ALYSHA EMMA DAVIS
Azzedine Alaia Vetements
comparative analysis of an established luxury fashion brand and an emerging luxury fashion brand in the global market place
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EXECUTIVE
SUMMARY P
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This report sets out to provide a comparative analysis of an established luxury brand (Azzedine Alaia) and an emerging luxury brand (Vetements), to result in an offering of resolutions - inspired by each other’s current practices and positions - for the contemporary issues they are facing in the global market place.
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The research methods I will use for this project will primarily be secondary sources. I feel this approach will help me to identify the key features and history of Azzedine Alaia and Vetements whilst also allowing me to situate them in the wider context of the luxury global market and current global affairs that may affect the future direction of the brands. It has been very difficult to obtain primary sources, Vetements does not sell in a physical store and Alaia is only currently sold in London in the UK and this has made it difficult to travel to the locations.
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Azzedine Alaia, Vetements, luxury, fashion, global marketplace, contemporary issues in fashion, brand awareness, brand development, recommendations for growth, future
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CONTENTS executive summary one and two contents three and four introduction five and six company analysis seven to fourteen ma r ket analysis fifteen and sixteen environmental analysis seventeen to twenty-six short and long term forcasts twenty-seven and twenty - eight recommendations twenty-nine and thirty references thirty-one to thirty-four images thirty-five to thirty-eight appendix thirty-nine to forty-two
.FOUR.
.FIVE.
luxury needs to urgently explore the ways of I N T R O attracting a new, younger demographic without sacrificing exclusivity
DUCTION When researching emerging and established luxury fashion brands, I stumbled across an interview between Imran Amed and Demna Gvasalia. Demna is the joint creator of emerging luxury brand Vetements and at the time of the interview had just been announced as the new artistic director of Balenciaga (Business of Fashion, 2016). They discussed the exhaustion of creativity that the rules shaped by Pierre Berge over fifty years ago, were having on designers today. Amed (2015) explains Vetements new operating model, to show one gender combined assemblage during pre-collections in January and June to allow time to develop creative output. Demna goes onto discuss on the pressures to create because of the strict fashion timetable and how “it is a problem everyone is aware of”. He identifies with Azzedine Alaia’s mode of “showing the collection when he wants to show it and not showing when everybody else is showing. That’s their model and it works for them”. I felt Demna comparing his idea to reduce the amount of shows he outputs at Vetements, in line with Azzedine Alaia’s model of showing when he feels his collections were complete, made for an interesting comparison.
.SIX.
.SEVEN.
COMPANY
Azzedine Alaia is one of a rare few who are willing to go against the structured fashion schedule to follow his on conventions and create collections at his own pace (Business of Fashion, n.d). His ability to go against the grain stems from a dedicated following built on an appetite to own a piece of work executed with extraordinary skill in cutting and distinctive signature take on classical silhouettes. It is a well establish luxury brand, founded in 1979. Vetements is the latest fashion buzzword and are the current darlings of the industry. They are a completely new entrant into the luxury fashion industry are already demanding high attention. Founded in 2014 by Demna and Guram Gvasalia in a Paris living room, they refer to themselves as a design collective. Vetements are currently challenging the conventional fashion system with their combined women’s and menswear runway shows in January and June, months traditionally reserved for international menswear shows (Ahmed, 2016).
ANALYSIS Alaia took a brief retirement in the mid-nineties but returned to prominence in 2000 when he partnered with the Prada group. In 2007 he bought back his company from the Prada group and later in the same year he entered a partnership with luxury group Richemont. The brand remains relatively unchanged by the deal. Alaia (n.d) claims that this is about investment and not a buyout. Unlike where Demna is artistic director at Balenciaga, which is owned by luxury branding conglomerate Kering, Vetements remains free of investment. This is something the brand feels incredibly strongly about. Demna explains that they want to have absolute control over their brand and is concerned that investment will “cannibalize� the company. He divulged in an interview with Suleman Anaya (2016) that Vetements had already had a very prominent offer that they declined.
.EIGHT.
.NINE.
K E Y
A E S T H E T I C
Alaia has been dubbed the ‘King of Cling’. His work has been inspired by the bias cut, he has reinvented the skater dress, accidentally caused crocodile skin to become a logo-less logo and has fathered many iconic signature looks (appendix one). Many of these looks have inspired other designer’s creations but none more so that the ‘Bandelette Dress’, a mid-length body con, which has been endlessly copied (Repressa, 2013).
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Critics refer to an ‘the aesthetics of ugliness’ in Vetements collections. Demna himself proclaims “it’s ugly, and that’s why we like it” (Fury, 2016). Their style is Post-Soviet/American street, trashy and deliberately off but follows a set of golden ratio’s that make their aesthetic pleasing to the eye regardless of learnt taste tied to opinion and constructed identity (Eror, 2016). Vetements has also in a short time created signature looks including the oversized hoodies and the ‘Vetements Raincoat’.
