GENTLE GARDEN B2B SUSTAINABLE FASHION SHOWROOM
An Aesthetic Approach to Sustainable Fashion
STUDENT DATA COURSEWORK1 Business Model Essay with presentation (individual) 50% Christina Thordal Andreasen BA Fashion marketing & communication Level 6, 2018-2019 6FAMN010C Business Modelling and Management CWK1 Enric Bayรณ & Edoardo Fano 2.971 words
TABLE OF CONTENTS PREFACE AND EXECUTIVE SUMMARY..........................................................................p.5 MARKET OUTLOOK......................................................................................................................p.6 1. SUSTAINABILITY AND MARKET DEVELOPMENT .............................................p.8 2. MARKET CHALLENGES......................................................................................................p.11 2.1 MARKET OUTLOOK ...........................................................................................................p.12 3. MARKET OPPORTUNITY.................................................................................................p.14 4. BUSINESS IDEA........................................................................................................................p.15 4.1 PROJECT DESCRIPTION AND OPERATIONAL MODEL....................................p.18 4.2 RETAIL FORMAT MODEL.................................................................................................p.22 4.3 BUSINESS MODEL CANVAS..............................................................................................p.24 4.4 CLIENTS: BRANDS................................................................................................................p.27 4.5 CLIENTS: RETAILERS.........................................................................................................p.32 5. COMPETITIVE LANDSCAPE............................................................................................p.38 6. LEGAL PROTECTION............................................................................................................p.40 6.1 BRAND NAME.........................................................................................................................p.42 6.2 BRAND LOGO AND SLOGAN..........................................................................................p.42 6.3 TESTIMONIAL........................................................................................................................p.42 7. LEGAL PROTECTION...........................................................................................................p.44 8. EXPLOITATION........................................................................................................................p.46 8.1 PYRAMID OF VALUES.......................................................................................................p.46 8.2 KAPFERER BRAND PRISM...............................................................................................p.47 8.3 CO-BRANDING PROPOSAL..............................................................................................p.48 8.3.1 PRODUCT CO-BRANDING.................................................................................................p.48 8.3.2 POP-UP EVENT..................................................................................................................p.49
8.4 LICENSING PROPOSAL......................................................................................................p.50 BIBLIOGRPHY.................................................................................................................................p.54 ANNEX..................................................................................................................................................p.64
Figure 37 Stine Goya, showroom: Copenhagen K, © Stine Goya.
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Fashion and sustainability. Two highly contradicting concepts that generally have struggled in finding common grounds for each survival as we know it by 2018. However, the strongly growing domain, sustainability, is nowadays a significant influence for fashion retailing and is gradually changing ways of modern-day business. Sustainable products and retailing methods have today evolved towards increased market presence and is adopted by a rising number of retailers in line with the socio-cultural changes of rising public concern regarding CSR (Authors of Nielsen, 2014). However, retailers are by 2018 facing challenges of renewing the existing unsustainable business model and re-innovate the current state of consumption in order to protect profits and remain relevant within the future of the fashion industry (Thomsom, 2018). Additionally, the current state of the apparel industry experiences a lack of retailers adopting sustainable fashion into their product portfolio, as the current consumer perception and digital landscape predominantly portray sustainable fashion as a style indifferent to actual consumer wants. This lack of adoption consequently results in a challenged consumer perception of sustainable fashion pushing an undesirable product image that is left in insurmountable competition with fast fashion companies encouraging a trend-led and pleasure-based mass consumption (Eder-Hansen, et.al., 2017). A consumer reaction that occurs despite increasing consumer willingness, particularly from the generations of Millennials and Gen Z, to break with the existing pattern of consumption (Authors of Nielsen, 2015). In other words, the eco-system of planet Earth suffer from the fashion industry’s ignorance and unwillingness to rebrand the image of sustainable fashion in a merging of responsible methods with trendiness and a reasonable pricing. Following report seeks to propose a coherent and forward-thinking business model with market entry in Copenhagen, Denmark that encourages retailers to expand their purchasing horizon and adopt sustainable fashion through a B2B showroom concept that offers trend-led sustainable fashion products with a keen eye for aesthetics, that will assist in the industry rebranding of sustainable fashion. The project looks to address the continuously vital and highly influential role of retailers that serve as a connection to a community of retailers and assist in gaining exposure for new and emerging brands that operate towards a further conscious and sustainable future.
