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28-04-2013
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The thing I found very intriguing was the presence of Yves Carcelle at the Launch Party of System Magazine at Palais de Tokyo... his presence can only mean that LVMH have decided to back Nicolas (and I'm not the only person to have interpreted his presence in the same manner).

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28-04-2013
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Actually Yves Carcelle has an interview inside System so it makes sense that he was present at the launch of the magazine. But since the issue was pretty much dedicated to Nicolas, I do think his presence in the magazine wasn't innocent at all. Even though Ghesquière remained very mysterious in his interview, I could totally see him being backed up by LVMH. I think they can give him a solid marketing support ( hence the great portrait of Yves Carcelle who's doing an amazing job at LV) as well as a complete creative freedom like the one they give Phoebe, Marc or Riccardo. Things he was apparently missing at PPR

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28-04-2013
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BoF Exclusive | Nicolas Ghesquière Finally Speaks On Why He Left Balenciaga
BoF Exclusive | Nicolas Ghesquière Finally Speaks On Why He Left Balenciaga Source: BoF
Quote:
BY JONATHAN WINGFIELD
PARIS, France – After months of silence, Nicolas Ghesquière has finally spoken out.

System magazine’s Jonathan Wingfield interviewed Nicolas Ghesquière several times between early December 2012 and late March 2013. This was the first time Ghesquière had chosen to speak publicly about his shock departure after 15 years at Balenciaga.

Ghesquière opens up about why he left Balenciaga, his thoughts and impressions about the current state of the fashion industry and what the future has in store. As he mentions at one point in this defining conversation, “The best way to move forward is to go back to work.”

What follows is a global exclusive excerpt from the interview.

At what point into the job at Balenciaga did you realise you needed to wise up to the business side of the brand?

NG: Straight away. It’s part of being a creative because the vision you have ends up in the stores. It actually makes me smile today when I think about it because it was me who had to invent the concept of being commercial at Balenciaga. Right from the start I wanted it to be commercial, but the first group who owned the house didn’t have the first notion of commerce; there was no production team. There was nothing.

What was your vision for the brand?

NG: For me, Balenciaga has a history that is just as important as that of Chanel, even if it’s a lesser-known name. It had the modernity, it was contemporary, and I’ve always positioned it as a little Chanel or Prada.

But what makes Chanel and Prada bigger structures?

NG: The people that surround the designers. Miuccia Prada has an extraordinary partner, whereas I was doing everything by myself.

So without the right people, building something as big as a Chanel or Prada is unimaginable?

NG: I don’t know if it’s impossible, maybe the system will change, but what’s clear is that those brands have family and partners surrounding them, and they have creative carte blanche. Prada, for example, has made this model where you can be a business and an opinion leader at the same time, which is totally admirable. It’s the same thing at Chanel. Sadly, I never had that. I never had a partner, and I ended up feeling too alone. I had a marvellous studio and design team who were close to me, but it started becoming a bureaucracy and gradually became more corporate, until it was no longer even linked to fashion. In the end, it felt as though they just wanted to be like any other house.

You’re saying this spanned from a lack of dialogue?

NG: From the fact that there was no one helping me on the business side, for example.

Can you be more specific?

NG: They wanted to open up a load of stores but in really mediocre spaces, where people weren’t aware of the brand. It was a strategy that I just couldn’t relate to. I found this garage space on Faubourg-Saint-Honoré; I got in contact with the real estate guy who’s a friend of a friend, and we started talking… And when I went back to Balenciaga, the reaction was, ‘Oh no, no, no, not Faubourg-Saint-Honoré, you can’t be serious?’ And I said yes really, the architecture is amazing, it’s not a classic shop. Oh really, really… then six months went by, six long months of negotiations… it was just so frustrating. Everything was like that.

And the conversations, like that one about the store, who would you have them with?

NG: I’d rather not say. There wasn’t really any direction. I think with Karl and Miuccia, you can feel that it’s the creative people who have the power. It was around that time that I heard people saying, ‘Your style is so Balenciaga now, it’s no longer Nicolas Ghesquière, it’s Balenciaga’s style.’ It all became so dehumanised. Everything became an asset for the brand, trying to make it ever more corporate – it was all about branding. I don’t have anything against that; actually, the thing that I’m most proud of is that Balenciaga has become a big financial entity and will continue to exist. But I began to feel as though I was being sucked dry, like they wanted to steal my identity while trying to homogenise things. It just wasn’t fulfilling anymore.

When was the first time you felt your ambitions for the house were no longer compatible with Balenciaga’s management?

NG: It was all the time, but especially over the last two or three years it became one frustration after another. It was really that lack of culture which bothered me in the end. The strongest pieces that we made for the catwalk got ignored by the business people. They forgot that in order to get to that easily sellable biker jacket, it had to go via a technically mastered piece that had been shown on the catwalk. I started to become unhappy when I realised that there was no esteem, interest, or recognition for the research that I’d done; they only cared about what the merchandisable result would look like. This accelerated desire meant they ignored the fact that all the pieces that remain the most popular today are from collections we made ten years ago. They have become classics and will carry on being so. Although the catwalk was extremely rich in ideas and products, there was no follow-up merchandising. With just one jacket we could have triggered whole commercial strategies. It’s what I wanted to do, but I couldn’t do everything. I was switching between the designs for the catwalk and the merchandisable pieces – I became Mr Merchandiser. There was never a merchandiser at Balenciaga, which I regret terribly.

