How The Luxury Fashion Industry Became All Business
Fashion Week looks glamorous, but as it drew to a close in Paris last Wednesday — following shows in New York, London and Milan — it became clear that the runway has become a racetrack.
The pace of the multibillion-dollar fashion industry has changed in recent years from luxurious to laborious. Even the seasons have accelerated.
"In the past, there were two distinct seasons — there was a fall and a spring," says Julie Gilhart, a consultant for luxury brands who was fashion director for Barneys New York for 18 years. "Now you have pre-fall, fall, resort/holiday, pre-spring and spring."
One reason for this: Americans spent more than $200 billion on clothing and related goods and services in 2013, according to the Bureau of Labor Statistics. We, the consumers, inhale fashion. And this reflects a global change from the old, European way of doing business, when design houses championed creativity over the bottom line.
"The luxury fashion business was small — it was a niche business for a niche clientele," says fashion writer Dana Thomas. "Louis Vuitton only had two stores — in Nice and in Paris."
In her new book, Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano, Thomas chronicles the disruption that has affected this Old World industry. In recent decades, the fashion world underwent seismic changes as many family-owned businesses were snapped up by big conglomerates.
"[In the past] they were privately held, and they did not have great ambition to be these corporate global behemoths," Thomas says.
They were also attractive investments — especially for a French real estate developer, Bernard Arnault, who considered the luxury industry important for Europe. He eyed Christian Dior, which was for sale as part of a big takeover with several other businesses.
In 1984, Arnault bought the whole group, shuttered some of the businesses and focused on Dior. He took it global and turned it into a publicly traded company called LVMH, the initials standing for Louis Vuitton Moët Hennessy.
The lifestyle empire now holds more than 50 luxury brands, including wine, clothing, perfume and cosmetics. Arnault became known as the "wolf in the cashmere coat," and fashion became a new proving ground for ambitious executives.
"These are executives who had no prior connection to fashion, but they knew how to make money, and they knew how to hire the right executives from other areas in business," Thomas says. "People from Unilever, people from Whirlpool were brought into the fashion companies and applied all those MBA-learned business techniques to these old family houses."
With all the money, power and glamor of the new fashion industry, it became easy for the CEO to become grandiose.
"Staff, including his lieutenants, refer to Bernard Arnault as 'Dieu' or 'God,' and they will say things like, 'Well, that's a great idea, but what would God think?' " Thomas says.
Gods like Arnault anointed fashion designers as kings in a new corporate game.
"The businesses exploded," Thomas says. "The designers made headlines — that was their mandate. The shows were about drumming up publicity, even more than making clothes that people would buy."
But people did buy — a lot.
"The force of LVMH — particularly the economic power that they can bring to the endeavor of a fashion designer — you know, you bring all of that in-house, you put a star designer up in front of it, so you have a sort of celebrity face to the enterprise. It's a pretty unstoppable force," says Mary Davis, dean of the School of Graduate Studies at New York's Fashion Institute of Technology.
But in a high-stakes world, there are high-stakes casualties. In 2011, John Galliano, then Dior's chief designer, was fired after an anti-Semitic rant in a Paris bistro — not his first. A year earlier, designer Alexander McQueen, who had battled depression, killed himself. Other fashion-world greats had troubles as well.
"Marc Jacobs had been to rehab twice; Tom Ford, when he was fired from Gucci, said he had suffered from a serious bout of depression," says Thomas. "I thought, 'Wow, there's something going on here.' It's just too stressful trying to keep up all these deadlines and meet all these desires, and it just is impossible, and you're running harder and harder on this hamster wheel — and then you're flung off into a pile of dung."
Still, it is possible to stage a quiet comeback, as John Galliano attempted to do in Paris last week; in London, a retrospective of the late Alexander McQueen's designs opens Saturday at the Victoria & Albert Museum.
As for Bernard Arnault, their old boss, Forbes placed him and his family 13th on its world's billionaires list last month. As Thomas notes, kings come and go, but gods remain.
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Transcript
SCOTT SIMON, HOST:
From peaches to Paris now, where Fashion Week ended on Wednesday. But before Paris, the fashion flock trotted through New York, London and Milan. The pace of the multibillion-dollar industry has gone from luxurious to laborious. And the old-guard of family-owned brands has mostly been swept up by big conglomerates. From The Seams, an occasional series on fashion as culture, Jacki Lyden reports.
