The Leica as a work of ART: Selling the image of elegant exclusivity
A lifelong Leica fan looks at the company from a marketing perspective
By Jason Schneider
As the German philosopher Georg Wilhelm Friedrich Hegel (1770-1831) observed "A thing is what it has been." This isn’t a direct quote, but a summary of his philosophy, the idea that the present reality is a result of and contains within it all previous stages of its development. This is certainly true for E. Leitz Wetzlar, the camera division of which became Leica GmbH in 1986 and Leica Camera AG in 1996. Indeed. that’s why a brief overview of the company’s history reveals so much about the enduring philosophy that has guided it from the very beginning and has helped transform it into the world class entity it is today.
E. Leitz Wetzlar originated in 1849 as the Optical Institute, founded by Karl Kellner (1826-1855), a brilliant mathematician and optical designer famous for inventing the Kellner microscope eyepiece, an achromatic lens combination that corrected for distortion. This helped establish the company as a leading microscope manufacturer worldwide and is still in use today. Ernst Leitz joined the company 1865, took over in 1869, and renamed it after himself, steadily building an international reputation for high-quality microscopes, and expanding the line to include high-quality binoculars in 1907. This is a good thing, since “LEIMI” for Leitz Microscope (pronounced LIMY) simply doesn’t have the panache of LEICA for Leitz Camera.
E. Leitz Wetzlar was a forward-looking but conservative manufacturer of high-quality observation devices—telescopes, microscopes, and binoculars— throughout its early history. But that began to change in 1911 when they hired Oskar Barnack, formerly of Zeiss, to be what was in effect, an in-house freelancer with license to apply his extraordinary mechanical genius and creativity to whatever project was at hand, or to come up with his own. Barnack, an asthmatic, was loath to lug around one of the typical bulky glass plate, film pack, or roll film cameras of the day while engaging in his favorite pastime, hiking in the mountains. So, he devised an ingenious workaround, the UR-Leica of 1913, a working prototype of a slim, pocketable precision miniature still camera, providing a 24 x 36mm format (2 standard 18 x 24mm cine frames side by side) on double perforated 35mm movie film. Fortuitously, Max Berek, an innovative, largely self-taught optical designer, joined the company in 1912 and worked closely with Barnack in designing high-performance lenses for his Ur-Leica. These included the rare 5-element 50mm f/3.5 Leitz Anastigmat and Elmax, and the iconic 4-element, 3-group 50mm f/3.5 Elmar, a Tessar type that became the most common lens fitted to the first Leica, the Leica I (Model A) and was made in prodigious quantities as an interchangeable screw-mount and M-mount lens until it was finally phased out in the early ‘70s.
Where it all started: An early Leica I (Model A) of 1925 with ultra-rare 5-element 50mm f/3.5 Leitz Anastigmat lens designed by Max Berek. What's it worth? This priceless museum piece would undoubtedly fetch millions of dollars at auction.
The introduction of the Leica A (Model A) at the Leipzig Spring Fair in 1925 changed everything, including the trajectory of the company. It was the first successful 35mm still camera to achieve worldwide distribution in significant numbers and it almost singlehandedly established the 24 x 36mm still picture format as the world standard. The fact that it was a camera, a dynamic interactive device used to capture a permanent record of the photographer’s vision, impressions, and lived experiences, meant that it had the potential of being perceived as a precious object, a prized possession, a technological work of art. The marketing people at Leitz were quick to see the Leica’s potential as a precious object that could not only lend luster to the Leica’s image but also enhance the company’s profitability. And so, by 1929, they offered the Leica Luxus, an elegant buff-gold-plated Leica I (Model A) clad in the buyer’s choice of 4 colors of dyed lizard skin at roughly twice the price of a standard, black-finished model.
It was an audaciously expensive camera for 1925 ($3 trillion each in 2025 US dollars-🙂 being offered to Germans that had literally been starving and fighting for scraps of food only 7 years before. Was it financial desperation or marketing genius that inspired Ernst Leitz to bet the company’s future on such an unlikely and strange camera?
Also, a peculiar thing started happening to Leicas in the 1930’s that did not happen so much to their arguably higher spec and better lensed Zeiss Contax competitors. Leica users started appreciating and loving their small lightweight Leica cameras beyond all reason. For many the perfect camera had finally been invented. Slowly that love transformed into artistic appreciation, and to Leicas being seen as Works of Art.