Did you never go to the top of the group and ask for the support you needed?

NG: Yes, endlessly! But they didn’t understand. More than anything else, you need people who understand fashion. There are people I’ve worked with who have never understood how fashion works. They keep saying they love fashion, yet they’ve never actually grasped that this isn’t yoghurt or a piece of furniture – products in the purest sense of the term. They just don’t understand the process at all, and so now they’re transforming it into something much more reproducible and flat.

What’s the alternative to this?

NG: You need to have the right people around you: people who adore the luxury domain. There has to be a vision, but there also has to be a partner, a duo, someone to help you carry it. I haven’t lost hope!

At the time when you were starting to feel that frustration, did you talk to any other designers who were in the same situation?

NG: Yes. What’s interesting is how my split from Balenciaga has encouraged people to get in touch with me, and they’ve said, ‘Me too, I’m in the same situation. I want to leave too.’ There are others, but my situation at Balenciaga was very particular.

In spite of the increasingly stifling conditions you felt you were operating in, were you nonetheless scared by the prospect of leaving Balenciaga?

NG: I just said to myself, ‘Okay, well you have to leave, you have to cut the cord.’ But I didn’t say anything to anyone, apart from to a few very close people, because, you know, I’ve become pretty good at standing on my own two feet.

Once you’d decided enough was enough and you made your intentions clear, was management surprised that you wanted to leave?

NG: Yes. I think so, because I’d shown my ambitions for the house. There’d been lots of discussions, of course, and there were clearly some differences, but that sort of decision doesn’t just come out of nowhere. I’d been thinking a lot too. I was having trouble sleeping at one point. [Laughs] But there’s usually something keeping me awake.

After the announcement, did lots of people in the fashion world contact you?

NG: I didn’t actually see all the reactions straight away because I was in Japan at the time; one of my best friends had taken me on something of a spiritual trip to observe people who make traditional lacquer and obi belts; it was such a privileged environment with tea ceremonies. On the other side of the world, there was this violent announcement being made. When I got back to Paris I saw the press, and with all the commentary going on I actually learnt things about myself; it was quite beautiful in fact. Generally the reaction had been very positive, even on Twitter there were some very satisfactory things being written. Ultimately, I felt okay in the end because it seemed very dignified. I haven’t expressed myself up until now, but I would like to say thank you to everyone, I really am very grateful.

Did you ever think about making a personal announcement?

NG: No, I never wanted to express myself like that. I don’t know how to do that.

What’s the most exciting thing about this period of time for you?

NG: Preparing for the next chapter and having the time to observe what’s going on in the industry. People could have forever associated me with Balenciaga. We saw clearly when the split took place that there was a desire for my name, so I disassociated myself naturally from the house. That could have been a risk. It would have been different if Balenciaga had disassociated itself from me, but people had seen me develop my signature and knew that it might happen. That’s exciting because whatever choice I make, the possibilities are open, and that was confirmed with the freeing of my name from Balenciaga. I’d made so much effort and been such a good obedient kid in associating myself… Now I can imagine a whole new vocabulary. I’m regenerating again, and that’s very exciting because it’s a feeling I haven’t had since I was in my twenties.


Last edited by Rightguard; 28-04-2013 at 08:19 PM.
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29-04-2013
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Quote:
Originally Posted by Chanelcouture09 View Post
The thing I found very intriguing was the presence of Yves Carcelle at the Launch Party of System Magazine at Palais de Tokyo... his presence can only mean that LVMH have decided to back Nicolas (and I'm not the only person to have interpreted his presence in the same manner).
And considering Olivier Bialobos and Victoire de Castellane were there too, I'm assuming these were the same lvmh people he had "dinner" with back in Nov. Hopefully that bond is or will soon be secured. I'm already anticipating the maneuver to lvmh in effect.

I can only imagine how insidious it is having to be inured to PPR being more interested on the commodification of Balenciaga plus bearing an overload on his part definitely killed the drive and ambition for him.

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29-04-2013
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It's really hard for me to believe that he wouldn't have that kind of control over Balenciaga like Phoebe and Hedi have at their houses...I'm almost believing that he had no interest to make Kristen Stewart the face of one of his recent fragrances.

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01-05-2013
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Nicolas Ghesquière to appear on 032c Cover

Quote:
WORK ETHIC: Although he exited Balenciaga last November, designer Nicolas Ghesquière continues to captivate the press — and secure megaeditorials. To wit: The summer issue of Berlin magazine 032c, due out Tuesday, features Ghesquière on the cover in an embrace with actress Charlotte Gainsbourg, his muse, plus 38 pages inside.

