The World As We Know It Has Come To An End: Marc Jacobs Exits Louis Vuitton.

Original article via The Business Of Fashion.


PARIS, France — Marc Jacobs, Robert Duffy and LVMH chairman Bernard Arnault have confirmed that Jacobs is exiting his position as the creative director of Louis Vuitton, the luxury brand owned by LVMH, after many months of speculation.

The news marks the end of Jacobs’ 16-year tenure at the storied French house, which the American designer helped to transform from a staid luggage label into one of the most valuable fashion brands in the world, and the jewel in LVMH’s crown.

Indeed, when Jacobs joined the brand in 1997, the New York-based rookie sensation known for popularising 90s grunge, injected both contemporary cultural currency and his characteristic showmanship into the label through its spectacular runway shows. In his first decade at the house, Louis Vuitton’s profits quadrupled.

Critical to Jacobs’ creative strategy were the designer’s hugely successful collaborations with contemporary artists, including Stephen Sprouse (2001), Takashi Murakami (2005), Richard Prince (2007) and Yayoi Kusama (2012), which played with Louis Vuitton’s key brand signifiers: the “LV” logo and famous monogram. The Murakami collaboration alone generated $300 million in sales.

Yet, in recent years, as affluent consumers in highly lucrative and important emerging markets like China matured much faster than expected and began to tire of Louis Vuitton’s now ubiquitous and much-copied signifiers, the brand began to lose some of its high fashion cachet, eroding the label’s high luxury positioning. In response to this growing “logo fatigue,” in recent seasons Louis Vuitton has shifted away from its more obvious brand signifiers and refocused its product and communications strategies on craftsmanship and other more discrete branding devices.

In 2012, Louis Vuitton’s sales growth slowed to single digits on the back of sluggish demand in Asia and Europe.

The announcement of Jacobs’ departure came only moments after the designer presented his Spring/Summer 2014 collection for Louis Vuitton, an all-black, gothic swan song incorporating sets from his most memorable shows for the brand — including a fountain, dual escalators, and a carousel — around which models paraded in dark, funereal clothes and black, tribal headdresses.

Jacobs’ successor at Louis Vuitton has yet to be named, but French designer Nicolas Ghesquière is widely thought to be the current frontrunner for the role, following what has been an acrimonious separation between the designer and his former employer Kering, owners of the once ailing Balenciaga, which Ghesquière successfully turned into one of the most forward-looking, elite luxury brands in the world, during a 15-year tenure.

Jacobs and his longtime business partner Robert Duffy are said to be preparing for the IPO of the Marc Jacobs label, in which LVMH has 96 percent stake; the group, Jacobs and Duffy each own one-third of the Marc Jacobs trademark. Market sources suggested the public offering would take place within the next three years and, in an interview withWWD, Mr Arnault revealed: “[Marc Jacobs, the brand] has enormous potential all over the world. To materialise this potential, we decided together within the next two or three years, to do an IPO.”

“Marc Jacobs may be the best and most known, successful brand in the US,” continued Arnault, affirming his commitment to further scaling the brand, which, under the guidance of the group and over the course of 16 years, has grown from generating about $20 million in annual sales to almost $1 billion.

“I think and I hope it’s the beginning of a fantastic business story and creative story. It’s already a fantastic creative story,” said Arnault.

The LVMH chairman outlined a high-level roadmap for Marc Jacobs, focusing mainly on fortifying distribution by upgrading and expanding the brand’s own network of stores, and growing the product range. The company also plans to reposition and grow diffusion line Marc by Marc Jacobs, which announced two significant appointments this May: Katie Hillier as creative director and Luella Bartley as women’s design director.

“We’ve started to reposition Marc by Marc, so we hired a new design team… We’re going to start increasing the collection handbag business and we’re going to start working on distribution. We really have to redefine what we’re doing,” Duffy told WWD.

I SAID IT FIRST: Marc Jacobs Discusses Tattoos In The Fashion Industry.

Original article via NYmag/The Cut.

People are always asking Marc Jacobs what he’ll think when he’s 80. Will he regret the SpongeBob SquarePants on his right arm if it wrinkles or droops? Or will he feel sorry about the line drawing on his stomach of a sofa by Jean-Michel Frank, or the sketch of a laughing Elizabeth Taylor wearing 3-D glasses, or any of the words, like oui, lui (both name-checking seventies adult magazines),shameless, or bros before hos (he was going through a breakup)? And if he ever abandons his strict regimen of juices and the gym, would he feel differently about that ­famous scene from Poltergeistsliding down his back?

