Fig.1 (2017)
Contents 1. Brand Introduction 1.1 Brand Proposition pg 1 1.2 Brand Onion pg 2 1.3 Brand Values pg 3-4 and Essence pg 5-6 1.4 Brand Personality and tone of voice pg 7-8
2. Visual Analysis 2.1 Brand Identity pg 9-10 2.2 Retail space pg 13-14
3. Brand engagement and audience 3.1 Communication strategies pg 15-18 3.2 The consumer profile / consumer mood board pg 19-20 3.3 Brand Collaborations pg 21-22
4. Brand in action 4.1 Brand Touch-points pg 23-24 4.2 Competitors pg 25-26 4.3 Positioning Maps pg 27
5. Analysis and conclusion 5.1 SWOT analysis pg 28 5.2 Bibliography pg 29-30 5.3 Images Bibliography pg 31
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About: “JE MAPPELLE SIMON, JAIME LE BLEU ET LE BLANC LES RAYURES LES FRUITS MARSEILLE ET LES ANNEES 80” “I’M SIMON, I LOVE BLUE AND WHITE STRIPES, FRUIT, MARSEILLE, AND THE 80’S.” (Jacquemus website, 2018)
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1.1 proposition Founder of Jacquemus, Simon Porte, has said his clothes are designed for the girl his late mother was. The Jacquemus woman will mirror his mother. Childish in the way they dress, special, artistic on a budget, innocent. (Jacquemus, 2015).
Naïve. Down to earth
(Wild Magazine, No Date). Minimalistic, but not lacking in depth. Quintessentially French.
“Jacquemus is not about night-life and clubbing and things like that, it’s more about fruit and vegetables and rolling in the grass” (Jacquemus, 2016).
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A B C D
Brand in Action Brand Personality Brand Values
A
Essence
Members of public at Patriotism used across platforms fashion show with colours of Using friends and French flag family in shows Large and campaigns Instagram Clothes presence Young sold on webFun sites that sell Cool Bubbly Unafraid Wearable other cool, fabrics youthful Colourful reinvented clothing Alluring Effortless Story Telling Carefree Energy Sweet Family Patriotism
B
C
French
D
Youth
NaĂŻve Colourful
1.2 brand onion
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Fig. 3
Fig. 2
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1.3 brand values Patriotism It is no secret that Jacquemus includes heavy French references into his designs. From using French ‘it-girls’ like Jeanne Damas as muses, to including the colours of the French flag into many of his collections, Simon Porte Jacquemus is a proud French man and is not afraid to take inspiration from the place he calls home. Breton stripes and cliché French motifs are present in his collections, although Jacquemus never fails to make them refreshed and the result is anything but over-done. He even included washing lines into his AW16 e-store campaign, because “in the south of France, there are washing lines everywhere.” (Stansfield, Jacquemus, 2016). Story Telling Jacquemus has often tried to convey a narrative through his collections, particularly through his catwalk shows. His SS16 show begun with a large red woollen ball, pushed along by his eight-year-old cousin, Jean. The ball was symbolic for recent trauma in Jacquemus’ personal life. Members of the public could sit in and watch, something uncommon in fashion week, with shows normally closed to anyone but the most prestigious fashion aficionados. This was his first collection after receiving the renown LVMH prize, and the show was something so emotive that it apparently saw no dry eyes.
