Hermès

So I don't know if you realize this. Hermès is reporting earnings in like two days. Yes. And at first I was like, we should probably not do this episode because their annual report comes out in two days. What if we're not current? And then I realized this is Hermès. The short term is of no consequence. Also, the Hermès annual reports are the most beautiful annual reports ever created in the history of the financialization of mankind. You might think you can't do all of your charts in orange. You need different colors, but you would be wrong.

The illustrations, the themes, you can tell they care. You can tell. All right, let's do it. Let's do it. Who got the truth? Is it you? Is it you? Is it you? Who got the truth now? Is it you? Is it you? Is it you? Sit me down. Say it straight. Another story on the way. Who got the truth? Welcome to Season 14, Episode 2 of Acquired, the podcast about great companies and the stories and playbooks behind them. I'm Ben Gilbert.

I'm David Resenthal. And we are your hosts. Today, we tell the story of a handbag company that won't sell you a handbag. A traditional saddle maker that makes very little of their revenue from saddles. A company that somehow has grown to be worth over $200 billion, despite rejecting manufacturing efficiencies and economies of scale. A company so obsessed with craft and a reputation for quality that they have stayed independent while every other luxury brand has merged into conglomerates.

That's right, listeners. Today, we tell the oldest story we have ever told here on Acquired, older than Standard Oil or the New York Times. This company dates back to 1837 in Paris, France. The crown jewel of the luxury industry, Hermès. Ben, do you know what company was also founded in 1837 that we have discussed quite a bit on Acquired? Hmm. No, I do not, David. That would be the other iconic color luxury company, Tiffany. Oh, really?

Also founded in 1837. Ah, Chuck T. Well, this episode, listeners, has been probably just under 12 months in the making. LVMH was just after one year ago, and it was in that episode that I feel like I got a real penchant for everything that Hermès stood for. You know, after 187 years, still under family control, they're on their sixth generation of family leadership at the helm. I don't know, David. Everything Hermès does is just so focused and intentional and pure.

As much as they sort of get lumped together with brands owned by LVMH, they are in many ways the anti-LVMH. Oh, we've got a great discussion of that later in the episode. I used to think that, and I no longer think that. But after our LVMH episode, I mean, you were so inspired by learning about Hermès. And you went out and you bought your first luxury object, right? And it was not an LVMH brand. Yes, that is true.

My wife and I were on our honeymoon listeners after LVMH, so last summer. And we were in Exxon Provence, and we walked by an Hermès store. And I thought this would be a great time to go in and get each other something as a honeymoon gift. So my wife got a little Twilly scarf, and I got an Hermès belt. And it's the only luxury item I own of any luxury brand, traditional luxury brand. Yeah, as foreshadowed on our holiday special episode a couple months ago.

Yep. Well, listeners, if you want to know every time an episode drops, you can sign up at acquired.fm slash email. You'll get hints at what the next episode will be and follow-up facts from previous episodes when we learn new information. Come discuss this episode with us at acquired.fm slash Slack. Come check out our second show, ACQ2, where we interview founders, investors, and experts, often as follow-ups to these episodes. So with that, this show is not investment advice.

David and I may have investments in the companies we discuss, and this show is for informational and entertainment purposes only. David, I feel like we're starting before 1837. Yes, but not too much before 1837. All right. We're not going to like the sort of Egyptian invention of the handbag or anything like that. Boy, let me tell you, I was tempted. I was tempted. Well, if you read the luxury strategy, which is a great book that we've referenced many times on Acquired, they start back 50,000 years ago.

We start in 1801, not in Paris, not even in France. You know, as we've been talking about, the land of beauty, luxury, enlightenment, where Hermès, of course, was founded and is still based today. And uniquely, Hermès still does 85% of their production by hand by Mastercraft's people in France, as we will talk a lot about. But instead, we start in the land of hardness and precision, of engineering, of exactitude, the future land of the Porsches of the world.

That is right. Germany. A century before the Porsches and Volkswagens of the world. Yes. Where Thierry Hermès was born in the town of Creffield, which is just outside of Dusseldorf, where he's the sixth child of a family of innkeepers. So Hermès, is that a German name, a French name? Hermès is obviously not a German name. I mean, even I know that. Thierry's father was French and his mother was German. And shortly after Thierry is born, he was born in 1801, something pretty major happens in France and then throughout continental Europe that will become very, very important to our story here.

And that is that Napoleon comes to power in France. I mean, this is the era we're talking about here, like Napoleon. We finally did it here on Acquired. Your AP European history class has now merged with business history. We're covering Napoleon. He is critical to what is about to happen here. So in the aftermath of the French Revolution, Napoleon essentially stages a coup, declares himself emperor, first of France, and then he basically begins conquering all of continental Europe, including Germany.

Now, this Napoleonic conquest was at the same time both the very best thing that could happen to young Thierry. I mean, it leads directly to Hermès, but also the very worst and truly worst. You do all this conquering, this glory of France that we're going to talk about becomes important to Hermès. That's the result of wars. So Thierry's entire family, his parents, his mom, his dad, all five of his siblings, they are all killed either directly in the Napoleonic Wars or by disease and famine as a result of this.

I mean, absolutely terrible. And the result is that Thierry, by the time he's 20 years old, he's an orphan. He is the last Hermès left. So David, 1821, you know, pretty rough time out in the world. Do you know who was born in this year, 1821, and was also an orphan? Ooh. We have talked about them on Acquired. Obviously not Rockefeller, which is where my mind first went because we talk a lot about his dad. Yep.

Louis Vuitton himself. Ah, he will also come up here in a minute. 20 years younger than Thierry Hermès, but also an orphan. Wow. I didn't know he was also an orphan. Yep. Wow. It's just crazy. Two orphans, one of whom was German, go on to found the two most important, most French, most luxurious brands and really communicators of status in the modern world. That's wild. Yeah. Especially crazy considering they both came from nothing. These people who would create the monikers of the elite, of what would go on to be the symbols of wealth and nobility, came from nothing and were orphans and at their greatest aspirations were craftspeople for the elite.

They were almost servants. Yes. So in 1821, Thierry leaves Creffield, leaves Germany. He abandons his original kind of destiny as an innkeeper and he moves to France, not to Paris, but to Normandy in the North. And there he becomes an apprentice under a master craftsman learning the art of equipage craftsmanship. Now, equipage is the business of outfitting horse-drawn carriages. And who were the customers of horse-drawn carriages? Ben, like you're talking about. The nobility. The nobility. You know, horses were extremely important to the world back then.

The horse was the car. It was the Ford F-150. It was the Toyota Camry. It was also the Rolls-Royce that drew the carriage. And only the Rolls-Royces were the carriages. So when Thierry moves to Normandy and takes up as an apprentice, he apprentices for 16 years. And it's not until 1837 that he finally moves to Paris as now a master craftsman and opens up his own shop in Paris on the Rue Basse du Rampart in the 9th arrondissement, which that whole street today no longer exists.

And there he establishes himself as really quite an exceptional harness maker for horse-drawn carriages. Now, it's kind of unclear to me at this point if he's using the famous saddle stitch, which becomes so important to Hermès. And the reason it's unclear to me is because he's not making saddles. Saddles are what other people are making. It's not that the nobility don't ride horses. They do. But they ride horses like the elite today drive a Ferrari. It's not something they do every day.

Right. Their daily driver is a Bentley because someone else is driving them. And they have a Ferrari for when they occasionally want to drive a Ferrari. They'll climb in a saddle occasionally, but mostly they're in the carriage. Yeah. So when Thierry arrives in Paris in 1837, he pretty quickly starts becoming known as really the best harness maker and carriage outfitter in Paris serving the nobility, which is pretty impressive. I mean, here he's this immigrant from Germany, apprenticed in Normandy.

He shows up in Paris and all of a sudden he's making the best stuff out there. Turns out he was just really good at the craft. And he had exceptionally good timing. We spoke about Napoleon a little bit earlier. When Thierry finally comes to Paris, at this point, Napoleon I has been defeated. The Battle of Waterloo. That was 1815. France has now seesawed through like a whole bunch of different republics and the monarchy comes back and, you know, it's crazy French history stuff.

But shortly after Thierry returns, Napoleon's nephew, Napoleon III, stages another coup and reestablishes the empire in France. And this is super important, Ben, to what you were talking about earlier about, hey, this guy's an orphan. Louis Vuitton was an orphan. How did they become so important? When Napoleon III comes to power in France, he does two things. One, he completely modernizes the city. So if people have heard of the Baron Haussmann who kind of rebuilt Paris, that happens at this time under Napoleon III.

They transform Paris from a medieval city with super tight streets. Like if you go up to Montmartre, those streets around there, that is old Paris. But what you think of the Eiffel Tower, the museums, the Grand Boulevards, the Champs-Élysées, that's happening right at this time. And the Baron Haussmann, he's kind of like Robert Moses was in New York in the mid-20th century, remaking New York. He is given full latitude and direction by Napoleon III to burn Paris to the ground and remake this city as a modern city.

Fascinating. And this is super important for Thierry and Hermès for two reasons. One, in the old medieval streets in Paris, not that many people were going up and down them. Not that many people were going to see the nobility in their carriages and all their finery. Now you've got the Champs-Élysées, the Grand Boulevards, everything about the sort of gallantry of Paris that we know today. It's all on display now. So this becomes really important for showing off, for signifying your wealth, your status.

The other kind of related thing here that happens with Napoleon and Napoleon III is that status is no longer just about what you were born into. In the old system, the nobility, the royalty, it was like, look, you're born noble or you're not. And it's kind of independent of how much money you have or what you do or what influence you have. Under Napoleon, he brought in this modern idea that you could shift your class. I mean, he was essentially a nobody and he became the emperor of Europe.

That'll completely upset the mindset of people. So all this is happening. This is the best thing that could ever happen to Thierry. He's the best artisan, most exclusive crafter of carriage wear, of equipage. The city is being transformed so that this can all be displayed prominently. Obviously, social stratifications are becoming more blurry. People can spend money for the first time to buy status. Great for business. These are like the disruption waves that enabled him to create a business.

Yes. Before all this, before this era, there's no way that this evolves into Hermès or honestly that Louis Vuitton and what he's doing with luggage and with trunks, there's no way that that evolves into Louis Vuitton. So speaking of, both Hermès and Vuitton have one really important client, a key influencer, so to speak, that they both land at this time. I remember Louis Vuitton's key client was the Empress Eugenie. Is Hermès the same client? Yes, the same client.

So Napoleon III's wife, the Empress Eugenie, becomes a client of both of these men for her carriages, in the case of Hermès, and for her luggage and for her trunks. And actually, I think also for her packing. Like, I think Louis Vuitton was the royal laitier, I believe, and he packed the trunks. He was the luggage guy. Hermès was the carriage guy. Which is so funny because that is still, in some ways, both of their legacy today.

Yes, absolutely. Eugenie and everything going on at this time makes Louis Vuitton and makes Thierry Hermès. But it's interesting, right? Vuitton and luggage, that is inherently of the world that's coming, the modern world. The train, that exists at this point in time. Steam engines are a thing. And then the car is about to come. And Louis Vuitton and trunks and luggage, it all translates directly. Right. It's sort of built for the upcoming world. Yes. Not the case with Hermès.

And actually, today, I think this is one of the biggest strengths of Hermès. And they still, you know, the equestrian theme, the horse is so much of their brand. They talk about it so much of their products, the saddle stitching. It's calling back to that other era, like that pre-modern era where the horse was primary. Hermès is deeply rooted in French history, in Parisian history, and really a key part of how France as a nation has the identity that it has today.

But it would all be irrelevant if the brand didn't translate out of the horse era and into the car era. Which was not Thierry Hermès' doing. Nor was it his son's doing. So Thierry dies in 1878, and his son, Charles Emile, takes over. Now, he apprenticed coming up in the shop in exactly the same way that Thierry apprenticed. He just apprenticed for his dad. So by the time he takes over, he's been working in the shop as a craftsman for 20 years.

And by the way, this sort of family tradition and way of business continues to this day. So Axel Dumas and Pierre-Alexis Dumas, who are the two descendants of Hermès, the sixth generation, that are running the company today. Axel is the CEO and Pierre-Alexis is the artistic director. They apprenticed in the business. When they were teenagers, for five years after school, they went to the atelier. They learned the saddle stitch. They made bags. They made items with their hands.

Now, obviously, they also sort of learned the business from their parents. But they're not learning the business the way that the Arnault children are learning the business at LVMH. As executives, they're learning with their hands, as craftspeople, how to make this stuff. Which is wild. Axel is the CEO of a $200 billion plus company. It's crazy. And to bring it back to the late 1800s, I think the point you're making here is when Charles Emile was apprenticing, there was no other example of what this company could become.

So he thought, well, why don't I carry it on in exactly the same manner, Thierry, that you did? And so there's not this grand ambition to innovate and change with the times. It's, well, how do I learn exactly your craft, exactly the way you do it, and then continue that? Right. The business and the craft are intimately intertwined. They cannot be separated. And this is a playbook theme I want to pull all the way forward, but it's so critical to understand about Hermès and what really, in my mind, differentiates it from LVMH.

LVMH, as we talked about on that episode, has world-class, best-in-the-world business executives who partner with world-class, best-in-the-world creatives. At Hermès, these are not different people. Now, obviously, there is a different CEO and artistic director that are both members of the same family and who are cousins. But in spirit, they're cut from the same cloth and they apprentice as creative craftspeople. And they collectively, and the family, is in charge as much of the creative side of the house as they are of the business side.

Yeah, makes sense. So, back to Charles Emile and the second generation. He finally adds saddlery to the business. That's his big expansion. He adds saddles. Ba-na-na! Ba-na-na! Which, you know, again, like, as Paris is modernizing, as you can now buy your way into status, for the first time in Paris, you can be seen riding in addition to carriages. And the ideal of what it is to be a noble person or a noble person of status has changed.

It's no longer just, oh, I'm a leisurely courtier. It's like, no, I'm Baron Osmond. I am doing things for the state, for the country. I am doing big things. It's kind of like American in its way in the Rockefellers. Right. You're not just famous for being famous. You are famous because you've achieved something or you're in the act of achieving something or you hold a high office in which you were elected or appointed to get a specific goal done.

You're on the move. You got stuff to do and, you know, you got to get there. Exactly. And you need a saddle for that. So Charles-Emile, he adds saddles. And in 1880, he moves the workshop and the store to Venkat, rue du Faubourg, Saint-Honoré. 24 rue du Faubourg, Saint-Honoré in the 8th arrondissement of Paris. The famous address. The building that is today known as Le Faubourg by everybody in the Hermès universe. And this street and this location is one of the most iconic streets in the world.

Buildings in the world. Headquarters in the world. It was stunning to walk it last summer when I was there. You can feel the presence of Hermès and all the other brands that are there. Yeah. The rue du Faubourg, Saint-Honoré is where the French presidential residence is. It's where the British embassy is. It's where French Vogue is today. Probably because Hermès is there and because all of the other luxury flagships are there. So Charles-Emile runs the business for 25 years.

He adds saddles. He moves the company to the Faubourg. And then in 1902, he retires. And his two sons, Adolf and Emile, who have apprenticed in the business just like him, just like every generation will do for many generations to come. They take over and they change the name of the company to Hermès Frères, Hermès Brothers, because the two brothers are now running the company. And they're going to do this forever together. And they're going to be thick as thieves.

And, you know, they are of one mind on how this company should go. They've been apprenticed together. They're going to be like Axel and Pierre-Alexis today. Well, of the two brothers, I think it is fair to say that Emile, who I believe is the younger brother, is the sort of much more ambitious and much more adventurous one. There's this great story that in the late 1890s, so before his father, Charles-Emile, retires, the young Emile sets off to conquer Russia for Hermès.

He literally like gets on a train with a notebook and a suitcase filled with miniature versions of the saddles and the harnesses that Hermès makes. And he just finds his way into the Tsar of Russia's court and lands him as a customer. That is wild. Unreal. They have to staff up a whole new atelier with like 80 craftspeople to fulfill all the orders for the Tsar in Russia. Whoa. Yeah. So this is Emile. He's going places.

And right as he and Adolf are taking over, kind of at the end of Charles-Emile's tenure, they decide to introduce a new product. Now, they're not thinking that this is going to be a big thing at the time, but some of their customers, again, now that they've added saddles, once they get off the horse, they want something to carry the saddle and maybe their riding boots with them while the horse is in the stables at wherever they're going.

So they say, great, we can help you with this. And they introduce the Haute Aquire bag, which translates as the high belted bag to carry saddles and boots for their clients. Now, like I'm saying here, this was intended to be an accessory to the main business of equipage and saddles, the equestrian business. It's not really practical for anything else. I don't know why anybody else would want a big tote bag that could carry your boots. What's this bag look like?

Well, this bag looks exactly like the Birkins and the Kellys today, except a lot bigger. Interesting. Because you're putting a whole saddle in it, like you're desaddling your horse and then you're putting that in this bag. Yeah, but it has the same trapezoid shape. It has the crossover belt, the Haute à Couroir. It means the high belted bag. It has the belt. It has the turnstile lock closure for the belt at the top of the bag.

Fascinating. So this accessory that we're going to add to the business, this becomes the spiritual heritage to the business today. That's crazy. It's like if Apple eventually transitioned to being not the Vision Pro company, but the Vision Pro carrying case company. Yes, yes, yes. Oh, did you get the carry case, by the way? No, I'm not going to spend another $200 on that. That thing looks like a balloon. It's enormous. Yes. And it takes up your whole backpack.

So this bag, this accessory that would become the Kelly and then the Bergen, they introduce it just at the right time. It's 1902, kind of as Charles Emile is retiring. And this idea of this bag that you would put stuff in, because you wouldn't bring a bag on a train. You know, if you're of this class, you need a trunk, you need a flat pack trunk that Louis Vuitton is going to make for you. And none of these three men could have seen it at the time.

But this accessory to the real business of saddles and horses and harnesses was going to become the perfect transition to move Hermès into the age of the automobile. All right, listeners, now is a great time to talk about a new partner of ours here on Acquired, Lagora, the agentic operating system that is redefining how the world's best legal teams work. Yep. It's sort of obvious that AI is going to completely change the legal industry. I bet most of you listening have dropped a contract into some sort of AI chatbot out there.

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Lagora's bet here is interesting. Since it lets each lawyer handle more complexity, any given person can increase the quality of their work and do higher value work. And this means that the pie can grow even as each individual task takes less time. And they recently launched Lagora agent offering greater intelligence and performance. The agent lets lawyers set an objective. Then it can handle the planning and the execution and delivery of the final product. Legal teams get to maintain full control and transparency since they're still involved where judgment is required.

And Lagora works where you already work. You can use it within Microsoft Word while redlining or drafting. The early Lagora numbers essentially speak for themselves. When they have a head-to-head pilot with their top competitor, they win 70% of the time. Lagora now has over 100,000 lawyers on the platform from 1,200 legal teams in 50 countries. And crazily, they went from 1 million to 100 million in ARR in about 18 months. Truly insane numbers. And that is the real test.

Plenty of things demo well, but the question is whether a busy associate actually reaches for it during crunch time or whether a partner trusts it before going into a conversation with a major client. If your legal team wants to check it out, whether you're a law firm or you're in-house at a company, you can learn more at lagora.com slash acquired and just tell them that Ben and David sent you. Now, David, how was Hermès perfectly positioned for the age of the automobile with this new accessory?

So, this is wild. I suspect you probably also found this in research. But when I did, my mind melted. So, during World War I in 1916, Emile becomes an officer in the French military. And the military sends him to the United States to learn about kind of U.S. industrial and military production. You know, he's sort of a leading industrialist in France at this time, shall we say? And one of the people that he gets sent to meet with is, do you know about this, Ben?

No, I have no idea. I can't believe you didn't find this. No. He meets with Henry Ford. No. He goes to Detroit. He sees the assembly lines. He sees the car. He sees the future. He sees the assembly lines and then he like had blinders on. He's like, oh, pay no attention to the manufacturing efficiencies they've got going on over there. This is what's so funny. No, he's like, this is unbelievable. And to the manufacturing efficiencies point, he actually does take some elements of the assembly lines and brings them back to Hermès.

It's not like they're anti-efficiency. They're pro-efficiency. But in the context of being a craft, you know, non-mechanized human master craftsman built object. So he actually does take some of the production ideas from Henry Ford. But more importantly, he's looking at this place and he's like, my God, there is a Model T rolling off the assembly line every three minutes. Ford at this point is producing half a million cars per year. Everybody knew about the automobile, but this is a different arrow.

This is kind of the same time as when we talked about our Novo Nordisk episode about the start of that company where like news didn't reach Europe. This wasn't a global world. And so Emil getting this window, like literally seeing the assembly lines in Detroit, he's like, whoa, once this war is over, the world is going to change forever. Okay. So Emil both figures out how to open business in Russia and goes to America, meets with Henry Ford, understands the automobile is going to change the world.

Yeah. He's quite the character, this guy. The other thing he finds in America is, I know you know this one. Yeah. The zipper. Yes. Or as it was originally called. The close all. Yes. Which really does not have the same ring to it. I'm glad we changed to zipper. I couldn't believe this. The zipper was a late 1800s, early 1900s invention in America. And it was primarily used for industrial use cases. In this case, it was zippering closed the hood of a car.

I think like a military car. Yeah. Where Emil first sees it. It's not at the Ford factory. I think it actually might've been in Canada on the later leg of his journey where he sees it on the car. It was also used for opening and closing boots. And that is how the name zipper came to be. I think it was the BF Goodrich company. Really? Yeah. I believe they made a brand of boot with this close all function and they called it the zipper.

And that's where the zipper came from. Regardless, enterprising young Emil. He tracks down the inventor of the zipper, like the holder of the patent in America. He obtains an exclusive license for two years in France. This literally is like the Novo Nordisk episode. Totally. Brings it back to France and makes the first zippered products. He makes the first zippered jacket ever created anywhere in the world. It is a leather golf jacket for the British Duke of Windsor, the heir to the throne.

Just amazing. For years in France, the zipper would be called the Hermès fastener in France. Yes, that's right. Just a while. I think they made the right decision not to make zippers the business and instead to stay focused on leather goods. It does show their penchant for innovation, the idea that we can push the envelope forward in functionality and what people would be willing to wear. I mean, this guy's a Duke and he's wearing a zippered jacket.