(SOUNDBITE OF MUSIC)
JACKI LYDEN, BYLINE: The runway has become a racetrack.
JULIE GILHART: In the past, there were two distinct seasons. There was a fall and a spring.
LYDEN: Julie Gilhart is a luxury consultant and was the fashion director for Barneys New York for 18 years.
GILHART: Now you have pre-fall, fall, resort holiday, pre-spring and spring.
LYDEN: We, American consumers, inhale fashion - more than $200 billion worth each year, according to the Bureau of Labor Statistics. It's a global change from the old European way of doing business. Dana Thomas writes about this in her new book "Gods And Kings."
DANA THOMAS: Back in the 1950s, the luxury fashion business was small. It was a niche business for a niche clientele. Louis Vitton only had two stores - in Nice and in Paris.
LYDEN: Thomas chronicles the disruption that happened in this old-world industry beginning in the 1980s.
THOMAS: Yes, there were some big brands - Christian Dior was known as the General Motors of fashion.
(SOUNDBITE OF PERFUME ADVERTISEMENT)
UNIDENTIFIED MAN: Fahrenheit, by Christian Dior.
THOMAS: This was a business and a nice business, but they were family-run and they were privately held. And they did not have great ambition to be these corporate, global behemoths.
LYDEN: And yet, they were attractive investments, especially to French real estate developer Bernard Arnault. Here he is talking to the Financial Times.
(SOUNDBITE OF ARCHIVED RECORDING)
BERNARD ARNAULT: So luxury industry is key for Europe. It's one of the rare industries where you can produce products in France...
THOMAS: Bernard Arnault saw that Christian Dior was for sale as part of a big takeover with several other businesses in it. He bought the whole group, shuttered a bunch of the other businesses and focused on Dior and decided to take it global and turn it into a publicly traded company.
LYDEN: That publicly traded company is LVMH, a lifestyle empire now holding more than 50 luxury brands - wine and spirits, fashion and leather goods, you get the idea. Bernard Arnault became known as the wolf in the cashmere coat, and fashion became a new proving ground for ambitious execs.
THOMAS: People from Unilever, people from Whirlpool were brought into the fashion companies and applied all those MBA-learned business techniques to these old family houses.
LYDEN: With all the money and power and glamour of the new fashion industry, it became easy for the CEO to become grandiose.
THOMAS: Staff, including his lieutenants, referred to Bernard Arnault as Dieu or God. And they will say things like, well, that's a great idea, but what would God think?
LYDEN: Those gods anointed the designers as kings in a new corporate game.
THOMAS: The businesses exploded.
(SOUNDBITE OF MUSIC)
THOMAS: The designers made headlines; that was their mandate. The shows were about drumming up publicity, even more than making clothes that people would buy.
LYDEN: But people did buy - a lot. Mary Davis is the dean of the School of Graduate Studies at the Fashion Institute of Technology.
MARY DAVIS: The force of LVMH, particularly the economic power that they can bring to the endeavor of a fashion designer, it's a pretty unstoppable force.
LYDEN: But in a high-stakes world, there are high-stakes casualties. In 2011, designer John Galliano was fired from Dior after an anti-semantic rant in a Paris bistro - not his first. A year earlier, designer Alexander McQueen, who had always battled depression, killed himself. Again, Dana Thomas.
THOMAS: You know, McQueen had killed himself, Marc Jacobs had been to rehab twice, Tom Ford, when he was fired from Gucci, said he had suffered from a serious bout of depression. I thought wow, there's something going on here.
LYDEN: She herself has a designer friend who dropped out of the luxury game.
THOMAS: It's just too stressful trying to keep up all these deadlines and meet all these desires. And it just is impossible. And you're running harder and harder on this hamster wheel. And then you're flung off into a pile of dung.
LYDEN: Or you stage a quiet comeback, as John Galliano attempted in Paris this past week. For Alexander McQueen, a retrospective of his work opens at the Victoria & Albert Museum in London today. And their old boss, Bernard Arnault, last month Forbes named him the 13th richest person in the world. As Dana Thomas writes, kings come and go, but Gods remain. For NPR News, I'm Jacki Lyden.
(SOUNDBITE OF MUSIC) Transcript provided by NPR, Copyright NPR.
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