Avenue George V has a new pair of hands on the bags. Givenchy named Marco De Vincenzo its Head of Leather Goods Design on May 27, 2026, a hire that places one of the more idiosyncratic colourists in Italian fashion under Sarah Burton's artistic direction at the Paris house.
De Vincenzo will lead leather goods design out of the maison's atelier on Avenue George V. He reports directly to Burton, the Creative Director of women's and men's collections since September 2024. The brief is the accessories category, the part of the Givenchy business that has not had a singular author since the Riccardo Tisci years.
The press note framed the hire as a category accelerator. The maison is investing in leather goods, and De Vincenzo's job is to give that investment a face. Burton designs the wardrobe. He designs the things that swing on a wrist beside it.
Who he is
De Vincenzo grew up in Messina and arrived at the Fendi design studio at twenty-one. He spent more than a decade there working on accessories and prints under Silvia Venturini Fendi and Karl Lagerfeld. The Baguette and the Peekaboo were the house's accessory grammar in those years. He learned the rules from the people who wrote them.
In 2009 he launched his own ready-to-wear label and showed it during Paris Haute Couture Week. The collections leaned hard on woven fabrics, plisse, and an Italian taste for colour that read as Sicilian rather than Milanese. LVMH took a 20 percent stake in 2014. The brand stayed his own.
He served as creative director of Etro from August 2022 to March 2026. The Milanese house had passed to L Catterton in 2021 and was looking for a designer who could pull paisley into a contemporary register. He delivered six runway collections and two cruise outings before stepping down on amicable terms this spring.
Why now
Givenchy has been a maison in repair. Matthew M. Williams left in early 2024 after three years that the LVMH ranks treated as a holding pattern. Sarah Burton, the British designer who shaped two decades of Alexander McQueen and dressed Catherine Middleton for the 2011 royal wedding, was announced in September of that year and showed her first women's collection in March 2025. Her second, the Fall-Winter 2026 line presented in Paris this March, was the moment the maison started to read as authored again.
The leather goods bench was the gap. Sales of accessories drive the economics at LVMH fashion houses with disproportionate weight; a creative director rebuilding the silhouette can move the editorial conversation, but a leather goods designer with a recognisable hand is what moves a register. The De Vincenzo appointment fills that bench at the moment the wardrobe under Burton starts to settle.
Givenchy Fall-Winter 2026 · Look 18 from Sarah Burton's collection · Courtesy of Givenchy
The Burton brief
Burton has spent eighteen months returning Givenchy to the structural vocabulary the house knew under Hubert de Givenchy and recovered intermittently under Tisci. The Fall-Winter 2026 show in March leaned on duchesse satin capes, shredded floral evening dresses, and headpieces from the milliner Stephen Jones. The cut was sharp at the shoulder and sculpted at the waist. The accessories were, for now, supporting players.
De Vincenzo's portfolio runs counter on colour and texture, with woven leathers and a saturated palette that pushed Etro into a younger register. The pairing is interesting on paper. Burton's blacks and greys want a bag that reads as architecture; his hand might take that architecture and find a place inside it for ochre and oxblood. The first product proof will arrive in the show after next.
A house under one author for the runway, under a second for the bag on its arm. The proof is the next handle that walks down the rue.
The Splendid EditThe wider board
Across Avenue George V, the broader LVMH fashion board has been shifting in concentrated bursts. Jonathan Anderson moved from Loewe to Dior in 2025. Pierpaolo Piccioli arrived at Balenciaga the same year. Sarah Burton took Givenchy. Maria Grazia Chiuri left Dior and surfaced at Fendi a year later. Each appointment was a creative director hire. The De Vincenzo move is something narrower and arguably as important: the leather goods spec under a maison that has not had one in years.
Givenchy has not put a calendar on its first De Vincenzo bag. The pattern at LVMH houses is to seed an inaugural shape in the next women's show, soft-launch it in pre-fall, and follow with a campaign in the autumn. The first read should arrive on the Fall 2026 women's runway in Paris in September.
The accessories cycle at a Paris house runs on a slower clock than the runway cycle. A house designer can change the silhouette in one show. A leather goods designer asks the question over four or five seasons. The bag has to walk into a hundred boutiques, sit in twenty markets, and read at 6 p.m. on a balcony in the same way it reads at 11 a.m. across a counter. That is the inheritance De Vincenzo signs for at Givenchy.
Givenchy, 3 Avenue George V, Paris. Details at givenchy.com and lvmh.com.
Photography courtesy of Givenchy · LVMH press · Sarah Burton Fall-Winter 2026 runway