《奢侈的！》章节试读

《奢侈的！》的笔记-第82页

只想说Helmut Lang出生在奥地利而不是澳大利亚，纯粹翻译错误。

《奢侈的！》的笔记-第63页

阿诺特:“控制工厂，控制品质。控制销售，控制形象。”

《奢侈的！》的笔记-第85页 - 1-85 notes. English version

How Luxury Lost Its Luster
DANA THOMAS

cosmetics
flagship
couture
Christian Dior 1957 Time interview . In this machine age, which esteems convention and uniformity, fashion is the ultimate refuge of the human, the personal and the inimitable.

monogram toile
1980s unmarried successful female
democratize
1999 peak

And luxury’s barons have reaped the wealth. Bernard Arnault, chairman and CEO of the Paris-based luxury-brand group LVMH Moët Hennessy Louis Vuitton,

The luxury industry has changed the way people dress. It has realigned our economic class system. It has changed the way we interact. It has become part of our social fabric. To achieve this, it has sacrificed its integrity, undermined its products, tarnished its history, and hoodwinked its consumers. In order to make luxury “accessible,” tycoons have stripped away all that has made it special.
Luxury has lost its luster.
LV
MARC JACOBS is the most influential creative voice in luxury fashion today. As creative director of Louis Vuitton, the world’s largest luxury goods company, Jacobs oversees the studio that in the last decade has produced sumptuous and witty versions of the classic Vuitton monogram handbag—like the denim jacquard one trimmed in chinchilla
The contradiction between personal indulgence and conspicuous consumption is the crux of the luxury business today: the convergence of its history with its current reality.
show off
Louis Vuitton is the cornerstone of a publicly traded luxury conglomerate called LVMH Moët Hennessy Louis Vuitton—or LVMH for short—run by French tycoon Bernard Arnault. In 2005, it had more than fifty brands—including Moët & Chandon champagne, Givenchy couture, and Tag Heuer watches—fifty-nine thousand employees and seventeen hundred stores, and did $18.1 billion (€14 billion) in sales and made $3.5 billion (€2.7 billion) in profits. Its flagship is Louis Vuitton, which does an estimated $3.72 billion in sales annually, accounting for approximately one-quarter of the group’s total business. Vuitton is the McDonald’s of the luxury industry: it’s far and away the leader, brags of millions sold, has stores at all the top tourist sites—usually steps away from a McD’s—and has a logo as recognizable as the Golden Arches. “Luxury is crossing all age, racial, geographic and economic brackets,” Daniel Piette, an LVMH executive, told Forbes in 1997. “We’ve broadened the scope far beyond the wealthy segments.”
The heart of Louis Vuitton is the trunk.
Louis Vuitton trunks are still made more or less the same way they were 150 years ago, mostly at the Louis Vuitton compound in the working-class Paris suburb Asnières
The trunk’s structure is built out of okoumé, a hard, lightweight wood from Africa, by craftsmen in the big lumber shop on the ground floor. For the hinge, Vuitton craftsmen glue a piece of sturdy canvas to the inside, and another on the outside. Louis Vuitton invented this method in 1854 to replace the bulky metal brackets of the period. The canvas hinge doesn’t break, opens and closes easily, and creates a flat surface on the back of the trunk. The trunk’s exterior material—usually Vuitton’s waterproofed monogram or Damier check canvas—is glued onto the wood box and hinge. The corner covers are made of brass or of leather shaped by hot and cold pressure in a mold. The edge trim, known as lozine, is made of many layers of paper and cloth pressed together and dipped in a zinc solution. Upstairs, workers nail on the poplar belts around the middle, the lozine trim on the edges, the corner covers, and the hardware. The banging is so loud that most of the eight workers in the “hammering department” wear earplugs. The lining, made of a pearl gray cotton canvas called Vuittonitte, or a synthetic suede called Alcantara, is glued inside; khaki woven cotton straps that read “Louis Vuitton” are attached to hold items in place. The trunk is then cleaned up, inspected, and sent off to be packaged and shipped.
The steamer bag—originally designed in 1901 as a laundry sack for steamship travel and today one of the Vuitton’s most popular items—is made by hand. Steamer bags, handbags made of exotic leathers such as crocodile and ostrich, and special-order items are all made by one artisan rather than on the assembly line. Vuitton gets about 450 to 500 special orders each year. Some are simply new editions of an existing model, like the trunk bed first designed for French explorer Pierre Savorgnan de Brazza in 1868 for his African travels through the Congo; others are a reworking of something that already exists, like a jewelry box covered in an exotic skin instead of the monogram toile, or something designed to the customer’s specs. When I was in Asnières, one artisan was finishing up a tennis bag in Damier canvas that holds two rackets; it took two weeks to produce and would be the only one in the world.
The rest of Vuitton’s production is assembly-line work, most of it done on machines. High profitability comes…in the atelier—the factory
Today, there are 3 Vuitton family members employed by the Louis Vuitton company: Patrick-Louis, a fifth-generation descendent of the founder, who oversees special orders and serves as a house ambassador; his youngest son, Benoit-Louis, born in 1977, who is watch special orders manager at the headquarters in Paris; and Pierre-Louis, his oldest son, who works as a craftsman in Asnières.
It was in the world of nineteenth-century French aristocracy that Louis Vuitton was able to rise from nothing to the world’s most famous luxury travel brand.
Louis Vuitton
1.at 13 set out by foot for Paris, then the city of opportunity.
2.apprentice to a master trunk maker named Monsieur Maréchal on the corner of the rue Saint-Honoré and the rue du 29 Juillet—the site today of the trendy fashion boutique Colette.