“I don’t do collections, I do stories, so I always focus on the story as well as the clothes” (Graham, 2014)
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Fig. 4
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1.3 brand essence Maman Jacquemus Jacquemus has expressed in many interviews that his mother is his muse. His brand was created as a result of her passing. When asked if he views his brand as a tribute to his mother, he responds with “To me, it is my mother. It might seem a bit strange, but to me, it’s more than a tribute. She is a woman who still lives through Jacquemus.” (Wild Magazine, No Date). Jacquemus notes how his mother’s taste for the colour white transferred onto his own personal style and likings. In the summer, she would wear ‘white cotton nightgowns of the 20s, with big lace’ (Jacquemus, 2017). Jacquemus also notes that he can remember her dressed in a ‘suede bustier with jeans, big man’s shirts.’ (Jacquemus, 2017). Her style can be seen in Jacquemus’ collections, which often include oversized shirts, with tailored, bustier-like elements. His first ever garment made was for his mother, when he was just 8 years old. It was constructed from a beige linen curtain, he cut it up, drilled holes and transformed it into a skirt. He mentions how it was far from perfect, but his mother wore it the next day. (Jacquemus, 2017) She believed in him, then she became his muse. Youth Youth plays a big part in Jacquemus’ designs. This also stems from his mother, which he said had a playful soul. The use of primary colours is a predominant theme in his collections. Primary colours are heavily used in conjunction with children’s toys and clothing as it is said that the bright colours are easier to see for young children. According to studies, developing youth can still process more muted tones, however distinguishing between primary colours comes easier to them (Pancare, 2018). Jacquemus also uses primary colours as a homage to where he grew up, in South of France. The French flag consists of white, blue and red - colours that feature in Jacquemus’ collections often. The oversized, de-constructed shirts and jackets can also be seen as a nod to youth, where a child would dress up in their parent’s way-too-big clothing and maybe even rip it along the way. People have questioned the collections’ wear-ability, but Jacquemus proudly proclaims that his most ‘out-there’ pieces are the ones that do the best in terms of sales (2016).
“I want to stay innocent my whole life, even if I don’t want to stay a kid. I wish fashion were more innocent” (Jacquemus, 2016) 66
1.4 brand personality Brand Personality
Young
Colourful
Fresh
Exaggerated
Innovative
Theatrical
Playful
Full of life
Jacquemus’ clothing always lets its designated brand personality shine through. Porte’s biggest characteristic, youth, is seen predominantly throughout his earlier fashion films and works such as La Femme Enfant (Jacquemus, 2014) which accompanies his FW14 collection. The film features child-like music, young looking, fresh faced models, and children. The colourful personality trait that Porte bares translates into his works also. The colourfulness is personified when he uses primary colours in his collections, which is often. He tends to pair the bright colours with white, black, or beige as to keep the clothing fun, but not too overbearingly childish and unwearable. Some of the clothes could be seen as theatrical, particularly when he creates avant-garde and exaggerated silhouettes that other designers shy away from for ready to wear pieces. 7
Fig. 5
Carefree
Alluring
Unique perspective
Flattering
Easy going
Desirable
Laid back
Charming
*Diagram above based on Aaker (1997) Fig.1 Brand Personality diagram 8
Logo The Jacquemus logo is clean, simple and straight forward. This allows for more focus to be put on the clothes and less on the ‘iconic’ logo. Porte also uses the typography utilised for the logo across many of his platforms, mainly his website. Packaging The packaging, like the logo and overall mixed aesthetics of the brand, remains simple and undone. The tag consists of a white rectangle with the logo printed off-centre at the bottom. The bags are carefully protected by a canvas bag, left in its natural un-dyed state with a black label sewn on at either end. The shoes, stored in a typical white box with Jacquemus printed on the top, and the clothing also comes in a box similar to the shoe box. This gives the clothing a feeling of luxury. Retail environments and visual merchandising Jacquemus is sold at Selfridges in London, so the space given is limited. However, the clothes are displayed on interestingly shaped industrial racks. Despite a lack of space, the visual merchandising is in tune with the brands aesthetics and there is a clear Jacquemus feel to the retail space. Lookbooks are on hand throughout. Promotion, advertising and PR A lot of Jacquemus’ promotion and PR comes from his social media and campaigns. A new project of his was recently announced via his Instagram. This is where he showcases a lot of his works and upcoming endeavours. Jacquemus has previously been mentioned in a Vogue article titled ‘Why Simon Porte Jacquemus doesn’t Need Clothes To Advertise His Namesake Brand’ which talks about his SS16 Campaign that features only head-shots of himself as a child and others, rather than the traditional route of featuring the clothing. Digital Platforms Jacquemus has a large presence on Instagram and Tumblr, with over 436K on his Instagram. His account is identifiable as he only posts in sets of three. He says he “thought it was stronger than a classic patchwork” (Jacquemus, 2018). His website, although sparse, features an archive of all of his previous collections with additional promotional videos.