Preface & Executive summary
GENTLE GARDEN
PREFACE & EXECUTIVE SUMMARY
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MARKET O
Figure 2. Emma Watson in Ellie Saab gown that was made with leftover fabric from the previous collection Š instagram.com/the_press_tour
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OUTLOOK SUSTAINABILITY AND FASHION
Market development, challenges and opportunity 7
1. SUSTAINABILITY AND MARKET DEVELOPMENT (Projected gloal fashion consumption (Million tons)
Figure 3. Projected Environmental Impacts Increasing fashion consumption is creating further environmental stress. (Eder-Hansen, J., et.al., 2017 p.10) © Global Fashion Agenda and Boston Consulting Group.
Figure 4. The Value Opportunity of Sustainable Fashion to the World Economy. A Value of €160bn per Year Is at Stake. (Eder-Hansen, J., et.al., 2017 p.20) © Global Fashion Agenda and Boston Consulting
Recent decades have shown the fashion industry as an engine for global development. As one of the largest consumer industries employing nearly 60 million people along its value chain, the fashion sphere generated in 2016, €1.5 trillion in annual revenues with regard to the two main fashion categories, apparel and footwear. One of the main contributing factors to these excessive industry revenues owes to the cultural phenomenon of fast fashion functioning under the pretence of following fashion tendencies. A system simply initiated by large retailers in order to increase revenues. Principally, this quick response business model pushes an increased and unrestrained consumption behaviour based on trends, low price setting and pleasure. However, the externalities that this system produces are vast. As an outcome, the earth’s natural resources and social conditions suffer from a great pressure and lack of compliance with political ambitions for sustainable
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development, to which the fashion industry exist as a highly considerate contributor. This aggravation of the natural sphere is considered to be intensified by 2030 to the point of threatening the entire industry growth if current trajectories of production and consumption is continued (Eder-Hansen, J., et.al., 2017 p. 10), (Figure 3, Projected global fashion consumption). The fashion industry is evidently not performing as well as needed on the matter of sustainability and to continue growth trajectory it must see to address its extensive environmental and social footprint. Despite the rather negative business outlook, the industry is experiencing a significant rise in consumers and a gradual increase in retailers adopting the necessary attitude towards an increasingly environmentally friendly consumer behaviour, responsible business models and merely sustainable products. This further sustainable market interest in fashion
Figure 5. Retail Environmental, Social and Ethical Impact Areas to Consider (Eder-Hansen, J., et.al., 2017 p.53) Š Global Fashion Agenda and Boston Consulting Group.