I'd imagine that drew some eyes at first. Yeah. And a golf jacket literally for use while playing golf, while playing sport. You know, what more modern activity to happen here. Yep. Regardless, though, the big thing for Hermès that he brings back is, oh my God, the car is coming. Okay, so we're still in the third generation of the Hermès family. Two brothers are running it. What's next? When Emil comes back and he's running around making zippered jackets, he's collaborating with car companies, leads to a rift between the two brothers.

Adolf, the older brother, he's much more conservative. He wants to remain in the horse market. He's kind of depressed about the car coming. He's like, hey, I just want to remain a niche leather worker and I'm not really cool with everything you're doing here. This is literally like he wants faster horses of the analogy of like, if you would ask people what they want, they'd say a faster horse. Like he's stuck in horse land. Right. Now, I don't know if it was that he had his head in the sand or more just like he didn't want to go build a big company.

Right. Which I could understand. Totally. I could totally understand that. Either way, in 1919, Emil buys him out and says, I believe in my ability to lead this company, making this transition into the automobile era. And legend has it that he goes to the craftsman in the atelier above the shop in the Faubourg and says, okay, what are we going to do? What can we make with our hands here in this atelier that will interest our clients today?

And I think this is still kind of legend around Hermès of like, what can we make with our hands that will interest our clients today? And the obvious answer at the time is a version of the Haute à Courrois bag. You know, it's bags for these cars. And if you want the most exquisite bags, the most exquisite things to show in your automobiles that you're buying, who better than Hermès and finely handcrafted leather bags and accessories that you can outfit your car in the same way you could outfit your horse.

So the business is now Emil's and the business is now handbags. And once again, to timing and insight here, kind of like Thierry in the original case, what the automobile does, and it's not just automobiles, it's also improvements to trains and improvements to ships. The global rich, the global elite, they start traveling a lot more. You know, we're now in the 1920s, the roaring 20s. This is what F. Scott Fitzgerald is writing about. The visible symbols of wealth, it's when you're home, it's in your car and the bags and the accessories you're using with your car.

But you're also out traveling a lot more. You're rubbing shoulders with elite all around the world. The American elite are going to France. They're going to Europe, vice versa. People are starting to travel around the world. People are traveling to Asia. People are traveling to the Middle East. People are traveling to South America. Emil's going right along with all these people. And your luggage, your bags, that's what you bring with you. That's what you show. Yeah.

And importantly, it's not just that you're trying to show a label, which is a little bit different than the modern version of luxury. It's that you're trying to have something really nicely crafted. When you show up somewhere, someone should just look at your luggage and go, wow, that is beautiful. Hermès is not yet a recognized brand. So merely slapping Hermès on it won't do the trick. The way to wow the people that you want to wow is through the raw craftsmanship.

The product itself, yes. Yep. So in 1922, Emil's wife famously complains that the large bag they've been making, the eau de courroie, the saddlebag, it's too large to fit through car doors. So she asked for a smaller version and this launches the handbag business in 1925. And by the way, by this point, they've put the zipper on a handbag. Yes, exactly. And speaking of the zipper in 1925, they add ready to wear clothes, like the legacy of the golf jacket here.

The legend has it that they added clothes because a longtime client came in and said, I am fed up with seeing my horse better dressed than me. Which, you know, who knows if that's true, but it's a nice story. But they really go into this. In this modern world where the global wealthy, the global elite are traveling, they're seeing each other. What outward signifiers can they supply them? Clothes. 1927, they had jewelry. 1928, they had watches.

And something interesting that is different than the Hermès you know today, the way that they're adding all of these things, they're finding craftspeople who are experts at particular crafts. That's exactly what you're talking about, David. A watchmaker. They're finding a watchmaker and they're saying, can we work with you on designing something uniquely Hermès, but you're the craftsperson. We're not trying to build this competency in-house. It's not right to say that they're licensing products. You know, it is a collaboration, but they are selling products in their stores that are not made end-to-end by Hermès-employed craftsmen.

Right. And it's interesting because they're sort of towing this line between, first and foremost, being a craftsman themselves and being a manufacturer and being a designer, but also kind of being a retailer, where they're just bringing in other branded goods and selling it in their shop. Yes. And I think all this is being figured out real time. These ideas of retailers versus brands, it was a much fuzzier line then than it was today. So what does Hermès do?

What does Emile do? They start opening up stores outside of Paris. And where are they going to go? They're going to go to the travel destinations where their clients are going. So the first store is in the Côte d'Azur in the south of France. And then they start opening up more stores around the world. You know, again, not necessarily in like the Londons or the Romes or the New Yorks of the world. They're opening them up in the travel destinations.

Their mindset around additional stores at this point is it's for the same clientele in all the places that they travel. Yes. And the clientele was primarily French at this point in time. Yeah. Or if not exclusively, other than the Czar and yeah. I suspect though that it was strategic of like, our French clients are going to go to these places. They're going to rub shoulders with the Americans, with the British. And then we're going to have a store there so that those Americans, those British, you know, elite, they can go purchase our products there too.

Right. This, by the way, is a different retail strategy than what they have today. Today, management sort of insists that the idea is that each store is for the local clientele. And we will only expand into an area if we feel that we can serve the local clientele that lives there well. And that's sort of a recognition of the maturation of their business. The rich people are going to go find an Hermès store somewhere. It's easy for them to travel somewhere, buy it on vacation.

But if we're going to open new stores, we should open it in places where there is a thriving new upper class who can buy the goods locally there in their city. Yes. Now, I think some element of this certainly still exists. You had a nice time going into the Hermès store in X, right? Yes, for sure. But it plays well for me as someone who is on vacation and shopping to believe that I'm shopping in a store that is for the locals.

It's less fun to be shopping somewhere that is very clearly created for you as a tourist. Yeah. I think they very brilliantly walk this line. And the products that the shops carry are very different. We'll get into that later in the episode, too. But back to this era. So I think we've laid the groundwork of a few critical components of Hermès so far. First and most importantly, the craftsmanship. These things are handmade by artisans with their hands.

And the family and the people who own the company are the chief artisans. That goes all the way back to Thierry. We've talked about the connection to the legacy of French nobility, but not really French nobility. It's sort of like status, but accessible status for the first time in the world and the modernization of the world. We've talked now here about the true modernization of the company and the transition to the automobile era. What we haven't talked about yet, and what Hermès at this point certainly is not, is this element of whimsy and art that is really, really critical, I think, to the company.

Yes. If you've ever been in an Hermès store, you can feel a warmth that doesn't exist in other luxury stores. If you're in a destination with a lot of luxury shops, you'll walk past a lot of bright lights and mirrors and punch you in the face reds and black and white, and you just feel like there's a lot going on. And then you arrive at Hermès, and it feels warm, and it feels soft, and it feels welcoming, and it feels whimsical.

And there's this almost dreamlike color palette that they use, starting with a base of orange and having this explosive rainbow of fun, but in some ways it all feels natural and from the earth and just whimsy. I think that you nailed it, David. Whimsical. And this, I think, is really a very different thread than the original kind of leather craftsmanship. And it is a critical one in the kind of weaving of the Hermès business. And this thread comes from the next generation of the family, specifically Robert Dumas.

So Emil had four children, but they were all daughters. And tragically, one died young, but the other three grew up and they got married. And back in this day, women weren't going to take over the business, unfortunately. Right. Same story as the New York Times. There was a whole generation of daughters. Well, none of the ox daughters get the business, and so it goes over to the son-in-law, the Sulzberger, and now it's the Sulzberger ox family that owns the business in the same way that Hermès is the Hermès Dumas family.

The son-in-law tends to do well in this early 20th century period of passing it down from, unfortunately, father not to daughter, but father to son-in-law. And in this case, when you read about the Hermès family fortune today, it's the Dumas family that are obviously the CEO and the artistic director that you hear about visibly. But really, I think all the sons-in-laws and all of their descendants become active in the business. So there's Robert Dumas, there's Jean-René Guerin, and there's Francis Pouche.

And these are all son-in-laws. And these are all son-in-laws. And those are the three family names that you still hear about to this day of the Hermès family. But back to Robert Dumas and the fourth generation, he brings this whimsy and real art into the business. And the way Hermès describes it today, when you read their annual report, is they talk about their trademark humor and imaginative flair. And despite the fact that they really are tied to this old French elite, they really don't take themselves too seriously in all their products, especially the entry-level ones.

I mean, the Birkin is the Birkin. Yeah, they'll do some special editions here and there, but there's a weight to that product line. But there's an overall playfulness that's exuded from the brand that comes from this era of leadership. Totally. And this comes from Robert. So one of the first things he does when he joins the business is he redesigns the kind of smaller Otakawa bag, the handbag line, into what he calls the Sac à Depeche in 1935.

Really great name. It's got a ring to it. I feel like that's going to go be a viral hit and appear on Sex and the City. Beautiful, beautiful, elegant bag. So Sac à Depeche. Hold on to that one, listeners. Yep. A little later in the 1930s, he introduces the Chen d'Ancre bracelet, which is another iconic Hermès item in there. Jewelry métier. Wait, David, I can't let you get away with that. Métier. Please enlighten listeners. I know Hermès sprinkles around French words in all their literature and it just expects Americans to deal with it.

If it's italicized, it's French. And you can go look up what it means yourself. Here on Acquired, David, tell us about a métier. A métier is like someone's work, but in the craftsman sense. A métier is like a trade. It's like a craft profession. And this is what Hermès calls their divisions. I feel gross even just saying the word divisions. There are 16 of them today. And jewelry, of course, is one of the métier. Oh, I feel so much better saying métier.

I bet. Yeah, there's a levity here in the room now. So chen d'anca in French means chain of anchors, you know, anchor chain. And these are anchors like boat anchors. And the way that this bracelet comes about is Robert is walking along the beach in Normandy one day and he's just inspired by the scene of these boat anchors on this foggy beach. And so he makes a little sketch in his notebook and then he plays with it.

And then he decides he's going to turn this into a bracelet. Love it. And so an important thing to know here is when you're buying Hermès products, they're really not pushing the brand. There is not an iconic, recognizable Hermès H or horse and carriage logo or bright color that you're supposed to identify. This is really the origin of quiet luxury where Hermès is handcrafting the highest quality product. They can make a single artisan is the person making the good.

And, you know, when you receive it, you really are just aware that it's the highest quality thing made by a single person with their blood, sweat, tears, love, a piece of them left inside. And it's super different than luxury today because it is just not branded. And Hermès hadn't even really developed the iconography yet that would become Hermès's version of, you know, slightly louder luxury. Over the years, if you sort of look at products now, the belts have an H.

You know, they incorporate horse motifs into designs on their ready-to-wear clothing. But that really wasn't a thing yet in this era. Hermès is on the lighter side of branding their goods today, but it's still... Well, they have to adapt to the market. The customers want some way to let people know that they're wearing an Hermès item, even if it's lower key than other luxury brands. So Hermès builds that for them. The family talks about this a lot.

The words they use is, this is not a museum. There is this artistic element to what we do, but we are not a museum. We are a business and we have clients and we are here to serve our clients. There is this push-pull here. Yes. Okay, so what year are we that the bracelet is entering the market? So that was in kind of the mid-30s. So then in 1937, Robert introduces the other key pillar of Hermès products that is less talked about today relative to the bags and the leather goods, but for many, many decades was the bigger business.

Oh, yes. I have numbers on this. So silk scarves, the Hermès classic silk scarves. And this is the embodiment of this art and whimsy that we're talking about. The silks that they use are the finest silks in the world. It takes 300 silk moth cocoons per scarf, as they will readily tell you to produce these things. But the designs on them, the artwork on them are whimsical. Like we said, so the first design, the Jeux des Omnibus et d'Anne Blanche, where these sort of white ladies at play, I guess you could translate that, is based on a wood-blocking graving that Robert does.

I mean, this is like what an artist this guy is. Like he's about to become CEO of Hermès, but he's making wood-blocking gravings and then making silk scarves out of them. That's the first design that they put out there. And quickly they become a huge, huge phenomenon with Hermès clients. Yeah. And so fast forward all the way to 1988, when Excel Dumas has his very first internship with the company. This is crazy. Silk was 55% of the company's sales.

Leather was only 9%. You compare that to today, it is a completely different story. Leather is 43% and silk and textiles is 7%. So there was a run. I mean, this was introduced when, David? The 30s? 1937. So 1937 through probably the 1990s, where these silk scarves were the Hermès franchise. And the reason this sort of took off is it almost became part of the French woman's uniform to have an Hermès scarf as a part of your outfit.

Well, it's funny you say the French woman's uniform. Yes, that is entirely true. But the woman who really popularizes them around the globe is a British woman, specifically Queen Elizabeth. Oh, I didn't realize that, really? Yeah. This is so iconic, Queen Elizabeth. She starts wearing them as headscarves in the 1940s. And, you know, I mean, Queen Elizabeth, she's Queen of England for what, like 60, 70 years? Yeah. And she's wearing these scarves, these, you know, whimsical, playful scarves on her head as the Queen of England.

Fascinating. So this is a good time to talk about how these silk scarves are made. And I was going to do this later when we talk about their modern-day production process, but it turns out that their modern-day production process is not that different than it used to be. So here is how Hermès scarves are made today. They are first sourcing the finest silk that they can find, which is now from their own owned farms in Brazil.

So that's where the silk comes from. Only 20 new designs are created every year, and they retire old designs. There's sort of a Disney vault aspect to this. They'll bring them out of the vault. Yes. The pipeline to get a new design into the customer's hands is two years. Now, you might be asking yourself, like, come on, why is this taking two years? That's a ridiculous thing. Here is the process. They screen print every single scarf by hand.

Yeah, there's no digital process here. It's not like you're going to customink.com and, like, ordering up some Hermès scarves. Right. Some of the design does seem like it involves computers now. Like, if you watch documentaries about the craftsmen at Hermès, which there's a couple of good ones we'll link to in the show notes if you want to just sort of watch Hermès crafts people at work, they do seem to be translating designs off of a computer, but it's not like they're hitting Command-P.

That's not how this works. Every single color of the scarf is screen printed using its own mask or basically a stencil. So if your scarf has 20 colors, it has at least 20 masks that they then squeegee the ink over, and the precision is perfect. This is like EUV lithography. Yes. I was looking at my wife's sort of twilly scarf, the little wrist or hair tie scarf that we got in Exxon Provence. I mean, I don't know how you do this by hand, and I don't know how you do it by hand 20 times over and over and over for every single layer.

If you've ever been to an Hermès store or you own one of these, you just can't believe that this is done by hand without any of the layers being out of alignment, because if any of them are out of alignment, you ruin the whole thing and you have to start over. And so if that's not enough, the masks are also hand etched by a craftsperson. Their entire job is to know how to translate a design into all the different color layers, which they then hand etch.

So the pipeline is designer, engraver, that's an engraver of each mask, colorist, weaver, printer, and then someone to do the finishing. All of which are like extremely hard to replicate and involve both extreme craftsmanship and extreme taste. The competitive barriers to the Hermès scarf, I think they're way higher than the bags, honestly, even though the bags are a bigger business now. And the skills are completely non-transferable. This process doesn't really exist, certainly not at scale, at any other company.

Actually, I was talking to my wife about this. She brought up the idea that it's kind of like Disney Imagineers or almost like Pixar employees, where you specialize in this one crazy little piece of the production process that no other company has your same production process. And the attention to detail is so staggering that once you enter the Hermès universe, then you're sort of in that universe for the rest of your career, because that is where your trade is still practiced.

And I think also, you know, as a client too, at least in scarves, like if you entered the Hermès scarf universe, you're not buying any other scarves. Totally. And you really like all the lore. Part of what makes Hermès Hermès at this point is their callbacks to their own history. I mean, they have 187 years of history to call upon, and they do so over and over and over again, and they remix, and they name things after stores that used to exist at certain addresses.

It's a universe. Yeah. I mean, I remember growing up, and my mom is half British. I'm a quarter British. And, you know, to the Queen Elizabeth thing, Hermès scarves. You know, my mom's Hermès scarves were and are among her most treasured items. Yep. So you'll note, all of this that's happening, Robert, the innovations, these new products, the art, the whimsy, he's doing all this in the 1930s. This is the Great Depression era. This tells you about Hermès and Hermès clients.

They are unaffected. They keep buying. And this carries through right to this day. I mean, I don't know that there is a more recession-insulated business than Hermès. You're exactly right. Twelve months now, after we did the LVMH episode, we're finally on the tail end of this sort of pandemic bubble of luxury, and we're seeing a lot of these brands take a hit. Hermès is the most insulated of all the luxury brands where they have the sort of least cost-sensitive clients.

So after this, there's World War II. And famously, before the war, Hermès products came in cream-colored boxes. Robert was very meticulous about the packaging that his crafted items and his art would come in. And it was cream. It had to be cream. During the war, there's a shortage of packaging materials. They can't get cream. The only color that is available to them in the quantities that they need is orange. That was designed for patisseries, for bakeries.

Oh, is that what the orange ones were used for? That's why there was an excess of it, because it was used for bakeries, and bakeries weren't baking as many croissants and pain au chocolat during the war, etc. So there's all this orange packing material. Robert embraces it. And the Hermès orange box is born. And this is crazy. I didn't know this till research. Hermès owns this color. You cannot get Hermès orange anywhere else. Pantone does not list it in their colors.

It's interesting you say Hermès owns this color. So you are correct that Hermès has selected a non-Pantone color. But what Hermès tries to do is say, well, we own orange. We can't be nailed down by a Pantone-specific code. We own orange more broadly. And they've actually gone head-to-head with the EU. And this has gone to court where it's been determined that, no, you can't own orange. You can't just own all the oranges. And so what they've done is they've actually leaned into this where there is a classic Hermès orange, but it presents differently on each of the leathers.

You know, they have 10 different leathers or something like that that they work with. When they dye those leathers, it presents a little bit differently. And so they sort of have this, sure, there's a digital perfect representation of the color of classic orange, but there's this whole spectrum of the way that it shows up on leather. And they've sort of even further kind of winked at all of us by creating five or six other oranges. They have Hermès Fieu, which is sort of the fire.

They have Hermès Sanguine, which is sort of this red-hot orange like lava. Or they have the Hermès Moutard, which is sort of their mustard. And each of these is a little bit of, I think it's to continue to assert that we own the whole spectrum of oranges, but it's definitely to be able to stay current, stay present, encapsulate the theme of a season. Because every year they sort of pick a theme and so they play with their oranges a little bit to evoke the whimsy that they want from this year's theme.

Yeah, there's this sort of like, you know, meta level or like corporate level playfulness to this too. We own all the oranges. Totally. The Hermès oranges are almost like, to continue the Disney analogy, it's almost like the people that go to the park and look for the hidden Mickeys. It's a way to even more deeply participate in the Hermès universe. So, a few other things that Robert adds over the years. He adds the men's silks métier, aka ties.

The legend behind that one is pretty great. Supposedly in Cannes, a number of gentlemen were refused entry to the casino and thus went to the neighboring Hermès shop, you know, next door and said, can you take some of your beautiful silk scarves and cut and tailor them into ties for us so that we can enter the casino. I'm sure that's apocryphal, but adds to the legend here. And they are, these patterns, you know, they're just as intricate as the scarves.

There's less storytelling that happens in the tie. The scarves tend to be something you could frame and put on the wall and look at in 16 different ways and the story behind it. But it's still, I mean, when you look at it, you kind of can't believe that it was hand screen printed. Totally. After World War II, Robert decides that Hermès needs a logo. So, taking inspiration from the 19th century painting Le Duc Atelier Groom à la Tente, which means hitched carriage waiting groom, the famous Hermès logo is born.

The logo is the callback to the carriage. It's the nobility, you know. I find it really interesting, especially at that point in time that Robert decided, you could imagine like, you know, a galloping horse or something like that would be the appropriate logo. No, it's so genius. No, it's the carriage. Yes, it's to intentionally ground the brand in history, in something that they were a part of that is only theirs because nobody else starting today is going to have that as a part of their history.

They're leaning into the thing that makes them unique, special, the almost like defensible, durable asset that they have is that they participated in that era that has a nostalgia about it. And no longer exists. Yes. Horses in the Equestrian world still exist. It's obviously not what it once was, but it still exists. The carriage world is gone. It's just a dream these days, and that's what Robert is so good at, this dream. The other thing we have to talk about are the window displays.

You referenced this a little bit earlier. So he hires first Annie Bommel, and then she's soon joined by the legendary Leila Manchari. Specifically, these two women, they come from theater set design just to design the window displays at the Faubourg at the flagship store on the Rue Faubourg Saint-Honoré. I mean, there are whole museum exhibits just dedicated to these window displays. and it's not like, you know, again, you walk by XYZ other store, even the most prestigious brands, and it's like the products are there.

You know, here's the products, here's the brand you're buying, here's the LV, etc. These displays, it's a dream. There are probably some Hermès products in there, but it's like a museum exhibit. It's artwork. Yes, and art is exactly the right way to put it. There is no utility to these displays, and these displays, much like any advertising that you see of Hermès today. It's not about the product, it's about how you feel. So, I think this is an interesting place to revisit this idea that we talked about on the LVMH episode of luxury versus premium, where premium means you pay more and you get more utility out of a given product.

I pay for a bigger storage space on my iPhone and I get, you know, more utility out of that. I can store more photos. Luxury means you pay more literally because it doesn't create more utility. It is either more pleasing to you intrinsically for the feeling, or it's an extrinsic signal where you are signaling to others that you have the means to spend on this item even though it doesn't provide more utility. It's a sort of despite rather than a because.

But art, it does fall on this spectrum. Art is like luxury taken to its logical extreme. It has actually zero utility. A Birken bag is a piece of art but at least it also carries your stuff around. Luxury products are this interesting midpoint between extreme functionality but also artwork. And so when you buy an Hermès product you aren't just buying the product, you're buying a piece of art, a piece of their heritage, a feeling that connects you to the maker and the place it was created.

You're trying to buy a piece of Hermès' heritage and reputation and hoping to adopt it as a part of you, as a part of your identity and you are seeking, whether it's conscious or not, to let other people know about this too. And you're not necessarily trying to signal it to everyone but you do want to signal it to the right people who would appreciate it. There's this genius aspect too to what Hermès is doing and what Robert's doing with the arts, like these window displays.