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Vetements, although a small starter company, was picked up to sell in twenty-seven stores after its first season (Marshall, 2016) and has landed over two-hundred stockists in three years (Indvik, 2016) this includes physical locations such as Dover Street Market and Barneys NY but is mostly sold online. Vetements limit the number of items available to outlets, for example, Italian stores are not allowed to buy more than four pieces of jersey in one style. Vetements believe that if something goes on sale it has been overproduced (Ahmed, 2016). Vetements almost always sells out on pre-order. Alaia has forty-seven physical locations in twenty countries across Europe, America, Asia-Pacific and the Middle East. Most these are found inside luxury goods department stores such as Harrods, Dover Street Market and Bergdorf Goodman. Alaia is also retailed online at luxury retailers such as matchesfashion.com and net-a-porter. In all 300 outlets (Marshall, 2016).
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Womenswear is the epicentre of Alaia’s empire. This is also true of Vetements, although they are now moving into menswear after finding many men were purchasing the gender ambiguous womenswear (Ahmed, 2016). Both brands also rely on sales of shoes and bags. Alaia has also developed a signature scent which retails at the higher end of designer perfumes. Alaia retail from £500 to over £15000 (Collins, 2012) and Vetements from £125 to over £3000 (matchesfashion.com, n.d)
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The consumer for Alaia is women, most likely affluent professionals seeking lasting luxury. They want to feel sultry and put-together whilst maintaining a modern, fresh edge. Alaia’s woman celebrates her body. She knows what his expert cut can do to her figure. The garments are famously said to lift and firm backsides, and extend and tighten torsos without the aid of stays, corsetry, underpinnings and in the case of some knitwear, seams (Collins, 2015). Alaia values every customer regardless of income. The Vetements consumer ranges from teenagers through to adult. Their mostly genderless approach appeals to male, female, trans and non-binary people although Vetements states it initially began to design for women who often buy vintage stuff or wear old pieces that they’ve owned for years (Gaimari, 2015). The key characteristics of a Vetements consumer are someone who wants to challenge the norm, is gender vague, desire quality fast fashion. They are in dialogue with what is going on in the world today and they want to make a statement. It is clear both companies attract customers who are looking for key pieces to enhance their fashion collection rather than throw-away pieces that will lose interest as the seasons change.
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MATURITY
GROWTH
DECLINE
INTRODUTION
DEATH
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HIGH COST
COMMERCIAL
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LOW COST
.FOURTEEN.
.FIFTEEN. STRENGTHS WEAKNESS OPPORTUNITIES THREATS Alaia, as a well-established brand, unsurprisingly boasts a wealth of strengths pertaining to the designers’ experiences with couture, his exceptional craftsmanship and global presence. More surprisingly Vetements, who have only been active for two years, have also developed a set of strengths to rival that of a long-standing luxury designer. Both Alaia and Vetements have fashioned signature aesthetics that are instantly recognisable without logos. Alaia and Vetements have a large global presence with outlets in countries worldwide and are also available online. Although they are accessible to most over the internet, they are localised to capital cities and trendy shopping outlets and therefore have a lack of presence regionally. Both brands have high price points. This is due to the quality of the materials and the craftsmanship (Ahmed, 2016). Existing consumers of Alaia and Vetements are both aware of the luxury of thea products and are happy to pay a premium for quality but they are possibly out-pricing a key market (Amed et al, 2016).
M A R K E T A N A L Y S I S
appendix two
STRENGTHS WEAKNESS OPPORTUNITIES THREATS Alaia does not actively market his clothes, nor does he loan to celebrities, they must buy his clothes. Very few magazines are sent his clothes, he rarely gives interviews and he never makes public appearances (Fury, 2015). This could provide opportunities to expand his marketing strategies but thus far hasn’t deterred consumers and multiple celebrities from purchasing and promoting his brand. Devotees include Michelle Obama, Lady Gaga, Kim Kardashian, Naomi Campbell and Victoria Beckham. Vetements also has a cult celebrity following with people like Kanye and Kim Kardashian, Lorde, Justin Bieber, plenty of rap stars, rock stars who create and extra thirst for the brand (Seigal, 2016). There are serious concerns for many in fashion is the use of animal fur and skins, as well as the sustainable production of materials. Alaia currently uses crocodile and snake skins in his designs. This is becoming increasingly more frowned upon, particularly with the younger, eco-conscious consumer and risks damaging their reputation in the future. Alaia could take this threat and turn it into an opportunity by adopting the approach initiated by Kering who have announced 100% of its precious skins and furs used in their brands’ products now come from verified captive breeding operations (appendix three) or from wild, sustainable managed populations (Kering, n.d).
.SIXTEEN.
.SEVENTEEN.
The Brexit vote in the UK, the United States Presidential election, terror attacks in France and the Chinese stock markets current volatility are creating shockwaves in the global economy. There is an unshakeable air of uncertainty. At the same time consumers are becoming more challenging, more perceptive and less predictable.