3.In 1854, Vuitton quit, opened his own business on the rue Neuves-des-Capucines (now known simply as the rue des Capucines), and set about reworking the basic design of the trunk. He changed the traditional domed lid to a flat top (to allow for easy stacking on the backs of coaches) and replaced the leather, which turned moldy and cracked, with lightweight poplar covered with a waterproof dove gray cotton canvas he developed called Trianon gray, after the Grand Trianon Palace at Versailles.
Trunk makers back then not only built trunks but also packed and unpacked them.
Throughout the mid-1800s, women wore voluminous gowns with layers of petticoats known as crinolines, made of wool and horsehair, under their skirts or, later, with bustles. The master Charles Frederick Worth the father of haute couture.
Vuitton official packer expand to Asnières
On the ground floor, Louis had about twenty artisans making trunks. Upstairs, he had a small apartment where he would stay when visiting the site.
Today, that two-room space serves as the Louis Vuitton Museum of Travel, which can be viewed only by appointment. The windowless gallery is clean and modern, with high-gloss blond wood floors; it traces the evolution not only of Vuitton but also of modern luxury goods. The tour begins with a stack of four old beat-up trunks.
1. revolutionary Trianon Gray.
2.red and beige stripes. He later changed the stripes to brown and beige, which have been the house’s signature colors ever since.
3.a chocolate brown and beige checkerboard print known today as Damier, designed by Louis’s thirty-one-year-old son, Georges, in 1888. The words “Marque Louis Vuitton Deposée”—or “registered trademark”—were written in white inside a few of the checks, thus launching luxury branding.
4. monogram pattern of interlocking LVs interspersed with naïf-style diamonds, stars, and flowers, which Georges designed in 1896 also in response to counterfeiting and registered it as a trademark in 1905. inspiration Japanese adore the Vuitton monogram
By the end of the nineteenth century, spending became the way people established their social position in an affluent society.
To keep up with the demand at Vuitton, Georges added other shops Vuitton became the luggage of choice for such Hollywood stars
It was a glamorous time, perhaps the last true golden period for luxury.
Dior
THAT ALL CHANGED with World War II. When the Nazis arrived in Paris in 1940, many luxury businesses and couture houses—including Chanel—closed shop. To keep going, some luxury companies and couture houses sold their products to the wives of Nazi officers and collaborators. Vuitton was among them. It is a part of the family history that the company does not mention anywhere.
The Vuittons were as divided as France.
When the war concluded, it took some time for the luxury business to get going again.
French actress Leslie Caron
SHOW- Saloon--fitting
Dior understood that the middle market was the future of luxury fashion, and sold not only his ideas but also his name to companies that could spread the Dior gospel to those who could not afford a made-to-measure frock. He started with American-made stockings, since the French industry still hadn’t quite recovered from the war.
The Walt Disney Company turned licensing into a megabusiness.
Soon licensing was the hottest business move in the luxury fashion business.
Pierre Cardin, a former Dior assistant who started his own business, revolutionized fashion by licensing the mass production of women’s designer ready-to-wear.
Another former Dior assistant—and later Dior’s heir—Yves Saint Laurent, took licensing one step further in 1966 by introducing a lower-priced ready-to-wear line called Rive Gauche that targeted young people. Rive Gauche changed the fashion paradigm.
Before it was simple: couturiers made exquisite clothes and sold a bit of perfume and some accessories.
Now there was a new pyramid model: made-to-order couture on the top for the truly rich, ready-to-wear by the same designers for the middle class, and a broad array of fragrances and accessories for those at the bottom.
With the advent of licensing names, the fragrance business began to grow, and couture diminished rapidly.
It was also an end to a certain part of the luxury business. From then on, luxury was no longer simply about creating the finest things money could buy. It was about making money, a lot of money.
VUITTON WAS OUT of step with the times。
Finally, in 1977, Renée Vuitton, the eighty-year-old family matriarch, asked her sixty-five-year-old son-in-law Henry Racamier to take over.
Racamier found retailer got the largest profit and decided to implement a strategy called vertical integration at Vuitton: he cut out the middleman and opened Vuitton–owned-and-operated stores.
Racamier expanded production at the Asnières compound and built new workshops in the provinces. He introduced a new, popular line called Epi, whose products were made of leather with fine, uneven horizontal stripes;
In 1986, Louis Vuitton acquired Veuve Clicquot, a champagne and perfume group that included Parfums Givenchy, the perfume and cosmetic company that was aligned with but independent of the Givenchy fashion house. The following summer Racamier orchestrated a merger between Louis Vuitton and Moët-Hennessy, creating the group LVMH, then the sixth largest company listed on the French stock market. In 1988, he added the Givenchy fashion company to the portfolio—at the then-astronomical price of $45 million—and promised its founder, Hubert de Givenchy, that he could remain as designer until he wanted to retire.
In less than a decade, Racamier had turned Louis Vuitton from a small family business that sold to an elite clientele to a powerful, publicly traded brand with substantial sales and even more potential.
Racamier made one wrong move: he turned to someone outside the family for help, someone who had no emotional attachment to Vuitton or the other brands in the group, someone who had a fearless ambition and absolutely nothing to lose. It was a move that would change the course of luxury forever.