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2.1 brand identity
Fig. 4
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Fig. 5
11
Fig. 5
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2.2 retail space Fig. 4
Fig. 6
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The Jacquemus store is located in London, in the prime location of Selfridges, Oxford street. Porte’s stores are generally positioned in high street locations, typically in the busy fashion capitals. Finding the Jacquemus range in Selfridges wasn’t an easy task, which could make it difficult for potential buyers. Although the department store contains hundreds of brands spread over 6 floors, the majority of collections were clearly labelled with the store name, however Jacquemus only had a faint sign very high up, making it problematic to locate. The range of products is sparse, but contains key pieces from the new collection. Selfridges holds an equal ratio of Jacquemus tops, dresses, blouses, trousers and jackets. The key colours are white, black and yellow – staples for the brand. The clothes are hung on an anomalous rail that slants downwards with a decorative steel circle encompassing it. The stock is perhaps too lacking, and gives little variation. For someone who does not know Jacquemus, it may be limiting for them and perhaps stunts their potential interest into the brand, however it could also be seen as a minimalist approach, which would align with the brands aesthetics. Jacquemus is yet to open its own stand-alone store in London, but for now it is perhaps best to stick to online buying, as the stock in Selfridges was bare and could be slightly disappointing to someone wanting to browse a larger range of his clothing.
Fig. 6
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Fig. 4
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3.1 communication strategies Instagram Jacquemus’ main communication tool, like many others in the modern day, is his Instagram. As previously mentioned, he sticks to a rule of 3 when posting new content. This method of posting evokes feeling of tidiness, and the repetition, uniformity is something that is carried on through to his designs. This has become synonymous with his work and has become an identifier for his social media presence. He often posts his new collections, press pictures, fashion films and aesthetically pleasing vintage photographs of himself and his family. Instagram is one of the most successful promotion tools that require zero to no money, unlike traditional forms of communications such as advertisements. Instagram allows Jacquemus to also connect with his fan base, and give them a personal glimpse into his life and up-coming collections. Posting pictures of himself allows consumers to see the face behind the brand, which results in people seeing where the inspiration comes from.
“I’m a fan of selfies with fruits. #Selfruits. I also mix my fashion with fruits.” (Jacquemus, 2015) One of Jacquemus’ recent releases, featured heels with big, fruit-like spheres instead of the traditional stiletto heel. He was seen posting ‘in-the-making’ shot on his Instagram, with an image of a woman tip toe-ing on an orange. A good way to let consumers in on your creative processes. Tumblr Tumblr is also another place where Jacquemus likes to carry on his three-set posting. The images are similar to his Instagram feed, but by posting on multiple platforms, it reaches a slightly different demographic each time. The blogging website, Tumblr, allows you to create a website looking profile, dissimilarly to Instagram. For his overall ‘theme’, Porte has chosen a simple, no structure layout that allows him to play freely with his rule of three posting. The minimalistic theme he has chosen is in tune with the rest of his aesthetics. He chooses to only post and repost his own work, unlike most Tumblr accounts which are used like a mood board of others work to gain inspiration. Tumblr is also a good way to gener-