His answer is: Who knows what he’ll think about all of this 30 years from now? But even more than that: Who cares?

Jacobs will leave a creative legacy with his fashion, with clothes that weave through decades and inspirations and proportions and shapes. And in much the same way, his tattoos are a diary of his creative life—of his interests and his relationship to the world, specifically to the pop-culture portion of it. He’s not worried if, at 80, he’s less specific about the relative place in his life of bros or hos, or if he’s still shameless or not. The tattoos just are what they are: another piece of fashion, the world that has thus far defined a great deal of his life. His tattoos might as well be another collection, like the time he was inspired by Debbie Harry, or the time he couldn’t stop thinking about mods.

As in most things, Marc Jacobs is far from alone in matters of aesthetics and taste. He is, rather, right out front: In what is perhaps the greatest fashion shift of a generation, tattoos are now as desired and admired as a Céline bag, a Prada shoe, or one of those long mountain-man beards. They are not subversive; they are not transgressive; they are not a mark of outsiderness. They are not for thugs or sluts, for the angry or the dispossessed. What were once the province of sailors or bikers, and then the pastime of rockers and punks, are now all over bank tellers and advertising executives and stay-at-home moms. Will my daughters want tattoos one day? Probably not: Their parents have them. Odds are, their teachers do too.

Tattoos are in places they never used to be, and we’re not just talking about places on the body. The current Valentino ads, for example, feature not a model but a big, hairy tattooed arm (the arm belongs to photographer Terry Richardson) clutching expensive shoes and bags (for women). Valentino clothing is both glamorous and modest. Recently they’ve done lovely things with handmade Italian lace.

Out on the runways, it seems as if all the models have tattoos—in that context they announce the model’s personhood, a fact that can be easy to forget when their purpose is to embody a designer’s vision, when they all are asked to not-smile the same way or wear the same makeup or wig. Freja Beha, for example, has sixteen—it says float on her neck, the world tonight is mine on her wrist, and Serendipity is life on the bottom of her arm. Beha dated a model named Catherine McNeil for a while—she has the day that I die will be by far the most beautiful day I ever lived written on her rib cage. The birds tattooed on Kate Moss’s back were drawn for her by Lucian Freud, and the shooting star on Gisele ­Bündchen’s wrist is a tribute to a beloved grandmother. There is something especially wonderful about seeing a tattoo on a model on a runway—I’m here, it says. I’m different. I have a grandmother, a favorite poem, an opinion.

Perhaps the culture’s shift toward tattoos is of a piece with our need to constantly reveal ourselves, to live in a continual flow of art-directed personal information—Instagrammed photos of the eggs we ate for breakfast, the walk we took after lunch, the vacation we spent at the beach. With tattoos we speak to one another with messages that are supposedly for ourselves (Just Breathe reads the tattoo below Miley Cyrus’s left breast) but also announce to the world what we’re telling ourselves. Miley, are you breathing? This sort of half-reveal works especially well for celebrities. Their tattoos get them even more public attention, while hinting at an unspoken inner life. There are two little birds and a star on Reese Witherspoon’s hip. Rihanna has a handgun on her rib cage. Why does Mena Suvari have 13 on her chest? There’s something intimate about asking after the significance of a tattoo even when it’s right there in the open. Scarlett Johansson often says in interviews that the meaning behind the big, full-color sunset on her forearm is “private.”

The tattoos people get vary regionally, culturally, across lines of gender, race, and class. Full, and often ironic, sleeves are the thing in Williamsburg or Venice Beach, whereas something life-affirming or inspirational is more popular in other parts of L.A. Whatever the case, they’re increasingly not bleeding hearts or anchors chosen off the wall: They are specific and personal and—as much as they can be—unique, chosen to say something special about the bearer. They are a gift to oneself, and also to one’s audience: whether movie fans or merely spectators on a hot subway platform or crowded sidewalk.

Marc Jacobs gets his tattoos from Scott Campbell at Saved, in Williamsburg. Campbell has had the parlor since 2004, and it’s become ground zero for the new culture of tattoos. There are ten artists in residence, each with his own thing going on. There’s Campbell, whose thing can be fairly gothic but also simple (picture Jacobs’s sofa, for example), and there’s Stephanie Tamez, who’s an ace at color. Campbell and Jacobs met seven years ago: Jacobs’s fit model was a Saved client, and she gave him the gift of his first tattoo, a line drawing of his dogs. They’ve done a lot since then: a rainbow doughnut, a lot of South Park, a little Simpsons, that sofa, the bros before hos (Campbell has a matching one, though he amended his before his wedding in June).

