Jacquemus case study (1)

Jacquemus case study

Key points I have taken

My reflection

Where it began

Jacquemus- late mother’s maiden name. Started the fashion house in 2009 in honour of his mother, inspires and drives his passions today.

In 2017 the designer debuted the first of his revolutionary micro handbags Le Chiquito. Which undoubtedly ended up in the arms of A-listers like of Kim Kardashian and Rihanna. The start of the tiny bag trend that broke the internet. His incredible colour scheme, creative designs and minimal aesthetic set a name for himself in the industry. In the same year he was also noticed by the world’s biggest online and department store retailers, from Selfridges to Net-A-Porter. His graceful approach to pushing the boundaries of prestigious French fashion has gained him the respect of the industry insiders. In 2018 he expanded his fashion house into menswear which was instantly embraced by the industry. His undeniable success dominating social media is no secret. Jacquemus’ establishment in the industry was not only down to beautifully crafted garments and A-listers but also to his strive to connect and offer a unique take on his Instagram.

Today Jacquemus is known for being a trendsetter, a more affordable and accessible luxury option and his minimalist yet bold collections. He runs a strong social media presence of playful videos, reels and catwalk images, creating constant iconic insta moments. Launching new collections and silhouettes of bags the industry has never seen before ad gaining more media attention than ever before.

Rhodes, G. (2022, May 19). The history of Jacquemus. GLAM OBSERVER.

https://glamobserver.com/the-history-of-jacquemus/

“He brings joy, fun and ease in an industry where many brands and designers are trying to be too serious, too intellectual and too calculated,” says Beka Gvishiani

This is where I want to sit within the industry, bringing fun, personality and humour to fashion. I try to stay away from political fashion and want it to be enjoyable.

Hine, S., & Latour-Lambert, F. (2025, January 23). How Jacquemus became the main character of French fashion. British GQ https://www.gqmagazine.co.uk/article/jacquemus-interview-2025

He needs to be visible, wants people to know his name/brand. E.g. big runway shows, Dior strike. He wants to create the sensation of him as a young boy looking at magazine. His love for images and putting it to others. Thinks of his brand with a French name and big smile. Stores in Paris, st Tropez, New York, London

The Business of Fashion. (2024, November 25). Jacquemus: A Coming of Age Story | The BOF Podcast [Video]. YouTube. https://www.youtube.com/watch?v=ULgC3_0-M74

His collections have a child-like spirit and sense of freedom, often featuring asymmetrical designs, oversized "stiff" silhouettes, experimental makeup and shoeless or topless models.

Simon Porte Jacquemus | BOF 500 | The People shaping the global fashion industry. (2024, November 22). The Business of Fashion. https://www.businessoffashion.com/people/simon-porte-jacquemus/

On January 24, 2026, Jacquemus unveils Liline Jacquemus (grandmother) as its first-ever brand ambassador, a deeply personal choice that returns to the very roots of the Maison. Long before the

brand existed, she was already a source of inspiration. Her strength, elegance, and authenticity have shaped Simon Porte Jacquemus’ vision and continue to define the spirit of Jacquemus. For him, she embodies the ultimate Jacquemus woman. Through Liline, Jacquemus honour the power of roots as a source of emotion, imagination, and creation. With this appointment, Simon Porte Jacquemus honours the women who raised him and the heritage they passed on, a celebration of family, memory, and transmission. More than an ambassador, Liline Jacquemus represents the soul of the Maison and a timeless reminder that Jacquemus is, above all, a story of origins.

Family is what has had the largest effect on Jacquemus as a person and as a brand. I resonate with this alot as it is also what has formed my own brand, I have chosen to honour my own grandmother within branding myself.

Lilline Jacquemus. (1 C.E., January 24).

https://www.jacquemus.com/en_gb/explore/brandambassadeur.html

Brand values: found using google AI Overview

Authentic Storytelling & Personalization: The brand is deeply tied to the personal life, childhood, and memories of founder Simon Porte Jacquemus. This includes a focus on honouring his late mother.

Mediterranean & "Perpetual Summer" Lifestyle: Collections and runway shows, such as those in lavender fields or salt flats, evoke a sun-drenched, carefree, and artistic French lifestyle.

Relatable Luxury & Accessibility: Unlike traditional, distant luxury, Jacquemus aims to be accessible to a wider audience, creating a sense of belonging and community.

Minimalism & Artistic Expression: The brand features simple, clean designs inspired by, as stated on the Jacquemus website, film, art, and sculpture.

Whimsical & Experiential Marketing: Jacquemus is known for creative,, often viral campaigns such as popup vending machines and, as reported by The Impression, large-scale, surrealist, digital activations.

Proactive Digital Engagement: The brand utilizes Instagram not just for sales, but as a "cinematic diary" that shares, intimate, behind-the-scenes glimpses.

The brand is built solely around Jacquemus’ personal experiences and lifestyle or the lifestyle, which is a fantasy to some, of a never-ending summer in the South of France. This feels to me like it fits more with an older millennial or a boomer, with a higher income, residing in these mediterranean countries or to afford the clothes for regular trips, as this may not fit well with someone shopping in the UK. His social media presence is what is keeping the brand socially relevant as he is using future forward experiments such as the use of AI and CGI within his campaigns.

Creative director

In 2011, when Simon Porte Jacquemus then a shaggy-haired fashion school dropout needed to spark some buzz for his fledgling label, he dressed a group of girlfriends in his designs and crashed Vogue’s “Fashion Night Out” party on Paris’ Avenue Montaigne. The group staged a mock protest, brandishing cardboard signs and chanting “We Want Jacquemus!,” wearing a collection of boiled wool sweaters and skirts that would have looked more at home in a New Wave kitchen scene than on a high-glamour shopping street lined with Dior and Chanel boutiques. Twelve years later, during September 2022′s Paris Fashion Week, Jacquemus inaugurated his own boutique on Avenue Montaigne: a 3,200-square-foot, multi-level space between Gucci and Jil Sander. Staffers wearing cream-coloured canvas lab coats passed coupes of champagnes to guests including American reality TV star Christine Quinn, who lined up to take photos with the designer, whose blue eyes, rugged

features and sunny disposition are as integral to the brand as its signature tiny handbags and strappy linen dresses.

Jacquemus’ steady rise has defied expectations for independent designers in a fashion market that has been increasingly dominated by big luxury brands backed by even bigger luxury conglomerates.

The designer’s success has surely been driven by the clarity and singularity of his vision for branding, storytelling and design.

From his early seasons, Jacquemus mined the sunny lifestyle of the South of France for regional references like sunflowers or beach-umbrella stripes, which became fresh, immediate signifiers once passed through the filter of his Paris-based atelier. By looking beyond the urbane, self-aware capitol for inspiration, he tapped into a deep well of nostalgia for the real-life France of the late 20th century years marked by middle-class security, dorky-but-chic pop culture, and an aura of slightly faded, everyday glamour that lingered during the country’s hangover from the “30 Glorieuses”

As a communicator, Jacquemus has an unrivalled knack for delivering ultra-simplified, immediate fashion messages that pack an emotional punch. His approach has come off at times childlike and playful, at others exuding a slick, pop self-awareness. The poignant universe he has created is undiminished by the fact that it translates so perfectly to the smartphone screen perhaps the opposite. He was quick to understand the power of Instagram, which has been a key driver of his ascent.

Jacquemus sums it up best himself in a pithy, all-caps self-description that’s become iconic in France (if often parodied): “My name is Simon. I like blue and white, stripes, the sun, fruits, life, poetry, Marseille, and the 1980s,” reads his bio on the Instagram account he still shares with his brand, and which has attracted over 5 million followers.

Where his storytelling is broadly relatable, it’s also deeply personal: the designer has granted his social media followers an unprecedented degree of access to his life, experiences and even past trauma. The brand is named for and dedicated to his late mother, who died when he was 18 years old.

“This brand, it’s so personal,” the designer said. “It’s making from something tough and hard, something beautiful.” It’s the kind of disclosure that gives rare insight to where a creator is speaking from, and in the brand’s early days the designer’s personal story helped forge a deep connection with his fast-growing audience.

Jacquemus doesn’t quite know why he is willing to share parts of his life that many people would be terrified to expose. He just knows he has always been that way, posting photoshoots on his blogs from the age of 13. “It was so instinctive,” he said. “I couldn’t hide myself and be a Margiela boy I had to use the person I was.” That is to say, presumably: handsome, resourceful, and surrounded by Classic French Beauties, like his friend and early muse Jeanne Damas. His steady ascent has shown that the recipe works.

“People want to know the person behind the brand,” Jacquemus said, pointing out that he’s noticed other young creators following in his footsteps by blurring the lines between designer and influencer sharing their vacations, boyfriends, and everyday lives on the same social media accounts as their work.

While the potency of Jacquemus’ vision was readily apparent in the brand’s early years, its commercial viability was hardly guaranteed. The exaggerated naiveté of his early collections with flattened, paper-doll silhouettes, asymmetrical cuts and exposed seams that evoked references from post-Impressionism, Surrealism and retro-futurism was catnip for the fashion set. The combination of his childlike aesthetic and painful backstory sparked a voyeuristic fervour. To the uninitiated, however, the clothes sometimes looked like the work of someone who didn’t quite know how to sew, and whose interest in making women look good was highly variable.

Meanwhile, Jacquemus’ public persona, while infectious, seemed unsustainable. How could someone give that much of themselves and keep on giving? It was years before the designer started to gradually pull back on sharing images of himself, his family, vacations, apartments, victories, traumas and relationships. Most recently, the designer lit up social media with accounts of his August wedding, attended by pop star Dua Lipa and model Tina Kunakey.

But the storytelling kept getting sharper and more accessible and collections started to look a lot more like clothes, while reaching for a higher level of craft. In September 2016, the sculptural silhouettes of his “Santons de Provence” collection (inspired by the Christmas figurines of his native region) even sparked comparisons to Cristobal Balenciaga. “There’s something special about Jacquemus and the way he portrays Frenchness, and that’s what excites people,” fashion critic Sarah Mower wrote of the designer in February 2017.

Jacquemus’ handbags still tiny, if not always “micro” anymore account for more than half of the company’s sales.

Size less, seasonless icons with an attractive price-per-wear that gives them a larger addressable market than high-end ready-to-wear, handbags are the essential profit driver of the luxury fashion business. At Jacquemus, they allowed the brand to achieve an impressive operating profitability of 25 percent of sales in 2021 even as the company spent heavily on ramping up production, growing its team to over 150 employees (his offices now occupy 3 buildings in Paris’ tony 8th arrondissement) and staging even more impressive social-media-savvy spectacles to engage his audience.

For his brand’s 10th anniversary in 2019, he staged a show whose magenta runway through the rolling lavender fields of Provence became one of the most memorable fashion images of the new millennium. More recent off-piste outings included a 2020 show in a wheat field outside Paris, which was one of just two live runway shows staged that summer following the spring’s pandemic lockdowns. This year, he showed on a beach in Hawaii, and on top of an otherworldly salt mine in France’s Camargue lowlands.

The past three seasons have been shown and sold following a see-now-buy-now model. “We are such a big brand in terms of Instagram, it wasn’t possible to show something that isn’t available for sale for six months. The audience was super confused,” Jacquemus said. “As a creative, it’s super hard to make something and not show it, and then 6 months later go back into it. But as an owner, it’s super good because more people are wearing Jacquemus.”

“The next step is to be one of the biggest brands of our time,” he continued. “It’s my goal. It’s what I said to Anna Wintour five years ago, when she asked me, ‘Do you want to work for a big house?.’ I said I have a big house. It’s called Jacquemus. Right now it’s really the beginning.”

Williams, R. (2024, July 2). Jacquemus: a fashion star’s business vision. The Business of Fashion https://www.businessoffashion.com/articles/luxury/jacquemus-a-fashionstars-business-vision/

I think from even the beginning of the rise of Jacquemus, people struggled to understand what he was doing, he has always seemed quite lost along the way and it is evident there have been a lot of drastic changes for the brand e.g. their lack of consistency within social media, designs and themes etc.

Consumer profile: found using google AI Overview

Demographics

Age: Primarily Millennials and Gen-Z, with a strong focus on individuals aged 24–35.

Location: Global, but with a strong affinity for European (specifically French), and urban metropolitan lifestyles.

Income: Young professionals with disposable income who are willing to spend on "first luxury" items or accessible luxury brands.

Gender: Primarily women's fashion, but with a rapidly growing and significant menswear customer base.

Psychographics & Values

Social Media Savvy: Consumers who live on Instagram/TikTok and value "snappable" content, often buying products that are highly recognizable online.

Emotionally Driven: They connect with the brand's personal storytelling, often following the founder, Simon Porte Jacquemus, on social media and feeling part of his personal world.

Playful & Bold: They appreciate unique, "naïve" fashion with pops of colour, asymmetrical cuts, and, famously, miniature, impractical bags.

Culturally Aware: Interested in art, photography, cinema, and Provençal culture.

Inclusive: The consumer appreciates the brand's commitment to diversity in its marketing and casting.

Lifestyle & Buying Behaviour

Summer Enthusiasts: The brand is deeply rooted in the lifestyle of the South of France, attracting consumers who enjoy, or aspire to, a sunny, laid-back, "vacation" aesthetic.

“See-Now-Buy-Now": They are impulsive buyers, often purchasing products immediately after seeing them on Instagram or during viral "drop" campaigns.

Curated Wardrobe: They are selective with materials and cuts, aiming for a "French girl" look that is both, playful and simple.

Trend-Setters: They are often early adopters who prefer to stand out rather than blend in.

Savvy Shoppers: They often avoid fast fashion, favouring brands with a clear, authentic, and "humancentric" identity.

I think his social media presence appeals well to his millennial/gen z consumer, but his designs not so much, they are more targeted to an older audience. I think apart from Jacquemus bags and accessories, everything is targeted to those with a higher who can spend freely on luxury clothing. Considering his influencer marketing, the celebrities he uses for campaigns and shows are very socially relevant, but i feel like there are a lot more who would maybe catch the eye of a wider audience, more exclusive celebrities and influencers. I think the likes of Kendall Jenner and Gigi Hadid are seen a lot in many brands and can diminish the exclusivity of a luxury brand.

Marketing strategy:

Storytelling and Authenticity

• Common Strategy: In fashion marketing, storytelling involves weaving a compelling narrative about a brand's ethos, inspirations, and the stories behind collections. This strategy aims to create a unique brand identity that resonates with consumers on an emotional level, making the brand memorable and distinct.

• Jacquemus' Adaptation: Jacquemus leveraged storytelling by incorporating personal narratives and inspirations from Simon Porte Jacquemus' life into their collections, making each piece more than just fashion but a representation of emotions and memories.

Social Media Utilization

• Common Strategy: Social media marketing in fashion involves creating engaging content that showcases brand aesthetics and encourages interaction. It's a platform for brands to showcase their collections, engage in direct communication with customers, and build a community.

• Jacquemus' Adaptation: Jacquemus effectively used social media, especially Instagram, to showcase its minimalist yet emotionally resonant designs. The brand created visually appealing content that aligned with its brand identity and encouraged user-generated content, enhancing audience engagement and online presence.

Influencer Collaborations

• Common Strategy: Influencer collaborations involve partnering with individuals who have a significant following on social media or in the public eye. These collaborations help brands reach a wider audience, add credibility, and align the brand with the influencer's image.

• Jacquemus' Adaptation: Jacquemus collaborated with influencers, celebrities, and artists like KAWS, Rihanna, and Kim Kardashian, aligning their brand with these figures' broad reach and influence. This strategy helped it tap into new audiences and add a layer of desirability and credibility to the brand.

Unique Experiential Marketing

• Common Strategy: Experiential marketing in fashion involves creating unique, immersive experiences that engage customers beyond traditional advertising. This can include fashion shows in unique settings, pop-up stores, or interactive campaigns, providing memorable experiences that resonate with the audience.

• Jacquemus' Adaptation: Jacquemus excelled in experiential marketing by hosting fashion events in extraordinary settings like lavender fields, creating immersive experiences that were both memorable and aligned with its brand's aesthetic. It also engaged in creative campaigns like branded ice cream trucks and CGI-enhanced visuals.

Innovative Product Offerings

• Common Strategy: This involves creating products that are unique and distinct from competitors, often featuring innovative designs or concepts to capture the market's attention and set the brand apart.

• Jacquemus' Approach: Jacquemus introduced iconic accessories and unique fashion items, such as tiny bags and oversized straw hats. These distinctive products created a buzz in the fashion world, significantly standing out from the typical offerings of other brands.

Maintaining Brand Independence

• Common Strategy: This strategy focuses on retaining creative control and brand identity, often resisting takeovers or mergers to keep the brand's original vision and values intact.

• Jacquemus' Approach: Jacquemus prioritized strategic collaborations while maintaining brand independence. This allowed the brand to retain creative freedom and control over its brand identity, crucial in a market where uniqueness is highly valued.

Engaging Digital Marketing

• Common Strategy: Involves using digital channels like websites, social media, and email marketing to engage customers, often including tactics like retargeting visitors and leveraging technological advancements.

• Jacquemus' Adaptation: Jacquemus' digital marketing, particularly on social media, aligns with these approaches. It has effectively used digital channels for brand promotion and customer engagement.

Jacquemus' journey highlights the effectiveness of blending traditional marketing methods with innovative and personalized approaches. Its strategies not only demonstrate creativity and authenticity but also offer valuable lessons for other brands aspiring to make their mark in the competitive fashion industry.

Jacquemus' success story is an inspiration, showcasing how a small brand can achieve significant impact and recognition.

Pallavi Sehgal. (2023, December 26). Jacquemus: A Case Study of Innovation in Fashion Marketing [Video]. YouTube. https://www.youtube.com/watch?v=Gq-EvfA0Wcg

I think Jacquemus’ utilization of social media is very effective, it's where majority of the world reside daily and where he is most likely to be seen, he is with the times regarding the use of AI and CGI and knows what makes people stop scrolling, although I feel he relies very heavily on this social media marketing, these days, it doesn't take people long to become bored of something, even when it looks

like the most exciting thing in the world, people then want to start having personal experiences such as going into stores or attending events, and this isn't possible for many Jacquemus followers considering their lack of shops.

Jacquemus’ hottest catwalk moments around France: From the cult spring-summer 2020 anniversary show in Valensole’s lavender fields to the latest fall-winter 2022 défilé in Southern France’s Camargue surrounded by gigantic mounds of salt

Many of Jacquemus’ collections continue to be inspired by the designer’s childhood memories, holidays and his mother. It’s all about memories that Simon Porte Jacquemus pays homage to through geometric designs and evocative fabrics conveying a sense of freedom as if the models on the catwalk were ideally swimming in the sea or basking in the sun, joyful and innocent.

The brand’s styles are minimalist, asymmetrical, surrealist and effortless. Jacquemus apparel was initially conceived to dress a woman gaining self-confidence through her clothes, thus enhancing her uniqueness.

After a series of heartfelt womenswear-only collections, often described as ‘biographies’, Simon Porte Jacquemus decided to debut his first menswear collection by staging a spring-summer 2019 show at the Calanque de Sormiou between Marseille and Cassis in June 2018. True to the Jacquemus tradition of naming the designer’s collections, like the previous “La Piscine”, “La Bomba”, and “Le Souk” seasons, the brand’s first men’s collection was called “Le Gadjo,” which roughly translates to “the gipsy.”

The best collection to mention to enhance the brand’s style and history is the 10th-anniversary springsummer 2020 show in 2019, known as “Le Coup De Soleil” or “the sunburn” in English.

The runway show was in Valensole, a few miles from Simon Porte Jacquemus’ childhood home. The fashion show, surrounded by lavender flowers, created a surreal scene for a fashion moment that is still unforgettable today.

Taking inspiration from all the women, people and artists who inspired him to reach the highest point, the key muses for Simon Porte Jacquemus were Hockey, Christo and Jeanne-Claud. The 10-yearanniversary collection took us back to the springtime of his life, as seen in his designs’ colours and prints.

Back to the Ville Lumière: When Jacquemus wasn’t touring the country with shows, the brand was rocking at Paris Fashion Week

Let’s look at another collection that more closely reflects the personal history of Simon Porte Jacquemus: L’Année 97, standing for The Year 1997 and referring to the co-ed autumn-winter collection 2020/21.

The year 1997 is not just any ordinary year, but the time the designer first created a skirt for his mother at the age of 7. The starting point for this collection was that Jacquemus was worried about himself, so he started to question things: are people really in need of fashion? Is all this useful?

These doubts came to him for the first time in his career, so he presented outfits that could be sophisticated yet minimal.

Each piece in this collection still best represents the brand’s identity, consisting of a typical hot girl and a hype boy, but everyone looks sexy. Below, we selected the most recognisable looks from L’Année 97 collection to enhance Simon Porte Jacquemus’ signature style.

The look on the left was the focus of this collection’s theme and inspiration. French supermodel and actress Laetitia Casta wore the skirt Simon Porte Jacquemus created for his beloved mother, a long linen pencil skirt paired with an off-shoulder knit bandeau and a dark beige best-seller bag called Le Bambino.

The look in the middle is outstanding to show the country-boy aesthetic, as the model wore a yellow vest, loose-fitting shirt and cargo trousers. Last but not least, the look on the right presents an innovative but minimalist businesswoman wearing an oversised blazer, asymmetric dress and high boots. The model also went with a bandana and a belted bag by Jacquemus to reveal this look’s charismatic, chic appeal.

How Jacquemus is shaking up the fashion world | ISTITUTO MARANGONI. (n.d.).

ISTITUTOMARANGONI. https://www.istitutomarangoni.com/en/maze35/gamechangers/how-jacquemus-is-shaking-up-the-fashionworld?fbclid=PAVERFWAP6vh9leHRuA2FlbQIxMABzcnRjBmFwcF9pZA8xMjQ wMjQ1NzQyODc0MTQAAadzmwnbCLtDiXu6TJlRkWbD7F0XCxENNhjIj9YaADqwAGDYz9lQD91MurgIA_aem_gtWnxWf 3Ex4WWbpLaHBpog

FOR THE DREAMERS. SIMON PORTE JACQUEMUS DELIVERS A 10 YEAR ANNIVERSARY SHOW TO REMEMBER

The smiley boy from the South of France celebrates a decade of Jacquemus amongst the lavender and a lot of love.

This history came full circle in the form of Provence; Jacquemus’ hometown, and in the form of summer, a season he seems an eternal patron of. It was a setting so spectacular, so dreamlike, many pondered whether it could be the most beautiful runway they’d ever witnessed, a “made for Instagram” moment in a world of plenty. But for Jacquemus – the eternally sunny boy from the South – the surreality, the Provençal cliche of it all was intentional. “I wanted a place that looked like a postcard almost too much like a postcard, even. It was important to me to turn that cliché into something artistic, with that pink line running through the middle like a contemporary art installation by Christo, or a painting by David Hockney,” the designer told WWD

And like a painting it was. Many have compared the young prodigy to Karl Lagerfeld, a comparison which after yesterday’s magical show seems even more compelling. Much like Lagerfeld, a master of realising fantasy, Jacquemus too has an incredible knack of telling – and selling – a dream. Like his

inimitable predecessor (and a hero of his), he takes us on an experiential voyage into his mind; a restless, fecund imagination played out via a momentous stage and equally momentous appendages. Yesterday’s show the apogee of such; he built the dream and we all wanted to be there, we all want to wear those clothes, we all want to part of that fantasy.

“This collection is not at all about Provence. It’s about the codes of the house, about other places, about all these women who have inspired me that were not from here, who were overdressed, and these guys who wear too many prints, but who still look cool,” he told WWD. This new fascination with print a particular highlight; bucket hats sprouting cornflower blue gerberas, artichoke shirts, painterly shrub and abstract brushstrokes, a striking mélange of wild print which was pleasingly cohesive despite its incongruity.

As always, the 29-year-old designer makes clothes – and stories – for her, and the dreamers, evoking this kind of surrealist wonderland you want to so desperately be a part of. It’s also a world every fashion-ready celebrity wants to be a part of. His pull in popular culture is hard to quantify, but consider this: when Beyoncé is buying pieces from your online boutique on her own accord, it’s big. Unlike other designers, Jacquemus doesn’t use his designs as a kind of influencer currency; all the girls who wear his garb, his teeny-tiny handbags, his ornamental heels, do it because they love the brand, genuinely. It “is the biggest compliment,” he tells Vogue UK. “Not just because they are a star, but because they have everything and they chose to wear Jacquemus.”

Ingenious, visionary, joyous; there are many superlatives to describe the boy. But above all else he is happy, and that’s the way he wants to be. “When people ask me where I see myself in 10 years, I say happy. I want to follow something that drives me to happiness.”

For the dreamers. Simon Porte Jacquemus delivers a 10 year anniversary show to remember - Grazia. (2019, June 27). Grazia. https://graziamagazine.com/articles/the-maker-ofdreams-simon-porte-jacquemus-delivers-a-10-year-anniversary-show-to-remember/

Jacquemus using patterns like stripes or polka dots in his designs is not out of the ordinary, but to have an artichoke pattern feels to me like it doesn't really align with the brands codes. I understand how he had got to that point and was inspired by the men and women he grew up around, and the crazy patterns, but it is not something we see commonly from Jacquemus and I don’t think things like this would be something that would be very popular for Jacquemus.

L’ANNÉE 97. JACQUEMUS AW20

Last season‘s Provençal dream is hard to beat. So, in a way, Simon Porte Jacquemus didn’t intend to make his autumn-winter 2020 even more extraordinary and Instagrammable. Not meaning it was modest or small – showing at La Défense stadium with Laetitia Casta, the Hadid's and a pack of supermodels isn’t really a quiet gesture. But design-wise, Jacquemus returned to the core of his style: it’s sleeker, cleaner, less quirky, toned (except for the brief splash of bold pink). And incredibly sexy (without being vulgar): the body-conscious fit, cropped cardigans, wrapped micro-skirts, thighhigh boots are just some of the “hot” pieces. Guys followed girls in pants, which appeared to have their flies open (a trompe l’oeil). There were oversized blazers and roomy coats for both women and men, creating a sense of concealed sensuality. While we all got used to Jacquemus’ sun-drenched, French flavour, it’s good to see designers go out of their (already successful) comfort zones. The backstory behind the collection was as personal and profound as it could be: “I was seven when I made a skirt out of a curtain for my mother, and she brought me to school wearing it.” The linen pencil skirt, which opened the show on Casta, was a personal memento of that, and the reason the fabric was an anchor for the collection. But business-wise, Porte Jacquemus realized that he could use his

buying power to change things with his fabric manufacturer. “We’ve been working with them for 10 years, but they didn’t have a sustainable fabric that we wanted. Now, they do – because of the size of the order I can make. But you know,” he said with a smile, “what I want to say is, it isn’t just for ecology, it’s also people their rhythm of work also has to have sense. I don’t say I’m a green brand or anything like that; it’s not marketing. But I think we have to think more like my grandparents did: like, we have tomatoes in the garden, so we eat tomatoes.” Wise words for the industry to consider.