The luxury strategy book talks a lot about this. When you're selling luxury items, they can't just be art. They need to have some utility to them. You will never see any of these brands, Hermès included, become art galleries. They're not selling paintings but it's critical for luxury brands to have a connection to the arts. I think he realized this before anybody of like the windows in our stores are these portals into this world of dream and art and you'll come in and you'll buy a scarf that you'll wear, you'll buy a bag that you'll use, maybe you'll buy a tie, maybe you'll buy a wallet or homewares or furniture or any of the other things over time that they sell and

that will have utility but it's connected to this dream. you're taking a piece of that dream with you and it's almost a daily reminder of the dream that you're now participating in. The key insight is that by adopting art as a critical piece of the bundle that is your product it enables you as the seller to completely switch tracks to disconnect from any evaluation of value. Right. Or features. Exactly. You're out of the feeds and speeds world.

You are not being comped against well this other purse is much cheaper and serves the same function. Now we have bundled in the function of the object and an unevaluatable priceless feeling. A priceless feeling. And so now we can sell the goods for whatever we want because it's impossible to know the value of that second component that we've bundled in. Yeah, totally. So speaking of dreams, we're now in the 1950s in the post-World War II era.

The most amazing, unbelievable, fantastical dream of the 1950s happens to Hermès in real life. And that dream is Princess Grace Kelly. So I sort of mentioned a little while back that one of the first things that Robert did when he came into the business was redesign the handbag and christen it the Sac à Depeche. Well, it becomes popular, but like we're talking about, leather goods, handbags, you know, important. But that kind of was the previous generation of the business.

Now under Robert, it's these scarves, it's the dream, it's all this stuff, and leather's part of it, but a smaller part. Well, in 1956, Princess Grace Kelly of Monaco, this is a girl from Philadelphia, an American girl, who goes on to become a movie star, who then goes on to become Princess Grace of Monaco. I can't imagine a bigger dream for any woman or any person in the 1950s. She is photographed using the Sac à Depeche in Life magazine.

On the cover of Life magazine. So the legend is that it was on the cover of Life magazine, but I googled a lot of 1956 covers of Life magazine, and I didn't find it on the cover. Oh, interesting. So maybe that's been sort of played up over time. This might have become part of the lore. Regardless, big picture in Life magazine, she is clutching her beloved Sac à Depeche to her midsection. And it's almost like as she's exiting a building, and it almost seems like it's a paparazzi type photo.

It is. It's a paparazzi photo, and her husband, Prince Rainier of Monaco, is holding the door behind her. It's like the most dreamlike thing you could imagine. And it's in black and white, and the reason that she is clutching this fairly large bag unbeknownst to the world at the time, is she's trying to hide her pregnancy from the paparazzi. She's pregnant with her first daughter. And this photo just becomes iconic. Everybody wants to be Grace Kelly.

Everybody wants to have this bag. And one of the last things that Robert does right before he retires in 1977 is he officially changes the product name of the Sac à Depeche to the Kelly bag. And this is the birth of, I don't even know what to call it. The Kelly and the Birkin are N's of ones, but these leather good products that transcend everything that are like so truly N of one, there's no other way to describe them.

And there is so much to say about these bags and how they're crafted and the lore around them and the supply and demand and the Econ 101. But before we get to that, all right listeners, now is a great time to tell you about a longtime friend of the show, Vanta. AI has scrambled the whole security picture. It used to be that you proved that you were secure once a year on audit or a static PDF, then everyone would nod and you're done.

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Okay, David, so Life Magazine, the Kelly bag, it's out. So this thing must sell like hotcakes, right? Well, yes and no. Certainly, this plays right into this whole dream thing that we've been talking about and burnishes Hermès' already incredible brand and image. I mean, my God, Princess Grace Kelly of Monaco is carrying this bag, not just carrying this bag, but it's her favorite bag, the closest thing to her body. But we're still in the 50s here, so like, yes, it becomes incredibly popular.

Yes, I'm pretty sure it becomes Hermès' biggest selling bag. But the market isn't quite there yet in the way that it is today with the Birkins and the Kellys. The global rich isn't that big of a population. And like, yeah, I'm sure they're all buying Kellys, but Robert probably knows all of these clients personally at this point. We're not anywhere near the scale that we're talking about today. And to your point, I keep saying it's launched.

It's not really launched. They just rebrand to the Kelley bag. But when the Kelley bag is formally launched, it's really expensive. It's a $900 handbag in the 50s, which today is $10,000 to $12,000, approximately the price of a Kelley bag today. So it comes out as this thing that is completely ridiculous and inaccessible price-wise. So the people who are buying it are the Grace Kellys of the world, and there's not really this stratified class below that that's got this huge amount of purchasing power.

Right. The number of people who could spend the equivalent of $12,000 on a bag back then was just much, much, much smaller than it is today. Yep, exactly. So no, handbags do not immediately become a huge part of the business, or I should say the dominant, whatever it is today, six or seven times larger than silk part of the business right away. And in fact, actually, sadly, kind of quite the opposite happens. So as we head through the 60s and into the 1970s and the end of Robert's tenure and his generation as the head of Hermès, the company kind of starts to fall on hard times.

Which is crazy to say, right? I remember this moment in the Porsche episode, you're like, no, come on. Porsche skinnied down the entire lineup to only making the 911 because they couldn't justify any of the other products and the whole company was a freaking mess. Hermès is not quite in those dire of straights, but I mean, they have the ingredients of Hermès that we know today. They've got the Kelly bag, they've got the orange box, they've adopted the logo.

They've got the scarves. They've got the scarves. They have these small workshops where they make everything, but it's not working yet. And it's particularly not working because like we just talked about, that market was not that big yet. And as we enter the 1970s, something really funny happens. The next generation rejects that dream. This is, you know, you and me, our parents generation, the hippies, the 1970s, this is democratization. Little girls don't want to be Grace Kelly anymore.

They want to be like Stevie Nicks or, you know, something like that. And the dream of Hermès that was once so elegant and so desired by so many people, but inaccessible, is kind of now like, you know, it's certainly still got its audience, but it's not as universal. This is when so many of the other, what we now think of as luxury brands, really start to come up. And we talked about the LVMH episode, but they're connected to fashion.

You know, it's first Dior, and then it's Yves Saint Laurent. You know, this is the Mondrian dress from Yves Saint Laurent. This is, you know, the revolution. It's Gucci, it's Chanel in the 80s when Karl Lagerfeld takes over. And what they're selling is very, very, very different than what Hermès is selling. This is an important distinction between Hermès and all the brands you just named. They come from the world of couture and of fashion, and of cutting-edge, in-your-face, risky art.

And Hermès comes from, I mean, mind you, by this point, they're already 120 years old, 130 years old. They come from the world of leather and horses and durable goods that stand the test of time, and frankly, styles that stand the test of time. It's not how creative and crazy can we be. it's, they talk about it as responsible growth. What's the smallest amount that we can move from our current compass in order to do what our clientele wants while staying true to our roots?

It's a rejection of risk and an almost embrace of history. So it's super different than most other luxury brands, which, as you point out, come from fashion. Right. And those brands are getting born or reborn right there in the 1970s. Yes. And David, this is probably a good time to share who we chatted with in preparation from this episode and his observation about Hermès. Yes. This was super cool. And, you know, one of the things that for me and for both of us just kind of blows our mind as Acquired grows, we got to talk with Domenico DeSole, who was CEO of Gucci during the fight with Bernard Arnault that we chronicled.

Really, I think that was the best part of our LVMH episode. Absolutely. When Domenico DeSole and Tom Ford and that team rejected Bernard's takeover and managed to not become a part of LVMH, and obviously then Domenico and Tom Ford left to start Tom Ford after that. But it was super cool. When we talked to Domenico, he comes from that world, even, you know, with the heritage of Gucci. He and Tom, it was fashion first. And in his perspective, and I think the perspective of many folks that are coming out of this 70s, 80s era of luxury, that's what's interesting.

That's what's fresh. Risk on, baby. Risk on, yeah. Let's figure out how to break some glass in what we're doing. Grace Kelly is not breaking any glass. Right. That Domenico helped us understand about Hermès is they have been so protective of their brand and this unbelievable steward. They're so careful at how they've chosen to deploy the brand. They make sure that the mystique is always there. They don't violate the promise. They never cut corners. They have been above board in their brand promise and keeping that promise with customers for over 100 years.

And that is a strength and a weakness. It's a strength as long as you learn how to employ it as a strength. In the world of fashion, it's butting heads. Yeah, it's antithetical to fashion. Yes, exactly. So all this culminates towards the end of the 1970s as Robert is nearing the end of his tenure at Hermès and the end of his life. Sadly, there's a moment, this is like probably 1977 or so, where they bring in consultants and the consultants recommend like, hey, you guys should probably do what Gucci is doing and you should probably close the atelier above the shop at the Faubourg and you should probably outsource production and you should probably increase your number of products and your

SKUs and have lower prices and have them be more accessible. Unbelievable. That was the accepted wisdom at the time. I don't know if it was McKinsey or, you know, who was saying that. Well, today I will tell you that Hermès has a corporate policy of no consultants and now I know where that came from. I mean, this is enshrined in the luxury strategy as anti-law of marketing number 19. Do not hire consultants. Wow. So the recommendation was to come in and destroy everything that makes you special and follow the playbook that everyone else is running.

Yeah, I mean, it's working for them and it's not working for Hermès. It's crazy. And this is when the next generation transition happens to Robert's son, Jean-Louis Dumas. I kind of can't believe it with this family. Every time they come in at a generational transfer and the company and the brand is under existential threat, even though we think of Hermès, you know, the most unassailable thing in the world right now, but finds itself in a moment where it can be a sale.

There's a generational transfer happening. You would think this is like the downward spiral. This is the dropping of the baton. And the next generation always rallies. And isn't it amazing? You would think the best person out there to brilliantly come up with both the business strategy and the creative element is probably not your direct descendant. Right. Probably not your nepotistic family member. That's not the best search process to run. And yet it works. There's something about the I don't think it's like this magical bloodline.

I think it is a deep understanding of the tradition of the business of exactly what type of sort of chutzpah the team has to rally and take on having the political clout to find the right people and empower them to make the change to have a six cents for where you sit in the marketplace versus competitors and what people may want out of your brand next. It's all the intangibles that come from growing up in the business make you able to be the right person to transform it.

I really do think that there is an element too of the successive generations they apprentice in the atelier. It's like with their hands. I think there is an element of that. And they also apprentice especially these days on the business side too. Axel talks all the time about dinner table conversations between his uncle Jean-Louis who we're about to talk about now who is the fifth generation CEO of Hermès and his mother who was head of production at the dinner table growing up.

You can't not absorb that. I think that's the flip side of nepotism right which makes it such a challenging topic on the one hand obviously limiting the universe of talent. On the other hand how do you replicate those dinner table conversations. You know it's funny I called it a sixth sense. I think the right way to describe it is actually a je ne sais quoi about what you sort of absorb from those. Totally. Okay. Jean-Louis the fifth generation.

The brand you know the consultants are saying hey go be like Gucci. Shut down your shop where they still today make Birkin and Kelly bags by hand one artisan at a time in the most famous address in all of luxury and fashion. Not so. Well I do have to correct you there that is not specifically true. It's certainly spiritually true. I believe now the only products that are made in the Faubourg are saddles. Oh really? I think everything else is made in Pentat which is a 20 minute drive away.

It's not like the outsourced production. Anyway we'll get to that. Great. Okay. Jean-Louis comes in. What year is this? 1978. Great. He like all the generations before and after him he's come up he's apprenticed in the business he knows how to do the saddle stitch. It's in his hands. It's in his soul. We've talked too many times without actually talking about the saddle stitch. It's time to actually talk about saddle stitching. So listeners you might be wondering why do they keep saying this?

What does it mean? Saddle stitching is an amazing technique that Hermès uses for every single bag that they make. It can either I can't tell if this is true or not. It can either only be done by hand or until recently only be done by hand but it is a far more effective high quality and durable form of stitching relative to the typical machine sewn stitching that you're thinking about right now where the same thread goes through one needle and it goes up down up down up down up down.

It's also incredibly beautiful. It's got a slight diagonal valence to it as opposed to the normal straight line stitching. Yes. So how does it work? So there's something called a horse that goes between your legs and the horse holds two pieces of leather together. The whole point of the saddle stitch is to sew two pieces of leather together. So you first punch little holes in the leather using likely a pricking iron as your method of doing this.

And if you're good you don't prick all the way through. You just poke a little hole with your pricking iron or all part way through. So that way you don't poke too big of a hole. You only end up pushing exactly a hole the size of your needle and thread through. And you can always tell if you're looking at something and it's stitched and there's these big freaking holes and then there's this thin thread that's moving through and there's space between the thread and the leather.

You know what kind of craftsmanship went into that. If it almost looks like the stitch vanishes into the leather and you're like is there even a hole there? It's hard to even see how this was done. That is a saddle stitch. So you take your pricking iron or your all you poke the hole where the partial hole. So there's a lot of muscle memory involved in this. You then pass one needle through going call it from the right to the left side and then you have a second needle on the other end of the thread.

So one thread two needles. Yes. That you pass through the other direction. And so what you've done as you pull both of them through is created this incredibly strong sort of interlocking mechanism. There's tensile force going in both directions. Yes. If it gets ripped you're not at risk of the whole thing pulling out and your saddle or your bag falling apart. You just lose that one stitch and that one stitch can be repaired. And so the only way for you to unravel something that is saddle stitched together is to individually go through and cut every single stitch.

Yeah. Compare that to most products that you own. Yes. This literally provides high utility if you're in an equestrian jumping competition or if your bag needs to hold something that really needs a lot of protection and can't fall through. It's almost like it started with real necessary utility because something life threatening could happen. Now it's just massively overkill for everything that is saddle stitch but you appreciate the craft behind it. There are very few people who are in a life or death circumstance that are dependent on their stitch holding true.

I'm going to channel my inner Pierre Alexi here, the current artistic director of Hermès. I think it still has relevance if you want your object to be permanent. If you want an object that you own to represent something wholly different and antithetical to let's call it the Amazonification or the Walmartification of items these days you want it to be made like this. Yep. And something that made this really special for hundreds of years if not still is that it had to be done by hand.

So if you want something of this quality this gets this interesting idea is handmade stuff better. Well not necessarily. And Excel even says this in an interview. He says in 2019 today hand stitching is the highest quality. So machines are a non negotiable. When the quality of a machine stitching gets better than hand stitching we will do it. We are not a museum. And David this is where you're getting your we are not a museum quote from.

But it really gets to this element of why are hand crafted goods desirable. Well in this case it literally creates something higher quality more durable certainly more aesthetically pleasing since when done well you know you can't see that hole in between the thread and the leather. It's a pretty special process. And for everyone who's sort of wondering okay but what is the rest of creating one of these bags look like. Start to finish a Kelly bag and we'll talk about Birkin in a little bit but similar story is made by one craftsman.

So one craftsman starts with 36 unique pieces of high quality leather. As much as possible from the same animal and matched exactly. Yes exactly. And so it's not sourced from all these different places all over the world and one person is responsible for the bottoms and someone else is responsible for the straps. It is one craftsman that takes these 36 cuts and stitches it together. It takes 20 hours and this is over the course of a few weeks to create this.

So one person assembling it all putting the fasteners on it stitching it. This takes two years to learn how to do before you are allowed to create one for the first time. Oh I think it's even more than that. It's two years of training to become a Hermès artisan period. I don't think you're allowed to touch the Birkins and the Kellys when you start day one on the job. I believe you need at least another three years if not more before you're allowed to touch the Birkins and the Kellys.

Fascinating. So this knowledge is passed from generation to generation and Hermès refers to this as the savoir faire or the know-how or the expertise about the materials and the exceptional technique that's transmitted from one craftsperson to another. Ooh hang on this I have a lot more to say when we get to the current generation about this. Do you know David and I'll stop after this but I thought this was pretty funny. Have you read the annual report the 600 page document that they release once a year.

I have to admit I have not read it cover to cover. You did more of the history and I did more of this. But I've read large sections of it. I was reading it I found myself laughing at how often savoir faire was used in the prose. Every other paragraph they just sort of throw in a savoir faire. 133 times savoir faire is referenced in the Hermès registration document. Partially in their defense savoir faire literally translates as know-how.

It's kind of like a proper term in French. Yeah. Fair. But I think the takeaway is real that this knowledge is transmitted from one generation to the other in the very same way that it was from father to son all the way back at the founding of the company. And that is how they scale production. And we'll put a pin in that and come back to it later. Yeah. That's the true genius of the current generation is they have scaled that to 7,000 people.

It's unbelievable. Unbelievable. I was going to talk about this towards the end of the Jean-Louis era, but I want to say it now because I think it's perfect. I got to talk to a woman named Beatrice Amblard who lives here in San Francisco. This is amazing. She was an artisan at Hermès in Paris. She was hired right at the start of Jean-Louis' tenure. She worked in the atelier at the Faubourg when Jean-Louis' son, Pierre-Alexis, current artistic director, came to train after school as a teenager.

He sat next to Beatrice. And I got to chat with her about this. She runs April in Paris in San Francisco. So she moved to San Francisco when Hermès opened the San Francisco store here. And I asked her, I was like, oh, you transitioned to the front of the house. And she was like, no, no, no. I was the person for the West Coast who repaired everything for North American West Coast clients. There was one person in New York and I was in San Francisco and we came from the Faubourg.

And, you know, a few of these people go around the world. And one of the things about Hermès and actually Jean-Louis would say that this like the true essence of luxury and the true essence of Hermès is everything they make can be repaired. And so if you buy an item from Hermès, no matter what it is, they will repair it. Yeah, I think that's true. Even if it's 100 years old, you bring it in, they will repair it.

Yeah, that's true. They have 15. This is flashing forward to today. 15 dedicated repair shops worldwide and they mend 120,000 pieces a year. Wow. Amazing. Yeah. So I asked Beatrice when I was talking to her, what was this like? You know, what was special? And she said, look, you have to understand, when I was training as a young person and decided I wanted to go into this field, Hermès was absolutely the greatest company that anyone could hope to work for.

It wasn't even close. There was no comparison. What years? This was in the late 80s, early 90s. She said, look, I decided that either I was going to get a job at Hermès or I was going to leave this industry and go do something else. It is in that high of esteem. And I said, oh, well, why? And she said, look, by the time we're at this era, nobody else was left. Yeah. That did this. Right.

Everything we talked about in the 1970s, all these other brands, they all went in this complete other direction. The consultants were telling Hermès to go in that direction, too. But they're the last one standing that did all of this by hand in the tradition handed down through hundreds of years. If that's important to you, there's no place else. You can't ply your trade doing that anywhere else. I asked her then I was like, OK, well, as for the products and to the clients, to the customers, why does that make a difference?

And what she said is what you'll hear the family talk about all the time. And she said, look, it's about soul. This product has a soul. Somebody made that thing with their bare hands. That means something. And there's nobody else, certainly at Hermès's scale, that does that. You know, she ended up leaving Hermès and starting her own boutique here in San Francisco, April in Paris. And she actually also runs her own leather school here in San Francisco, too, to train artisans.

You can get custom stuff, small boutique stuff. You know, Beatrice is a worldwide master. You can get that from her. But the idea that a 200 billion dollar company at scale would be doing this, like there's nobody else. Yeah, it's nuts. It's completely insane. And the people who don't work for Hermès, your options are in the dozens. If you go as a customer and you want something like a saddle stitched bag or wallet or something like Hermès would make in that traditional sort of pre-war, early 20th century fashion, there aren't that many other artisans out there.

Hermès employs 7,000 of them. I don't know how many other ones there are. 1,000? 2,000? And it's not like Hermès has cornered the market. They're hiring more people and training them as fast as they can. They're trying to preserve this market that otherwise would have entirely been zero. It's a pretty crazy thing that they've managed to scale even to the scale that they're at. The other thing Beatrice said to bring it back to Jean-Louis, he is a legend.

He really cared. The idea that he would follow the consultants, like it was just so completely anathema to him. He's the artistic director and CEO of the company. She ran into him in the elevator in the Faubourg right after she started. He looked at her and said, you're Beatrice Amblard. Welcome to Hermès. You know, she knew everybody by name. And then when she ended up leaving in 1997 to open her own store, he called her and he was like genuinely shocked.

Nobody ever leaves. Like, what are you going to do? And she explained that, well, she wanted to be entrepreneurial, start her own thing. And then shortly after the San Francisco Chronicle did an article about her, he found the article, read it in France, cut it out, mailed it to her with a note of congratulations, handwritten. And it doesn't cost them anything to do that because, I mean, on the one hand, you just say they're being a kind person and gave so much to your house for so long.

On the other hand, this is the CEO of Hermès. Right. And I think it's important to realize these individual craftsmen are entirely non-competitive with Hermès. It's a completely different value proposition to the customer. When you're buying Hermès today, you don't start from a place of, you know, I think I want some of the very best sewn leather goods I can find. Let me evaluate the whole landscape of people who could deliver that for me, and then I'll decide which maker to go with.

Either, A, you're doing that and you are a person who knows about a bunch of individual leather craftsmen, which is rare, or B, you actually just want to buy something from Hermès and there's not any evaluation going on. And maybe there is between big luxury brands, but probably not. The value proposition is not you have a need for a leather good and you can bake off all the competitors. It's you either want something from Hermès or you're a different type of customer.

Yep. Okay. So Jean-Louis story. How did he turn this thing around and save Hermès from the consultant? Well, like we said, he'd apprentice just like every other generation. But unlike any other generation, or I guess maybe sort of like Emil back in the day going and meeting Henry Ford, he comes to America. And specifically, he came to America to follow his wife, Renna, who became a world-famous architect. Renna was interning with I.M. Pei in New York.

And Renna Dumas would go on to design all the stores that they opened up all around the world. And design the atelier in Pantene when they expand production. I.M. Pei, famous from a number of things, including previous acquired episode with Michael Ovitz, designed the CAA building in Los Angeles, designed the Louvre pyramid. I was going to say, think about like the connections here in France and Paris. Yeah. Which, by the way, everyone in Paris thought the pyramid was hideously ugly when it first, relative to this 1700s building around it.

And over time, now it's become this like iconic triangle pyramid, beautiful signature of the city. Yeah. Yeah. Jean-Louis. When he's in America, he works for Bloomingdale's. Bloomingdale's. My God. Of all places. Well, there was a heyday of department stores. In fact, if you go way back, do you know how Hermès entered the United States? In partnership with Neiman Marcus? Yes. 1930s. Good. Wow. So you did find that. It's hard to stump me. Yeah. But you do it sometimes.