The Leica Luxus: The Leica as Precious Object, the earliest iteration
The term Leica Luxus refers to a series of ultra-luxurious gold-plated Leica cameras produced by E. Leitz Wetzlar in very limited numbers in the late 1920s and early 1930s. Aimed at affluent enthusiasts, they were listed in the Leitz catalog, so not literally “made to order,” but they were produced only when an order was received from an authorized Leica dealer or an “important” customer. The original Luxus I, made from 1929 to 1931, was a dull-gold-plated version of the original Leica I (Model A), covered in lizard skin dyed in a choice of 4 colors, red, green, blue and brown. In addition, there are 3 known examples of Luxus I cameras based in the Leica I (Model C) with non-standardized screw mount. The Luxus I could be ordered with or without a matching case or gold-plated FODIS rangefinder, and with various sets of Leica film cartridges. The most common version is fitted with a gold plated collapsible 50mm f/3.5 Elmar lens though a small number were made with a similarly finished collapsible 50mm f/2.5 Hektor. Approximately 95 examples were created in total, making the Luxus I one the rarest, most coveted, and expensive Leicas of all time.
The Real Deal. Spectacular Leica Luxus I No. 48401 on the front cover of "Leica An Illustrated Guide" by James Lager published in 1975.
The Leica Luxus II made in 1932, was a gold-plated Leica II (Model D) with a standard LTM mount, coupled rangefinder and lizard skin covering. It’s much rarer than the Luxus I with only four known examples having been made. These cameras were made on special order and are now among the rarest, most valuable collector's cameras in the world, with estimated prices in the millions of dollars.
Leica Luxus I
If the 100-year history of the Leica, which officially began in 1925, demonstrates anything it is the power of hiring the right people—innovative, unconventional geniuses that think outside the box—and a shrewd understanding by management that the Leica is something unique and special, not just a great camera, but precious object to be coveted, admired, and collected. It is certainly no accident that Leicas are, by far, the most avidly collected cameras in the world and that rare models often command stupendous prices at auction. In short, the management at Wetzlar realized the full potential of the Leica, both as a superlative picture making instrument, and as a prized possession, and they took it to the bank. Today, Leica Camera AG continues to create unique cameras and lenses that combine superlative performance, elegant exclusivity, and consummate collectability—a formula that has enabled it to survive and prosper even in these uncertain and inflationary times.
Leica Special Editions: Are some “Works of Art” over the top?
The idea of positioning Leica cameras and lenses as “precious objects” has certainly redounded to the benefit of Leica Camera AG, but the success of the company ultimately rests on the truth that Leica cameras and lenses deliver the goods and are often at or near the pinnacle in terms of their real-world performance. When it comes to creating digital cameras like the current Leica M11, M-EV1, and Q3, Leica, whose strongest suits are in superlative mechanics and world-class optics, has worked with and relied on other companies to develop digital image sensors, image processing systems, and electronic circuitry configured and made to Leicas’s exacting specifications. For example, the Leica Maestro III and IV image processing systems used in today’s high-end Leicas were developed through a long-standing strategic partnership with Fujitsu Electronics (later known as Socionext) starting in 2008.
Would Leica be better off if it upgraded its own electronics capability and achieved the ability to design and manufacture its own sensors and electronics independently? Or is it better off leveraging its core competencies as it does now? Frankly, that question is beyond my pay grade, and would remain so even if I were given the keys to the Leica Camera AG kingdom.
As previously mentioned, commemorative and special edition Leicas have been part of the proud Leica tradition dating back to the spectacular super-rare Leica Luxus of 1929 to 1931. Over the ensuing years Leica has brought forth a slew of special edition cameras that run the gamut from the sublime to the outlandish. Here are some examples:
In the first category are such worthy entries as the Leica 50th Anniversary M4, M5, SL-2 and CL cameras of 1975, all emblazoned with a handsome “50 Jahre” crest, the striking gold-plated Oskar Barnack commemorative edition Leica M4-2 and Leica R3 of 1979, and the gorgeous Platinum ‘150 Years of Photography, 75 Years of Leica’ M6 of 1989, which bears the dual inscription (in German), "150 Jahre Fofografie 75 Jahre Leica Fotografie. While Leica aficionados may have their own ideas of what constitutes a “bizarre” special edition Leica, we’d unhesitatingly nominate the Danish Royal Wedding Leica M6 of 1995, which came with a “special” 35mm f/2 Summicron lens and has a humongous Royal Danish Crest engraving on the top plate. And who can forget the gold-plated Leica MP clad in a brilliant red covering, issued to commemorate the 60th Anniversary of the 1949 victory of the Chinese Communist Party in 2009. It’s engraved (in matching red of course) with an image of Tiananmen Square (no, not with the tragic “tank man!”) and a slogan in Mandarin by (who else?) Chairman Mao proclaiming “Long live the communist party of China!
