Jacquemus F/W 2024.25 Capri

^When he started, it was a fashion/RTW brand and, technically, it was as bad as this.

Today I saw the new video he did with Loïc. He said he has 300 workers... How on earth, in 15 f****ng years, he was not able to to find a person that could help him construct his clothes in a decent way? Why doesn't he, insted of investing that much money in art and architects, hire a person who can properly create a dress? It's beyond my mind.

Maybe the answer is because he doesn't need it. People that buy Jacquemus buy it because of Instagram, no? And they never saw a properly cut dress, so why would he even care.
 
If you were expecting to see new fashion, you're in the wrong place. This is an accessory brand, not a fashion brand. These gimmicky shows are just marketing ploys to sell bags. No one should be taking it seriously.

Yeah but are people actually buying those bags anymore? Aren’t they cringy now? And cheap might I add!!
 
Yeah but are people actually buying those bags anymore? Aren’t they cringy now? And cheap might I add!!
The success of Chiquito and Bambino is mostly hinged on the accessible price point mixed with luxury-adjacent marketing.

A bag at Jacquemus costs around ⅓ the price of a similar bag from more traditional luxury brands and most contemporary brands lack the aspirational marketing the brand has.
 
I must say the Chiquito (love the name haha) was the moment a few years back. I think it is very cute. But I do feel it's passé now and it's been ages since the last time I saw somebody carrying one.

I still see many young "rich" kids (around 18-22 years old) getting his sweaters and Tshirts though.
 
The success of Chiquito and Bambino is mostly hinged on the accessible price point mixed with luxury-adjacent marketing.

A bag at Jacquemus costs around ⅓ the price of a similar bag from more traditional luxury brands and most contemporary brands lack the aspirational marketing the brand has.

Would love to the numbers on his bags specially vs a couple of years ago!! I’m just not convinced those two style haven’t aged well!!

I must say the Chiquito (love the name haha) was the moment a few years back. I think it is very cute. But I do feel it's passé now and it's been ages since the last time I saw somebody carrying one.

I still see many young "rich" kids (around 18-22 years old) getting his sweaters and Tshirts though.
I agree I definitely see in shops people looking for the tees and sweats… But definitely don’t see people buying or wearing the bags anymore not like a couple of years anyway!!
 
@FiLReD describing him as a "content creator" is so spot-on.

Looking at him and his 'work' through that lens, it all suddenly clicks for me. The meticulously curated Instagram feed, the aesthetic show locations, the occasional thirst-trap, the faux-relatable and humble personality. I can't get mad at it, I can't be bothered to write a detailed critique of his offerings, because ultimately he is just another Instagram/Tik Tok content creator appealing to the chronically online.
 
-"LOOK AT ME, FORGET THE CLOTHES, LOOK AT ME, FORGET THE CLOTHES...!!"

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The seamwork and panelling of a lot of things leaves me confused. And how has he managed to make jersey and chiffon look so stiff?

A menswear designer he is not as well. Burn all of those shorts. Every single variant of them here and any from beyond. Why on earth would I want to look even shorter with birthing hips whilst having my shortened looking calves on show? Honestly, Simon. Honestly...
 
Congratulations to him though, for 15 years in the game and not only surviving but also managing to make his brand bigger than ever. He expanded his company in every single aspect except his atelier and his dressmaking skills.
This collection has a very "homemade" feel to it, as it looks like everything was sewn together using his grandma's sewing machine and her leftover fabrics.
The dress on Ashley and the black version of it looks like cardboard, they couldn't look any stiffer, and they looked completely detached from the body when they moved.
The cut of the men's trousers looks out of proportion.

I don't know how much does he pays for the marketing department but it's not enough, because every season they have to come up with every creative way to sell these.

I guessed this is what happened when build your brand around clothes to show on pictures rather than clothes to live in
.
 
I think he's a much better designer compared to his early collections. Mixing the clothes with other products and wrapping all together is very smart. He just needs better people doing his clothes. And he needs that great perfume to sell his name globally.

I cannot understand why people call him a influencer. Would you call Yves an influencer in the 70's? He was as exposed as Jacque is today.

He's playing the social media game because that's where his costumer (WOMEN) is. He's doing the bare minimum to build a brand in 2024.

Ad yes, quality and well made clothes are important but good luck finding a sizeable amount of women who cares about sews, paneling or whatever technicality. Fashion is emotional, and women buy their clothes based on what looks good to them.
 
The problem with Simon will always be his technical limits. The slinky dresses are good but when it comes to tailoring, what he may intend as a « Statement » ends up looking like a « gimmick » or worst, a « mistake ».

It makes me think that he has no signature. He is not great in flou or tailleur, in skirts or dresses or pants. It’s about a color theme, a mood. And it’s all I see here.


I think he's a much better designer compared to his early collections. Mixing the clothes with other products and wrapping all together is very smart. He just needs better people doing his clothes. And he needs that great perfume to sell his name globally.

I cannot understand why people call him a influencer. Would you call Yves an influencer in the 70's? He was as exposed as Jacque is today.