Lately Campbell’s clients have been bringing in their parents, lots of ladies in their sixties who suddenly think it’s okay. These are the appointments he loves most. It calls to mind people asking Jacobs how he’ll feel when he’s old, and it makes Campbell think about his own mother, who died when he was 16. “She used to say, ‘Scotty, you could commit murder, and I would still be proud to call you my son,’ ” he says, “ ‘but get a tattoo, and I’ll shoot you myself.’ ”

He is certain that if she were alive today, she’d feel differently.

*This article originally appeared in the August 19, 2013 issue of New York Magazine.

20 Fall Fashion Campaigns To Look Forward To This Season.

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Prom With A Touch Of Punk: Met Gala 2013

Last week was the most important night in fashion: The Met Gala. While the invite specifically said the theme was punk, it seems that not everyone followed the theme. However I have curated a gallery of the looks that I considered that best followed the theme while looking fabulous!

Met galaMiley Cyrus in Marc Jacobs

Met Gala 2Kristen Stewart in Stella McCartney

met gala 3Anne Hathaway in Valentino (sideboob included)

met gala 4

My personal favorite: Taylor Swift in J.Mendel.

met gala 5Nicole Richie in Topshop.

Met gala 6Karolina Kurkova in Mary Katrantzou.

met gala 7Of course Lady Madonna would get the punk look right, she actually live it the first time around.

met gala 8Rosie Huntington Whiteley in Burberry.

met gala 9Ginnifer Goodwyn in Tory Burch.

met gala 11Karlie Kloss in Louis Vuitton.

met gala 14

Jessica Biel in Giambattista Valli.

met gala 15Kelly Osbourne in Marc Jacobs.

Disney movies that stuck with us part II

A pair of Louboutins are certainly the stuff that dreams are made of in Florida, so its no surprise that the hallowed house has announced its intention to take on the most sought-after and sigh-inducing shoes of all time. Can you guess which fairytale foot the brand is taking inspiration from? We’ll give you some hints: Due to the material, this heel wouldn’t be optimal for walking days or our yearly trip to the Magic Kingdom, they may be great to wear out (but not past midnight) and before Louboutin made the shoe, it only came from Fairy Godmothers (or, um, Marc Jacobs). Yep, in honor of Cinderella‘s appearance on BluRay and DVD this fall, Christian Louboutin is making the iconic glass slipper.

Of course, Christian’s Cinderelly’s slipper is supposed to have a “magic touch” on the shoes, and we wouldn’t need any magic to guess that his special addition might appear as a bright and bold sole. Bibbidi-Bobbidi-Boo. (WWD)


Bye Shoecide

I’m pretty sure that when Levi Strauss came up with the blue jean he didn’t imagine that the pants he had created to make it more comfortable for farm workers to work in their fields, would progress into a luxury item that every person would have in their closet. I assume the same of the people of Nike, Adidas, Reebok and other sneaker brands who probably never envisioned a sport shoe would become a status symbol as well.

But designers have proved us wrong once again. This season sneakers are not only in, but some of them contain heels and platforms so when they are worn they cause the same effect a stiletto would on a woman’s leg– minus the shoecide. And the prices of these shoes have catapulted way above than a pair of Louboutins would, making them not only trendy but a sort of anti-status symbol that any fashionista should include in her closet.

Here are a few examples of this season’s high end sneakers.

The whole ‘luxury sneakers’ frenzy began with Isabel Marant’s Willow sneakers. These include an inner platform that is not visibly apparent but the effect if causes on a girl’s leg is pretty much the same that a platform sandal would create. Endless amounts of celebrities, fashion bloggers, and trendy girls who can shed $770 for a pair of sneakers have been spotted wearing these Marant shoes.

Miu Miu glitter studded leather sneakers

More Miu Miu


Marc Jacobs Wedge Sneakers

Luis Vuitton Sneakers


More Luis Vuitton

Ysl Sneakers

Maison Martin Margiela cutout sneakers. The perfect hybrid between sneaker and sandal.

See by Chloe Leather & Suede Wedge Velcro Hi-Top Sneaker

Multicolored Marants.