The magazine calls the feature its “monument” to Ghesquière’s final season, with Gainsbourg posing for photographer Karim Sadli in looks from the spring collection. Meanwhile, in the 14,000-word article by Pierre Alexandre de Looz, the designer breaks his silence on his split from Balenciaga and drops a few choice hints about his future plans — while skirting widespread speculation he will work with LVMH Moët Hennessy Louis Vuitton in some capacity, possibly launching his own brand.

“Ideally, I’d like to give myself a six-month break, to travel and discover things. I’m not sure it’ll happen because some interesting projects are on the horizon,” he says. “Given the projects and the offers I have on the table, the trick is to think about what is most inspiring, what can become a new way of working.”

Later in the article, he seems torn between the golden handcuffs of a megabrand and the route less traveled. “I’m preparing something, but I have choices to make. I will announce something when I am ready,” he said. “Now is my time to question interseasonality — it’s always the opposite season somewhere in the world — and fashion’s need to be global while respecting the environment and local cultures and of course the usual six-month cycle for collections. I may decide to fulfill that mission again, and I’ll enjoy it as I always have. Another part of me absolutely wants to break these rules. I may be putting myself in danger, but that’s what I want these days. I enjoyed years of extreme comfort at Balenciaga. It’s fantastic to harvest that status to explore in new ways, rather than sticking to a routine, even if it was the most comfortable and incredible, I couldn’t be in a better position.”
wwd

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10-06-2013
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Is Nicolas Ghesquière Replacing Marc Jacobs At Louis Vuitton?
by Lauren Valenti | 1:05 pm, June 10th, 2013

Brace yourself. The term “designer musical chairs” has been thrown around a lot this year, but this latest bit of news, a potential new chapter for the ongoing Balenciaga saga, brings the expression to a whole new level. According to Fashionista, a reliable source has said that Nicolas Ghesquière is in serious talks with LVMH and that the designer will “definitely” succeed Marc Jacobs.

We haven’t even begun to wrap our minds around the fact that after 16 years, Jacobs will no longer be at the helm of Louis Vuitton. After all, while WWD revealed today that Jacobs is one of the candidates to take over Coach, it also made a case for why Jacobs could very well keep his post at Louis Vuitton, mentioning something to the tune of a possible public offering.
On top of that, it was just last year that Jacobs and Robert Duffy began discussing renewed Vuitton contracts. To that end, according to WWD’s Paris source, LVMH has not conducted talks with any other potential candidates.
While we try to make heads and tails of all the mixed messages and anonymous sources, one thing is for sure: big changes are afoot in the handbag sector.

http://www.styleite.com/media/nicola...louis-vuitton/
http://fashionista.com/2013/06/will-...louis-vuitton/


Last edited by Morphe; 10-06-2013 at 01:46 PM.
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10-06-2013
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^what. that makes no sense at all. or maybe i'm wrong and they really want to give an 'edgy' (sorry, hate to use this word...) makeover to the brand.

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10-06-2013
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Ghesquire at LV, is a total misfit. Also MJ has established its very lucrative aesthetic for some time now. NG deserves his own house or YSL

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10-06-2013
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I really don't see the point in replacing Marc Jacobs at Louis Vuitton. I'm not Marc's biggest supporter, but his collections for LV sell like hot cakes and almost every celebrity on the planet has been seen in his creations and, sadly, nowadays that's basically what counts in the fashion industry. I wish Nicolas will be able to just create his own brand, that would be a dream come true.

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10-06-2013
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I was hoping Ghesquiere would get his own brand but oh well... What I really don't get is why they'd want Marc out

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10-06-2013
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Is this a joke

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10-06-2013
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I hope this particular rumor turns out to be true. Marc Jacobs's aesthetics for Louis Vuitton have become seriously tedious. The campaigns have turned into disasters. Yeah, Jacobs' collections for Vuitton might sell, and might be worn by the stars, but I'd love to see Nicolas Ghesquière at the helm. I don't take much interest in designers or fashion houses but I fail to see how Ghesquière would be a misfit at Louis Vuitton.

I wouldn't want to see anyone out of a job, but if anything it's Ghesquière who's out of a job at the present moment. Marc would have his own lines to continue and progress with.

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11-06-2013
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That completely contradicts what Ghesquiére has said in his interviews with both System and 032c, but that being said LVMH are continuing to strive for continued growth and adding Ghesquiére into the mix with his legion of fans would bring added growth to the brand, but my one concern would be how Nicolas would fare with the continued push on products at LV after that was one thing he felt he was continued to be pushed for more and more ideas/products/collections when LV produce above and beyond the simple 6 collections a year, their online store stocks over 1000 products without even touching upon Ready To Wear.

What I find more intriguing is that fact that all potential stories about Ghesquiére's future are linked to LVMH, my suspicion is, from hints within his interviews, is the possibility of LVMH backing his own brand.

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11-06-2013
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I dont imagine Nicolas Ghesquière at LV at all. I think it will be a big mistake. Marc Jacobs seems to be quite good at LV and his latest collections are interesting. Then, Marc Jacobs at Coach ?!

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