Welcome to the Gilt Trips podcast. I'm your host, Kendra Lockhart. As a goldsmith and
gemologist, I'll be speaking 24 carat on all things jewelry, metals, and gems. Join
me plus a few friends to demystify both materials and designs as your private jeweler. Let's
tune in on these topics and get golden. When I think of underdog companies in jewelry that
would cross markets and gain coveted collaborations, only one name comes to mind. Chrome Hearts.
Founded in California in 1988 by three men with backgrounds in leather and silversmithing,
their company would grow from a garage-based startup into a globally recognized lifestyle
brand. It's easy to be superficial with Chrome Hearts and write off their depth. It's just
a biker look, right? If so, then there's an existing culture and
warm audience. Plus, recognizable images and familiar motifs. And Sterling is an achievable
price point, not elite by any means. Or is there more to their expansion and standing
out if these things seem so common? Was this brand's rise predictable? Is this
genre original or uniquely reintroduced? Did growth happen organically or by some formula?
Other timestamps are in the show notes. So what is an audit? Well, let's begin here
and why it could potentially matter. Most jewelry companies don't start with this.
I didn't. And neither did Cartier, Tiffany's, and Harry Winston. But Chrome Hearts had something
in their favor. And I'll share that after I explain what an audit is and why having
one sooner than later can focus and crystallize a direction and intention. It's important
to address lifestyle and distinguish that as part of this because it shows the capturing
of the values, interests, attitudes, so that you would want service, product, and stories
to be congruent. Most designs don't have this in mind when they begin. Chrome Hearts
seem to have accidentally understood this. An audit can take many forms. Checking strengths,
weaknesses, threats, and opportunities is a standard formula. Or it can be a little
more creative and go through its reach, such as values, mission, competition analysis,
and market performance. Today, I'm going to be a bit more forensic in the sense of rewinding
the tapes and unwinding the pattern of highlights in the timeline of Chrome Hearts.
The Birth Origin
Formed in 1988 in Hollywood, we start with the trifecta of a leather broker who had access
to fine and finer materials, a leather manufacturer who can create and produce insid materials,
and a jeweler who specialized in sterling, the maker who could enhance the grommets,
slippers, and flourishes on primarily leather goods, but also execute a side series of accessories
in sterling. What started as creating for just friends and family would soon summon
the product placement opportunity in just one year. These founders, Richard Stark, who
had been working as the leather dealer, his friend John Bowman, who was the leather manufacturer,
were a killer combo. Richard was deep into the motorcycle world. They chose to combine
forces and make upgraded biker jackets that went beyond the standard issue, so they elevated
the basics. Richard was already into the motorcycle culture, so in theory he had a potential clientele
and a possible warm audience. They would welcome in Leonard Kemet, who would specialize in
silver alloys. Remember, there was no company name yet. They were simply taking commissions
and doing custom work. In 1989, they were approached to make wardrobe pieces, also called costume
design, for a low budget comedy horror whose working film name was Chrome Hearts. Since
the movie would get renamed, that moniker was available. One of the actresses was dating
punk rocker Steve Jones of the Sex Pistols. Doors would open because he wore his commissions
on stage, and that began a following. When Steve wore Chrome Hearts on stage during his
performances, it crossed the genres from biker into rocker. Yet both are congruent with a
raw, rebellious spirit and merging the tough exterior with smooth execution. Early fans
created a subculture for this brand, and they were Lenny Kravitz, Motley Crue, and Guns
and Roses. All three musical acts fed into the glam metal look that was happening in
the 80s, which was about to go grunge in the 90s. Timing was a key component, so let's
look at what was happening in our world. A strong aesthetic? Borrowing from a local movement,
but contrasting nation-wide history, the 1970s, especially Los Angeles, were making
waves with punk rock. Yet by the 80s, their preppy look eclipsed the leftovers from a
hippie aesthetic and the disco era. But not long after Chrome Hearts established itself,
music was colliding with fashion. The quote-unquote Seattle sound, meaning the niche of darker
but distorted songs from bands like Nirvana, Soundgarden, or Allison Chains musical acts,
were getting its legs. It borrowed from punk, and it contrasted clean. Sounds a lot like
a biker culture. So, locally, since Los Angeles was dead south of the Pacific Northwest, and
tunes could capture the bass of the 70s, and exit of the 80s, and entrance of the 90s,
with the edge of malaise and questioning what the direction was, it all seemed kind
of perfect for the inception of Chrome Hearts. Everything seemed to be crawling forward into
the unknown, and it was a perfect pairing of what we understood, and also into the new.