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3.1 communication strategies Fashion Films Jacquemus is an avid fan of curating fashion films to accompany his clothing. His first one listed in his archive (found on his website) is an addition to his FW11 collection, ‘The Factory’. It is shot on a vintage camera, and follows two girls wearing his clothes participating in running the factory (Jacquemus, 2011). He has then gone on to create short films for all of his future works. Films are a good way to communicate a story behind the garments, and Jacquemus is a big lover of story telling. By doing this, he is able to set a theme for his clothing, and really let his consumers see the inspiration and reasoning’s behind his work. It allows people to feel involved with the creative process and it truly personifies his art, consumers feel as though they are a part of his vision. Facebook Facebook was where Jacquemus first built his fashion contacts. In an ELLE UK article, it is written that Porte was, at the time, 18 years old with no links to high-fashion, owned a small ready to wear label and had the initiative to gain connections by messaging everyone in the industry he could think of, until someone took notice (Hunt, 2016). Back in 2009, Facebook was the pinnacle of social media. Instagram ceased to exist and wouldn’t take off for another 4 years, and Twitter was rarely used the way it is today. Jacquemus originated on Facebook, but today however, other social media’s take priority. His Facebook is still updated with new collections, sample sales, fashion films, and Q&A’s. Facebook pages conclusively seem to be useful and respected in a different way than Instagram is. People tend to view Facebook pages for regular updates about the brand, view store opening/closing times, and to view trusted, online reviews (Pinkham, No Date), whereas Instagram is more of a visual mood board and a more informal way of getting to know someone through what they post.
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Fig. 7 (2014)
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3.2 the consumer profile / consumer moodboard
“The Jacquemus girl is a bit of a cliché,” he laughs. “She’s your typical French girl.” (Jacquemus, 2014)
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Fig. 8
Fig. 9
24-35 Stereotypically French Family orientated Bookworm
Doesn’t own vasts amounts of clothes but has Minimalistic staple items approach to fashion Is selective with Old soul materials and cuts Unafraid to express themselves
Fig. 4
Enjoys a pop of colour Loves having classical or jazz playing quietly whilst conversing whilst doing household chores, catching up with friends, cooking, reading 20
Fig. 10
3.3 brand collaborations Jacquemus is yet to do a physical clothing collaboration, however he has collaborated with various photographers, artists, film makers, creatives since the beginning of his career. Notably, his biggest collaboration is his first publication, titled MARSEILLE JE T’AIME, which was created initially to accompany his South-of-France-based exhibition, a secondary collaboration with la maison méditerranéenne des métiers de la mode, or, The Mediterranean House of Fashion, in English. The book consists of 15 different contributors: Clément Arnaud, Stefan Burger, Pierre-Ange Carlotti, Philippine Chaumont Agathe Zaerpour, Matthew Cowan, Willi Dorner, Octavio Garabello, Charlotte Krieger, David Luraschi, Jonas Marguet, Simon Porte Jacquemus, Masha Reva,Ruth van Beek, and Jordy van den Nieuwendijk (Jacquemus, 2017). It features his Portes Les Santons de Provence collection, which marvelled huge straw hats, petite summer dresses, spots and stripes and sarong-like summer skirts. The book also contains miscellaneous photographs, sculpture, and text. The publication is a tasteful collaboration between several French artists, his hometown, and as he mentioned in AnOther article, his iPhone (Stansfield, 2017).
