The Italian brvà has been making a years-long push towards reconciliation and rehabilitation following a 2018 racist incident. Still, some are unwilling lớn forgive sầu and forget.

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The Italian brand has been making a years-long push towards reconciliation and rehabilitation following a 2018 racist incident. Still, some are unwilling lớn forgive sầu and forget.

Not since John Galliano's caught-on-tape antisemitic rant went viral in 2011 had fashion seen such an incredible implosion on the part of a designer.

In 2018, ahead of a blowout fashion show intended khổng lồ woo its Chinese clientele, Dolce & Gabbana released a series of racially insensitive sầu videos featuring a Chinese Model attempting to eat Italian foods with chopsticks. The campaign was perceived as racist và arrogant, and the backlash on social was swift, prompting the brand khổng lồ delete the series from its Weibo trương mục. The mã sản phẩm, Zuo Ye, has since claimed that the videos nearly ended her career.

Things went from bad to lớn worse when the Instagram trương mục belonging to Stefano Gabbana began responding to critics via DMs, insulting both China and the Chinese people. These messages were then screenshot và sent to lớn industry watchdog tài khoản Diet Prada, which posted them in full. Dolce & Gabbana claimed the designer's Instagram account had been hacked; the brand released an apology đoạn Clip. But it was too late: Dolce và Gabbamãng cầu was forced to lớn cancel the fashion show at the last minute. Retailers in the Asian market pulled the brand's products from shelves, & the luxury fashion house faced protests worldwide.

"The #DGLovesĐài Loan Trung Quốc campaign caused an uproar for instilling racial stereotypes, but I believe sầu the Instagram screenshots that were suspected khổng lồ belong to Stefano Gabbamãng cầu did more harm," explains freelance journacác mục Yaling Jiang, who has covered the brand for outlets like Jing Daily. "Since late 2018, other fashion brands have sầu also had their regrettable moments, but none of the missteps has such long-lasting effects. This might be that the tainted public image is closely associated with the designer & his brand. Even until this day, many netizens still refer to D&G as 'the br& that insults Trung Quốc.'"

Dolce và Gabbana was already known to court controversy before #DGLovesTrung Quốc. Domeniteo Dolce raised eyebrows in năm ngoái with his comments about IVF that sparked a Hotline for boycott started by none other than Elton John. (Dolce has since apologized, blaming his strict Catholic upbringing and telling Vogue in năm ngoái, "I've sầu done some soul-searching. I've sầu talked to Stefano a lot about this. I've sầu realized that my words were inappropriate, và I apologize. They are just kids.") As a brand, Dolce & Gabbana previously made missteps with racist products lượt thích "slave sầu sandals" or Blackamoor earrings. And after former First Lady Melania Trump wore some of its pieces in 2017 — reportedly purchasing off-the-rachồng, though that didn't stop Gabbamãng cầu from promoting the appearances on Instagram — it responded khổng lồ calls for another boycott with its own tongue-in-cheek #BoycottDolce&Gabbamãng cầu T-shirt, complete with a chiến dịch centered around a giả prokiểm tra. Gabbana was no stranger to lớn making headlines for his antics on social truyền thông, either.

In many ways, the two are the last of their kind: They came up in a time where the more bombastic and headline-grabbing the designer, the better. All press was good press for peers lượt thích Galliano, Marc Jacobs & Alexander McQueen, so-called "bad boys" of fashion following in the footsteps of the industry's most prolific & iconic creative director, Karl Lagerfeld, who practically invented giving the controversial sound bite. But the industry has changed dramatically over the course of the last decade, and many of those designers have sầu retired, reeled in their bad-boy ways or flamed out. 

"I think because exclusivity has been honored as the God of fashion, there are people who have sầu been allowed khổng lồ act that way. Snobbery is rewarded in this industry," says Mory Fontanez, a "purpose coach" who's the founder và CEO of 822 Group, a values-based transformation consultancy that works with brands to lớn help navigate crises. "And if we look at that  in a more awakened way, then I'm sure that we'll see that there's been racism, there's been antisemitism, there's been anti-LGBTQ sentiment even. The industry has to decide how much matters and how valued that is now that the trajectory is turning, & unfortunately some of these brands are stuông xã in a moment in time that's changing pretty rapidly."  

