There are some things in life I’ll likely never get my grubby little mitts on. Oh, you know. A palazzo on Lake Como. That vintage Porsche I secretly, shamefully love. An early Shakespearean manuscript. A toilet made of gold. And every piece in every collection from The Row.
It’s just not going to happen for me. I’ve accepted this. Yet every time The Row shows its collection in Paris, I swoon hopelessly despite myself, and with each season that passes, it’s getting worse, not better. The good news is that apparently, I’m not alone. According to insights analysts at fashion search engine Tagwalk, The Row has seen a 97 per cent increase in searches in the last three years. An ascension that doesn’t seem to be slowing down: autumn/winter ’24 saw a 104 per cent increase in searches year on year. What’s more, in Tagwalk’s brand rankings, The Row has climbed 17 spots, moving from 40th place for spring/summer ’24 to 23rd place for autumn/winter ’24. That’s one giant leap for asymmetrical draping.
The Row may live rent-free in our search histories, but don’t expect to be wearing it any time soon if you have actual rent to pay. Not even a sample; the brand’s rare sample sales draw desperate all-day outdoor neutral-toned queues, and its shows are the most exclusive at Paris Fashion Week, the antithesis of the now normalised luxury super-show. Hermès, that bastion of near-unattainable quiet luxury has expanded its show and event guest lists to help bring more entry-level client attention to its recent beauty line. But The Row is having none of this enthusiastic democratisation. Mary-Kate and Ashley Olsen’s baby, swaddled in mysterious grade A-cashmere splendour, remains safely behind doors that are closed to almost everyone.