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Hi, and welcome to Line Sheet. I’ve returned to Los Angeles, and real-ish life.
In today’s
issue, I’m reviewing LVMH Americas C.E.O. Michael Burke’s busy first two months in New York, where he streamlined operations and shook up the ranks amid threats of tariffs and recession. Up top, I evaluate the commercial collection created alongside Jonathan Anderson’s Dior women’s runway debut (I’ve got the prices…), lay out the controversy surrounding that freaky Timothée Chalamet
Vogue cover, and offer some new thoughts on the Taylor Swift fashion discourse. Also: I love magazines again. More on Library180 below.
Tuesday on Fashion People: My guest is pop culture journalist Hunter Harris, author of the fabulous, worth-the-price-of-admission newsletter
Hung Up. We discuss Chalamet in Vogue, Tay-Tay, how I ended up borrowing a pair of The Row’s $2,400 suede thigh-high boots from a near-stranger, and plenty more. Listen here.
Tuesday in real life: I’ll be at Brentwood Country Mart’s Diesel Books at 6:30 p.m. with Amy Larocca to discuss How to Be Well: Navigating Our Self-Care Epidemic, One Dubious Cure at a
Time. Get your tickets here.
Mentioned in this issue: Michael Burke, LVMH, Sidney Toledano, Louis Vuitton, Cartier, Tiffany, Anish Melwani, Sara Moonves, Dior,
Jonathan Anderson, Kanye West, Timothée Chalamet, Taylor Swift, Annie Leibovitz, Vogue, Anna Wintour, Ralph Lauren, Thom Browne, and many more…
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Four Things You
Should Know…
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- Where
magazines go to… live: On Friday, I was reminded of how affecting a great magazine can be when I paid a visit to Library180, a reference showroom on the 26th floor of 180 Maiden Lane. Archivist Nikki Igol and talent manager (and husband of Line Sheet celebrity Ruthie Friedlander) Steven Chaiken, who interned together at V magazine a decade
ago, opened the space in August as a shrine to the medium. Library180 features thousands of magazines and fashion-art books, and I spent about an hour combing through old issues of Details, Kolor, Visionaire, and George Wayne’s R.O.M.E., plus a selection of books, including Isaac Mizrahi’s The Adventures of Sandee the
Supermodel. It was the least complicated dopamine hit of my life.
Igol and Chaiken open Library180 by appointment only, and they book up fast, but I can’t recommend it enough. It’s nonprofit, and none of the collection is for sale—though I could see the duo eventually finding a way to monetize this via some sort of imprint or niche publication. Meanwhile, Library180 has emerged during a late-stage, post-economic surge centered around a crop of mostly Xennial editors who
understand what made magazines so satisfying but are also cognizant of the business realities: W’s Sara Moonves, Interview’s Mel Ottenberg, Alastair McKimm, Hommegirls’ Thakoon Panichgul and Jen Brill, Perfect’s Katie Grand, GQ’s Will Welch, Penny from The Gentlewoman, and Gert from Fantastic
Man. (Don’t @ me if I forgot you.) - What you need to know about Dior’s Spring/Summer 2026 women’s commercial collection: Someone slipped me the line sheet for the clothes that will hang next to Jonathan Anderson’s first ready-to-wear collection in stores, and it’s what people wanted to see on his runway: incredibly appealing and lighthearted stuff, priced competitively but not unrealistically. The striped rugby knit, a guaranteed
hit, is $2,300. The clover-covered Lady Dior bag is $9,000 for the mini, $11,000 for the small. The skirt suit—the silhouette of the season—features Anderson’s take on the Bar jacket, which is $4,700.
Much of the daisy-chain jewelry, which I think is going to be really big, is under $1,000 per piece. The jeans are $1,800. Some of the garments—including a $14,000 silk crêpe pleated skirt—are already “fully reserved” by clients. Anyway, the strategy is to hook the consumer with a $550 daisy
ring that leads to a five-figure Lady Dior purchase. If people are spending, they will spend on this.
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- What
to say about the Timothée Chalamet Vogue cover?: People are downright gleeful about the bewildering terribleness of Annie Leibovitz’s cover shoot of the Marty Supreme star for the December issue of Vogue. Is it intentionally cheap and tacky? Is that a comment on our cheap and tacky times? Is this all so meta that we cannot comprehend the subtle messaging… or is it just plain awful? Social media is in an uproar. Jacob Gallagher wrote an entire essay in the Times about it, attempting to decode its meaning by developing a conspiracy theory relating back to Kanye West. (You have to love Jacob for it.) Anyway, I hear that some of the people involved in the creation of the image are downright bewildered slash embarrassed.