He's playing the social media game because that's where his costumer (WOMEN) is. He's doing the bare minimum to build a brand in 2024.

Ad yes, quality and well made clothes are important but good luck finding a sizeable amount of women who cares about sews, paneling or whatever technicality. Fashion is emotional, and women buy their clothes based on what looks good to them.

But he should always up his standards and he expressed the desire to be a little bit more elevated. Giving the prices of some of his pieces lately, it would be good if his product, from a pure product POV, can stand on it own.

I agree, we buy things that looks good on us but also, pieces that we feels good in…Which is another factor that is not related at all with our reflect on the mirror.

For me, Simon’s strength is in his knitwear anyway because that’s where his colors have an impact.

Happy 15yrs nevertheless. I think the magic didn’t worked however this time.
The show in the museum was more engaging.
 
I am the last one willing to defend him, but he's not stupid.
As i am super lazy today – just read this article (i don't fully agree with everything, but most of it). And tell me if you still think he's just as dumb as a cute, little puppy.

What Jacquemus Can Teach Us About Building A Brand In 2024
They say ‘content is king’ but in 2024, creativity is queen. And if there’s anyone nailing the art of creative branding at the moment, it's Jacquemus. Founded by Simon Porte Jacquemus in 2009, the fashion house has the top three things you need to be at the forefront in this social media-driven era: originality, bravery and above all, creativity.

I’m not saying that Jacquemus is the most innovative or disruptive brand in the market, but a skill it is achieving is the delivery of effortless-looking, well-executed concepts in that ‘don’t-you-wish-you-thought-of-it-first’ way. From kicking off the CGI trend with bag-trams running through the streets of Paris to out-of-the-box content ideas garnering hundreds of thousands of shares; the brand with ‘no marketing team’ sure knows how to market itself. Ahead of its launch in the UAE under Chaloub Group, we dive into what makes the brand one-to-watch for 2024.

Experiential shopping
Gone are the days of strolling through the mall just 'because'. We’re busy, if we want to shop, we’ll do it online. Brands need a way to bring us in-store in order to increase upsells, build rapport and so on. The way to do it? Take the experience beyond transaction and into the realm of entertainment: i.e. what else can the customer gain from it? Jacquemus cleverly nails this through their unique pop-up stores. Its 24/24 boutique, inspired by a vending machine, saw a fuchsia concept with pink products behind glass, operated by a touchscreen with a card machine that ran without interruption for three days straight. During the campaign, Jacquemus shared on Instagram that someone had DM’d them to say they felt too intimidated to enter, which sparked a response from the founder to make sure everyone felt welcome, even if only to take a picture.

Creative control
One of the main ways that Jacquemus (the founder) has managed to be so creative with Jacquemus (the brand) is because he is the sole owner. Having never raised funding, Jacquemus answers to no one, which is a beautiful thing when it comes to taking risks, making noise and growing a brand with authenticity. From posting selfies with his partner to product pictures looking less-than-perfect, Jacquemus can do things that brands under LVMH, for example, simply cannot, thanks to a succession line of bill-payers ready to put their foot down the second that things step 'over the line’. And it’s exactly this step that makes the brand feel approachable, relatable and therefore desirable.

Collaboration and endorsement
Aligning yourself with the celebrity of the moment or one of the world's biggest consumer brands is nothing new but it’s important to do it in a way that feels authentic. When the customer can see the strategic steps, the strategy becomes redundant. Simon Porte Jacquemus’ friendships with Dua Lipa, Gigi Hadid and Kendall Jenner feel so genuine that it's hardly surprising when we see them star in the next season’s campaign.

the-rume-com
 
The problem with Simon will always be his technical limits. The slinky dresses are good but when it comes to tailoring, what he may intend as a « Statement » ends up looking like a « gimmick » or worst, a « mistake ».

It makes me think that he has no signature. He is not great in flou or tailleur, in skirts or dresses or pants. It’s about a color theme, a mood. And it’s all I see here.
But he should always up his standards and he expressed the desire to be a little bit more elevated. Giving the prices of some of his pieces lately, it would be good if his product, from a pure product POV, can stand on it own.

I agree, we buy things that looks good on us but also, pieces that we feels good in…Which is another factor that is not related at all with our reflect on the mirror.

For me, Simon’s strength is in his knitwear anyway because that’s where his colors have an impact.

Happy 15yrs nevertheless. I think the magic didn’t worked however this time.
The show in the museum was more engaging.
Yes I agree. He's so close of being a real good designer but he never gets there. And that's all because of poor techniques. The mood is right, the clients respond to it but it needs more substance, the end product needs to be better. I simply don't understand why they can't fix that.

Great point about the feel. But I insist the buying experience is very emotional. And that's okay. It's the brand that has to care about construction details because if the women has a problem, they will likely not come back.
 
It's a shame that Jacquemus neglects his collections' more technical side, because he does have the potential to be one of the strongest designers in his generation. I wish that he'd invest in a Van Ommeslaeghe type who could finesse the drape, cut and silhouette of Jacquemus' ideas.
 

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