These changes aren't coming from the top-down, either: They're being driven by a consumer base which increasingly takes khổng lồ social media to demvà transparency on issues ranging from product sustainability and ethical workplace conditions to social justice issues and internal company culture. 

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In the very same month as the #DGLovesTrung Quốc incident, Victoria's Secret faced its own "cancelation" after then-CMO Ed Razek made transphobic & fatphobic comments in an interview; the brand continues to struggle forward, but Razek ultimately retired in 2019, and in 20đôi mươi, former CEO Les Wexner was forced to lớn step down after it was revealed he had ties to convicted sex offender Jeffery Epstein. In recent years, fellow Italian brands Pradomain authority and Gucci have, like Dolce & Gabbamãng cầu, faced backlash for racist products (a monkey keychain và a "blackface" sweater, respectively), but responded with much stronger measures, launching both internal and external programs aiming to address diversity và inclusion. 

In the aftermath of #DGLovesTrung Quốc, Dolce & Gabbamãng cầu moved lớn catch up with the moment. Gabbamãng cầu permanently deleted his personal Instagram tài khoản and the brvà took great pains to stay largely under the radar for nearly a year. The two largest pieces of press about Dolce & Gabbana in 2019 involved the brvà extending its sizing to lớn an Italian 54 (approximately a U.S. 18, which is an impressively large range in the luxury space, where most competitors stop around a U.S. 10) and an interview with both designers for Vogue Business in which the duo shared they had laid out plans for the company to lớn continue after they retire (a departure from their long-held stance that it should not outlive them). 


Since then, both the brand and the designers began lớn shift more attention to lớn the artisans who help bring their creations to lớn life, emphasizing that Dolce và Gabbana is about more than just its namesakes. The Fall 2019 runway — the first ready-to-wear show following #DGLovesTrung Quốc — opened with a video of the duo in their atelier and focused on the house's signature design elements. The following February, it centered its runway presentation around its petites mains, highlighting the skillset of the team that makes Dolce và Gabbana happen behind-the-scenes.

Similarly, when telling the story of Alta Modomain authority — Dolce & Gabbana's take on haute couture which has been not only crucial to maintaining valuable relationships with private clients, but also a way to support Italian artisans — the brand has put a greater spotlight on the makers they partner with to lớn create those collections. A feature in the December/January 2021 issue of Elle highlighted its most recent Alta Moda debut, for which the br& took over the city of Florence for a multi-day affair. According lớn the piece, 38 Florentine workshops collaborated with the designers on the collection, encompassing everything from womenswear to jewelry. The mayor even dedicated the keys of the city khổng lồ Dolce và Gabbamãng cầu muse Monica Bellucci.

"Some people think that if you are positive, you are stupid. No! We have to lớn have the integrity lớn react, lớn recount history, lớn recount the talent of the artisan workshops," Dolce told writer Laura Rysman of the importance of the extravagant weekkết thúc. "We need khổng lồ try to encourage life. For the system, for the Italians, for fashion, for beauty. Beauty is like medicine for the world."

"Craftsmanship is not trendy, & it is not cool. It's not fashion. It's forever," Gabbamãng cầu added.

The most recent Alta Modomain authority womenswear collection was also the first lớn be made completely in Dolce & Gabbana's own ateliers, with workers who came up through Botteghe di Mestiere, a professional training course Dolce & Gabbamãng cầu founded within their own company baông chồng in 2012. 

"The 'Fatkhổng lồ a Mano' – the human touch – the essence of Made in Italy, represents value for us. It translates the love sầu we have sầu for our work, for the attention we dedicate lớn the construction of each garment, for the perfect balance between the harmony of shapes and the attention to details," the designers said in a joint statement emailed to "The craftsmanship, the excellence of the Italian masters are the core of our creations và we are proud khổng lồ be able to lớn shed light on their work."