E X T E R N A L POLITICAL ECONOMIC
A N A L Y S I S SOCIAL TECHNOLOGICAL
.EIGHTEEN.
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Alaia and Vetements are both founded in Paris, France. Recently there have been a multitude of substantial terror attacks in France (appendix four). These current volatile affairs effect sales from a result in a tourism decline (Euromonitor, 2016) and fears of terrorist activity also discourages domestic consumers from feeling confident in certain retail outlets that depend on them. Whilst this has not had a significant on Alaia and Vetements sales directly, the luxury industry has seen a significant decline in purchasing. Fashion has also found itself embroiled in two major Supreme Court cases in 2016, Samsung .v Apple and Star Athletica v. Varsity Brands. Whilst neither focused specifically on luxury fashion, both cases had wider reaching effects on the creative industry design patents. Unfortunately, even with the backing of major fashion players, the court ruled in favour of Samsung over Apple and design patent experts have said this will essentially overturn decades of design patent protection (Ellis, 2016). The latter case explores whether Varsity Brands, the largest U.S manufacturer of cheerleader uniforms, can stop other manufacturers from copying the stripes and chevrons on the garments. For the fashion industry this case goes further than cheerleading costumes (Fisher, 2016). If the court rules from this case that the dresses are copyrightable, it would give designers more rights over their creations, which may prevent brands like Alaia and Vetements being replicated in the high street and give them more power in counterfeiting battles.
.TWENTY.
.TWENTY-ONE.
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There has been major upset in the UK and USA by means of the Brexit vote and the Presidential election. The UK’s largely unwelcomed departure from the EU will undoubtedly influence the British fashion industry, it has already seen the pound drop to a 168-year low (Amed et al, 2016) and anticipation over whether the UK will have access to the European Single Market forces companies to consider the vague future of existing and proposed trade agreements. Whilst in the USA, Donald Trump has won the Presidential Election, although he did not gain the popular vote, with the largest ever loss of 2.8 million (Kentish, 2016). Nobel Prize winning economist, Paul Krugman (2016), has declared that the economic fallout of Trump’s presidency will be severe and widespread and will likely plunge the world into a recession. Vetements and Alaia have strong markets in the UK and the USA and it is unclear how the result of these votes will take effect but chances are they will certainly feel pressure.
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Two key contrasting consumer groups are set to grow substantially in 2017; the elderly and the millennials (Amed et al, 2016). These new consumers cannot be ignored and brands must begin to take these new emerging markets into account. A balance of catering for a consumer market who are conscious of dressing appropriately whilst providing a more fluid, ageless approach is necessity. Style icon Iris Apfel (ibid) thinks “a woman has her own style and knows who she is; she doesn’t have to dress for being 60 or 20 or 90.� Capturing the millennials will depend on engaging more effectively with their lifestyles and responding to their needs. They should not be categorised as one group but divided into value, quality and image. These consumers are more astute, understand themselves better and know exactly what they want, there fashionable choices are dictated by lifestyle. 2016 saw growth in sub areas including athletic wear, genderless collections, plus size and modest wear (ibid).
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Increased emphasis is being placed on online retail platforms such as net-a-porter and matchesfashion.com (Euromonitor, 2016). Consumers have become more comfortable with digital interactions and e-commerce. Online sales of luxury goods are proposed to grow from 3% in 2012 to 12% of sales in 2020 (Amed et al, 2016). A balance between online and instore experience is paramount. Customers respond better to luxury fashion that offers experience. For instance, Vetements used 360-degree camera technology for their womenswear show to create an immersive atmosphere (Phelps, 2016). Some luxury fashion brands are taking full advantage of the technological developments. None more so than Burberry who have completely transformed their Regent Street store to provide and enriched and interactive experience (appendix five). This is certainly the way forward for engaging consumers in purchasing and repeat purchasing. Advances are also made in manufacture. Alaia has used a new Japanese textile that is woven microscopically fine. He also programmes his knitting machinery with a garments three-dimensional blue print to knit the pattern seamlessly (Collins, 2012). The international Labour Organisation estimates that within a few decades, the textile and clothing industry will lead a disruption that will replace the work force in emerging countries with advance technologies (Amed et al, 2016). This is unlikely to affect Vetements and Alaia, who rely on highly skilled bespoke crafts persons in Italy.
.TWENTY-FOUR.
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THREAT OF NEW ENTRANTS
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To Alaia this threat is very low as it has been
Counterfeit items saturating the marketplace will im-
in existence for 36 years and is therefore a
pact the brands integrity and undermine the invest-
strongly establish luxury fashion brand. A
ment of time the designer has spent developing a
new entrant may dominate in advertising as
product. Customers who aren’t aware they have pur-
Alaia does not actively promote the compa-
chased a counterfeit Alaia item may attribute the lack
ny but this will not affect Alaia’s sales. This
of quality to the official brand (Basheer and Loizides,
is evident in Harrods where he outperforms
2014). Vetements has become very desirable and has
all other international brands (Fury, 2015).
already faced issues with counterfeit items. Desire for
For Vetements however the threat is high.
