CREATIVE STRATEGY MANUAL CHARLOTTE CUFF 26021557
1
(Crew,2017)
2
(Haber, 2014)
3
BRAND STRATEGY AND STORY 6-7
MARKET AND TREND RESEARCH 12
NAOMI WATANABE INSTAGRAM 16-17
TARGET CONSUMER 20-21
COMMUNCIATION STRATEGY 28-29
TOUCHPOINTS 30-31
BIBLIOGPRAHY 36
4
BRAND POSITIONING 13
COLLABORATIVE PARTNER 14-15
BRAND IDENTITY 22-23
CAMPAIGN IMAGES 24-27
COMMUNICATION STRATEGY BREAKDOWN 32-33
DEVICES MOCKUP 34-35
CAMPAIGN IMAGE 38-39
5
BRAND STRATEGY AND STORY Kansai Yamamoto brand re launch in 2020 will be unveiling the new knitwear collection 分厚い CHUNKY which will retain the Kansai Yamamoto flare and funk. The fresh exclusive range of knits including limited editions collectables, in addition products the consumer can personalize, available themselves on the brands website. Creating and producing luxury and the affordable 分厚い, will offer products across the spectrum whilst still preserving the Yamamoto vibe. Relaunching the Kansai Yamamoto knitwear collection in Tokyo Japan and London England preserving and upholding’s to the brands traditions/ values, where the original boutiques stand-alone ateliers were established in the 1970s. In addition to this there will be a vital push online surrounding the Kansai Yamamoto brand after identifying the surge in e-commerce by 2020.
The brand’s main collection will consist of the mid-range and upper tier products, which will include the bold, unique items of knitwear. Primarily jumpers, pullovers and cardigans which will really encapsulate the sculptural loud aesthetic of the brand while maintaining the cultural elements of the brand. (Fury,2017) According to Benjamin Durand-Servoingt at McKinsey “individual expression remains key, with affordable luxury price points and accessories leading the way... Japanese Millennials are more optimistic about their spending, their priority is expressing their personal style — and the styles certainly are numerous, from the doll-like kawaii to the avant-garde cuts of fashion-forward designers.” (Chitrakorn, 2017) The target consumer of Millennials will be genuinely curious about the revive of a heritage brand, with strong cultural links and forward thinking designs which they can “mix and match” within their usual style choices.
6
“ESTHETICS OF JAPAN.... IS OF WORLD STANDARD,THAT’S WHAT I WANTED TO PROVE”
7
8
9
(PLC, 2017) 10
“JAPANESE STYLE WAS MORE THAN JUST FASHION”
11
MARKET AND TREND RESEARCH According WGSN in from late 2019 emerging into 2020 textile and surface, that of the organic form will develop and progress as a trend. This evolving trend will accompany the release of the CHUNKY collection in S/S 2020. (Bisson, 2017)
“ORGANICALLY FORMED AND DECAYED DEFECTS EMERGE, WITH STAINS AND MOULD INSPIRING UNIQUE TEXTURES. KINTS, LEATHERS, NYLONS AND COTTON FABRICS INCORPORATE 3D GROWTH-LIKE DEFrom organically grown to sinuous pleats WGSN predicts by 2020 the combination of knits and jerseys will provide “unexpected beauty”. Natural forms and bubble will be produced through rooted textures and links (Palmer,2018) By 2020 mixing fibers and re making weaves “Knits become more animated with upbeat colours and patterns. Fun, jigsaw-piece shapes update camouflage intarsia knits in wool, cashmere and cotton, mixing up solid and marl yarns. Textured stripes become more dynamic with loopy, undulating yarn and stitch textures.” (Palmer, 2018) The playful Kansai Yamamoto brand will diffuse and will be visually represented through the knitted garments in the collection, the “Tubular structure” exhibited in the 2020 chunky collection will be interpreted through padding and quilling, creating altered silhouettes.