CHAPTER TWO
GROUP MENTALITY
“War destroys man, but luxury destroys mankind; at once corrupts the body and the mind.”—JOHN CROWNE, SEVENTEENTH-CENTURY ENGLISH PLAYWRIGHTEARLY ON A COLD February morning in 1999, I met with Bernard Arnault, chairman of LVMH, at the group’s headquarters in Paris to interview him for an article I was writing for Newsweek magazine.
With Arnault’s guiding hand, luxury had gone corporate.
Arnault take over Gucci?
“Because, first of all, the company is doing well, and the shares were undervalued,” he told me. “Gucci is a brand with a lot of potential, in development and in amelioration of its business activities, and it has a good team. For us, it is evidently complementary: it’s an Italian brand in a portfolio that is primarily French, and it’s one of the best businesses in the world.”
And what, I continued, was his plan for Gucci if he succeeded?
profitability
BERNARD JEAN ETIENNE ARNAULT was born in France not far from the Belgian border.
1.piano 2.Ecole Polytechnique
secret
Bernard Arnault took over family-owned construction business;
France, swiftly nationalized banks and major industrial businesses. The new socialist economic policies made business conservatives like Arnault nervous.
went to America and back to France buying Boussac(Agache-Willot and, with it, Christian Dior), a proposal of Godé( the lawyer for Arnault’s father). through personal relationship with Willots and convincing bank(which is close to the government)
He shocked the French business establishment—and the French government—by divesting the Agache-Willot conglomerate of many of its holdings. Within five years, Arnault had sacked some eight thousand workers and sold most of the company’s manufacturing assets for nearly $500 million—making Arnault one of the richest men in France.
not gregarious
A colleague asked him one day what he would do if he were offered $500 million for Dior.
“I don’t want to sell,” Arnault responded. “The company’s priceless.”
FROM THE MOMENT Arnault got hold of Dior, he dreamed of building a luxury group
Arnault secretly convinced Christian Lacroix to leave Patou, which thus never produced another couture or ready-to-wear collection.
Arnault’s modus operandi: move in stealthily and conquer quickly, the luxury equivalent to the American military’s “shock and awe” approach to war.
Arnault and Lacroix’s unscrupulous deal haunted both men never turned a profit.
In 1987, Arnault struck again by buying Céline, a small family business.
Céline... agreed and sold him two-thirds of their shares, but were unexpectedly ousted by Arnault.
but he became to own a luxury goods group.
In the spring of 1988,
Henry Racamier wanted to align with Arnault to win the favor of LVMH chairman Alain Chevalier
but Arnault, by then the main shareholder of LVMH, became chairman of the group,
Racamier vice chairman and managing director as well as chairman of the Louis Vuitton brand.
For the next fifteen months, Racamier and Arnault fought for control of the group—in the boardroom, the courtroom, and the press—in what became known as the LVMH Affair.
Finally, in April 1990, following a judicial ruling in favor of Arnault, seventy-seven-year-old Racamier resigned from Vuitton and LVMH.
Three months later, Arnault and his wife were divorced.
RACAMIER HAD JUMP-STARTED Louis Vuitton.
But Bernard Arnault took Vuitton, and all of LVMH, to another level altogether.
His motivation was simple: the luxury goods industry, “is the only area in which it is possible to make luxury margins.” He expanded his group, focusing on what he calls “star brands”—brands such as Vuitton, Givenchy, and Dior, which he described as “timeless, modern, fast-growing, and highly profitable [companies built] for eternity.”
The younger brands like Bliss, Michael Kors, and Marc Jacobs were easy: he streamlined them and folded them into the LVMH production, distribution, and retail network.
Carcelle was promoted to CEO and chairman of Louis Vuitton. École Polytechnique.
Carcelle launched Vuitton ad campaigns that romanticized luxury travel;
Once they had manufactured the dream, they livened up the design side.
ready-to-wear shows held twice a year in New York, Milan, and Paris. “What counts with critiques is not whether they’re good or bad,” Arnault told me, quoting Christian Dior. “It’s whether they’re on the front page.”