In May 2020, as social distancing continued across the globe amid the Covid-19 pandemic, Dolce và Gabbana launched a series on its social channels called #DGFattoInCasa, which saw its artisans holding digital workshops with ideas for projects khổng lồ vì at trang chủ, part of a fundraising project for Fondazione Humanitas Per La Ricerca. 

Baông chồng in February — less than two weeks before Italy would be shut down as the virut took over the northern part of the country — Dolce & Gabbamãng cầu announced it would partner with Humanitas University (which it had already worked with to lớn give sầu out scholarships for students of the MedTec School) to fund retìm kiếm inlớn Covid-19. A donation from the brvà helped fund the research led by virologist Professor Alberkhổng lồ Mantovani, Dolce & Gabbamãng cầu said. It also released a campaign starring Sofia Vergara called "Amore for Scientific Retìm kiếm," for which it pledged to donate a portion of proceeds from sales of its Devotion bag. In a further display of support, Dolce và Gabbamãng cầu staged its Spring 2021 menswear show (its first following the shutdown) at Humanitas University, with Professor Mantovani in attendance.


"Supporting scientific retìm kiếm is a moral duty for us," the designers told "In February, when the problem was not yet affecting Italy, we felt the need khổng lồ do something to fight this devastating vi khuẩn, and we thought that Humanitas University — a special institution for excellence & humanity, with which we have sầu been collaborating for some time on a scholarship project — was the ikhuyến mãi partner."

Dolce và Gabbamãng cầu has continued lớn dedicate resources khổng lồ other charitable projects as well. On #BlackOutTuesday in June 20trăng tròn, the brvà pledged a "significant donation" to lớn the NAACP.., which it promised to make an ongoing commitment. On Global Pride Day 2020, it announced it would partner with The Trevor Project long-term, including to auction off the custom dress Sia wore khổng lồ the 20trăng tròn Billboard Music Awards with Chic Relief và eBay. (It also rolled out a social truyền thông campaign highlighting gay fathers of the #DGFamily, like North America CEO Dan Rothmann, with their children on Father's Day 2020.) That fall, Dolce và Gabbamãng cầu auctioned off Kerry Washington's 20đôi mươi Emmys look to benefit When We All Vote, the nonprofit dedicated lớn voter registration founded by Former First Lady Michelle Obama, and Maren Morris's Country Music Awards ensemble khổng lồ support the Blaông chồng Women's Health Imperative.

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Most recently, for Valentine's Day 2021, it released a campaign meant khổng lồ "celebrate love sầu in all forms" as well as "show solidarity" for its work with The Trevor Project.


That turned 2020 inkhổng lồ a veritable flurry of very public-facing charitable endeavors for Dolce và Gabbana, despite the br& historically not being open about that side of its business. 

"We have sầu always supported charity projects on a personal cấp độ, but we have never considered it important to lớn give sầu visibility to the initiatives we privately carry out. This year, what made the difference is the global scale & the objectives of the charity projects we have chosen khổng lồ support," the designers explained khổng lồ, in a statement. "We decided to lớn communicate our support to these projects that give sầu voice to those values, in which we have always believed và recognized ourselves. We want to keep raising awareness, using our public platkhung và calling attention to important causes."

Meanwhile, Dolce & Gabbamãng cầu has kept up efforts khổng lồ rehabilitate its image in China, albeit more slowly và cautiously. 

In late 2019, it hired Carlo Gariglio as its new Asia Pacific CEO. (On his LinkedIn page, Gariglio touts himself as a "Turnaround professional with measurable track record of success.") Under Gariglio, the br& has reportedly been making quiet overtures lớn the Chinese government, which included showing at the China Import and Export Expo (CIIE) in both November 2019 và November 20đôi mươi. (Though the most recent appearance was not without controversy itself: Attendees criticized Dolce & Gabbana's typically ostentatious display style.)