Vetements products is driven by the limited drops of
It is a very new brand and although it has a
Vetements official items each season. Vetements has
very large cult following it is at risk of being
already taken steps to combat counterfeited items in
replaced by the next emerging cult brand.
Asia with a garage sale of fake fakes created by Vetements to sell at a warehouse in Seoul during Korean Fashion Week (Madsen, 2016). Azzedine Alaia is also currently fighting a battle with Roberto Cavalli who has allegedly directly copied a dress he made in 1985 (Socha, 2016). Substitutes provide an issue to Vetements and Alaia but will not largely effect sales. This threat is medium.
BARGAINING POWER OF SUPPLIERS
BARGAINING POWER OF BUYERS
Alaia sources his jersey and other knits from Flor-
Vetements and Alaia both like to personally con-
ence, Italy through knitwear designer Silvia Boc-
trol every aspect of their company. As demand for
chese (Fury, 2015). As she is his key supplier of knit
both brands is very high the brand retains the bar-
fabric, she has a high bargaining power. They have,
gaining power and can pick and choose who they
however, worked together for forty years and are
supply their products too (Marshall, 2016). Gene
friends; I therefore think the bargaining power is
Pressman, the co-president of Barney’s once stat-
unlikely to be abused by the supplier. Vetements
ed that they are “usually very rigid when it comes
though are new to industry, this opens them up to
to deliveries. He [Alaia] is the only exception” (Sis-
high bargaining power from suppliers as they have
chy, 1994). The bargaining power for buys where
not had substantial time to develop relationships.
these two brands are concerned is very low.
.TWENTY-SIX.
.TWENTY-SEVEN.
SHORT AND LONG TERM FORCASTS According to Richemont’s Annual Report (2016), Alaia looks to enforce its strategy of nurturing relationships with key partners, improving personalised spaces and greater focus on product training. In the year, ahead the Maison is exploring new terrains in digital marketing and developing brand awareness. It also aims to expand presence in Asia and the Middle East. It also looks to develop potential partnerships with boutique openings in specific markets to increase positioning. Vetements are very secretive about their future plans but Guram Gvasalia has expressed an interest in adopting a see-now-buy-now style over the next three to five years (Marshall, 2016).
.TWENTY-EIGHT.
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Alaia and Vetements are two brands with similar philosophies and outlooks on the fashion industry. Their accomplishments far outweigh their potential to fail but nevertheless both have a wealth of opportunities to consider. Alaia has always designed with the recognisable appeal although the seasons theme changes, celebrating form remains at the heart of design. Vetements can learn from Alaia’s dedication to his aesthetic by continuing to maintain their reactive appeal, as consumers are becoming increasingly disenfranchised with the current political state and economy (Amed et al, 2016) there is an undercurrent of silent revolt that is being expressed in the fashionable choices consumers are making. Both brands need to grow in physical consumer interaction and could look to other current industry leaders for progressive technological and immersive experiences, as neither currently offer a revolutionary approach. That said, Vetements recently produced a pop-up event in Korea to access a market that was ferocious for the brand and turned to heavy counterfeiting to access it. In the UK, Alaia only stocks physical garments in London, they could adopt the idea of a pop-up event and produce boutiques with limited stock. Vetements could in turn look to Alaia, and seek an investment conglomerate to support but not interfere with their brand. Alaia used his investors to develop a gallery facilitating Alaia’s archives next to the flagship store and attached to the atelier. Vetements could develop an immersive flagship store that brings identity and fashion together in an interactive location. Realistically, whatever direction either of these brands take, they are likely to succeed.