Arnault hired Marc Jacobs.
It was a curious choice.
In his midthirties, Jacobs was scruffy and bohemian, a New Yorker deep in his bones.
---A few years earlier, as the designer for New York–based Perry Ellis sportswear line, Jacobs shook up the fashion world with a ragtag collection of clothes inspired by rock star Kurt Cobain and dubbed grunge. The collection won Jacobs the Council of Fashion Designers of America women’s wear designer-of-the-year award—and got him sacked from Ellis.
---For the eponymous company - Jacobs made pretty, modern, and dizzyingly expensive clothes for cool rich girls like his pals Sofia Coppola and Kim Gordon, guitarist and singer for the rock band Sonic Youth.
Attention, that’s what. Jacobs’s Vuitton ready-to-wear collections immediately became the most popular and critically lauded during Paris’s fashion week and are now seen as a style bellwether for the industry.
While revitalizing the image of Vuitton, Arnault and Carcelle simultaneously strengthened its business side.
Carcelle also continued Racamier’s effort to take control of distribution by buying out the brand’s U.S. franchisees. “If you control your factories, you control your quality,” Arnault explained. “If you control your distribution, you control your image.”
The renovation of Dior was far more brutal. Dior’s sixty-three-year-old couturier, Marc Bohan, allegedly learned of his dismissal from his job of twenty-nine years in May 1989 when a reporter from Women’s Wear Daily called for comment. “I was thrown out as abruptly and brutally as if I had been an incompetent valet,” Bohan told the press.
Arnault replaced Bohan with Italian ready-to-wear designer Gianfranco Ferré
At Givenchy, Arnault was just as brusque. After a series of tenuous negotiations that played out in the press, Arnault and Hubert de Givenchy reached an impasse, causing the distinguished couturier to retire from the house he had founded forty-three years earlier. Arnault ignored Givenchy’s handpicked choice as successor and hired British designer John Galliano, the thirty-five-year-old plumber’s son and darling of the fashion press who was known as much for his wild partying as for his bias-cut flamenco dresses and 1950s-inspired tulle confections.
In 1996, Arnault didn’t renew Ferré’s contract at Dior, and moved Galliano from Givenchy to Dior.
Arnault interviewed Jean-Paul Gaultier, the bad boy of French fashion best known for designing Madonna’s cone-breast corsets, for the Givenchy job. Gaultier turned it down; he wanted Dior.
Arnault then took a look at Alexander McQueen, the twenty-seven-year-old son of a London cabbie. McQueen was an anathema in luxury fashion, with his soft pudgy body, hard East End accent, and enough rage to make Johnny Rotten seem sweet. He made his name in fashion with shows like Highland Rape, in which models in kilts and shredded lace dresses were splattered with blood. But as he proved during his studies at Central Saint Martins in London and his apprenticeship on Savile Row, McQueen had great talent and, if he could direct his rage, even greater potential.
Arnault was just as cold-blooded when reorganizing the executive offices. In 1996, he replaced Parfums Givenchy’s longtime head Jean Courtière with former Procter & Gamble executive Alain Lorenzo, and Parfums Christian Dior head Maurice Roger, known as the “Philosopher-King” for his disavowal of marketing studies, with Patrick Choel, a no-nonsense executive who had worked for Unilever for thirty years, most recently as CEO of Chesebrough-Pond’s in the United States. Not surprisingly, the press dubbed Arnault the “Terminator.” “For a European, I have a U.S. approach,” Arnault explained. “That is, I face reality as it is and not as I would like it to be. I build for the long term.” A longtime colleague put it more succinctly: “[Arnault] is 100 percent capitalist in a country that has never accepted capitalism. And he has rubbed everybody the wrong way.”
The new designers fulfilled their mandate—they grabbed headlines with crazy stunts like the Dior collection of newsprint dresses inspired by the homeless—and the new marketing executives made the most of the hoopla. Not surprisingly, many longtime old couture clients fled to more traditional houses such as Yves Saint Laurent and Chanel.
Arnault didn’t care; couture lost money, heaps of it.