Commemorative duds: They seemed like good ideas at the time
The Jesse Owens Leica R4 of 1986 and Aztec Leica R3 MOT of 1978 were both special editions created by the marketing mavens at Leica USA, then based in Rockleigh, New Jersey. Both are handsome and competent cameras, but neither was successful in sparking much interest among Leica aficionados and collectors. The black finished Aztec R3 MOT is covered in a rich burgundy calfskin leather and of course came with a matching Motor Winder R3 and a 50mm f/2 Summicron-R lens, also in black. The pièce de resistance was a large, luxurious, fitted attaché case clad in exotic Amatl wood, billed as “the sacred bark of the Aztecs,” promoted with a grandiloquent logo, “The Leica Camera Display Case” rendered in longhand on buff stock.
The Jesse Owens R4, also in black, was issued in 1986 to commemorate the 50th anniversary of that great black athlete winning 4 gold medals at the 1936 Olympics in Berlin, handily demolishing the notion of the alleged superiority of the “master race” and really ticking off der Führer. The camera came with a matching black Leitz Vario-Elmar R 70-210mm f/4 zoom lens bearing Jesse Owens’ signature, and both the lens and body came with handsome black Jesse Owens commemorative caps inscribed in gold letters and sporting the Olympic crest.
Ad for the Golden Anniversary Leica R4 issued to celebrate the 50th Anniversary of Jesse Owens' spectacular performance at the 1936 Olympics in Berlin. It was an achievement worth commemorating, but Leica collectors reacted with a collective shrug.
As far as we now know both these cameras were the sole result of Leitz Rockleigh’s marketing efforts and there was no input, impetus, or feedback from Leitz Wetzlar on either one. At the time, many members of the Leica community were unimpressed with these special editions and generally avoided them, so perhaps they constitute a classic lesson in the perils and limitations of special edition and commemorative marketing.
If you’re tempted to acquire a Jesse Owens R4 outfit, you can snag one on eBay for about $1,800.00 in clean used condition and up to $2,500,00 new or “like new in open box.” To put that in perspective, that’s less than the original dealer price back in 1968.
Hermès and Leica: A transformational misadventure
Hermès is an internationally renowned purveyor of luxury goods based in Paris France. Known for its exclusivity, meticulous craftsmanship, and wide range of products including iconic leather goods like the Birkin and Kelly bags, it was founded in 1837 by Thierry Hermès, originally to create high-quality harnesses and saddles for royalty and the carriage trade. The brand maintains its prestigious status through a supply-constrained business model and an emphasis on heritage, craftsmanship, and timeless value. Its diverse portfolio of luxury offerings includes leather products, ready-to-wear clothing, silk scarves, watches, jewelry, and home goods. 1984 also saw the introduction of one of Hermes most successful and beloved products, the legendary Birken Bag.
Hermès acquires a major share in Leica
In November 2000 Hermès announced it would purchase a 30% (later increased to 36.2%) stake in Leica Camera AG, the renowned German manufacturer of Leica cameras, lenses, and optical instruments. One motivation cited for the acquisition was that Jean-Louis Dumas, then chairman of Hermès, was an avid user and fan of Leica cameras. For Leica, the deal provided a vital financial lifeline, since the company had experienced operating losses in the preceding years. Both companies shared a philosophy of selling expensive, high-quality goods with fiercely loyal followings. During this period, the two companies collaborated on several limited-edition products, including the Leica M9-P featured here, with Hermès' signature handcrafted leatherwork and premium finishing.
Hermès sells its stake in Leica
The "adventure" concluded late in 2006 when Hermès sold its entire 36.2% stake in Leica to ACM Projektentwicklung GmbH, an Austrian investment firm (and existing major shareholder in Leica), for €15 million. Leica’s future changed overnight. The investment had not been a great financial success for Hermès since Leica continued to face financial difficulties and poor profits during those years. Fortunately, once the Austrian firm, led by Dr. Andreas Kaufmann, became the principal shareholder, it helped steer Leica toward a turnaround. Much of Leica's continuous growth since 2006 can be attributed to Kaufmann's ownership, leadership, and astute business strategy, which focused on its premium market position and limited-edition collaborations, including further ones with Hermès, which continue to be highly sought-after collector's items.