Strong Design The word Gothic refers to medieval times in
Europe. Realism, which is earthly representations, versus imagined, or enhanced, or fantasized
imagery, often drew from themes of nature, religion, darkness, and strong symbolism.
As for the font, it was heavily flourished and a bit ornate, which became a key element
in the source material and wide had contemporary appeal for this brand. In modern Gothic statements,
Sterling is more lunar, and associated with nighttime and the mystery that it held. Motifs
of Egyptian totems or oaks, crosses, hearts and daggers, which simultaneously represented
death and rebirth if you're a fan of Mother Mary or Saint Therese, and being pierced by
a supernatural experience. Skulls were for momentum ori, and floor-de-lie, a royal icon,
the power of the Holy Family, or the Trinity, and palogenesis, which is fancy for birth,
death, and rebirth cycles.
So now let's get back to Chrome Hearts and the 1990s.
British versus mainstream decade, Chrome Hearts had established their vibe, it had also found
their tribe. Lastly, it knew its truth and commitment, materials, quality, identity,
and little did they know, they would begin their chapter of quote-unquote world building.
Having captured two genres and a few potent celebrities who would be accidental influencers,
as there was no contract or quid pro quo back then, the next big step would be an awards
show, a creative director, distribution, and a dissolution. In 1992, the CFDA, Council of
Fashion Designers of America, reached out to inform Chrome Hearts that they had accomplished
the Accessories of the Year award. Small problem, Richard did not see himself as an accessories
company, and he thought the call was a hoax. It was in fact real, and would give Chrome
Hearts a visibility they could not have predicted. When asked to pick a celebrity to present
their award, they secretly chose Cher, who by now was a devoted patron. Richard said,
if you don't trust my choice, figure out plan B by yourselves. The CFDA would create new
eyes and new credibility for the trio. The 90s also gave them Lori Lynn, a future co-owner.
She ran into Richard, and soon after, the fusion of her art direction and his production
would help birth their collaboration. But more importantly, she would eventually provide
marketing, photography, ready wear vs commission, and print work in the form of the Chrome
Hearts magazine. Aside from the professional infusion of her expertise, she would fall
in love with Mary Richard. This would play into the Chrome Hearts Longevity game.
Chrome Hearts was doing well with the experiment of local outlet and retail boutique, Maxfield.
Richard had brought a biker jacket and chaps over, and the owner Tommy Purse chose to test
it out. Now, Chrome Hearts has their clientele, which included famous people and their stylists,
as well as anchoring a storefront for the brand. Distribution.
So here they are, cooking along, winning an award that helps other designers notice them,
a talent extraordinaire to accelerate their product, posh and desirable reseller that
would help gain access to getting carried in Bergdorf Goodmans and be seen in Vogue campaigns.
The year 1994 would signal the split. As Richard had been the lifeline, heart, and soul of
Chrome Hearts, he simply bought out as partners, at a time when they were primed to go from
cult to commercial status. Yet, this would begin the second act of Chrome Hearts.
Positioning. Perhaps the smartest thing they did is create, not react. Richard said he
did not care about trends one bit. Even today, if you visit their URL, there is no about
page on their site. No conspicuous prices, and even their Instagram is more of a visual
storyboard than a straight up sales tool. Post-buyout, Maxfield helped the brand open
its first boutique across the street from their original reseller, which is a huge move.
In 1996, they would have a showroom in New York City, and in 1999, they would have a
door in Tokyo. As a company that did not do seasonal designing or collections making,
this was a big move. Their signature elements were strong enough to draw commissions and
custom work, but also capture external fashion luminaries like Ray Kawakubo. Chrome Hearts
seemed to be elevating by being irreverent and reversing the playbook.
The 2000s would mark some significant collaborations. Let's begin with the familiar. Already embedded
in celebrity and music scenes, the internationally known band, The Rolling Stones, would create
a collaboration for tour gear with Chrome Hearts in 2002. Two years later, Yves Saint Laurent,
a fashion brand in France, would join forces to produce a t-shirt collection. In 2007,
Ray Kawakubo, who had founded Comde Garçon, a Japanese-French company whose founder was
in both Tokyo and Paris, would then partner. 2010 would bring California fashion visionary
Rick Owens, 2014 would be Londoner Carson McCall, and by 2015, America's Virgil Abloh,
an architect turned fashion designer, would be next. Now, Chrome Hearts would have fingerprints
externally in streetwear, dark fashion, and home goods.
