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She wears, of course, a white shirt. In addition, open on her neckline. As she has made this gently exhibitionist gimmick a signature on her Instagram account – her chest clearly visible, even framed in a close shot – she sometimes has trouble getting out of it. “When I try to be less sexy, thinking I’m capturing another audience, the posts work less well”, she said with a fake sorry smile. Since 2014, it is the classic women’s shirt that Marie Marot has reinterpreted at leisure, to the point of having made it the only item for sale under her label. In her deep voice, she declines for the moment the idea of venturing beyond this archetypal garment. “I already want to install my shirts in a sustainable way, retain my customers and attract new ones. »
However consistent it may be, this single-minded approach remains rare. Because capitalism is so made that, in fashion, the same pattern is reproduced. Once a brand emerges by specializing in a product for which it acquires legitimacy, it begins, out of a desire to conquer, to extend its offer to other items, diluting its purpose somewhat but responding to a primary need. of this industry which consists in showing complete silhouettes. We now find skirts and pants at Alice Balas, who launched a label of biker jackets in 2014, jeans and swimsuits at Alexandra Golovanoff, whose expertise has been in small cashmere sweaters since 2016. .
Marie Marot, she holds her line. In its early days, it offered clutches, hats and beanies. But since she turned to the shirt, which she is “a passionate” since adolescence, she has neglected the rest. She has, moreover, for herself, the T-shirt in horror. Her personal wardrobe, in her Left Bank apartment, is made up of“about 200 shirts” on hangers. Never anything eccentric, however. “At most, orange and white stripes, in an Italian chic style. » And especially a lot of Levi’s denim shirts, Ralph Lauren or even old Brooks Brothers models in cotton and linen, not ironed…
All-digital shift
Marie Marot seduces her audience with the help of effective word-of-mouth and her hedonistic Instagram posts in a dolce vita way (chic car, great wines, sunny terraces) or sympathetic clans (with many portraits of “friends of the maison” in an MM shirt, from the American make-up artist Gucci Westman to the French novelist Anne Berest). “Even if 30-45 year olds make up the majority of my clientele, the brand has become quite cross-generational. And, if city dwellers dominate, I sell even in very small towns in the depths of America”, she explains, referring to the statistics calculated from the data left by her customers on Instagram and on her site, her only sales channels.
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