《奢侈的！》的笔记-第62页

克里斯丁 迪奥:“时尚评论的价值不在于褒还是贬，而在于它有没有出现在头版。”

《奢侈的！》的笔记-第68页

鲁珀特对玛格丽特 撒切尔夫人:“当我打断你时你别打断我。”

《奢侈的！》的笔记-第2页 - 介绍

旗舰店：形容一个涵盖了该品牌所有产品线的专卖店
范德比尔特家族，阿斯特家族，惠特尼家族
时尚的确稍纵即逝，而且自恋骄纵
Yves sanit Laurent伊夫.圣.洛朗 萧邦珠宝chopard 贝纳通Benetton 盖普Gap
走近大众迫使你必须改变做生意的方式
贝尔.斯坦恩投资银行Bear Stearns 私人保安公司卡罗尔Kroll 酩悦.轩尼诗--路易斯威LVMH主席兼首席执行官伯纳德.阿诺特
CoCo Chanel :苦尽甘来，生活因富足而奢华
奢侈品业一言九鼎人物：马克.雅克布斯Marc jacobs
LVMH：酩悦香槟Moet&Chandon 纪梵希时装Givenchy 豪雅手表TAG Heuer

《奢侈的！》的笔记-第69页 - 奢侈品航母

建立信誉比购买信誉更能让你的股票表现出众

《奢侈的！》的笔记-第60页

Michael Kors的年轻的品牌处理起来就很容易：简化它们，将其纳入LVMH的生产、配送、零售网络。处理老品牌就是另一回事儿了，的把他们从头到脚加以改造。为此，阿诺特实行它催生的奢侈品发展新模式：强调品牌的永恒性，让设计活泼起来，再疯狂的做广告。

《奢侈的！》的笔记-第31页

那是个优雅的年代，或许也是奢侈品最后的真正的黄金时代。从路易威登的藏品中，你能感受到这种欢愉和精致。藏品中有歌唱家玛斯-舍那儿的鳄鱼皮化妆箱，龟甲做的提手亮晶晶的；有黄金塞子的水晶长颈瓶；有永不过时的诺耶香槟包，设计于1932年，有细细的提手，可以装5瓶香槟酒，4瓶正立，1瓶倒放在正中间。

《奢侈的！》的笔记-第69页

鲁伯特:“我们专注风格而非风尚，我们不想卖一年就得打两次折的东西。”

《奢侈的！》的笔记-第50页 - 第二章 奢侈品航母

1、cult of luxury
2、像搜集棒球卡一样搜集名牌产品，像艺术品一样把它们展示出来，像符号一样炫耀它们。

《奢侈的！》的笔记-第6页 - 序

我不是哲学家，但依我看，女人——还有男人，似乎都本能地想炫耀自己。在这个强调规则，强调整齐划一的工业时代，时尚是人类保持个性和独一无二的最后庇护所。我们应该欢迎那些即便是最出格的创新，因为它们能保护我们免受粗制滥造、单调乏味之害， Christian Dior 在1957接受时代采访时说道。
看了The Century of Self，Christian Dior所处的正是消费主义抬头的时代，消费者被鼓励创造与众不同的自己。这句话更像是一则广告而不是道出一个事实。

《奢侈的！》的笔记-第79页

她给我看马里奥的一些作品的照片：1918年做了一个蜥蜴皮小手袋，有白铁和琉璃的包扣；1925年做了一个黑色丝绸小包，有手工雕刻的象牙猴子钩环；1927年做了一个青蛙皮的钱包，上面有一朵银质花朵；1938做了只龟壳和搪瓷的手表。普拉达说：＂他创意十足。＂

《奢侈的！》的笔记-第70页

产品完整的个性比各品牌的协同作用重要得多。

《奢侈的！》的笔记-第65页

书中这样形容麦昆。
是伦敦一个出租车司机的儿子，他有矮矮胖胖，肉嘟嘟的身材，硬梆梆的轮动东区口音，让强尼罗登（脾气恶劣的性枪手主唱)也显得温顺甜美的暴脾气，是时尚界的万人嫌。
在他和LVMH主席商谈的时候，他朝阿诺特咆哮，然后冲出办公室，不过后来还是臣服了。