the concept of sustainability fills the consciousness of the Danish consumers and the market experience increasing interest conscious products, they struggle on how to actually implement a more sustainable lifestyle and understand what sustainability really implies (Authors of Retail News, 2018). (Kristensen, 2015) Nevertheless, a 2015 study by Epinion for Deloitte shows that 43% of Danish consumers want to pay more for sustainable clothing and 37% are even willing to pay up to 20% more for the responsible products, while 6% are willing to pay double This industry conflict between consumer wants and re- the price. tail offering is additionally present in the Danish retail market. It is by 2018 a retail market, in which brick- While Danish consumers are increasingly willing to and-mortar stores are suffering, despite great economic upscale their spending on sustainable products due upturn. Even though the Danish consumers are in pos- to the rising environmental concern, many retailers session of an improved private spending power, they are predominantly operate in their economic interest increasingly aware of the damages of the current state to reduce their retail consumption. The objectives of consumption. The buy-use-dispose fashion concept of consumers and retailers seem largely different, relating to the progressively available fast fashion stores, however, the environmental concern is by 2018 a has caused many of the Danish brick and mortar stores highly important driver for the retailers to engage to struggle to show black numbers on the bottom line, with consumers on sustainability awareness and despite the rise in Danish consumer spending over the impacts, which as a result assist the economic intelast couple of years. According to a survey, examining rest. (Eder-Hansen, J., et.al., 2017 p.54), Encourathe annual accounts of 6.622 Danish retail companies by ging moves especially seen from the international the Danish bank Spar Nord, (Dalgaard, 2018) Danes si- luxury group Kering as well as the fast fashion giant multaneously turn to online platforms such as Zalando Inditex, who both have invested excessively in reand Amazon, as they struggle to find Danish retailers, newable energy and eco-efficient stores since 2014. who actually carry out a further sustainable practice. Additionally, a study from the Danish dairy company Arla from 2018 on Danish knowledge about sustainability and behaviour in everyday life, shows that while
The Sustainable Fashion Market
is by GFA (Global Fashion Agenda) and BCG (Boston Consulting Group), stated to represents a value opportunity of â‚Ź160 billion per year for the world economy and can become a realization through a more innovative utilization of scarce resources in the value chain and consumption of sustainable fashion. This annual â‚Ź160 billion upside, answers to approximately 11% of the current retail value or 90% of the current profit pool of the global apparel and footwear sector (Eder-Hansen, J., et.al., 2017 p.20).
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”FASHION BRANDS AND RETAILERS ARE AWARE OF THEIR IMPACT AND READY TO ENGAGE FURTHER.” ”HOWEVER OVER 50 PERCENT OF THE INDUSTRY HAS NOT STARTED TO TAKE ACTION YET.” (Eder-Hansen, J., et.al., 2017 pp.70-72)
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2. MARKET CHALLENGES
In order to propose such a method to the Danish market, emphasis must especially be given to the internal contextual forces that consequently creates the basis for the possibility of inclusion of the external factors, if appealed to correctly. Three key contextual constraints that influence the current methods of Danish retailers and purchasing pattern of Danish consumers exist in fashion tendencies and style, ‘muted’ availability and price. The former, fashion tendencies and style, is a common perception of sustainable fashion that is related to the inability of sustainable brands to deliver products that follow fashion tendencies. This perception is additionally strengthened by the undesirable clichés connected to eco-fashion such as “crochet your own sweater and carry a hemp bag” (Cartner-Morley, 2018), which consequently lead consumers to turn to further trend-led, yet highly environmentally destructive fast-fashion companies. On the contrary to consumption under the context of fast fashion brands (mainly driven by pleasure rather than fulfil-
ling a need) sustainable fashion brands or products have come to showcase an image of an indifferent style to actual consumer wants. (Beard, 2008) This particularly happens as online searches for eco- or sustainable fashion predominantly showcase a highly casual style and might exist as the cause of association with unfashionable products or the inability to satisfy certain style demands of consumers. Secondly one of the most common contextual constraints connected to sustainable fashion brands or products is the ‘muted’ availability and communication stream on the matter and therefore consumers and retailers lack knowledge of brands and products existing within the market. As both Danish retailers and consumers are uninformed on the further sustainable market alternatives both parties find difficulty in adopting this further sustainable approach. The Danish market, therefore, exists in a sustainable grey-zone in which retailers find no substantial point of browsing trendy, yet responsible products and as a result, consumers find it challenging to purchase such apparel since there are few mainstream retailers including such products in their inventory (Connell and Kozar 2012). The later of the three key contextual forces, pricing, still exist as a challenge to the Danish market, despite the previously mentioned studies showing that nearly half of Danish consumers are willing to invest more in sustainable products. The challenge of pricing go hand in hand with the current consumer perception of sustainable fashion’s inability to follow trends and consistently communicate a fashionable way of consumption. All market challenges, however, include great innovation and growth opportunities (see p.14) that create the foundation for the following business proposal.