The Leica M9-P Hermès: Exclusivity and style at a price
The Leica M9-P Hermès is a limited-edition luxury camera set that commemorates the friendship between Leica and the former president of Hermès, Jean-Louis Dumas. Released in 2012, it features a specially designed M9-P camera body clad in a distinctive ochre-colored calfskin leather finish from Hermès and a matching strap. The camera was offered in two sets, one with a single lens and a more exclusive set limited to 100 units that included three lenses and a special Hermès camera bag. Based on the Leica M9-P body the camera's form factor was influenced by famed automotive designer Walter de Silva (his cars include the Audi A5 and the Lamborghini Miura) who also worked on the M9 Titanium.
The Leica M9-P "Edition Hermès" is a limited-edition camera with the core specifications of the standard M9-P, including an 18MP full-frame CCD sensor, manual focus, and a Leica M-mount. Its signature specifications are its unique luxury design and finish, featuring Hermes' "Veau Swift" calfskin leather, custom-designed top and base plates without a Leica script or accessory shoe, custom-scalloped shutter speed dial, integrated soft release button, a rear wheel made of metal and matching silver-anodized lenses (see below)..
Edition Hermès Limited Edition Jean-Louis Dumas was an exclusive set of 100 that included 28mm f/2, 50mm f/0.95, and 90mm f/2 ASPH. Leica-M lenses, a Hermès Edition Leica M9-P body, a special Hermès camera bag, and a Jean-Louis Dumas picture portfolio. Price: $50K!
The two versions of the Edition Hermès: set are:
Edition Hermès: A limited run of 300 cameras, each with a silver-anodized Leica Summilux-M 50mm f/1.4 ASPH. lens. Price: $25,000.
Edition Hermès – Série Limitée Jean-Louis Dumas: A more exclusive set of 100, which includes the camera and three lenses (28mm f/2, 50mm f/0.95, and 90mm f/2 ASPH.), a special Hermès camera bag, and a portfolio of Jean-Louis Dumas's photography. Price: $50,000.
The goal of this unprecedented collaboration: to combine the precision and craftsmanship of a high-end camera manufacturer with the luxury and artisanal quality of a fashion house, creating a camera that is both a high-performance tool and a luxury item. Verdict: mission accomplished, though admittedly Leica fans are still arguing over the esthetics and the price!
Were there any enduring effects of the Hermès-Leica partnership?
Yes. Most business and marketing experts conclude that the relatively brief association between Hermès and Leica did have a significant effect on shaping Leica's subsequent marketing strategy, helping it reposition and solidify its status as a global luxury brand. In essence, Hermès' influence provided strategic guidance that shaped Leica's future approach.
The key impacts on Leica's marketing strategy were:
The idea of the Leica M as Art has pushed the company forward for over half a century. It is an implicit goal in all Leica design, even if unstated. One of Leica’s greatest strengths and challenges going forward is continually turning out Works of Art called Leicas.
Profuse thanks to Leica Historian Extraordinaire James Lager for providing much of the information and most images for this article.
A lifelong Leica fan looks at the company from a marketing perspective
By Jason Schneider
As the German philosopher Georg Wilhelm Friedrich Hegel (1770-1831) observed "A thing is what it has been." This isn’t a direct quote, but a summary of his philosophy, the idea that the present reality is a result of and contains within it all previous stages of its development. This is certainly true for E. Leitz Wetzlar, the camera division of which became Leica GmbH in 1986 and Leica Camera AG in 1996. Indeed. that’s why a brief overview of the company’s history reveals so much about the enduring philosophy that has guided it from the very beginning and has helped transform it into the world class entity it is today.
E. Leitz Wetzlar originated in 1849 as the Optical Institute, founded by Karl Kellner (1826-1855), a brilliant mathematician and optical designer famous for inventing the Kellner microscope eyepiece, an achromatic lens combination that corrected for distortion. This helped establish the company as a leading microscope manufacturer worldwide and is still in use today. Ernst Leitz joined the company 1865, took over in 1869, and renamed it after himself, steadily building an international reputation for high-quality microscopes, and expanding the line to include high-quality binoculars in 1907. This is a good thing, since “LEIMI” for Leitz Microscope (pronounced LIMY) simply doesn’t have the panache of LEICA for Leitz Camera.