REC
OM MENDATIONS
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R E F E R E N C E S Ahmed, O. (2016, March 28). The Gvasalia Effect. Retrieved October 12, 2016, from http://1granary.com/interviews/the-gvasalia-effect/ Alaia (n.d). Retrieved October 10, 2016, from http://www.alaia.fr/en/press/Azzedinealaia. html/ Amed, I. (2016, February 05). Demna Gvasalia Reveals Vetements’ Plan to Disrupt the Fashion System. Retrieved November 15, 2016, from https://www.businessoffashion.com/articles/intelligence/demna-gvasalia-reveals-vetements-plan-to-disrupt-the-fashion-system Amed, I., Berg, A., Brantberg, L., Hedrich, S., Leon, J., & Young, R. (2016, December 2). The State Of Fashion 2017 (Rep.). Retrieved December 2 , 2016, from Business of Fashion / McKinsey&Company website: https://www.businessoffashion.com/site/uploads/2016/11/The_ State_of_Fashion_2017.pdf Anaya, S. (2016, June 29). Demna Gvasalia on Vetements, Balenciaga, and THE SYSTEM. Retrieved December 11, 2016, from https://032c.com/vetements-demna-gvasalia-interview Basheer, T., & Loizides, C. (2014, May 12). Counterfeiting: The Challenge To Brand Owners and Manufacturers | Brand Commercial. Retrieved November 13, 2016, from http://brandandcommercial.com/articles/show/brand-building/214/counterfeiting-the-challenge-to-brand-owners-and-manufacturers1 Business of Fashion, (2015, October 07). Demna Gvasalia of Vetements Named Balenciaga Artistic Director. Retrieved October 1, 2016, from https://www.businessoffashion.com/articles/ news-analysis/demna-gvasalia-vetements-named-creative-director-balenciaga Business of Fashion (n.d). Azzedine Alaia Biography Retrieved October 13, 2016, from https:// www.businessoffashion.com/ Collins, A. F. (2012, August 23). The Figure-Sculpting Fashions of Azzedine Alaïa. Retrieved November 11, 2016, from http://www.vanityfair.com/style/2012/09/azzedine-alaia-fashion-clothes
Euromonitor. (2016, November). Luxury Goods in United Kingdom. Retrieved November 11, 2016, from http://www.euromonitor.com/luxury-goods-in-united-kingdom/report Fisher, D. (2016, October 31). Justices Struggle With Cheerleader Uniform Case That Holds Big Implications For Fashion. Retrieved November 15, 2016, from http://www.forbes.com/sites/danielfisher/2016/10/31/ justices-struggle-with-cheerleader-uniform-case-that-holds-big-implications-for-fashion/#efbdd853a625 Fury, A. (2015, September 18). The genius of Azzedine Alaïa: Fashion’s contradictory colossus is the last of the craftsmen couturiers. Retrieved November 02, 2016, from http://www.independent.co.uk/life-style/ fashion/features/the-genius-of-azzedine-ala-a-fashions-contradictory-colossus-is-the-last-of-the-craftsmencouturiers-10503952.htmlFu ry, A. (2016, March 8). Demna Gvasalia Is Making Clothes That Are Meant To Be Worn. Retrieved December 8, 2016, from http://www.wmagazine.com/story/demna-gvasalia-vetements Gaimari, C. (2015). Vetements. Retrieved October 13, 2016, from http://purple.fr/magazine/fw-2015-issue-24/vetements/ Indvik, L. (2016, May 25). VETEMENTS CEO DISCUSSES METEORIC RISE, SAYS HE WON’T DO FASHION FOREVER. Retrieved December 02, 2016, from http://fashionista.com/2016/05/guram-gvasalia-vetements Kentish, B. (2016, December 12). Donald Trump has lost popular vote by greater margin than any US President. Retrieved December 20, 2016, from http://www.independent.co.uk/news/world/americas/us-elections/donald-trump-lost-popular-vote-hillary-clinton-us-election-president-history-a7470116.html Kering. (n.d.). Sustainably Sourced Precious Skins and Furs. Retrieved December 14, 2016, from http://www. kering.com/en/sustainability/targets/sustainable-precious-skins-furs Krugman. P (2016, November 8) Election Night. Retrieved December 09, 2016, from http://www.nytimes. com/interactive/projects/cp/opinion/election-night-2016/paul-krugman-the-economic-fallout Madsen, A. C. (2016, October 18). Vetements takes korea | read | i-D. Retrieved October 22, 2016, from https://i-d.vice.com/en_gb/article/vetements-takes-korea Marshall, A. (2016, June 24). The Cult of Vetements. Retrieved December 11, 2016, from http://www.wsj. com/articles/the-cult-of-vetements-1466760601 Marshall, A. (2016, August 18). The Art of Azzedine Alaïa. Retrieved October 14, 2016, from http://www. surfacemag.com/articles/azzedine-alaia-gallery Matchesfashion.com. Vetements | Womenswear. Retrieved November 10, 2016, from http://www.matchesfashion.com/womens/designers/vetements
.THIRTY-TWO.