Okay. So Bloomingdale's. So from that experience, being in America, being in this much more mainstream, you know, audience, he comes to understand what these other brands are doing, you know, what the consultants are suggesting. But he takes that back. And what he says, like, look, the way forward is we are going to figure out how to make Hermès relevant. We're not going to throw away everything we've done. We're going to keep our tradition. We're going to keep our craftsmanship.

We're going to keep our market position. But our clients want to be like these young people, particularly these young women. You know, the moms don't want to be like their moms. They want to be like their daughters. And it's a tall order to figure out how to revitalize, rejuvenate, make Hermès relevant for this new era with this new audience with the same products. This is key. Right. Keeping the same products and not violating everything that Hermès currently stands for.

We talked about this on LVMH, the Not Your Mother's Tiffany campaign. It's almost like, how do you not insult your current customer base by adapting for the next one? This is such a tight needle to thread to use a pun here. They need to run the Not Your Mother's Tiffany campaign without actually running the Not Your Mother's Tiffany campaign. Right. So, well, the first thing in 1979, the first year he takes over, he launches a new ad campaign in Paris with young Parisian women wearing the iconic Hermès scarves, which remember, like that's the main part of the business at this point in time.

But it's, you know, all these old people who want to be like Queen Elizabeth wearing the scarves. Young women wearing the scarves, not how you would typically wear a scarf. Different parts all over their body. It's the Hermès version of Not Your Mother's Tiffany. And most importantly, they're wearing these scarves with jeans. Grace Kelly would never wear jeans. I don't know if she ever did wear jeans, but she sure as hell wouldn't be photographed wearing jeans.

Fascinating. These ads are the scarves that Queen Elizabeth is wearing with jeans and in fun, interesting ways, playful ways to wear the scarves. But they're still the same scarves. Fascinating. And this is like a revolution. I mean, the rest of the family is really upset about it, but he pushes it through. And you can still see echoes of this to this day, like a big part of Hermès fashion and probably the biggest part of, I think, the scarf fashion these days is tying the scarves on your bags, on your accessories, on various parts of your body, you know, not wearing them like your mother wore them.

And this is how they've adapted for the digital era, too. They've come out with like five or six different apps to try to figure out like how do we engage people in the mobile era? And one of the ideas that they had was this app that basically gives you suggestions and all the different ways you could tie a scarf. Ah, that's super cool. Yeah. But I think this is brilliant because this is allowing Hermès to exist and be relevant alongside fashion without actually getting into fashion themselves.

The scarves and then ultimately the bags can be the accessories to your jeans, to your fashion, to your, you know, we're past the era of bell bottoms, but like the spiritual equivalent of bell bottoms here. And they can say something about you, but they're still the same products that they always were. And it's pretty interesting if you can figure out how to coexist alongside cool, fashionable, new, cutting edge things. Then you sort of deserve a place in someone's lineup where they say, well, I both am embracing a current trend, but I'm also respectful of the past.

I also found my own way to weave this high class, high status thing into the rest of my image. And I think that especially at their price points, they're serving someone who wants to raise one hand and say, I look cool and raise the other hand and say, I'm classic. Well, I'm classic. And I have the money to spend on things that are very price anchored. Everyone knows what a Kelly bag costs and like, it's gone up a little bit, but Hermès has very high price point products that stay approximately that price forever.

Yeah. So Jean-Louis has a quote about this, which is very French. He says, the young customers came to us more than we went to them. People saw again, but with a new eye, the beauty of materials worked by fine hands. They came, we followed. That's the most French way of ever saying this, but like, this is what we're talking about. He got their client base and often the young people's parents who wanted to be more like the young people here to see with new eyes, the same things.

Yep. Total genius. Yep. For sure. Okay. So that's brilliant. So that's on the product side and kind of doing this jujitsu to reposition the product center. The other thing that he did, which was huge, was he had the very same realization that Henri Racamier had at Louis Vuitton. And we foreshadowed this earlier. What Racamier figured out at Louis Vuitton in the 1970s was the market now, the global wealthy, the global elite, the global rich is so much bigger now than it was in the 1950s.

The number of people with wealth on the order of Grace Kelly and Prince Rainier of Monaco, or, you know, even a few rungs below them. But the number of people who can be in our client base around the world is just so, so, so much larger than it used to be. And it's happening in this country by country way, which is perfect for a brand like this. Like they can go to America and then they will observe the rise of Japan and then they'll go to Japan in the 90s and 2000s.

Then they'll observe the rising upper middle class of China. So they'll go there in present day. They can really position themselves as sort of the second mover where they can sort of watch, see when this wealth class exists somewhere, and then set up shop and say, hey, France's whole heritage is now available to you to adopt as part of your persona. Yeah. And this is super key. And I think to this day is a huge part of the defensibility of Hermès and Louis Vuitton too.

No matter where you live in the world and no matter what your cultural background is, when you attain this status, there's still something about this connection to French and European nobility that you cannot buy from a brand from any other country. It's super fascinating that French nobility, fashion, and heritage is universally revered everywhere. And Italian is too. Like I would say European generally, but French specifically has an ability to do this in any geography as it develops.

Yep. So all of this stew comes together in 1984 with Jean-Louis's greatest achievement. And unlike the Kelly bag, which, you know, again, was an accident, like, yes, it was his father, Robert and incredible genius, and then repositioning and renaming the bag, the Kelly bag. Jean-Louis, this is literally whole cloth conceived of by him on a flight from Paris to London in the early 1980s, where he's seated next to the French and British actress, Jane Birkin. The it girl of the time.

Now, here's what's really interesting. I bet 95 plus percent of people listening to this right now have no idea who Jane Birkin was. Which is so funny because in interviews with her as the Birkin bag was blowing up, or at least getting a lot of attention, an interviewer joked that she was going to be more famous for the bag than for her acting career and her modeling and all that. And she sort of laughed and said, wouldn't that be something?

Yeah, right. But totally 95 percent, if not more of the listeners to this podcast will have no idea who Jane Birkin is before this episode. But you definitely know the Birkin bag. Yep. Or at least you know of the Birkin bag. I'd bet seven out of 10, maybe eight out of 10 people listening to this couldn't spot it. But if you say a Birkin bag, you sort of know that it's like a unattainably expensive, high status, hard to get handbag.

Well, certainly if you follow the Hermès stock, you know what a Birkin bag is, even if you probably couldn't pick it out of a crowd. Yes. But anyway, this is the culmination of everything we've been talking about. Who is Jane Birkin? She was British. She was born in England. But she moved to France and became a French citizen. And she became like a French cultural icon. I mean, again, the tie to France is so important here, too.

And we didn't talk about this with Grace Kelly either. Grace Kelly was an American from Philadelphia, but she became the Princess of Monaco. These two women, these two personas that are embodied in Hermès, like Hermès doesn't do celebrity advertising. I think it's so important that even though neither of them were French, they became so deeply European in what they represented. Yeah, that's a great way to put it. And for Jane Birkin, she was this next generation.

She was an actress both in film and theater. She was a singer. She was incredibly beautiful. She was the it girl, but in a very, very different way than Grace Kelly. She wore jeans. And in particular, she had a trademark accessory fitting with the, you know, 1970s. Oh, the basket. Yep. Yep. Counterculture, you know, back to the land type ethos. She carried a wicker basket with her everywhere that she went. Which has an ethos to it, but doesn't lend itself well to overhead bins.

No, it does not. So as the two of them, Jean-Louis, CEO and artistic director of Hermès and Jane Birkin, French cultural icon, are boarding this flight to London. They're seated next to each other and Jane is struggling to get her fixed handle wicker basket up into the overhead compartment. And at this point, Jane had become a mother and had kids and she had, you know, kid stuff in her basket. She had baby bottles that were like spilling out.

Totally. I mean, I carry a lot of kid stuff these days. Like you need a lot of stuff with the kids. By the way, how crazy is it that the Kelly bag was to hide a pregnancy and the Birkin bag was designed to carry baby bottles and... Baby forward. Yes. And again, on the one hand, this is sort of esoteric Birkin lore. On the other hand, I think this is super important to Jean-Louis. Like imagine the older generation Hermès embracing this.

You know what we should do? We should come out with a $15,000 diaper bag. Right, right, right. So they sit down, they start talking on the flight and Jean-Louis introduces himself and it's like, I notice you're struggling with your wicker basket there, Miss Birkin. And she doesn't know who he is at first. It's the funniest thing. Right, right, right. And she says something like, well, yeah, wouldn't that be great if there was a bigger bag that actually closed and, you know, but Hermès doesn't make that.

Or she made some comment and he goes, I am Hermès. Yeah. The legend, now who knows if this is true, is that she said, well, when Hermès makes a diaper bag, you know, I'll use that one. And specifically for her, she sort of fancies herself someone that has a lot of stuff and wants to bring all my stuff with me. So I just need a big bag and it needs to close easily. Fashion be damned, I just need a huge freaking tote.

Yep. Yep. And as they get to talking, they're talking about the Kelly and she's like, look, you know, Kelly's the Kelly, right? But I can't wear it over my shoulder. So Jean-Louis starts sketching out designs on the plane and voila, the Birkin is born. Larger than the Kelly, but smaller than the old original Hermès bag. It's a tote bag and it has two handles, unlike the Kelly, which has one handle. And so with two handles, you can put it over your shoulder.

You know, it's this sort of, it feels weird to say more casual version of the Kelly, given that it's, you know, the Birkin bag, but it is, it's the more casual modern version of the Kelly. And the Kelly has cleaner lines and this sort of beautiful, almost mid-century trapezoidal shape, whereas the Birkin, everything about it kind of screams function. So here's what's interesting. They release the product in 1984 and it is not an immediate success. I think part of this is that the Hermès kind of brand transformation, modernization was probably still underway.

When you watch interviews with particular Pierre-Alexei, he'll talk about this. He's like, any other company would have given up on this product, but it takes about five years before the Birkin bag becomes the Birkin bag. And like the time is ripe. We're in the 1980s, the go-go years, you know, this is the years that are shaping Bernard Arnault here. There's tons of American wealth being created. People are looking to be a little bit flashier. Now, granted, Hermès is the least flashy of the luxury labels you could adopt, but people know the brand.

Yeah. I mean, it takes five years for it to become any modicum of success for Hermès. And then like a lot of these things, this just kind of slow burn starts that grows and grows and grows and grows. And there's a real lore around it that it's hard to get. And it's just like with a kid. If you tell them they can't have something, they want it a lot more. And if you tell your very fancy clientele that you would love to be able to get something for them, but there's just not enough.

And we don't have it today, but gosh, if you are a great customer of ours and we maintain a relationship with you, let me write down your number. I feel like we may just have something for you soon. Could be a few years, but I'll reach out as soon as we have something. You're an important customer of ours. And if you want to show us you're an even more important customer, please do, by all means. And I'll see what I can do.

Ben, you would make a great Hermès essay. I don't think so. I actually had a wonderful Hermès associate that I worked with in the Exxon Provence store. And it was crazy. I mean, we bought basically the most entry-level Hermès products that you can buy in one of their stores. I think perfumes are sold in department stores and makeup. There's some more accessible things. But in terms of the durable goods, started at the bottom, had a delightful time and decided to buy something.

And I think we spent an hour and a half and I had the most wonderful service and built a almost friendship with the associate who helped us through the whole process, spending as much time with me as they spent with someone coming in to pick up their Birkenberg. It was a crazy, probably that best customer service I've ever received in any retail establishment anywhere. So, no, I don't think I would be a good Hermès sales associate relative to where the bar has been set.

It's funny. You know, my experience was different. Of course, I had to go do some research for this episode. You drove down to the Palo Alto store, right? Yes, I went to the Palo Alto store. I had to be down there anyway for some meetings. And the sales associate who ultimately helped me is equally wonderful woman, had a great experience. Her name is Susan. I'm going back to see her tomorrow as Valentine's Day and Jenny's birthday is coming up.

But I walked in the store with the intention of buying what I ultimately did buy, which is... Apple Watch Band. I thought that's what that was. An Apple Watch Band. Yep. And we'll get to the Apple partnership in a little bit. But I was passed around between a few different people in the store until ultimately Susan helped me out and she was great. And I think she actually might be a higher level SA. But when I expressed that I was there to buy an Apple Watch Band.

Oh, interesting. Yeah. I don't know if that was just the day in the store or if that was part of the policy. I have to imagine it's a little bit different experience in the French countryside as compared to... The Stanford Shopping Center. Yeah. I could see that. But back to the Birkenberg. By 2001, it becomes so widely known that there is a waiting list, a sort of almost secret, shrouded in mystery waiting list to get one of these things, that it is the main storyline of a Sex and the City episode.

And Samantha figures out that there's a way to jump the... I think they use the number five, five-year wait list. Well, the scene where she walks in to try and buy it is just iconic, where the sales associate is responding to her like, it's $12,000 or whatever. Like, oh, I know. There's a waiting list. Of course. And she name drops one of her clients, her celebrity clients, in order to say it's actually for them to try to move up the wait list.

You know, calamity ensues. They actually figure out that it's for her, not the client. I actually haven't watched the episode. But this is a cultural touchstone for the Birken going from something that is sort of whispered about in handbag circles and well-known by the wealthy elite to something that is now a very well-known phenomenon, which is good luck ever getting a Birken bag. And, you know, the crazy stories about the most expensive one ever selling for $500,000 on the secondary market and Victoria Beckham having a collection of over 100.

And, you know, it's crazy. You know, it has become the Patek Philippe Nautilus of handbags. And people look at it almost as an investment. A way of summing up what you're saying is the hard thing about buying a Birken is not coming up with the money. And which is crazy, right? It's starting at $12,000 handbag. And what you're saying is that's actually not the constraint. Yeah. But also what you're talking about, you know, with echoes of our Nike episode here, the minute that you are in possession of a Birken bag, you could immediately sell it for a lot more than what you paid for it.

And your Hermès SA will not be very happy that you did that because the point of buying one is to own one and use one and appreciate the craft and the work and the beauty that went into this product. And Hermès is not trying to sell it to people that are going to flip it. They're trying to sell it to valued customers who will be people who appreciate the Hermès dream for the rest of their life.

Yeah. That would be the last Birken bag that you ever buy. Every bag, I think maybe even every item that Hermès makes has what Hermès calls a blind stamp on it. And this is a series of symbols and numbers. There's one on my belt right now. Yep. There's some on my watch band right now that are stamped into the leather that uniquely identify that item the year it was made and the craftsperson who made it. And there are some very cool stories of people who are transitioning from a craftsperson who makes goods to repairs them later in their career and who receive an item back for repair where they were the original creator of that handbag.

And that is the coolest, craziest, full circle Hermès moment for any Hermès craftsperson to see this thing that I made that I really wanted to be durable and stand up in the world. How did it actually perform? And to get it back 10, 20 years later and see it has got to be crazy cool. So today, everything we're talking about here, the Birken bag, the Kelly bag, these 10 to $100,000 retail handbags, depending on the type of exotic leather and everything, and the scarcity are referred to as a category of Veblen goods.

And so this is essentially the opposite of everything you learned in Econ 101. As is everything about this company. Yes. So normally, price is where supply meets demand. So as the price of a good increases, demand for it would go down. A Veblen good is the opposite. As price increases, people actually want it more. So price ends up being a signal that the item is desirable, and thus it stimulates demand. Now, interestingly, David, this is exactly what you were talking about before.

Birken bags sell below the market clearing price. Yes. That is another defiance of microeconomics. Normally, things should be priced exactly at the intersection of supply meeting demand. I was just laughing as you were talking about Veblen goods there, and I whipped out my copy of The Luxury Strategy and flipped to anti-law of marketing number 13. Raise your prices as time goes on in order to increase. Price demand. So interesting. But one way to look at this is, oh, it's lost revenue.

Their prices aren't high enough because they can only make so many of them, and they're selling them below the price people are willing to pay. So there's money left on the table. But another way to look at it is that it's an investment in the brand. So there's a very good Substack writer, 310 Value, that we'll link to in the show notes, who observed, The supply-demand mismatch creates scarcity in these two bags. And that scarcity likely creates more demand for the bags, elevates the overall status of Hermès, and creates demand for Hermès's other products.

As customers buy Hermès's other goods to build a relationship with the company in hopes of being allocated a bag at the below-market retail price. Yes, this is the same dynamic with, I think, a very different set of motivations as we talked about on the Nike episode. I very firmly believe that Nike could sell many of their shoes for two, three, four, five times the price that they do. And they'll show up on Goat or StockX all the time regularly at higher prices than Nike releases them for.

I believe that the reason that they do this is to maintain goodwill with their customer base and maintain Nike's image as a brand that is accessible to everyone. Hermès is doing the opposite. They want this to happen in order to maintain the image of Hermès and specifically the Birkins and the Kellys as a brand and a product that is not accessible to everyone. Yes. And it's not as simple as, well, they just keep raising the prices to make people keep wanting them more. You read that in the luxury strategy and many luxury brands do that. In fact, Chanel has done it in record amounts the last couple of years with the, I think it's called the Chanel classic flap medium or something like that. But that's had this crazy appreciation over the last few years where Chanel is just raising the price. Hermès doesn't do that.

We'll talk about this more later in the episode, but by my very back of the envelope calculations, they are raising their prices on average across the entire line 7% per year for the last 10 years. So it's like 5% above, 4 or 5% above inflation. Yeah. Which is more, but not an egregious amount. Right. There was a study that found that the Birkin 30, which is one of the sizes in Togo leather, didn't even equal the rate of inflation in the U.S. I'm trying to figure out what the motivation here is because it's a tremendous restraint. There's no cash grab happening. And maybe it's because what bad things would happen to Hermès if they decided, you know what, Birkins are 20 now, not 12.

Right. They're already viewed as the most expensive handbags in the world. So what harm done to go from 12 to 20? Right. And they sell a lot of them. So like that actually would be a lot of profit dollars. Right. And for somebody who's going to spend $12,000 on a handbag, are that many more of those people going to be price sensitive at that swing from 12 to 20? Like probably not. Right. The Wall Street Journal estimated in 2020 that there's about 120,000 of the combined Birkin and Kelly created each year. So 120,000 bags a year. I mean, if you decide that you want to make another 8,000 of pure profit on each bag, that is tempting.

And I think it actually says a lot about Hermès' obsession with conservatism, that they don't meaningfully increase the price. Like the Kelly is not far above its original 1950s price inflation adjusted. I think the Birkin bag, the retail price was around $2,000 when it launched in 1984. So call it maybe $6,000 inflation adjusted. So, you know, you're looking at maybe twice the price that it launched at on an inflation adjusted basis. So I guess the point I'm making here is I think we should keep in the back of our mind the rest of the episode this question of why doesn't Hermès raise the prices?

They're already getting the benefit either way of the sort of trickle down of people participating in the Hermès ecosystem to hopefully get the call one day. So why not make it even more expensive when you do get the call? Interesting. All right. Let's come back to that later in the episode. Yeah. Okay. So 1984, Birkin release doesn't sell well for the first five years. Then it becomes this cultural touchstone and gains steam every year after that.

And I was just thinking about that as we were chatting here. This makes sense to me that it wouldn't be a hit right away because it takes time to build the lore and aura around this bag. You can't just drop a new product and have it become like this immediately. In this category. Correct. You're never going to have like an iPhone of luxury handbags. Correct. It has to be like a Taylor Swift concert in order to instantly.

I mean, I actually think it's a reasonable comp that like her concert was a extremely scarce brand new product priced at an extreme premium that did sell right away because the product had so much of the brand in it. Like you knew exactly what you were going to get from going to the Taylor concert because you're extremely familiar with the brand. But it's not necessarily well understood that the Birkin equals Hermès in the way that the Eros tour equals Taylor Swift.

Totally. It's also that the product was the Eros tour. The product was not Midnight's. If it were like, oh, I'm going to go to Taylor's concert and listen to her play all the songs on the new album. Of course, a lot of people would still go. But it was like, no, I'm going to go to Taylor's concert and hear all of Taylor. All the amazing Hermès scarves from over the years released out of the vault. Yes. The Disney plus of Taylor. All right. All right. Different episode here.

Okay. Back to Jean-Louis. So this is how he does it. He does two incredible things to save the company. One, he repositions the brand. I mean, this is just like, I can't believe he pulled this off. He pulls off Not Your Mother's Tiffany without saying Not Your Mother's Tiffany. And the culmination of that is the Birkin bag and everything that that represents. And then two, the internationalization and discovering and running the same playbook that Racamier ran at Louis Vuitton. By the end of Jean-Louis' tenure in 2006, so a couple of years after the famous Sex and the City episode, Hermès has gone from well less than a hundred million dollars when he took over. The consultants were saying, you know, outsource, shut it down. Essentially,

by the end of the decade of the eighties, he was just under half a billion dollars in revenue. And then in 2006, he's taken it to two billion dollars in annual revenue from, you know, nice family business to like, this is a real, real thing. So one more time on those numbers. So I don't know the exact revenue figure when he took over, but let's call it 50 million dollars in annual revenue. We know it was well less than a hundred to two billion when he retires in 2006.

So 40 X in 30 years. Yeah. 40 X in under 30 years. Wow. Pretty good. Pretty transformative for the family business. Well, along the way, as the company clearly becomes more and more valuable, you know, remember he is the family member who's running it, but we're now on the fifth generation of the family. We're starting to bleed into the sixth generation of the family. There are now over 80 family members out there. Eight zero. Many of whom are involved in the business, but many of whom aren't. And now this business that they all own is doing two billion dollars a year in revenue at very, very high margins.

There starts to be some demand for liquidity here. Right. Every single one of those family members, most valuable asset in their entire net worth is their privately held Hermès stock that nobody can really put a price tag on. But it's just sort of sitting there in everyone's mind of like, it sure would be easier to live my life if I knew that this 90% of my net worth actually were something that I could access. And an even split, that's $25 million a person. I'm pretty sure it's the most valuable thing that any of them owns.

Right. So in 1993, Jean-Louis lists Hermès on the Paris stock exchange. Collectively, when the dust settles, the family has sold 19% of Hermès to the public. They still own 81%. Now the public float grows a little bit over the years as more family members sell, more generational transfer happens, but more or less still 70% plus family owned and controlled. It would really take some sort of absolute financial genius to come in and even consider, we owned over 70% of this business.