E. Leitz Wetzlar was a forward-looking but conservative manufacturer of high-quality observation devices—telescopes, microscopes, and binoculars— throughout its early history. But that began to change in 1911 when they hired Oskar Barnack, formerly of Zeiss, to be what was in effect, an in-house freelancer with license to apply his extraordinary mechanical genius and creativity to whatever project was at hand, or to come up with his own. Barnack, an asthmatic, was loath to lug around one of the typical bulky glass plate, film pack, or roll film cameras of the day while engaging in his favorite pastime, hiking in the mountains. So, he devised an ingenious workaround, the UR-Leica of 1913, a working prototype of a slim, pocketable precision miniature still camera, providing a 24 x 36mm format (2 standard 18 x 24mm cine frames side by side) on double perforated 35mm movie film. Fortuitously, Max Berek, an innovative, largely self-taught optical designer, joined the company in 1912 and worked closely with Barnack in designing high-performance lenses for his Ur-Leica. These included the rare 5-element 50mm f/3.5 Leitz Anastigmat and Elmax, and the iconic 4-element, 3-group 50mm f/3.5 Elmar, a Tessar type that became the most common lens fitted to the first Leica, the Leica I (Model A) and was made in prodigious quantities as an interchangeable screw-mount and M-mount lens until it was finally phased out in the early ‘70s.
Where it all started: An early Leica I (Model A) of 1925 with ultra-rare 5-element 50mm f/3.5 Leitz Anastigmat lens designed by Max Berek. What's it worth? This priceless museum piece would undoubtedly fetch millions of dollars at auction.
The introduction of the Leica A (Model A) at the Leipzig Spring Fair in 1925 changed everything, including the trajectory of the company. It was the first successful 35mm still camera to achieve worldwide distribution in significant numbers and it almost singlehandedly established the 24 x 36mm still picture format as the world standard. The fact that it was a camera, a dynamic interactive device used to capture a permanent record of the photographer’s vision, impressions, and lived experiences, meant that it had the potential of being perceived as a precious object, a prized possession, a technological work of art. The marketing people at Leitz were quick to see the Leica’s potential as a precious object that could not only lend luster to the Leica’s image but also enhance the company’s profitability. And so, by 1929, they offered the Leica Luxus, an elegant buff-gold-plated Leica I (Model A) clad in the buyer’s choice of 4 colors of dyed lizard skin at roughly twice the price of a standard, black-finished model.
It was an audaciously expensive camera for 1925 ($3 trillion each in 2025 US dollars-🙂 being offered to Germans that had literally been starving and fighting for scraps of food only 7 years before. Was it financial desperation or marketing genius that inspired Ernst Leitz to bet the company’s future on such an unlikely and strange camera?
Also, a peculiar thing started happening to Leicas in the 1930’s that did not happen so much to their arguably higher spec and better lensed Zeiss Contax competitors. Leica users started appreciating and loving their small lightweight Leica cameras beyond all reason. For many the perfect camera had finally been invented. Slowly that love transformed into artistic appreciation, and to Leicas being seen as Works of Art.
The Leica Luxus: The Leica as Precious Object, the earliest iteration
The term Leica Luxus refers to a series of ultra-luxurious gold-plated Leica cameras produced by E. Leitz Wetzlar in very limited numbers in the late 1920s and early 1930s. Aimed at affluent enthusiasts, they were listed in the Leitz catalog, so not literally “made to order,” but they were produced only when an order was received from an authorized Leica dealer or an “important” customer. The original Luxus I, made from 1929 to 1931, was a dull-gold-plated version of the original Leica I (Model A), covered in lizard skin dyed in a choice of 4 colors, red, green, blue and brown. In addition, there are 3 known examples of Luxus I cameras based in the Leica I (Model C) with non-standardized screw mount. The Luxus I could be ordered with or without a matching case or gold-plated FODIS rangefinder, and with various sets of Leica film cartridges. The most common version is fitted with a gold plated collapsible 50mm f/3.5 Elmar lens though a small number were made with a similarly finished collapsible 50mm f/2.5 Hektor. Approximately 95 examples were created in total, making the Luxus I one the rarest, most coveted, and expensive Leicas of all time.
