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Welcome to the Gilt Trips podcast. I'm your host, Kendra Lockhart. As a goldsmith and

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gemologist, I'll be speaking 24 carat on all things jewelry, metals, and gems. Join

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me plus a few friends to demystify both materials and designs as your private jeweler. Let's

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tune in on these topics and get golden. When I think of underdog companies in jewelry that

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would cross markets and gain coveted collaborations, only one name comes to mind. Chrome Hearts.

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Founded in California in 1988 by three men with backgrounds in leather and silversmithing,

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their company would grow from a garage-based startup into a globally recognized lifestyle

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brand. It's easy to be superficial with Chrome Hearts and write off their depth. It's just

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a biker look, right? If so, then there's an existing culture and

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warm audience. Plus, recognizable images and familiar motifs. And Sterling is an achievable

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price point, not elite by any means. Or is there more to their expansion and standing

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out if these things seem so common? Was this brand's rise predictable? Is this

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genre original or uniquely reintroduced? Did growth happen organically or by some formula?

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Other timestamps are in the show notes. So what is an audit? Well, let's begin here

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and why it could potentially matter. Most jewelry companies don't start with this.

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I didn't. And neither did Cartier, Tiffany's, and Harry Winston. But Chrome Hearts had something

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in their favor. And I'll share that after I explain what an audit is and why having

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one sooner than later can focus and crystallize a direction and intention. It's important

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to address lifestyle and distinguish that as part of this because it shows the capturing

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of the values, interests, attitudes, so that you would want service, product, and stories

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to be congruent. Most designs don't have this in mind when they begin. Chrome Hearts

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seem to have accidentally understood this. An audit can take many forms. Checking strengths,

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weaknesses, threats, and opportunities is a standard formula. Or it can be a little

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more creative and go through its reach, such as values, mission, competition analysis,

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and market performance. Today, I'm going to be a bit more forensic in the sense of rewinding

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the tapes and unwinding the pattern of highlights in the timeline of Chrome Hearts.

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The Birth Origin

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Formed in 1988 in Hollywood, we start with the trifecta of a leather broker who had access

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to fine and finer materials, a leather manufacturer who can create and produce insid materials,

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and a jeweler who specialized in sterling, the maker who could enhance the grommets,

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slippers, and flourishes on primarily leather goods, but also execute a side series of accessories

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in sterling. What started as creating for just friends and family would soon summon

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the product placement opportunity in just one year. These founders, Richard Stark, who

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had been working as the leather dealer, his friend John Bowman, who was the leather manufacturer,

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were a killer combo. Richard was deep into the motorcycle world. They chose to combine

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forces and make upgraded biker jackets that went beyond the standard issue, so they elevated

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the basics. Richard was already into the motorcycle culture, so in theory he had a potential clientele

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and a possible warm audience. They would welcome in Leonard Kemet, who would specialize in

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silver alloys. Remember, there was no company name yet. They were simply taking commissions

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and doing custom work. In 1989, they were approached to make wardrobe pieces, also called costume

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design, for a low budget comedy horror whose working film name was Chrome Hearts. Since

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the movie would get renamed, that moniker was available. One of the actresses was dating

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punk rocker Steve Jones of the Sex Pistols. Doors would open because he wore his commissions

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on stage, and that began a following. When Steve wore Chrome Hearts on stage during his

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performances, it crossed the genres from biker into rocker. Yet both are congruent with a

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raw, rebellious spirit and merging the tough exterior with smooth execution. Early fans

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created a subculture for this brand, and they were Lenny Kravitz, Motley Crue, and Guns

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and Roses. All three musical acts fed into the glam metal look that was happening in

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the 80s, which was about to go grunge in the 90s. Timing was a key component, so let's

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look at what was happening in our world. A strong aesthetic? Borrowing from a local movement,

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but contrasting nation-wide history, the 1970s, especially Los Angeles, were making

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waves with punk rock. Yet by the 80s, their preppy look eclipsed the leftovers from a

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hippie aesthetic and the disco era. But not long after Chrome Hearts established itself,

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music was colliding with fashion. The quote-unquote Seattle sound, meaning the niche of darker

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but distorted songs from bands like Nirvana, Soundgarden, or Allison Chains musical acts,

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were getting its legs. It borrowed from punk, and it contrasted clean. Sounds a lot like

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a biker culture. So, locally, since Los Angeles was dead south of the Pacific Northwest, and

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tunes could capture the bass of the 70s, and exit of the 80s, and entrance of the 90s,

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with the edge of malaise and questioning what the direction was, it all seemed kind

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of perfect for the inception of Chrome Hearts. Everything seemed to be crawling forward into

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the unknown, and it was a perfect pairing of what we understood, and also into the new.