Dolce & Gabbana's presence at the event "has definitely helped," Jiang argues, "because it solidified the brand's relationship with the government. I think it's very clever of Dolce lớn implement the trickle-down action of beautifying its public image in China, starting from the government, as that's also how the media works in the country. I'd say that investing in a grandiose exhibition booth with a mini-program and on-site artisans was a strategic move sầu, as the CIIE was of high importance khổng lồ Beijing — President Xi Jinping has spoken at every opening ceremony since its inception — and in 20đôi mươi, it was a great occasion to flex China's capability of keeping COVID-19 under control. Backing Beijing's initiative gives the government a lot of honor & credibility; it might have sầu also let state truyền thông media lớn go easy on the brand in relevant features & commentaries."

While Gabbana's social truyền thông presence made the Hollywood and fashion phối wary of the br& before #DGLovesĐài Loan Trung Quốc, the events of November 2018 turned Dolce và Gabbana into lớn a sort of industry outcast for several months, costing it valuable appearances on red carpets và in fashion editorials. But the Western fashion industry at large began easing bachồng inlớn featuring Dolce và Gabbamãng cầu as early as late 2019, when it scored high-protệp tin placements in publications lượt thích InStyle, Vogue and even the subscriber cover of Harper's Bazaar featuring Kylie Jenner. An entire editorial centered around the brand appeared in the December 20đôi mươi issue of British Vogue, starring Lara Stone và featuring an interview with the designers. 

It's important to lớn point out that it's an all-but-official practice in glossies to lớn feature brands which advertise in its editorial pages lớn keep them happy, & that can't be discounted when it comes to this placement. By the over of 20trăng tròn, Dolce và Gabbamãng cầu began appearing in fashion media in Đài Loan Trung Quốc, where the line between editorial và advertisement is more blurred than it is in the U.S., once again. Posts announcing its participation in the China Import & Export Expo, for example, appeared in Elle Đài Loan Trung Quốc, Elle Men, Vogue Trung Quốc, ahy vọng other publications, Jiang points out. 

"I can't be certain whether this is paid as a non-quảng bá professional, but the presence marked an important milestone, as fashion truyền thông media in Trung Quốc had rarely featured the brand's collections or taken their ad money over the last two years," she says. "This week, I saw people posting on Weibo being surprised at seeing Dolce's ads in magazines again, which means it worked."


More headline-grabbing than fashion editorials, however, was the brand's return to the red carpet. Dolce và Gabbamãng cầu scored a few big appearances in 2019, as noted by the Thành Phố New York Times. But this push began in earnest at the 20đôi mươi Grammys, when Dolce & Gabbana dressed artists like Gwen Stefani, Comtháng và Little Big Town. That same week, Blake Lively donned one of its black velvet dresses for the premiere of her new movie, "The Rhythm Section," và Kate Middleton, Duchess of Cambridge, re-wore a Dolce và Gabbana tweed suit khổng lồ the National Portrait Gallery. 

Then, in somewhat rapid succession, stars lượt thích Taylor Hill, Lupita Nyong'o, Lucy Hale, Renee Zellweger and Uma Thurman were wearing Dolce & Gabbana to lớn various events. At the 20trăng tròn Oscars — arguably the most important red carpet of the year — the label dressed Mindy Kaling; for the after parties, it dressed Reese Witherspoon, Rachel Brosnahan, Sofia Vergara and Holland Taylor.

By the end of 20trăng tròn, Dolce và Gabbana was beginning to lớn have a presence on the red carpet in Chinese markets as well. 

"I started seeing some celebrities in Hong Kong wear it in late 2020," Jiang remembers. "Their pop-ups for the summer collection across the mainland had the presence of some small Chinese celebrities on the opening day. In a recent social campaign, it invited a dozen mid-to-lower tier influencers lớn wear its Spring 2021 collection. Understandably, big-time celebrities still find it too risky to wear Dolce."

Even as they became more frequent, these placements still raised eyebrows within the fashion community. Many wondered how celebrities — và more importantly, their stylists — could endorse Dolce và Gabbamãng cầu in such a way. One stydanh mục under the microscope in particular was the politically-outspoken Karla Welch, who once said at a Business of Fashion conference that she took the br& off her rachồng altogether. "You are your br&," Welch explained at the time. By the 20trăng tròn Grammys, though, she was pulling it again for Little Big Town.