Market challenges
Both the Danish and global fashion industry is by 2018 facing the challenges of adapting sustainable methods that answer to both current and future external and internal factors of consumption. Today, externalities are mainly given by factors such as environmental and social responsibility, while the internalities are determined by price, availability, tendencies and style. An innovative business method, therefore, requests a merging of such factors providing the general consumer with an alternative to the current purchasing pattern of mass consumption. Sustainability additionally matches the Danish ethos, as it builds on social values such as equal rights and opportunities, honesty and collaboration, all factors that are well ingrained in the Danish society that from the base of the Danish welfare state (Pasquinelli, 2013).
MAIN CONTEXTUAL CONSTRAINTS OF SUSTAINABLE FASHION CONSUMPTION 1. FASHION TENDENCIES AND STYLE
2. ’MUTED’ AVAILABILITY
3. PRICING
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2.1 MARKET OUTLOOK CURRENT DANISH SUSTAINABLE FASHION BRANDS VS. A/W 18/19 SEASONAL TRENDS Following images portrays the current digital landscape and consumer perception of sustainable fashion brands in comparison to conventional fashion of same season and the trends it carries.
Figure 6
Armoire femmes S/S 16 collection. Photo © sascha oda
Figure 10
Fonnesbech S/S 16. © Fonnesbech
Figure 14
Stinne Gorell, Look Book. © Stinne Gorell.
Figure 7
Figure 8
Figure 11
Figure 12
Figure 15
Figure 16
Armoire femmes S/S 16 collection. Photo © sascha oda
Muse Knitwear, Look Book. © Muse Knitwear
Sissel Edelbo. Look Book F/W 18. © Sissel Edelbo
Aiayu, Guadalupe cashmere blouse. © Aiayu
Grobund. Grobund Skirt and ELSK top.. © Grobund
Skall Studio, collection. © Skall Studio
Figure 9
ELSK, Sustainable, organic limited edition T-shirts © ELSK.
Figure 13
Neutral. Womens Polo. © Neutral
Figure 17
Designers Remix, Preloved collection 2018. Copenhagen Fashion Summit. © Designers Remix
Figure 18
Tanya Taylor, Autumn/Winter 2018, New York © WGSN
Figure 22
Golden Goose Deluxe Brand, Autumn/Winter 2018, Milan. © WGSN
Figure 19
Christian Dior, Autumn/Winter 2018, Paris © WGSN
Figure 23
Tom Ford, Autumn/Winter 2018, New York © WGSN
Figure 26
Figure 27
Figure 30
Figure 31
Assembly New York, Autumn/Winter 2018, New York © WGSN
Balenciaga, Autumn/Winter 2018, Paris © WGSN
Christopher Raeburn, Autumn/Winter 2018, London © WGSN
Kenzo, Spring/Summer 2017, Paris © WGSN
Figure 20
Figure 21
Figure 24
Figure 25
Figure 28
Figure 29
Tibi, Autumn/Winter 2018, New York © WGSN
Polimoda, Spring/Summer 2019, Florence © WGSN
Peacebird, Autumn/Winter 2018, New York © WGSN
Figure 32
Isabel Marant, Spring/Summer 2017, Paris © WGSN
Loewe, Autumn/Winter 2018, Paris © WGSN
João Pimenta, Autumn/Winter 2018, Sao Paulo © WGSN
Vivienne Tam, Autumn/Winter 2018, New York © WGSN
Figure 33
Annakiki, Autumn/Winter 2018, Milan © WGSN
3. MARKET OPPORTUNITY
THREATS
POSSIBILITIES
Consumer perception of sustainable brands inability to deliver products that follow the fashion tendencies and the undesirable clichĂŠs connected to eco-fashion. High level of competition from unsustainable fast fashion companies in terms of trendiness and price. Muted availability and limited information stream results in retailers and consumers lacking knowledge of brands and products existing within the market.