It’s hard to be nice when you look at the
dynamite 2022 portraits of Chalamet by Steven Meisel for British Vogue, and this may be a good lesson for new U.S. editorial head Chloe Malle, who will presumably begin to have more authority over these things in the coming months. Edward Enninful’s British Vogue was memorable because it had a distinctive visual identity that felt of its time but also bigger than any one moment. (The issues where he deviated—Meghan
Markle, the supermodels—were not as successful.)
Remember, Anna Wintour has a spotty record when it comes to covers. They have never been about how they looked, but rather who was on them. Malle could distinguish herself by blending style and substance—if she does have final say. On Friday, Wintour and Leibovitz had breakfast at Balthazar together, and were seen marking up the pages of something or another. - When Taylor met
Thom: Many of you thought that Taylor Swift had turned a corner with that pretty Ralph Lauren dress that she chose for her engagement photos or those simple Stella McCartney wool trousers and black boatneck sweater that she wore during a date with fiancé Travis Kelce to the Polo Bar last week. No way. Swift was back to herself on Sunday during dinner at Corner Bar with friend Sabrina Carpenter. She selected a Thom Browne
sweater and skirt, which she inexplicably paired with sheer tights and a pair of Gucci platforms.
Like the restaurants she chooses, Swift’s fashion is perfectly acceptable and mainstream; it’s easy to understand the appeal. But also like those restaurants she chooses, her mere interest in them downgrades their desirability. Also, a caveat: We do not want Swift to dress well; that would be boring and chip away at the persona she has so carefully crafted. And the Swift association is only a
positive for a brand like Thom Browne, which needs to increase its market share with young women, even if the tights and shoes were all wrong for the outfit.
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Back from the brink of retirement, Michael Burke, LVMH’s newish North American C.E.O., has
been tasked with lifting a market that’s been one of the luxury conglomerate’s few bright spots in recent years. Luckily, the role befits an executive who seems happiest when there’s competition or the need for change.
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Just two years ago, former Louis Vuitton C.E.O. Michael Burke’s future at LVMH seemed
uncertain. A devout steward of Bernard Arnault’s vision who first started working for him in the mid-1980s, Burke had been given a seemingly pre-retirement post running the Fashion Group in 2023. Curiously, however, he was removed (or removed himself) almost as soon as he’d been appointed. His predecessor, the semi-sunsetted teddy bear and fellow longtime LVMH stalwart Sidney Toledano, returned to the gig in an odd series of events that was
never clearly explained externally.
And yet, Burke made it clear to plenty of people that he wasn’t actually going away. He claimed to still have Arnault’s ear, and hinted at larger plans. Naturally, some senior members of the organization had their doubts, and Burke didn’t exactly assuage them. During his brief time in the wilderness, Burke shuffled around the shows in a grey cashmere Berluti zip-up hoodie, forgoing the typical navy suit donned by LVMH senior executives—which
was especially notable for one with such a bulldog reputation attempting to foreshadow a grand return to the inner sanctum.
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Of course, Burke’s assurances turned out to have merit. In July, Arnault named him chairman and C.E.O. of
LVMH Americas (although it’s unclear whether moving to the U.S. was part of the original plan). With the appointment, Burke was given arguably the most important mission of his career: to transform the U.S. business from a second-fiddle subsidiary with a history of mismatched acquisitions to an organization that runs as efficiently and powerfully as the mothership in Paris. In many ways, it’s the perfect task for Burke, who seems happiest when there is competition or the need for change. And
since his arrival in early September, there has been plenty of both.
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Burke was transposed to the U.S. at an inflection point for the Arnault empire. The public markets began to
turn against LVMH in the autumn of 2023. This summer, struggling with the China market, the company missed analyst estimates. Meanwhile, there have been bright spots in the U.S. business—namely Louis Vuitton’s success in the region during Covid, and the acquisition of Tiffany, which was ultimately worth the $15.8 billion price.