Design & Culture by Ed. (2020, January 24). L’Année 97. Jacquemus AW20.

https://designandculturebyed.com/2020/01/24/jacquemus-aw20/

It is evident here that there is a lack of consistency within Jacquemus’ brand, here he has gone back to his original style, but the Mediterranean codes are lost. There is also one male and one female outfit which sticks out like a sore thumb in hot pink, whereas everything else is very neutral. Although this fushia pink is not an unusual colour for Jacquemus to use, it is usually used in a collective of other colours, where his other designs are blue or yellow, bright summer colours, not in this way. It makes them stand out definitely, but for me it stands out for the wrong reasons, it makes me, and likely others, confused about why he has done this or what for. Where he talks about the use of sustainable fabrics, it is very clear that the brand it not very sustainable, but he says it in a way as if he doesn’t really care and he will make use with what he has, which is fair, but to target the millenial/gen z audience he is at some point going to have to look into going green, or at least make developments on the matter. This type of neglect is what could make the new consumer shy away from the brand or make the regular consumer turn their back on them.

Who is the brand not targeting?

16-23- the younger millennial and gen z- these are at the age where most are in school/ university, with part time jobs and minimal bills. Lots are living at home and earning up to £1000 (based on UK minimum wage and personal experience) after typical bills like phones, food, a lot of these still have up to or over £500 disposable money after payday, it isn't unlikely that they would want to treat themselves to a luxury bag at the end of the month

Sustainability Advocates: The brand does not presently focus on the strictly "eco-conscious" consumer segment. It has been given a "Not Good Enough" rating by Good On You, especially nowadays, this is the type of thing that could cancel a brand. It is something a lot of people look into before even shopping from a brand and is what will make a vast amount of the new consumer avoid Jacquemus.

Inclusive Sizing: According to some customers, Jacquemus products are smaller than that of other luxury companies, which may unknowingly turn off buyers who prefer more inclusive or standard European sizing.

HOW JACQUEMUS BECAME INSTAGRAM’S FAVOURITE BRAND: MARKETING TRICKS BEHIND ITS AESTHETIC

1 Design for the Feed First Jacquemus designs with the understanding that clothing today is first encountered digitally, and only later if at all physically. Every piece is conceived with the feed in mind: strong silhouettes, clean lines, colours that photograph like a dream, and details that read instantly at scroll speed. There’s no excess visual noise competing for attention. This is fashion that doesn’t need explanation because it already knows where it’s going to live. By prioritizing how a product looks online, Jacquemus ensures that discovery feels effortless, organic, and inevitable.

2 Create One Hero Item That Goes Viral

Jacquemus understands the power of a single, unforgettable object. Instead of asking every product to perform equally, the brand lets one hero item carry the cultural weight. The now-iconic micro bag wasn’t designed to be practical; it was designed to be discussed. It sparked jokes, think pieces, outfit photos, and discourse and in doing so, it became a shortcut to brand recognition. When one item becomes shorthand for your entire universe, marketing stops being a push and starts behaving like a ripple.

3 Use Extreme Scale as a Visual Weapon

Jacquemus knows that subtlety is rarely rewarded by the algorithm. So it leans into exaggeration bags that are impossibly small, hats that feel theatrically oversized, proportions that border on surreal. These pieces function less like accessories and more like visual punctuation marks. Scale becomes the story. In a feed saturated with predictability, exaggeration reads as confidence, and confidence is what earns a second look. Jacquemus doesn’t whisper its identity; it lets proportion say it out loud.

4 Turn Runway Shows Into Landscapes

A Jacquemus runway isn’t a venue; it’s a location you want to emotionally move into. Lavender fields, wheat farms, endless horizons these shows don’t ask you to look at clothes so much as feel a place. It’s fashion as escapism, staged so beautifully that even people who don’t care about hems or tailoring feel compelled to repost. By transforming the runway into a cinematic landscape, Jacquemus ensures the show lives far beyond fashion week, circulating endlessly as imagery rather than event documentation.

5 Build Consistent Aesthetic Codes

Jacquemus doesn’t chase trends; it repeats itself strategically. Sun-bleached tones, Mediterranean warmth, open space, softness without fragility. These codes show up again and again until recognition becomes instant. You don’t need a logo to know it’s Jacquemus; the mood does the branding for you. Consistency here isn’t boring it’s trust-building. And in an algorithmic world, familiarity is often the fastest route to affection.

6 Make the Founder the Storyteller

Simon Porte Jacquemus doesn’t hide behind the brand; he is the brand’s emotional interface. His presence makes Jacquemus feel authored, not manufactured. Posts feel like notes from a friend with excellent taste rather than statements from a luxury house. This founder-led storytelling creates intimacy at scale something most brands try (and fail) to simulate with tone-of-voice decks and community managers.

7 Let the Image Do the Talking Captions at Jacquemus are often an afterthought and that’s the point. No hard sell, no storytelling overload, no desperate calls to action. Just imagery strong enough to stand alone. This restraint makes the content feel editorial, not commercial, which is precisely why people engage with it. The brand trusts its audience to get it and audiences tend to reward that trust with saves, shares, and obsession.

8 Use Humor to Disarm Luxury

Luxury doesn’t usually joke but Jacquemus does, gently and intelligently. There’s a wink baked into the visuals, a sense that the brand knows fashion is a little ridiculous and is fine with that. This humor makes Jacquemus feel modern, self-aware, and culturally fluent. In a space where seriousness often reads as stiffness, levity becomes a competitive advantage.

9 Engineer Scroll-Stopping Visuals

Every Jacquemus post understands one brutal truth: you have half a second. High contrast, clean composition, unexpected framing these visuals interrupt muscle memory scrolling. They don’t beg for attention; they quietly hijack it. The brand designs content less like advertising and more like visual punctuation in a crowded feed.

10 Stage IRL Moments for Digital Afterlife

When Jacquemus does something in the real world, it’s never just for the people physically there. Pop-ups, installations, street-level stunts all are designed with one question in mind: How will this photograph? The physical experience becomes raw material for digital storytelling, extending its lifespan exponentially through reposts and press.

11 Turn Retail Into an Event

Shopping Jacquemus isn’t transactional it’s episodic. Limited pop-ups, unexpected locations, fleeting moments. The brand understands that temporariness creates urgency, and urgency creates content. You don’t just buy; you document that you were there. Retail becomes theatre, and the audience becomes the marketing team.

12 Seed Culture, Not Ads

Jacquemus placements rarely scream sponsorship. Instead, the brand appears on people who feel culturally aligned models, editors, celebrities who already live in the brand’s universe. The result feels organic, almost accidental. And in today’s climate, perceived authenticity often outperforms reach.

13 Embrace Lo-Fi Luxury

Not everything needs studio lighting. Jacquemus thrives in imperfection iPhone photos, casual angles, unpolished moments. This lo-fi approach humanizes the brand without diluting its luxury status. It feels current, intimate, and very online.

14 Control the Drop Timing

Jacquemus understands that attention is perishable. When momentum builds, the brand moves fast. Drops, announcements, and availability align closely with peak buzz, preventing interest from cooling. It’s a masterclass in cultural timing disguised as effortless cool.

15 Sell Escapism Above All Else

At its core, Jacquemus doesn’t sell clothes it sells a feeling. Sun, ease, romance, simplicity. In a chaotic digital world, the brand offers visual calm and emotional transportation. People follow not because they need another outfit, but because they want to live if only briefly inside that world.

WHY JACQUEMUS WORKS (AND WHY SO MANY BRANDS MISS THE POINT)

Jacquemus didn’t become Instagram’s favourite brand by mastering the platform it did it by mastering taste. Every marketing move feels less like strategy and more like instinct, but that’s precisely the strategy. This is a brand that understands that people don’t share products; they share feelings, images, jokes, and moments that make them feel in on something. Jacquemus doesn’t chase attention it creates environments where attention lingers naturally. The real lesson here isn’t to copy the silhouettes, the lavender fields, or the micro bags; it’s to build a world so clear, confident, and emotionally legible that the internet does the distribution for you. In a landscape obsessed with

growth hacks and optimization, Jacquemus reminds us that good taste applied consistently and without apology is still the most scalable marketing tool there is.

Bintemohiuddin, Y. (2025, December 20). How Jacquemus Became Instagram’s favorite brand: 15 marketing tricks behind its aesthetic | Amra and Elma LLC. Amra and Elma LLC https://www.amraandelma.com/how-jacquemus-became-instagrams-favoritebrand/

Social Media Mastery: Speaking the Language of Gen Z and Millennials

Jacquemus has harnessed the power of Instagram to become a dominant voice in luxury fashion. With over 5.4 million followers, the platform is more than just a promotional tool it is the brand’s creative canvas. Posts range from carefully curated photoshoots to playful behind-the-scenes glimpses, creating an accessible yet aspirational image.

Authentic Engagement: Playful captions and direct interaction with followers make the brand feel accessible.

Curated Aesthetic: Posts reflect a cohesive brand image minimalist, colorful, and whimsical. Viral Campaigns: Jacquemus uses Instagram to amplify the reach of its experiential and guerrilla campaigns, such as the CGI-rendered subway car bag.

Guerrilla Marketing:

CGI Campaigns: Digital guerrilla tactics like the oversized Jacquemus bags replacing subway cars or appearing in Parisian streets blurred the line between reality and fantasy.

Surprise Installations: Oversized sculptures of Jacquemus products in urban spaces created buzz and became Instagrammable moments.

Example: The “Le Chiquito” bag was reimagined as a massive sculpture placed in Paris streets, merging urban landscapes with high fashion. This whimsical display made the campaign highly shareable on social media.

Jacquemus' marketing campaigns work because they are designed with visual impact in mind, making them inherently Instagram-ready and ensuring maximum shareability across digital platforms. The blend of art, fashion, and surrealism creates a sense of memorability, allowing the brand to remain top-of-mind in a competitive industry. Additionally, Jacquemus strikes a balance between exclusivity and inclusivity; while the brand retains its luxury appeal, the accessible and visually captivating nature of its campaigns allows even those outside the luxury space to engage and participate in the experience.

This video works well with targeting gen z, using tools like AI to create surrealism and draw in an audience. In terms of aesthetic, I don't feel like it fits in with Jacquemus’ Instagram feed, in fact, the whole Jacquemus Instagram page feels kind of all over the place There is a mixture of campaigns, red carpet shots, and Jacquemus personal life, images and videos taken and posted by Jacquemus himself are some of the most popular on the feed and what gain the most recognition, but I think these should be posted on his personal Instagram, to try and keep in line with Jacquemus’ codes and keep the brands page consistent, it doesn't look like it flows. The feed is very neutral with beiges, and burgundy, with random pops of colour dotted around, and random posts of the sea, which is what I think makes it look quite mis-matched.

Sustainability: A Forward-Thinking Approach

In an era where consumers are increasingly eco-conscious, Jacquemus has made strides toward sustainability. The brand focuses on creating timeless, high-quality pieces that transcend seasonal trends, reducing waste in the process. Materials like organic cotton and recycled fabrics are frequently used, aligning the brand with global efforts to make fashion more responsible.

This approach to sustainability is not just about ticking boxes; it is integrated into the brand’s ethos. By positioning sustainability as a core value, Jacquemus appeals to a demographic that values ethical consumption as much as aesthetics.

Key Takeaways for Marketers

Jacquemus’ marketing strategy offers valuable insights for brands aiming to connect with modern audiences:

1. Emotional Branding: Build a narrative that resonates deeply with your audience.

2. Experiential Campaigns: Create memorable, shareable moments that extend the brand experience beyond products.

3. Social Media Integration: Use platforms like Instagram not just for visibility but as a tool for meaningful engagement.

4. Collaborative Growth: Partner strategically to enter new markets or demographics while staying true to your core identity.

5. Sustainability: Align with global movements by integrating ethical practices into your brand story.

TacticOne. (n.d.). Case Study: Jacquemus’ Innovative Marketing – a Blueprint for Modern Luxury. https://www.tacticone.co/blog/jacquemus-innovative-marketing-for-modernluxury#:~:text=Guerrilla%20Marketing:,and%20participate%20in%20the%20experie nce.

TikTok presence

In the maze of a fashion industry that becomes more hybrid every day, two luxury brands stand out as true digital virtuosos: Loewe and Jacquemus. Their rapid success on TikTok a platform where the audience is typically less receptive to brands does not rely on traditional advertising strategies or an artificially constructed presence, but on a deep and nuanced understanding of what this generation of users perceives as authenticity. Loewe and Jacquemus’ secret lies in their ability to go beyond simple visual content distribution to achieve an emotional "vibe." TikTok, with its unique algorithm that functions more through feelings and associations than fixed categories, offers fertile ground for this type of connection.

Here, videos are not categorized like on traditional platforms. Instead, algorithms create “bubbles” that resonate with specific visual and cultural cues. The brands have thus learned to use popular platform formats, such as ASMR, not only to capture attention but also to immerse users in their universe. This choice is far from trivial: simultaneously sensory and intriguing, ASMR becomes an invitation to discover craftsmanship, where even the sound of materials becomes a narrative key. By manipulating video structures and playing with disruptive formats, Loewe and Jacquemus offer a complete immersion into their world. Far from the traditional polish of luxury advertising, these brands reveal their behind-the-scenes moments: a couture workshop, the preparation of a campaign, moments captured before and after a runway show.

This transparency, presented in an immersive and engaging format, allows users to feel connected to rarely seen aspects of the fashion world. This intimacy-driven strategy enables them to captivate a diverse audience: fashion fans appreciate the details, casual observers are charmed by the simplicity of the approach, and connoisseurs view this transparency as an invitation to appreciate craftsmanship. On TikTok, the challenge for a luxury brand is to adopt the platform's codes while staying true to its identity. Loewe and Jacquemus strike the perfect balance between “stay” content anchoring the brand within its expected aesthetic and “play” content more disruptive elements, sometimes humorous or provocative. For example, Jacquemus blends humor and glamour in absurd scenarios, evoking the landscapes and colors of Southern France while adding a touch of humor. Loewe, on the other hand, plays with visual interpretations, making a simple object iconic through the power of its universe.

At a time when authenticity is key to engagement, Loewe and Jacquemus demonstrate that it is not enough to rely on a glamorous image or influential ambassadors. As highlighted by Tatiana Dupond, a TikTok user, authenticity lies in a brand's ability to experiment and test the limits of its own identity without ever betraying its essence. On TikTok, a successful video offers an authentic moment of discovery not purely commercial content, but a capsule that speaks for itself and creates a unique connection with each viewer. Loewe and Jacquemus seem to understand this well. On TikTok, luxury is no longer solely about visual sophistication, but about sincere, immediate, and vibrant storytelling that invites users not to consume, but to share a unique moment with the brand.

Devaux, M. (n.d.). Jacquemus, Loewe and the art of mastering TikTok. Nss Magazine.

https://www.nssmag.com/en/fashion/38782/jacquemus-loewe-tiktok-strategymarketing-campaigns-gen-z

After looking at Jacquemus’ Instagram and TikTok presence, TikTok is the place where he should post all of his personal content, like behind the scenes, interviews, everyday life, instead of on his Instagram feed. I think it would benefit the brand to keep their Instagram feed strictly campaign, editorial and aesthetic posts which fit in with the colour and theme of the brand, even occasionally posting on the Instagram story letting followers know that there are exclusive BTS or insider scoops over on their TikTok account. This will make people want to follow their TikTok account instead of just coming across it as their scrolling on the for you page, knowing that they'd get to see content which they won't be able to ever find on their Instagram

Market level- found with ai overview

Modern luxury market level- proven through social media presence targeting gen z and millennials and socially relevant tools like influencers, and use of AI tools.

Jacquemus has redefined luxury fashion marketing by turning the traditional "marketing pyramid" on its head, focusing instead on community-driven, surrealist digital storytelling. The brand positions itself as a "modern luxury" house that blends high-end desirability with accessible, digital-first engagement. Key aspects of the Jacquemus marketing approach include:

• Surrealist Digital Strategy: Rather than traditional, expensive, and static advertising, Jacquemus uses viral, CGI-driven content, such as giant Le Bambino bags appearing in Paris streets. This creates "scroll-stopping" moments that generate high organic engagement.

• "Moments" over Products: The brand markets a lifestyle and emotional experiences sun-soaked Provence, nostalgia, and Mediterranean charm rather than just selling clothes.

• Radical Personalization & Authenticity: Founder Simon Porte Jacquemus acts as the face of the brand, inviting the audience into his personal life, which fosters deep, authentic connections and a loyal community.

• "See Now, Buy Now" Approach: Jacquemus often aligns its runway shows with immediate, accessible online sales, disrupting the traditional, slow fashion calendar.

• Strategic Collaborations: Partnerships with brands like Nike and Evian are used to bridge the gap between niche luxury and mainstream, younger audiences.

Why it Works:

This strategy enables Jacquemus to keep the brand image light-hearted, youthful, and relatable while maintaining a high price point for its products, especially handbags. By showing that innovation, adaptability, and smaller-scale, digital-first campaigns can outperform higher-end, conventional marketing budgets, it challenges the concept of traditional luxury.

Jacquemus The Future of Fashion Marketing.

Nowadays, marketing is the one tool a brand can solely rely on to ensure their rapport drives consumer engagement, builds authentic connections through digital storytelling, and enhances brand identity in an increasingly competitive and trend-sensitive market.

Jacquemus applies this theory in their digital campaigns by leveraging vibrant visuals and storytelling that evoke emotional connections, using social media to create immersive experiences that resonate with their audience. They often blend high fashion with relatable content, showcasing their collections in picturesque settings, engaging followers through interactive content, and collaborating with influencers to enhance authenticity and reach. This approach not only strengthens brand identity but also fosters a strong community around their distinctive aesthetic.

Jacquemus’ bold marketing approach has left a profound mark on the fashion industry, challenging conventional ideas and reshaping the essence of a successful digital-age brand. With the rise of artificial intelligence, might we witness more fashion brands leaning into fresh, inventive marketing strategies driven by these new technological possibilities?

"Jacquemus arrives in Capri"

With less than a week before their summer show “La Casa”, Jacquemus opened a new boutique on the island of Capri in celebration of their 15th-anniversary in 2024. To mark the occasion, the fashion brand posted a video on social media showing its design team parading oversized versions of the atelier’s essential tools giant yellow buttons, enormous paper clips, coiled measuring tapes, and massive rolls of thread outside the store.

This would definitely catch the eye of someone scrolling on Instagram, it would make people stop and wonder what they are doing, what it is for, and then will attract them too look deeper into the brand, but to me doesn't really fit with the brands regular aesthetic, the use of lab coats and large tools doesn't resonate with the brands summer, luxury lifestyle, the only thing that really makes sense is the location.

Jacquemus makes a stop in Saint Tropez to open a boutique, restaurant and beach-club.

Summer 2024 knew no bounds. Simon Porte Jacquemus has once again captured attention, this time with the announcement of the Jacquemus boutique in Saint-Tropez. Known for their viral stunts, the French fashion brand unveiled their space with a series of vibrant social media clips that perfectly embody the spirit of summer. The videos feature playful scenes like strolling through Saint-Tropez with oversized postcards, sipping from giant beachside drinks, lounging on 18 sun-beds, and even getting “JACQUEMUS” branded as a sunburn. The brand’s bold and youthful online presence continues to break boundaries and keep the fashion world buzzing.

The Guirlande Holiday collection featured model Kendall Jenner and Blackpink’s Jennie. Within the campaign, Jenner showcases ready-to-wear pieces and accessories, from cosy shearling robes to shimmering dresses. Embracing the festive spirit, offering holiday-inspired takes on Jacquemus’s iconic silhouettes, the winter-ready colour palette sparkles with silver and gold, complemented by accents of red, pine green, and white which is showcased on their Instagram campaign.

This campaign with the use of a golden retriever blow-drying Jennie Kims hair was very humourous and sarcastic, something that Jacquemus said was his intention from the very beginning, we see this through some of his campaigns, but not all the time, which is why it seems like his brand is very inconsistent and lost.

"Love in NYC".

Jacquemus’ “Love in NYC” campaign perfectly captures the essence of romance and excitement in one of the world’s most dynamic cities. For the debut of its first flagship store outside of Europe, the French brand chose the trendy SoHo district a neighbourhood known for its creative energy, upscale fashion boutiques, vibrant art galleries, and world-class dining. This inaugural American outpost marks a significant milestone for Jacquemus in the heart of Manhattan. The “Love in NYC” campaign is a playful and whimsical tribute to the city’s unique blend of diversity, energy, and charm. It showcases love in all its forms and magnitudes, through a series of imaginative and larger-than-life visuals that reflect the spirit of New York. From oversized coffee cups to children dressed as the Empire State Building, to giant slices of pizza, the campaign blends humour with affection, capturing the city’s ever-evolving landscape and the boundless ways in which love manifests itself in everyday life.

For someone not understanding the story behind this campaign, it can be seen as confusing for a mediterranean, French summer focused brand to go so over the top for a campaign about New York

City. It's very black and white coded with large city landmarks which is not Jacquemus’ vibe at all This feels like Jacquemus is trying to fit in to a popular place, which is something that he has never wanted to do, Jacquemus was so popular because they didn't follow trends or traditional luxury codes.

"Are you ready for Jacquemus?"

In celebration of the Paris 2024 Summer Olympics, Jacquemus unveiled its playful and vibrant campaign “ARE YOU READY FOR JACQUEMUS? FROM FRANCE WITH LOVE,” which brought a fresh, sporty, and sun-kissed energy to the brand. As the world turned its attention to Paris for the global sporting event, the campaign seamlessly blends the spirit of competition with the whimsical charm that has come to define Jacquemus.

True to the brand’s signature surrealism, the campaign took the concept of sports to bold new heights, transforming everyday athletic imagery into larger-than-life spectacles. From oversized tennis rackets to handbags that run track, the playful nod to the French summer lifestyle pushed the boundaries of reality, turning traditional sports into dreamlike, oversized objects.

Apart from a collaboration with Nike, sports have never been something I feel like was considered by Jacquemus and contradicts the luxury summer lifestyle that Jacquemus is centred around. AlTauqi, A. (2024, November 6). PAUSE Highlights: How Jacquemus is Pioneering the Future of Fashion Marketing. PAUSE Online | Men’s Fashion, Street Style, Fashion News & Streetwear. https://pausemag.co.uk/2024/11/pause-highlights-howjacquemus-is-pioneering-the-future-of-fashionmarketing/#:~:text=Nowadays%2C%20marketing%20is%20the%20one,moments%2 0where%20Jacquemus%20defied%20expectations

In just over a decade, Jacquemus has become France’s most disruptive luxury success story –projected to double its revenue to $200M by 2025. The secret? A trifecta of brand strategy: immersive storytelling, founder-as-icon authenticity, and retail spaces that blur the lines between commerce and culture.

1. PERSONALITY: STOP HIDING YOUR MAGIC

The lie they sold you? That staying small is humble. That self-promotion is tacky. Jacquemus proves otherwise. Simon doesn’t “curate” his life for the brand…he is the brand. His dog, his husband, his Provençal sunsets – they’re not content strategy. They’re proof that people don’t buy products; they buy the world those products exist in. Unlike reclusive creatives like Demna (Balenciaga), Simon leverages his personal life – his Provençal roots, his partner, even his dappled dachshund as brand collateral.

You are not “cringe” for loving your work and promoting your art.

LESSON - YOU'RE THE MAGIC

Be authentic: Post your chaos. Your lunch. Your raw process. Let them see the sweat and the silliness.

Jacquemus’ secret? 4.7% engagement (3x the luxury average) by making the founder the feed. Curate your “personal” social media feeds to let that merge seamlessly with your brand content, creating connection.

Mind your tone. Playful, self-aware, and deliberately frivolous – luxury without pretension.

Price Architecture: Democratised entry points (e.g. $250 sunglasses) alongside high-margin tailoring.

2. PLACE. YOUR ROOTS ARE YOUR SUPERPOWER

Despite how it may occasionally feel, we are not 100% made of wine – but we all have a terroir.

Jacquemus proves that place isn’t just inspiration – it’s infrastructure. Those blue tiles at Selfridges? Simon’s childhood bathroom through the lens of memory. The clay walls in Paris? The literal Earth was shipped from Provence. Every pillow, every texture, every runway location (lavender fields! salt flats! Versailles!) isn’t just staging – it’s world-building.

And don’t think you need to be from the lavender scented Cote D’Azur to let it shine. Witness Scottish Jamaican designer Nicolas Daley. Your roots aren’t just background – they’re the pull that helps people orbit your universe. This is how you turn geography into gravity.

LESSON - LET PEOPLE SEE YOU IN YOUR STORYTELLING

Runway as Land Art:

Salt flats. Wheat fields. Versailles. Not a show a cultural statement. 2022 lavender field show = $28M earned media

3. RETAIL AS PLACE

Jacquemus’ stores aren’t just transactional spaces they’re 3D mood boards that fuse brand DNA with tactile experience. In an industry where physical retail has become a high-risk proposition, Jacquemus is reengineering the boutique as a strategic asset not for distribution, but for desirability. On Avenue Montaigne, amidst the legacy gloss of Dior and Louis Vuitton, the brand’s new 3,200-square-foot flagship operates on a different logic. It makes Jacquemus’ origin story so tactile, so immersive, that walking into a store feels like stepping inside the brand’s DNA. The Montaigne boutique is updated like a campaign shoot props change monthly, the interior acts as set design.

The new store in St Tropez takes that Cote D’Azur vibe to its natural conclusion in that it has its own beach complete with branded umbrellonis and loungers.

What you see is all there is and that is precisely the point.

LESSON - TERROIR IN STORYTELLING

Selfridges Pop-Up A surrealist bathroom (blue tiles, childhood nostalgia). Paris Boutique Pillow forts mimicking Provençal linen closets. Clay Walls Literal earth from the South of France. A beach!

Result: Stores average 12K+ organic tags/month – free marketing baked into the walls Pop-Up Logic: Portofino, Musée Picasso, Hawaiian beaches.