A â‚Ź160bn/year value opportunity of sustainable fashion for the world economy (Figure 4). Increase market awareness and normalisation on sustainable fashion, by creating a B2B space for Danish retailers to browse trendy sustainable fashion through a luxurious shopping experience. Rebranding of sustainable fashion for both retailers and consumers by initiating an increased and improved information stream on sustainable fashion, based on personal and environmental benefits of the products to compile a brand value profile. Increasing consumer willingness particularly from Millennials and Gen Z to pay more for sustainable products and services provided by environmentally and socially friendly companies. Ease the process of educating brands and in the end consumers
MARKET GAP
Market gap: The Danish market lacks a place for Danish retailers to find and connect with trendy sustainable fashion brands.
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THERE IS A €160 BILLION-PER-YEAR VALUE OPPORTUNITY FOR THE WORLD ECONOMY THROUGH COLLECTIVE ENGAGEMENT IN SUSTAINABLE FASHION AND INNOVATIVE USE OF SCARCE RESOURCES. 15
GENTLE
BUSIN
Figure 34 Stine Goya Store: Copenhagen K. © Stine Goya.
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GARDEN
NESS IDEA B2B SUSTAINABLE FASHION SHOWROOM
An Aesthetic Approach to Sustainable Fashion 17
4. BUSINESS IDEA 4.1 PROJECT DESCRIPTION & OPERATIONAL PROCESS
DESCRIPTION A start-up business as an aesthetic, ethical and trendy B2B showroom with desirable sustainable fashion for retailers to implement in their product offering. The proposition builds a unique eco-system between brands and retailers that helps publicise and extend the reach of the collaborating businesses to sell more and introduce new brands to their existing or potential clients. Additionally, it serves the purpose of rebranding the consumer perception of sustainable fashion to further trendy and desirable means. The benefits of distributing through a wholesale concept exist in the fact of the continuously important role of retailers in the fashion ecosystem as they gather multiple brands into one place and eases the shopping circum-stances for both retailers and the end-consumer. The concept provides the retailers with a much-needed simplified buying experience, both eco-ethical buyers, but additionally highly conventional stores or buyers that wish to implement more conscious products into their offering. The showroom not only serves as a valuable starting point to browse sustainable brands but functions moreover as a connection to a community of retailers and assist in gaining exposure for new and emerging brands that operate towards a further conscious and sustainable future. As the showroom serves a point of connection, it includes a wide range of clients, both international midmarket to luxury brands and highly influential Danish multi-brand retailers.
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OBJECTIVES 1. Increase implementation of sustainable fashion within the Danish retail market. 2. Rebrand the consumer perception of sustainable fashion 3. Assist danish retailers in meeting actual consumer wants. SUCCESS CRITERIA
A fashionable-lise the consumer perception on sustainable fashion. Increase clients sales on sustainsble fashion Keep danish retailers up to date with the most fashionable sustinable apparel by continuosly reviewing the showroom inventory and sales to adjust the inventory levels accordingly. Promote and advertise in online and offline areas in which the client base will is present and will learn about the showroom.
COMPETITIVE ADVANTAGE The competitive advantage comes in line with the showroom being a creation of a company that enable partners to leverage their products and services to Danish retailers and as a result assist in scaling social impact and meet the needs of the Dan-ish consumer. Ultimately, this might contribute to elevate an industry adoption of such concepts to create a positive impact and build meaningful business partnerships. Additionally, the business seeks to offer products that fits the Danish consumption mentality combining wearability, quality and durability at a fair price.
GENTLE GARDEN
Project Description
GENTLE GARDEN
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INITIAL START-UP OPERATIONAL PROCESS
CONTACT WITH POTENTIAL CLIENTS (BRANDS & RETAILERS) Contact potential clients (brands and retailers). Measure the Danish market (level of interested clients) and create a product portfolio of the interested brands to show potential retailers. Continuously high level of social media marketing.
CONSTRUCTION OF SHOWROOM Create the physical showroom in the center of Copenhagen and related online website. Continuously high level of social media marketing.
STOCK SHOWROOM Forecast and collection meetings with both brands and retailers to match supply and demand. Buying of brands and product selection to the showroom. Continuously high level of social media marketing.