Catherine Zeta-Jones in Dolce & Gabbamãng cầu at the 2021 Golden Globe Awards.

Photo: Dimitrgame ios Kambouris/Getty Images

Welch is hardly alone amongst stylists who have had a quiet change of tune about the brvà. There's barely been a red carpet — remote though they may be — in the past year without at least one Dolce và Gabbamãng cầu credit. Already, the somewhat-strange 2021 awards season kicked off with a bang for the label: Angela Bassett, Catherine Zeta-Jones, Amy Poehler, Anthony Anderson, Saphụ vương Baron Cohen and Susan Keleđưa ra Watson all wore it for the Golden Globes. 

"Honestly, it became so ubiquitous that it became exhausting khổng lồ keep trachồng," says podcast host and contributor Evan Ross Katz, who runs red-carpet commentary on his Instagram and Twitter accounts. "I still vì chưng call it out on occasion but it would be a full time khổng lồ keep traông xã of how omni-present the br& remains even today. I think D&G lost any cool factor they had from the 2000s, but they're not going anywhere, that's been proven. They have and is power, especially in fashion."

So what convinced these Hollywood power brokers to lớn change their minds?

To Katz's point, there has been speculation amongst the L.A. mix that money may be exchanging hands behind the scenes. Though a source familiar with Dolce & Gabbana tells the br& doesn't pay for red-carpet placements, pay-for-play isn't uncommon in the celebrity dressing space. According khổng lồ a 2019 story from The Hollywood Reporter, stars can earn $50,000 khổng lồ $200,000 for one red carpet appearance; for an awards-season exclusive sầu, that number "could go up to lớn the mid-to-high six figures or even seven." And that money isn't just limited lớn the celebs themselves: In 2015, stylist Jessica Paster said she had received anywhere from $30,000 to $50,000 for making a placement happen. 

However, even more than fashion editorial, red-carpet styling is a relationship business. And in January 20trăng tròn, according to his LinkedIn, Dolce và Gabbana hired Lucio Di Rosa — a 15-year veteran of Versace — khổng lồ serve as the worldwide head of celebrity and VIPhường relations. According to some insiders, Di Rosa is a beloved figure on the styling scene that has forged valuable connections with some of Hollywood's biggest players; some suggest he's responsible for pushing the brand to lớn offer custom looks to celebrities, a game-changer in an increasingly competitive field. was unable lớn find a stycác mục willing to go on-record about pulling Dolce và Gabbamãng cầu for their clients by press time, và that may well be part of the problem: No one is willing to explain this change of heart about the brvà khổng lồ a public that has not yet forgotten its sins. 

"If an individual has actually thought about the issue, decided that Dolce và Gabbamãng cầu have sầu atoned or recognize their mistakes, & it's time lớn give them another chance, fair enough; I think those are decisions that people have sầu to make for themselves," says Vanessa Friedman, fashion director & chief fashion critic at the Thành Phố New York TImes.

"This should not be about simply yelling publicly about what we think are transgressions, but for everybody, particularly in a consumer world, to think about their choices & make those choices for themselves. And I think they should also stand up for them & behind them," she continues. "If you are going to publicly support — và fund — a brvà that has acted in a hurtful way in the past because you believe they have learned from their mistakes, I think you should then be able lớn say, 'I understand what they'd done in the past, & I feel this, & I thought this about it & I made this decision'; lớn me, that's completely acceptable. But I wish that people would bởi vì that instead of either pretending that there wasn't an issue, or revealing that they haven't bothered khổng lồ think about their choices, & are ignorant of the issue."

Whatever the reason for the placement, Welch turned off the comments on her post of Little Big Town wearing Dolce & Gabbana at the Grammys last year, và didn't post anything in her feed at all about Poehler's Dolce và Gabbamãng cầu Golden Globe look, which she also styled. Other image makers have sầu been known to vị the same, và it's not hard to see why: Negativity still follows the br& wherever it goes on social media. Immediately following the #DGLovesChina crisis, fashion critic Suzy Menkes found herself under fire for her positive sầu Reviews of its collection; after writing the piece noting the beginning of Dolce và Gabbana's comebaông xã, Friedman found herself in the crosshairs of Diet Pradomain authority. 