It's time to name check the elite aficionados and the companies that cemented their rise
from local to global over the years. By now, Chrome Hearts had begun the acquisition of
three blocks of Hollywood floor space for furniture creation, jewelry studios, and an operating
base, which meant made in USA with nearly 100% vertical integration. Most importantly,
this was done without the typical, quote unquote, client journey from marketing or the short
trend cycles in the clothing world. And they were a pretty unlikely choice as far as being
suited for the fashion paradigm. They had no primary e-commerce, they had no about tab
on their URL, and yet, I'd begun to establish why they became a crossover brand. So here
is the roll call of celebrity clients and the companies for collaborations. From the
music industry, we have all walks and multi gens and genres. Cher, Elton John, Stephen
Tyler, Lou Reed, Lenny Kravitz, Sex Pistols, Motley Crue, Guns N' Roses, Madonna, Kanye
West, The Weeknd, Britney Spears, Lady Gaga, Cardi B, Drake, and Billie Eilish. Ages range
from 78 to 22 at this time. From the acting and print work realm, Nicholas Cage, Claudia
Schiffer, Pamela Anderson, Matt LeBlanc, Kendall Jenner, Bella Hadid, ages 60 to 27 at this
time. Athletes would include Dennis Rodman, Caleb Williams, and Empire Builders would
be Martha Stewart, Damien Hurst, Kylie Jenner, and Carl Lagerfield. With that last one, peer
praise had been achieved. Chanel would go on to create only 10 handbags with Krumhardt's
hardware. Let's not forget this German fashionista, creative director, who had a love for lace
and feminine detailing would show up unannounced multiple times, declaring Krumhardt's quote
the only real brand unquote, and proclaiming heirloom status over both leather and sterling.
Regarding companies, here are a few names that you might have heard. Rolls Royce, Chanel,
Bakara, even Rolex. If you want to hear more about that brand, see the previous episode.
Passing the torch. Let's discuss the next generation. Oldest daughter, current vice
president, creative of the company, Jesse Joe Stark said quote, a baby could wear it. My
grandma could wear it. Travis Scott could wear it unquote. The last name is a rapper
and producer who is aged 30 at this time. Jesse Joe and her twin siblings, Christian
and Frankie Bell, have their own brands. Yet the crossover of community and influence is
to be noted. Frankie's ex, who runs Maddie Boy, came into the family company, collaborated,
then shot off. But yet is a creative director for Krumhardt's. Christian runs Thrilltrip
and his twin sister began a swimwear company called Dipped in Blue. Remember that CFDA call
in 1992 that Krumhardts had won accessories of the year? By 2022, they would add lifetime
achievement from the same organization. So what are the top five things that Krumhardts
did right and still does? I'm so glad you asked. Number one, the be so good they can't
ignore you idea. When Richard Stark finally got face to face time with share back in the
90s, he tried to sell her a custom guitar strap for $5,000. Hermes bags weren't even
that pricey. But after her initial scoff, she said it was a work of art made with rebellious
traditionalism and conviction to high aesthetic, high production and therefore high price.
Two, underproduced like luxury brands do. Their signature pillars, leather and silver,
are appointment based meetings in authorized dealerships or showrooms. Even an entry level
ring means an order is taken, weeks will be used to produce, and then you can come and
collect your pseudo commission. Like a suit at a Taylor's. This is not the ready wear
or fast fashion mindset. Three, when there's a fallout, pivot to a buyout. If you are the
heart and soul of a business, and the team that got you from A to B will drag you back
or prohibit B to C, reclaim the vision and be okay with the gap until you can go it alone
or find others at new heights. Four, have a design language that can go hard into lifestyle,
home goods, famous partnerships and more without losing following or direction because it doesn't
compromise, waiver or fail to find conviction in your aesthetic. Five, get on the radar
of your least likely face, fan, critic or competition. Karl Lagerfeld is hardly a biker
slash rocker, spokesperson. But when that German born lace wearing director Chanel says
your quote unquote legend, the value and vision you produce goes beyond the lanes we claim
and deserves the recognition for being outstanding in the realm of art.
Thank you for listening and learning with me. I would love you to share this project
with people finding rear beauty in today's world and throughout our times. Until the
next episode, keep your own story sparkling.