“TEXTURED KNITS ARE COLOURFUL AND TACTILE”. The combination of “retro colours and graphic patterns” (Palmer, 2018) layered with other materials and garments in the spring/ summer collection, will provide the vintage heritage vibe as well as the contrasting of textures.
“GRAPHIC PATTERNS”
12
“CLASSIC KNITS”
13
The relaunch in 2020 holds so many opportunities and possibilities. Through research and exploration, the Kansai Yamamoto brand will collaborate with viral Japanese sensation Naomi Wantanabe, “She is, by turns, a model, talk show host, brand mascot, movie actress, and a fixture on numerous television networks, radio shows, and commercials.” (Clarke, 2017) Wantanabe has been titled the ‘Beyoncé of Japan’ which may be a correlation to her large online following and platform. Naomi Wantanabe is Japan’s most followed person on Instagram with a total of 7.3 million followers and counting, she embodies everything the Kansai Yamamoto brand stands for. The bold, the extravagant and the individualism. The opportunity the 2020 Tokyo Olympic Games brings to the brand relaunch mean a number of Yamamoto designs could be incorporated with aspects of the games such as opening and closing ceremonies, where there would be a large global platform observing. The most recent Olympic ceremony brought in 30 million viewers airing live across the world, inadvertently Naomi Wantanabe is tipped to be majorly involved within the games, Wantanabe confesses to Vogue “My dream is to be in the 2020 Olympics opening ceremony!” This type of exposure when Wantanabe becomes face of the relaunch, would mean mass influence and extend to areas globally the brands advertising may never normally reach or connect.
14
(Clkare,2017)
15
16
Naomi Watanabe Instagram
17
18
(Janette,2016)
(Janette,2016)
19
The initial target consumer the CHUNKY S/S 2020 launch will be directed towards Japanese millennials, more primarily the older end of the spectrum. This is due to the fact that “The most active designer fashion shoppers are older Millennials aged 25-34. This age group is likely to help drive sales of designer fashion” (Mintel, 2014) According to Forbes they spend 28% of all daily per-person consumer spending. They are forecasted to be 35% of spending by 2030 purchasing online and in store. (Kestenbaum, 2017) The brand will offer both ateliers and a website to maximise sales, selling and promoting the new collection which preserves the classic unique essence of the brand.
“MORE LIKEY TO MAKE A PURCHASE IN A STORE THEN THEY ARE ONLINE”
20
21
22
The Kansai Yamamoto brand has a number of features which make up its identity and distinguishable from others. According to WGSN fashion, art and culture are becoming further intertwined incorporating classics in to the present day, tapping into “screen prints lifted from Andy Warhol’s archives” (Trunzo, 2018)
“POST MODERN POP” In addition to the pop art inspiration which runs deep throughout the brand and certain elements still being incorporated within the brand today. Other characteristics the brand has retained adding to the brands identity. From colour blocking to unsaturated bold primary colours, the daring shades and tones have also been cemented in the brands identity.
These key elements which the brand has become established for, will be retained through to the S/S relaunch. This is due to the former and present-day existing consumers have previously and still do buy into the brand for its connection/ relationship with fashion, music and art which transcends in to daring, bold garments as well as an attitude and confidence given once worn.