《奢侈的！》的笔记-第36页

有一点因缺思厅，上班摸鱼get√

《奢侈的！》的笔记-第71页 - 奢侈品航母

当你看到（古驰那红加绿的招牌色）条纹，就想把它扔掉。
真是说得太准确了

《奢侈的！》的笔记-第13页 - 序言

monogram，花押字。指姓名或公司名的起首字母相互交织的图案

《奢侈的！》的笔记-第75页

GUCCI不是LVMH集团的。在争夺GUCCI的战役中充满了颠三倒四尔虞我诈。而PRADA却是最终受惠者。

《奢侈的！》的笔记-第81页

关于普拉达女士
“这是个出生于富裕的资产阶级家庭，在仆人女佣，豪华气派和彬彬有礼的围绕中长大的女人，完全不像她的竞争对手DONATELLA VERSACE，后者明显出生草根阶层。势利是她骨子里就有的。”
她吞吞吐吐欲说还休欲言又止隐隐晦晦谈及自己的家族，她自己喜欢穿YSL.她的成功很大部分都是丈夫伯特利的提携和推动。

《奢侈的！》的笔记-第83页

普拉达:“今天，要伪装奢华是很容易的，给品牌添加一些历史细节，再加上一点珍贵的装饰，这就成了奢华。我忍受不了这个……真正懂得奢华的人痛恨身份地位，你也不会因为穿上昂贵的衣服就看上去很富有。当你看一个人时，你看到他散发出来的精神、魅力和创造力了吗？”

《奢侈的！》的笔记-第59页

法国《解放日报》评论阿诺特为＂资本业的马基雅维利＂。

《奢侈的！》的笔记-第63页

如果你控制了工厂，你就控制了产品的品质。如果你控制了销售，你就控制了产品的形象。

《奢侈的！》的笔记-第38页 - 奢侈品行业的诞生

女装店把他们的图纸卖给美国的百货公司,有纽约的萨克斯第五大道的百货商场、旧金山玛格琳高级百货公司，卖给他们一年的生产权。这样，无法亲自前往巴黎的美国上流阶层女性便可以在家乡定做新款女装。在美国卖的款式和巴黎并不完全相同，但会非常接近。美国的百货公司尽可能重现巴黎时装沙龙的格调，设置有宽敞私密的试衣间。中间市场的服装制造商则迪奥支付酬金，1957年他们支付给迪奥的酬金加专利费，共计2000美元。这样他们便可以在自己生产的裙装和套装中加入迪奥的设计元素，以50~60美元的价格在美国市场上销售。
这是向下游输出设计和“时尚专利”。
另外有个问题，为什么是卖给百货公司来生产？难道百货公司和服装设计公司or中间商是合作关系？
之前，时尚业的模式很简单：设计师制作高雅精致的时装，兼卖一点香水和配饰。现在则有了新的金字塔模型：塔尖的高级定制时装卖给真正的有钱人，同一位设计师设计的成衣卖给中产阶级顾客，明目繁多的香水和配饰卖给底层的大众。1960s时尚界商业结构的变迁

《奢侈的！》的笔记-第10页 - 序

一些地区“女伴”的服务报酬是由客户陪着，到营业至半夜的精品店购物，第二天早上她们再回到店里，退掉货品换得现金，不过要支付原价的10%作为手续费“。原来如此成规模

《奢侈的！》的笔记-第57页

1987年 Arnault 从CELINE创始人手中买下它，并许诺创始人如果愿意可以在CELINE干到他们不想干的一天，结果几个月后，创始人就被踢回家。
1988年，LVMH副董事长（路易威登家族的女婿）跟董事长斗法，于是企图引进 Arnault 以壮大自己势力，结果 Arnault 反骨，成为3人中的最后住进董事局的胜利者。而路易威登家族成员全部被踢出LVMH董事局。

