Simon Porte Jacquemus is a French fashion designer and the founder of the fashion brand Jacquemus. Born in 1990 in Provence, France, Jacquemus grew up surrounded by the landscapes and culture of southern France, which would later influence his design aesthetic. Jacquemus’ brand, founded in 2010, is known for its modern and minimalist approach to fashion.
The brand’s designs often feature clean lines, simple silhouettes, and a mix of masculine and feminine elements. Jacquemus’ use of natural fabrics, such as linen, and his emphasis on craftsmanship and attention to detail, reflect his commitment to French heritage and artisanal traditions. recently, Jacquemus has collaborated with several high-profile brands and artists, including Veuve Clicquot, a renowned French champagne house.
The collaboration, which resulted in a limited-edition redesign of Veuve Clicquot’s La Grande Dame bottle, reflects the shared values of French culture, heritage, and artisanal craftsmanship that are at the heart of both brands. Veuve Clicquot, founded in 1800 by Nicolas Ponsardin, has a long history of innovation and excellence in champagne production.
It is an object born of two opposing conceptions of time: the slow, subterranean patience of the cellar, where yeast and sugar perform a silent, multi-year alchemy, and the incandescent, fleeting pulse of the runway, a spectacle designed to be consumed by the eye and replaced in six months. A bottle of champagne sits encased in a structure designed by a couturier.
The liquid inside is a measurement of seasons, of rainfall and sun on a particular slope in France. The vessel’s new exterior is a statement about a single moment in culture.
The paradox rests here, in the union of the agricultural and the ephemeral. One is tied to the soil, the other to an idea.
The Bottle as a Body
The collaboration often begins with the glass.
Long before a fashion house is involved, the bottle has its own distinct silhouette—the gentle slope of a standard bottle, the more feminine curve of a Perrier-Jouët cuvée, the stout, anchored form of a Krug. The designer is not given a blank canvas so much as a mannequin with pre-existing proportions. The task is to dress it, to wrap it in a new identity that does not erase the old one.
In 1902, the glassmaker Émile Gallé painted delicate Japanese anemones onto a bottle for Perrier-Jouët, a gesture of Art Nouveau that fused the organic world of the vineyard with an aesthetic movement.
The flowers remain. More than a century later, the artist Yayoi Kusama wrapped a bottle of Veuve Clicquot La Grande Dame in a bloom of her signature polka dots, which creep up the bottle’s neck like a vine.
The bottle becomes a sculpture. It is meant to be kept long after the contents are gone, a decorative ghost of a celebration.
A Language of Metamorphosis
Sometimes the conversation between champagne house and fashion designer becomes more abstract.
It is less about dressing the bottle and more about translating a process.
When Dom Pérignon collaborated with the Dutch designer Iris van Herpen, the result was an elaborate, biomorphic cage for the bottle, its lines mimicking the fluid, alien structures of her 3D-printed couture. The project was named “Metamorphosis.” This speaks to a shared interest in transformation—the way a grape becomes wine, the way a flat piece of fabric becomes a three-dimensional form on a human body.
A quiet transaction occurs.
The champagne gains a tangible connection to avant-garde artistry, and the fashion piece is anchored by the weight and history of a celebrated vintage. Lady Gaga’s collaboration with the same house produced a rippling, iridescent sculpture holding the bottle, an object that seemed captured mid-motion. Karl Lagerfeld, in his turn, photographed a series of people with the bottles, creating a narrative rather than a physical object.
Each interaction is different.
Each attempts to solve the same problem of translation.
An Internal Dialogue
The proximity of these worlds is not always a matter of chance or pure artistic affinity. One must look at the names. Moët & Chandon, Dom Pérignon, Veuve Clicquot, and Krug all rest under the corporate ownership of LVMH. So do Christian Dior, Louis Vuitton, and Fendi. A collaboration can be an internal dialogue, a conversation between divisions of the same sprawling, familial enterprise.
When Dior releases a custom trunk for Moët & Chandon bottles, it is a display of synergistic power, a reminder of a shared stable of craftsmanship.
These partnerships, often detailed in the pages of magazines like *Vogue*, are not just creative ventures but carefully calibrated business maneuvers. They consolidate the idea of a particular tier of existence, a world in which the logo on your handbag and the label on your champagne bottle speak a common, rarified language.
The arrangement is confusing only if you see the brands as separate entities.
They are, in fact, cousins, speaking at the same dinner table.
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“The history of Veuve Clicquot’s La Grande Dame inspired me a lot – I felt it was a great opportunity to bring a fresh vision and revisit the design…
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