"Mass elitism, which has long been my dream, is the future of modernity," said Karl Lagerfeld, on the eve of his groundbreaking fashion collaboration with Sweden's H&M in 2004. The aim, a kind of 'massclusivity', was to create an exclusive product on a limited-edition basis. The result - his clothes sold out in 25 minutes in New York - shifted the fashion/retail paradigm, of the industry, designers and consumers. 

"We've been operating this business for 60 years and we've never seen anything like it," said Jorgen Andersson, marketing boss of H&M at the time. "We are as surprised as the customer [at the rapid sellout]." Lagerfeld was left bemoaning its astonishing success: "I'm sorry for the clients because I like the idea that everyone could wear Lagerfeld." The three top hits were a Lagerfeld silhouette T-shirt (US$19.90); a sequin jacket ($129), and a lace dress ($99.90). Later that day, 69 of the products were already selling on eBay. Women's jeans at $59.90 were selling for $75. "H&M has made inexpensive desirable," concluded Karl."Today, this is fashion". 

 

This year H&M sought out Alexander Wang, who designs his own brand, and for Balenciaga. It was the Swedish e-, re-, and ubiqui-tailer's first collaboration with an American. Despite being released in November, the project was announced in April, and by July, taking advantage of social media, a first knock-out product was posted on H&M's Twitter account: an Alexander Wang-branded boxing glove keyring. Vogue ran a 'look book' of products in October calling the strappy scuba dresses, cropped bra-tops and leather joggers a "sporty-minded fantasy". 

And on November 6th, six months of selective 'Instagrammable' social media marketing later, H&M stores launched the H&M/Alexander Wang collaboration (right). Wang's cutting-edge, logo-laden  'athleisure wear', which contained elements of his spring/summer 2015 campaign, sold out in 45 minutes, with some pieces selling online within the hour. Wang, like Lagerfeld, was left applauding H&M's style: "they push boundaries and set a platform for creativity," he said. 

H&M is a game-changer, not just as fashion democratizer of the high street, but also of electric avenue. The retailer saw the value of a mass e-porium, and introduced a virtual dressing room in 2006, whereby shoppers could 'try' clothes on a virtual model designed to look like them. The technology has since been refined and the latest iteration lets shoppers change the hairstyle and expression of virtual models, dress them in myriad H&M looks, button and unbutton clothes on them, rotate the models to see silhouettes front and back, and even choose the most appropriate skin colour. Shoppers get to play stylist and creative director before they buy; it's retail rebooted as added-value purr-chase.  

H&M brought the same excitement to designers they worked with. "Exuberant, sexy, covetable and hopeful," is how former Pucci designer Matthew Williamson described his capsule collection for H&M in 2009. "I want my friends, family, young girls, old girls, even my Mum, to wear it," he said of the trouser suits, peacock prints and cocktail dresses. H&M also asked Williamson to design menswear, his first foray into male fashion territory. So too, Tamara Mellon, at Jimmy Choo (2009). "They had to push me a bit!", said Mellon, who was asked to imagine the look of the beau that would date/partner Jimmy Choo belle. "But we came up with washed leather jackets, slim cashmere sweaters in electric blue and grey, light suiting and some bags as well - the man bag! And Chelsea boots," said Mellon. "The idea was pioneering and we felt flattered to be asked." As did French designer Isabel Marant (2013): "H&M's invitation is an exciting honour."

H&M collaborations were like a variation on a classic 'two-for-one' Hong Kong deal. H&M gets great PR and strengthens its brand as a fashion house, while designers can reach a younger demographic at a lower price point. Stella McCartney (2005) was gung-ho from the get-go. "I think the impact of collaboration is fast and furious. You leave a good taste in everyone's mouth. I think they're great way to  speak to a wider audience and let them get to know me and my designs better. At the end of the day, it's about consumers being happy. I'm very aware, and I think not many other people are these days, that it's about the customer." Lanvin (2010), Versace (2011) and Maison Martin Margiela (2012) all benefitted from the cross-pollination.

That exposure worked especially for Japan's Rei Kawakubo at Comme des Garçons (2008 - left), H&M's most avant-garde choice. "I thought it would be exciting to work with H&M to sell CdG clothes in new markets and appeal to consumers who, up until now, may not have been familiar with the CdG concept. Pairing H&M's international design expertise with Comme des Garçons' creations has resulted in a fascinating accomplishment," Kawakubo said. "The coming together of two contrasted histories, asethetics, ideas leads often to something greater than the sum of its parts."

An unsung voice central to all collaborations is H&M creative advisor Margareta van den Bosch. She instigated the majority, and despite 'retiring' from H&M several years ago, continues to oversee the projects. "They are all important and exciting projects for us. We like to surprise by doing the unexpected. Karl Lagerfeld, master of couture, street-cool Stella, Viktor & Rolf with their modern twist on tailoring, Roberto Cavalli, glamorous and extravagant, and then Rei Kawakubo: always pushing the frontiers of design and never accepting the status quo. It has been an amazing journey." Does she have a favourite? "I have millions of fantastic memories at H&M and I'm still collecting new ones. My first encounter with Karl Lagerfeld was memorable. He was extremely aimiable and just the perfect host. The collaboration with him was a real pleasure." 

A book commemorating H&M's decade of fashion democratization has been released, 25 percent of which goes to UNICEF's work against child marriage. With behind-the-scenes pictures, campaign visuals, interviews with all designers and key pieces from each collection, it's playfully titled, too. The First Ten Years. "I like the constant change, the humour, the open attitude, the classic fashion designers and tailors as well as the hyped-up stars, the beautiful and the strange - sometimes even the ugly," says van den Bosch of the business. "Fashion should be fun, feeling good about yourself." Here's to the next decade. 

Images: Courtesy of H&M