.THIRTY-THREE. Phelps, N. (2016, August 24). The Future of the Fashion Show: Super-Stylist Lotta Volkova. Retrieved November 5, 2016, from http://www.vogue.com/13426509/future-of-fashion-shows-lotta-volkova/ Represa, M. (2013, September 27). Azzedine Alaïa’s Fashion Firsts. Retrieved December 11, 2016, from http://www.anothermag.com/art-photography/3052/azzedine-alaia-s-fashion-firsts Richemont Annual Report and Accounts 2016 (Rep.). (2016). Retrieved November 10, 2016, from Richemon website: https://www.richemont.com/images/investor_relations/reports/annual_report/2016/ar_fy2016_ d92nb1vdf73tb. Seigal, R. (2016, July 01). Vetements follow up: Kanye, staying in stores longer and selling online. Retrieved November 04, 2016, from https://loosethreads.xyz/blog/2016/7/1/vetements-follow-up-kanye-staying-instores-and-selling-online Sischy, I. (1994, October 30). THE OUTSIDER. Retrieved January 1, 2017, from http://www.newyorker.com/ magazine/1994/11/07/the-outsider-7 Socha, M. (2016, March 02). Azzedine Alaïa Talks Creativity and Copy Cats. Retrieved November 1, 2016, from http://wwd.com/fashion-news/designer-luxury/azzedine-alaia-paris-fall-10375076/ Fury, A. (2016, March 8). Demna Gvasalia Is Making Clothes That Are Meant To Be Worn. Retrieved December 8, 2016, from http://www.wmagazine.com/story/demna-gvasalia-vetements Gaimari, C. (2015). Vetements. Retrieved October 13, 2016, from http://purple.fr/magazine/fw-2015-issue-24/vetements/ Indvik, L. (2016, May 25). VETEMENTS CEO DISCUSSES METEORIC RISE, SAYS HE WON’T DO FASHION FOREVER. Retrieved December 02, 2016, from http://fashionista.com/2016/05/guram-gvasalia-vetements Kentish, B. (2016, December 12). Donald Trump has lost popular vote by greater margin than any US President. Retrieved December 20, 2016, from http://www.independent.co.uk/news/world/americas/us-elections/donald-trump-lost-popular-vote-hillary-clinton-us-election-president-history-a7470116.html Kering. (n.d.). Sustainably Sourced Precious Skins and Furs. Retrieved December 14, 2016, from http://www. kering.com/en/sustainability/targets/sustainable-precious-skins-furs Krugman. P (2016, November 8) Election Night. Retrieved December 09, 2016, from http://www.nytimes. com/interactive/projects/cp/opinion/election-night-2016/paul-krugman-the-economic-fallout Madsen, A. C. (2016, October 18). Vetements takes korea | read | i-D. Retrieved October 22, 2016, from https://i-d.vice.com/en_gb/article/vetements-takes-korea
Marshall, A. (2016, June 24). The Cult of Vetements. Retrieved December 11, 2016, from http:// www.wsj.com/articles/the-cult-of-vetements-1466760601 Marshall, A. (2016, August 18). The Art of Azzedine Alaïa. Retrieved October 14, 2016, from http:// www.surfacemag.com/articles/azzedine-alaia-gallery Matchesfashion.com. Vetements | Womenswear. Retrieved November 10, 2016, from http://www. matchesfashion.com/womens/designers/vetements Phelps, N. (2016, August 24). The Future of the Fashion Show: Super-Stylist Lotta Volkova. Retrieved November 5, 2016, from http://www.vogue.com/13426509/future-of-fashion-shows-lotta-volkova/ Represa, M. (2013, September 27). Azzedine Alaïa’s Fashion Firsts. Retrieved December 11, 2016, from http://www.anothermag.com/art-photography/3052/azzedine-alaia-s-fashion-firsts Richemont Annual Report and Accounts 2016 (Rep.). (2016). Retrieved November 10, 2016, from Richemon website: https://www.richemont.com/images/investor_relations/reports/annual_report/2016/ar_fy2016_d92nb1vdf73tb. Seigal, R. (2016, July 01). Vetements follow up: Kanye, staying in stores longer and selling online. Retrieved November 04, 2016, from https://loosethreads.xyz/blog/2016/7/1/vetements-follow-upkanye-staying-in-stores-and-selling-online Sischy, I. (1994, October 30). THE OUTSIDER. Retrieved January 1, 2017, from http://www.newyorker.com/magazine/1994/11/07/the-outsider-7 Socha, M. (2016, March 02). Azzedine Alaïa Talks Creativity and Copy Cats. Retrieved November 1, 2016, from http://wwd.com/fashion-news/designer-luxury/azzedine-alaia-paris-fall-10375076/
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Front Cover McLellan, A. (2016, October 21). Alaia A/W 2016 [Model wearing Alaia]. Retrieved November 11, 2016, from http://www.anothermag.com/fashion-beauty/9206/inside-the-world-of-azzedine-alaia (2016, March & april). SS16 Editorial [Vetements Hoodie and Dress]. Retrieved November 11, 2016, from https://www.cahierdexercices.com/editorial-2016-1-spring-summer/ Page One and Two Groninger Museum. (2016). Alaia [Frilled white dress]. Retrieved November 14, 2016, from http://arttattler.com/designazzedinealaia.html Hommeschool. (2016, April 30). Vetements Raincoat [Digital image]. Retrieved November 14, 2016, from http://hommeschool.com/vetements-raincoat/ Page Three and Four Groninger Museum. (2016). Alaia [Feather coat. Retrieved November 14, 2016, from http://trendland.com/azzedine-alaia-in-the-2st-century-exhibition/ Laily. (2016). Vetements Hoodie [For sale on Vestaire Collective]. Retrieved November 15, 2016, from http://www.vestiairecollective.com/women-clothing/tops/vetements/black-cotton-top-vetements-2509900.shtml Page Five and Six Sakai, N. (2011, December 20). Alaia [Green feathers]. Retrieved November 17, 2016, from http://www.fashiongonerogue.com/karolina-kurkova-nagi-sakai-elle-france/ Lamaire-Couranied, M. (2014, May 13). [Digital image]. Retrieved November 17, 2016, from