While public outcry may have calmed down since 2018, there's still a vocal audience on social truyền thông unwilling khổng lồ let Dolce & Gabbana off the hook for its missteps. And if Dolce và Gabbamãng cầu wants people to lớn forgive sầu and forget, they have sầu a long way khổng lồ go with that group.

"I feel for the team at Dolce & Gabbana, but honestly I think they're doing everything they can," Fontanez says. "Brands hire really brilliant communication & kinh doanh teams & those teams are paid khổng lồ understand where the trajectory is headed, so they're doing what they need khổng lồ vì lớn show that they get that, to lớn be involved in causes that are relevant right now because the world needs attention on them. But, the dissonance is the leadership, the founders, the name on that label don't have that same cấp độ of awareness or opinion. So there is a chasm between those things."

In other words, according khổng lồ Fontanez, critics still feel there's a disconnect between what the brvà has been doing and the historic public presence of the individuals Dolce và Gabbana, who haven't publicly spoken about #DGLovesChina since releasing the apology video clip in 2018. Meanwhile, folks lượt thích Katz believe sầu that all of the brand's actions over the past few years have been for show, an effort to lớn shift public perception và khổng lồ bury old, negative stories under a flurry of positive sầu ones. "Just because bad people vị good things on occasion doesn't make them better people," he argues. "It makes them just that: bad people that vị good things on occasion."

Many who are critical of the br& argue that the solution would involve Gabbana stepping down from the label which he co-founded — or even having the brand shutter altogether. "They could exit the fashion industry stage left," Katz says bluntly. "As the popular meme template goes: We as a society have moved on from the need for Dolce và Gabbana."

Indeed, in the wake of Galliano's 2011 antisemitic rant, Dior was able to lớn quickly distance itself from the designer by cutting hlặng loose. He was even fired from the label which bore his name. But the Dolce và Gabbana situation is significantly more complicated: Not only is Gabbana's name on the door, but he also holds 40% of the privately held company, according khổng lồ a 2019 report in Vogue Business, with the remaining 60% held jointly by Dolce and members of his family. Perhaps more significantly, the brand's core customer — especially aao ước the valuable private clientele phối — loves hlặng just as much as they love Dolce. Gabbamãng cầu is widely known khổng lồ be the life of any Dolce & Gabbana các buổi party, mingling with the clients rather than hiding up in VIP. section with more famous faces. 

"They make me feel alive và young và pretty. I love sầu Domenico và Stefano. I love the whole group," one such Alta Moda client told Christimãng cầu Binkley in an August 2020 story for Vogue Business. "A lot of designers I've known before, they go và smoke with their muses in the corner, and they don't even say hello to lớn you."

To paraphrase the great Mark Twain: Rumors of Gabbana's departure, which first popped up early in 2020, have been greatly exaggerated. But Fontanez predicts that customers will only become more aware & more invested in whether those at the top of fashion's biggest institutions are actually aligned with values of inclusivity. kích hoạt for Dolce & Gabbana, she says, will have lớn bởi vì more than just kiểm tra off another activism box or make a D&I hire. It would need khổng lồ involve a more public-facing engagement on the part of the designers themselves.

"I don't think that there's more lớn vì chưng, unless Dolce & Gabbana attkết thúc a talk where all of a sudden a light goes off, something happens in their own lives where empathy builds around these communities and there's enlightenment, và they cốt truyện that enlightenment," Fontanez explains. "I think that would be a moment that would be interesting for people: to lớn see these two people actually be honest about a change or a growth they've sầu had."