A MASTERCLASS IN MODERN BRAND-BUILDING

Jacquemus is a case study in how to make luxury breathe again. By turning Provencal lemons into lemonade, Simon Porte Jacquemus proved that heritage and hype aren’t opposites they’re collaborators. The lesson for legacy houses? Stop guarding the gates. Burn the lookbook. Serve rosé at the runway show. Luxury’s next era belongs to those who dare to make it feel as extravagant as it costs.

Lab, L. (2026, January 31). Jacquemus Brand Strategy | 3 lessons in Modern Brand Building. Living Lab https://wearelivinglab.com/jacquemus-brand-strategy-amasterclass/#:~:text=Inside%20this%20story&text=In%20just%20over%20a%20deca de,lines%20between%20commerce%20and%20culture.

What's missing?

Many argue that the company's over-reliance on surrealist, social media-first stunts, such as enormous bag trams or AI-generated images, risks putting short-term engagement ahead of long-

term brand loyalty. As viewers become used to the unexpected from Jacquemus, there is a worry that the "viral approach" will eventually experience a decrease in effectiveness. Instagram is crucial to the brand's success, changing trends could jeopardise the high engagement that is currently fuelled by "see-now-buy-now" viral posts.

The only sustainable factors about Jacquemus are that they use organic fabrics like cotton and linen. Other than that, the brand does not claim to be sustainable, which, especially now, is what would make someone turn their back on the brand or not even take a second look.

There is a lack of personal experience, which is what a lot of people long for when it comes to their favourite brands. The opportunity to experience seeing the clothes in person rather than online, whether that be images from a fashion show, or shopping on the website, can be crucial to a customer's shopping experience. There are minimal stores in inaccessible areas like NYC, the French Alps, and larger department stores like Selfridges and Flannels, which denies the customer of having an enjoyable, personal experience of shopping Jacquemus in their own store.

Visual cues

Colour palette- inspired by Provence, terracotta, sunflower yellow, with pops of bright pink and sky blue, very natural and nostalgic to Jacquemus.

Typography- Geometric sans- serif, bold, all caps. Minimal, quiet and confident.

From Dua Lipa to Jacquemus: Guillaume Sbalchiero talks about his “accidental” approach to design. (2026, February 27). https://www.itsnicethat.com/articles/guillaumesbalchiero-graphic-design-290321

Logo and branding marks- gold hardware on bags- expensive, luxurious look, always in the same position. Black embroidered logo- clean and straight. White logo over campaign, Instagram postsBold, stands out, signature to Jacquemus.

Jacquemus Le Chiquito Noeud bag for Women - Black in UAE | level Shoes. (n.d.).

https://www.levelshoes.com/jacquemus-le-chiquito-noeud-bag-black-leather-womentop-handlefxwqd5.html?srsltid=AfmBOoqEMvnk4ic04vGuuLwY7MzuNZb2LH1Cjgl-

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From Dua Lipa to Jacquemus: Guillaume Sbalchiero talks about his “accidental” approach to design. (2026b, February 27). https://www.itsnicethat.com/articles/guillaumesbalchiero-graphic-design-290321

Instagram. (n.d.). https://www.instagram.com/p/DSVSl8YCPlG/

Jacquemus Grosgrain Brand Logo Tab White T shirt. (n.d.). Crepslocker.

https://www.crepslocker.com/products/jacquemus-grosgrain-brand-logo-tab-white-tshirt

Silhouettes and styling- clean lines, bold cutouts, asymmetry, and unexpected textures

THE JACQUEMUS PHILOSOPHY: ARTFUL SIMPLICITY

At the heart of Jacquemus lies a commitment to effortless elegance. The brand champions clean lines, bold cutouts, asymmetry, and unexpected textures, all grounded in a timeless yet contemporary approach. Each Jacquemus collection feels like a love letter to the French countryside, often drawing on Mediterranean hues, rustic materials, and nostalgic references to rural life.

From linen tailoring and sculptural dresses to the now-iconic Le Chiquito bag, Jacquemus pieces embody a sense of freedom, sensuality, and storytelling. It’s fashion that invites the wearer not only to dress well, but to feel something deeper, an emotional connection to light, warmth, and simplicity. Sendegaro. (2025, June 19). Jacquemus: A modern vision of French minimalism and Mediterranean spirit. Sendegaro. https://sendegaro.com/en-gb/blogs/the-fashion-editluxury-fashion-insights-for-men/jacquemus-a-modern-vision-of-french-minimalismand-mediterranean-spirit?srsltid=AfmBOooIRjfCsfmx0Lo1NAcatP1Q6AY5yhoW88oHYTo_b9FybEmMrwh

Jacquemus Spring/Summer 2026: 3 Styling Tips You’ll Want to Steal As fashion’s gender lines continue to blur, so too does the seasonal runway calendar. Nestled between the menswear collections of Dior, Louis Vuitton and Dolce & Gabbana came the Jacquemus Spring/Summer 26 show and, predictably, it’s shot straight to the top of fashion fans’ conversations. So, if you’re hoping to impress your chicest friend, be prepared to take notes.

Inspired by Simon Jacquemus’ love for his hometown in the South of France, the collection embraced a refined palette of milky whites, baby blues and the sugared-almond shades of soft pinks and yellows. Yet it’s the silhouettes that truly steal the spotlight: think voluminous skirts, tasselled hemlines and playful novelty bags shaped like spring onions. After all, this is the designer who turned micro bags into a global trend.

And by revealing a full Spring/Summer collection three months ahead of most labels still tied to the traditional September schedule, Jacquemus has cleverly positioned his brand ahead of the curve. Below, three easy styling tweaks from the show to bookmark now and start weaving into your wardrobe.

Forget pencil skirts, asymmetrical hemlines and micro minis for just a moment because a Jacquemus summer is all about volume. With a hefty handful of full-skirted looks swanning down the runway, there was no shortage of airy layers and tulle. To translate the trend into your own wardrobe (without venturing into tutu territory), look instead to a flowing maxi skirt or a design featuring an exaggerated bubble hem.

All-white outfits are a timeless summer staple, yet here Jacquemus proves they can go far beyond a simple white T-shirt and jeans. Instead, consider eye-catching fabrics or exaggerated silhouettes to add depth and intrigue, and finish with colour-coordinating accessories to ensure the crisp white remains the focal point.

Stripes were a key trend on the Spring/Summer 25 runways, appearing in collections from Proenza Schouler, Prada, Louis Vuitton, Dior, and more. Yet it’s clear the print isn’t going anywhere anytime soon. If anything, stripes are becoming even bolder and more graphic, with contrasting colours and wide, statement-making lines.

Cunningham, L. (2025, July 5). Jacquemus Spring/Summer 2026: 3 Styling Tips You’ll Want to Steal. Marie Claire UK. https://www.marieclaire.co.uk/fashion/jacquemus-spring-

summer-26-trends

Imagery and photography- mostly shot on film, grainy effects, a lot of white space (Instagram posts), balanced compositions

Jacquemus’ visual style is often described as naive, raw, and sincere, reflecting the designer's childhood memories in the Provence countryside. The imagery is often unretouched, capturing candid, in-the-moment snapshots.

Threads. (n.d.).

https://www.threads.com/@gossiproomoff/post/DLSFuCBtqh0/jacquemus-replongedans-ses-souvenirs-denfance-en-reproduisant-ses-photos-de-fam

What makes it so relevant, even though it is so simple? And I believe there is one simple and intrinsic answer behind this question: Instagram. His social media presence is quite strong; his feed is aesthetically pleasing, almost dream-like. It catapults you into a different world. A world where Instagram no longer looks like a selling platform, but it rather portrays photographs that celebrate life, sexuality and love, giving the brand an edge. The consumer nowadays buys into ideas, into feelings, into an image and that is exactly the brand image Jacquemus reflects on his social media strategy. To sell a lifestyle, not a product.

Simon Porte Jacquemus apparently has 85,041 photos on his iPhone. 85,041! Giving us a sneak peek of his vast image collection, the Provence-born designer has filtered these down to a top 321 and collated them inside a brand new photobook simply titled, IMAGES.

As you’d expect from Jacquemus, the images – like his collections – have us dreaming of idyllic beaches and romantic sunsets over the South of France. All taken since he launched the brand in 2010 – at the age of 19 – the images capture his timeline since, bridging memories of work, family, friends, travelling to “evoke a raw poetry, in the moment, unretouched.”

Bursting with vivid colours and artistic angles, the images reflect the designer’s intimate design language, born from the beautiful surroundings of his home city Marseille. Growing up in the coastal city, its Mediterranean waters and historical cityscape has long filtered through Jacquemus’ design codes, and show locations – who could forget that beautiful tenth anniversary SS20 womenswear show that saw models float through the lavender fields of Provence. This latest photobook, IMAGES, follows the designer’s 2017 exhibition and accompanying book, Marseille je t’aime, as a continuation of his love letter to Provincial life.

Jacquemus shares beautiful images taken on his iPhone – HERO. (n.d.). Hero. https://heromagazine.com/article/176322/jacquemus-shares-beautiful-images-taken-on-hisiphone

Voll, K. (2020, October 18). Simon Porte Jacquemus, Instagram’s favorite designer business & arts. Business & Arts. https://businessandarts.net/blog/simon-portejacquemus-instagrams-favoritedesigner#:~:text=A%20world%20where%20Instagram%20no,his%20designs%2C%2 0lightness%20and%20jauntiness.

Casting and representationThe Girls of Jacquemus S/S16

Last week, in a vast warehouse on the outskirts of Paris, Simon Porte Jacquemus sent a small child (his cousin, Jean) down a circular runway, pushing a gigantic woven red ball of fabric. This was the beginning of his performative Spring/Summer 2016 runway show – a moving, surrealist vision that had models weaving around the runway in hyper-deconstructed, at times pantless, sometimes one-

legged, suit-inspired garments – all while the audience, including members of the general public, sat inside the designer’s day-sleep nightmare. Jacquemus related the presentation back to a season of sickness (the red ball was a red nose) and personal struggles, and the abstract interpretation –complete with the designer himself walking the runway with a regal white horse – lent a gravitas to otherwise characteristically playful clothes. The girls in the show, key to Jacquemus’ creation of Breton-inflected boyswear-for-women, were the sort of independent characters who have come to define his aesthetic.

“I don’t have a focus for one girl,” mused Jacquemus after the show. “If I meet a girl, if I like them, I tell them. I don’t have any rules; it’s instinctive. I say, ‘Oh, she’s good.’ It’s very simple. Reactive."

Christian Kjaerulf Praksti of AM Casting, the agency behind the curation of Jacquemus’ singular beauties, echoed the designers’s sentiment. “I think that we were looking for a girl that represented the sort of boyishness that Simon had in this collection, and for a sense of character. Each girl is telling a unique story – and each, in her own way, is almost a piece of Simon. There's something very signature to Simon, which is that he wants a girl to have an underlying quality of intrinsic beauty. Even when a girl is a character, he likes her to be uniquely beautiful." Here, we speak with the girls of the show – some teary-eyed, fresh off the runway – to get a feel for how they captured Jacquemus' S/S16 vision, alongside pre-show portraits by David Luraschi

Simpson, A. (2015, October 5). The Girls of Jacquemus S/S16. AnOther.

https://www.anothermag.com/fashion-beauty/7873/the-girls-of-jacquemus-ss16#:~:text=%E2%80%9CI%20don't%20have%20a,When%20my%20mom%20calle d%20me.

Fashion house Jacquemus unveiled BLACKPINK’s Jennie Kim as the face of its ‘Guirlande’ holiday campaign in December 2023. The South Korean artist stars in a festive photoshoot opposite a number of canine friends. Showcasing fur-trimmed skirts and silver bags opposite a Daschund and a Golden Retriever, the wholesome campaign was shot by Daniel Arnold.

For those not familiar, there is a history here. Simon Porte Jacquemus has been courting the music sensation for over a year now. A close personal friend of the designer, Jennie has been invited to various Jacquemus presentations, such as its 2022 Raphia show and S/S22 Le Splash collection debut in Oahu and sported its accessories at major events and on her socials.

Kim has been photographed in Jacquemus clothing on multiple occasions, including as Harper Bazaar Korea’s cover star in September, when rumours of a possible future collaboration ran rife. The brand dropped a teaser video on Instagram on December 8 to its 6.2m followers, which racked up 164K likes and 3,940 comments (2.7% engagement) – above both the brand and the platform average.

The full campaign dropped on December 12 and was covered in media outlets including HypeBeast, Culted, DScene, Yahoo!, The Fashion Enthusiast and more. Jacquemus posted shoot images on TikTok, which currently have 56.7K views and over 1,000 saves. It has posted twice to date on its official Instagram channel: A photo slide show, which received 316K likes and 5,646 comments

(5.18% engagement) and a Reel which has got 26.2K views and 1,099 comments(0.44% engagement) so far.

Jacquemus’ Instagram audience is typically female and single, aged 25-34 and based in France, with the US, Russia, Italy and South Korea as secondary markets. Professionally, its followers are designers, stylists, artists, models, makeup artists and bloggers, who have a dominant interest in fashion, photography, literature, music and art. Interestingly 5.3% of this group are fans of K-Pop, which is 2.4x the platform average. However, neither Jennie Kim nor BLACKPINK appear in the preexisting list of influences.

Jennie’s Instagram audience is also typically single and female but skews closer to the 20-29 age bracket and are based predominantly in Indonesia, with Thailand, Philippines, South Korea and Brazil as secondaries. Professionally, her followers are performers, engineers, models, soldiers, designers, musicians, stylists, photographers and artists, who have a dominant interest in pop, K-Pop, dance, modelling, Americana, fashion, shoes and makeup. Jacquemus does not actually appear within the list of highest ranked brand affinities, but there is certainly a strong fashion bias.

Overall, this campaign will allow Jacquemus to reach new audiences, both geographically and in terms of a younger demographic. An awareness turbo-boost, aligning with Jennie Kim and her astronomical BLACKPINK network will surely work in the brand’s favour. Jennie is considered a Desirable archetype by her followers (charming, stylish, sophisticated), which are perfect perceived attributes for a high-fashion brand to align with.

That being said, the main brilliance behind the partnership is the fact that there is a pre-existing, organic connection between designer and talent that fans will be well aware of. A possible collab has been teased over the last six months, culminating in a festive pay-off that will prove very satisfying and authentic for Jacquemus customers and BLACKPINK fans alike.

Jennie Kim for Jacquemus. (n.d.). https://www.influencerintelligence.com/blog/T7b/jenniekim-for-jacquemus-an-analysis

Jennie Kim Jacquemus. (n.d.). https://hypebeast.com/2023/12/blackpinks-jennie-kimjacquemus-guirlande-campaign-info

Simon Porte Jacquemus has named his grandmother as the brand‘s first ambassador, Report informs referring to WWD.

While the designer has cast celebrities including K-pop star Jennie, Kendall Jenner and Bad Bunny in his advertising campaigns, he has called Liline Jacquemus "the most special woman in my life." She appeared in a recent video where he gifted her his latest bag, named after his late mother Valérie, Liline's daughter.

Liline Jacquemus is a regular guest at Jacquemus shows and made her modelling debut for the house in 2020, at the height of the coronavirus pandemic.

"Long before the brand existed, she was already a source of inspiration. Her strength, elegance and authenticity have shaped Simon Porte Jacquemus' vision and continue to define the spirit of Jacquemus. For him, she embodies the ultimate Jacquemus woman," the brand said in a statement shared exclusively with WWD.

Proud of his pastoral roots in Provence, Jacquemus titled his last collection "Le Paysan." His grandmother, born in 1946, grew up in a family of farmers in Alleins, a small village in the south of France, raised by an Italian single mother, the brand said.

"With this appointment, Simon Porte Jacquemus honors the women who raised him and the heritage they passed on, a celebration of family, memory and transmission. More than an ambassador, Liline Jacquemus represents the soul of the maison and a timeless reminder that Jacquemus is, above all, a story of origins," it added.

Mahmudova, G. (2026, January 24). Jacquemus names his grandmother as brand’s first ambassador. Report.az https://report.az/en/interesting/jacquemus-names-hisgrandmother-as-brand-s-first-ambassador

Threads. (n.d.-b). https://www.threads.com/@shareyourstyleitws/post/DT2vhNNiGj9/media

As of early 2026, the brand emphasizes "family, memory, and transmission" in its, representation, rather than typical industry, faces.

Here, Jacquemus’ casting and representation feels very scattered, he doesn't know what he wants. The first group of models were chosen because they were uniquely beautiful and boyish, which was the look that he wanted to represent the brand. He then shifts into a more influencer representation like using socially relevant celebs like Kendall Jenner and K-Pop star Jennie Kim. Alot of Jacquemus’ followers are K-Pop followers, but not necessarily followers of Jennie Kim and Blackpink. Alot of Jacquemus’ followers may not have knew who she was when they first seen the campaign, again it may just look to some that he has chosen someone of an ethnicity he hasn't used before, while it brought in a new audience, both geographically and age wise, it may not have had as big of an effect as expected as people may not have seen it as influencer marketing. Then Jacquemus moves swiftly into announcing his grandmother Lilline as brand ambassador, going back to his roots and honouring his family as a part of his brand and reflected in his brand values. There is a huge lack of consistency throughout Jacquemus’ representation of the brand and makes it feel as though he is making it up as he goes along and is just going with the flow as in what feels good for now but not thinking about the longevity of his brand representations.

Campaign and digital visuals-

In the dynamic and ever-evolving landscape of luxury fashion; Jacquemus has emerged as a beacon of innovative design and branding. Founded relatively recently by Simon Porte Jacquemus in 2009; the brand has quickly gained a strong image luxury fashion world. With their minimalistic approach and seductive silhouettes; Jacquemus has undoubtedly captured the attention of fashion aficionados and industry insiders alike. From unconventional fashion shows, to striking visual imagery; Jacquemus has established itself as a trailblazer in the industry; challenging traditional norms and inspiring a new generation of designers.

Jacquemus, however, has not only made their mark in the fashion space but has also seen to be at the forefront of the marketing, where their brand identity and visual representation are truly what sets them apart from other fashion houses. Combining simple, minimal class with playful, bold ideas, Jacquemus extends beyond just fashion, evoking emotion through every aspect of the brand. Thus, as the brand continues to push boundaries and redefine the concept of luxury, it’s worth examining how Jacquemus has crafted a new narrative in the world of high fashion and digital marketing.

SURRALISM IN MARKETING?

Evidently, Jacquemus has adopted a new and innovative approach to advertising; using surrealism to set a new trend in the marketing world. As an art movement, surrealism aims to capture the realm of the unconscious mind and dreams, “exploring the irrational aspects of the human experience”. Moving away from this, surrealism has now found a place amongst the digital marketing space as we see brands like Jacquemus adopt its artistic values to produce captivating, emotional, and unforgettable experiences for their audiences.

A big part of their surrealist campaigns involves AI-generated and digitally developed videos of pieces from their brand enlarged and displayed in creative, interesting, and imaginative ways. We’ve seen their iconic ‘Banbino’ bags hung from trees, driving around Paris, and even inflated into a large installation floating on the shores in France. While these illusions may have stopped on social media, the publicity they generated, and the subsequent translations to sales, proved their success.

Looking at their most recent campaign showcasing the new collection titled “Les Sculptures”, we see that while it still incorporates surrealist techniques, Jacquemus has chosen to take a more subtle approach.

LES SCULPTURES

In January 2024, Jacquemus launched their new spring-summer 2024 collection, titled “Les Sculptures.” Being launched on January 29, 2024, at the Maeght Foundation in Paris, the runway featured cinched waists, croc-embossed jackets, and strappy footwear. Of course, the collection additionally highlights Jacquemus’ signature colour palettes of bright and playful yellows with beige hues offset by strong reds and black tones. Having been cut, designed, and draped in the most intricate and delicate yet structural manner, the collection evidently aims to pay homage to art and specifically art through sculptural mastery.

As always, Jacquemus extended his artistry, producing an equally-as-exquisite campaign where we see the brand make use of surrealist techniques to produce a memorable marketing narrative. Photographed across the beautiful landscapes in St. Paul De Vence, the campaign features none other than ‘Bad Bunny’ as the face for the collection. Aside from using captivating silhouettes and bold colors, the camping makes use of the surrealist technique of juxtaposition. Having sculptural pieces amongst such a natural setting creates this fascinating scene that unconsciously mesmerises its audience. Regardless of its recent release, the campaign has already captivated audiences and garnered widespread attention in the marketing world. It’s a perfect example of how Jacquemus is able to adopt a different approach to storytelling using surrealist techniques to leverage its unique identity and aesthetic to produce a powerful and influential marketing narrative.

Naturally, the shoot becomes more than just a campaign for the new collection but rather an extension of the message and artistic direction, essentially promoting the idea of ‘fashion as art and art as fashion’. Simply looking through their Instagram page, you see that Jacquemus doesn’t just promote products; they share authentic narratives, creating an art gallery of inspirations across the platform.

Dias, M. I. T. (2024, March 1). Jacquemus: Crafting a new narrative in luxury fashion. The Gryphon. https://www.thegryphon.co.uk/2024/03/01/jacquemus-crafting-a-newnarrative-in-luxury-fashion/#:~:text=Simon%20Porte%20Jacquemus,Photos%20from%20@Jacquemus&text=A%20big%20part%20of%20their,take%20a %20more%20subtle%20approach.

Visual, M. /. (2026, January 1). Imaan Hammam by Theo de Gueltzl for Jacquemus Les

Sculptures Spring-Summer 2024. Minimal. / Visual.

https://fashionfav.com/fashion/imaan-hammam-jacquemus-les-sculptures/

I really like these images because I love how clean and sculpted the designs are, I especially feel like the first image, with the black dress, but I don't feel like they are very Jacquemus coded, there giving higher end, big city rather than mediterranean summer. I also don't feel like they reflect surrealism the way we know jacquemus usually does, like with the use of CGI, AI, and using large, over the top props.

Surrealism: A Digital Canvas for Jacquemus

Jacquemus has not only made waves in the fashion world but has also been at the forefront of a new trend in marketing surrealism. Surrealism, an art movement that explores the realm of the unconscious mind, dreams, and the irrational aspects of human experience, has found a new canvas in the digital marketing landscape. Brands like Jacquemus have incorporated surrealism into their digital campaigns, creating captivating, emotional, and unforgettable experiences for their audiences.

"Jacquemus stands as a testament to the power of surrealism in marketing. It allows us to break free from traditional marketing norms and establish strong emotional connections with our audience," says Simon Porte Jacquemus, the brand's visionary founder.

Surrealist Marketing: A Trend on the Rise

In recent months, many lifestyle and fashion brands have been incorporating surrealism into digital marketing campaigns to captivate audiences, evoke emotional responses, and leave a lasting impression. Esteemed brands such as Jacquemus, Isabel Marant, and Louis Vuitton are taking inspiration from the 20th-century art movement but putting their own contemporary spin on it, leading to some of the most bizarre, innovative, and exciting marketing campaigns that we’ve seen in a long time.

"The world is so damn dark, and our lives are so busy and heavy, so it's just to play. It sounds very cliché, but it's very true," notes Maryam Keyhani, a hat designer who went viral with a surreal art performance. Her unconventional approach resonated with audiences beyond the fashion realm.

Surrealism offers aesthetics and vibes off the charts, making campaigns truly stand out. It's fun, creative, and incredibly shareable, driving conversations with people passionately arguing in Instagram comment sections about whether it's real or fake.

Surrealist Marketing: Why Now?

In the current climate, characterised by a search for escapism and the extraordinary in the ordinary, surrealism in marketing takes advantage of these desires. Surreal campaigns shock and delight viewers, offering a break from pandemic-era turmoil and the monotony of remote work. Bold, dramatic, and unconventional approaches to digital media have become a necessity if brands want to cut through the noise from overcrowded social media platforms.

The Future of Surrealist Marketing

As brands continue to explore surrealism and engage in increasingly absurd campaigns to capture consumer attention, there may come a point where the pendulum swings back. A return to more traditional, physically crafted, and genuinely experiential campaigns could become a refreshing change in an era of surreal marketing.

"In the world of marketing, we might see a backlash and move back to actual physicality, craft, and genuine in-world experiential creativity," predicts Tom Hyde, vice president of strategy at creative agency Movers+Shakers.

Jacquemus has not only carved its place as a unique and accessible luxury brand but has also pioneered surrealistic marketing in the fashion industry. Its ability to blend artistic storytelling, social media mastery, and unconventional aesthetics has set a new standard for brands seeking to engage modern consumers in a world where the extraordinary is the new normal. Surrealism, as a marketing tool, reflects the evolving tastes and expectations of today's fashion-savvy audience, painting a digital canvas that captivates and delights.

How Jacquemus Paints the Digital Canvas with Surrealist Marketing. (n.d.).

https://www.desireedesign.co.uk/brand-insider/jacquemus-surrealist-marketing

Every campaign, every invite, every oversized prop is unmistakably him. Where brands like Tom Ford’s Gucci influenced decades of luxury marketing through seduction and seriousness, Jacquemus has replaced it with warmth, poetry, and a dose of surrealism. His marketing isn’t marketing   it’s storytelling at its most immersive. So let’s talk about the genius who made luxury feel like a love story, and why Simon is the most emotionally intelligent marketer in fashion today.

Jacquemus doesn’t just sell clothes. He sells a world that feels French, authentic, and aspirational. More than products, he offers a lifestyle that people want to step into   a brand that feels like a place, not just a label. That emotional atmosphere touches everything, from his visual storytelling to the textures and tones he uses. His work blurs fantasy and familiarity, where fruit, fabric, food, and flavor coexist as naturally as linen and sun.

Surreal installations, oversized props, and carefully chosen textures do more than define a campaign   they create a mood you can sense, not just see. Some of these campaigns evolve into daily rituals, turning ordinary moments into something cinematic. A handbag becomes a London bus, embedded into the rhythm of a city. A man irons on a surfboard on the coast of Capri   a mundane chore made absurd and mesmerizing. An LA launch mirrors the health and celebrity codes you can feel on the streets of Melrose. Toast, butter, orange juice, milk, croissants, and coffee   all the trappings of a simple morning   become a Jacquemus experience. He doesn’t just market a product; he reimagines your routine. This emotional intimacy is what gives his brand staying power. Whether it’s turning a handbag into a full-sized bus or releasing a surreal short film, his guerrilla marketing isn’t just spectacle; it’s an interruption of the ordinary   charmingly strange and strangely familiar. A carefully built wonderland: emotionally resonant, visually surreal, and always, somehow, still personal.