We're unassailable. Who on earth could possibly make a run at our company? It would take a real wolf, I'll tell you. Which brings us to, you know, this has been so fun. I've had so much fun with this episode. All this history, I just revel in the French connection and everything. This is Hermès' finest moment that we're about to talk about here through it all. And it's interesting. It's not their product. No, has nothing to do with the product.

Yeah. Yes. The fight with Bernard Arnault. Yes. All right, listeners. Now is a great time to thank our longtime friend of the show, ServiceNow. If you are running a large enterprise, AI agents are likely spread across every team, and deploying them is no longer the hard part. Yeah. The hard part is knowing what permissions they have, what employees are using them for, or what decisions AI is making. AI security for an enterprise at scale is not a small concern. The risks are real.

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So if you're trying to turn AI ambition into real business outcomes and make it work safely, securely, at scale, go check out ServiceNow.com slash acquired and tell them that Ben and David sent you. David Rosenthal, let us return to Bernard Arnault. It's been 12 months. It's been too long. I've been wanting to hear the other side of this story. I know, I know. Okay, so for anybody who's listened to our LVMH episode, as we talked about earlier, the climax of the story is Bernard's fight with Gucci in that episode.

And Gucci is the one that gets away. Bernard isn't able to buy it. Right after the Gucci fight ends in the early 2000s, the same story plays out with Hermès. I think really in an even more dramatic fashion. So in 2001, right after he lost Gucci, Bernard quietly buys an initial stake in Hermès of 4.9%. Now, I believe that was just under the threshold that they would have to disclose it under French securities regulations. And then here's what they do that the Hermès families couldn't see coming, that only Bernard could engineer. He continues buying for the next 10 years using equity swap derivatives. So it looks like other entities are buying these shares on the open markets, but LVMH have the rights to exercise options to go actually take those shares.

Now, this is really hard to remember. I had to triple check these numbers. At this point in time, Hermès's market cap is below 20 billion. That's like eight, 9% of what it is today. And when Bernard first starts buying in the early 2000s, it's below 10 billion. Whoa. I mean, you could say lots of things about Bernard and genius should be top of your list, but he is one of the best investors of all time. I mean, to identify Hermès at this point in time, and as we will see, he makes a incredible amount of money on these trades. You know, today, Hermès is a $230 billion market cap company and he starts buying at below 10.

Which is interesting. You say he's spotted Hermès. It wasn't hard to spot. The interesting thing is not that he realized it was the crown jewel of luxury. It was that he realized that the crown jewel of luxury could be worth 20 to 30 times as much as it was already worth. So he starts buying Hermès shares and Axel, I think, jokes about this in an interview. He's like, look, Bernard isn't buying your shares just because he wants to make an investment or he wants to have some fun. Like, obviously, he wants to own Hermès.

And by the way, when David and I are referencing these XL interviews, it's one interview. He's made a random appearance here and there, but he has done one long form on stage interview and it is fantastic. Yes. It's great. We'll link to it in the sources. You should go watch it. So why is Bernard doing this? Obviously, on the one hand, he sees the value here. I mean, for God's sake, the Sex and the City episode was just dedicated to the Birkin. There's a lot of value to be unlocked here, shall we say, in owning Hermès. But it's not just that. I hope on our LVMH episode, this is some of the nuance that we painted about Bernard. He's not just a corporate raider.

He actually is an operator and he is one of, if not the best luxury operator out there. So he sees two things in Hermès that maybe aren't as obvious to the rest of the world and that he thinks actually are going to create an opportunity for him. One generational transfer is about to happen. Jean-Louis can't live forever. And it's not immediately clear who the next successor is going to be. So Jean-Louis' son, Pierre-Alexis, takes over as artistic director. Pierre-Alexis went to America for college. He went to Brown University. Interesting, in an interview I found this, he initially wanted to study computer science at Brown, but he switched to art history. Very fitting.

And he comes in and he joins Hermès right after graduation in 1992. So he's being groomed. But Jean-Louis wants to separate out the artistic director role and the CEO role. Oh, they had been coupled before. Well, yeah, he held both. So Robert held both. You know, Emile was both. Thierry was certainly both. Right. So that really illustrates the point you were making earlier, that the creative and the business sides of the house are one side of the house.

Yes. Until this generation, it was one person. There was no separation at all. So Pierre-Alexis is clearly the artistic heir. There's not a clear CEO heir. And in fact, Jean-Louis' choice, Excel, who ultimately does become CEO, he's not in the business yet. Right. He did that internship, his sort of five-year apprenticeship, but then he left, right? Yes. So the story is that Excel really wanted to go work in China. And so he goes into investment banking after undergrad. He goes to Sciences Po. Now, and remember, Jean-Louis was his uncle, but his mother, who actually was not a family member, was the managing director for production for Hermès. Excel has this sort of, you know, dinner table trading in addition to the apprenticeship

craftsman trading. But he goes off into the investment banking world. He works first in China and then in New York for Banpe Paribas. Wow. So he is an expert in corporate structure. Yep. And he's an expert on this pretty interesting luxury market in the next 20 years, China. Yep. And America too. Huh. But he doesn't join the business until 2003 when Jean-Louis taps him. And again, on the one hand, as we've talked about, this is a nepotistic business. On the other hand, they're not going to just give him the CEO title right away. He needs to come pay his dues. He starts in the finance department in 2003. And then in 2006, when Jean-Louis retires, Excel takes over running the jewelry

Metier as CEO of jewelry. Which listeners, you should know, jewelry is not an important part of the Hermès business. It's one of the 16 Metiers. They don't even break it out in earnings. It probably rolls up under other Hermès sectors because I don't think it's under watches and I don't think it's under ready to wear accessories. All of other is 12%. So I'm going to guess this thing is like one to 3%. 43%. So he does that for two years. And then in 2008, he goes and takes over the leather goods and salary business. So the big one.

Which that's 43% of the business. And I think at the time it was closer to 50%. Yes. So Bernard sees, okay, we've got a generational transfer opening here. And in fact, when Jean-Louis retires in 2006, he promotes his sort of COO right-hand person, Patrick Thomas, to be the first non-family member CEO running the business side of the house alongside Pierre-Alexei on the artistic side. And at least in retrospect, they try to make this seem like not a big deal that a non-family member took over as CEO. They sort of bill it as, well, they needed someone to look after the business in the interim period before the family was sort of ready to have the next heir.

I think there's as much chance as not that that was right. But at a minimum, I think this shows the sort of ignorance. You know, I don't want to say lackadaisicalness of the family here, because it's certainly not that. But maybe sort of ignorance or naivete that, hey, you're now a public company. And there are people like Bernard Arnault out there. You can't just be like, oh, yeah, we're going to do public company CEO transition in this way and take our time. You can, but you're opening the door for the Arnault's of the world. So that's one thing that Bernard sees.

The other, and I really think this is a testament to his vision, despite all of the strength within Hermès and everything that Jean-Louis did, they actually are showing some cracks. And this we had to kind of piece together a little bit and talking to folks in the industry helped us out here. But look, there's no questioning Hermès's financial results and sort of on the surface brand value at this point in time in the 2000s, early 2010s. But there are a few things that are just kind of starting to slip as they scale. And I think actually the best story that illustrates this is one that the family members themselves do not tell, but that you'll hear out there in the lore

about Hermès, which is that in, I believe it was in Japan, they had a product, a bag. Oh, yeah. This is so interesting, listeners. If you listen to other coverage of Hermès, you will hear this story. And you never hear it from the perspective that we're about to tell it. Okay, so here's how the story goes. It's called the late 2000s, early 2010s. And Hermès is selling a canvas beach bag in Japan, and it is flying off the shelves, selling like hotcakes. It's like a equivalent of call it $150 canvas tote bag beach bag. And this obviously gets the attention of management and the company that this is happening. And they decide that they are going to, in true Hermès fashion, because it is

selling so well, they are going to not only stop selling the product, they're going to take all their supply of it and destroy it. And they come into a board meeting, you know, with all the family members and management. They sort of announced this, and it is met with a standing ovation from the family. This is upholding what Hermès is, which is we don't sell beach bags. The family and the board is so aligned that no one even asked a question about this. They just stood and gave applause. And here's how this went on a meta level, listeners. I heard this story, David heard this story. And David texted me at one point and was like, isn't this an odd story?

And I was like, what do you mean? And we sort of realized, oh, this is not ever told by any of the family members or company executives anywhere. It's just sort of out there. And the company is not secretive. They love telling these legendary Hermès stories. Yeah. And they've got a 600 page document they release once every year that clearly lays out their entire strategy. They produce documentaries, interviewing their artisans, showing videos of their factories. So it rings a little bit odd. It's like, okay, well, why are they not telling this story given how often it's bantied about?

So then you think about it a little bit and you're like, wait a minute. Why the F did this happen in the first place? Exactly. A canvas beach bag in Japan? For $150? And they're making enough of it that it's flying off the shelves? What company is this? How on earth did this happen? The story here is not a heroic one of we destroyed the supply. This is a tragic one. It's almost like when I was sitting there watching Wonder Woman 84 and I was just so appalled at what I was watching that on this meta level, it occurred to me like, the story here isn't the plot of this movie. The story here is how do you have such a process failure at Warner Brothers where this thing

was let out the door? That is a failure of creative leadership and that is what you have going on with a $150 canvas tote bag after 175 years of successful Hermès brand stewardship. Right. And building up the Birkin, the Kelly. I mean, for God's sakes, the scarves sell for like $500. Yeah. So, okay. That I think is the most visceral illustration of this. Two other things that I saw in the research and I think Bernard probably saw here too. Towards the end of Jean-Louis' tenure, he and Hermès started buying and investing in other companies. But why is Hermès doing this?

Right. This is like the weird stuff going on at Nike when they were buying, you know, Converse was the good example, but Starter. And it was almost like they didn't realize, oh, we should be concentrating our firepower behind our one hero brand. They were trying to create the constellation of weak brands. The best Hermès could ever hope for by doing this is they're going to be a subscale, like they're not even going to be Richemont or Caring. Now, one argument, you know, Bootmaker, John Lobb, and all these other companies that they either bought in whole or in part, it became important for them to own their key supplier relationships. Yes. Those I think were probably strategic acquisitions.

Yeah. Especially in watches where they actually fairly recently took a 25% position in the company that makes the movements to make sure that they have enough supply coming to them. But that wasn't all of what they were doing. They were also buying other brands. Yeah. Did you find the biggest disaster? This is kind of in your wheelhouse. Ooh, I don't know. I was wondering if I could stump you with this. They bought, I believe, a 30, 35% stake. They were the largest shareholder in a German company that makes what is really a piece of technology, an old piece of technology, but not something that should be a luxury brand. This is very much in the performance end of the spectrum. They became the largest shareholders in Leica,

the camera company. Really? Yeah. Huh. Which, you know, I mean, sort of the motivation is like, oh, you know, they're beautiful and they're like luxurious cameras and they have leather on them and we can put Hermès leather on the Leica cameras. Yeah. If they made a Hermès edition Leica camera with a... They did? I should probably look into that. But okay. You're talking about a very narrow target market here. And it's just, you know, it's a technology product. I mean, we'll get into this with Apple in a minute, but it didn't go well. Let's put it that way. They ended up divesting the stake.

It reminds me of when the New York Times did all of this with all the TV stations in the 90s too. It's almost like every company that ever thinks it's a good idea to start buying up other brands is wrong. Yeah. Unless that is the core strategy of what you are doing, like LVMH. Yes. Yeah. The third thing that they do, they incubate and create a new luxury brand and company in China called Shangxia. I believe I'm pronouncing that right. In 2009 is when they launch it. It literally means up, down or like past, present. And the idea is that the Chinese market is so big and so important to Hermès. They're going to lend the Hermès brand to this new brand that is going to have

Hermès principles, but take traditional Chinese craftsmanship, of which there's a long multi-thousand year history. Yep. I actually like the strategy. Well, yeah. I mean, it sounds good on paper, right? But here's the problem, like we were talking about earlier. Nothing compares to French culture as an export and when you are buying luxury. And this is a great experiment to run, sure. But the reality is that for probably most countries in the world, when you're talking about spending $20,000 on a piece of leather, you want that to be from Hermès and you want that to be from France.

Right. And I think this is especially true in China. Yeah. That's such a good point. It's funny. I have a playbook theme called selling a sense of place to those outside it. The numbers behind this are crazy. Today, 76% of their production is in France and 85% is sold outside of France. First of all, 76% of production in France is kind of incredible. The fact that they do this with all these different workshops that are sort of scattered around the country. But yeah, the incredible French history that is encapsulated by the brand and the French nobility and the French sense of place, it really is just an intangible connection to the culture that is lusted after everywhere in the world. Why on earth would you throw that away when that really is the essence of your core asset?

Right. Now, easy for us to armchair quarterback here. Obviously, it didn't work. They end up selling it off actually pretty recently to the Agnelli family from Italy, which is the family behind Fiat. Now, look, certainly that one, the Leica thing, it's the combination of all these and the beach bag incident. Bernard sees all this. Here's what he says in the press at the time. I would never diminish the quality of Hermès. Hermès can be an even rarer and greater quality business if they ever wanted to work with us. And I think he's genuine about that.

Yeah. The family obviously circles the wagons and like mounts their, you know, like they're like the rebel alliance here, you know, mounting their defense against the empire. Which I think is quite impressive. Absolutely. The fact that they were able to link arms like this and say, in the face of someone trying to make you and all your relatives collectively a multi-billionaire in liquid cash, it's kind of incredible to link arms and manage to rebuff it. Totally. We'll tell the story here and it's amazing. But I think this is like a really important point that I want to land is I don't think Arnault was wrong. I think he had a point and I think the company at the time didn't get it. They certainly do now. So, okay. What's the story? What happens?

Finally, in October of 2010, Arnault is patient. He spent nine years? Nine plus years. Yeah. That he's just building this stake, being patient. In October 2010, LVMH exercises its options on the equity swaps that it owns and announces that it now controls 14.2% of Hermès shares. And Bernard at the time, he says, I had to do it because other luxury groups were also talking about making a run at Hermès. And I didn't want this crown jewel of France to be owned, heaven forbid, maybe by a non-French organization. A quote here, I could not sit by and allow a competitor or another investor to take a stake in Hermès. He's good. He's so good.

I love it. In response to this is the famous or infamous, if you will quote from Patrick Thomas, the then CEO of Hermès, which we're not going to say the full thing here on air. You can go Google it, but the response, and this is an official press conference with investor relations people. He says, if you want to seduce a beautiful woman, obviously Hermès being the beautiful woman here, you don't start in the fashion that Bernard is, and he doesn't use those words. This is hilarious.

This is amazing. That makes, of course, a huge splash in the French and international press. The drama here is delicious. Karl Lagerfeld is asked his thoughts on what's going on here. And Lagerfeld, of course, he's a legend. He's the longtime creative director of Chanel. He comments publicly, well, if you don't want to be taken over, don't put your business on the public market. Which, hey, game recognize game. That's a great point. He's got a point. If you want liquidity, I mean, this is the trade-off you make.

Now, of course, Lagerfeld, yes, famously is the creative director of Chanel, but he wasn't exclusively the creative director of Chanel. Who is he also working for at this point in time? He is also, I believe, the menswear creative director for Fendi, which is owned by? By LVMH. LVMH. He's on payroll. He's on payroll. Now, this continues on for months in the public markets and in the press. By December of 2011, the LVMH stake has grown to 22.6%. Now, the family owns 73% of the company at this point. So Bernard now owns almost the entire public float of Hermès.

There's what, like 3.5% of Hermès that's publicly floated he doesn't own? Yeah. Hermès is like in danger of being delisted from the stock exchange. Crazy. Now, this is what's so brilliant. You might ask, why does this matter? The family owns 73%, Bernard can't do anything. Price is a function of supply and demand. So as Bernard is shrinking the float of this company, the shares that are available for trade on the public markets, well, what happens to the stock price?

Skyrocket. It goes through the roof. So now you've got 80 family members and they already thought they were really wealthy and they already wanted liquidity. And now Bernard's coming to them. And this is a strategy. They just go pick off individual family members one by one, keep increasing his stake and saying like, yeah, I'll pay you the market price, which is now incredibly inflated for this company. Great. Happy to pay you many hundreds of millions of dollars.

Crazy. So what happens? You know, this is why I think this really was the family and the company's finest moment. That temptation, I mean, must've been extreme. And that's just the externally identifiable motivations. You know, I'm sure Bernard and other people at LVMH and everybody else in the industry is doing everything they can to convince family members to sell. Right. And all it takes is one week link or probably a few week links because the ownership is so divided into tiny chunks by this point. You know, six generations in, it's pretty peanut buttered around. But still.

I think also just from a psychological perspective, a couple dominoes fall here. And then as a family member, you start looking around and being like, do I want to be the last one? It's kind of like a crowded theater, you know, running for the exits. Right. At the time, you're thinking about like, holy crap. This is the best it's ever going to get. I may never see another opportunity to get liquid at this price ever. And the minute that other family members start selling, it goes down.

Supply and demand. The price goes down. Right. I cannot be the last. And it would kind of suck to be the second or the third. Right. So in 2011, the family comes together and over 50 of the 80 family members collectively contribute 50.2% of the equity in the company into a new cooperative vehicle that's called H51, as in 51% of Hermès. As in this vehicle will have majority control of the company when they contribute their equity into this vehicle. They contractually agree that that equity will be locked up and cannot be sold for at least 20 years. So they're basically saying to Bernard, no matter what you do, you could pick off anybody else after this for a minimum of 20 years with potential to extend

beyond that. You will never, never, never, you or anybody else have control of Hermès. So badass. Dude, you and I should contribute. We should make an A51, even though it's completely unnecessary. It just feels right for acquired. You know, like I think you and I can each maintain 24 and a half percent stakes, but A51 really should. I love it. I love it. Well, hey, you know, we haven't floated our business on the public markets yet. So we're taking Karl Lagerfeld's advice. We don't need to incur the legal fees around doing this.

That vehicle was and is still headed by one of the family members, Julie Garand, who was an investment banker at Rothschild. So she leaves and full time becomes head of the defense, I assume alongside XL, who obviously comes from the banking world too. It's so interesting. I wonder if you actually can structure articles of incorporation to say, under no circumstances can this entity sell what it owns. Because normally what you would do is say, like, it requires a vote of unanimous from the board of directors, blah, blah, blah. But that leaves you vulnerable to the board of directors getting lobbied and convinced. And so I wonder exactly, I mean, this is not a public document, so we can't really know, but I wonder how airtight can

you really make something and how irreversible? I don't believe these documents are public, but my understanding from comments that family members in Excel make about them, and spoiler alert, recently they've renewed the term of this for another 10 years. So it's into the mid-2040s. They're like, Bernard, you will be dead when this expires. That's exactly what that is. But I believe it's pretty ironclad that these shares cannot be sold. Wow. So in addition to that, two of the Pueche brothers, Bertrand and Nicholas, Nicholas is the one that there's the gardener drama about right now.

Which we should say, listeners, in case you don't know, there's a lot of stories floating around in the press right now that Nicholas Pueche is going to give half of his stake in Hermès, which represents something like a little under 3% to his gardener or like his ex-gardener, who's now like 51, nobody knows his name. Nicholas does not have children or heirs or other heirs. Right. So there's a press story right now that just shy of 3% of Hermès could be given to the family gardener.

Anyway, the two Pueche brothers, they do not contribute their shares to H51, but they give H51 a right of first refusal on their shares. So they could sell their shares, but at whatever price they agree to, the rest of the family has a rofer on purchasing them. Oh, interesting. So that's another probably 10 to 15% of Hermès right there. Whoa. Okay. That's significant. I wonder how this gardener thing is going to play out. Yeah. Right. And those shares would be, I believe, subject to that rofer, assuming that that has stayed in place. Anyway, this is really just an incredible coordination. Yes, it's a family. They're all family, but there's 80 people here.

The fact that they actually rebuffed this offer and that Bernard sold down his stake is crazy. Well, let's get into what happens with Bernard's stake. Because famously, as Domenico de Soleil said in the press at the end of the Gucci affair, even when he loses, he still wins. And Bernard still wins here. So this effectively ends the takeover bid when H51 is put in place. But meanwhile, there are all sorts of lawsuits going on, particularly around how LVMH amassed this stake in secret with the equity swaps.

It was basically illegal, right? Well, in 2014, the French court rules that this was illegal. LVMH has to pay a fine, I believe like a $10-15 million fine for having done this. Pennies. Yeah, right. As we'll see, it's truly pennies. And they also mandate that LVMH needs to distribute out that Hermès stake to its own shareholders. LVMH can no longer hold the stake. Well, who's the largest shareholder in LVMH. It's Group Arnault, which is Bernard Arnault's family office.

So they get 8% of Hermès personally into his family office entity, which this is the brilliance of Bernard. They take that value, which is call it on the order of $5 billion. Remember when they started buying, the whole company was trading at a market cap below $10 billion. So massively appreciated stock. They basically created value out of nowhere here. This billions of dollars landing in Bernard's personal bank account. He has created that money out of nowhere.

He has unlocked shareholder value for sure, even in the absence of a change of control transaction. So back when Bernard was engineering his takeover of LVMH, one of the financial instruments that he used to do it was he IPO'd a 25% stake in Dior. He already owned Dior that he had gotten out of bankruptcy from Boussac. That's right. He had this Russian doll structure where he owned a slim majority of an entity that owned a slim majority of an entity that owned a slim majority. And so he was able to generate a bunch of liquid cash from all the minority shares that he sold off, but he still got to control Dior, LVMH, Group Arnault because he was technically the majority owner of each of them.

Yes. But he and LVMH didn't own this 25% minority stake in Dior. He takes the Hermès shares and does a share swap. So swaps that value directly with the 25% of Dior that he doesn't own to bring that first into Group Arnault, his family office, and then he trades that into LVMH. So LVMH now finally, as a result of this, is able to take 100% control of Dior. And in exchange for Group Arnault trading this asset into Dior, Bernard's ownership of LVMH goes from 36% up to 46%. So he gets an extra 10% of LVMH. And here's the most incredible aspect of this. Not a single dollar in tax is paid on all of this. Oh my God. Because it's all share swaps. Basically, Bernard just gets 10% more of his

own company as a result of this. Which would then go on to appreciate. Call it 400 or 500% over the next five, six years. 5X'd? Since 2017? Yeah. Wow. Even when he loses, he wins. Unbelievable. Now, this is a situation where everybody wins. I don't think there are any losers here. And the Hermès families absolutely are not losers. And you could even say they sort of have the last laugh here. Because yes, Bernard gets to benefit from an extra 4 to 5X appreciation in LVMH's market cap here. From, let's call it the real beginning of when LVMH publicly announces their stake in Hermès. So 2010, Hermès's market cap is up 16X.

