. “Designers change houses like that,” the 54-year-old Mr. Rosso says with a snap of his fingers. “They think they’re idols.”

Mr. Rosso hasn’t done away with the role of the designer altogether. For his high-end Diesel Black Gold line, for example, the fashion house presented its first collection created by Greek designer Sophia Kokosalaki, a graduate of London’s prominent Central Saint Martins College of Art and Design, at New York Fashion Week last month. He believes the young brand, which launched in 2008, needs a designer to create its image.

Likewise, the Dutch design duo Viktor & Rolf are still in place, and will show their latest collection in Paris on Saturday. But Mr. Rosso says they approach their work differently. “They don’t put their hand in design, they work by mood: They like it or they don’t like it.”

At Diesel—the group’s most important brand—the new creative director, Bruno Collin, is a freshman in fashion design.

Mr. Rosso was impressed to see how Mr. Collin, who previously had been the editor of WAD, an urban culture magazine, picked out vintage clothing and styled his photo shoots. During a visit to the magazine, “I said, ‘This is my man,”‘ Mr. Rosso recalls, slouching in a cracked leather armchair near a roaring fire in his mountain lodge in northern Italy. Fashion editors, he says, “know everything about trends, about what’s going on. That’s the right kind of person for fashion.”

“A stylist senses what people want to wear,” says fashion headhunter Floriane de Saint Pierre.

At Diesel, Mr. Collin moved to its headquarters near Mr. Rosso’s lodge and began his new job in January. Yet his role is very different from his predecessor. Mr. Rosso doesn’t expect him to make or sketch any clothes.

Mr. Rosso describes the role as that of an orchestra director who sets the mood for a collection, coordinating everything from apparel—created by 80 people in-house—to advertising. Moreover, he wants Mr. Collin to source his ideas from outside Diesel’s walls, sounding out photographers, graphic designers and ad agencies. He encourages him to hit discos, schoolyards and flea markets to keep abreast of trends.

Mr. Collin isn’t a high-ranking player in the Diesel empire. He reports to the marketing manager, three levels below the chief executive. Mr. Rosso and the marketing manager decide what variety of products Diesel should make, not Mr. Collin.

After sales slumped last year, Mr. Rosso wants the focus to return to Diesel’s core denim category, which accounts for 35% of sales.

Right now, the label is short on denim jackets—they only make one, Mr. Rosso says. “We could do 10,” he says, sipping a glass of white wine from his personal vineyard. “Short sleeves, sleeveless, leather collars. Maybe even the pointy Margiela shoulders,” he says, referring to a trend for sharp shoulders that Diesel’s sister brand set a few years ago.

At Margiela’s headquarters in Paris, where every surface is painted white, the design team also takes orders from the business side. Staff International, the manufacturing arm of Only the Brave, tells them what mix of clothing to produce.

Though he didn’t officially withdraw until last year, Mr. Margiela stopped working at his namesake label about three years ago, Mr. Rosso said, except for his return to create his 20th anniversary collection in 2008. Mr. Margiela, who said he wanted to leave fashion forever, retired, and wasn’t available for comment.

Mr. Rosso began interviewing high-profile designers to replace him. But Mr. Rosso worried that a new designer would change the house’s image, so he decided to eliminate Mr. Margiela’s position and rely on the existing team.

“The consumer doesn’t care,” Mr. Rosso says, swiping a cigarette from a colleague. “They just want to see the right product at the right moment.”

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