《奢侈的！》的笔记-第49页 - 第二章 奢侈品航母

1、“说话客气，态度强硬”2、奢侈品企业开始走集团化路线：现在主要的奢侈品牌绝大多数都被某集团收归旗下，经营主管者基本上都没有奢侈品业的背景，却精通商业运作。

《奢侈的！》的笔记-第27页

查尔斯•弗里德里克•沃斯，被尊为现代高级定制女装之父。第一位真正意义上的教父

《奢侈的！》的笔记-第50页

今天，人们像搜集棒球卡一样搜集名牌产品，像艺术品一样把它们展示出来，像符号一样炫耀它们。阿诺特和其他奢侈品业巨头已经把焦点从奢侈品是什么转移到奢侈品代表什么。

《奢侈的！》的笔记-第83页 - 第二章 奢侈品航母

普拉达说起这件事时，总是不愿意承认她的所作所为是为了五斗米而折腰。她解释：“这是巨大冲突。我很愿意说明什么是奢华，奢华就是仆人和16世纪时期的服务。如果你想讨论世间罕见的美丽，我知道那长什么样子。今天，要伪装奢华是很容易的，给品牌添加一些历史细节，再加上一点珍贵的装饰，这就成了奢华。我忍受不了这个……真正懂得奢华的人痛恨身份地位，你也不会因为穿上昂贵的衣服就看上去很富有。当你看一个人时，你看到他散发出来的精神、魅力和创造力了吗？只看到一颗大钻石，那代表什么？不过代表心满意足罢了。我觉得这太可怕了——对品位的判断完全基于金钱的多少。拥有奢侈品让你看起来更好，这全是幻觉。真的！那不能带给你什么，那太陈腐了。”

《奢侈的！》的笔记-第49页

泰迪罗斯福总统:“说话客气，态度强硬”

《奢侈的！》的笔记-第22页

今天，路易威登每年还要出品约500个行李箱，但很少再用于旅行了。就算是旅行要用——这往往是出于怀旧的缘故——它们的主人也会提前用邮递或海运，甚至私人飞机托运走。多数路易威登行李箱，不管是新的还是旧的，会像艺术品一样摆在家里，或者用做置物架、咖啡桌甚至吧台。

《奢侈的！》的笔记-第61页

ANNA WINTOUR
路易威登发展到今天，已经没有了时尚的印记，没有了身份地位的象征意义。LV的形象已经和棕榈海滩一样了。

《奢侈的！》的笔记-第2页 - 序

手袋的平均价格是成本的10-12倍，这个比例在路易威登的手袋上高达13倍，而且该品牌的手袋从不降价。

《奢侈的！》的笔记-第69页

以我的观点，建立信誉比购买信誉更能让你的股票表现出众。

《奢侈的！》的笔记-第53页 - 第二章 奢侈品航母

狡猾 果断 不怕与人发生冲突

《奢侈的！》的笔记-第32页

1940年纳粹入侵巴黎，当时的路易威登家族像法国一样四分五裂。创始人路易威登的儿子乔杰斯的孙子（曾孙），加入法军，对抗纳粹；其曾孙女被送进集中营；其孙子（乔杰斯的儿子）则选择投靠纳粹。

《奢侈的！》的笔记-第20页

在我看来，奢侈就是让自己高兴，而不是为别人打扮。

《奢侈的！》的笔记-第71页

真正有品位的奢侈品客户是不会买古驰的。

《奢侈的！》的笔记-第69页

我们专注风格而非风尚。

《奢侈的！》的笔记-第83页 - 奢侈品航母

真正懂的奢华的人痛恨身份地位，你也不会因为穿上昂贵的衣服就看上去很富有。当你看一个人时，你看到它散发出来的精神、魅力和创造力了吗？只看到一颗大钻石，那代表什么？不过代表心满意足罢了。我觉得这太可怕了——对品味的判断完全基于金钱的多少。拥有奢侈品让你看起来更好，这全是幻觉。真的！那不能给你带来什么，那太陈腐了。——缪西娅·普拉达
但我在想，普拉达是个从小就衣食无忧的人。所以很多草根阶层的心理和梦想她无法理解。从物质到精神的追求可能确实需要一个过程。这就好比即使身在北京，出身贫寒的子弟可能仍然从小以看电视为娱乐，后来是盗版DVD，直到自己挣到了钱，才开始享受影院，IMAX……终于有一天走进剧场，那最好是一部《开心麻花》之类的嬉笑剧，然后才能慢慢领会到《恋爱的犀牛》这类文艺片的魅力。

《奢侈的！》的笔记-第2页

手袋的平均价格是成本的10-12倍，而这个比例在路易威登的手袋上则高达13倍~~~

《奢侈的！》的笔记-第42页 - One: An Industry is Born

1977年，Henry Racamier接受LV家族事务。
他研读很多书后发现，在商业链中零售商——特别是拥有特许经营权的经销商，拿走了利润的最大头。他决定对LV实行Vertical Integration: 他踢走中间商，开设LV直接管理的直营店。这是奢侈品行业的一项重要改革，在财政上取得空前的成功。短短几年内，LV的利润上升到惊人的40%，而他的大多数竞争者只能赚得15%~25%的利润。