At the kết thúc of the day, none of this might matter to customers — or at least not Western ones. In the 2018/2019 fiscal year, the Asia-Pacific market represented 22% of Dolce & Gabbana's business, according lớn an August 2019 report from Reuters, a 3% drop from the previous year. This figure doesn't include nhật bản và Korea, which made up another 5% of Dolce & Gabbana's revenue, with half of it coming from Europe and an additional 16% came from the U.S., according to Vogue Business. The company doesn't publicly discchiến bại finances, but the br& is projected to post losses for the fiscal year ending in March 2021, as was the case for nearly every other br& in the luxury sector impacted by the Covid-19 crisis.

The push into plus-form size has also been a success: Jess Sims recently wrote for Vogue Business that retailer 11 Honoré "saw a 70 and 80% sell-through rate for Dolce & Gabbana's first two collections."

And in Trung Quốc, where the #DGLovesĐài Loan Trung Quốc offense occurred and where so-called "cancel culture" can have an even stronger grip, recovery seems to be the horizon. Though retailers (including Net-a-Porter's Chinese website) still don't stochồng Dolce & Gabbana, Jiang has been monitoring mentions of the brand on Weibo during fashion weeks in 2020 and noticed sentiment appeared khổng lồ be softening around summer, when the brand was promoting its summer collection on the platkhung and a few — "very few," she emphasizes — of the comments centered around the clothes themselves, versus criticism of the company. (Dolce và Gabbana has disabled comments on its own Weibo page.) 

Combined with the brand's efforts to work with the Chinese government, these small but significant steps could bode well for its presence in China. "They are making their way down from the government to fashion truyền thông media khổng lồ small celebrities/influencers," Jiang says. "If the brvà has a long enough financial runway, one day the public would see big celebrities và actresses wear them and Dolce will once again appear on the street in Đài Loan Trung Quốc."

While detractors on social media can feel daunting — amplified as they are by their willingness to be extremely vocal on issues they care about — that doesn't always translate into lớn real-world action. 

"It's not lượt thích there's a strike going on where every day someone's protesting outside of a Dolce và Gabbamãng cầu store," Friedman says. "I think if there was a backlash to celebrities wearing Dolce và Gabbana, then perhaps stylists would rethink their choices. The fact that they haven't rethought those choices, or that those choices are still being made, would indicate to me that that backlash doesn't exist except maybe when someone raises the subject or in the social truyền thông eđến chamber of a certain part of the fashion world."

Katz, meanwhile, argues that "people also love sầu their faves more than they hate D&G, so it's easy khổng lồ turn a blind eye when your fave sầu pops up in a problematic br&. That, or they'll just blame the stycác mục." 

"I also think given other fashion headlines, lượt thích most recently the Wang allegations, this simply is competing for 'biggest fashion offender,' which is incredibly sad, but unfortunately a reflection of the times we are living in," he adds. 

Ultimately, Dolce & Gabbamãng cầu và its detractors will likely reach an impasse. The br& is clearly not going anywhere, và neither are its critics. After all, no one owes a br& forgiveness, especially in our current fraught social environment where fashion professionals are still engaged in fighting for anti-racist movements. Furthermore, there are still those who take to lớn social truyền thông media khổng lồ remind the industry that Galliano — who, after his own period of rehabilitation, found a job at the head of Maison Margiela in năm trước — once made those infamous anti-semitic remarks. The industry may have sầu forgiven, but people haven't forgotten.

The question then becomes whether Dolce & Gabbamãng cầu — & really, the fashion industry at large, as more and more brands slip lớn reveal the layers of ugliness that have sầu been baked into the culture of the industry itself over the course of decades — will be granted the space khổng lồ navigate its way into lớn a better, more aware, more inclusive sầu future.

"I generally feel that public discussion and civil discourse about any of these issues is the igiảm giá situation and something that we should all be aiming for, because we live in a time of great flux and high emotion — whether it's moral change or political change or social change — & being able lớn talk about it & listen to people as they struggle to lớn come khổng lồ terms with it is really important," says Friedman.

"This is a case where maybe we should bởi vì that more instead of leaping to lớn simply gọi someone out; Call them out and try khổng lồ understvà what's going on," she continues. "Engage in that conversation & keep the conversation going, both so that we don't forget what happened & also so that we can use that to lớn move sầu forward as a broader sector."