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Strong Design The word Gothic refers to medieval times in

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Europe. Realism, which is earthly representations, versus imagined, or enhanced, or fantasized

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imagery, often drew from themes of nature, religion, darkness, and strong symbolism.

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As for the font, it was heavily flourished and a bit ornate, which became a key element

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in the source material and wide had contemporary appeal for this brand. In modern Gothic statements,

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Sterling is more lunar, and associated with nighttime and the mystery that it held. Motifs

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of Egyptian totems or oaks, crosses, hearts and daggers, which simultaneously represented

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death and rebirth if you're a fan of Mother Mary or Saint Therese, and being pierced by

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a supernatural experience. Skulls were for momentum ori, and floor-de-lie, a royal icon,

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the power of the Holy Family, or the Trinity, and palogenesis, which is fancy for birth,

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death, and rebirth cycles.

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So now let's get back to Chrome Hearts and the 1990s.

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British versus mainstream decade, Chrome Hearts had established their vibe, it had also found

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their tribe. Lastly, it knew its truth and commitment, materials, quality, identity,

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and little did they know, they would begin their chapter of quote-unquote world building.

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Having captured two genres and a few potent celebrities who would be accidental influencers,

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as there was no contract or quid pro quo back then, the next big step would be an awards

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show, a creative director, distribution, and a dissolution. In 1992, the CFDA, Council of

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Fashion Designers of America, reached out to inform Chrome Hearts that they had accomplished

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the Accessories of the Year award. Small problem, Richard did not see himself as an accessories

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company, and he thought the call was a hoax. It was in fact real, and would give Chrome

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Hearts a visibility they could not have predicted. When asked to pick a celebrity to present

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their award, they secretly chose Cher, who by now was a devoted patron. Richard said,

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if you don't trust my choice, figure out plan B by yourselves. The CFDA would create new

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eyes and new credibility for the trio. The 90s also gave them Lori Lynn, a future co-owner.

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She ran into Richard, and soon after, the fusion of her art direction and his production

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would help birth their collaboration. But more importantly, she would eventually provide

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marketing, photography, ready wear vs commission, and print work in the form of the Chrome

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Hearts magazine. Aside from the professional infusion of her expertise, she would fall

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in love with Mary Richard. This would play into the Chrome Hearts Longevity game.

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Chrome Hearts was doing well with the experiment of local outlet and retail boutique, Maxfield.

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Richard had brought a biker jacket and chaps over, and the owner Tommy Purse chose to test

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it out. Now, Chrome Hearts has their clientele, which included famous people and their stylists,

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as well as anchoring a storefront for the brand. Distribution.

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So here they are, cooking along, winning an award that helps other designers notice them,

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a talent extraordinaire to accelerate their product, posh and desirable reseller that

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would help gain access to getting carried in Bergdorf Goodmans and be seen in Vogue campaigns.

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The year 1994 would signal the split. As Richard had been the lifeline, heart, and soul of

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Chrome Hearts, he simply bought out as partners, at a time when they were primed to go from

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cult to commercial status. Yet, this would begin the second act of Chrome Hearts.

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Positioning. Perhaps the smartest thing they did is create, not react. Richard said he

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did not care about trends one bit. Even today, if you visit their URL, there is no about

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page on their site. No conspicuous prices, and even their Instagram is more of a visual

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storyboard than a straight up sales tool. Post-buyout, Maxfield helped the brand open

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its first boutique across the street from their original reseller, which is a huge move.

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In 1996, they would have a showroom in New York City, and in 1999, they would have a

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door in Tokyo. As a company that did not do seasonal designing or collections making,

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this was a big move. Their signature elements were strong enough to draw commissions and

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custom work, but also capture external fashion luminaries like Ray Kawakubo. Chrome Hearts

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seemed to be elevating by being irreverent and reversing the playbook.

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The 2000s would mark some significant collaborations. Let's begin with the familiar. Already embedded

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in celebrity and music scenes, the internationally known band, The Rolling Stones, would create

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a collaboration for tour gear with Chrome Hearts in 2002. Two years later, Yves Saint Laurent,

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a fashion brand in France, would join forces to produce a t-shirt collection. In 2007,

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Ray Kawakubo, who had founded Comde Garçon, a Japanese-French company whose founder was

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in both Tokyo and Paris, would then partner. 2010 would bring California fashion visionary

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Rick Owens, 2014 would be Londoner Carson McCall, and by 2015, America's Virgil Abloh,

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an architect turned fashion designer, would be next. Now, Chrome Hearts would have fingerprints

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externally in streetwear, dark fashion, and home goods.