The Real Deal. Spectacular Leica Luxus I No. 48401 on the front cover of "Leica An Illustrated Guide" by James Lager published in 1975.
The Leica Luxus II made in 1932, was a gold-plated Leica II (Model D) with a standard LTM mount, coupled rangefinder and lizard skin covering. It’s much rarer than the Luxus I with only four known examples having been made. These cameras were made on special order and are now among the rarest, most valuable collector's cameras in the world, with estimated prices in the millions of dollars.
Leica Luxus I
- Production period: 1929–1931
- Base model: Leica I (Model A)
- Appearance: Gold-plated (in an understated dull gilt) metal components and lizard skin covering
- Quantity: Approximately 95 units were produced, making them exceptionally rare
- Present status: Only a handful are known to exist in their original condition; many were modified or destroyed
- Base model: Leica II (Model D), featuring a built-in rangefinder
- Appearance: Gold-plated body with lizard-skin covering and including a custom crocodile case
- Quantity: Only four are known to have been made according to factory records
- Production method: Some may have been custom orders to upgrade existing Leica II cameras
- Status: Even rarer than the Luxus I, they now qualify as priceless museum pieces
- Significance and value
- All Luxus models mentioned above were produced in very small numbers, often with opulent materials like gold plating and exotic skins including dyed calfskin, and ostrich skin.
- They were considerably more expensive than standard models; the Luxus I cost twice as much as a normal Leica I (Model A) camera in 1929, according to Leitz Photographica Auction.
- Due to their extreme rarity and historical significance, they are highly sought after by collectors and fetch extremely high prices at auction, with some selling for millions of dollars.
If the 100-year history of the Leica, which officially began in 1925, demonstrates anything it is the power of hiring the right people—innovative, unconventional geniuses that think outside the box—and a shrewd understanding by management that the Leica is something unique and special, not just a great camera, but precious object to be coveted, admired, and collected. It is certainly no accident that Leicas are, by far, the most avidly collected cameras in the world and that rare models often command stupendous prices at auction. In short, the management at Wetzlar realized the full potential of the Leica, both as a superlative picture making instrument, and as a prized possession, and they took it to the bank. Today, Leica Camera AG continues to create unique cameras and lenses that combine superlative performance, elegant exclusivity, and consummate collectability—a formula that has enabled it to survive and prosper even in these uncertain and inflationary times.
Leica Special Editions: Are some “Works of Art” over the top?
The idea of positioning Leica cameras and lenses as “precious objects” has certainly redounded to the benefit of Leica Camera AG, but the success of the company ultimately rests on the truth that Leica cameras and lenses deliver the goods and are often at or near the pinnacle in terms of their real-world performance. When it comes to creating digital cameras like the current Leica M11, M-EV1, and Q3, Leica, whose strongest suits are in superlative mechanics and world-class optics, has worked with and relied on other companies to develop digital image sensors, image processing systems, and electronic circuitry configured and made to Leicas’s exacting specifications. For example, the Leica Maestro III and IV image processing systems used in today’s high-end Leicas were developed through a long-standing strategic partnership with Fujitsu Electronics (later known as Socionext) starting in 2008.
Would Leica be better off if it upgraded its own electronics capability and achieved the ability to design and manufacture its own sensors and electronics independently? Or is it better off leveraging its core competencies as it does now? Frankly, that question is beyond my pay grade, and would remain so even if I were given the keys to the Leica Camera AG kingdom.
As previously mentioned, commemorative and special edition Leicas have been part of the proud Leica tradition dating back to the spectacular super-rare Leica Luxus of 1929 to 1931. Over the ensuing years Leica has brought forth a slew of special edition cameras that run the gamut from the sublime to the outlandish. Here are some examples:
In the first category are such worthy entries as the Leica 50th Anniversary M4, M5, SL-2 and CL cameras of 1975, all emblazoned with a handsome “50 Jahre” crest, the striking gold-plated Oskar Barnack commemorative edition Leica M4-2 and Leica R3 of 1979, and the gorgeous Platinum ‘150 Years of Photography, 75 Years of Leica’ M6 of 1989, which bears the dual inscription (in German), "150 Jahre Fofografie 75 Jahre Leica Fotografie. While Leica aficionados may have their own ideas of what constitutes a “bizarre” special edition Leica, we’d unhesitatingly nominate the Danish Royal Wedding Leica M6 of 1995, which came with a “special” 35mm f/2 Summicron lens and has a humongous Royal Danish Crest engraving on the top plate. And who can forget the gold-plated Leica MP clad in a brilliant red covering, issued to commemorate the 60th Anniversary of the 1949 victory of the Chinese Communist Party in 2009. It’s engraved (in matching red of course) with an image of Tiananmen Square (no, not with the tragic “tank man!”) and a slogan in Mandarin by (who else?) Chairman Mao proclaiming “Long live the communist party of China!