It's crazy. And the reason why no one's a loser here and everyone's a winner is because Hermès truly is the crown jewel. It is such an unassailable, exceptional business. The last 12 months, it did $14 billion in revenue, $5.7 billion in operating income. They have a 71% gross margin and a 44% operating margin. It's a software business that doesn't need any R&D. Tech companies go like, I don't know what Hermès color to call it, but some color with envy over this. But there is one more chapter of the story that we have to tell because that wouldn't have just happened. It wasn't just the Bernard affair in and of itself that led to this 16X market cap increase. He was right. Like I was saying earlier, there were, I think, some real problems in the

business. And that is the story of the sixth generation of Pierre-Alexis and Excel, who I think have certainly fixed those problems, but have really led Hermès, the business, and the company into a whole new era. Yes, that is absolutely right. There is a quote that I want to start with for the Excel Dumas era, which is possibly the best articulation that I've ever heard of business strategy anywhere. And he did it in the interview that we were talking about. So he says, every decision that we make has got some reverse effect, which I think is like a French translation for trade-off. So every decision we make has got some trade-off. There's something I really like about strategy and Michael Porter. Strategy is accepting that you are doing something better

than the other, and the other is doing something better than you. You have to pick your fight. I'm always a little bit disappointed when I see someone on my team say that we do everything at the same time. Great. That doesn't happen in real life. You have to pick your fight. And Hermès picks their fights better than anyone. And what they've done over the last 10 years since the Bernard fight is that they have figured out how to scale hand-crafted artisanal production.

Yes. On the surface, those are completely like oxymoronic terms. Those are completely diametrically opposed. This is a dead art in the world. And Hermès manages to crank out hundreds of thousands of products that otherwise would only be created by individual makers with no infrastructure and no brand. And it'd be really hard to discover them. And frankly, they would all just go out of business. Most of them go out of business anyway. Totally. What was the stat that you said a little while ago that there are 120,000 Birkins and Kellys produced every year?

Yep, exactly. Yeah. If they were still making these things on the third floor at the Faubourg, no way. No way. And this was kind of the problem and what the consultants were saying at the start of Jean-Louis' tenure of like, hey, you need to outsource production. You need to scale production. You need to make this more accessible. Right. You have a global brand now. You need to figure out how to serve the demand for your brand.

Yep. So the Patrick Thomas quote that I want to start with is so great. The luxury industry is built on a paradox. The more desirable a brand becomes, the more it sells. But the more it sells, the less desirable it becomes. We've been talking about this whole episode, but then it continues. I believe Hermès' vision provides a solution to this dilemma. And this is what the current generation has found, the solution. So today, I think we referenced this earlier in the episode, Hermès employs 7,000 master crafts people, artisans. Most of the story that we've been telling thus far, you know, until 1992, all of the crafts people in the company, more or less, were working in the Faubourg, in this one relatively small building on the Rue Faubourg de Saint-Honoré

in Paris. In 1992, they moved production to Pantin in the suburbs of Paris. That building is amazing, but only houses about 250, 300 crafts people. And actually still to this day, Axel talks about this a lot. Any one of their production sites does not have more than 250 to 300 crafts people. Yes. They believe that every single person should know each other by name. And they think that 250 to 300 is the natural limit on that. And Axel even says, if you have more than 300, it is not a workshop, it's a factory. Yep. And they are not in the business of factories. At the same time, he and the company have stated as an explicit goal that they will ramp up production capacity by 7% every year.

Well, as the company gets larger and larger today, that means adding 500 artisans every year. Crazy. And when Axel started at the company all the way back in the 80s, there were 250 craftsmen, period. And they hired two per year, two craftsmen per year in the late 80s. Right. Now here's the issue though. How on earth are you going to do this? Like you were saying, this is a dead art. Nobody else does this. Little maker with a workshop in San Francisco or a workshop in Paris. But like, how are you even going to find them?

Right. And those people, you know, the Beatrices here in San Francisco, they're entrepreneurs. They're not going to go back to joining Hermès because they all came from Hermès in the first place. How are you going to hire 500 a year? It's not like they can go higher from their competitors. They're not doing this. Right. Their competitors have all outsourced production and embraced assembly lines. So they do the only thing that you can do. They build the pipeline of training master crafts people and artisans entirely themselves. They build schools. They build training centers. They go to parts of France that are in rural areas that have high unemployment. They go to those areas and they open trade schools and they say, we're going to train you. They have a hundred percent graduation

rates. They're like, we're not going to give up on you. We're going to make sure you learn this trade that you graduate. You may not come work for Hermès when you graduate, but we're going to give you this skill and then we're going to offer you a job as a master craftsman. It's crazy. It's unbelievable. So back in the, you know, even through the Jean-Louis era, the fifth generation, Beatrice was the anomaly as a woman. These were all like old men that were doing this stuff.

Yep. Today, the average age of the Hermès artisan workforce is 30 years old and 80% are women. It's wild. It's a wholesale transformation and they are training them. They actually just opened in 2021, their first official French governmentally sanctioned degree granting program, the École Hermès de Savoir-Faire. This is the Savoir-Faire that pops up in the annual report, you know, a hundred and whatever times. Let's name a school after it too. Yeah. Yeah. Yeah. They're like getting into like government policy here.

They are preserving and growing this art form in France. Yeah. They're not France's largest export because they have a very constrained way that they can create the products, but they may be France's finest export. So it behooves the French government to try to figure out how to make this last another hundred years. Yep. So today there are 31 Hermès ateliers, you know, artisan manufacturing facilities all throughout the country, each with no more than, you know, 250, 300 people in it.

Right. It's the cloud computing idea of scaling horizontally. Totally. This is AWS. This is the point I'm getting to. Right. They're building data centers. They were Amazon and they added AWS and they are adding two to four of those every year. So funny. You had that thought too. Totally. And it's all people. I mean, it's all sticking to the thing that got them here, which is every product or at least every leather goods product, every handbag made end to end by one artisan. Yep. Trained in the traditional early 20th century way.

So this is an insane idea that leather goods, which is 43% of the business Hermès did what? 11.6 billion euros in revenue last year. They're on track to probably do call it 14 billion in euros. Yep. Last 12 months is 14 billion. Yeah. That 6 billion of that is going to be handcrafted items where one artisan makes one item at a time and they're sold around the world. Like 6 billion euros worth of that every year growing at 15, 20% a year. Yeah. Wild.

This is a really important thing to understand the company. They firmly believe that only 250 to 300 craftsmen can work in a building. So that's one. Two, it takes two plus years for someone to learn the craft and apprentice. And three, that every one of these things must be created by one individual by hand. And if you believe all those three things for sure, then it forces a very specific constraint on your business and you must work backward from that. You can only train so fast. You can only produce so fast, which then of course means that it affects your products and it affects the availability and it affects the price, which of course means that it affects the customer set. So there's a way

to view Hermès, which is they want the very highest end customer with zero price sensitivity and they do whatever they need to serve that master. But I think there's another very real way to look at it, which is how the company describes themselves that starts with the constraints of the craft. And when you hold true to that ethos at its most extreme, you end up with the company's brand and posture that you have today as the only logical endpoint. They can only hire three, four, 500 craftsmen a year. They can only do this other stuff. Good luck getting a Birken bag. I mean, it's just one of these things where you can say they're artificially constraining supply all you want.

As long as they do things this way, this is the max throughput. And so they would have to change something. They would have to say, hey, there's some new fancy saddle stitching machine that it turns out makes us just as high a quality product and every craftsman is, you know, twice as effective or something like that. But until they fold on one of these constraints that they've decided are stakes in the ground, the result is the scarcity. That's not the goal. That's the result.

The Amazon comparison is so apt here. Hermès has this incredible unassailable flywheel, but it operates in the exact opposite way of an Amazon flywheel. It's not about maximizing the cycles. It's slowing. It's minimizing. It's a intentionally rate-limited flywheel, and it all works together. At the end of the day, it is probably true that neither one is the starting place and neither one is the ending place. And the two things that I'm referring to here are the method of craftsmanship and the price and scarcity. They just work harmoniously together. One is not driving the other. It is that they both want the brand posture that they have and they want the constraints that they have. And so it works together perfectly. But a cynical person could be like, well, yeah,

all that handcrafted mumbo jumbo only exists because that's how you justify the brand pricing and availability that they've put in place. But I think it all works in concert. Totally. I mean, like we've told the whole episode and I'm thinking back to what Beatrice told me when I asked her why if a master craftsperson made this thing by hand, it has a soul. And if a machine made it in an assembly line, it does not. Right. Maybe. But sure. In an assembly line with crappy ingredients, blah, blah, blah. Sure. But can craftsmen use better tools? Yes. And will Hermès continue to embrace tools that make craftsmen more efficient? At some point, did they use sharper knives than were previously available in the past?

They totally did. And so will they use things that make the needle go a little faster? Maybe. Totally. Let's take a step back here. We got to consider the exact opposite case study of this, which is 100% happening, to great success, which in a lot of ways is the same thing that the consultants told Jean-Louis back in the day. Look at the rest of the industry. Louis Vuitton, which as we talked about, has the same caliber of heritage and history as Hermès.

Yes. It could have Hermès's gravity if it wanted to, but instead you can buy a checkerboard cotton sweatshirt with 120 LVs on it. Right. They are having the same level of success, the same margins. It's working like a charm. But it's less durable. Well, I think that's sort of the question. Is it less durable or is it just these are different markets or different strategies? Now, here's the crux of it that we've also been teasing on the episode that I think now's the time to come back to. This thing that I'm wearing on my wrist.

Hmm. The Apple Watch partnership. Out of left field. Very surprising. Very odd for the brand to do this. I have a lot of complicated feelings about the thing on my wrist, including primarily that I love it. Okay. Here's the story. 2015, Apple launches the Apple Watch. Supposedly, the story goes that Johnny Ive and the watch I think was really Johnny's kind of like pet project as his last hurrah before leaving Apple. He had all these quotes at the time of the Swiss watch industry, better watch out.

We're coming for them, you know, et cetera, et cetera. Which was true. I mean, different market, but it's by far the best selling watch in the world. Yes, but it's far from been the death knell of the Swiss watch industry. Right. Yeah. The Swiss watch industry has done just fine since the Apple Watch came out on the high end. Yes. Mark Newsom was consulting for Apple specifically on the watch. And Johnny asked Mark to introduce him to Pierre Alexia and XL and to Hermès. Apple was looking for a luxury fashion brand. Remember, there was the Apple Watch edition in the beginning that was like the gold Apple Watch and all that.

Oh man, $10,000 for something that was going to be obsolete in a year. It's crazy. Yeah. That clearly didn't work. But it's beautiful. Yeah, totally beautiful. But they needed a luxury brand. They needed a brand that was not deeply in bed with the traditional Swiss watch industry, which some of these luxury groups are. Oh, it's funny. I hadn't actually made that connection that that's why it's Hermès and not... Well, I think there's two reasons. That's one reason. The other reason is they needed a brand that was going to appeal to pretty much everybody.

Yeah. For everything we've talked about with Louis Vuitton and how successful that's been, it's polarizing. Totally. And Apple also needed to go to the very top of whatever they were going to grab. Like, that's the thing about Hermès is whatever they make... Nobody is ever going to say that Hermès makes crap. Right. They make the most fully realized version of whatever they're making. If they have an idea, they want to release the best possible, most extreme, exquisite version of that thing.

And that's very Apple. I mean, Apple has to make compromises for the scale that they're at. But if Apple had partnered with someone that was more opinionated, let's say they were better in some ways, but worse than others, it kind of doesn't play for Apple's brand. They need to partner with someone unassailable. Axel and Pierre-Alexei talk about this all the time when they're asked about, oh, XYZ flashy celebrity, you know, is carrying a Birkenberg, blah, blah, blah. They say like, look, we don't judge. We never judge here at Hermès. Our clients are our clients, whether it's Grace Kelly or, you know, Kim Kardashian. Yeah. And that's what Apple needed.

So Axel has a great quote on this. He says, we had an incredible talk with Jonathan Ive, and there was a lot of mutual admiration and common values. From that, we said, wouldn't it be nice to have something combining our craftsmanship, our vision? It was about trying to make a contemporary, elegant object. It was not a master plan of global domination. Okay. This thing on my wrist is exactly what Axel is saying there. It is a contemporary, elegant object that is beautiful leather. The reason I bought it is for my life and modern life, this thing is on my wrist 23 hours a day. I sleep with it. A hundred percent. I love the Hermès slim to Hermès watch. I like looked at that thing,

I don't know, five times during research, lusting after it, and ultimately closed the browser tab, being like, I wear an Apple watch all day, every day. There's just no world where like, it actually makes sense for me to own a different watch. Right. I mean, even more than my phone, this thing is part of me. When I was looking to do research for this episode and buy a bit of the Hermès dream, I couldn't imagine anything more appropriate to be closer to me than literally it's on my wrist 23 hours a day. Right. At the same time, I find it absolutely terrifying from the perspective of what it means for Hermès and the Hermès future. Not because I think that Apple and technology is going to take over the world, but I think there's some serious problems

with this product along the lines of the issues that Bernard identified in the company when he was making his run. Let's start with the price. I bought the deployment buckle version of the strap because I thought it looked amazing. It is the most expensive version of the band that Hermès sells as such, and it costs $540. Which is expensive for an Apple watch band, but it's sort of like in the ballpark of Apple accessories, or it's at least maybe twice as much as normal Apple accessories. This is among the cheapest leather products that Hermès sells.

As a comparison, if you want to go buy a Hermès luggage tag, $640. Let's move out of leather goods for a second. If you want to go buy an Hermès sweatshirt, over $2,000. If you want to buy an Hermès piece of furniture and they make incredibly beautiful furniture, $40,000 minimum, $540 for this thing, it's not priced right for an Hermès product. It's too low. It's somehow bridging the gap between an Apple product and an Hermès product.

Yes. And maybe that's because it's also sold in Apple stores, et cetera, et cetera. But related to that, you start to think about that, like, wait, why is the price so low? But nowhere on the exquisite orange packaging and box that this thing came in, nowhere on it, nor on the product page on the website, does it say that it was handmade. So Hermès's belts, and I believe they're Apple watches, and there are other things, are machine sewn.

And this to me is like, wow. You know, would I have spent $2,000 on a handmade Apple Watch Hermès band? Maybe, maybe not. Like, I don't know whether I would have is irrelevant. Hermès should be selling $2,000 handmade Apple Watch bands. Even if people aren't buying them? That's sort of the question. I agree with you, because what I think this does is it defies how I think of Hermès, which is whatever they're going to do, they're going to do it at that logical extreme. They're not going to compromise.

They're not going to figure out how to address a lower market. They're going to sell the same expensive scarf that they sold their grandma to you, but they're going to have a different way to advertise it. And this is weird. It's weird. It's a compromise. I think the same thing about their belts, by the way. I think the same thing about anything that is machine sewn so it can be mass produced and have availability in every store.

It feels like they don't promise that everything they make is hand sewn, but it feels like a mild violation of the brand promise. Right. Yeah. So I don't know. On the one hand, I love it. I don't want any other Apple Watch strap. It is an Hermès product. It's beautiful. On the other hand, yeah, it feels like a profanity. You're right. It does feel like a profanity. I mean, Apple is the most valuable brand in the world, but the most common brand in the world. And for Hermès to associate with such a common brand feels odd.

Yeah. Apple is the definition of mass market at this point. Well, I think that is certainly part of it. The thing that is really just kind of head scratching to me about it is why do they not sell these things for four times as much and make them by hand? Yeah. What are they getting out of selling a machine-made strap for $540? Maybe you're now an Hermès customer and over the next 50 years, you're on a journey with them.

I think that's true. I mean, I'm going back tomorrow. What are you getting tomorrow? I don't want to spoil Jenny's birthday Valentine's surprise. I'm actually getting two things, but we'll talk about this on a future episode. Okay. Sounds good. The cliffhanger. Cliffhanger. So just to put some numbers and finish out the story, by 2018, revenue has grown from, call it, 3.5, 4 billion euros when Accel took over in 2013. By 2018, that's 6 billion euros. 2019, it's 7 billion. It dips a bit during 2020 with the pandemic, but then 9 billion in 2021.

Last year, 11.6. And like we said, on track for, call it, 14 billion euros in 2023. This is an absolutely resounding success. As we've said, what Accel and Pierre-Alexei and this generation of the family has done, like all the generations before them, has been nothing short of amazing. Remarkable. Starting with the defense against Bernard. Incredible. I don't want to fully judge or leave a negative mark on the company solely because of the Apple Watch thing, but I just got to say, you know, we've seen with a few times here in these generations that the seeds of the next challenge are sown in the current generation. And I wonder if this is it here.

Hermès has always thrived by figuring out how to be above it all and it be counterpositioned to the rest of luxury. It's an open question, I think, of whether the Apple partnership helps that or hurts that. Yep. All right, listeners. Now is a great time to talk about one of our favorite companies, Statsig. Yes. Long time acquired partner. There is a reason why the best product teams at companies like OpenAI and Notion, Atlassian, Figma, Rippling, Brex, and more rely on Statsig, whether they are iterating on their core product features or shipping AI-powered experiences at scale.

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Okay, a few more stats on the business today before we move into analysis. That sound good to you, David? Great. Great. Well, I thought one fascinating thing was Excel saying that with the $4.3 billion in net income that they do, they always split it roughly the same way. One-third to the dividend, one-third gets reinvested in CapEx, and one-third in cash. And what's pretty interesting is they have a reasonably low reinvestment rate. They're dividending out a lot of cash, and they're holding on to a lot of cash, two-thirds of it.

And so what's obvious there in the numbers that we've talked about in a more subjective way is they have a limited ability to actually reinvest in the business. It's much like Costco. They're constrained by factors other than capital. You give them more money, they can't do anything with it, which I just find fascinating. They can only train the craftspeople so fast. And frankly, at some point, they'll saturate the market too. If they're going to address the whole world, they're going to have to change what they sell. And the Apple Watch may be the first little version of that. They grew, what, 20-25% last year? They can't keep growing at 25% without changing what Hermès stands for. And so even if they could train these craftspeople as

fast as possible, they have another governor, which is scarcity, product image, price. At some point, they'll bump up against the walls of that, and no additional craftspeople and no additional money can help them grow anymore. That's such a good point. And that's the counterpoint to my impassioned concern a minute ago. Okay, great. David, everything you were just saying, that translates to Hermès is a museum. And Hermès is not a museum. Right. And it has to meet its clients where they are. And like I said, I wear this thing 23 hours a day.

I couldn't imagine buying any other product from them. And I'm sure there are some members of the family that want to walk around with their nose in the air and be a museum and say, Hermès is pure, and I want to go my whole life and then die with Hermès remaining pure. And there's other members of the family that are like, can we serve customers and grow this business? My God. And that Apple Watch represents the second faction.

Yep, totally. Next, their cash position. They've got $10 billion in cash, and that is after materially increasing the dividend for the first time in a decade. They've recently just started dividending out more cash, which again is emblematic of the same idea of money is not our constraint, which is pretty new for the business. That's a decade or two old problem that never existed over the first 170 years. And so that's kind of an interesting thing to know about a business is it was always run under the constraint of even if we see growth opportunities, we don't have enough cash to pursue all of them.

Now they actually do. And so it's interesting to see how management sort of responds in this opportunity for abundance that they have and figures out how to treat certain elements of the business as a scarce resource, even though they don't have to. Yep. Now, certainly there is an element to the dividend that is part of making the family shareholding lock up an easier pill to swallow. Yes, quite palatable. The segments of the business, leather goods and saddlery is 43%. That's the big guy.

We didn't talk about this much on the episode, but ready to wear and accessories is 27%. That's a big chunk. That's the second largest chunk of the business is clothing effectively. And I sort of have an open question of whether they should be in clothing. Isn't it kind of antithetical? I mean, certainly it's odd to see them in the fashion world and they do these runway shows and they do couture, but it feels weird. It somehow feels antithetical in some way.

Yeah. They're not a fashion brand and yet they participate in it. Yep. Next largest segment after that is silk and textiles. So remarkable how small the scarf business has become of their overall mix, given that it used to be what close to half the business after that is perfume and beauty at 4% and watches at 4%. And then there's a couple of categories of others, which I think it's really interesting to look at perfume and beauty as another glimpse of what's to come. They make $100 bottles of perfume and they sell them at department stores.

Yep. And they launched beauty in 2020 with lipstick. Yep. Which I think is very China focused. It's very interesting to me that they are trying to appeal, especially to a younger demographic with a lot of their recent perfumes and selling in department stores. Again, it feels antithetical to Hermès as this sort of pure brand. But on the other hand, it's a continuation of the Apple Watch strategy even further. Yep. There's one more elephant in the room to me that we haven't addressed via the story, which is that the business is a global business for sure, but really today this business is an Asia business.

Yeah. So here's some stats. In 2006, France was already down to 19% of sales. I mean, it started at 100% of sales. So that's why I say down to 19%. 2006, this is a while ago, or almost 20 years ago. At that point in time, Japan represented 27% of sales. So there's all this talk about China and luxury today. Japan was that in the early 2000s. So crazy, right? Japan was one and a half times France in terms of sales for Hermès. Well, today France is down to just 9% of sales.

So let's flashback to 2006 again. So we talked about Japan being at 27% of sales. Asia Pacific outside of Japan was only 17%. Oh, wow. Japan was almost one and a half times as large as rest of Asia. Well, today, rest of Asia is 48%. Half of Hermès' business is Asia excluding Japan. AKA China. Exactly. That's crazy. And I think Russia accounted for a decent amount of that. Hmm. Interesting. The Japan story actually, I think, is still significant. Japan today is what, like 10% of revenue?

Yeah. Japan's larger than France. It's 9% in France, 10% in Japan. Right. So I actually looked into that. I was like, huh. Yeah. The rest of Asia, you know, again, AKA China is 48% of the business. But on a per capita basis, Japan buys twice as much Hermès as China. That's interesting. Still. Japan is, I believe, around a tenth of the size of China and is 10% of Hermès sales versus 48% for rest of Asia. Huh.

