Last fiscal year ended on December 31, 2020
Revenue - Thousands of EUR | |
---|---|
2010 | 28.971,7 |
2011 | 30.938,4 |
2012 | 33.392,5 |
2013 | 35.089,8 |
2014 | 41.995,0 |
2015 | 45.574,5 |
2017 | 50.616,39 |
2018 | Get Access Now |
2020 | Get Access Now |
It represents the brand's turnover from the sales of finished goods through all of the distribution channels - retail, wholesale and e-commerce, after the deduction of returns, allowances for damaged or missing goods and any discounts allowed.
Also known as ROS - Return on Sales, it measures the percentage of sales revenue that gets 'returned' to the company as net profits after all the related costs of the activity are deducted. The figure is about the latest fiscal year available.
in Thousands of EUR | 2020 | 2018 | Δ 2020/2018 | 2017 | Δ 2018/2017 | 2015 | Δ 2017/2015 | CAGR |
---|---|---|---|---|---|---|---|---|
Revenue |
It includes the overall revenue of the company, considering not only the sales of finished goods, but all of the sources of the company income.
Also known as ROS - Return on Sales, it measures the percentage of sales revenue that gets 'returned' to the company as net profits after all the related costs of the activity are deducted. The figure is about the latest fiscal year available.
It's a measure of a company's overall profitability, i.e. how much of its sales are converting to profit. The value given is the amount of sales needed to generate one currency unit of post tax profit. Negative values mean that the company has a negative level of post tax profit. The figure is about the latest fiscal year available.
It's a key measure of success. The profit ratio measures the amount of profit generated by each single currency unit of sales. The figure is about the latest fiscal year available.
in Thousands of EUR | 2020 | 2018 | Δ 2020/2018 | 2017 | Δ 2018/2017 | 2015 | Δ 2017/2015 | CAGR |
---|---|---|---|---|---|---|---|---|
Total Revenue | ||||||||
Net Income |
in Thousands of EUR | 2020 | 2018 | Δ 2020/2018 | 2017 | Δ 2018/2017 | 2015 | Δ 2017/2015 | CAGR |
---|---|---|---|---|---|---|---|---|
Total Assets | ||||||||
Equity |
There must be a secret (silent) agreement between Jean Touitou and words (he happens to venerate them). However, these seem to slip away when they are summoned to speak about this character who, in 2009, lives between Shibuya and Mercer street, rue Madame and Stockholm, Beckett and Cristobal Balenciaga. One is sometimes tempted to ask Jean Touitou if he doesn’t feel like looking back, to have a look at what he’s been up to since his birth in Tunis in 1951. We don’t.
He belongs to a category of people who flies across the century without any warning, yet leaving his own touch. When he was sixteen, he backed Chairman Mao. At eighteen he’s ready for university. He joins the Trotskyite International organisation (the O.C.I.) when he was twenty. Dublin was his secret name. As soon as things started, they just kept going on, relentlessly, the way a rhythm section does (dialectics, though steady beat calls for Motown). Store man, then accountant for Kenzo, an associate for the development of Agnes b. in the American continent, associate with Irie and Joseph.
He starts A.P.C. (Atelier de Production et de Creation) in 1987 with a men’s collection (the women’s collection will come in 1988). Ideal for this period when lines and guitar riffs are clearly cut out, just in time for an ace to bring us some style. People like Jean Touitou are then asked what he can see of us. He hears, first and foremost. Words are scarce.
The sound he can hear is a very nervous one, both haunting and full of urgency. The sound of rock’n’ roll quite probably. The imagery will become his, he will be light and rebellious, rigorous and tight, will aim to what is the most cutting. The paradox is that this sacred energy can’t be found in his collections. They are full of the intriguing distance of those who have said enough. But bursts of sentiment, no such thing, a mere standpoint, an elegant unease. No name, no shouting. No way. Such is the weeded out phlegm of twentieth century dandies: Ray Davies, Brian Jones. This list could go on... Roland Barthes, Adorno, The Beatles, Ma... No names.
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