How did you discover Martine Rose?
MH: We stocked Martine Rose from the very beginning. It was her first or second season, and she had just started showing internationally in Paris, at least eight or 10 years ago. I discovered her through a showroom in Paris. I had followed the brand for a little while and was happy to finally see it in person.
At the time, it was a very small offering, maybe 10 or 11 SKUs. But there was something special about it. It had this East London vibe, with tracksuits and sportswear, but the cuts were always very interesting. There was always a mood to it. The brand has always had a very specific mood, which is why she’s right for Balenciaga.
What was happening in menswear or fashion at large when she launched
MH: When I first started buying it, the brand felt very fresh. It was the era of Vetements, and she had this sporty vibe, but it wasn’t sporty in the traditional sense. If you styled it correctly, it looked amazing.
Over time, the brand evolved. Then Tomorrow Group came in and acquired more than 50 percent of the business, bringing money and production resources. I don’t know the specifics of the creative relationship between them, but after that acquisition, she was really able to develop the brand. I watched it grow from 11 or 12 SKUs to 40 or 50 SKUs.
Did it immediately resonate with consumers?
MH:The brand has always resonated with our customers, particularly the fashion kid and the hip-hop consumer. It was a really nice crossover between the two.
At the time, we were seeing this whole new influx of consumers taking an interest in fashion, and Martine Rose was the perfect bridge. The super-fashion kid could wear it, and the super-urban kid could wear it. She has an immense amount of creativity, and that really resonated with our customer base and who we are as a retailer.
Martine Rose has been one of our top-performing brands.
Why do you think she was a good choice for Balenciaga?
MH: She’s been in the game for quite a long time. One of the reasons I think she’s such a great fit for Balenciaga is that she was helping Demna during his early years at the house. I was actually surprised she wasn’t appointed right away.
She’s always been a little bit behind the scenes. She’s one of those designers where, if you know, you know. She’s never been particularly loud about what she does. She’s been quiet and let her work do the talking. She’s extremely respected by buyers, consumers, and designers as a whole, without needing to shout about it.
I think fashion needs this, and I’m very excited for her. Especially with so many creative directors moving around. I’m excited to see a real, true designer get this kind of opportunity.
Why don’t you think Pierpaolo Piccioli worked out?
MH: When Pierpaolo Piccioli came in, Balenciaga had already developed a very specific following under Demna. Demna had created a culture around the brand, and with the new appointment, they lost some of that culture.
The numbers weren’t showing the same results, and eventually Demna moved to Gucci.
I thought Pierpaolo was a strange appointment from the beginning. Once they understood the reaction from the consumers who had been buying Balenciaga, it became clear that they needed someone who could bridge the gap between where the brand had been and where it wanted to go.
They needed someone who could carry the torch and speak the language that Demna had created, while also bringing something new.
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