Hadid, McCartney, Beckham, Gallagher, Jagger, Depp, Cobain, Jenner, Richie, Richards, Baldwin, Law, Crawford, Moss: nepotism is certainly not a new concept in the entertainment world. They call them Nepo Baby, a term born to indicate the so-called father’s sons, those who, in addition to inheriting the surname and a profitable bank account from their famous parents, have also benefited from the success and all the benefits that derive from having friends or relatives already entered into the world of entertainment. These benefits in the fashion industry translate into millions of social media followers, front rows at Fashion Weeks around the world, appearances in numerous high profile campaigns and advertisements; all things for which the models “children of nobody” are forced to toil for years and for much less money. From the social controversy between Vittoria Ceretti and Lily-Rose Depp at the cover of the New York Times between floating it-girl heads photoshopped onto newborn bodies, it seems that the media can’t help but talk about the Nepo Baby, further contributing to their success. But if in the past the spotlight has been on Hollywood, where ostentation is an integral part of the trend, in Italy we had to be patient before “family business” came to light.
As pointed out Giuliana Matarrese in his Instagram Stories, the face of Dior’s new it-bag, Lady 9522, is not known at all but the same cannot be said of his legacy. Let’s talk about Rachel Reginirecently ambassador of the LVMH maison as well as daughter of the creative director of womenswear, Maria Grazia Chiuri. The minimal shots signed by Brigitte Lacombe that see her portrayed have left the fine connoisseurs of the maison dumbfounded, used to much more famous faces for campaigns of this type: from Natalie Portman and Charlize Theron, up to the new entry Anya Taylor-Joy. Yet Regini’s only link to fame is her art history degree from the highly prestigious Goldsmith, her role as “cultural adviser” (although it is not clear specifically what it entails) for the Dior maison and its contribution to the creation of the looks sported by Clare Ferragni at last San Remo Festival. It is still to be understood how much all this would have been possible without the approval of mother Maria Chiara. Even at Valentino, the sons of creative director Pierpaolo Piccioli are taking off. Among the protagonists of Valentine Beauty we find the face of Benedict Piccioliclass of ’97 and since December 2021 a model for Women Management Milan. Among the few interviews given, his statements for Tag24, the newspaper of a Roman university, are particularly significant: «Everyone has the right to be valued, to feel better about their body and identity and, above all, to feel represented» says Benedetta, perhaps naively bypassing the fact that if she herself appears on the cover, it is certainly not due to a process of democratization of fashion, which in terms of representation in recent seasons has appeared more “exclusive” than ever, but due to her surname .
It’s true, nepotism has always existed, but the good old days are long gone when famous children were forced to change their surname in order to prove themselves, as it was for Angelina Jolie. The new generations, on the other hand, proudly wear the mantle of privilege and never before have so many children of famous parents been so rewarded for their lineage and so willing to embrace it publicly. Would they have been as successful without the door-opening advantages of an illustrious surname? Difficult to answer.