For a small country, kind of like France, it's still very, very significant for the business. Yeah. I will say that you listen to management commentary, Hermès is very excited about China's middle class. And they have done a really good job skewing younger there. 80% of clients in China are below 40. Wow. And, you know, again, this is a huge, unique success for Hermès. China has been big for the whole luxury industry over the last decade plus. But the past few years, particularly the last two years, China has been real tough for the luxury industry. And yet Hermès is still growing there.

Yep. Employee count. So they have 21,000 total employees. 7,000 are artisans. 62% of employees work in France. So they really have stayed French. They've not outsourced. They have 54 production sites in France, or what they call workshops. And they manufacture 76% of the objects that they sell in their stores in their own exclusive workshops. So they do still have these partnerships with other companies that they own part of, or just have a partnership with, or a distribution deal with.

Usually what it means is it's sold as an Hermès product, but it's made by another manufacturer. And over the years, they've done this with shoes and umbrellas and leather jackets and raincoats and silverware and gloves. Like they've had all these independent craftsmen that they sort of contracted with who have these really small shops, really small operations, don't have the brand reach that Hermès does, but they make Hermès products that are actually made by those people. So it's interesting.

I think they're sort of decreasing that when I give the number that at this point, 76% of objects are made in its own exclusive workshops, but it is more correct than not to think about Hermès as they control everything from design to production, to brand, to retail today. Yep. And I think a lot of those, like there's a silversmith and a tableware manufacturer that they own large stakes into. So it's like a related party. Yep, exactly. They have over 300 stores in 45 countries. David, as I mentioned earlier, in 2020, the Wall Street Journal estimated that about 120,000 Birkin and Kelly bags were made in that year.

That's about 25 to 30% of total revenue coming from just those two bags, which again, you can't buy. And also you can't even see. Yeah. They're not on display in the stores. I went to a few Hermès stores over the last year, A, because I love the brand, B, because I was thinking we might do this episode at some point. I saw zero Birkin or Kelly bags, even on display. This is the thing that they generate all their buzz about and make 30% of their revenue from, and you can't see it in a store. Yep. Crazy.

Totally crazy. I mean, if you just do some napkin math at 25 hours per bag, that's 1,500 craftsmen just making Birkins and Kellys all day long. Sounds about right. They have 16 metiers, and one in particular that I want to talk about is Petite H. This is one of my favorite Hermès things, period. So it started in 2010. It's a very interesting idea. For other leather brands, Hermès, you typically see them trying to use the second best leather cut in some of their bags.

But at Hermès, they'll never do that. There's no bag that's ever produced with any imperfections or any part of the leather that they think is any lesser than the best. So what do they do with all that leftover material? Well, for years, they were just storing it. And this is everything from the leathers to the felts to the silks, all this extra material where they were just like, there's a tiny little bit that's usable, but not enough to actually make another bag to our standards. So into the closet it goes. And in 2010, they launched Petite H. And what they basically do is they collaborate with other artists for tiny little goods that can be cut from the scraps that are super whimsical,

super fun. Think luggage tags that are cute little animals, but it's just enough of a shape to know that it's a bull or a bear or a cat. And you look at it and you're like, oh, that's really clever. And what they call it is creation in reverse. You start designing with the materials, not the end product in mind. And it's kind of the opposite of everything else that Hermès has ever done, which is think about what's the perfect good we can create to solve this problem for a customer.

This was like, no, we've got a bunch of scraps. What's fun stuff we can do? And that is that whimsy coming through. Yes. One thing that I want to say about the luxury bubble cooling is that earlier, I sort of chalked it up to, well, Hermès has the most exclusive brand posture. So they have the least price sensitive customers. So they're going to feel the pullback less than everyone else. And that is true. But there are other parts of it too. Hermès' obsession with responsible growth, limiting production, and slower price appreciation also plays into the desirability and the durability of their goods. If they were out there cranking the prices of Birkin bags, you might think less of them.

Yeah. If they were out there trying to produce more of them to meet demand, you'd certainly think less of them if they were outsourcing production in any way. So it's how they conduct business that has caused them to sort of be in a better position than the rest of the luxury industry right now in this pullback. Yeah. I'm glad you reminded me to bring this up. When we were talking earlier about the question of the secondary market and why are they leaving pricing power on the table?

Or essentially there's consumer surplus in economic terms. Right. And I said, I think they increase prices across the product range by about 7% per year. So where I got that from is if you look at the compounded annual revenue growth rate of Hermès for the last 10 years, you know, the sixth generation era, it's 15%. Revenue's grown 15% compounded annually since Excel took over in 2013. They've increased production 7% per year. That's their stated goal. So if you say like, okay, of the 15% revenue growth, take out the 7% production growth that leaves 7% to 8% of that's got to be attributable to price increases.

Huh. Which I think this is the answer. Now, is it the right strategy? Probably it is the right strategy. If you're thinking about, hey, this is a generational business. We're on the sixth generation. We want to ensure it's around for the 12th generation. Yes, we're leaving consumer surplus on the table here because we don't want to be seen as that brand that, you know, is like $100,000 handbags, even though they are $100,000 handbags. Right. Yeah. There's a fine line.

There's a ghostness to it. Right. Exactly. They need to have a price that's high enough to signal this is something really, really special. And we are more unique than every other luxury brand who's trying to make similar products and have similar positioning. But also, it's not so expensive that it's gauche. And I think the latter part, it's not actually about the dollar amount. It's about the price difference. Because if it's three times as much as it was a decade ago, it's harder to trust the intrinsic value of the good if it's fluctuating all over the place. There probably is an element of like a, I want to say almost defense that they can fall back upon of, well, yes, we sell these things for $12,000, $20,000, whatever. But

the moment you take possession, you can turn around and sell it for more. Oh, this is an intentional strategy over at Rolex. They increase prices a certain amount per year, and they want to show a track record of that so that if you buy one, you can rest assured that it's going to increase in value over time and that it's a good investment. Because counterintuitively, by increasing the price more than the rate of inflation every year, or especially more than the rate of 5% to 7% stock market return, it spurs people to buy that otherwise wouldn't have bought because they feel more safe making the purchase.

This concept landed for me during our Porsche episode, working with Doug DeMuro. There's a class of almost every car that you would ever buy. The old adage is true that the day you drive it off the lot, it's worth 20% less than it was the day when you bought it. For, I don't know what the right word is, luxury cars, collector's cars, rare cars, et cetera. The opposite is true. These are investment vehicles. If you buy a Carrera GT, you're going to spend a million dollars for it, but you can also be confident that you're not going to lose money on that purchase. It's an investment.

Right. Then there's a business unit that we didn't talk about yet called Hermès Horizons. Yes, which is not a official métier, right? It is not a métier. They break it out under other products. They have four categories of other products. There's Internet of Things, which is Apple Watch. There's tanneries and precious leathers. There's metal parts, which is a J3L subsidiary that I think literally makes the clasps and stuff like that. My deployment buckle. Yes. And then there's Hermès Horizons.

This is so great. Hermès Horizons is perfectly named. What it basically says is, If you have a private jet and you want it outfitted with Hermès seats, Hey, we don't make seats. We've got the division for you. We will make you seats. Yes. There's an amazing quote from an article, probably 10, 15 years old. The person who was running this division said something like, we get a lot of clients who come in here and they want a big H on whatever it is they want us to make. And we have to have a discussion with those clients that if that's what you want, we are not the place for you.

Yes. So great. Maybe one day be Hermès Horizons customers. Maybe. We'll see. All right. Well, let's transition officially to analysis and start with power as we always do. Hamilton Helmer's seven powers. And listeners, this is the question of what enables a given business to achieve persistent differential returns or to be more profitable than their closest competitor on a sustainable basis. And the seven that Hamilton has identified are counter positioning, scale economies, switching costs, network economies, process power, branding, and cornered resource.

And the question we asked David on the LVMH episode was, for luxury brands, is there anything else other than branding power? Because the definition of branding power is if I present you two identical objects and one of them is branded and one of them is unbranded, it is literally quantified as the premium that you are willing to pay me for the brand. Now, in Hermès' case, it may not actually be branded, but you might still know it is Hermès and be willing to pay more for it.

Yeah. If you know, you know. Yes. Again, we're drawing a lot of attention to quiet luxury here. Hermès is not as quiet luxury as they once were. So I think it's safe to say it would have an H or a horse or a woven H into the fabric or something like that if presented to you here. But obviously, there's a tremendous amount of branding power. Now, on the LVMH episode, we talked a lot about, and I think this truly was maybe the most brilliant thing that Bernard Arnault did was he realized when nobody else did that there were scale economies in luxury to a group of luxury brands. There's the opposite of scale economies to an individual luxury brand. But at the group level, there is power and specifically

scale economies power that does not exist at the brand level. Clearly, none of that is happening here. Yep. Okay. I have two cases to make for non-brand powers that come into play. Oh, okay. Great. Cornered resource. Yes. Agree. They literally have all the craftsmen. Agree. Except for the ones that are opening their own independent shop, and those ones don't have brand power. An Hermès craftsman can make a wallet. An independent craftsman can make a wallet. You're going to pay a lot more for the Hermès one. In fact, you're never even going to be aware that the independent craftsman exists. If someone else wanted to go compete with Hermès, it'd be hard because they don't have the brand. They don't have the history. But also, you literally can't find any

more craftsmen. So you'd have to train them yourselves. Well, and I think even the other luxury brands out there, most of them probably do have some craftsmen. Yes. Some stuff that's done by hand, some components of some products done by hand. But nobody does what Hermès does, and Hermès does all the craftsmen. So cornered resource, for sure. Yep. The other one that is a little bit squishier, are they counterpositioned to other luxury brands by basically saying, hey, we don't have to serve as many customers as you, so we actually can handcraft each item individually?

Hmm. Louis Vuitton has no ability to switch gears and say, ooh, it's important to compete on the vector of handcrafted. Right. There are a lot of t-shirts out there. Right. They have to serve too many customers. But Hermès doesn't. Right. It's kind of flimsy counterpositioning. No. I like that, actually. It's rare to have counterpositioning at scale. As Hamilton would put it, counterpositioning is usually a takeoff phase power. Yep. I think there's an element of that. You could dissect how much of that particular element is actually part of the Hermès brand versus counterpositioning in and of itself, but I buy it.

I think at the end of the day, though, I mean, we spent however long this episode will be when it ships recounting the myth of the brand here, like brand is the power. Yep. Brand is the power. Yes. Okay. Playbook. I called David earlier this week and I said, we have a problem. There's this really good part of the LVMH episode and we're going to need to repeat it point for point on the Hermès episode. And that is why handbags are just the best freaking product to sell ever as a business.

And David planted the seed with me. Perhaps it's actually going to be a pretty different point once we really tell the whole story. And David, you are right. So the point that was made on the LVMH episode are handbags are the best product ever because they're super easy to sell versus clothing. They don't require you trying anything on or sizing. You look at it. If you like it, you buy it done. Much better than a fashion product. They're easier to create and produce than perfumes, which is another common luxury category. The profit margin is astounding for most luxury brands. The profit is between 10 and 12 times the cost to make them. At Louis Vuitton is something like 13 times. So there's this ease of creation. There's high volume,

according to annual consumer surveys that Coach does. The average American woman purchased two new handbags in 2000. And by 2004, that number was more than four. So it's this high volume product. And at Louis Vuitton's immense four floor global store in Tokyo, 40% of all sales are made in the first room, which sells only monogrammed handbags, wallets, and other leather goods. Basically, none of these are true for Hermès. The business is not high volume or not nearly as high volume as they could be. In fact, they don't even show you handbags in their stores. So certainly not in that first room. It's amazing. You know, at least in the Palo Alto Hermès, which is what I've most recently been in, you walk in and you would think this is a homewares company. Yes. There's a lot

of tableware and there's a lot of furniture. And there's clothing. There's ready to wear. And there's clothing. And there's some leather goods. There's scarves. But you would really think, wow, I'm in the most expensive Ikea ever. It's such a funny way to describe it. In terms of trying on the handbags, when you do get your moment in the sun and you have your 90-minute appointment and your glass of champagne and you have the opportunity to buy one of the two or three Birkin bags that they have in store.

You can't say no. You have already accepted. Right. And it doesn't have the benefit of saving square footage the way that, you know, I mentioned, oh, you don't need to try on handbags. There's nothing to impede your velocity. Hermès is impeding your velocity and they're taking up square footage with these private rooms for you to go and spend time in. So they don't take advantage of that benefit either. I mean, the only thing that it has in common are these goods are sold at a phenomenal margin, just like Louis Vuitton. But I sort of came around to this idea that actually we're not making any of the same points at all. They managed to sell the same exact product category totally different. And they've constructed an entirely different

business model around the same products. Yes. And I think that's really the story. Yes, there are other brands. There's Chanel. There's Gucci. There's Sicilia. I don't want to say that those luxury brands and those handbag brands are not incredible. They are. But there's Hermès and there's Louis Vuitton. And they're both connected all the way back to Empress Eugenie and France and the nobility and all of that. And it's so interesting that they have such different strategies and they are the two pinnacles.

Right. This is a good moment to bring up this idea that Hermès likes to espouse that they have no marketing department. Yes. This is a whimsical element of Hermès that I kind of love. Yes. So they make the point that everyone at the company is responsible for marketing, which is wonderful. What a great comment. But there's some truth to it. There's obviously a lot of PR and events and stuff that they do, but it's worth looking at some of the numbers. They spend 23% of their revenue on sales and marketing costs. But just a small fraction of that is actually on marketing or what they call communication. It's just four and a half percent of their revenue. And if you compare that to LVMH,

which spends over one third of their revenue on sales and marketing combined, so that's 23% for sales and marketing at Hermès compared to 33% at LVMH. I mean, that's a huge difference. When you compare apples to apples just on marketing, LVMH says they spend 12% of total sales on advertising and promotion. Hermès spends 4.5% on communication. I think that is actually apples to apples. Yeah. That's the media spend of Hermès, I believe. It's still not right, though. Oh.

It's all marketing, that 4.5% versus 12%. But remember what you pointed out to me earlier before recording, two-thirds of Hermès' communication is actually events. So if you look at the remaining third, it might be as low as 1.5% of their sales are actually spent on media buys for marketing compared to LVMH's 12%. Yeah. This is really cool. I saw a very large, splashy media buy from Hermès very recently, and I was shocked when I saw it because I didn't expect it. But then now doing all the research, understanding the strategy, it makes total sense to me. It was at the ballet here in San Francisco at SFB at the program for Mere Mortals, which was just as I talked about on the Novo Nordisk

episode we went to see at opening night. Just incredible, incredible piece, you know, allegory for Pandora's box and AI and ballet in the modern world here in San Francisco. The back of the program was a full-page Hermès ad. And I was like, whoa, I think I texted you a picture. I was like, Hermès is buying full-page marketing ads? But no, no, no. This is in the program at the ballet. This is not on the back of Vogue. There's a difference.

Right. This is in some ways event spend. Yes. It's much closer to that. They also go really hard when they're going to spend money. They don't blanket the world. They decide these concentrated ways that they want to do something really unique and special, and that's how they spend their media buys. Also their event spend. You might say like, wait, how did they spend twice as much on events as they do on media? You haven't read about Hermès events. Yeah. Even just the pure marketing events like a store launch or product launch, they'll spend a million dollars on a party. Right. Another place that they save a lot of money is that they don't do celebrity endorsements, unlike virtually every other luxury brand. And this gets back to control, control, control. Hermès is the master of its own

image. And in these other companies, celebrities do dumb stuff all the time, and it reflects on the company. You have to change your spokesperson. I mean, you look at Kanye, you have to just decide to stick with them and tough it out. Nike has done this a number of times to sort of say like, we think we're going to come out the other side and we think they're going to get through this. Hermès, no. We control our own image. No one else reflects on us. And who needs celebrity endorsers when you make your products so desirable and so expensive that the celebrities will just buy them anyway? And they want to be seen in it. So there are celebrities running around who get paid

to endorse other brands who will pay full price to wear Hermès out and about. It's part of the status is getting the ability to buy one, getting the appointment with your essay, spending the money. That's part of the status. Not only is it revenue generating and cost saving, but it's also more powerful than a paid endorsement because it's authentic. It is what the celebrity is choosing to do with their dollars. Yeah. I'm pretty sure that Grace Kelly bought her Saka Depeche.

Unbelievable. At the end of the day, the Hermès brand really has a tremendous amount of word of mouth from people who are big fans of it. And the brand is built through the lore around the products, and they just don't need to do that much media because they have a community. They have slowly organically built this, at this point, large number of people around the world that aspire to buy Hermès. And honestly, they just don't need to do that much marketing.

This is going to sound absurd on the surface, but I think it's true. That audience is incredibly diverse. That audience is lots of customers in the Middle East. Yep. That audience is 40 plus percent China. That audience is still French people with the preface de in their names, i.e. old nobility. That audience is the wealthiest people in America. That audience is Cardi B and Megan Thee Stallion. As we talked about earlier, somehow there's something about the French heritage that everyone else is willing to status-wise look up to and want to participate in.

Yep. I don't think we want to go down this rabbit hole, but there is a whole TikTok and Instagram culture of Hermès sales associate appointments and Birkin appointments and reveals and all that. And like, you know, it's huge. There are millions and millions of people that watch this. Yep. Okay. One thing that we did not talk about is how they merchandise the stores. And this is another thing that sets Hermès apart from other brands. They have a pull model versus a push model for all you software engineers out there.

Basically, they embrace this idea that every store is for the local clientele and that store managers know their clients the best. So therefore, store managers should get to pick what is in each store. And headquarters does not dictate what every store stocks, which is super different than every other brand. You open retail stores in order to just get your product out. That's the point is distribution. Whatever salespeople we hire to work at those stores, they're going to sell the same iPhones and iPads that we have everywhere else at every other store. That is not Hermès. So at Podium every year, which is this event that they have every six months where they show off all the new references, here's all the new designs for all the new products, each store manager gets a budget and

they have the freedom to buy, quote unquote, buy basically stock and get allocations of whatever they want at their store under the constraint that you can't ask for 120,000 Birken bags at your one store. I believe there's also a regulation that every store needs to carry at least one item from each métier. Oh, that's cool. I didn't realize that. I like that. But yeah, this operates like a retail buying event. It's bizarre, but awesome. Even though they're wholly owned, they get the benefit of not being wholly owned, you know?

Right. The market signals. The cool thing about a retailer that's decoupled from the manufacturer is that the retailer can kind of stock whatever cool stuff they want. You know, as long as the métiers are all producing a diverse set of references, then you actually do get this diversity of different things that are stocked at that store for that region. So it leads to this cool thing that no two stores are identical. It's kind of fun to see what this Hermès shop has versus that Hermès shop whenever you travel.

It's like a Costco treasure hunt element to it. Yes, exactly. I will tell you, I was in the Exxon Provence store and someone came in and said, I want to buy this particular item. And the store manager said, well, we don't have it. And they have a policy against anyone sort of calling ahead to know what's where. And he was asking, well, can you call the other store that I think was in Marseille or something like that and see if they have it there? And she said, no, we don't do that. You can go there and you can find out. And I think this person was trying to like buy something and flip it. And so they were sort of

on to that. He was also trying to take pictures of things in the store. And they said, you can't do that, sir. Like you can't take photos of what we have in stock because they don't want people standing up websites to say, tip, go buy this here because you can flip it online for that much. I love it. They have pretty tight controls around that. I love it. Luxury strategy, anti-love marketing number six, dominate the client. Dominate the client. Yep.

Their e-commerce strategy is just pretty funny. It's not like you can go online and buy a Birkin Bag, but there's not even a product detail page with like a sold out button. There's just this educational page about what Birkin Bags are all about and how neat the designs are and what the category is. But there's no buy button. It's also for a different audience. Interestingly, 70% of buyers online for all the stuff that you can buy online were new to Hermès. So that's a great strategy for them for e-commerce. You say, look, the special things are the special things, but for people who we want to come experience the brand for the first time, great. We've got a website for you. And I think you can sort of tell that internally they're torn since that's not the

full Hermès experience. Like you don't get the experiential part of being in the store, but they also do a lot of volume through it and it's a way to reach a new audience and it's kind of an expectation at this point. This is a really uniquely Hermès thing and is related to their airport strategy too. Oh yeah. And I experienced this too. When I went to Palo Alto, I just walked into the store. I was pretty intimidated as a first time buyer and you don't have a, an essay, a sales associate relationship. It can feel very intimidating. Like, especially knowing what I know about the company and the brand, you know, the weight of history, like walking into this store,

it's not like walking into an Ikea. You know, this is very intentional, the e-commerce strategy. And then the airport strategy is, Hey, nobody feels intimidated in an airport. Obviously you don't have to have an appointment to walk into the airport Hermès store. It's a way to get first time buyers into the fold, establish the relationship with them, get them more comfortable in this buying experience, which is wholly unique to Hermès. Yep. In some ways it seems wholly un-Hermès, but in other ways, kind of like the Apple watch thing that they do or the perfume, they are looking for ways to be more approachable. Right.

Another one worth mentioning is employee turnover. So the employees, especially the craftsmen, basically stay forever. As we've been saying, there's really no other game in town. And if Hermès wasn't there, these people probably wouldn't have been trained to be craftsmen in the first place. So what does that look like numerically? There is 6% annual turnover and only 4.5% leave of their own desire. 4.5% of their entire workforce every year leaves of their own desire. So that translates to a longer than 20 year average tenure. This is like Costco level employment retention. It's funny you say that. So Costco is 7% a year, but Costco cheats a little bit and that the stat is after the first year. Whereas Hermès' attrition of 6% includes the first

year. Wow. Yeah. So just compare this with all industries in the US. That's a 3.4% monthly turnover. So in the United States, across all industries, and thanks to Jeremy Diamond and the Slack for pointing this out, one third of the entire workforce churns on average every year. So when you're trying to figure out, geez, is 6% good? 6% is unbelievable because the benchmark is 33%. Especially in the context of, think about the two areas that are the bulk of Hermès' employees.

It's craftspeople and sales associates. Which, if you are to use different language, is manufacturing and retail, which are super high churn categories. Right. That's the point I'm making. I mean, even software developers churn at 15% to 20% per year, and that's just the voluntary numbers. This is much better than software engineers who get paid hundreds of thousands of dollars to have a very cushy job. So finally, let's go real apples to apples. Let's compare this to LVMH.