Commemorative duds: They seemed like good ideas at the time
The Jesse Owens Leica R4 of 1986 and Aztec Leica R3 MOT of 1978 were both special editions created by the marketing mavens at Leica USA, then based in Rockleigh, New Jersey. Both are handsome and competent cameras, but neither was successful in sparking much interest among Leica aficionados and collectors. The black finished Aztec R3 MOT is covered in a rich burgundy calfskin leather and of course came with a matching Motor Winder R3 and a 50mm f/2 Summicron-R lens, also in black. The pièce de resistance was a large, luxurious, fitted attaché case clad in exotic Amatl wood, billed as “the sacred bark of the Aztecs,” promoted with a grandiloquent logo, “The Leica Camera Display Case” rendered in longhand on buff stock.
The Jesse Owens R4, also in black, was issued in 1986 to commemorate the 50th anniversary of that great black athlete winning 4 gold medals at the 1936 Olympics in Berlin, handily demolishing the notion of the alleged superiority of the “master race” and really ticking off der Führer. The camera came with a matching black Leitz Vario-Elmar R 70-210mm f/4 zoom lens bearing Jesse Owens’ signature, and both the lens and body came with handsome black Jesse Owens commemorative caps inscribed in gold letters and sporting the Olympic crest.
Ad for the Golden Anniversary Leica R4 issued to celebrate the 50th Anniversary of Jesse Owens' spectacular performance at the 1936 Olympics in Berlin. It was an achievement worth commemorating, but Leica collectors reacted with a collective shrug.
As far as we now know both these cameras were the sole result of Leitz Rockleigh’s marketing efforts and there was no input, impetus, or feedback from Leitz Wetzlar on either one. At the time, many members of the Leica community were unimpressed with these special editions and generally avoided them, so perhaps they constitute a classic lesson in the perils and limitations of special edition and commemorative marketing.
If you’re tempted to acquire a Jesse Owens R4 outfit, you can snag one on eBay for about $1,800.00 in clean used condition and up to $2,500,00 new or “like new in open box.” To put that in perspective, that’s less than the original dealer price back in 1968.
Hermès and Leica: A transformational misadventure
Hermès is an internationally renowned purveyor of luxury goods based in Paris France. Known for its exclusivity, meticulous craftsmanship, and wide range of products including iconic leather goods like the Birkin and Kelly bags, it was founded in 1837 by Thierry Hermès, originally to create high-quality harnesses and saddles for royalty and the carriage trade. The brand maintains its prestigious status through a supply-constrained business model and an emphasis on heritage, craftsmanship, and timeless value. Its diverse portfolio of luxury offerings includes leather products, ready-to-wear clothing, silk scarves, watches, jewelry, and home goods. 1984 also saw the introduction of one of Hermes most successful and beloved products, the legendary Birken Bag.
Hermès acquires a major share in Leica
In November 2000 Hermès announced it would purchase a 30% (later increased to 36.2%) stake in Leica Camera AG, the renowned German manufacturer of Leica cameras, lenses, and optical instruments. One motivation cited for the acquisition was that Jean-Louis Dumas, then chairman of Hermès, was an avid user and fan of Leica cameras. For Leica, the deal provided a vital financial lifeline, since the company had experienced operating losses in the preceding years. Both companies shared a philosophy of selling expensive, high-quality goods with fiercely loyal followings. During this period, the two companies collaborated on several limited-edition products, including the Leica M9-P featured here, with Hermès' signature handcrafted leatherwork and premium finishing.
Hermès sells its stake in Leica
The "adventure" concluded late in 2006 when Hermès sold its entire 36.2% stake in Leica to ACM Projektentwicklung GmbH, an Austrian investment firm (and existing major shareholder in Leica), for €15 million. Leica’s future changed overnight. The investment had not been a great financial success for Hermès since Leica continued to face financial difficulties and poor profits during those years. Fortunately, once the Austrian firm, led by Dr. Andreas Kaufmann, became the principal shareholder, it helped steer Leica toward a turnaround. Much of Leica's continuous growth since 2006 can be attributed to Kaufmann's ownership, leadership, and astute business strategy, which focused on its premium market position and limited-edition collaborations, including further ones with Hermès, which continue to be highly sought-after collector's items.