Indeed, perhaps the plan all along was to fortify LVMH’s operations in the U.S. After years of investing in businesses with sometimes-tenuous connections to LVMH’s
core luxury competency—Seventh Avenue fashion houses, beauty startups, etcetera—the focus now is to increase the market share of its global brands, and leverage Tiffany to finally usurp Cartier as the most important jewelry brand in the world. Burke, an architect of this vision, also has relevant contacts in this market. His relationship with Trump dates back to at least the opening of a Louis Vuitton factory in Texas in 2018. (And behind the scenes, probably far
longer.) He should also help with the ongoing tariff issues.
Unsurprisingly, there were significant changes in the executive ranks at Tiffany and LVMH U.S. basically in sync with Burke’s arrival. First, he was named the non-executive chairman, charged with monitoring Tiffany C.E.O. Anthony Ledru, his old Louis Vuitton employee. Gena Smith, the longtime H.R. head in the Americas and beyond—part of the controversial Chantal Gaemperle
regime—left for the J.Crew Group. Otherwise, Burke has a handful of trusted voices in his ear: the Texas real estate consultant John Slavinsky (who I’m told has returned closer to the fold), as well as lawyer Dennis Ferrazzano, Arnault’s longtime confidant in the U.S., with whom B.A. is known to speak on a weekly basis. Ferrazzano probably has the best reputation of any executive connected to the company here in the U.S.
Even
before Burke’s arrival, Anish Melwani, LVMH’s North American C.E.O., was already playing a bit of a figurehead role. At least some of his direct reports have been transferred to Burke, including many on the real estate side. But Melwani probably isn’t going anywhere: He manages the F1 relationship in the U.S., remains a reliable spokesperson at conferences and in the press, and launched 22 Montaigne Entertainment with Superconnector Studios to build stuff in Hollywood. (Although
nothing has come of that partnership publicly...) Also, this is certainly a tough job to leave, and Burke’s own third-act revised trajectory underscores the value of loyalty within the Arnault fold.
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Burke and his boss surely know that the biggest opportunity is in real estate, and not just in New York and
Los Angeles, but also in growing secondary and tertiary cities like Nashville or Austin, where the wealthy are underserved. Along with the current portfolio reorganization—the inevitable offloading of Marc Jacobs, the selling of its only U.S. hotel property—there is also opportunity for expansion: The Cheval Blanc hotel can become key in tourism regions. (In 2023, plans to open a Cheval Blanc in Beverly Hills fell through under Melwani’s supervision after the company failed to persuade local
voters to approve the deal, but I wouldn’t rule out another attempt.) In fact, perhaps Burke & Co. will explore new properties when they’re here for the opening of the Dior store later this week.
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What I’m Reading… and
Listening To…
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Peter Saville on Philip Johnson’s drawings, design as problem-solving, his
mom, live-work spaces, his Mayfair apartment in the ’90s, “gratuitous production,” his “spooky action at a distance” entanglement with Raf Simons, and plenty more. [Pin-Up]
People often forget that Scott Galloway ran an agency advising luxury brands for more than a decade.
[The New Yorker]
This will be most interesting for the Euro audience: Many top American baseball players are obsessed with vintage Van Cleef & Arpels… and Cartier, too. [The Sports Gossip Show]
Winona Ryder wore
that covered-button Yohji jacket from 1998 made famous by Carolyn Bessette Kennedy. It is still the most gorgeous thing. If you, too, would like to re-create this look, try Attersee’s Sculpted cardigan. [Erica Cloud’s Instagram]
My husband asked me the other
day how Reformation became so successful. The answer? A balanced price-value equation. And a sense of humor. Now, they have a store in Paris. [WWD]
Two things that happened in Los Angeles while I was gone that made me feel like I was missing out. One was the Khaite dinner at Dan Tana’s on Thursday night, celebrating the
opening of the Melrose Place store. (There was a no-photo policy; from people on the inside, I heard that everyone was super relaxed and had an actual good time. Maybe they smoked, I can’t confirm!) Then, on Saturday, it was the Baby2Baby Gala, which raises millions of dollars each year (more than $18 million in 2025) for the very legit organization, which provides basics—diapers, food, clothing, formula, and more—to kids living in poverty. It’s serious stuff given that 42 million
Americans just lost their SNAP benefits. But it’s also sort of like prom for the Los Angeles social scene. For what it’s worth, I am not sad I missed Kris Jenner’s 70th birthday party, which inexplicably happened the same night as B2B. Were there no other dates? [No photos and many
photos]
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Until tomorrow, Lauren
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