He doesn’t mimic legacy luxury houses. He builds his own universe, stitched together with emotion, not just aesthetics. Jacquemus campaigns don’t just shout; they feel. They touch something in you. His world smells like lavender and the sea, sounds like stitching and waves, and looks like a memory you wish you had. He doesn’t just create visuals   he curates entire moments that linger in your senses.

Taste, touch, sound, scent, sight   all five are activated. That’s the genius. A shoe works in an office. A store becomes a vacation. A bag is on a treadmill. A fruit stand becomes a fashion event. It’s surreal, but still grounded in the familiar. Outrageous enough to make you pause. Intimate enough to make you stay.

It folds in his memories, rituals, and humor, making the personal feel universal. And sometimes, those deeply real moments become the most resonant campaigns of all.

Liline

That kind of intimacy isn’t rare in the Jacquemus universe   it’s foundational. One of the first times I personally felt it was during lockdown, before the older influencer craze. There was Liline   Jacquemus’ grandmother, front and center in one of his earliest viral shoots. I remember pausing mid-scroll at the sight of her in that undeniably beautiful pink suit. I had nowhere to wear it, and yet I convinced myself I needed it. There was something so disarming about the way he photographed her among spring blossoms. The colors were joyful, the sentiment gentle. While others scrambled to innovate during lockdown, Simon simply invited us into a memory   quiet, emotional, and full of love.

It was that campaign that made me feel Jacquemus for the first time. The recent store opening simply reminded me why his work continues to resonate. And the timing feels especially fitting . As I prepare to visit Provence, a place that has always lived in the backdrop of his world, I realize how much of his

universe has become woven into the South of France. The pink and orange bucket hat. The baby blue long Chiquito. The Yellow Le Bambino Long Ficciu. He made each of these products feel like a place   something lived in, familiar, and warm. These aren’t just accessories   they’re souvenirs of sentiment, each tied to a memory with whispers of love. When a brand is built on emotion, the pieces don’t just tell a story. They travel with you.

That’s the magic of Jacquemus. Beyond marketing strategies and storytelling, I’m simply a fan of the shapes, the colour, the texture, the soul. He doesn’t just design clothing. He designs moments. And that makes him, undeniably, a genius.

Jacquemus isn’t just a label. It’s a warm, inviting world   a place where linen, lemons, clay, and poetry don’t just exist. They belong together. It’s where the everyday becomes editorial, and luxury feels not like something to be coveted from afar, but something quietly lived in; soft, emotional, and deeply yours.

And in this world Simon has built, you don’t just wear the clothes.

The genius of Jacquemus. (n.d.). https://medium.com/@Thereadyornot/the-genius-ofjacquemus-a-love-story-in-fabric-and-feeling-ce319ee13929

Overall tone and mood- feminine, elegant, playful and poetic, very French.

What visual signals immediately tell you who this brand is, who it’s for, and where it sits in the market?

One consistency throughout the Jacquemus brand has always been their colours, I feel like you can spot Jacquemus when you see a bright pink, sky blue or sunflower yellow. It seems now as the brand progresses and is moving well with the times, you can always recognise a Jacquemus campaign from their use of surrealism and AI, incorporating oversized and unexpected props. I feel like there is a large inconsistency within the brands representation with all the different influencers they use, with a drastic shift to use a boomer as brand ambassador, despite aiming to target the younger audience. I would also say there were a lot of inconsistencies within their imagery and photography, when we think of Jacquemus, we think of an image of a model in a sunny, rustic, French area on a white/ beige stone wall or steps. Now i feel like we're seeing a lot more city locations.

The Voy Design, Branding & Social Media. (2025, December 2). This is how Jacquemus made minimalism feel expensive [Video]. YouTube. https://www.youtube.com/watch?v=inJNINwgCqY

What is going on in the contemporary luxury market level as a whole:

The luxury retail market is at a turning point. The sector is facing challenges due to slowing global demand, shifting luxury consumer behaviour, and rising expectations around digitalisation, sustainability, and inclusivity.

The challenge for luxury retail brands will be to maintain exclusivity while adjusting to a new price sensitivity, and evolving to meet the needs of younger, more diverse luxury consumers.

Changing Economic Currents Are Impacting Luxury Retail Trends:

The luxury retail market is moving beyond the pandemic-era surge, when consumers accumulated surplus capital due to travel limitations, and were able to redirect this towards luxury purchases. While the sector faces economic headwinds with brands competing more intensely for a smaller pool of affluent buyers, the outlook isn’t entirely negative. The luxury retail market is expected to restabilise between 2025 and 2029 as younger luxury consumers build wealth and continue to prioritise spending on experiences and labels that align closely with their personal identities and values, and moderate growth is expected from 2029 onwards.

What strategies are luxury retail brands using to maintain exclusivity?

1. Affordable luxury and entry-level categories speak to new luxury consumers

Beauty and personal care remain an accessible entry point for many luxury consumers, with nearly 75% of adults in the US perceiving luxury beauty as an investment in their appearance.

Moreover, apparel, footwear, and accessories also continue to draw new shoppers, because these categories offer lower price points compared to high-ticket items. Meanwhile, jewellery and watches stand out as investment pieces among more affluent consumer groups.

2. Luxury consumers value experience over ownership

Luxury consumer behaviour shows that experiences are increasingly prioritised over ownership, boosting the luxury dining, travel, and immersive events categories. The value of experience goes beyond the purchase of specific experiences and extends to the purchasing of goods: The in-store journey or digital engagement can be a true differentiator and key purchase factor The in-store and post-purchase experiences can be enhanced through invitation-only events, VIP access, and exclusive services that help cultivate community and reinforce exclusivity. Private members’ clubs, like Harrods’ Shanghai club, and appointment-only formats such as Gucci Salon, provide high-networth clients with a level of access and intimacy that defines the tastes of modern luxury consumers.

3. Exclusivity can be retained in luxury retail through a scarcity mindset

Offering limited edition collections and one-of-a-kind items is a key strategy. These products create a sense of rarity and drive demand. For example, in 2022 Louis Vuitton Moët Hennessy’s offered hypercurated, unique items with exclusive experiences, such as private presentations and bespoke fittings by launching heristoria.com Mintel’s consumer research shows that a significant proportion of luxury consumers across the US, Europe, and China are more likely to purchase if an item is from a limited edition collection.

Social media has become a valuable tool for brands to create scarcity and excitement through exclusive online product drops, private virtual communities, and influencer partnerships

In an increasingly digital world, physical retail is evolving into a stage for immersive brand storytelling

The use of online stores and spaces for research may have become an integral part of the purchasing journey, but the store experience remains key. Therefore, flagship stores remain important and can help elevate customer satisfaction in the luxury retail segment. Household names like Tiffany and Dior have grasped the importance of their in-store experience, with Tiffany’s New York store re-opening in April 2023 after several years of renovation. The significant investment in the brick-and-mortar store introduced LED walls, salons, a restaurant and an exhibition space.

Which Key Demographics and Consumer Groups are Buying Luxury Products in 2025 and Keeping the Luxury Retail Market Afloat?

Urban Dwellers

Urban residents are particularly active in the luxury retail market, especially in categories such as home appliances and furnishings. The notable trend in luxury retail of the growing investment in home upgrades can be accredited to this consumer group. Their access to premium shopping environments and experiential retail spaces reinforces their strong representation among luxury consumers. This reflects a broader shift in luxury consumer behaviour, as people look to elevate their living environments with premium products.

Gen Z and Millennials

Gen Z and Millennials are now the primary drivers of luxury retail trends in the United States. The Millennials who are currently in their peak earning years wield strong purchasing power, while Gen Z, despite having less disposable income show the highest aspirations and future intent to buy luxury goods. Mintel data highlights this momentum: Gen Z and Millennials are expected to make up 80% of the global luxury market by 2030 In China, Gen Z are persistently and exclusively pursuing their favourite luxury brands and they refuse to settle for less. A striking 60% of them are ready to delay their purchase. They would rather save up to buy from the luxury brand they truly like, instead of downgrading their brand choice due to budget constraints.

How are Gen Z and Millennials reshaping luxury retail expectations?

Gen Z and Millennials are now the driving force of the luxury retail market. While Millennials bring purchasing power, Gen Z represents aspiration and future demand. Together, they are redefining luxury consumer behaviour in these four ways:

Luxury

beyond price and status

While price and prestige have long been key to defining what a luxury brand or product is, younger shoppers are looking beyond these features and perceive luxury to be tied to quality, uniqueness, and self-expression. Luxury is less about status symbols and more about individuality and emotional connection. Offering personalisation and opportunities to co-create can incite interest among younger generations, who have a primary interest in expressing their individuality, looking for luxury goods and experiences to reflect that. Bespoke products, customisation, limited editions, and opportunities to cocreate with brands resonate strongly, highlighting the shift in luxury consumer behaviour toward a personalised demand.

Social

Influence

As digital natives, Gen Z, in particular, are quick to adopt trends and expect brands to be agile and culturally relevant in how they position themselves. Social media, influencers, and celebrity partnerships, therefore, strongly shape preferences. Social commerce is already proving its effectiveness for lower-priced products that encourage spontaneous purchases. The fashion and apparel categories are particularly poised to make use of social media as a tool in luxury retail, with 30% of German Gen Z expressing a preference for luxury fashion

However, its reach can be extended to other categories, such as beauty and technology.

What Role Does Sustainability Play in Luxury Retail Strategies Today?

While Gen Z and Millennials show a particular affinity for sustainable and ethical luxury retail, sustainability has quickly become a strategic pillar across all consumer groups and categories in the luxury retail market. Mintel data shows luxury consumers actively seek out brands that embrace circularity and prove their ethical credentials.

Key developments in sustainable luxury retail

• Resale and Rental Models: Clothing rental service Nuuly, launched by Urban Outfitters offers pieces by a selection of contemporary brands and is growing fast. The company utilises this service as part of its growth strategy.

• Link Sustainability to Quality: The majority of buyers purchase luxury items due to their link to premium quality. The association between sustainability and quality can be strengthened through durability, which will be appealing to luxury consumers seeking high quality while acting sustainably.

• Proof of Authenticity: To protect exclusivity and consumer trust, brands are investing in digital certificates of authenticity, blockchain tracking, and transparent supply chains.

How is Technology Changing Luxury Retail?

Digital progress permeates the entire luxury retail sector and is reshaping a multitude of touchpoints from Artifical Intelligence (AI) personalisation and augmented and virtual reality (AR/VR) shopping tools to the rise of social commerce

Extending the Digital Experience

Some luxury brands are exploring metaverse technology, such as AR and VR to improve consumers’ online experiences and provide a smooth customer interaction. The Gucci App, for example, offers AR-based footwear and makeup trial features.

Proof of authenticity and transparency

As the luxury retail market evolves, proof of authenticity is emerging as a top priority for future shoppers. Concerns about counterfeits and dupes are rising, particularly with the growth of online and peer-to-peer marketplaces. In this economic climate, luxury consumers increasingly expect digital certificates, blockchain-enabled tracking through product passports, and transparent supply chain information. These measures are not only vital to protecting exclusivity but also align with new sustainability legislation, which is raising the bar for accountability. Mintel data shows that, particularly in the UK, affluent shoppers show strong interest in guarantees of authenticity and transparency about product origins.

Understand the Next Generation of Luxury Consumers with Mintel

Luxury retail is no longer as straight forward as it used to be once defined by status and price it is increasingly shaped by emotion, ethics, and experience. As luxury consumers look for purchases that reflect their identities, values, and aspirations, brands are being pushed to evolve faster than ever before. Personalisation, digital integration, and circular models will be key levers to building long-term trust and loyalty.

Looking ahead, the luxury retail market’s most successful players will be those who align with the new expectations of Gen Z and Millennial luxury consumers, delivering innovation and inclusivity without compromising on exclusivity.

Mintel. (2025, September 30). Key consumer trends shaping the future of luxury Retail | Mintel. https://www.mintel.com/insights/retail/luxury-retail-trends/

Collaborations:

Nike x Jacquemus Spring 2024: celebrating athletes, style and self-expression

Nike and Jacquemus continue their partnership inspired by the belief that sport isn't simply about performance, it is also an expansion of style and self.

The Spring 2024 Nike x Jacquemus Collection features women's and unisex apparel, a new J Force 1 and a first-ever accessory, Le Swoosh bag the first time Nike's iconic Swoosh has been imagined into a handbag.

The Nike x Jacquemus campaign features Nike athlete, style icon and 2024 Olympic hopeful Sha'Carri Richardson.

Nike and Jacquemus collaborations have, from the beginning, both invigorated and celebrated the nuanced facets and ever-evolving dimensions of what it means to be a contemporary athlete. No exception, the Spring 2024 Nike x Jacquemus Collection furthers the belief that sport isn't simply about performance, it is also an expansion of style and self.

For Simon Porte Jacquemus, sport enjoys a fluid relationship with style. Jacquemus, his eponymous brand, first collaborated with Nike in the summer of 2022, mixing elevated silhouettes with athletic ready-to-wear for a début collection inspired by vintage ACG and '90s Nike campaigns. More recent collaborations, such as 2023's J Force 1 inspired in part by the Air Force 1, an icon of both performance and style look equally at home in an art museum as they do in lived-in spaces in the outside world.

Femininity. Being true to self. Connecting to nature. Performance. Speed. These concepts are woven throughout the latest Spring 2024 Nike x Jacquemus Collection, which spans six women's apparel pieces; a unisex tee, hoodie and tracksuit bottoms featuring laser-cut Swoosh patterns; a premium brown nubuck refresh of the J Force 1 and the pièce de resistance: Le Swoosh Bag the first time Nike's iconic Swoosh has been imagined into a handbag and also the first Nike x Jacquemus accessory.

"Late in 2020, when we started to work on Le Swoosh bag, I was obsessed by the Swoosh itself, on its own. It's a unique logo, I wanted to reinterpret it and make it minimal and all about it", says Simon Porte Jacquemus. "Plus, I always love to work on unique shapes when it comes to bags and not thinking only about its utility. I wanted a statement accessory that represents Nike at its purest: the iconic Swoosh itself".

"For me", he continues, "the Swoosh is the ultimate Nike logo that transcends all the generations and all the collections throughout the years and decades. With its minimalism and unique shape, it allows creatives to work around endless designs and interpretations around it".

For their Spring 2024 campaign, Nike and Jacquemus have enlisted athletics world champion, Olympic hopeful, Nike athlete and one of the most stylish and fastest women in the world, Sha'Carri Richardson. Not only does she embody the collection and serve as muse for the campaign, she also represents the dimensions and depth of an athlete who is constantly facing her fiercest and most consistent competition: one's self.

"Fashion is so personal and I definitely use it to express myself it can show how you feel, your mood, your creativity. From the colours you wear to the risks you take, fashion can be an outlet to show the world a little bit of who you are", says Sha'Carri. "And that's why I'm inspired by Simon's collection; the pieces are edgy and elegant at the same time and it inspires me to keep showing up as I am, while hopefully inspiring others to do the same".

When asked about the moment he knew he wanted to work with Sha'Carri, Jacquemus says, "I was amazed by Sha'Carri's performance in 2023 in Budapest when she became the world champion of the

women's 100m. I also loved how she kept her own style and was so fierce and unique when she was competing, regardless of the rules of dressing and kits. It's so powerful to be your own self in the athletic world! I instantly wanted to collaborate with her"

Nike x Jacquemus Spring 2024: celebrating athletes, style and self-expression NIKE, Inc. (n.d.). https://about.nike.com/en-GB/newsroom/releases/nike-x-jacquemus-spring2024-celebrating-athletes-style-and-self-expression

The Creative Fusion of Jacquemus and Nike: A Fashion Revolution

In the ever-evolving world of fashion, collaborations often spark excitement and curiosity. The recent partnership between French designer Simon Porte Jacquemus and sportswear giant Nike is no exception. This collaboration represents a bold intersection of high fashion and athletic wear, merging elegance with functionality in ways that are both innovative and refreshing.

Jacquemus, known for his playful yet sophisticated designs, has always embraced a unique aesthetic that challenges traditional norms. His approach to fashion emphasizes not just clothing but an entire

lifestyle one filled with sun-soaked days in the South of France, vibrant colors, and effortless chicness. On the other hand, Nike stands as a titan in performance apparel; its legacy rooted deeply in sport yet increasingly influenced by street style.

Imagine walking through a bustling Parisian market where bright hues clash beautifully against muted tones a perfect metaphor for this collaboration. The collection features sneakers adorned with whimsical elements reminiscent of Jacquemus's signature flair while maintaining Nike’s commitment to comfort and performance.

One standout piece from this line is the reimagined Air Max silhouette that boasts oversized proportions a nod to Jacquemus's penchant for exaggerated shapes and unexpected color combinations inspired by Mediterranean landscapes. These shoes don’t just serve as footwear; they tell stories about identity, culture, and personal expression. Moreover, this partnership goes beyond aesthetics; it embodies a cultural shift towards inclusivity within luxury spaces. By blending high-end design with accessible sportswear appeal, they invite diverse audiences into their narrative an invitation to experience luxury without sacrificing practicality or comfort.

As we delve deeper into what makes this collaboration special, it's essential to recognize how it reflects broader trends within contemporary fashion: sustainability efforts paired with creative innovation are at the forefront now more than ever. Both brands have made strides toward ecofriendly practices whether through sustainable materials or ethical production methods which resonate strongly with today’s conscious consumers who demand transparency from their favorite labels.

Ultimately, the fusion of Jacquemus's artistic vision with Nike's technical prowess creates something truly remarkable a celebration not only of style but also community engagement through shared passions like sport and art.

Oreate. (2026, January 20). The creative fusion of Jacquemus and Nike: a fashion Revolution - Oreate AI blog. oreate.com https://www.oreateai.com/blog/the-creative-fusion-of-

jacquemus-and-nike-a-fashion-

revolution/d25bdc627f01445bc8b51e125c3d4e13#:~:text=The%20creative%20fusion

%20of%20Jacquemus%20and%20Nike:%20a%20fashion%20revolution

This collab just doesn't really feel a lot like Jacquemus, the colour palette, poses and positioning dont reflect with the brand of Jacquemus. I think it would have benefited him to add some of his usual colour codes in maybe a different location. I think for a luxury house based around a mediterranean summer to do a collaboration with a sports brand is quite hard to do anyway and could have been executed a lot differently, by using a specific location like a track field which is Sha’ Carri’s sport, or even in the same background just with more of the Jacquemus colours that we’re used to. Although i think the model that they used was a good choice in bringing a new audience and gaining a wider audience, this could attract other athletes toward the brand, people who probably wouldn't have took a second look at it before.

Jacquemus X Apple:

A TECHNOLOGICAL FUSION FOR AUTUMN 2025 FASHION

Jacquemus pushes the boundaries of fashion by capturing its next show exclusively with the iPhone 16 Pro Max, in partnership with Apple.

Simon Porte Jacquemus, master of grand spectacle, is about to take another step in the convergence of fashion and technology. The designer has announced that his Fall 2025 show, entitled La Croisière, will be entirely captured using Apple's latest technological marvel, the iPhone 16 Pro Max. This bold initiative redefines the rules of fashion presentation and testifies to the designer's fascination with innovation.

Unveiled on Instagram in a captivating teaser, the project features a robotic arm manipulating a smartphone to capture the details of a rotating black dress. With this collaboration, Jacquemus once again demonstrates his talent for merging elegance and avant-garde design, while cultivating a keen sense of visual storytelling.

AN IMMERSIVE AND TECHNOLOGICAL SCENOGRAPHY

Known for its spectacular staging – from lavender fields to the royal avenues of Versailles – the house promises total immersion. The show venue will incorporate an interactive installation where the iPhone will be not just a recording tool, but an integral part of the set design. Thanks to its advanced camera capabilities, including Dolby Vision 4K120fps recording and precision telephoto lenses, Jacquemus and Apple will offer an unprecedented broadcast, capturing every detail with cinematic clarity. The show will be broadcast on a delayed basis at 19:30 p.m. local time, allowing for meticulous staging and optimized viewing for audiences worldwide. This approach illustrates Jacquemus's desire to establish its brand in the digital age while preserving its unique, refined, and poetic aesthetic.

AN INVITATION TO REINVENTION

By partnering with Apple, Jacquemus is not simply following the trend: it is shaping it. At a time when the digital experience is taking center stage in the fashion industry, this project embodies the desire to rethink the presentation of luxury from a more accessible and innovative perspective. The question remains: will this initiative mark a turning point in how fashion shows are perceived and consumedin the future?Inany case,the designer proves once again thataudacity and ingenuity remain the pillars of his success.

Jacquemus and Apple. (n.d.). https://magazine-acumen.com/en/Fashion/Jacquemus-andApple/

The French luxury brand teamed up with the tech giant tocreate a visually striking one-minutecampaign film for its latest collection, La Croisière, shot entirely using the iPhone 16 Pro Max. Leveraging the smartphone’s advanced zoom capabilities, the campaign seamlessly blends high fashion with cuttingedge technology, reinforcing Jacquemus’ reputation for pushing creative boundaries. This partnership not only showcases the power of mobile cinematography but also cements Jacquemus as a leader in redefining luxury branding in the digital age.

AlTauqi, A. (2025, February 6). Apple & Jacquemus link up for “Shot on IPhone” campaign

“La Croisière.” PAUSE Online | Men’s Fashion, Street Style, Fashion News & Streetwear. https://pausemag.co.uk/2025/02/apple-and-jacquemus-link-up-for-shoton-iphone-campaign-la-croisiere/

The scene pays homage to McQueen's Dress No. 13 from Spring/Summer 1999 when robots spray painted a white dress worn by model Shalom Harlow, only here, the scene is absent of people.

In January, Jacquemus announced it would shoot its 2025 show in Paris on an iPhone 16 Pro Max, which it did by integrating seventeen cameras into the show's runway to capture runway photography and close-ups of each look.

“Jacquemus, the brand, was built on an iPhone,” Simon Porte Jacquemus explained in a new interview with Vogue. “If you think of my early days: sharing pictures of my showroom, my best friend, my shows. I was taking pictures with my iPhone and it was a very easy way to interact with my audience; so I came up with the idea of just filming the show with iPhones and no humans.” Emphasis on the no humans.

The absence of people in Jacquemus' vision underscores a larger shift in the industry where AI tools are rapidly replacing work previously done by people, especially when it comes to the business of fashion image production. Tools like Midjourney, Runway ML, and Stable Diffusion can be used to

conjure fashion images that rival Nick Knight, while applications such as StyleScan and Lalaland.ai can produce on-model imagery in seconds.

In another video for the Jacquemus x Apple collaboration, the viewer is taken inside a brightly coloured Jacquemus lab via a panning camera lens that zooms in on the living tableaux (iPhone notably has been criticized for its lack of zoom capabilities, which is something the company has worked on for newer versions of its product offerings).

Jacquemus x Apple as an ode to the longstanding relationship between fashion and the smartphone, which is a theme I explore at length in my upcoming book.

The smartphone camera also influenced the speed at which designs could be adapted from the runway by brands like Zara, ushering in a new era of fast fashion. The chapter then discusses the "appification" of commerce the phenomenon of converting services and tools into mobile web applications. Both the smartphone camera and its apps transformed the way fashion is presented and consumed.

Finally, this chapter looks at the smartphone's killer app, social media, and its impact on fashion from the rise of influencer culture to the birth of the creator economy as we know it today.

And to be sure, it's not just the smartphone that changed fashion: fashion also changed the smartphone, elevating it from a functional device to a personal accessory.

Cosco, A. (2025, February 10). Jacquemus x Apple is an Ode to Fashion’s Love Affair with the Smartphone . The Electric Runway Report. https://electricrunwayreport.substack.com/p/jacquemus-x-apple-is-an-ode-to-fashions

I think this collaboration has some positive and negative impacts- it introduces a wider audience to both brands and it makes it more personal to know that anybody with this iPhone can create things like this and have the same experience with their own phone, it makes people want both, so that they can get the best shots of them wearing Jacquemus. However, I feel like it has an overall negative effect for the Jacquemus brand and other fashion houses, when people see that the same things

being done on an iPhone as what is being done in a large studio with a professional photographer, people would rather just invest in the phone rather than a professional shoot for their brand, which overall, no matter how good the camera is on an iPhone, it wouldn't be the same as a professional photoshoot. I personally believe that this can but people out of jobs and lower the quality of the brand. The image above feels very dark and dull compared to what we are used to from Jacquemus, their is no colour or life and i feel like it could have been made more fun, considering that is what the rband is centred around. A similar project to this has also already been created by Alexander McQueen, by using a robot to spray paint a dress, this takes away from the original, fun and surreal aesthetic that Jacquemus holds and proves throughout his brand, when he's doing things, nobody has done before.

FOUR SEASONS + JACQUEMUS: RENOWNED GLOBAL LUXURY BRANDS JOIN FORCES FOR THE FIRST TIME AT THE OCEAN CLUB, A FOUR SEASONS RESORT, BAHAMAS

Collaboration includes a Jacquemus takeover of the Resort’s famed Versailles and Ocean Pools, a summer boutique, and exclusive pool towel available on-site and online.

French fashion house Jacquemus has partnered with luxury hospitality leader Four Seasons to create a summer experience at The Ocean Club, A Four Seasons Resort, Bahamas. This close encounter between one of Europe’s leading fashion brands and the legendary Ocean Club will immerse guests in the Jacquemus world of “pop luxury” befitting of a destination that has been a playground for the international jet set since the 1960s.

“Jacquemus shares our commitment to creating extraordinary lifestyle experiences, especially when it comes to bringing beloved summer holidays to life in postcard-perfect settings,” says Marc Speichert, Executive Vice President and Chief Commercial Officer, Four Seasons. “Even more – they share our dedication to creativity, innovation and going above and beyond for our guests and customers. This collaboration perfectly pairs what each iconic brand does so beautifully, and we can’t wait to share it with our guests to experience themselves.”

Les Sculptures, a Jacquemus Boutique

CARLO, The Ocean Club’s on-site boutique, has transformed into a Jacquemus shopping experience, featuring selections for men and women from the brand’s Spring-Summer Ready to Wear Collection. First unveiled in January at La Fondation Maeght in the South of France, founder and designer Simon Port Jacquemus’ signature designs and bold silhouettes were presented among sculptures by Giacometti, Braque, Calder and others.

Jacquemus at the Versailles and Ocean Pools

The collaboration continues with a reimagining of The Ocean Club resort experience at the iconic Versailles and Ocean Pools. Jacquemus has designed fabrics for loungers, accent pillows, sunshades and pool toys that are printed with a hand-painted stripe pattern in combinations of black/white, yellow/white, blue/white and red/white.