Well, LVMH's total turnover in 2022 was 24% versus Hermès' 6%. So Hermès may be obsessed with this whole savoir-faire and transmission of craft in their annual report, but it is totally real. I mean, the entire thing works because of the knowledge and craft of their people. I mean, they have incredible YouTube videos and documentaries. They put out, like you referenced, and you go see these people, and you really get to feel like factories. They're not factories.

These ateliers are something truly unique. Yeah. And they're only getting more obsessed with control. I mean, controlling everything end-to-end. Hermès used to have 56% of retail locations that were company-owned. This is back in 2003, so 20 years ago. A little over half were company-owned. That's now 74%. So they're getting rid of what they refer to as the concessionaires, which are essentially franchise stores, and closing them in favor of the wholly-owned businesses. So this is, again, they're just trying to figure out how do we control more of our production of our everything soup to nuts? They describe this strategy as having three pillars. This is like three pillars for their entire business. This is like V-strategy at the top of the annual report. Creation, craftsmanship, and an exclusive

distribution network. And that's probably the way to sum up Hermès. All right. So to close playbook, I just have one more, which is really this idea of what is the job to be done by Hermès? And I had this great conversation with Derek Guy. He's sort of colloquially known on Twitter as the menswear guy. DyeWorkWear is his handle. And he has some amazing threads. They're very worth reading about if you're interested in ironing pants or why suits don't fit the way they used to. But he pointed out this really interesting thing to me, which is the value propositions of Hermès are essentially a bundle. And that bundle is exclusivity, service, craftsmanship, shopping experience, and a great brand. And you basically can't get that bundle anywhere else.

That doesn't have competitors. Yeah. You can get individual elements of that bundle elsewhere. Absolutely. But by nature, given what this is and the luxury industry, you can't assemble this experience, the Hermès experience, out of separate components. And it used to exist in sort of a pre-war, early 20th century era, you could. But Hermès was the only one that sort of chose to keep doing things the old way and scale. And everyone else kind of went out of business or changed their methodology to scale. So for example, Louis Vuitton has the branding, they have exclusivity, but the craftsmanship isn't there. They don't make things in that early 20th century way. Supreme can offer you exclusivity and brand, but again, there's no real craftsmanship

there. And then you've got all these individual artisans, you know, a craftsperson in a little workshop somewhere in Paris making the highest quality, you know, Hermès quality things. But there's no brand. Would you buy that? Would you pay even half the price for that? I think a lot of people who are buying Hermès are buying it because it's Hermès and they want the brand. Right. And, you know, there's other things that are missing from that too. There's no shopping experience.

Service is unknown because you don't know how long that maker is going to be around. You know, for a fact that 50 years from now, you can get your Hermès thing serviced. So there's some great makers like Chester Mox or April in Paris, or I heard great things about Mila Gito. These are like exceptional craftsmen hand-making items in the same way, but it's a different bundle of value propositions. Yeah. Completely different product. To me, what sums up the analysis is that the magic of what Hermès has done is managed to scale the old way with the complete bundle.

Yeah. Totally agree. Nothing more to add. Thanks, Charlie. All right. Should we do value creation, value capture, and then we've got a new way to wrap up episodes here? Yes. Well, this section was originally created by us five years ago or something to basically assess of the value created in the world, how much does the company actually capture of it? So canonically, Craigslist creates a ton of value. Wikipedia creates a ton of value. Captures very little of it. But you look at, on the other hand, Google, they create a lot of value.

You can find stuff on the internet. They're pretty damn good at capturing it. They've built a huge business on that. So there, I think, is a reasonable indictment to make that many of you will want to make on all of luxury and say it's just excess. They don't actually create value in the world. And then they capture a tremendous amount of value because they just have a brand that allows people to social signal and all luxury is excess. And that's a reasonable viewpoint. However, I think there's an interesting way to look at Hermès in particular, which is if what you desire is the highest quality craft, they offer at an extreme price, a guarantee to be able to get that super

high quality craft. And that's different than every other luxury brand that is no longer about craftsmanship, but it's kind of about hype and logos. Brand. Yeah. What's about brand and fashion? Yes. So I would say Hermès has figured out that there actually is a pretty big niche for craftsmanship or at least people who desire the brand of craftsmanship and they're exceptional at value capture around that. Well, it's interesting. Yes. But the secondary market is this very direct, if you're talking purely about economic value creation, value capture, very direct data point that like, no, they are leaving a lot of surplus on the table for their consumers.

Yep. Another element to value creation, value capture is what they're doing good for the world period, regardless of what they're able to capture. Anybody who's doing things with exotic leathers, you may have a problem with. Farmed crocodiles in mass quantities in order to create the Himalaya print Birkin bags. There was actually a brief period where Jane Birkin boycotted Hermès' bags and asked them to take her name off of them. Do you know how that got solved? Like, why is she cool with it now?

I could be wrong, but I believe this is when Hermès took the crocodile farming in-house and improved a lot of the animal welfare standards. So for everyone who's like, you know, it's absolutely cruel to do this to crocodiles to make handbags. Hermès doesn't really have like a counterpoint. They don't have like a, well, they lived good lives. That's not a part of their defense. Their defense is purely around sustainable farming, which is, hey, these are endangered species in many scenarios with these exotic leathers. And so what we do is for the ones that we farm, we also release a bunch into the wild to try to replenish the population, even though we're not actually taking away from the population in the wild because we're not hunting them. We are trying to sort of almost in like an

eye for an eye way, say, look, we're creating a bunch of crocodiles. And so we're releasing a bunch of them into nature also. And I don't know, it sits medium with me. Yeah. It's not a great response. Right. Similarly, you see piles and piles and piles of cow hides for leather production. And the response is, well, look, these were beef cows. And so we're basically doing a good thing by making sure that we use the whole animal since we were going to use it anyway for sustenance somewhere else in humanity. To me, that is a better argument than we farmed the crocodiles for the skins.

It's funny, actually, doing the Novo Nordisk episode gave me a new perspective on this with animal products. And obviously, insulin doesn't come from animals anymore. It's genetically engineered, but a lot of pigs and cows went into producing insulin for many, many, many decades. That's a new perspective to look at things because people would have died otherwise. Yep. Now, is that what's happening here with Hermès? Absolutely not. Right. I mean, other brands, Chanel, Karl Lagerfeld, Mulberry, a bunch of them are banning exotic leathers in their products. So I think Hermès has played around with mushroom leather, but do I think Hermès is going to go all vegan anytime soon? Absolutely not. It's just not happening. The last thing that you can definitely be mad about if you are into animal welfare is the

fact that Hermès cares so deeply about their brand that they burn imperfect products so they never see the light of day. That's a bummer. I understand Hermès' position of not wanting these bags to get out there and have their brand on it. And people realize like, oh, some Birkin bags look kind of crappy. But if you're destroying product that could otherwise have utility, especially when it's made from animals, bummer. Agreed. So they spend a lot of time in their annual report talking about how much more they're getting efficient in their manufacturing processes, how the rates of this are going down. They don't specifically call out burning bags, but how they're able to use more and more of the raw material and

have everything that goes in the top of the funnel kind of get used in products all the way at the bottom of the funnel. So the company's taken a lot of heat for it over the years, and it's something that they spend a lot of time working on. Yep. All right. David, I think that brings us to the question, which is, what is your big takeaway from this episode? What is something, it's like a big idea you're obsessed with after spending all this time with Hermès?

We've kind of been struggling for a while with how do we end these episodes? These like books that we write now. Right. We're not going to grade them the way that we used to grade. Right. That doesn't make sense. That was always kind of hokey anyway. And we've done bear case and bull case. And like, again, are we going to do that better than an equity research analyst? Like, I don't know. Well, and importantly, bear case, bull case has to take into account what are people's current expectations. So you sort of have to dissect the stock price.

Right. Which isn't really the point of acquired. Right. And we figure by the time you get to this point of the episode, you kind of already have a bear case and a bull case in your head. It's not like we're going to sit here and paint. Well, if people keep being excited about luxury goods. Here's an incredible new insight that'll change your perspective on the stock. Like, no. Right. So, you know, we've been casting about for honestly a while here of like, how do we land the plane on these episodes? And so what we're trying here for the first time, and let us know what you think if you like it. In a very Hermès-like way, we dedicate really a month

plus of our life to each of these episodes. Like, this is all we're doing for certainly the last four weeks. Every day we've been getting up, we've been studying this company, we've been writing, you know. It's sort of insane. It's craft. We joke, but it's craft. And really, like you said, Ben, this episode started a year ago when we did the LVMH episode, and it's been percolating and percolating and percolating. And the last four weeks, it's been every waking moment for us. And so I think a fun way to try to end the episode is when we wake up in the middle of the night and Hermès is on our mind, what are the aspects of Hermès and why? And it ends up being personal for us. Like, what resonates for us from having

told this story and done this work? And what resonates for Acquired, honestly? And for me, we've touched on this a little bit throughout the episode, kind of with the whimsy and the dream element of Hermès. But there's something also to this company that I think is deeply interconnected with the fact that it's on the sixth generation of the family. You ask yourself, how is that possible? How six generations later is this company stronger than ever and the family members are more committed than ever to running it? And I think it's because they have fun.

And like, again, this comes through in the whimsy. This comes through in the annual reports. This comes through when you watch the interviews with Excel and Pierre-Alexis. And when you read the articles and hear people talk like Beatrice about Jean-Louis, they are really having fun doing what they're doing. It's an amazing culture. And it's kind of hard to have in a environment where you are also, I think, the 47th largest market cap company in the world. I think about other companies, like, it's about winning, right? You think about a professional sports team, or like, I think my mind goes to like the New England Patriots, you know, or like, honestly, it goes to like Benchmark and Sequoia, like the best venture capital firms out there. These are organizations that are 100%

dedicated to winning. And it's not that Hermès isn't dedicated to winning, but they're kind of even more so dedicated to like having fun and enjoying themselves. Yeah, there's a fun and they're staying true to their identity. And both of those things are more important than winning some numerical game. Right. So for me, that's the splinter in my mind over the last set of months with Hermès is honestly, it's what Acquired is for me and for us. Hermès could go out tomorrow and they could follow the consultants. They could borrow a page from the LVMH playbook and they could vastly increase their sales and profitability overnight. And if they were solely focused on winning, that might be what they do, but they are never going to do that. But if they do that, it's still only a short term right thing to do.

Right. So I think it's kind of tied into this short term, long term perspective thing. The reason I say it's fun is the family wants to keep doing this. And so if it weren't fun, they would probably maximize value and they would hit the short term bid and they would sell to Bernard, but they don't. Yep. I love that. The splinter in my mind is that you can sell what on the face of it seems like the same type of products as someone else, but build two entirely different businesses. And Louis Vuitton and Hermès on the face of it do the same thing. And as soon as you start digging in, you realize that these companies could not be more different. And all of the puzzle pieces that fit together to create

Hermès is an entirely different puzzle than the pieces that fit together to create Louis Vuitton. It's a great reminder that just because you are in the same product category as someone else, you don't have to build a similar business and you might not even be competing with them. There's a large number of people for whom Louis Vuitton and Hermès are not actually in a consideration set together ever. And I think that's fascinating. Right. These are mutually exclusive brands for a lot of people.

Yeah. Certainly not all, but a lot of people. I was thinking about that too, a little bit in the context of oftentimes in a market, the best way to compete with your best competitor is to do the exact opposite of them. You know, it's not to compete with them. Or at least be open to a, we don't have to do anything alike. Open to that idea. Right. This is Android and iOS. Right. Well, all right. That's our landing of the Hermès plane. Let us know what you think.

I just love doing this one. This was one of the most enjoyable experiences for me. I mean, all of our episodes are, but like, I just really loved this one. Well, sometimes we get to learn about an industry that's interesting to know things about, like healthcare or something we're a fan of, like the NFL episode. But sometimes we do an episode like Hermès and it really teaches us how to run our own business. Again, acquired is not luxury, but we do create a product that has real scarcity, both on the listener front, because we only have an episode a month and on the sponsor front, because we only have three sponsors a season.

There is so much to learn studying the purity of Hermès when you run a business that's predicated on scarcity. Yes. So this one was extra indulgent for you and I. Yes. Yes. Total. Okay. Carvettes. Let's do it. What you got? I have three. Ooh, fun. And none of them are a Vision Pro, even though the Vision Pro is sitting next to me on my desk. And the reason is not because I can't recommend it, but because this is acquired and we can't possibly do anything that's too current. I need more time to evaluate.

The Hermès of Podcasts, indeed. Okay. First one, the Anker Prime Charger. I'll give you the model number because Anker products are impossible to figure out what's what. This is the A2343 model. It is a 100-watt charger that has two USB-C ports and one USB-A port. And it is tiny. It's lightweight. It's dense. You'll pick it up and be like, oh my God, this is really heavy. But it's lightweight compared to large bricks. And here's the important thing. In those diagonal airline charging seats, you can plug it in and it doesn't fall out. And so it's 100 watts. You can super fast charge phone, laptop, whatever. There's two ports, two USB-C ports and one USB-A, and it works on airlines. So it's the only thing that I

travel with now. And it's the new Gallium Nitride GAN charging technology, which I think is totally game changing. Nice. I've got a 60-watt Anker that, you know, kind of same concept. And yeah, totally. Only thing I travel with. Is it Gallium Nitride? No, no, no. It's a few years old. Okay. Yeah. I don't understand why nobody's talking about it because it feels like it completely revolutionized chargers. It makes everything 50% the size, even though it has super high power delivery.

I might need to upgrade my travel setup. Maybe I need an Hermès leather case for it. Might need to do it. All right. We'll link it in the show notes. Two more are apps or websites or web services. I don't know what we're supposed to call them these days. The first one is an app called Matter, which I have replaced for years. I used Instapaper and it was great, but it just hasn't been touched in forever. And Matter is Instapaper, but better. It is also an amazing way to listen to things that you save in a very realistic voice. So long-time listeners know I don't absorb stuff very well by reading. I absorb it really well by listening. And so much of the research-

So you're talking about text to speech, not like saving podcast episodes. Correct. You can save podcast episodes, but you can forward an email newsletter and have that read it to you. You can use the bookmarklet on a website, have it read it to you. So it sort of bundles in text to speech and podcasts and email newsletters and read it later type services into one app. I mean, I did half the research for this by taking long things to read, including PDFs. It has an ability to parse PDFs now and listening while running, or my son was asleep in a carrier and I'm walking around the house or I'm in a dark room somewhere. I'm on the treadmill in the garage.

So I really like Matter. The team behind it is awesome. They actually were kind enough to reach out and have David and I collaborate with them on a couple of guest blog posts for their Words That Matter series of some of our favorite readings and writings of all time. The team was great, which was my entree into it, but the product has exceeded expectations. Okay. I haven't actually tried the app yet. I love those guys. Now I got to try the app.

It's awesome. My third one is another thing that dramatically has helped my research, which is perplexity AI. Oh yeah. If I could stop using Google, I would because perplexity is better for everything that I used to Google, period. Oh wow. Okay. All right. We got to have perplexity on ACQ too or something like more to come on this. It's all the good things about chat GPT and all the good things about Google and none of the bad things of either. It's reliable. It links to sources. It has good UI. I trust it because I've fact-checked it so many times and it just keeps being right. It makes it easy to fact-check.

Accessing information is one of these things that if it's 97% good, it's bad. So it needs to be always good. Honestly, this is why I don't use chat GPT for acquired work. I feel like we need to be 100% all the time. Here's the best use case for perplexity. The other day I couldn't find something on Google and I went over to perplexity and I asked it the question and it said, the answer to this is unknown on the internet. And I was like, that is amazing. You just gave me confidence.

Oh, getting that answer. Otherwise you're going to spend half an hour on Google trying to find it. Yes. Oh, that's amazing. Yeah. So it was both time-saving and confidence-inducing. I love it. Okay. I've heard from so many people about perplexity. I got to give it a go on next episode research. It's phenomenal. I'm so disappointed in myself, but also it's just the reality of my life right now. I've become like the middle of the bell curve technology adopter. I used to be the bleeding edge, early adopter. It was just, man, getting old is hard. Joanna Stern had a great quote about this, the Wall Street Journal, when she was interviewed by Ben Thompson recently. She said like, man, I wish I had the access that I have now when I was younger. I would be on stop,

be pulling all-nighters. I'd be using it to its full degree. And I don't have the energy now. Like I got kids, like, and I'm like, man, I feel that. That's the paradox. You often do your best work when you get older, even though you have less time because you're wiser, your information's better. Your access, everything. Yeah. You've gotten better at your craft and you can never have both, but you live your life anyway. You'll make it through.

So what's the Dune quote? Life is not a problem to solve, but a reality to experience. Ooh, yeah. I think that is it. There you go. Okay. My carve out. We are recording this. By the time the episode comes out, the Super Bowl will have been played and won by somebody, but man, I am fired up. Go Niners, San Francisco 49ers, Brock Purdy. Hell yeah. I'm channeling my inner JTO Sullivan and QB School YouTube channel here. I'm so excited. Brock's story is amazing. So I was trying to think, okay, I can't have like the Niners and the Super Bowl be my carve out.

Especially if this airs after they lose. Are we leaving it in? Right. Especially if they lose, right? Like, but what I can have as my carve out and is perfect for acquired. Years ago, I read Bill Walsh's book. Bill Walsh was the legendary coach of the 49ers during the Joe Montana, Steve Young era. He invented the West Coast offense and he wrote this book called The Score Takes Care of Itself. And it's so good. It's just like a great leadership book, but you know, the title says it all. It's related to Hermès. It's related to acquired. It's, you know, the splinter in the mind, everything we've been talking about.

It includes some ideas like scripting. This is now so commonplace in the NFL and football everywhere, but everybody scripts out your first set of, you know, five, 10, 20 plays, et cetera. Bill Walsh invented that. And like, we do the same thing on acquired. We have scripts. Like I have a script, you know, you have a script. And obviously the episode doesn't follow the script any more than an NFL game. But you need a way to start that's predictable or at least something you've thought through. Right. Obviously Bill Walsh didn't invent that idea writ large, but he invented it for the NFL. There's also some really good stuff in there about when to persist with doing something different and continue to do it versus stop doing it. And like, what are the right reasons to do it?

Like, especially in the early days when it's working or not working, like I'm thinking about, you know, launching the Birkin and all that. Anyway, it's a great book. Bill Walsh was a legendary figure and yeah, go Niners. Hell yeah. There you go. Wishing you the best of luck and listeners, you know what already happened. Well, either way I'm celebrating because either the Niners won or we're going to see a lot of Taylor Swift and Travis Kelsey. So I'm thrilled.

I tweeted this that Taylor plus the NFL is literally the perfect bundle because they've both fully saturated their markets. That Taylor is America's musical cultural icon of this moment. There's no one who could be a Taylor super fan that's not already a Taylor super fan. And the NFL similarly has had close to a hundred year history and it is the fullest realization of itself already. The NFL is America's sport. And so they've already got all the super fans they're going to get. And so by bundling together, this is so awful.

Oh no, this is the ultimate collab. Yes. They can address each other's sort of casual fans who wouldn't have tuned in specifically for one or the other. Taylor is a hundred percent thing. I'm not saying she's dating Travis because of this, but Taylor is one of the smartest CEOs in the world writ large period bar none. And like, of course she's thinking about this. Yep. What's the phrase that Shashir Maroto used? The marginal churn contribution. There are people who will not turn off the Superbowl who otherwise would have because there might be another Taylor viewing.

Jenny has negative interest in football, but she's telling me about like what Taylor is wearing whether she's going to be able to make it back from Japan from the Superbowl. We'll see. All right, listeners, we have a bunch of thank yous. A huge thank you to Domenico Desole, the former CEO of Gucci and the co-founder of Tom Ford with Tom Ford. Domenico, your conversation was just invaluable in preparing for this episode. And obviously, yes, a legend. Adam Pritzker, good friend of the show, is the co-founder of Assembled Brands and the company Kate, which is in the fashion and luxury space. And Adam is super kind and a huge contributor to this episode, just like he was to LVMH. To Derek Guy, who is at DyeWorkwear on Twitter for teaching me about

saddle stitching and what makes Hermès special and a bunch of the other brands that we mentioned that do boutique leather goods. And for putting April in Paris on my radar. That was very helpful. Reginald Jérôme Demand, or RJ, which is sort of a funny pen name. He wrote a book called Swan Songs, Souvenirs of Paris Elegance. He's obsessed, for lack of a better phrase, with Parisian luxury and the history of it. And so it was really educational to talk with him about this and fact check a lot of my Hermès history. And finally, there is a lot written about the company. I do think the best way to understand Hermès is just to go right to the source. Their 586 page annual report,

they just lay out the whole strategy. So if you're curious about the company, that's an amazing place to look. It's funny, you know, we did not talk to anyone at the company. We usually never do when we're making an episode. It's just kind of awkward. Yeah. We usually talk to them afterwards, but not during. In this case, we didn't need to. It gets right there. They wrote down everything. Yep. And David, I know you had a couple of cool conversations.

Yeah. Well, speaking of April in Paris, Beatrice Amblard here in San Francisco, so fun to talk to an actual former Hermès artisan. There's personal stories of Jean-Louis and the family. They really gave me a sense of just how special the family is. They are the company is and the work that they do. And then I also have to thank Lauren Sherman. Lauren is, I think, pretty much bar none, the very best business of fashion and business of luxury reporter out there.

She was at the business of fashion for a long time. She's now at Puck. She's Puck's fashion correspondent. She launched the fashion vertical for Puck. Lauren is awesome. I chatted with her for a long time. She gave me a lot of great perspective on Hermès within the industry. Really, there are a few journalists out there. You know, I'm thinking of like Brad Stone and Emily Chang at Bloomberg and Kara Swisher, obviously, but they're incredible journalists and they really, really understand the business and the industry that they're covering. And Lauren is one of those. And it was super great to get to chat with her.

Yeah. Well, you can sign up for notifications on when new episodes drop at acquired.fm slash email. You can also get little tidbits at what next episode will be and play the guessing game with the rest of the community at acquired.fm slash slack. We'll also be including listener corrections in acquired.fm slash email. Subscribe to ACQ2 and any podcast player. We've got some great ones coming. And after you finish this episode, come get some of that sweet acquired merch that everyone is talking about at acquired.fm slash store.

Acquired Hermès collab coming soon. One day. We'll see you next time. We'll see you next time. Who got the truth? Is it you? Is it you? Is it you? Who got the truth now?