The Leica M9-P Hermès: Exclusivity and style at a price
The Leica M9-P Hermès is a limited-edition luxury camera set that commemorates the friendship between Leica and the former president of Hermès, Jean-Louis Dumas. Released in 2012, it features a specially designed M9-P camera body clad in a distinctive ochre-colored calfskin leather finish from Hermès and a matching strap. The camera was offered in two sets, one with a single lens and a more exclusive set limited to 100 units that included three lenses and a special Hermès camera bag. Based on the Leica M9-P body the camera's form factor was influenced by famed automotive designer Walter de Silva (his cars include the Audi A5 and the Lamborghini Miura) who also worked on the M9 Titanium.
The Leica M9-P "Edition Hermès" is a limited-edition camera with the core specifications of the standard M9-P, including an 18MP full-frame CCD sensor, manual focus, and a Leica M-mount. Its signature specifications are its unique luxury design and finish, featuring Hermes' "Veau Swift" calfskin leather, custom-designed top and base plates without a Leica script or accessory shoe, custom-scalloped shutter speed dial, integrated soft release button, a rear wheel made of metal and matching silver-anodized lenses (see below)..
Edition Hermès Limited Edition Jean-Louis Dumas was an exclusive set of 100 that included 28mm f/2, 50mm f/0.95, and 90mm f/2 ASPH. Leica-M lenses, a Hermès Edition Leica M9-P body, a special Hermès camera bag, and a Jean-Louis Dumas picture portfolio. Price: $50K!
The two versions of the Edition Hermès: set are:
Edition Hermès: A limited run of 300 cameras, each with a silver-anodized Leica Summilux-M 50mm f/1.4 ASPH. lens. Price: $25,000.
Edition Hermès – Série Limitée Jean-Louis Dumas: A more exclusive set of 100, which includes the camera and three lenses (28mm f/2, 50mm f/0.95, and 90mm f/2 ASPH.), a special Hermès camera bag, and a portfolio of Jean-Louis Dumas's photography. Price: $50,000.
The goal of this unprecedented collaboration: to combine the precision and craftsmanship of a high-end camera manufacturer with the luxury and artisanal quality of a fashion house, creating a camera that is both a high-performance tool and a luxury item. Verdict: mission accomplished, though admittedly Leica fans are still arguing over the esthetics and the price!
Were there any enduring effects of the Hermès-Leica partnership?
Yes. Most business and marketing experts conclude that the relatively brief association between Hermès and Leica did have a significant effect on shaping Leica's subsequent marketing strategy, helping it reposition and solidify its status as a global luxury brand. In essence, Hermès' influence provided strategic guidance that shaped Leica's future approach.
The key impacts on Leica's marketing strategy were:
- Repositioning Leica as a Luxury Brand: Hermès' investment and consultation helped Leica in strategically shifting its market orientation to embrace a clearer identity as a luxury brand, moving beyond solely being seen as a "tool" for professional photographers.
- Adopting Selective Distribution: With guidance from Hermès, Leica adopted a selective distribution strategy, which involved opening its own high-style, branded boutiques and stores to control the customer experience and brand image, a common practice in the luxury sector.
- Limited Edition Collaborations: The success of specific co-branded products, such as the highly collectible and expensive Leica M9-P Edition Hermès, demonstrated the potential of leveraging shared values of quality and precision through exclusive, high-priced limited editions.
- Enhanced Brand Perception: The association helped reinforce Leica's appeal to a wealthy demographic of collectors and enthusiasts who value timeless, high-end goods, in the same class as those favored by Hermès' elite clientele.
- Focus on Design and Craftsmanship: The shared emphasis on precision in design, manufacturing, and high-quality materials (like the calfskin leather used on the special edition cameras) was highlighted in marketing, resonating with the luxury market.
The idea of the Leica M as Art has pushed the company forward for over half a century. It is an implicit goal in all Leica design, even if unstated. One of Leica’s greatest strengths and challenges going forward is continually turning out Works of Art called Leicas.
Profuse thanks to Leica Historian Extraordinaire James Lager for providing much of the information and most images for this article.
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