The Versailles Pool is surrounded by tropical landscaping, and towering palms set the tone for a serene adults-only oasis. The Ocean Pool, perched above the shoreline is 38-metres (125-feet) of infinity-edge turquoise water with the Atlantic Ocean as its backdrop.

Four Seasons at Home: The Ocean Club, in Partnership with Jacquemus, Debuts a Must-Have Pool Towel

In celebration of this collaboration, Jacquemus has designed a luxe towel in bold black and white stripes exclusively for Four Seasons. Generously sized at 100 by 180 centimetres (40 by 70 inches) the towel is finely crafted in Portugal from 100 percent cotton.

Four Seasons + Jacquemus: Renowned global luxury brands join forces for the first time at the Ocean Club, a four seasons resort, Bahamas. (n.d.). Four Seasons Press Room. https://press.fourseasons.com/news-releases/2024/four-seasons-and-jacquemuscollaboration/

I think this collab reinforces the theme of the mediterranean perpetual summer lifestyle rooted in the jacquemus brand. He has created a personal experience which is what majority of consumers value, and give them a feel for the brand and Jacquemus’ own lifestyle. It created hype for the brand and makes people want to their and experience this type of ‘shoppable stay’. It creates a buzz for the whole experience and can influence others to do something similar.

Two French Icons Collide In Simon Porte Jacquemus’s Latest Joyful Collaboration With Veuve Clicquot

The meeting of these two French icons has resulted in a joyful collaboration, filled with bright, uplifting optimism that represents their shared outlook on life.

“The history of Veuve Clicquot’s La Grande Dame inspired me a lot. I felt it was a great opportunity to bring a fresh vision and revisit the design of the bottle with our Jacquemus codes, and share our mutual values of French culture with my artistic direction,” the designer tells Vogue, speaking from his studio in Paris.

Despite the fact that their brands were founded several centuries apart, Simon Porte Jacquemus and Veuve Clicquot have more in common than you might imagine. Both bring a unique, contemporary vision to heritage and artisanship, creating meaningful sensory journeys that inspire joy.

“When we went through the archives of Veuve Clicquot, I realised there was a common ground between our two brands,” Simon Porte Jacquemus continues. “We share the love of craft, savoir-faire and celebrating our roots, which we highlighted in the campaign.”

This particular moment takes us on an imagined trip between Reims, the historic city of Veuve Clicquot, and Simon Porte Jacquemus’ home in the South of France, transported by rays of sunshine yellow – the emblematic colour of Veuve Clicquot yellow that was first introduced in 1877.

The landscape of southern France often infuses Simon Porte Jacquemus’s work with brightness, warmth and modernity: “These influences are my core memories; during my youth, I was surrounded by fields, my family and Provence. It continues to inspire me every day and pushes me to do more references in honour of my culture every single time. It came very naturally in this collaboration, with the use of linen in the purest way, draped around the bottle as I do in my collections.”

There’s a fluidity to the limited-edition design, from the looping logo and signature handwritten on the Champagne bottle to the embroidery and lightness of the linen wrap, evoking an ethereal feminine strength. There are two specific women whose presence is most keenly felt: La Grande Dame, Veuve Clicquot’s prestige cuvée, is itself a homage to the exceptional woman who took the reins of the maison in 1805, when women had few rights; and Simon Porte Jacquemus’s mother, his forever muse.

The linen itself is a symbolic choice. “I imagined this bottle like a piece of clothing, something sculptural and raw,” he says. “The bright yellow label, with its uneven edges and sunrays, contrasts with the soft, white linen. The linen reminds me of heirloom tablecloths, washed in Marseille soap, dried in the sun. Like a family-embroidered napkin that could dress the bottle, the hand-drawn signature and sun embroidery add this human, simple touch.”

Turning classic French motifs on their head to create unexpected, subversive moments that people truly connect with is what Simon Porte Jacquemus does best – the viral success of his campaigns, shows and pieces to date are testament to this. His playful displays have shown the world the beauty of Provence’s lavender fields, juxtaposed the grandeur of Château de Versailles with his own nostalgic Le Paysan energy, to name just a few highlights. His latest collaboration with Veuve Clicquot fits the mould perfectly, shining as brightly as ever.

“It is a great honour for Veuve Clicquot to partner with such an inspiring designer,” confirms JeanMarc Gallot, CEO of Veuve Clicquot. “We found common values in joy, optimism and conviviality that the house has upheld for 250 years – and a new expression of these values and of our effortless chic art de vivre.”

As our conversation comes to a close, thoughts turn to the joy that a perfect glass of Champagne can bring. Where will Simon Porte Jacquemus be enjoying his limited-edition Grande Dame 2018? “Anywhere,” he says, smiling, “but always with the right people.”

Vogue, B. (2025c, September 10). Two French icons collide in Simon Porte Jacquemus’s latest joyful collaboration with Veuve Clicquot. British Vogue.

https://www.vogue.co.uk/bc/two-french-icons-collide-in-simon-porte-jacquemusslatest-joyful-collaboration-with-veuve-clicquot

The Parisian label joins forces with Danish homeware brand Tekla on a bedding and sleepwear collection that urges you to take a nap on the beach.

The range reflects both brands simplistic DNA, keeping things easy and breezy while coordinating nicely with Jacquemus’ recent Fall 2022 “Le Papier” collection. The previous saw the brand present a vision of tonal elegance, storming the salt marshes of Aigues-Mortes in the south of France’s angelic medieval city. Now, Jacquemus makes a swift transition to home decor, emulating the feeling of a blissful escape.

For a comfortable sleep arrangement, linear patterns are presented across percale bedding and linen bedspreads in a white, brown, and tan palette. Soft terry towels and bathrobes arrive in light blue tones the former blasted with jumbo-sized co-branded lettering, while all other pieces see the same exhibited on rugged canvas badges.

Jacquemus X Tekla. (n.d.). https://hypebeast.com/2022/11/jacquemus-teklacollaboration-release-info

Jacquemus collaborates with VanMoof on electric bike model

Jacquemus is entering the bicycle market. The French luxury ready-to-wear label, founded by Simon Porte Jacquemus in 2009, has teamed up with Dutch e-bike brand VanMoof to launch an electric bike model.

The Jacquemus x VanMoof e-bike has been unveiled on the two brands’ Instagram accounts: it features an all-pink frame, bearing the luxury label’s logo, while the saddle and wheels are all in black, creating a stark contrast.

The bike is based on the VanMoof S3 model, and is expected to retail at a price of approximately €2,200.

By joining forces with a bicycle brand, Jacquemus is following in the wake of other luxury labels like Louis Vuitton, Dior and Stella McCartney, which have teamed up with bike industry giants such as Brompton and Cannondale.

Jacquemus collaborates with Voonmoof on Electric Bike. (n.d.).

https://uk.fashionnetwork.com/news/Jacquemus-collaborates-with-vanmoof-onelectric-bike-model,1355436.html

To me, lots of these collaborations seem like Jacquemus is just looking for something to do, some don't really align with the brands original aesthetic, and don't seem as successful as what they could have been. I think this is because brands like Nike and VoonMoof don't fit with the brand. The collaboration with VoonMoof and another with Apple, are similar to previous collaborations created by other designers, so the originality and ‘shock’ of these collabs can be misplaced

Shifting from influencer to grandmother Lilline- found with AI Overview

The shift by Jacquemus from using traditional influencers to appointing founder Simon Porte Jacquemus' grandmother, Liline, as the brand’s first-ever ambassador marked a significant, antiestablishment pivot in luxury marketing. The move shifted the focus from transactional, "paid partnership" influencer culture to authentic, personal storytelling, strengthening the brand's connection with its audience.

Impact on the Brand

• Humanization and Authenticity: By choosing a 79-year-old grandmother over an A-list influencer, Jacquemus added warmth, emotional depth, and tangible authenticity to its identity.

• Strengthened Brand Narrative: Liline is the "original icon" behind the brand's aesthetic; therefore, using her solidified the brand’s story of its Provencal roots rather than just relying on the season's trend.

• Differentiation: The move allowed Jacquemus to stand out in a saturated market, offering a refreshing, "less noise, more soul" approach that contrasts with typical high-gloss luxury campaigns.

• Owned Brand Equity: Unlike borrowing influence from celebrities, this strategy converted personal, emotional truth into permanent, inimitable brand equity.

Impact on the Audience

• Emotional Connection: The audience responded to the "soft" and personal nature of the campaign, which fostered deeper affinity and, in some cases, a higher, more sincere, appreciation for the brand.

• Shift in Perception: The move challenged ageism and rigid industry standards, proving that "coolness" is not exclusive to youth.

• Increased Relatability: The campaign resonated with a wider audience, demonstrating that fashion can be, and often is, about family and memory rather than just status, making the brand feel more accessible yet still luxurious.

• High Engagement: The campaign, which included a "manifesto" for the "ambassador," went viral, turning a marketing move into a genuine conversation that was "remembered as much as the clothes".

I think shifting from regular influencer marketing to using his grandmother Lilline as brand ambassador was something really positive for the Jacquemus brand, it makes it feel a lot more personal, aligns with their brand values, and makes people recognise the influences of the brand and

where they came from, this can influence people to look deeper into the brand, wondering why theyve done this, it makes people connect with Jacquemus and i feel like it humanizes it, knowing how strongly Jacquemus feels for his family. However, i do think this is something that should have been done a while ago, maybe even at the very beginning of the brand, it makes you feel like Jacquemus has gotten lost along the way, he doesn't know what he wants and he is just doing what feels fun and makes him happy for now, without thinking about the longevity, will he start to use more socially relevant influencers in the future, and what effects will that have on the brand to think that he chose to honour his grandmother, then ‘sacked’ her for someone who is bigger and better, that is something that may make people turn their back on the brand.

Z consumer profile- Found with ChatGPT

Alpha consumer profile- Found with ChatGPT

Personally, I don't actually know who Jacquemus is targeting, and I don't think he does. His marketing and social media is more suited to a Gen Z and millennial, it would draw them in and build excitement, whereas for a boomer it is something that would make them avoid a brand. His brand ambassador, Lilline, is something that would entice a boomer, as well as his designs and themes of nostalgia throughout his collections. In his runways he uses some older millennial/ boomer models which can also attract them, while making the younger generation think that it is possibly a brand for an older audience all together. For my next steps, I'm going to investigate focusing in on targeting Gen Z and how the brand can overall bring in a wider audience through clothes and not just his accessories, where his money is.

What's next for Jacquemus:

Jacquemus Fall 2026: The Unfolding of 'Fun Times' in Modern Luxury

Jacquemus's Fall 2026 collection redefines autumn wardrobes with an infusion of playful elegance, vibrant textures, and a refreshing take on contemporary luxury.

In the ever-evolving landscape of luxury fashion, few designers capture the zeitgeist with the effortless charm and distinct vision of Simon Porte Jacquemus. For Fall 2026, the Maison presented 'Fun Times,' a collection that transcended mere seasonal offerings, instead serving as a vibrant manifesto for optimism and sartorial joy. Departing from the often somber palettes and introspective narratives typically associated with autumn/winter collections, Jacquemus ushered in an era of celebratory dressing, infusing his signature South of France allure with a sophisticated, global sensibility. The show, an immersive experience held against a backdrop of minimalist artistry, underscored a pivotal moment for the brand: a confident stride into a future where luxury is synonymous with liberation, and elegance finds its truest expression in an unburdened spirit.

The Aesthetic Unveiled: A Playful Precision

The core of 'Fun Times' lies in its masterful juxtaposition of the whimsical with the meticulously crafted. Jacquemus, renowned for his architectural silhouettes and sun-drenched palettes, introduced a collection that felt both familiar in its brand DNA and refreshingly new in its execution. The aesthetic was a study in playful precision – unexpected cuts met with tailored exactitude, and vibrant accents punctuated a largely refined, earthy foundation. This duality was evident in every look, from the initial ensembles to the final, show-stopping pieces. The collection spoke to a desire for clothing that evokes a sense of ease and delight yet never compromises on the intrinsic quality and thoughtful design inherent to luxury ready-to-wear. It was a conscious push against conventional seasonal expectations, proposing a wardrobe that celebrates life's moments, big and small, with an inherent sense of chic.

‘Jacquemus reminds us that luxury need not be solemn; it can be an exhilarating dance of form and feeling."

The collection's narrative was woven through a rich tapestry of textures and forms. Volume played a significant role, but always with a controlled grace, ensuring that exaggerated sleeves or wide-leg trousers felt expansive rather than overwhelming. Transparency and layering were key stylistic devices, allowing for a sensual interplay between skin and fabric, revealing just enough to intrigue. The recurring motif of the sun, a perennial inspiration for the designer, manifested not just in the colour story, but also in the very spirit of the garments – radiating warmth, energy, and an undeniable allure. This sophisticated playfulness cemented 'Fun Times' as a collection that is both eminently wearable and profoundly aspirational.

Menswear: Redefining Casual Elegance

Jacquemus's menswear for Fall 2026 continued its trajectory of redefining what casual elegance means for the modern man. The collection presented a vision of effortless sophistication, where traditional tailoring was deconstructed and reimagined with a distinct, relaxed sensibility. Silhouettes were generous yet sharp, emphasizing comfort without sacrificing sartorial integrity. The tailoring explored oversized blazers and wide-leg trousers, often paired with fitted, ribbed knitwear or light, sheer shirts, creating a compelling dialogue between structure and fluidity.

Silhouettes and Structure

Deconstructed Suits: Blazers featured softened shoulders and relaxed fits, often worn open over simple vests or bare chests, signaling a departure from rigid formality.

Voluminous Trousers: Wide-leg, high-waisted trousers in luxurious wools and cotton blends offered a languid elegance, designed for movement and ease.

Layered Knitwear: Chunky, textured cardigans and fine-gauge pullovers were layered, adding depth and warmth, often in unexpected colour combinations.

Key Pieces

Utilitarian jackets, reimagined with refined details like oversized pockets and contrast stitching, offered a practical yet stylish outerwear option. Statement knitwear, featuring abstract patterns or bold colour blocking, became central to many looks. The colour palette for menswear leaned into sophisticated neutrals cream, taupe, charcoal punctuated by unexpected bursts of citrus yellow, deep azure, and a rich terracotta, ensuring each piece made a statement without shouting. This collection solidified Jacquemus's position as a designer who understands the nuances of contemporary menswear, blending provincial charm with Parisian chic.

Womenswear: Sculptural Forms, Liberated Spirit

The womenswear collection for Fall 2026 was a breathtaking display of sculptural forms and a liberated spirit. Jacquemus continued his exploration of the female form, celebrating its strength and sensuality through innovative draping and architectural volumes. The collection showcased a harmonious balance between body-conscious elements and expansive, fluid silhouettes, creating a dynamic tension that felt both powerful and delicate.

Draping and Volume

Exaggerated Sleeves: Billowing sleeves on blouses and dresses, often cinched at the wrist or shoulder, created dramatic profiles.

Architectural Skirts: Skirts ranged from sleek, pencil silhouettes with playful cut-outs to voluminous, tiered designs that swayed with every step.

Innovative Pleating: Intricate pleating techniques were employed to add texture and movement, particularly on dresses and tailored separates.

Sensuality and Strength

Sheer fabrics, strategically placed cut-outs, and delicate lace details introduced an element of alluring transparency, revealing glimpses of skin without ever feeling overt. Dresses, a Jacquemus signature, were reimagined with daring necklines, asymmetric hemlines, and intricate ruching, destined to become iconic pieces in any luxury wardrobe. Tailoring for women mirrored the men's collection in its relaxed approach but maintained a distinctly feminine edge through nipped waists and soft draping. The colour palette for womenswear was a joyful explosion of vibrant hues fuchsia, electric blue, sunny yellow, and tangerine grounded by sophisticated tones of olive green, camel, and ivory. It was a collection designed for the woman who embraces her confidence and expresses her individuality with audacious grace.

‘Each piece is a testament to the modern woman's desire for both audacity and grace.’

Fabrication and Palette: Tactile Narratives

The tactile experience of the 'Fun Times' collection was as compelling as its visual appeal. Jacquemus meticulously selected fabrics that not only looked luxurious but felt exquisite against the skin, adding another layer to the sensory journey. Rich wools, sumptuously soft cashmeres, and fluid silk blends formed the foundation, providing warmth and drape for the autumn season. Innovative synthetics, developed for their unique textures and performance, added a contemporary edge. Textured knits, from chunky cables to fine ribs, played a pivotal role, offering comfort and visual interest.

Patent leather made a surprising appearance, lending a playful, almost futuristic sheen to skirts and accessories, contrasting beautifully with the natural fibres. The colour palette was a deliberate departure from typical autumnal tones. While grounded in sophisticated neutrals like ivory, taupe, charcoal, and a deep olive, the collection truly came alive with its vibrant injections. Citrus yellows, electric blues, fuchsia, and radiant oranges were strategically employed, often in monochromatic looks or as unexpected accents, creating a sense of joy and vitality. This bold use of colour, combined with the exquisite fabrication, crafted a collection that felt both luxurious and incredibly alive, inviting touch and admiration.

Accessories: The Art of the Statement

Jacquemus's accessories have always been integral to his brand identity, often achieving cult status. For Fall 2026, they continued to be the art of the statement, perfectly encapsulating the 'Fun Times' ethos. The iconic handbags, from the diminutive Chiquito to the elegant Bambino, were reimagined in new proportions, playful colourways, and novel textures. Some featured exaggerated hardware, while others boasted subtle, hand-painted details, making each piece a miniature work of art.

Notable Accessories

Handbags: Oversized tote bags in textured leather contrasted with micro bags adorned with whimsical charms, catering to diverse needs and aesthetics.

Footwear: Architectural heels, often featuring geometric shapes or unexpected materials like lucite, provided a sculptural foundation. Comfortable yet chic flats and statement boots with unique detailing offered versatile options.

Headwear: Wide-brimmed hats, a Jacquemus staple, appeared in new materials and vibrant hues, adding a touch of provincial glamour.

Jewellery: Minimalist yet impactful jewellery, often featuring organic shapes and polished metals, complemented the garments without overpowering them.

These accessories were not mere afterthoughts; they were essential components of the styling, completing each look and reinforcing the collection's narrative of joyful self-expression. They underscored the brand's commitment to craftsmanship and its keen understanding of contemporary luxury consumers who seek both functionality and flair.

The Jacquemus Vision: Beyond the Runway

The presentation of 'Fun Times' was, in itself, a testament to Jacquemus's unique vision and his ability to create immersive experiences. Eschewing traditional runway formats, the show was a carefully choreographed spectacle that amplified the collection's theme. The setting, a minimalist yet expansive space bathed in natural light, allowed the vibrant colours and intricate details of the

garments to truly shine. The casting, a diverse array of models who exuded confidence and individuality, further reinforced the collection's message of inclusive joy.

Jacquemus has consistently demonstrated a profound understanding of how to connect with his audience, not just through clothing but through a lifestyle. 'Fun Times' was more than a collection; it was an invitation to embrace life with enthusiasm, to find beauty in the everyday, and to express oneself without inhibition. This overarching brand narrative, deeply rooted in the designer's personal experiences and his love for the South of France, continues to resonate globally, cementing Jacquemus's position as a visionary force in contemporary fashion design. His art direction and styling decisions are always precise, creating an editorial dream.

Concluding Insights: A Future Forged in Joy

Jacquemus's 'Fun Times' collection for Fall 2026 stands as a powerful statement in a fashion world often preoccupied with solemnity. It is a bold declaration that luxury can and should be a source of pleasure, an articulation of optimism through meticulously crafted garments and accessories. The collection successfully navigated the delicate balance between avant-garde experimentation and commercial appeal, offering pieces that are both directional and eminently wearable. From the deconstructed tailoring of menswear to the sculptural forms of womenswear, every element resonated with a sense of purposeful delight.

The enduring appeal of Jacquemus lies in his ability to craft narratives that feel deeply personal yet universally understood. 'Fun Times' is not just about clothes; it's about a state of mind, an embrace of vibrancy and lightness in an increasingly complex world. As the fashion cycle turns, this collection will undoubtedly be remembered as a pivotal moment, a vibrant benchmark for how contemporary designers can infuse their seasonal offerings with genuine emotion and a refreshing sense of hope. It's a future forged in joy, and Jacquemus is leading the way.

Lab, A. F. (2026, January 26). Jacquemus Fall 2026: The unfolding of “Fun Times” in modern luxury. Jacquemus Fall 2026: The unfolding of “Fun Times” in modern luxury. https://www.apexfashionlab.com/blog/jacquemus-fall-2026-a-celebration-ofjoy-and-modern-design

JACQUEMUS MOVES INTO BEAUTY WITH L’ORÉAL INVESTMENT

Beauty conglomerate L’Oréal has taken a minority stake in the buzzy French fashion brand Jacquemus as part of a long-term beauty partnership.

WHO: Simon Porte Jacquemus founded his namesake fashion label in 2009 at the age of 19 and has defied the odds by growing while staying independent. The brand is known for its Chiquito handbags, Artichaut bucket hats, and staging cinematic runway shows in spectacular locations, including a lavender field, a salt mine, and the Palace of Versailles.

For over 110 years, L'Oréal has been the world's leading beauty player with a broad portfolio of 35 international brands and ambitious sustainability commitments. The business has 85,400 committed employees, a balanced geographical footprint, and sales across all distribution networks. With 20 research centers across 11 countries worldwide and a dedicated Research and Innovation team of over 4,000 scientists and 3,000 tech professionals, L'Oréal is focused on inventing the future of beauty and becoming a beauty tech powerhouse.

WHY: The designer signaled last year that he was looking for a deep-pocketed minority investor to push the business to the next level and be able to compete with luxury conglomerates. L'Oréal's investment will be used for retail growth and an expansion into beauty.

IN THEIR OWN WORDS: “Fifteen years ago, I began dreaming of and creating Jacquemus, with perfume and beauty always part of my vision for the brand. Today, I am proud to continue shaping this dream with the leading beauty group, L’Oréal. I’m excited to see what the future holds for us,” said the designer.

“We are thrilled to welcome Jacquemus and unleash together its outstanding luxury beauty potential. With its singular brand positioning, fueled by sensational creativity and social-first playfulness, Jacquemus will perfectly complement L’Oréal Luxe’s portfolio of iconic brands and reinforce our worldwide leadership,” added L’Oréal Luxe President Cyril Chapuy.

“We do not intend to go higher in the capital of Jacquemus,” Nicolas Hieronimus, CEO of L’Oréal, said during the earnings conference. “We do not intend to own fashion brands. We happen to have one, which is Mugler, but it was part of the acquisition from Clarins. But overall, we are very good at doing beauty and I’m not sure we would be as good at doing fashion. So, we let the experts lead their own brands. [The investment] is a good way to show Simon [Porte Jacquemus] that we are supportive and believe in this brand. And it helps him develop his retail project. This is equivalent to an upfront for a license.”

DETAILS:

• L’Oréal has taken a minority stake in Jacquemus as part of a long-term beauty partnership.

• The Jacquemus beauty line will live under L’Oréal’s Luxe division, alongside licensed brands like YSL, Prada, and Valentino.

• Jacquemus' turnover was €270 million in 2023, up from approximately €200 million in 2022 and €100 million in 2021.

• In 2021, Puig took a 10% stake in the company to launch a beauty line, but the plan didn't happen, and Jacquemus repurchased the stake the following year.

BeautyMatter Business. (2025, February 8). Jacquemus Moves into Beauty with L’Oréal Investment. BeautyMatter https://beautymatter.com/articles/jacquemus-moves-intobeauty-with-lorealinvestment#:~:text=L'Or%C3%A9al%20has%20taken%20a%20minority%20stake% 20in%20Jacquemus%20as,the%20stake%20the%20following%20year.

Simon Porte Jacquemus On the Future and What He Learned from Rei Kawakubo What will Jacquemus look like in 10 years? The designer thinks big following his Spring-Summer 2024 show in the south of France.

During Paris Fashion Week, there was one designer on everybody’s lips, even though his name wasn’t on the official schedule: Simon Porte Jacquemus. According to just about everyone, the 34year-old Marseille native was a lock for the open creative director job at Givenchy. Which made good sense: Jacquemus runs the biggest independent brand in Paris, and has a natural instinct for how to harness social media to dominate the fashion discourse. If the idea is to give the heritage house a

fresh new identity, the thinking went, they could do much worse than hire this highly likable and creative digital native.

On Monday, Jacquemus staged his latest ambitious destination runway show, this time at the beautiful Fondation Maeght art museum in Saint Paul de Vence, a tiny hilltop town above Nice. His Spring-Summer 2024 production gave fashion fan fic writers plenty more reason to imagine what he could do at a huge legacy brand. Jacquemus is great at something really hard, which is making fashion feel fun, simple, and sexy. The brand’s teeny handbags and pectoral-forward shirts don’t require a ton of interpretation. What’s more amusing than a tiny bag? But this season introduced a more serious side of Jacquemus. As you can read in my review here, he is elevating the brand’s craft with a mantra of “pop luxury,” pushing tailoring and leather over the vacation-wear he’s best known for. Where once his collections were inspired by hot guys on the beach, he now cites references like Alberto Giacometti.

After the show, we walked through galleries bristling with Giacometti’s spindly sculptures to a quiet room away from the many admirers clamoring to congratulate him. In an extended Q+A exclusive to Show Notes, we discuss the new vibe of Jacquemus menswear, his reputation as a marketing master, the surprising influence of Comme des Garçons on his work, the locations of his next Jacquemus stores, and where he sees his brand in a decade’s time. During our chat, he revealed his ambition to be the biggest designer of his generation. Even before I gave him the chance to pour cold water on the Givenchy business, I could tell he wasn’t going anywhere. “I am not doing this to work for a big house,” he told me. “This is my big house.”

It's impressive how you consistently land huge moments like that as an independent brand.

When I started Jacquemus 15 years ago at 19 years old, it was not an option to not make noise, to not sell clothes. We had to. I'm independent, so I have to sell clothes, I have to have people’s attention.

The menswear this season felt very urban. The men had little briefcases and wore ties. But I think people most often associate your brand with the South of France and things like vacation.

For sure, we are a summer vacation brand. Everyone is buying our shirt for summer, and my bucket hat. It's fine, but I want to send a different message. Because we do have tailoring. We do have beautiful jackets. The main focus this season was saying, We do have products, guys. People say I am a marketing genius, whatever you call it, I don’t care. I don’t like the marketing thing. We have ideas and they meet the audience, but it’s not marketing when I’m drawing. I know how to make noise, but we also have the best factories in Italy, so please watch our product. And then we are going to have fun. We're going to do more fun campaigns and stories. But people have been buying our products for 15 years. Instagram is what makes us successful, but this season as a designer in the studio, I was more picky, to be honest. I was like, all the details matter. I was very obsessive.