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Fig. 10
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FASHION SHOWS INSTAGRAM
TUMBLR
FASHION FILMS
PINTREST
MAGAZINE COVERAGE INTERVIEWS
BLOGS
PARTIES
ADVERTISEMENTS ARTICLES WORD OF MOUTH PUBLIC RELATIONS BOOK RELEASE DIOR PROTEST
VISUAL ACCESSIBILITY MERCHANDISING FRIENDLINESS OF PRICE STAFF LEVEL OF STOCK PACKAGING EXPERIENCEFIT OF CLOTHING EXCLUSIVITY IN STORE LABELS CONVENIENCE
pre-purchase purchase post-purchase 23
SHOP LAYOUT
4.1 brand touch-points
CLEANING
SOCIAL MEDIA FOLLOW UP OUTREACH
BILLING
RESPONSIVE RATE OF TEAM DURABILITY RETURNS POLICY GARMENT PERFORMANCE
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Celine is possibly one of Jacquemus’ biggest competitors. Opened in 1945 by Céline Vipiana, the company was bought out by the LVMH group in 1996 and is still a huge luxury brand today, despite a few issues with finding the right creative director before the eponymous Phoebe Philo, who joined in 2008 and re-invented the close-to-death Celine (Friedman, 2010). Also a French fashion house, Celine bares similar shilouttes and Parisian-chicness that Jacquemus’ clothing proudly displays. “My relationship with fashion is playful and very expressive of what I’m feeling at the time” - Phoebe Philo (Vogue, 2008) “I very much wanted women in men’s clothes, but it was a complex idea so we brought it back to a quite feminine silhouette.” - Phoebe Philo (Vogue, 2014)
Fig. 11
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4.2 competitors
Launched in September 2016, Maison Cleo is a small brand that made its name on Instagram. The French duo behind the quickly rising Insta-brand, is Marie and Cleo, an enviable mother and daughter duet. For now, the clothes are completely handmade ‘with love’ by Cleo (mother) and designed by Marie. On their website ‘about’ page, it also mentions a homage to Marie’s Grandmothers Grandmother (Maison Cleo, 2018). Similarly, to Jacquemus, the new label is fuelled by family. Maison Cleo is yet to show at fashion week, and makes individual items rather than total looks, but when the time finally comes, their oh-so-French blouses and nostalgic cuts could rival Jacquemus on the runway.
Fig. 12
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4.3 positioning maps
High Fashion
High Cost Low Cost
High Street CELINE ISABEL MARANT
VETEMENTS
ETRE CECILE
JIL SANDERS
ZARA
JW ANDERSON
MAISON CLEO
COS
JACQUEMUS
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4.4 SWOT analysis
Strengths: 1. Solid brand persona 2. Minimalist but attention-grabbing designs that re-vamp basic staples 3. Affordable to target market, lower prices than competitors like Celine 4. Young, fresh branding and advertising synonymous with the ‘internet generation’ 5. Strong, consistent fashion films which generate buzz and anticipation 6. Diverse range of models used in fashion shows (as of his most recent shows, after debate on Tumblr over the lack of diversity within his casting) 7. Strong social media presence, particularly Instagram, which helps generate a strong brand engagement and keeps the brand in touch with the consumers
Weaknesses: 1. No stand-alone bricks and mortar store yet 2. Although prices are reasonable, they could be just too high for the younger demographic that will resortto competitors like Zara and Etre Cecile 3. Not as established of a brand as others, a person who doesn’t follow fashion may not know of them yet 4. No strong production or distribution team, which may cause issues along the line
