Tag: Louis Vuitton

Brad Pitt, the first male face of Chanel. Getty Images

Brad Pitt, the first male face of Chanel. Getty Images

After Nicole Kidman, after Audrey Tatou, after Carol Bouquet, comes…Brad Pitt? Chanel has just announced the latter will be the new, and first male face of their cash cow — aka the perfume Chanel No 5 — one of the best-selling perfumes in the world since it debuted in 1921.

Now, that’s a surprise.

It’s surprising because, other then making the announcement, the company has demurred from saying anything else on the subject (like why they made the choice), though those such as me asked, quite politely. It’s surprising because generally men are not thought of as effective selling perfume agents when it comes to women’s scents (though perhaps the Chanel folks were inspired by the recent success of Justin Bieber’s Someday, a woman’s fragrance with him in the ads). And it’s surprising because Mr Pitt’s fiance, Angelina Jolie, was recently the face of the Louis Vuitton monogram line, and Chanel and Vuitton are Big Luxury Competitors. Oooooooh. Could this be a family brand face-off?

When the new  iPad went on-sale at midnight last Friday night it provoked the usual frenzy — miles of lines, ecstatic buyers — as well as one very interesting blog that somehow seems to have fallen through the cracks over the weekend. I think it’s worth revisiting.

Apple's flagship store on Fifth Avenue, New York. Image by Getty

It was written by Evan Clark, deputy business editor of WWD (the site of insider fashion publication Women’s Wear Daily), and it takes a good, analytic look at the general perception that Apple is a luxury brand (a perception that Apple itself has created), pointing out that it does tick all the boxes save one; exclusivity. But here’s what I wonder: is exclusivity really a luxury value these days?

We (the public) think it is, but that may be an issue of perception, rather than reality.

Q: When is a hand bag not just a handbag ?

A: When it is also a piece of high jewellery and a sculptural object.

The crocodile skin and diamond Hermès bag (photo by Dan Tobin Smith)

Such is the case, anyway, with Hermès’s second foray into haute bijouterie (as opposed to haute joaillerie — the former starts with outrageous designs, the latter with mega stones). Their jeweller and shoe maestro Pierre Hardy created four different mini-handbags, in part inspired by the brand’s iconic handbags, using gold and a LOT of precious stones. They are each functionally a “bracelet” and they actually work as (very small) handbags.In theory, anyway.

It seems to me the idea of anyone actually carrying a handbag worth €1.5m and made of intertwining chains covered in 11,000 diamonds, or a rose gold version of the Kelly bag with crocodile scales and 1,160 diamonds is a little nuts, and I mentioned this to Patrick Thomas, the CEO of the brand. He laughed.

In the battle about online piracy that has pitted Google, Facebook and their technepreneur kin against content producers from Hollywood and the music industry, with Congress apparently caught in the middle, little mention has been made of fashion — which is odd, because fashion, especially the luxury end, has been actively policing the issue, and insisting on third party responsibility (ie from sites such as eBay and Google, which connect the consumer to the seller) for years.

Though all groups have been active in the area to a certain extent, LVMH has been by far the most publicly active (PPR is also aggressive about protecting its intellectual property and trademarks, but has consciously remained private about its actions; LVMH tends to trumpet wins in a press release). I offer up as exhibit A, for example, a recent post from the law firm Sheppard Mullin, which specialises in US intellectual property issues, entitled “Louis Vuitton sets a new standard in Federal trademark and copyright law.” That pretty much says it all.

Happy 2012 to everyone — hope you had a good holiday.

Don’t know about you, but I’m finding it a somewhat surreal re-entry, partly because not much seems to have happened in the fashion world — the real world has chugged on — so it feels a bit like time has stood still.

Partly, because as we all go back to work the Iowa caucuses begin, and Republican politics are weirdly Magritte-esque at the moment (ceci n’est pas un politician); and partly because of something I just read, in my first non-Canadian newspaper in 10 days.

Today my colleague Andrew Edgecliffe-Johnson has a story about ex-P&G marketing guru Jim Stengel in which Mr Stengel lists his top 50 brands of the past decade (out of 50,000) as judged by performance, consumer loyalty, and growth. These included the expected names like Apple, Starbucks, Coka and Amazon, as well as some less expected. The only fashion/luxury brands that make the list are Calvin Klein, Diesel, Hermès, Hugo Boss, and Louis Vuitton. Vente-privée, Zappos, and Zara are also there, but arguably these are actually mass consumer brands.

Surprised? How about now: Mr Stengel attributes their success largely to four factors, one of which is CEOs who are “artist-businessmen”.

I had a very interesting conversation with a Calvin Kleiner this morning as we were waiting for the company’s pre-collection show to start. He had just come back from their latest store opening — at a mall in Toronto.