《奢侈的！》的笔记-第86页 - 第二章 奢侈品航母

普拉达的回避态度，其实不明智地露出了今天奢侈品业的阿喀琉斯脚踵：奢侈品公司的管理者们想成为全球性企业的领导者，他们不仅对大众隐瞒产品的生产制造过程，还要隐瞒品牌的运作。假如真相大白于天下，大众对品牌的信心将会瓦解；消费者将不再购买奢侈品，公司的利润会直线下滑，品牌连同它们的母公司将会面临破产。公开上市的公司要透明化，也就是说，在每年的财务报告中他们必须提出财务数据。但是，当诸多品牌合并成一个大集团，管理者就可以把所有的数字混在一起，从而混淆真相。从整体看，LVMH获得了利润，它的品牌由于大肆宣传似乎也极为成功。但是，你所不知道的是，LVMH旗下的路易威登每年创下营业额纪录时，另两个品牌纪梵希与高田贤三（Kenzo）的收入却差强人意。
近10年来，奢侈品业内形成了更多的集团，有宝格丽集团（Bulgari Group）、费拉格慕集团（Ferragamo Group）、瓦伦蒂诺时尚集团（Valentino Fashion Group），时尚业内现有的品牌几乎都卷入到了这些大集团的资本运作游戏中。今天，只有寥寥几家欧洲奢侈品牌仍然坚持独立，只由私人经营，它们有法国的索尼亚·里基尔（Sonia Rykiel）、意大利的阿玛尼（Armani）、杜嘉班纳（Dolce & Gabbana），还有范思哲，虽然创始人吉阿尼·范思哲（Gianni Versace）在1997年被谋杀之前曾说过要公开上市。而乔治·阿玛尼，现在已是70多岁的高龄，还没有确定继承人，多年来他也审慎地考虑过各种意见，包括卖给LVMH和公开上市，但他拒绝了这些方案。
有一次，我问阿玛尼为什么拒绝那些方案？他回答：“我可以让自己夜里回办公室去修改我想修改的任何事，而不需要征求任何人的意见，也不必为达成一定的财政目标而焦虑。因为投资者——他们什么都不懂——决定了今天要10%的什么，接下来是20%、30%。这就是关键所在。”他还说：“有时候结果需要等待，然而大多数的情况是，市场需要即刻看到结果。从心理学的角度看，这样不适合我们的工作，因为这会消磨我们的热情。”

《奢侈的！》的笔记-第63页

Arnault 改造DIOR的手段更为残酷，1989年当时DIOR的设计师是63岁的Marc Bohan，5月的一天他收到某杂志记者打来的核实电话才知道自己被FIRE了。
对待GIVENCHY， Arnault 一样粗暴，他在收购GIVENCHY后与创始人开展了一系列毫无进展的谈判，最后GIVENCHY无奈选择退休，而 Arnault 对其精心挑选的设计师继承人毫无兴趣，反而选择了坏小子JOHN GALLIANO.
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所以N年后，GALLIANO以那样的方式被开掉，其实也是 Arnault 的一贯做法而已。

《奢侈的！》的笔记-第12页

为了让奢侈品“唾手可得”，商界大亨们剥掉了所有让它们与众不同的特质。

《奢侈的！》的笔记-第24页

路易威登家族有3位成员受雇于路易威登公司：帕特里克•路易（特别定制，并担任家族代言人）贝努瓦•路易（监管特别定制经理）皮尔•路易（阿涅勒工匠）

《奢侈的！》的笔记-第62页

简直是设计师集锦啊：
1、1996年阿诺特想在LV开辟女装高级成衣，千挑万选出了Marc Jacobs：30多岁，邋邋遢遢，波西米亚人般放浪又透着纽约客的气质，“grung“风系列让他被Perry Ellis炒了鱿鱼，然后自己建立了一个品牌；
2、对纪梵希，阿诺特做的是雇佣了英国设计师John Galliano。”35岁的John Galliano是个水管工的儿子，也是时尚媒体骄子“。1996年将他从纪梵希调到迪奥。
3、在2之后，阿诺特约见Jean-Paul Gaultier（给麦当娜设计圆锥文胸而出名的法国时尚圈坏男孩）谈纪梵希的工作，但后者婉拒了因为想要的是迪奥；
4、然后3之后阿诺特接着考虑了Alexander McQueen。”27岁，是伦敦一个出租车司机的儿子，有着矮矮胖胖、肉嘟嘟的身材，硬邦邦的伦敦东区口音和著名的暴脾气，是时尚界的万人嫌。“ 后者开始心高气傲，不过最后还是接受了这份工作。
看出点啥端倪呢?

《奢侈的！》的笔记-第50页

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