So you’re really trying to refocus on the product and show that you've taken it to the next level.

Yeah, I think our customer is more grown-up. It’s a more grownup silhouette, I think. It goes with myself. I'm 34 years old. I'm also thinking differently. I'm thinking more about the future of the brand on a bigger scale. What will be the brand in 10, 15 years? So I also want that to make sense.

Where do you see the brand in 10 years?

I still see the same energy around the brand. Something super solar. But it's hard to say. I always wanted to be the biggest name of my generation. And this is still my goal. And we are now the biggest independent brand in Paris. I see all the giants around us, and there are so many steps to the top. But it’s nice to look super high. It makes you want to do things better and better. Not just bigger and bigger, but better and better. That’s the thing.

What is your ambition for Jacquemus menswear in particular?

Now it's the category that is growing the most in the brand. I launched Jacquemus men’s five years ago. I think I created the first collection in two minutes. I wanted to have a show. I did it very instinctively. But now I think it’s arriving at the same level as the womenswear. It is not our core business, but for me, it's one of the things that I want to really push.

Do you remember the first piece of men's clothing you designed? I know you made your mother a skirt when you were a kid, but did you ever make something for yourself?

No, I never wanted to do men's clothing when I was young, to be honest. I was just obsessed with my mother with her skirt or dress. My love of men's fashion even for myself came super late, probably 10 years ago. But I was never looking at men's shows. It was not my dream.

You worked at the Comme des Garçons store in Paris starting in 2011 to support your business. Some of the abstract shapes in the collection today made me wonder what influences you absorbed there, particularly when it comes to menswear.

When I was at Comme, I was somehow a student. It was like my last years of school, working there for two years. Rei [Kawakubo], she discovered me first, and she made me think totally differently, even about the commercial part of fashion. I learned a lot. If you look at the structure of Comme des Garcon, there is something for everyone in a way. But she's still protecting her fashion. And that's what I'm doing in a way. I'm protecting my image, my fashion, my freedom. But at the same time, I can do a pair of Nikes, a non-expensive bucket hat. I'm not doing beauty and perfume yet because I cannot do everything at the same time. But I learned a lot from her freedom for sure.

Not doing beauty and perfume yet?

Yes, yes. But it takes time.

Are you planning to open more stores in the near future?

Yes, in America and London.

This year? Where in America?

This year, in New York. New York and London. America and Jacquemus, it's a long love story in a way. I think I can build something in America that’s so strong. So it's going to be a big focus for us. I can't wait. I love New York.

I think I know the answer to this question, but I need to ask: are you going to Givenchy?

No, I don't go to Givenchy. I have a house where I'm the founder and artistic director and every title. So no, I'm not going. I have to really focus on I have a lot of work. I know that there is still a lot of work to be done in a lot of parts of the company, not only in design, not only in production, not only in serving clients. I have so much to do. I feel like I haven’t arrived anywhere. And as I always say, this is not my curriculum. I am not doing this to work for a big house. This is my big house. And I want to build a better company in every sense, especially for the people working here. It's already good, but I'm sure we can do so much better. And this is something that, when I am old, I will look back and I will appreciate more. I really want the human to be in the centre of my company. And I realized with time that I will not compromise on that.

Hine, S. (2024, January 30). Simon Porte Jacquemus On the Future and What He Learned from Rei Kawakubo. GQ https://www.gq.com/story/simon-porte-jacquemus-shownotes-

interview#:~:text=Style-,Simon%20Porte%20Jacquemus%20On%20the%20Future% 20and%20What%20He%20Learned,tiny%20hilltop%20town%20above%20Nice.

What is pop luxury: found with AI Overview

Pop luxury refers to the strategic fusion of high-end, exclusive luxury brands with pop culture, celebrity, and, most prominently, K-pop influence to create immersive, experiential, and highly sharable consumer experiences. It leverages the massive, dedicated engagement of pop idols to drive brand awareness and sales, turning, for example, a fashion show appearance into a $3.6 million media impact value event.

Key Aspects of Pop Luxury:

• K-Pop & Celeb Influence: Brands like Tiffany & Co. and luxury houses heavily utilize K-pop ambassadors to connect with younger, digitally savvy consumers, turning them into key consumer demographics.

• Pop-Up Retail Strategy: Luxury brands use temporary, curated "pop-up" shops to create a sense of urgency, rarity, and exclusivity. Examples include Louis Vuitton's traveling pop-ups in unique locations and Chanel's interactive game centers

• Immersive & Experiential: These initiatives are designed to be sensory-driven, offering experiences like cafes, workshops, or themed installations rather than just retail, transforming, for instance, a brand's heritage into a consumer experience

• Digital Integration: These pop-ups are often designed as "phygital" spaces, seamlessly combining physical, experiential elements with digital, social media, and online engagement strategies.

• Brand Personalization: Luxury pop-ups often feature exclusive or, for example, limitededition, collaborative items that are only available for a short time in that specific location.

Pop luxury is about making high-end brands feel more accessible and engaging to a wider audience through, for example, temporary, exciting experiences, rather than just traditional retail, often utilizing, for instance, influencer and celebrity endorsements to boost, for example, their reach.

Jacquemus says that he is a brand targeted to an older audience, but his marketing strategy and the shift of him moving into a more pop luxury market level reflects the opposite. He is using influencers like K-Pop stars who would more than likely attrat the brand a Gen Z audience, as well as pop up stores, these would build excitement for someone around the age of 20-25 rather than a 35-40 year old who would expect and prefer a designated personal shopping experience in a Jacquemus flagship store. I think everything about the brand apart from many of their designs are targeted towards a younger audience, I think if his fashion also reflected that, he would earn a lot more money in other places, rather than just bags and accessories. At the same time this could make him lose his already older audience, but with the path he is going down and the marketing strategies behind the brand, he is already starting to lose them. I think there needs to be a complete shift towards one set audience.

While many five-star resorts contain their own on-site designer boutiques, Monte-Carlo Beach took the high-end shopping experience one step further…down two flights of stairs and across a wooden boardwalk to their quaint oceanfront pier. The seaside promenade has been temporarily converted into an upscale shrine honouring Jacquemus’ Summer 2025 Resort collection.

The brand’s founder and namesake, Simon Porte Jacquemus, worked closely with Monte-Carlo Beach’s creative team to transform the charming look-out, as well as the hotel’s pool-side café, into a decadent fashion experience. Using the same creative strategies, he utilizes while constructing his ready-to-wear designs, Jacquemus erected his own legion of charming chaise loungers. Each chair is outfitted in its own custom-made garb, exemplifying resort wear in its most literal sense.

Though nautical striped pool decor is readily available in the luxury hospitality space, Jacquemus’ exclusive oceanscape maintains an undeniable feeling of freshness. Like the brand’s famously whimsical creations, these aren’t merely pieces of furniture to be disregarded or ignored they’re interactive works of art.

An ode to his summer 2025 resort collection

Like Jacquemus’ most timely releases, the beach umbrellas, blankets, and matching chairs were cloaked either in cream-and-ebony regency stripes or pale-yellow canvas, the colour of a perfectly ripe banana (his take on the viral butter-inspired color trend). This pastel hue was the star of Simon’s “La Croisière” collection, which debuted at Paris Resort Week in January. And judging by his just released campaign imagery, the same will be true of his upcoming “Le Paysan” collection, which took influences from his humble upbringings in the Southern French countryside.

For the installation, however, he amended the food-inspired colorway for maximum impact, topping loungers with cheerful, sunbeam-yellow cushions. The choice proved to be a skillful one, with the vivid hue clashing magnificently against the teal-blue waves of the Mediterranean Sea. Its pristine currents would undoubtedly receive a Flawless certification on the diamond clarity scale.

Indeed, the collaboration was done so well, virtually any item from Monte-Carlo Beach’s dual Jacquemus pop-up shops (the designer’s only brick-and-mortar locations on the French Riviera) would have color-coordinated perfectly with the limited-edition pool furniture. That was certainly the case for my own vacation-induced impulse purchase.

Stiegman, K. (2025, July 1). Jacquemus’s luxurious Monte-Carlo Beach escape. Coveteur.

https://coveteur.com/jacquemus-monte-carlo-beach-club-

review#:~:text=A%20Pier%2DTurned%2DRunway&text=While%20many%20five%

2Dstar%20resorts,re%20interactive%20works%20of%20art.

Jacquemus's Versailles Show Debuted a New Silhouette Inspired by Princess Diana

When you get burned out at work, the joke is always: Let's quit our jobs and run away to the South of France. If any one person could actually convince you to take that leap, it would be designer Simon Porte Jacquemus. Since 2009, his eponymous brand has sold a vision of an eternal French summer by the ocean. To be a Jacquemus girl is to have not a care in the world, which is why your mini Chiquito bag-the brand's signature-is the size of your palm and can hold absolutely nothing of use. You spend your days lounging in fields of lavender wearing teeny-tiny tops held together by the smallest pin at the chest, and your out-of-office email is always on.

Earlier today, Jacquemus held its Fall 2023 show, titled "Le Chouchou”, in Versailles. The runwaylike, the actual physical runway -went viral before a model even walked down it, because it was laid out along the water, with guests seated in white rowboats floating on the Grand Canal.

The front row included celebrities in pairings both expected (Victoria and David Beckham) and delightfully surprising (Colombian pop star Karol G and image architect Law Roach). The photos circulating felt different from the standard front-row shots. There was less smizing and more smiling, as if people were actually on vacation, which is truly the Jacquemus way. It's why his venues almost always go so viral-people want to go to there, and his clothing is the one-way ticket.

Ahead of the show, the designer told WWD that the venue was fulfilling a childhood dream. "We are not going to take a literal approach, so it will be a slightly more poetic Versailles than the classic Versailles extolled by the big French houses, he said. The collection certainly was far from traditional. The bulbous lace silhouettes and bows typical of formal court attire were present, but reimagined as miniskirts and see-through lingerie tops. Square-toe ballet pumps were worn with knee-high white lace socks embroidered with floral prints.

Along with Versailles itself, Jacquemus cited Princess Diana as an inspiration, which was most evident in the sapphire pearl jewelry that adorned Kendall Jenner's neck and ears, a clear nod to Di's famous engagement ring and revenge dress choker. Jenner's large puff top engulfed her entire torso like a cloud, which also could be seen as a callback to Princess Diana's puff-sleeve wedding gown.

In contrast, Gigi Hadid's look was entirely sheer, held together by thin straps tied into bows revealing a white bandeau top and panties. Imaan Hammam wore a structured blazer nipped at her hips with a strap fastened along her collarbones, and a pair of white bubble micro shorts styled over stockings with black cap-toe Mary Janes. On her finger dangled a Jacquemus bag the size of her pinkie. Ahead of the show, she post a photo to her Instagram Story of the mood board backstage. In the corner, the Princess Diana outfit that Hammam's look was modeled after was clearly visible: the striped puffball skirt Lady Di wore to Cannes in 1987, styled underneath a tight white blazer with black cap-toe pumps.

Danish model Mona Tougaard closed the show in a bright red nipple-baring lace top left unbuttoned at her belly, falling into a long thin train that trailed behind her and blended into the runway. The two models who walked before her wore the same exact look but rendered in blue and white; the three appeared in the order of the colors on the French flag.

The show is trending on Twitter, where it has sparked a conversation about the Marie Antionette and Princess Di references, as well as the brand's progression. But the one thing everyone is saying could have been anticipated easily days ago: "I wish I were there."

Gonzalez, T. (2023, June 27). Jacquemus’s Versailles show debuted a new silhouette inspired by Princess Diana. Harper’s BAZAAR

https://www.harpersbazaar.com/fashion/fashion-week/a44346905/jacquemus-fall2023-le-chouchou-versailles-show/

who was jacquemus Versailles collection targeting: AI Overview

The Jacquemus "Le Chouchou" collection, presented at the Palace of Versailles in June 2023, targeted a modern, fashion-forward, and younger demographic (primarily aged 25-34), aiming to elevate the brand's image from a popular Instagram-driven label to a high-end, "megabrand" status.

The collection and its presentation specifically targeted several audience segments:

• Luxury & "It-Girl" Consumers: By featuring high-profile models like Gigi Hadid and Kendall Jenner, and targeting celebrity guests (the Beckhams, Emily Ratajkowski), the brand aimed at affluent consumers who follow celebrity, luxury, and trend-driven, "coquettish" styles.

• The "Gen Z/Millennial" Luxury Market: While staged in a historic, elite setting, the collection was designed to be "fresh" and "modern," bridging the gap between historical glamour (Marie Antoinette/Princess Diana) and contemporary, youthful fashion.

• Cultural Enthusiasts of Nostalgia: The "Le Chouchou" collection blended 80s attitude with 18th-century royal references, targeting those interested in a mix of pop culture, historical fashion, and romanticism.

• International Clients: The brand was aiming to expand its reach beyond its strong French base into international markets, particularly in the US, South Korea, and Italy.

• New Clientele via Accessories: The introduction of new bag styles, such as "Le Calino," aimed to capture new, affluent shoppers focused on luxury accessories, which represent a significant portion of Jacquemus' sales.

Overall, the show was a "brand elevation" push, targeting a demographic that appreciates the brand's signature playful, yet increasingly sophisticated, and sensual aesthetic.

where there any negative impacts of jacquemus Le Chouchou fashion show: AI Overview

While the Jacquemus "Le Chouchou" Fall/Winter 2023 fashion show at Versailles was widely acclaimed as a viral, romantic, and highly aesthetic event, it was not without, or immune to, criticism and negative reception. The feedback primarily centered on the collection's design, the brand's shift in direction, and lingering issues with the brand's overall reputation.

• Critique of Design and Styling: While some praised the romantic, Diana-inspired aesthetic, others felt the collection lacked the "fun" and "cool" factor of previous, more accessible Jacquemus shows. Reviews mentioned "awkward stiffness" in some of the looks and models, with some critics finding the garments lacked finesse.

• Deviation from Brand DNA: The "Le Chouchou" show marked a shift towards a more formal, opulent, and "couturier" style (incorporating pannier skirts and ballgowns). Critics

questioned if the brand was losing its signature, playful, and laid-back Mediterranean charm in favour of taking itself "too seriously".

• Concerns Over Fabric Quality and Sustainability: The brand faced criticism regarding its materials. Reports have pointed out that many pieces, including dresses and tops, often rely on synthetic materials (polyamide, acrylic, polyester) rather than high-end natural fibers, with the brand not identifying as sustainable.

I think that using royalty as an inspiration for a collection is not something that aligns with Jacquemus brand, they are very modern and innovative and whenever his collections are based on nostalgia, they are usually formed from Jaquemus’ personal life and childhood. I think its a huge shift to think of summer on the beach to royalty and palaces when thinking about Jacquemus and it just doesnt feel like it fits.

Jacquemus AW25: Everything that went down at Simon’s PFW comeback

This season, the crown prince of French fashion made his big return to the Paris schedule, taking over an iconic apartment on the banks of the Seine

Simon Porte Jacquemus has never heard of a schedule. We know this because, rather than presenting his collections in step with the official Paris timetable, for the last five years he’s danced to his own drum, showing months after the season’s end in glamorous locations across western Europe. It was all the more surprising then, that for AW25 Simon made his big return to Paris Fashion Week, even bringing tech giant Apple along with him to film the whole thing on an iPhone 16 Pro. Ironically, in returning to the schedule and doing the same as everybody else, the designer actually managed to generate record levels of anticipation for a Jacquemus catwalk – apparently absence does make the heart grow fonder when it comes to a fashion show. But if you weren’t one of the lucky few to bag an invite, do not fear – simply scroll down for everything that went down at Jacquemus’ La Croisière show.

THE INVITE MADE US SHED A TEAR

Hours out from the show, a handful of lucky editors would soon discover this season’s invite delivered to their hotels – but only for the object to blend in with the rest of the room. For AW25, Simon had selected the humble tissue box as an invite, subtly embossed with the Jacquemus logo and a personalised, hand-embroidered napkin within. Was the new collection about to be a tearjerker? Or was there a big dinner straight after the show? Either way, let’s hope some distracted guests didn’t throw theirs in the hotel bin.

THE SHOWSPACE WAS AN HOMAGE TO ICONIC FRENCH DESIGN

Each season, every Jacquemus location is more stunning than the last, whether it’s a modernist villa on a Capri cliffside, inside a prestigious art museum, or in the middle of nowhere, surrounded by fields of wheat. This season was no different, with Simon setting up shop in the historically preserved apartment of French architect Auguste Perret and his wife Jeanne Cordeau, at 51 Rue Raynouard.

“The apartment is a masterpiece of modern architecture, an exceptional testament to the architect’s work, designed by and for himself,” read the show notes placed on guests’ seats. “It is the manifesto of the greatest architectural production of the 1930s in Paris and an essential milestone in the oeuvre of Auguste Perret.” With the location, Simon seemed to boldly place himself within the lineage of iconic French design, and in doing so hinted at a reassessment of the Jacquemus house codes for AW25.

SIMON RANSACKED HIS LITTLE BLACK BOOK

As ever Simon dipped into his little black book of A-lister mates to fill his front row (okay his only row). Filing into the grand, historic apartment and ushered up by bellboys in chic little grey uniforms came The Last Showgirl Pamela Anderson in a sleek all-white look (brave given the weather), Tyla in a floor-sweeping black column gown with sexy cut-outs, plus Tems and Central Cee – seriously, it was like a who’s who of former Dazed cover stars. Simon has clearly been stockpiling copies of yours truly.

Also in attendance was Amelie herself, AKA French icon Audrey Tatou, British pop star Raye in a polka dot wrap dress, supermodel and former First Lady Carla Bruni-Sarkozy, and Monsters star Nicholas Alexander Chavez.

THE CLOTHES WERE BOTH OLD HOLLYWOOD AND OLD JACQUEMUS

With this collection Simon explained post-show that he had wanted to strip things back and take the opportunity to dig back into his own archives. This meant a lot of the directional shapes he first made his name with, with dramatic sculptural gowns and coats reappearing for the season. Sexy bustier dresses with fishtails that emphasised the hips were first out the gate, before he had a go at voluminous 1940s-esque circle skirts which were matched with sleek, sporty windbeaters (one standout version came in semi-see-through white taffeta).

Simon also said he’d been really inspired by Old Hollywood and iconic, elegant movie stars for AW25, so out came a series of show-stopping looks – worn by runway legends Laetitia Casta and Adriana Lima – that took their cues from the curved lines of artist Erte’s illustrations. One 1930s-inspired floorlength column gown came in scarlet and was Jacquemus-ified for the contemporary wearer by having

the sides stripped away to show plenty of back, side-boob, and the curve of the body as the waist leads into the bum, while the look Mona Tougaard wore came with its own attached opera glove which when extended turned the dress into a sculptural piece of art. Elsewhere, red carpet-ready pieces like a big egg-shaped ostrich feather two-piece (worn by Alex Consani) and a dramatic black and white polka dot number were both highlights that channelled past collections.

The collection was called La Croisière, which translates to “The Cruise”, as Simon was also imagining the golden era of the cruise liner, when people would take massive trunks full of couture on their trips. So even though he was back in Paris for the first time in a while, his mind was as ever still on far-flung destinations.

Dazed. (n.d.). Jacquemus AW25. Dazed.

https://www.dazeddigital.com/fashion/gallery/34836/1/jacquemus-aw25

What impacts did jacquemus aw25 have on the brand: AI Overview

The Jacquemus Fall/Winter 2025 ("La Croisière") show, held in January 2025, served as a pivotal, mature evolution for the brand, balancing its signature playful aesthetic with a new focus on luxury heritage and technical sophistication. By returning to the official Paris Fashion Week schedule and adopting a "couture-inspired" approach, the show solidified Jacquemus as a serious contender in the luxury market while maintaining its viral, high-tech marketing appeal.

Key impacts on the brand included:

• Shift Towards "Mature" Luxury & Heritage: Moving away from solely, sun-drenched, destination-driven collections, AW25 showcased a more polished, "grown-up" brand identity.

Simon Porte Jacquemus aimed to create an "imagined heritage" for his 15-year-old brand, looking back to 1950s couture techniques and designers like Elsa Schiaparelli and Coco Chanel.

• Strengthened Brand Position: The show reinforced Jacquemus's status as a top-tier independent brand, navigating a transition from a viral Instagram brand to a more established, luxury fashion house.

• Increased Sophistication in Design: While maintaining playful elements, the collection featured refined tailoring, voluminous maxi looks, and structured pieces that appealed to a higher-end, "moneyed" clientele, notes The Impression.

In summary, the AW25 show was a strategic pivot that allowed Jacquemus to prove it has the "chops" to compete at a higher, almost couture-like level while retaining the whimsical, "sunny" brand identity that made it famous.

Where there any negative impacts on Jacquemus from AW25: AI Overview

Based on reports surrounding the Jacquemus Fall/Winter 2025 (often referred to as the "La Croisière" or early 2025 showing) collection, there were several critical, negative, and challenging impacts noted by critics and industry analysts:

• Growing Sense of Declining Identity: There was a noted sentiment that the brand is moving away from its signature "playful minimalism" and "Mediterranean ease," with the AW25 collection feeling more mature in a way that disappointed some long-term fans.

• Criticism of Design and Fit: Some reviews characterized the collection as having poor fittings and a lack of creative tailoring, with some forum members describing the look as "Alaïa on a budget". Specific items, such as a black dress worn by Adriana Lima, were criticized for poor execution, and some pieces were described as "stiff" or "tortured".

• Shift from Signature Style: The brand's signature, light-hearted aesthetic was replaced with a more severe, 1950s/80s-inspired, black-and-white heavy look that felt less innovative than previous collections.

• Financial Pressures: While the brand has historically had high-performing, viral, and buzzworthy, it has faced reports of financial strain, including a 15–20% drop in sales over the past year (as of early 2025) and a scaling back of ambitious retail expansion plans in the U.S..

• High Costs of "Brand Heat": The high expenditure required to maintain the brand’s "viral" status through spectacular shows and celebrity collaborations may be proving unsustainable in terms of direct, long-term profitability.

While the collection was also praised for its sophistication, the negative feedback centered on a departure from the brand's core identity and concerns regarding commercial sustainability.

We can see here one again in Jacquemus comeback for AW25, his collection is more targeted to the older audience like boomers and the older millennial, all models used in the show are within these generations. I feel like he has sort of lost his way here, the collection does not reflect Jacquemus brand values or their signature codes of a Mediterranean summer, it is more focused on 1930s/50s luxury like Chanel, which is not what Jacquemus is so known and popular for.

S/S2026 Le Paysan

At the heart of Jacquemus’ Spring/Summer 2026 show was not just a collection, but a tender reclamation of memory: an evocative portrait of rural France filtered through the eyes of a boy who once dreamed in the fields of Provence. That boy, of course, is Simon Porte Jacquemus. With Le Paysan, presented at the storied L’Orangerie of the Palace of Versailles, Jacquemus wove his past into fashion’s present with one emotionally resonant collection. It is a love letter to the people who shaped him early on, to his family’s rural heritage, to the quiet poetry of everyday life, and to his dreams.

The show started quite unusually. It wasn’t a model but a little boy – standing in for Simon – opening the door to L’Orangerie. This symbolic gesture framed the collection as both a personal and poetic homecoming. It also perfectly echoed the duality that ran throughout the Le Paysan: innocence and sophistication, simplicity and refinement, the provincial and the noble

‘Le paysan’ translates literally to ‘the peasant,’ but in Jacquemus’ hands, the term becomes one of dignity, heritage, and beauty. The collection features clean, structured silhouettes rooted in everyday rural wear, reinterpreted with refined craftsmanship. Women’s looks include voluminous poplin skirts, inverted tulle aprons, and corset-structured tops and dresses. A standout is a sheer tulle dress built with seven hundred meters of cord.

On the other hand, menswear offers cropped jackets, wide-leg trousers, and soft leather outerwear with subtle details like herringbone weaves and topstitching. Accessories add playful touches: espadrilles with ribbon ties, market-style leather baskets, and sculptural jewellery shaped like vegetables and fruits, balancing simplicity with unexpected whimsy.

There’s an honesty in Le Paysan that feels increasingly rare in fashion today. Jacquemus didn’t use nostalgia to sell a fantasy; he used it to tell his truth. Every element felt imbued with real love and history, but it’s not simply a sentimental journey: the collection also revisits and elevates past Jacquemus silhouettes with a maturity and sophistication that show how far the brand has come. This was a tender show that cements Jacquemus as not just as a designer or stylist, but as a remarkable storyteller.

Segura, B. (2025, July 3). Jacquemus S/S 2026. Metal Magazine. https://metalmagazine.eu/en/post/jacquemus-ss-2026-from-provence-to-versailles

Simon Porte Jacquemus hasn’t bleached his past as some designers do, proud of his pastoral roots in Provence one side of the family farming carrots; the other, artichokes and spinach.

His mood board was dominated by hardworking folks in the fields, or selling their crops on roadsides, including one of his grandmother Claire, all in black, squinting into the sun and proudly posing with three baskets of her magnificent green produce.

The show was more autobiographical than usual, true to the designer’s upscaling drive and increased interest in couture techniques, but with an emotional tug in the way he invited aprons, petticoats, fichu collars, plus fours and kerchiefs into his fashion universe.

During a preview, Jacquemus said his family, despite its modest means, never discouraged him from dreaming about a fashion career. Hence, his mother came to pick up her 8-year-old son from school proudly wearing a skirt he had assembled haphazardly from linen curtains and some Converse shoelaces.

A masterful storyteller on social media, the designer recreated such a scene in his teaser clips, one depicting a blonde boy gazing with wonder at the lady behind the wheel and no doubt thinking about Paris ateliers and runways.

Socha, M. (2025, June 30). Jacquemus Spring 2026: Thank God I’m a Country Boy. WWD. https://wwd.com/runway/spring2026/paris/jacquemus/review/#:~:text=His%20mood%20board%20was%20dominate d,kerchiefs%20into%20his%20fashion%20universe.

The Jacquemus Spring/Summer 2026 (S/S 2026) collection, titled "Le Paysan" (The Peasant) and presented in June 2025 at the Palace of Versailles, represents a significant evolution for the brand, transitioning it from a high-growth "cult" label into a more mature, refined maison. The collection cemented the brand’s shift towards "couturification," blending Provençal nostalgia with advanced craftsmanship while diversifying its revenue streams.