https://www.businessoffashion.com/articles/spotlight/spotlight-vetements-stays-fo-
cused-clothes Page Seven and Page Eight Yeste, T. (2011, May 25). Alaia [Nets]. Retrieved November 27, 2016, from http://www. thegroundmag.com/azzedine-alaia-interview/
S
Buro 247. (2016). Vetements [Pink hair hoodie]. Retrieved November 20, 2016, from http://www. buro247.com.au/fashion/insiders/whats-the-deal-with-vetements-interview.html Page Nine and Ten Alaia Foundation. (n.d.). Bandelette [Alaias iconic dress]. Retrieved from https://janetunnicliffe. style/wp-content/uploads/2013/09/netbandagedress.jpg Buro 247. (2016). Vetements [raincoat girl]. Retrieved November 20, 2016, from http://www. buro247.com.au/fashion/insiders/whats-the-deal-with-vetements-interview.html Page Eleven and Twelve DSM. (2017). Dover Street Market [Webstie front page]. Retrieved 2017, from http://london.doverstreetmarket.com/ N-A-P. (2016). Alaia Shoe [For sale on net-a-porter]. Retrieved January 1, 2017, from https://www. net-a-porter.com/gb/en/product/411622/Alaia/studded-lace-up-leather-sandals Vetements. (2016). Vetements boots [Digital image]. Retrieved November 22, 2016, from http:// balenciaaga.tumblr.com/post/130355729894/details-at-vetements-ss16 Page Thirteen and Fourteen Fashion Lifecycle by Alysha Emma Davis 2016 Fashion Positioning Chart by Alysha Emma Davis 2016 Page Fifteen and Sixteen Alaia, A. (2016). Crocodile Skin [Digital image]. Retrieved December 20, 2016, from alaia.fr UK Complex. (2015). Kanye [Digital image]. Retrieved December 20, 2016, from http://uk.complex. com/style/2016/03/demna-gvasalia-yeezy-season-1?utm_campaign=styletw&utm_source=twitter&utm_medium=social Pages Seventeen and Eighteen K., Lagerfeld. (2015). Karl Lagerfeld Je Suis Charlie [Digital image]. Retrieved December 27, 2016, from http://www.buro247.me/fashion/news/french-fashion-designers-unite-for-hebdo.html Buro 247. (2015). #FREEDOM [Digital image]. Retrieved December 27, 2016, from http://www. buro247.me/fashion/news/french-fashion-designers-unite-for-hebdo.html
.THIRTY-SIX.
.THIRTY-SEVEN. Page Nineteen and Twenty HM. (2016, November). Justin Bieber Purpose Tour [Digital image]. Retrieved November 17, 2016, from http://www.hm.com/us/inspiration/men/7xn-hm-x-justinbieber Page Twenty-One and Twenty Two Teller, J. (2016). Vivienne Westwood Stay Campaign [Digital image]. Retrieved January 1, 2017, from https://www.instagram.com/p/BF8rnE2kMwr/ Iris Apfel [Digital image]. (n.d.). Retrieved December 1, 2016, from http://www.matildablanco.com/ uncategorized/iris-apfel-icono-de-estilo/ Page Twenty-Three and Twenty-Four Burberry. (n.d.). Burberry Regent St [Digital image]. Retrieved December 28, 2016, from http://nirvanacph.com/2012/10/burberry/ Page Twenty-Five and Twenty-Six No Images Page Twenty-Seven and Twenty Eight Du Xuan, M. (2013, September 14). Fashion Gone Rogue [Digital image]. Retrieved October 31, 2016, from http://www.fashiongonerogue.com/maja-salamon-wears-azzedine-alaia-vivamoda-michelle-du-xuan/ Page Twenty-Nine and Thirty Vetements [Green hoodie]. (n.d.). Retrieved January 1, 2017, from https://s-media-cache-ak0.pinimg.com/236x/1e/f8/46/1ef84665e54176a6256269b40e3b5163.jpg
.THIRTY-EIGHT.
.THIRTY-NINE.
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Zipped Black Dress’, the ‘Perforated Leather Ensemble’ and the ‘Houpette Dress’ available at: http://www. anothermag.com/art-photography/3052/azzedine-alaia-s-fashion-firsts
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Observation of strengths, weakness, opportunities and threatsby Alysha Emma Davis ALAIA
STRENGTHS
A L A I A
W E A K N E S S ALAIA OPPORTUNITIES A L A I A
• E s t a b l i s h e d
•High
•Recognisable
•Doesn’t
actively
•Store
locations
point
marketing
•Competition
from
other
luxu-
•Take advantage of online shopping
ry fashion brands such as Alexan-
glob-
developments such as virtual chang-
der
•Alaia has credible design background
al are not all accessible i.e. Alaia
ing rooms to reach customers who
•Alaia current works with animal skins
with Dior, Guy Laroche and Thierry Mugler
is only sold in London in the UK
prefer to try but cannot access a store
such as crocodile and snake, this is be-
•Azzedine Alaia is a master craftsman
•Cannot
•Continuous
innovation
coming increasingly frowned upon and
•High
quality
er service in luxury retail stockists
•Develop
product
rang-
may damage reputation in the future
from
high
•Price
es
menswear,
jewellery
•Current political and economic affairs
and
iconic
silhouettes
products quality
made materials
er
ty countries worldwide and online
•Limited
Richemont pany
who
to
control
access
custom-
limits i.e.
custom-
young
people
product
range
i.e.