Opportunities: 1. Physical collaborations with other like-minded designers, would generate hype and could sell out instantly as the OFF-WHITE x Nike shoe collaboration did and is continuing to do 2. Could use the lack of stores to his advantage, curating ‘pop-up shops’ which creates a similar buzz as a collaboration does 3. Expansion to a men’s line, which as of February 2018, is a set in stone plan 4. Use social media even more by doing Instagram live-stories, engaging with followers and creating a snapchat for the demographic who prefer the video app 5. Potentially use iconic models / celebrities in campaigns 6. Collaborate with influencers more often
Threats: 1. Some of Jacquemus’ clothing may be seen as ‘unwearable’, making more room for competitors to thrive 2. Competitors can have more accessibly priced collections 3. The quintessentially-French theme may become tired and repetitive 4. The brand may lack in ideas and creativity as season go on. Is there much room for growth in terms of design? 5. If the social media boom expires, would the brand still have longevity? 6. Doesn’t have a strong eco sustainability approach
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5.2 bibliography Anderson, K. (2016) ' Why Simon Porte Jacquemus doesn’t Need Clothes To Advertise His Namesake Brand'. Interview with Simon Porte Jacquemus. Interview by Kristin Anderson for Vogue.com , 29th January 2016. Available at: https://www.vogue.com/article/jacquemus-fall-2016-campaign-interview (Accessed: 21st February 2018). De la Morandiere, M. (no date) 'The clan of Jacquemus'. Interview with Simon Porte Jacquemus. Interview by Marine de la Morandiere for Wild Magazine Online, No Date. Available at: http://thewildmagazine.com/blog/the-clan-of-jacquemus/ (Accessed: 20th February 2018). Friedman, V. (2010) ‘Lunch with the FT: Phoebe Philo’ Interview with Phoebe Philo. Interview by Vanessa Friedman for The Financial Times, 8th October 2010. Available at: https://www. ft.com/content/6fc0b760-d263-11df-9e88-00144feabdc0 (Accessed: 23rd February 2018) Graham, M. (2014) 'Jacquemus: La Grande Motte'. Interview with Simon Porte Jacquemus. Interview by Mhairi Graham for AnOther Magazine Online, 9th June 2014 Available at: http:// www.anothermag.com/fashion-beauty/3666/jacquemus-la-grande-motte (Accessed: 21st February 2018). Hunt, K. (2016) ‘In No Particular Order: Rihanna, Solange, Social Media and One Incredible Collection’ Interview with Simon Porte Jacquemus. Interview by Kenya Hunt for ELLE UK online, 1st December 2016. Available at: http://www.elleuk.com/fashion/longform/a32882/simon-porte-jacquemus/ (Accessed 22nd February 2018) Instagram (2015) ‘A triple take on fashion with @jacquemus’ Interview with Simon Porte Jacquemus. Interview by @instagram for the official @instagram Instagram account, 3rd March 2015. Available at: http://blog.instagram.com/post/112603157402/20150303-pfw-simonporte-jacquemus (Accessed 22nd Febraury 2018) Jacquemus (2017) Marseille Je T'aime. Available at: http://jacquemus.com/laboutique/ book/786-marseille-je-t-aime.html (Accessed: 23rd February 2018). Lau, S. (2016) 'Simon Porte Jacquemus on his mother'. Interview with Simon Porte Jacquemus. Interview by Susanna Lau of Interviewer for AnOther Magazine Online, 1st March 2016, originally for AW/15 Edition of AnOther Magazine. Maison Cleo (2018) ‘About’. Available at: https://www.maisoncleo.com/apropos (Accessed: 24th February 2018) Marshall, A. (2017) 'Simon Porte Jacquemus gets personal'. Interview with Simon Porte Jacquemus. Interview by Alexandra Marshall for W Magazine, 8th March 2016. Available at: https:// www.wmagazine.com/story/simon-porte-jacquemus (Accessed: 20th February 2018). Pancare, R. (2018) How do bright colors appeal to kids?. Available at: https://sciencing.com/ do-bright-colors-appeal-kids-5476948.html (Accessed: 20th February 2018).