Key effects of the S/S 2026 show and collection on the brand include:

1. Shift Toward "Couturification" and Maturity

• Elevated Craftsmanship: Departing slightly from purely trend-driven, Instagram-viral designs, "Le Paysan" focused on intricate details, using linen, cotton, and wool to showcase refined, "countrified" couture techniques.

• Maturing Silhouette: The collection moved toward more structured, mature, and sophisticated designs, including voluminous poplin skirts, corset-structured tops, and, notably, a, sheer tulle dress constructed with 700 meters of cord.

• Balancing Act: While remaining playful, the brand showed a move toward "quiet luxury" and wearable, everyday elegance rather than just runway spectacles.

2. Strategic Diversification and Expansion

• Bridal and Evening Wear Growth: The show featured a, strong, concluding series of white dresses, signaling that the brand’s, bridal, category is expanding successfully.

• Menswear Parity: Menswear was confirmed to be, equal in, revenue to, women's, with the collection strengthening its position with tailored, yet, relaxed, pieces.

• Retail Growth: The brand continues to expand its physical footprint, with a new boutique opening in the Miami Design District, cementing the U.S. as a, linchpin, market.

3. Deepening Emotional Brand Narrative

• Autobiographical Storytelling: Simon Porte Jacquemus used the collection to tell a, deeply personal, story, referencing his, roots, and his, grandmother.

• Nostalgia as Strategy: By, blending, Provençal, clichés, with, English, decoration, the brand, strengthened its, unique, identity, moving away from, purely, modern, minimalism to a more, romantic,, "real, life", narrative.

4. Continued Operational Evolution

• Corporate Maturation: The brand, at this point, operates with an, architect-designed, atelier and, a, more, formal, structure, (La, Maison, Mère), allowing it to manage, rapid, growth, efficiently.

• Long-term Strategy: The focus has shifted from, rapid, triple-digit, growth, to, sustainable, margin, optimization, and, category, expansion, (including the, soon-to-be-launched, beauty line with L'Oréal).

In summary, the S/S 2026 season for Jacquemus was less about "bigger and bigger" and more about demonstrating, maturity and depth, transitioning from a "fast fashion", viral, brand, to, a, sustainable, luxury, powerhouse.

Found with AI Overview

After looking at lots of different shows and collections of Jacquemus, it is clear that he seems quite lost, he just does what he likes or what feels fun and exciting and it is not aligning with the brands codes or values. I feel like he contradicts everything he says- his target audience is older and mature, but he markets for a younger audience. His market level is modern pop luxury, but he designs for an

older audience I think he needs to focus in on one target audience, and it would be best to move into Gen Z, even to start looking at Alpha, as he has the tools and is already huge on social media and could continue to go bigger if his sole focus was targeting this audience, he could grow sales in other parts of his brand rather than just accessories.

Jacquemus after announcing Lilline as ambassador-

Jacquemus has had a Shift in Marketing Strategy: By choosing a 79-year-old family member over high-profile celebrities (like previous collaborators Kendall Jenner or Jennie), Jacquemus is deliberately challenging ageism in the fashion industry and moving away from influencer-heavy, trenddriven marketing to a more, intimate, and emotional approach. what impacts will this have on his target market and brand as a whole.

Jacquemus’ decision to cast a 79-year-old family member instead of celebrity ambassadors signals a clear strategic repositioning from aspirational celebrity-led hype to emotional storytelling and brand intimacy. For a brand already rooted in narrative, this is less a random creative choice and more a long-term brand equity move.

Here’s how it impacts both the target market and the brand as a whole:

1. Impact on Jacquemus’ Target Market

a) Strengthens Emotional Connection (Especially with Gen Z & Millennials)

Jacquemus’ core audience digitally native, fashion-aware consumers increasingly values authenticity over perfection. By featuring a real family member instead of figures like Kendall Jenner or Jennie Kim, the brand:

• Feels more personal and less manufactured

• Aligns with the shift toward “realness” in luxury marketing

• Builds parasocial intimacy rather than distant aspiration

This resonates strongly with Gen Z, who respond better to storytelling than traditional luxury status signaling.

b) Expands Audience Inclusivity (Beyond the Typical Luxury Demographic)

Luxury fashion marketing traditionally centres:

• Youth

• Beauty ideals

• Celebrity culture

By challenging ageism, Jacquemus subtly opens the brand to:

• Older luxury consumers

• Multigenerational audiences

• Values-driven buyers (ethical, inclusive shoppers)

This does not alienate younger consumers instead, it reframes the brand as culturally progressive.

c) Filters Out “Trend-Only” Consumers

Moving away from influencer-heavy campaigns may slightly reduce short-term virality, especially among:

• Fast-trend followers

• Influencer-driven shoppers

However, it attracts a more loyal, brand-aligned audience who buy into narrative, not just hype which is strategically stronger for long-term luxury positioning.

2. Impact on Brand Identity & Positioning

a) Reinforces Jacquemus’ Core Brand DNA: Storytelling & Authenticity

Founder Simon Porte Jacquemus has always embedded personal narratives (family, childhood, South of France) into campaigns. This shift:

• Deepens brand consistency

• Feels authentic rather than performative

• Strengthens emotional brand equity

Instead of “celebrity endorsement,” the message becomes: heritage, memory, intimacy.

b) Moves the Brand Away from Influencer Saturation in Luxury

The luxury market is oversaturated with influencer collaborations. By stepping away from this model, Jacquemus:

• Differentiates from competitors like influencer-heavy luxury brands

• Appears more editorial and culturally thoughtful

• Gains cultural credibility rather than just social media reach

This is a strategic elevation move, not a downgrade.

c) Positions the Brand as Socially Progressive (Without Being Overtly Political)

Challenging ageism subtly communicates:

• Inclusivity

• human-centred luxury

• anti-perfection messaging

This is powerful because it aligns with contemporary cultural discourse without appearing forced or tokenistic.

3. Impact on Brand Perception (Luxury Value)

Positive Effects:

• Increases perceived authenticity

• Enhances emotional luxury (not just material luxury)

• Builds long-term brand loyalty

• Strengthens storytelling-driven differentiation

Potential Risks:

• Reduced short-term influencer reach and virality

• Less mainstream hype compared to celebrity campaigns

• Risk of being seen as niche/artsy rather than trend-dominant

However, for Jacquemus a narrative-led brand these risks are strategically acceptable.

4. Strategic Marketing Interpretation (From a Fashion Communication Perspective)

From a luxury marketing lens (which is highly relevant to your fashion communication studies), this shift reflects a broader industry transition:

From aspirational celebrity marketing → to intimate, narrative-driven branding.

It mirrors how luxury is evolving:

• Old Luxury = Status & Exclusivity

• New Luxury = Emotion, authenticity, cultural meaning

5. Long-Term Brand Impact (Most Important)

If sustained, this strategy will likely:

• Strengthen brand longevity

• Increase cultural relevance

• Build deeper brand loyalty over hype cycles

• Position Jacquemus as a storytelling-led luxury house rather than a trend-dependent one

This is especially strategic if the brand wants to mature beyond “Instagram-famous” into heritage-level credibility.

Humour and irony in Jacquemus-

BIENVENUE

À “PLACE JACQUEMUS”! A WORLD OF BOLD COLOUR, PLAYFUL IRONY AND PERSIMMONS

Opening Paris Fashion Week (a fashionable foothold he has now assumed for three years), Jacquemus once again presented this ineffable exuberance through a collection which, despite its wintery inclinations, was eternally sunny. Capturing this kind of perpetual sunniness is his strength –one honed through sartorial adolescence – and today it culminated on the outskirts of Paris in a capacious space he converted into a bustling Southern square. Guests – draped in mini coin purses and holding tiny Chiquitos – arrived at “Place Jacquemus”, a kind of surrealist, bucolic French wonderland.

It was the kind of colourful, charming vista you’d imagine when stepping afoot in a little town in the South of France. It’s also the kind of vista you’d like your Instagram feed to feature, an idea intrinsic to the Jacquemus brand. In the past, Simon Porte Jacquemus has said he designs with a screen in mind; how a tiny dress, for example, will look on an iPhone, or how his oversized straw hat will fare on an Android device. Today’s show is evocative of this, with not only Instagram-able fashion, but the accompanying production also proving so socially viable you can’t but help share it. He is a master at creating a story; a spectacle, a dream; so much so, it prompted one formidable Frenchman front row to draw a most favourable comparison: “the new Karl Lagerfeld.”

He playfully – and purposefully – subverts the sobriety of fashion; making fun of size, silhouette and function. To see the impracticality of such is to miss the point entirely; it is his statement on the frivolity of fashion to be taken lightly, not literally. Take for example, fashion’s love affair with macro and mini handbags (of which he was arguably the modern pioneer with Le Chiquito). The former came draped over model shoulders with utilitarian straps and equally big pockets, so great models

battled their size and lofty shape. But it was this season’s micro bag which is sure to whet – and perhaps perplex – the appetite of any eager fashionista. Almost a spoof of its former small-self – the new and improved Chiquito was so tiny it would only just fit the backing of one of his oversized hoop earrings – possibly two. The earrings, too, were inward-looking; they featured the 1stdibs.com textiles of his own abode and images of himself and his late mother in delicate plexiglass frames. Even the taboo action of holding your heels – forever a symbol of fashionable defeat – was rendered chic in a kind of beautiful parody, as a model sauntered down the runway, cornflower pumps in hand.

“I didn’t want people expecting from me only the sensuality, I have so many more things to say,” he said backstage, perhaps a subtle reply to last year’s maligned summer collection. This year was his triumphant return. Bold block colour, functional tailoring, militant flourishes, playful accessories – it was exactly what we want to wear when we visit the South, or anywhere, for that matter. Despite its sunny palette (even neon coloured the collection) it remained anchored in winter texture and silhouette. The whimsical, irregular footwear of seasons past replaced with sturdier soles; pillowy pointed-heels, chunky clogs – even rubbery rain boots (perfect for splashing about in muddy puddles). There were fuzzy sweaters and long slacks, button-downs and butter leather, coats and cargo pants.

PFW: Bienvenue à “Place Jacquemus”! A World Of Bold Colour, Playful Irony and Persimmons - Grazia. (2019, August 1). Grazia.

https://graziamagazine.com/articles/pfw-bienvenue-to-place-jacquemus-a-world-ofbold-colour-playful-irony-and-perismmons/

Jacquemus Le Palmier, The Joke Inside the Jacket

Jacquemus builds sculptural couture silhouettes, then destabilises them with sly styling, punchline proportions, and details that read unmistakably now.

Jacquemus has always understood that a runway show is not just a presentation, it’s a world with its own logic. With “Le Palmier,” staged at the Musée National Picasso-Paris, the maison leant into that idea with the confidence of someone who knows that clothes land differently when they’re framed like culture. The setting does half the storytelling. Models move through corridors and up staircases, and the camera catches paintings hovering behind them, as if the collection is being “hung” in a museum at the same time it’s being worn. Jacquemus himself positions “Le Palmier” within a wider narrative that includes a series of teaser videos conceived as a short choral comedy, written and directed by Valérie Donzelli, with a subtly burlesque tone and French TV and cinema references from the 1980s and 1990s.

That sense of comedy matters, because the clothes flirt with the seriousness of French fashion history. The collection is built on structure, on silhouette, on the kind of control associated with early couture codes, the beginnings of Dior and Chanel, the disciplined idea of a “proper” Parisian line. Shoulders are wide and decisive, jackets sit with authority, and skirts keep returning in a recurring proportion that feels almost programmatic, tight through the knee, then releasing at the hem. You keep seeing balloon sleeves that build volume in the upper half, while the lower half stays strict, like a visual argument between restraint and drama. Hats arrive like objects rather than accessories,

lampshade shapes in the best way, sculptural and a little absurd, pushing the bourgeois outline into something closer to wearable set design.

Jacquemus’s trick is that he doesn’t let the show become reverent. The styling keeps sabotaging the perfection, on purpose. Men wear ties at the back, as if a formal code has been flipped for the camera. Hair is intentionally wrong, tiny off-centre micro-ponytails on otherwise short cuts, and women’s ponytails that look oddly unassembled, like the clothes are doing all the discipline so the hair can refuse to behave. There’s a model with a single oversized earring, a tiny punctuation mark that changes the entire posture of the look. These choices don’t undermine the couture language, they modernise it, the classic silhouette remains intact, but the attitude is unmistakably now.

The show also slips into character at times, and this is where the humour becomes a real throughline. Equestrian imagery arrives in a way that feels both aristocratic and oddly practical, men in riding boots and helmets, carrying a crop, but also wearing backpacks. Heritage sport codes, offset with contemporary utility, as if the rider has somewhere to be after the fantasy. Then there are the moments that feel deliberately funny, one model wearing a full tuxedo top paired with what look like boxer shorts, finished with a tiny polka-dot bag, a punchline delivered deadpan in the middle of all that couture structure.

And then, right at the end, Jacquemus lands the final joke with couture-level precision. A one-strap dress cut so that one side sits just under the breast, and the model carries an empty glass positioned perfectly to cover herself. It reads like choreographed cheekiness rather than scandal, nudity transformed into prop comedy, a reminder that the brand’s relationship with glamour has always included a wink – and an even bigger reminder when at the end of the show the model breaks character and smiles at the camera. Somewhere earlier, you even catch Anna Wintour peeking through at the beginning of the catwalk, a blink-and-you-miss-it moment that locates the fantasy inside the real machinery of fashion week.

Yung, T. I. (2026, January 26). Jacquemus Le Palmier, The joke inside the jacket. YUNG. https://thisisyungmea.com/jacquemus-le-palmier-the-joke-inside-the-jacket/

White Lotus’s Greg grips Jacquemus’ banana in fruity new campaign

Like most people on earth right now, it seems that Simon Porte Jacquemus has just finished up watching The White Lotus. We know this because the French designer just dropped a brand new campaign for his eponymous label, and it’s all about creepy Greg from the show, aka sexagenarian actor Jon Gries. In the new images, Gries can be seen chilling on a golf course gripping various bananas in the brand’s comfy sweats, sharp suits and roomy slacks. Cheekily titled ‘GOING BANANAS FOR JON’, the theme of the shoot runs throughout, with the actor reclining on a bananayellow car, driving round a cart full of bananas, and even getting a banana hole-in-one.

Elsewhere in the shoot, Gries hangs out with a llama, sits in a wheelbarrow full of tulips, holds up a sign that says ‘I LOVE BANANAS’ and shows off his fruity boxer shorts, which are also adorned with bananas.

Dazed. (2025, April 29). White Lotus’s Greg grips Jacquemus’ banana in fruity new campaign. Dazed. https://www.dazeddigital.com/fashion/article/66698/1/jacquemusthe-white-lotus-banana-new-campaign-la-store

Enke, A. (2025, April 30). Jacquemus “GOING BANANAS FOR JON” April 2025 Campaign

Anne of Carversville. Anne of Carversville.

https://anneofcarversville.com/fashion/2025/4/30/jacquemus-bananas-campaign

It is evident throughout these campaigns and shows that Jacquemus shows lots of humour and irony through his accessories. He creates unconventional accessories that aren't supposed to work, work, like using tiny bags that only fit earrings in or wearing things backwards. These are usually where we see the most colourful and playful aesthetics come to life, which is most likely to attract his younger audience. He sometimes reflects lots of sensuality in his work in a playful, light-hearted way, which makes people take him less seriously.

Humour and irony in Moschino-

Irony in fashion became the defining trait of Franco Moschino from the very beginning of his career. In the 80s, he debuted on the fashion scene with a collection that was the antithesis of what prevailed on the runways at the time. Instead of widespread elegance and seriousness, Moschino brought extravagance, humour, and colourful pop-art into the world of haute couture. His eccentric designs were a breath of fresh air in a world that seemed to be dominated by serious and uniform stylings. More surprisingly, Moschino knew how to blend these elements into a luxurious satire on fashion. His bold, original, and sometimes crazy designs were more than just clothes - they were comments, jokes, and criticisms aimed at the fashion industry. Thus, Moschino created a new language in fashion, which has influenced how we perceive this world to this day.

Franco Moschino, always with a wink, used his work as a means to ridicule fashion conventions and criticize its superficiality. His designs were decidedly ironic, often crossing the boundaries of what is considered acceptable in the world of haute couture. In one of his most famous projects, he created a jacket from a full series of postage stamps, stitching them together like a puzzle. In another collection, he created a dress from a shower curtain, referencing the iconic scene from Alfred Hitchcock's "Psycho".

Irony in fashion became a tool of expression for Moschino. Instead of focusing on creating purely aesthetic projects, Moschino used his designs to communicate his viewpoint on the world of fashion and society. His works were full of humour and wit, often surprising and always thought-provoking.

Considering that Moschino started his career at a time when fashion was very serious and conservative, his approach was truly revolutionary. His designs and collections were rebellious statements against the conventions and norms that ruled the fashion world. It was a voice that spoke to those who were dissatisfied with the situation in the industry at the time.

But Moschino was not just about humour and irony. Behind these funny designs was a message that was equally strong. Moschino criticized the fashion industry for its superficiality and focus on outer appearance, rather than on what is truly important. In his designs, he tried to show that fashion can be something more - it can be a way of expressing oneself, of communicating one's viewpoint on the world.

One of Moschino's most famous motifs is the phrase "Fashion is full of chic," which can be translated as "Fashion is full of artificial glitz." This sentence, which often appeared on his clothes, perfectly reflects his approach to fashion. Moschino did not believe in fashion that is only about appearance. He believed that fashion should be about expressing oneself, about communicating one's viewpoint.

Throughout his career, Moschino tried to convey this message in his designs. His works were always full of irony, but rarely were they just about humour. Instead, they were often full of thoughtful comments and criticisms aimed at the fashion industry.

Moschino- Fashion with a Wink. (n.d.). https://www.vitkac.com/ne/blog/moschino-fashionwith-a-wink

Moschino: Your Next Handbag Is Now Available in the Produce Aisle

For Spring 2026, Moschino presented an accessory collection where bags were designed to replicate everyday objects. The runway showed clutches and handbags appearing as cardboard boxes, packaged fruit, cooking pots, and bricks. The collection maintains the brand’s well-established use of humour and surrealism in its designs.

Admin. (2025, September 26). Moschino: Your next handbag is now available in the produce aisle. The Fashionography. https://thefashionography.com/fashion/accessories/moschino-your-next-handbag-isnow-available-in-the-produce-aisle/

Moschino Turns The Motorcycle Helmet Into a Bag

Moschino’s latest creation is literally a head-turner. The Italian house, long renowned for its over-thetop, campy designs, has introduced the Helmet Bag – a handbag unmistakably shaped like a glossy black motorcycle helmet, chin strap and all. Debuting on Moschino’s official US website, this playful

statement piece is both a conversation starter and a surprisingly practical purse, ready to become the season’s cheekiest must-have accessory.

True to its name, the Helmet Bag features a hard resin shell with leather detailing and even includes an internal leather pouch for essentials The helmet’s “technical” chin strap isn’t just for show – it cleverly doubles as a top handle and has a fully functional buckle closure. Even in the realm of luxury, Moschino loves to have the last laugh.

Admin. (2025a, April 28). Moschino turns the motorcycle helmet into a bag. The Fashionography. https://thefashionography.com/fashion/editors-picks/moschinoturns-the-motorcycle-helmet-into-a-bag/

Scott used the familiar tactics of a visual pun, frequently employed by caricaturists, that bis paraphrasing on popular mottos by hybridizing the so-familiar image of the fast food brand with the sartorial aesthetics of high fashion. Humour is also produced through the element of surprise. The familiar food cheap packages like the Coke plastic cup with a straw, the French fries’ carton container, and the famous “Happy Meal Box” were surprisingly transformed into luxurious leather purses with iconic Chanel chains; one was turned into the famous Chanel-like quilted leather bag and was presented on a tray carried by a model walking on the catwalk, like a waitress. From a commercial perspective, it was a brilliant move to link the luxurious fashion brand with the most famous fast food brand by means of humour. As mentioned above, humour was a typical mark of Franco Moschino’s heritage, and thus Scott, who started his fashion career as an intern at Moschino’s New York press office, was following in his footsteps.

View of Humour, food and fashion: The use of humour and food in fashion shows | The European Journal of Humour Research. (n.d.).

https://europeanjournalofhumour.org/ejhr/article/view/201/pdf

Pierides, M. (2014, February 21). Milan Fashion Week AW14 highlights from Moschino, Fendi, Prada & more. My Fashion Life.

https://www.myfashionlife.com/archives/2014/02/21/milan-fashion-week-aw14highlights-from-moschino-fendi-prada-more/

Jacquemus shows humour in a very similar way to Moschino, by presenting accessories like bags in such unconventional, peculiar ways, often through food like having bags designed as a celery stick or watermelon. These are all the things that catch the audience's attention, it reminds me and others, that fashion shouldn’t be so serious and it is a creative playful world for people to have fun, and not always as a means of protest, which is what is becoming most of the fashion world.

Moschino X H&M-

The toy chest–like display could have also doubled as a mood board for the wares he’s produced for H&M. While some designers can approach collaborations especially of the high-meets-low variety with a withholding hand, doling out just a percentage of their brand’s DNA, Scott has opened the Moschino floodgates. The result is a Moschino x H&M collection that many may not be able to tell from the simply Moschino, at a glance. There are all the elements you’ve come to expect from Scott’s tenure at the house (notably, the use of cartoon characters, Mickey Mouse and his Disney friends, in this case), as well as some that dig deeper into the house’s archives (that signature gold-hardwareon-black aesthetic and, of course, a dash of societal subversion here and there), and some that are unusual for this type of collaboration (a liberal use of the brand’s logo, and collaborations within the collaboration). Indeed, it was actually H&M that had to bend its standard practices, rather than the other way around. The collection includes more accessories than previous H&M designer collaborations, and, intriguingly, while the Swedish-based chain never puts its logo on the outside of its own clothes, it did allow Scott to use a mashed-up “H&Moschino” mark.

“He knew that he wanted to have some of the overt Moschino pieces, like the vintage Moschino pieces, and then mix that together with something that may even be more him, like the cartoons and the MTV things, which is very much all this kind of pop culture phenomenon that he loves,” says Johansson.

“For one thing, I think there’s always a nostalgia. We all grow up with them. They’re still going on today,” says Scott of his cartoon obsession. “Globally, you see a circle and then another two circles and nothing else and it’s like Mickey Mouse. It makes you think about happiness and joy, and that is something that I think is really great, and something I always try to put into all of my designs.”

The idea of an affordable collaboration with a mass retailer seems right in line with a house whose founder once told British GQ, “The ones who really understand it are the ones who can’t afford it, the people out there on the street.”

Likewise, Scott is more than happy to see his creations on a wider audience. “That’s the ultimate compliment for any fashion designer, I feel like, when people are wearing the clothes, loving the clothes,” he says. “What I love about my job is that I can be part of people’s everyday lives in that way. And they build memories, and sometimes those memories involve my clothes. Whether it’s because someone stopped them and said, ‘Oh, my God, I love that backpack,’ and maybe they hit it off and ended up getting married one day.”

Though the aim is to offer some of that Moschino magic at a lower price point, the collection is being rolled out with as much hurrah as any high-fashion product in recent memory.

Munzenrieder, K. (2018, October 11). Moschino x H&M: The Full Collection Explained by Jeremy Scott. W Magazine. https://www.wmagazine.com/story/moschino-hm-fullcollection-jeremy-scott-prices

I think a luxury house collaborating with a high street brand is a positive way to put brands in the eyeline of a new audience, it gives people the opportunity to discover the brand since they may have never seen it before, as those with a lower price point, are not looking for things they can't afford to buy, so don't bother looking at the brands at all. Being inclusive gives the brand a more positive look and shows passion that they love the brand so much that they want everyone to have a chance to wear it. It attracts a new target audience like gen z, those with a lower income and disposable money, when seeing brands like this collaborating with brands like H&M, it gives them the opportunity to shop and spend their money on something luxury, yet affordable.

Luxury market shift

how has the luxury market become diluted through overexposure?

Luxury brands have tried a few different approaches to give exclusively priced products an inclusive vibe: collaborating with subversive artists, tapping into the culture of the masses to sell to a privileged few, selling licensing rights to retain margins, and producing basic goods with luxury branding i.e. premium mediocre goods.

Selling licensing and producing premium mediocre goods, although lucrative, also can create brand dilution. The primary issue with brand dilution? It lowers the perceived value of products: Nobody wants to pay $600 for a t-shirt that someone else found at T.J. Maxx for $200. Once consumers have seen a brand’s products marked down enough times, they become unwilling to purchase them fullprice this is particularly true right now, when “smart shoppers” reap more social praise than those that those that cough up exorbitant sums to pay ticket price.

Glasheen, J. (2024, February 9). What ever happened to caring about brand dilution? - The Robin report. The Robin Report. https://therobinreport.com/what-ever-happened-to-

caring-about-brand-

dilution/#:~:text=The%20luxury%20industry%20was%20built,Maxx%20for%20$20 0

At its core, fashion exclusivity refers to limited access, whether through high price points, controlled distribution, or insider status. Historically, luxury houses relied on scarcity to reinforce desirability. Products were difficult to obtain, clientele was selective, and branding emphasized heritage and craftsmanship over visibility.

• Scarcity: Limited production and selective retail presence

• Price barriers: High costs that restricted ownership

• Cultural capital: Knowledge and status required to fully engage with the brand

Luxury brand overexposure has been fuelled by several interconnected factors:

• Digital marketing and social media: Luxury brands now maintain a constant presence on platforms like Instagram and TikTok, making once-rare products highly visible.

• Influencer partnerships: Collaborations with mass-followed influencers can broaden reach but may dilute elite associations.

• Global retail expansion: Flagship stores and online platforms have made luxury accessible in more markets than ever before.

Evidence suggests that exclusivity is being challenged, but not necessarily erased. On one hand, increased accessibility has altered consumer perception. When luxury logos appear frequently in everyday contexts, the symbolic distance between luxury and mass fashion narrows. On the other hand, brands are not abandoning exclusivity altogether; instead, many are redefining how it functions.

Brand Strategies to Preserve Exclusivity

In response to concerns about brand overexposure, many luxury houses are experimenting with new approaches. These strategies aim to maintain prestige while operating in a highly visible digital environment.

• Limited drops and capsules: Releasing small quantities to create urgency and scarcity.

• Private client programs: Offering exclusive access, previews, or customization for top-tier customers.

• Quiet luxury aesthetics: Moving away from prominent logos toward subtle design cues that appeal to insiders rather than mass audiences.