•Conservation ty
options
Dior,
elections
Balenciaga
worldwide,
ter-
rorism and Brexit may influence sales
and
of high
counterfeiting street
imitations
independently following
W
design
collective
–
E
T E
E A
M K
E N
N
T
S V
E
T
E
S
S O P P O R T U N I T I E S •Emerging
control everything in the business
•No financial backing from investors
•Continued
•Signature
•Some
•See
style media for celebrity
•Accessible
skins
com-
allow
•Independent
•Strong
animal
still
V
•Demand
using
McQueen,
including
•Risk
celebrity
social
in
sustainabili-
from
VETEMENTS STRENGTHS
•Strong
and
backing
behave
•Dedicated
whilst
point
•Global presence – 300 outlets in twen-
•Investment
fully
market
•Expand
products
ucts
prod-
price
T H R E A T S
price
•Very
commercially
•High
profile
presence product following
items
•No
priced
flagship
•Cannot vice
highly
in
control luxury
store
customer retail
ser-
stockists
•Flagship
E
now
M
–
E
N
T
S VETEMENTS THREATS
collaboration
ers
buy
now
•Risk
store
and
at
•Creative
design-
risk
of
becoming
of high
a
fad
counterfeiting street
director,
Demna
imitations Gvasalia,
also works as Artistic Director at Balen-
points
ciaga and must split time between
aware
•Current political and economic affairs
collaborations
including
elections
worldwide,
ter-
rorism and Brexit may influence sales
.FORTY.
.FORTY-ONE. A
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E
:
K
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Available at: http://www.kering.com/en/sustainability/targets/sustainable-precious-skins-furs Where we stand today Consolidated figures as of end 2015 38% of our Group’s pure fur come from verified sustainable sources 78% SHEARLING comes from verified sustainable sources 41% of our Group’s precious skins come from verified sustainable sources 91% CROCODILE SKINS come from verified sustainable sources
IN ACTION PYTHON CONSERVATION PARTNERSHIP launched in 2013 with the IUCN and ITC to drive industry change IN PARTNERSHIP WITH ITC we created the Madagascar Crocodile Conservation and Sustainable Use Programme
A P P E N D I X Available
at:
F O U R :
T E R R O R
A T T A C K S
http://www.ibtimes.co.uk/attack-nice-france-comes-under-attack-again-truck-ploughs-into-
crowd-1570718 Recent terror attacks in France 14 July 2016. Nice. Reports of up to 84 dead after truck ploughs into holiday crowds. 13 June 2016. Magnanville. Police chief and wife attacked and killed in their home by Larossi Abballa. 13-14 November 2015. Paris. 130 killed in wave of terror attacks across the capital. 7-9 January 2014. Paris. Attack on Charlie Hebdo magazine and kosher supermarket left 17 dead.
A P P E N D I X
F I V E :
B U R B E R R Y S
R E G E N T
S T R E E T
S T O R E
Available at: http://retail-innovation.com/burberry-regent-street Burberry has unveiled its largest and most technologically advanced store in the world in London’s Regent Street, which will provide an enriched and interactive experience for customers. In restoring the building, which was constructed in 1820 for the Prince Regent, Chief Creative Officer Christopher Bailey worked together with the best of British craftspeople. The store houses British-made bespoke blackened bronze lanterns, furniture, plasterwork, timber paneling and flooring, traditional glass signage, and self-supporting stone staircases. Technology has been woven throughout the period architecture of the building and the 44,000 sqft space incorporates a digitally-enabled gallery, 500 speakers, and 100 screens including the tallest indoor retail screen in the world, which will engage customers through emotive brand content. Disruptive digital takeovers are synchronised across all screens and speakers at set times throughout the day. RFID is woven into selected apparel and accessories, triggering bespoke multimedia content relevant to the products. There are mirrors that can turn instantly into screens with runway footage and exclusive video, and satellite technology enables the live-streaming of events into the store. Bespoke digital signage will feature in key areas, meeting customers with adaptable multimedia content. Store associates will use iPad apps that provide purchase history and customer preferences to enable a tailored shopping experience. https://youtu.be/pBnz8NBpEDc
. F O R T Y - T W O.
MA FASHION MANAGEMENT AND COMMUNICATION INTERNATiON MARKETING AND BRAND MANAGEMENT SEMESTER ONE vue this report online at https://issuu.com/alyshadavis/docs/comparative_report ALYSHAEMMADAVIS6.WIXSITE.COM/AEDAVIS