The Row’s effortless aloofness cements its cult status, proving the Olsen twins define cultural relevance by refusing to chase it
The Row is now the go-to brand for contemporary art lovers and high-spenders. Its style often incorporates influences from Céline by Phoebe Philo and Loro Piana, complemented by an attitude that is consistent with its status as a cult brand.
Established by Mary-Kate and Ashley Olsen in 2006, The Row is renowned for its minimalistic collections and select statement pieces that enhance the brand’s equity, all rooted in a (very) discreet luxury approach to fashion: high-quality and high-end, the bar in general is set exceptionally high.
In a recent move, the power twins staged a playful game to challenge fashion professionals eager for new elite experiences, like sitting on the floor of a flat on Rue des Capucines during the March 2025 Paris Fashion Week to view The Row’s latest Winter 2025 Womenswear Collection among a small, privileged group of a few dozen, ranging from VICs to EICs.
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Let’s get back to the brand’s roots to understand how it quickly became a cult luxury brand.
The Row: The Sophistication of a “Not Giving a Fk” Attitude
As many influential sources are touting the anonymous Margaux bag as the new Birkin bag, the brand’s approach is very demure, very understated, then very high profile, often choosing to open stores only in select locations.
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The Olsen twins have openly expressed their desire to remain low-key when promoting the brand, preferring to let the brand speak for itself. While the brand’s clothes and accessories are now available in hundreds of department stores across various cities, it maintains only five flagship boutiques. These are strategically located in New York (with an additional store in Amagansett, East Hamptons) and Los Angeles in the US, as well as in Paris and London in Europe.
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All the stores are intentionally hidden from the main avenues and tucked in secondary streets within a cool, gentrified neighbourhood. A minimalistic approach that matches perfectly with the brand’s aesthetic.
Going Against the Algorithm to Stay Culturally Relevant
Some attendees were quite disappointed during the last few Paris Fashion Weeks when The Row specifically requested that guests not take pictures or videos during the show. Unlike many other brands that embrace real-time and live-streamed content, smartphones are prohibited at The Row’s fashion shows, and the brand does not immediately release images for publication in magazines or on social media. Now, they have even stopped assigning seats.
By keeping the collection under wraps, the brand has enhanced the perceived exclusivity of the experience. In a world where virality often drives business and algorithms shape content, choosing to forgo extensive social media sharing is a bold move. Yet, for the brand’s admirers, it’s a necessary step to differentiate itself.
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Fashion professionals are often stressed and sometimes bored during Fashion Weeks, so being teased by The Row provides a boost of endorphins. Experiencing a show they may struggle to write about without the usual press kit materials available to journalists is actually wild.
The fact that The Row has a very narrow guest list adds a layer of excitement, as simply being invited is flattering.
We get the sense that these “unpleasant” and elitist choices are a playful provocation that tickles the bored egos of journalists, buyers, and influencers, who are often more than willing to go along with it.
The Row operates like a cult brand, enforcing strict and unconventional rules, knowing that their guests will accept behaviours that would be unacceptable to others. The Olsen twins understand that faking a “cult brand attitude” until they make it is crucial—though, in reality, they’ve already made it.
Is the Margaux Bag the “Anti-It Bag” or the New Birkin?
The Margaux bag is not the only best-selling item from The Row. Other cult accessories worth mentioning include the Ginza leather flip-flops, the Fisherman sandal, and the Half Moon bag.
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The Row’s Margaux bag, especially the Margaux 15, belongs to a league of its own, inspiring numerous replicas in the fast fashion industry as well as in the indie handcrafted leather goods market.
A Perpetual “About-to-Go-Out” State: The Ultimate Approach to Luxury
Have you ever experienced that nightmare where you find yourself out in your underwear or just wearing hotel slippers? The Row has decided that the new luxury is being stylish in whatever footwear you choose, even if it’s slippers—like their thousand-dollar leather hotel slippers.
Kendall Jenner is one of the celebrities who embody this ongoing “about-to-go-out” aesthetic. It’s not just a PR move to strengthen the brand’s identity but a shift from foam sandals, which can easily be mistaken for cheap, unbranded dollar-store versions, to the finest, softest leather slippers.
This narrative continues to evolve season after season and collection after collection. So much so that for The Row’s Winter 2025 Womenswear Collection in Paris, Mary-Kate and Ashley Olsen chose to have their models walk the runway barefoot, wearing nothing but sheer tights.
The Row’s Artistic Collaborations and Its Soft Spot for Contemporary Art
If you follow The Row on Instagram, you’ll be delighted with images of vintage design pieces like Man Ray’s Lampshade (1964) and paintings like Marc Chagall’s Circus (1967), alongside the brand’s bags and clothing.
This eclectic selection highlights the founders’ fascination with contemporary classics, aligning with the brand’s aim to attract high-profile art connoisseurs and enthusiasts of quiet luxury.
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The Row’s fling with contemporary art began in 2012 when Damien Hirst transformed their black patent crocodile leather backpacks into canvases for art, featuring 12 unique designs that supported UNICEF
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In 2018, The Row’s Fall/Winter collection was presented at New York Fashion Week and transformed into an art gallery, incorporating Isamu Noguchi’s sculptures as an integral part of the show at Dover Street Market.
Through these collaborations, the brand showcases how fashion can serve as a bridge to art, fostering a continuous dialogue between fashion design, aesthetics, style, and artistic expression.