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Pinkham, R. (no date) ‘Why do people ‘like’ brands on Facebook? And other hot topics.’ Available at: https://blogs.constantcontact.com/get-more-likes-on-facebook/# (Accessed: 22nd February 2018). Porte Jacquemus, S. (2017) 'Jacquemus: "Mother, my love, love of my life".'. Interview with Simon Porte Jacquemus. Interview by Unknown for Fashionlib, 25th September 2017. Available at: http://www.fashionlib.net/article/jacquemus-mother-my-love-love-of-my-life,3211.html (Accessed: 20th February 2018). Simon Porte Jacquemus (2011) The Factory. Available at: http://jacquemus.com/lusine-le-film/ (Accessed: 22nd February 2018). Simon Porte Jacquemus (2014) La femme enfant. Available at: http://jacquemus.com/lafemme-enfant-le-film/ (Accessed: 21st February 2018). Stansfield, T. (2016) 'Getting surreal in the south of France with Jacquemus'. Interview with Simon Porte Jacquemus. Interview by Ted Stansfield for Dazed Digital, 30th June 2016. Available at: http://www.dazeddigital.com/fashion/article/31861/1/getting-surreal-in-the-south-offrance-with-jacquemus (Accessed: 20th February 2018). Vogue UK (2008) ‘Phoebe Philo: Biography’ Available at: http://www.vogue.co.uk/article/ phoebe-philo-biography (Accessed: 23rd February 2018) Vogue (2014) ‘Fall 2014 Ready-to-wear: Celine’ Available at: https://www.vogue.com/fashion-shows/fall-2014-ready-to-wear/celine (Accessed: 23rd February 2018) Yager, L. (2018) ‘How Jacquemus is taking the fashion world by storm’ Interview with Simon Porte Jacquemus. Interview by Lynn Yaeger for Vogue.com, 17th January 2018. Available at: https://www.vogue.com/article/simon-porte-jacquemus-interview-vogue-february-2018-issue (Accessed: 21st February 2018)
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5.3 images bibliography Figure 1. Jacquemus SS18 (2017) Available at: https://78.media.tumblr.com/69bbf2abc58f9b8373cbadd5a66af8f3/tumblr_owvhwscFTU1qaic06o1_1280.jpg (Accessed 1st March 2018) Figure 2. Jacquemus Collage. Available at: http://jacquemus.tumblr.com/image/132596579552 (Accessed: 1st March 2018) Figure 3. Jeanne Damas and Simon Porte Jacquemus. Available at: http://www. carolinedaily.com/1987055-2998.jpg?20180219 (Accessed: 1st March 2018) Figure 4. Images from Jacquemus’ Instagram account. Available at: https://www. instagram.com/jacquemus/ (Accessed: 1st March 2018) Figure 5. Vogue Runway Jacquemus SS18. Available at: https://www.vogue.com/ fashion-shows/spring-2018-ready-to-wear/jacquemus (Accessed: 1st March 2018) Figure 6. Images taken by myself, shot on iPhone 8 Plus. Figure 7. La Grande Motte, Fashion Film by Jacquemus (2014). Available at: http://jacquemus.com/la-grande-motte-le-film/ (Accessed: 1st March 2018) Figure 8. Images from Jeanne Damas’ Instagram account. Available at: https:// www.instagram.com/jeannedamas (Accessed: 1st March 2018) Figure 9. Images from Angelina Woreth’s Instagram Account. Available at: https:// instagram.com/angelinaworeth (Accessed: 1st March 2018) Figure 10. Exclusive photos of Jacquemus’ book: Marseille Je T’aime (2017). Available at: https://www.vogue.com/article/jacquemus-je-taime-marseille-book (Accessed: 2nd March 2018) Figure 11. Celine SS16 Ready-To-Wear Vogue Runway (2016). Available at: https://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/celine (Accessed: 2nd March 2018) Figure 12. Maison Cleo Ready-To-¬Wear. Available at: https://www.maisoncleo. com (Accessed: 2nd March 2018) Figure 13. Jacquemus Collage. Available at: http://jacquemus.tumblr.com/image/132596541757 (Accessed: 2nd March 2018)
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Fig. 13
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I chose to present my brand report in this box instead of a traditional, binded ‘brochure’ style. I felt this was more in-line with the brands minimalist aesthetics. I have included a shirt pocket placed on top of the archive box as a reference to Jacquemus’ early days. When he first started out, he was too poor to be able to afford the extra fabric and buttons needed for pockets, so he just left them out. Inside is my Brand Report for Fashion PR & Communication, Year 1, Term 2, 6th March 2018. Student: 17516150
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STUDENT: 17516150 FASHION PR & COMMUNICATION LONDON COLLEGE OF FASHION 6TH MARCH 2018
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