“Toronto?” quoth I, dubiously. “Is that a big market for Calvin Klein?”

Now before anyone gets huffy about this, I would just like to say: I am married to a Canadian and spend many happy weeks a year in Canada — in fact, I’ll be there soon — but in all the conversations I have in my working life about fabulous luxury/fashion markets, like it or not, the country rarely comes up. In fact, I can remember only one other time, a year ago, in a conversation with Luxottica when the execs said Canada was a very fashion-forward market for sunglasses.

But anyway, here’s what the Calvin Kleiner said: “It’s really, really successful. People spend so much time talking about China, and the BRICs, and Asia-Pacific, but Canada is ten times bigger a market for us than Vietnam. It’s really important — and growing.”

It’s true, when luxury brands bang on about opportunity in North America there is often an implicit assumption on the part of the listener that this means the United States. But maybe it really means Canada, which is clearly under-served (it may be a good market for CK, for example, but they still only have four stand-alone stores in the country).

Certainly, J Crew, which opened its first stand-alone store in Toronto in August, also reports very high demand and sales and I’ve been hearing lots of buzz about what Bonnie Brooks has been doing at the preppy basics department store megalith The Bay, with The Room, a high-end designer space. Plus of course, Joe Fresh, the Canadian more-accessible-Abercrombie, has now penetrated south of the border, in NY, to a fair amount of hoo-ha.

It’s something to keep an eye on, anyway. As is another emerging market where Louis Vuitton and Tiffany just opened with high hopes: Mongolia.

I kid you not.

Who is fashion week for?

The fact that this is a pressing question has suddenly become as clear as the plaid on a kilt thanks to British Vogue’s website, which today launched a new initiative: “Online Fashion Week.”

And what, you may ask, is “Online Fashion Week”?

It’s a B2C five-day event where designers offer special sales and products, show certain collections (christmas, pre-fall, spring/summer), and engage in “Twitter takeovers” by posting on the microblog site 24/7, the better to reach their consumers in the holiday shopping period. It is not particularly limited to UK designers (Chanel and Christian Louboutin are participating), though it is UK-heavy.

It is, in other words, a lot more like that after-hours shopping extravaganza, Fashion’s Night Out, than like what I consider the traditional NY/London/Milan/Paris Fashion Week, and it points to a growing schism in the fashion world.

Marc Quinn silk scarf for Selfridges

Marc Quinn silk scarf for Selfridges

Art and fashion have had a notoriously long affair, with the former attracted to the glamour and glitz of the latter like moths to a flame, and the latter attracted to the former for the creative legitimacy it can bestow on an essentially commercial endeavour. But rarely has one actually crossed over into the territory of the other. However, as of this Christmas season, Marc Quinn – he of Saatchi Young British Artists, “blood head”, and Trafalgar Square plinth/disabled marble bust fame – is breaking the rules.

To be specific: He’s making his own accessories and clothing, and selling them at Selfridges. And he’s not hiding behind anyone else’s brand name. As far as I can tell, that’s a first for an artist.

Dior handbag

Dior handbag. Image by Vanessa Friedman.

Forget the sense of nostalgia and farewell that pervaded Marc Jacobs’ sugar-sweet Louis Vuitton show, the clothes full of couture constructions as if an audition for a couture house; something happened yesterday at Christian Dior that had a very MJ-feel.

To be specific: the brand unveiled a new collaboration with the German artist Anselm Reyle that will be in-store for a limited time from  January until March, and involved pop art-like neon camouflage and metallics on the famous Miss Dior bag, as well as little flats and wedges, some bangles, and even a makeup line.

What is with these French fashion houses? Do they not get enough attention?

New York fashion? What’s that?

Giles Deacon

Giles Deacon. Image by Getty.

Hermès can’t control the schedule of a court but the Ungaro announcement today is as weirdly timed as the Vuitton one yesterday.

I mean, Ungaro has a show in a few weeks in Paris designed by Giles that, according to a spokesperson, will go on, though without Giles. Apparently, it was a mutual decision to part ways, as the designer had different ideas for the direction of the house than the management, but I wonder how this will affect the audience?

After all, what is the point of reviewing a collection when the house is clearly changing aesthetic direction? Or buying it for stores for that matter, and risking confusing the customer? Going to a designer’s last collection, especially one that doesn’t have the support of the corporate side, is like going to a wake.

Seems to me it would have made more sense to at least wait until after the show, so it got the most bang for the lots of bucks that a runway production requires. But what do I know? I’m in New York!

Material World

with Vanessa Friedman

About this blog About Vanessa Blog guide
Vanessa Friedman's blog deals with the fashion/luxury industry from both a corporate and consumer point of view, as well as the subject of dress.



Vanessa FriedmanVanessa has been the FT’s fashion editor since 2003, and is based in New York, though she lived in London for 12 years.
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