“The more experienced you are and the older you get, it becomes increasingly challenging to remain connected with the upcoming generation, what they want and what’s relevant to them, and to not get caught in the paradigms of where you come from. I use culture and people as my inspiration. Today you could surf the web and do the same exercise. When I travel around the world, that’s how I get a sense of what the trends are. Even if it’s going to the club or going to a caf é, I want to see what’s considered to be hot and what’s considered to be aspirational.
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Then, if I have the time, I ask a taxi driver to show me where the rich people live, show me where the kids live, and show me where the counterculture is. I turn on the television, I get a copy of Billboard to look at the charts to see which artist is selling in that country. I have a stack of the local fashion and also the celebrity rags: Hello, Us Weeklys. “Wherever I go, I have a stack of the international fashion magazines in the local language waiting for me in my hotel room: the Vogues, Elles, Harper’s of the world. If I can’t give you the elevator pitch, then I’ve lost you.” The ones that are successful all have an elevator pitch. The job that we do means they’re distinct, they’re unique. We have over 25 brands that are the envy of everyone else in the world. The strength of this company has been that we have the best portfolio of beauty brands in the world. “Every brand we have has its own unique playbook. In 1999, in the number one song from TLC called ‘Unpretty,’ there was a lyric in the song that went ‘It doesn’t matter how much M.A.C. That was the very first time that a fashion brand, let alone a beauty brand, tapped into the seismic quake that was taking place all over the world.
In 1999, we embraced hip-hop culture at that time, with Mary J. I made the decision to take the charity and make it the heartbeat of the emotional side of the brand. AIDS Fund and the Viva Glam Campaign had raised interest with RuPaul-the original voice of the brand. “The other thing was that when I arrived there, the charity called the M.A.C. Where most companies do product testing on consumers, I made the decision to test products on the front line, where they’re used the most and the most about competitive products. I took the artists and used them to conceptualize what the product offerings were. Which took us from doing a couple of shows in London and Paris to the largest participant backstage, doing over 250 shows every season, working with every major designer and every major makeup artist in the world. as the ultimate makeup authority and backstage fashion resource.
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From where he finds inspiration and how he stays current, to the best advice he’s ever received, we basically got a master class in how to be successful as a creative in business. After spending an afternoon with him, we think he realizes it too, and he takes it all very, very seriously.
When you consider the role beauty plays in the digital age-its popularity and how beauty has spawned a billion and one counter-cultures-you realize exactly how much influence someone like Demsey has on contemporary culture. collaboration, and he was instrumental in the growth of the idea of backstage beauty at fashion week. He’s the creative genius orchestrating every have-to-have-it M.A.C. and the man behind the branding and direction for a handful of brands you’ve *probably* heard of, like Clinique, Bobbi Brown, Le Labo, Glamglow, Smashbox.and on, and on. We know this from our afternoon with John Demsey, executive group president at the Estée Lauder Companies Inc. But if you were actually the person responsible for all that, taking a break is about the last thing you’d realistically be doing. and Tom Ford), you might think you have a pass to check out a little, take a break, and stop absorbing, well, everything. When you’re single-handedly responsible for the success of two of the biggest, fastest-growing beauty brands in the world (ahem, M.A.C.
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