These methods suggest that exclusivity is being repositioned rather than abandoned.

Galan, L. (2025, December 22). The luxury fashion debate: Is brand overexposure redefining fashion exclusivity? Fashion Times https://www.fashiontimes.com/luxury-fashiondebate-brand-overexposure-redefining-fashion-exclusivity13320#:~:text=Conclusion,can%20reduce%20their%20perceived%20rarity.

Luxury fashion has become diluted through fashion over the years because it is such a common thing to see, most of us walk past these luxury brands every single day in store windows. Or even seen on people walking the streets because it is a lot more accessible to buy now from resellers, and for a much cheaper price point. Years ago, you were a lot less likely to see people walking around in luxury brands, as it was often associated with those of a higher class and large income.

how has the luxury market become diluted through social media?

The impact of social media on our perception of luxury

THE DEMOCRATIZATION OF LUXURY

Social media platforms like Instagram, Facebook, Twitter and Pinterest have played a pivotal role in democratizing luxury. Traditionally, luxury brands were the preserve of the elite and their marketing strategies were aimed at an exclusive clientele. Advertising was limited to high-end magazines,

private events and selective endorsements. However, with the advent of social media, these brands have gained direct access to a global audience.

Influencers, celebrities and even ordinary individuals now showcase luxury products to millions of followers, bridging the gap between the brand and potential customers. This exposure has made luxury items more desirable to a broader audience, who may never have been targeted by traditional marketing campaigns. As a result, the perception of luxury has shifted from being unattainable to something within reach, at least aspirational

THE RISE OF INFLUENCER CULTURE

Influencers have become key players in shaping perceptions of luxury on social media. These individuals, with their substantial following, have the power to elevate a brand’s status and drive consumer behaviour. By displaying luxury lifestyles, influencers create a sense of relatability and aspiration. Followers are not just passive observers; they engage, emulate and, in many cases, make purchasing decisions based on influencer endorsements.

This phenomenon has led to a new kind of luxury consumption. It’s no longer solely about the product itself but the lifestyle it represents. For example, a luxury handbag showcased by a popular influencer is not just a handbag; it’s a symbol of success, style and an aspirational way of life. This shift has blurred the lines between genuine luxury and perceived luxury, with social media playing a crucial role in creating and disseminating these perceptions.

THE IMPACT OF VISUAL CULTURE

Social media is inherently visual and this visual-centric nature has amplified the impact of luxury branding. Platforms like Instagram and Pinterest rely heavily on images and videos, making them perfect venues for luxury brands to showcase their aesthetics. High-resolution photos, carefully curated feeds and visually appealing content have become essential tools for luxury marketing.

The visual culture of social media has heightened the importance of aesthetics and presentation in the luxury market. Brands invest heavily in creating visually stunning content that captivates and engages audiences. This emphasis on visual appeal has influenced consumer expectations, making the look and feel of luxury products as important as their quality and heritage.

CONSUMER ENGAGEMENT AND BRAND LOYALTY

Social media has transformed the way consumers interact with luxury brands. It has opened channels for direct communication, allowing consumers to engage with brands in real time. This interaction fosters a sense of connection and loyalty that was previously unattainable. Consumers now have the opportunity to participate in brand narratives, share their experiences and feel like part of an exclusive community.

Brands, on the other hand, gain valuable insights into consumer preferences and behaviours through social media analytics. They can tailor their marketing strategies to better meet the demands of their audience, enhancing customer satisfaction and loyalty. This symbiotic relationship between brands and consumers has strengthened the influence of social media on luxury perception, making it a critical component of modern luxury marketing.

THE PSYCHOLOGY OF ENVY AND ASPIRATION

While social media has democratized access to luxury, it has also fostered a culture of envy and aspiration. The constant exposure to images of luxurious lifestyles can create unrealistic expectations and desires. Users are often bombarded with content showcasing exotic vacations, high-end fashion and opulent living spaces, leading to a phenomenon known as “luxury envy.”

This perpetual comparison can have both positive and negative effects. On one hand, it motivates individuals to strive for betterment and achieve their aspirations. On the other hand, it can lead to dissatisfaction, anxiety and a distorted sense of self-worth. The curated nature of social media, where only the best moments are shared, can make users feel inadequate in comparison to the seemingly perfect lives they observe online.

THE EVOLUTION OF LUXURY MARKETING STRATEGIES

Luxury brands have had to adapt their marketing strategies to thrive in the social media era. Traditional advertising methods have evolved to include digital campaigns, influencer partnerships and interactive content. Brands now focus on creating immersive experiences that resonate with their audience on a personal level.

One notable trend is the rise of experiential marketing. Luxury brands are leveraging social media to create unique, shareable experiences that go beyond the product itself. Pop-up events, exclusive previews and behind-the-scenes content are designed to engage consumers and generate buzz. These experiences are often shared on social media, amplifying their reach and impact.

Moreover, user-generated content has become a powerful tool for luxury brands. Encouraging customers to share their own experiences with luxury products not only provides authentic testimonials but also fosters a sense of community and belonging. This strategy capitalizes on the influence of social proof, where people are more likely to trust and emulate the behaviours of their peers.

THE FUTURE OF LUXURY IN THE SOCIAL MEDIA AGE

As social media continues to evolve, so too will its impact on our perception of luxury. Emerging technologies such as augmented reality (AR) and virtual reality (VR) are poised to revolutionize the way luxury is marketed and experienced. These technologies can create immersive environments that allow consumers to virtually try on products, explore luxury destinations and engage with brands in unprecedented ways.

Additionally, the rise of niche social media platforms and private communities may further refine the luxury experience. Platforms that cater to specific interests and demographics can offer more tailored and exclusive content, enhancing the sense of luxury and exclusivity.

Social media has undeniably reshaped our perception of luxury. It has democratized access, elevated the importance of aesthetics, fostered direct engagement and fuelled both aspiration and envy. As luxury brands continue to navigate this dynamic landscape, they must balance the desire for broad appeal with the need to maintain their aura of exclusivity. The future of luxury in the social media age will be defined by innovation, adaptability and the ever-evolving desires of a digitally connected world.

GmbH, F. (2024, May 23). The impact of social media on our perception of luxury. FRNKOW. https://frnkow.com/blogs/journal/the-impact-of-social-media-on-ourperception-of-

luxury?srsltid=AfmBOopFtwZUO7YtrHmgUNLwdz4Uph97ERlJYm38kJjSg9BdF60 PEv0N#:~:text=While%20social%20media%20has%20democratized,perfect%20lives %20they%20observe%20online.

Social media has completely changed the luxury market, instead of seeing a luxury item occasionally on the street, people see it every day while their scrolling through Instagram and TikTok. You don't have to follow a brand to know what it is. Influencers post all the time in their luxury clothing and their accessories, and it makes people want it even more. As seen above, this can have a really negative impact on people's mindsets, it causes jealousy and envy when people know it is something that they want but can't always have. Most of the time, it is these influencers that post daily, who begin a lot of the trends we see and increase desirability for these items. A luxury brand collaborating with a high street brand can eliminate these feelings and can bring accessible, high-end luxury to those longing for something like these influencers they follow every day.

Jacquemus brand analysis-

Jacquemus elevates storytelling by incorporating personal narratives and inspirations from Simon Porte Jacquemus' life into their collections, he has taken fashion shows to the heart of France, his hometown, or anywhere with sun- elevating the mediterranean summer lifestyle rooted in the brand. He has even recreated his childhood by replicating old photographs of friends and family for one of his collections. By doing this, he is making each piece more than just fashion, it is a representation of emotions and memories.

Jacquemus spoke about Le Coup De Soleil, “This collection is not at all about Provence. It’s about the codes of the house, about other places, about all these women who have inspired me that were not from here,”. By reminiscing on his close connection with his family and his childhood, he creates an even closer connection with his customers, and humanises the brand, which is what makes people so attracted to Jacquemus.

The thought of a long-lasting Mediterranean summer induces positivity and happiness, which is what the brand represents. Everybody is happier in summer, and the Jacquemus brand is all about fun,

youthfulness and a summer in the South of France. This resonates well with Gen Z as they are a younger generation, often still in education, trying to live life to the fullest.

Jacquemus is known as Instagram's favourite brand, he designs for the feed first, leaning into exaggeration by showing off tiny bags big enough to fit one pair of earrings in, maybe two if they’re small enough. Or huge props that look so out of place but fit in so well. He draws people in with his social media presence and makes them long for the next post, wondering what crazy idea he has came up with now. Especially nowadays, social media utilisation is the most important in marketing, especially when targeting the tech generation, if the customer wants to know something about the brand, they go straight to social media, and what better place to go than Jacquemus’ Instagram. Not only does he play around with the size of bags and props, but he also often plays with extreme, exaggerated silhouettes, asymmetry, and unexpected textures, all grounded in a timeless yet contemporary approach.

As well as surrealism, Jacquemus does not shy away from reality, the most popular posts are images taken by Simon Porte Jacquemus himself, showing relatability. He is the brands emotional interface, acting as the storyteller. This makes people more in touch with Jacquemus and the brand as a whole, especially Gen Z, who follow relatable connect and influencers.

Zara brand analysis-

Zara is one of the world’s most successful fashion retail brands – if not the most successful one. With its dramatic introduction of the concept of “fast fashion” retail since it was founded in 1975 in Spain, Zara aspires to create responsible passion for fashion amongst a broad spectrum of consumers, spread across different cultures and age groups. There are many factors that have contributed to the success of Zara but one of its key strengths, which has played a strong role in it becoming a global fashion powerhouse as it is today, is its ability to put customers first. Zara is obsessed with its customers, and they have defined the company and the brand’s culture right from the very beginning.

The secret to Zara’s success has largely being driven by its ability to keep up with rapidly changing fashion trends and showcase it in its collections with very little delay. From the very beginning, Zara found a significant gap in the market that few clothing brands had effectively addressed. This was to keep pace with latest fashion trends, but offer clothing collections that are a combination of high quality and yet, are affordable. The brand keeps a close watch on how fashion is changing and evolving every day across the world. Based on latest styles and trends, it creates new designs and puts them into stores in a week or two. In stark comparison, most other fashion brands would take close to six months to get new designs and collections into the market.

It is through this strategic ability of introducing new collections based on latest trends in a rapid manner that enabled Zara to beat other competitors. It quickly became the people’s favourite brand, especially with those who want to keep up with fashion trends.

By reducing the quantity manufactured for a particular style, Zara not only reduces its exposure to any single product but also creates artificial scarcity. Similar to the principle that applies to all fashion items (and more specifically luxury), the lesser the availability, the more desirable an object becomes.

The Zara empire is built on two basic rules: “to give customers what they want”, and “get it to them faster than anyone else”.

Zara produces over 450 million items and launches around 12,000 new designs annually, so the efficiency of the supply chain is critical to ensure that this constant refreshment of store level collections goes off smoothly and efficiently.

Zara has used almost a zero advertising and endorsement policy throughout its entire existence, preferring to invest a percentage of its revenues in opening new stores instead. It spends a meager 0.3 per cent of sales on advertising compared to an average of 3.5 per cent by competitors. The brand’s founder Amancio has never spoken to the media nor has in any way advertised Zara. This is indeed the mark of a truly successful brand where customers appreciate and desire the brand, which is over and above product level benefits but strongly driven by the brand experience.

Offering the latest fashion lines at affordable prices continues to be a strategic advantage for Zara, but cannot continue to be the only one.

For Zara to effectively compete and maintain its strategic advantage, the focus needs to shift away from price but towards quality. Even today the Zara brand enjoys high levels of appeal, which is evident by the serpentine queues outside its stores when it launches in new markets. There is a need for Zara to start investing in building a strong brand positioning and aggressively communicate it. Additionally, Zara needs to adopt, imbibe and leverage social media and digital platforms in its advertising and communication strategies deeper going forward.

Brand communication is crucial in attracting new customers to the brand to support its growth. Without advertisements, Zara relies heavily on word of mouth or social media. This causes the perception of potential customers towards Zara to be heavily shaped by family and friends, which may not be accurate. In addition, Zara’s social media platforms such as Facebook and YouTube exists merely as a feed for updates rather than a platform that consumers can interact with. Its videos on YouTube are also seeing very low viewership in comparison with its follower count, which is not ideal as videos are a powerful medium for brands in the fashion industry. This is a gap that Zara needs to plug immediately as the reach and impact of social media marketing gets stronger. As Zara’s target customer segments start using more social and digital platforms for communication and for sharing their lives, it is important for Zara to have a strong presence on such platforms.

Martinroll. (2021, December 7). The secret of Zara’s success: A culture of customer cocreation | Martin Roll. Martin Roll. https://martinroll.com/resources/articles/strategy/the-secret-of-zaras-success-aculture-of-customer-co-creation/

Zara is one of the largest, most successful high street brands in the world, and they have earned their place through speed, consumer insights and trust, and word of mouth. One of their only disadvantages is their lack of social media presence, which could put them over the top. This would attract new customers and grow a better relationship with the brand and consumer.

Zara consumer profile- ChatGPT

Zara x Disney x Harry Lambert

Titled Aw Gee! Wow, the Zara x Disney x Harry Lambert collection nods to Disney's most iconic characters, including Mickey and Minnie Mouse, Donald and Daisy Duck, Pluto and Goofy, but makes it grown-up and more chic. We're not talking cosplay or cartoon kitsch, but instead cool silhouettes and distilled patterns that are less merch shop souvenirs and more dressed-up autumn essentials.

The collab features a mix of cosy knits, timeless basics and a few festive pieces thrown in for party season. You'll find an array of pared-back essentials – crewneck T-shirts, chunky vests, raglan sleeve sweatshirts – in vibrant shades emblazoned with the beloved Disney characters and their well-known phrases. For more fashion-forward takes, there are balloon-hem skirts, a short suit with a faux fur trim, polka dot jumpers, puffball satin dresses sculpted to the body and even bulbous shoes. A key favourite is the bow knitted aqua cardigan that's likely to sell out first. Rounding out the roster, there are a few chic accessories on offer, whether you're keen on a mouse-eared beanie or Mickey-printed sheer tights.

The playful collection is shot in a TV game show format with Lambert as its stylish host, with his Disney pals as the surprise celebrity guests, adding to the joyful undertones. This being Zara, the collection is as affordable as it is stylish.

Kamdar, H. (2025, September 25). Zara just launched a joyful collab with Harry Styles’ stylist. Grazia. https://graziadaily.co.uk/fashion/shopping/zara-harry-lambert-disneycollaboration/ zara. (2025, September 22). AW GEE! WOW: HARRY LAMBERT FOR ZARA x DISNEY [Video]. YouTube. https://www.youtube.com/watch?v=EBHYWIfRtjU

To celebrate the launch, three immersive pop-up experiences will occur throughout key fashion destinations: London at Selfridges Corner Shop started September 22, Tokyo in Shibuya started September 24, and Shanghai starting September 25. In addition, dedicated store displays will be found in Zara locations across Paris, Milan, and 19 different flagship stores across Europe, Asia, and North America.

The Walt Disney Company. (2025, December 11). Harry Lambert for Zara x Disney

Launches Collaboration Pop-Ups | The Walt Disney Company

https://thewaltdisneycompany.com/news/harry-lambert-zara-disney-collab/

Vogue. (2025b, September 22). Harry Lambert on creating a Disney capsule wardrobe with Zara. British Vogue https://www.vogue.co.uk/article/harry-lambert-zara-disney

This collab evokes nostalgia, playfulness and joy, while staying completely affordable and stylish. They use popular colours and trends such as polka dots and stripes. The collection offered men's, women's and childrenswear, making it accessible for everyone. This partnership cemented Zara’s brand strategy of utilising a top, influential stylist to shift its image from typical fast-fashion to a respectable "bridge" between luxury and the high street.

Soshi Otsuki x Zara

Japanese fashion designer Soshi Otsuki and Zara present A Sense of Togetherness, a collaboration rooted in nostalgia for Japan’s ’80s and ’90s culture, expressed through womenswear, menswear and kids wear.

With this new chapter alongside Zara, the brand introduces fluid silhouettes and soft proportions in tailoring for women, while menswear reflects Otsuki’s characteristic balance of structure and ease. For children, the collaboration echoes the handmade garments Otsuki remembers from his own formative years.

“I became drawn to the idea of human relationships – family ties, and connections that transcend gender and age,” says Otsuki. “From there, I named the theme A Sense of Togetherness.”

Osorio, A. (2025, December 4). Japanese label SOSHIOTSUKI joins Zara for a sense of togetherness. PAUSE Online | Men’s Fashion, Street Style, Fashion News & Streetwear. https://pausemag.co.uk/2025/12/japanese-label-soshiotsuki-joins-zara-fora-sense-of-togetherness/

The collection spans womenswear, menswear, and kids an expanded territory for Soshiotsuki, who has never before designed womenswear or children’s pieces. Across all categories, the work references the textures and emotions of Japan in the 1980s and ’90s. That spirit appears through soft silhouettes, vintage-leaning palettes, and a sense of sentiment carried quietly through the garments. For womenswear, Otsuki reimagines tailoring with gentler lines and fluid proportion, while menswear balances structure and ease with controlled drape and a formal sensibility reinterpreted through contemporary cuts.

The kids’ offerings carry a more intimate charge, informed by memories of clothing once handmade for Otsuki as a child. That warmth gives the collection a familial undertone, echoed further by the designer’s decision to use formal-rooted materials even in casual pieces. It creates a tension precision against softness that has become a signature of Soshiotsuki. Otsuki describes the collaboration as an opportunity to expand a range of expression that would not have been possible alone, allowing him to pursue the emotional dimension of clothing on a larger scale.

Zara and Soshiotsuki Explore Emotional Craft with A Sense of Togetherness –

NOTHINGNESS. (n.d.). https://nothingness-fer.com/2025/12/zara-and-soshiotsukiexplore-emotional-craft-with-a-sense-oftogetherness/#:~:text=That%20spirit%20appears%20through%20soft,and%20continu ity%20in%20physical%20form

As Soshi Otsuki is a small brand, not very well known to the world, and only producing menswear, Zara gave the brand the opportunity to completely expand, grow their audience, and create whole new lines of women's and childrenswear. This makes the brand even more accessible as it is now suited for everybody. It helps Zara move away from fast fashion by focusing on higher end collabs and builds a more premium brand perception. The collection offers trending pieces like cargo pants, knitwear and long coats, one of Zara’s most popular, best-selling items.

Gen Z audience research-

Gen Z values authenticity, experience, visual identity, and price accessibility. They engage with brands through social platforms, pop-ups, limited drops, and shareable moments. Being able to have their own personal experiences is what enhances their brand trust and loyalty. They merge high and low fashion often through resale, as sustainability advocates, they thrift high end pieces, shopping in charity shops or on apps like Vestaire Collective and Depop, finding luxury items for as little as £2.

Gen Z’s connection to fashion goes beyond just looks; it’s about wearing pieces that reflect personal values. For this generation, clothing choices like sustainable fashion and gender-neutral designs are more than trends they’re a statement. If you’re looking to express your values through your wardrobe, our custom puffer jackets offer the perfect combination of style and sustainability.

According to McKinsey & Company, 73% of Gen Z consumers are willing to pay more for eco-friendly and sustainable products. They are not just buying clothing for its aesthetic; they are buying it because it represents something more significant a future they want to be part of, a world they hope to preserve. They are demanding that the fashion industry be more responsible in its practices, from reducing waste to using eco-friendly materials.

For Gen Z, fashion is no longer confined to the physical world. With virtual fashion and gaming avatars becoming more popular, they are exploring a new frontier where clothing isn’t just about appearance but about self-expression in digital spaces. Virtual items are becoming part of the Gen Z lifestyle, and the digital fashion industry is growing rapidly. A report from The Fabricant predicts that the virtual fashion market could reach $6.7 billion by 2027, with Gen Z leading the way in embracing digital styles.

At its core, Gen Z fashion is about more than just trends it’s about expressing one’s true self. For them, fashion isn’t limited by gender or societal expectations. It’s about embracing who they are and celebrating individuality. Gender-fluid fashion is gaining traction, and the demand for unisex clothing is increasing.

The fashion industry is responding to this demand by offering more inclusive options that reflect the diverse world Gen Z lives in. Through inclusive sizing, gender-neutral designs, and celebrating all body types, Gen Z is breaking down the barriers that have long dictated what is and isn’t acceptable in fashion. They want clothing that makes them feel empowered, confident, and free to be themselves.

What sets Gen Z apart is their deep emotional connection to fashion. Clothing is no longer just about aesthetics; it’s about who you are and what you stand for. Every item they wear is a representation of their identity and their values. From custom-designed jackets to vintage thrift finds, fashion is a way for Gen Z to connect with their past, present, and future.

In a world that constantly tells us to conform, Gen Z is rejecting the cookie-cutter notion of fashion and embracing what makes them unique. Whether it’s sporting an oversized hoodie or wearing vintage jeans, Gen Z’s fashion is about creating memories and making bold statements about who they are. For them, fashion is a journey one that takes them on a path of discovery, self-expression, and individuality.

Gen Z’s fashion choices are as diverse as they are. From the streets of Tokyo to the runways of Paris, they are drawing inspiration from global cultures and integrating them into their everyday wardrobes. Their style isn’t confined to one country or aesthetic; it’s a blend of influences from around the world.

Streetwear: Influenced by hip-hop, skate culture, and urban street style, streetwear is a major trend for Gen Z. Its bold, graphic designs and relaxed fits have become a staple in their wardrobes.

Athleisure: A perfect blend of style and comfort, athleisure combines fashion with functionality, enabling Gen Z to stay active while looking good.

K-Pop: With the rise of K-pop’s global dominance, many Gen Z fashionistas are drawn to bold, colourful styles that combine street culture with luxury fashion.

Exploring global Gen Z fashion trends: What’s shaping the future of style? | MEXC News. (n.d.). MEXC. https://www.mexc.co/en-IN/news/542014

Final reflection-

I began this project with an open mind and decided to investigate Jacquemus, a brand I took a quick look at in component one when researching the lower luxury market level. I began with a brief knowledge of the brand and took a deeper dive throughout this component. Something I love about Jacquemus is their colour palette and emotional connection to Jacquemus’ personal life and childhood, I resonate a lot with this, and my family and friends are what inspire my everyday life, and looking back at younger me is what drives my intention to success. Throughout this component I began to struggle as I found I weren't really connecting with the brand as much as I thought I would. This is because the brand wasn't connecting with me. I feel like it is targeted toward an older audience, and there are lots of inconsistencies within Jacquemus I am someone who values fun and humour, which is what Jacquemus says the brand is all about, but it weren't really being shown throughout his collections and projects, he became lost and began to get too serious, and I think this is where I lost engagement with the brand. As for my own fashion, being from Liverpool and largely driven by trend, I follow more high street and activewear brands like Zara, Alo, and Lululemon, but this isn't something I wanted to bring into this project at the beginning, I mostly shop for gym and loungewear but I find I create for more luxury aesthetics and I want to be working at the luxury market level in the future. This was when I began to look at a collaboration with a Jacquemus and a high street brand like Zara, it what I know best and where I feel comfortable, at the moment. Zara is a very popular brand within Gen Z, always on top of trends, and accessible in every sense of the word.

Identifying the gap in the market-

From my research, I have found that Jacquemus isn't targeting the younger generations as well as they could. Their social media marketing impacts the brands success hugely, the use of futuristic adaptations like using AI and CGI, relatable content and an emotional connection with their viewers is what attracts most people to them, it draws them in and makes them want to look deeper in to the brand, at that point I feel is where they lose a lot of their customers. Jacquemus clothing is often

referred to as unwearable with oversized, asymmetric silhouettes, some pieces promoting nudity, as seen in previous fashion shows, but always with trending patterns and summer colours. Their attire is mostly targeted toward an older audience, those of whom do not follow social media trends and can sometimes be turned off by exaggeration and surrealism shown on social media. Jacquemus accessories such as the Le Chiquito bag is where the brand makes their money, but there's only so many different colours of the same bag a person can or would even want to buy. Jacquemus claims to be an accessible luxury brand, available for those with disposable income, wanting to spend their first wage on a luxury bag, I have found that the only thing mostly accessible within Jacquemus is their offer of accessories at their price point. I then began to look at high street brand Zara and some of their collaborations. Zara is a customer focused clothing brand, accessible worldwide, at affordable prices, offering men's, women's, childrenswear, as well as accessories, footwear and home wear They produce trending items within as little as two weeks. Zara’s success has stemmed from word of mouth, and TikTok styling/ fashion pages, if you want to see what's new in Zara this week, you can always find it on TikTok. However, Zara’s social media presence is non-existent, with the vast changing, online world and focus on one of the most successful fashion brands, I think a collaboration between luxury fashion house Jacquemus and high street fashion retailer Zara fills a gap for both brands. Zara will offer high quality, affordable, and wearable clothing with a luxury title, with trending attire and accessories, targeted towards Gen Z. Jacquemus’ social media coverage of the collab will grow a wider audience and attract new customers toward them, thus increasing brand awareness, trust and loyalty for both brands involved.

Campaign and pitch focus-

I am going to create a collaboration between luxury house Jacquemus and high street fashion retailer Zara. This collaboration will consist of an exclusive range of trendy, wearable clothing and accessories at an affordable price, with a luxury title. A few lucky customers will be able to shop the range first at 3 of 3000 Zara stores in a complete Jacquemus takeover, before it is available online To be in for a chance to experience these pop-up stores, viewers must follow the steps posted on Jacquemus Instagram. Jacquemus’ social media coverage of the collab, especially on Instagram, will grow a wider audience and attract new customers toward them. When seeing this luxury brand involved with another popular brand, one where most Gen Z do all of their shopping, viewers will be more likely to follow along, and it will build excitement for people wanting to get their hands on something with the Jacquemus X Zara label. Zara’s aesthetic, as seen in editorials, is more darkened and mature, Jacquemus will bring the fun, colour and playfulness Aesthetic, promotional posts will be posted on the Jacquemus Instagram page, and BTS content will be posted on the Jacquemus TikTok, while the full campaign video will be posted to the Zara YouTube page. The collab will attract a wide range of customers toward each brand, those with varying price points and different generations, because they both bring something that neither have. Jacquemus has the advantage of a huge social platform, while Zara has the advantage of the younger generation and accessible locations, this will increase brand awareness, a huge following, trust and loyalty for both brands involved. Overall, this collaboration cements the Jacquemus brand as a luxury house targeted toward Gen Z, offering affordable luxury goods, keeping the mediterranean summer optimism and joy for all to be involved with and enjoy together