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It's time to name check the elite aficionados and the companies that cemented their rise

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from local to global over the years. By now, Chrome Hearts had begun the acquisition of

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three blocks of Hollywood floor space for furniture creation, jewelry studios, and an operating

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base, which meant made in USA with nearly 100% vertical integration. Most importantly,

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this was done without the typical, quote unquote, client journey from marketing or the short

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trend cycles in the clothing world. And they were a pretty unlikely choice as far as being

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suited for the fashion paradigm. They had no primary e-commerce, they had no about tab

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on their URL, and yet, I'd begun to establish why they became a crossover brand. So here

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is the roll call of celebrity clients and the companies for collaborations. From the

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music industry, we have all walks and multi gens and genres. Cher, Elton John, Stephen

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Tyler, Lou Reed, Lenny Kravitz, Sex Pistols, Motley Crue, Guns N' Roses, Madonna, Kanye

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West, The Weeknd, Britney Spears, Lady Gaga, Cardi B, Drake, and Billie Eilish. Ages range

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from 78 to 22 at this time. From the acting and print work realm, Nicholas Cage, Claudia

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Schiffer, Pamela Anderson, Matt LeBlanc, Kendall Jenner, Bella Hadid, ages 60 to 27 at this

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time. Athletes would include Dennis Rodman, Caleb Williams, and Empire Builders would

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be Martha Stewart, Damien Hurst, Kylie Jenner, and Carl Lagerfield. With that last one, peer

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praise had been achieved. Chanel would go on to create only 10 handbags with Krumhardt's

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hardware. Let's not forget this German fashionista, creative director, who had a love for lace

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and feminine detailing would show up unannounced multiple times, declaring Krumhardt's quote

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the only real brand unquote, and proclaiming heirloom status over both leather and sterling.

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Regarding companies, here are a few names that you might have heard. Rolls Royce, Chanel,

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Bakara, even Rolex. If you want to hear more about that brand, see the previous episode.

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Passing the torch. Let's discuss the next generation. Oldest daughter, current vice

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president, creative of the company, Jesse Joe Stark said quote, a baby could wear it. My

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grandma could wear it. Travis Scott could wear it unquote. The last name is a rapper

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and producer who is aged 30 at this time. Jesse Joe and her twin siblings, Christian

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and Frankie Bell, have their own brands. Yet the crossover of community and influence is

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to be noted. Frankie's ex, who runs Maddie Boy, came into the family company, collaborated,

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then shot off. But yet is a creative director for Krumhardt's. Christian runs Thrilltrip

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and his twin sister began a swimwear company called Dipped in Blue. Remember that CFDA call

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in 1992 that Krumhardts had won accessories of the year? By 2022, they would add lifetime

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achievement from the same organization. So what are the top five things that Krumhardts

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did right and still does? I'm so glad you asked. Number one, the be so good they can't

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ignore you idea. When Richard Stark finally got face to face time with share back in the

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90s, he tried to sell her a custom guitar strap for $5,000. Hermes bags weren't even

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that pricey. But after her initial scoff, she said it was a work of art made with rebellious

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traditionalism and conviction to high aesthetic, high production and therefore high price.

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Two, underproduced like luxury brands do. Their signature pillars, leather and silver,

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are appointment based meetings in authorized dealerships or showrooms. Even an entry level

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ring means an order is taken, weeks will be used to produce, and then you can come and

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collect your pseudo commission. Like a suit at a Taylor's. This is not the ready wear

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or fast fashion mindset. Three, when there's a fallout, pivot to a buyout. If you are the

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heart and soul of a business, and the team that got you from A to B will drag you back

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or prohibit B to C, reclaim the vision and be okay with the gap until you can go it alone

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or find others at new heights. Four, have a design language that can go hard into lifestyle,

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home goods, famous partnerships and more without losing following or direction because it doesn't

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compromise, waiver or fail to find conviction in your aesthetic. Five, get on the radar

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of your least likely face, fan, critic or competition. Karl Lagerfeld is hardly a biker

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slash rocker, spokesperson. But when that German born lace wearing director Chanel says

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your quote unquote legend, the value and vision you produce goes beyond the lanes we claim

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and deserves the recognition for being outstanding in the realm of art.

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Thank you for listening and learning with me. I would love you to share this project

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with people finding rear beauty in today's world and throughout our times. Until the

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next episode, keep your own story sparkling.