23
24
25
26
27
28
29
PREPURCHASE
SOCAIL MEDIA
EMPLOYEES
ECOMERCE
PROMO
E-MAILS
ADVERTS
30
RETAIL
PURCHA
EVENTS
URCHASE
POSTPURCHASE
PACKAGING
CUSTOMER SERVICE MONTHLY
NEWSLETTER
LOYALTY SCHEME
CUSOMIZED DIRECT MARKETING 31
32
When breaking down the communication strategy, three clear sections have been identified to recognise the different areas under these subheadings. Pre-Purchase During the pre-purchase stage is when the hype and buzz needs to be generated, to get consumers, the fashion industry and outsiders to look and become aware about the relaunch. This publicity will be generated through mainly social media, platforms such as Instagram, Facebook, Snapchat and YouTube. These programmes will allow the brand to upload teasers and sneak peeks into the relaunch, giving the consumers snippets and inviting them to be a part of the next generation. Purchase At the purchase point of the relaunch the consumers have now already obtained garments from the collection and now will become aware of some the aesthetics of the company. Here is when they will notice in store and online layouts, how accessible it is for them to make their way around both and how quickly problems can be troubleshot when they occur e.g. stock limitations, order processing. In addition to this through purchasing of anything from the collection, the consumer’s product will be received in the brands packaging. This is major touchpoint for the consumer because this is ordered through the website is the first point of contact with the brand and is a physical way they are presenting themselves. Post Purchase Post Purchase holds the key role of keeping and maintaining the consumer to the brand and the possibility of re-purchase in the future. The brand will achieve customer loyalty through the way they have now repositioned themselves in the consumers’ minds. Through monthly newsletters and direct marketing straight into the customer’s email inbox, will allow the brand to retain it place in the consumer’s thoughts. Opinions on the brand may have become solidified during many parts of the post purchase process for example how a customer has been treated during a customer service interaction can really effect opinions on the brand.
33
34
35
Bisson, D. (2017). Sneaker forecast A/W 19/20: Textiles & surface. Retrieved from https://www-wgsn-com.lcproxy.shu.ac.uk/content/search/#/ Sneaker%2520Forecast%2520A%252FW%252019%252F20%253A%2520Textiles%2520%2526%2520Surface Chitrakorn, K. (2017). Japan’s luxury markey enters a new era. Retrieved from https://www.businessoffashion.com/articles/global-currents/japans-luxury-market-enters-a-new-era Clarke, A. (2017). Naomi watanabe, the “Beyoncé of japan,” is taking down sizeism in Tokyo—And becoming a fashion icon. Retrieved from https://www. vogue.com/article/naomi-watanabe-fashion-punyus-designer-beyonce-japan Crew, H. (2017). Resort 18: 首位進軍巴黎的日本設計師，今日重出江湖！認識日本前衛大師山 本寬齋. Retrieved from http://hokkfabrica.com/louis-vuitton-resort-2018-crossover-japan-designer-kansai-yamamoto/ Fury, A. (2017). Fashion’s ultimate fantasist makes a comeback. Retrieved from https://www.nytimes.com/2017/07/24/t-magazine/fashion/kansai-yamamoto-revival.html Haber, H. (2014). Japon modacı kansai yamamoto “Hello istanbul” dedi!. Retrieved from http://www.hurriyet.com.tr/japon-modaci-kansai-yamamoto-hello-istanbul-dedi-27404557 Janette, M. (2016). Kansai yamamoto 新ブランド始動、 エンターテインメントとリアルク ローズの二刀流に挑戦。Kansai yamamoto brings his charisma, entertainment to all. Retrieved from http://www.tokyofashiondiaries.com/kansai-yamamoto-newbrand/ Kestenbaum, R. (2017). This is how millennials shop. Retrieved from https:// www.forbes.com/sites/richardkestenbaum/2017/06/14/this-is-how-millennials-shop/#6d866a0d244c Mintel. (2014). Top of the online shops: Online fashion clicks with 70% of brits. Retrieved from http://www.mintel.com/press-centre/retail-press-centre/top-ofthe-online-shops-online-fashion-clicks-with-70-of-brits Palmer, H. (2018). Women’s knit & jersey forecast A/W 19/20: Light magic . Retrieved from https://www-wgsn-com.lcproxy.shu.ac.uk/content/search/#/knit PLC, C. P. (2017). Kansai yamamoto. Retrieved from http://showroom.plcconsultingparis.fr/portfolio/kansai-yamamoto/ Trunzo, B. (2018). Global streets A/W 17/18: Knits & jersey. Retrieved from https://www-wgsn-com.lcproxy.shu.ac.uk/content/search/#/ 36
37
38
39
40