CLIENT BROWSING & BUYING (& EVENTS) Invite brands, retailers, industry personalities and local influencers to the launch-event for them to experience the new sustainable fashion community. Initiate strategic buying agreements with brands and retailers and set sustainability goals with the indivudal client. Continuously high level of social media marketing.
DELIVERY OF ORDERS The delivery of client order will initially be distributed by personal delivery in order to evelate customer relationships and offer assistance with visual merchandise within the different stores to implement a standardization following the styke of the purchased brands. Continuously high level of social media marketing.
POST DELIVERY SUPPORT AND PRODUCT EVALUATION 1 Post delivery support and product evaluation will incude vistst to brands or retailers, or clients visiting the showroom in order to evaluate the individual buying and sales agreements and development of clients sustainability goals. Continuously high level of social media marketing.
POST DELIVERY SUPPORT AND PRODUCT EVALUATION 2 Post delivery support and product evaluation furthermore include meetings on customer reviews and welcomnig of the first buys from the retailers. Additionally, the meeting include a presentation on the new showroom buy-in and new brands and products considered to measure the client (retailers) interest.
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Project Description Figure 35 HAY for Sonos limited edition collection. © HAY.
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FITTING ROOMS RACKS
FOLDINGS TABLE
SHELVES
4.2 RETAIL FORMAT MODEL
SOFA
KITCHEN
FOLDINGS
RACK & SHELFS
RACK & SHELFS
SIDE WINDOW
RACKS
INTERACTIVE SCREEN
RACK & SHELFS ENTRANCE AND EXIT
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FRONT WINDOW
Figure 36 Baum und Pferdgarten Showroom in Copenhagen © Marie Jedig
Figure 37 Baum und Pferdgarten Showroom in Copenhagen © Marie Jedig
Figure 38 Stine Goya, showroom: Copenhagen K, © Stine Goya.
Figure 39 Stine Goya, showroom: Copenhagen K, © Stine Goya.
Figure 40 Stine Goya Showroom and Reform Kitchen: Copenhagen K,© Andreas Omvik.
Figure 41 Helle Hestehave & Rikke Baumgarten in Baum und Pferdgarten Showroom in Copenhagen © Daniel Stjerne
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4.3 BUSINESS MODEL CANVAS
KEY PARTNERS
KEY ACTIVITIES
VALUE PROPOSITION
Key partners include :
Marketing and communication: Effecttive
For brands: Offering an eased market entry and increase. Addishowroom assist in sustainable brands and fashionable
Financial: Investors. Marketing and communication: Creative communication agencies such as Danish Social Zoo for events and influencer marketing. Distribution and sales: Short-term: Personal delivery Long-term: Delivery companies for import of international shipping and domestic truck delivery to retailers. Key partners in sales include, strategic alliances with the two largest department stores Illum and Magasin du nord with great multi-brand fashion departments of similar price points and a financially stable audience. Moreover this partnership seeks to reduce risk if meeting enexpected resistance from smaller independent fashion retailers in implementing the sustainable fashion products. Buying: Brand middlemen/agents that connects the showroom buyer with the clients (brands)
lines of online and offline communication with target market (social media, collaborating events w. creative agencies) and clients (brands and retailers) to ensure market presence.
Distribution and sales: Import and domestic delivery
Customer relationships: Connect with brands and retailers in order to identify the existing pain points and figure out how to fill this hole.
Buying: Buying for showroom and measuring clients level of sustainability and quality control. KEY RESOURCES
Physical resources: Materials utilized to create the phsycial and online showroom. Intellectural resources: Inverstors Human resources: The work force of the company, with speaicl empahsis to individuals of distribution/delivery of orders and training of online and offline showroom staff. Financial resources: The support given by investors and the clients (brands and retailers).
COST STRUCTURE
Main cost sources are: 1. Stock buying 2. Marketing and communication (branding) 3. Creation of physical showroom and operational (consumption and rent) costs
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For retailers: Offering a distinct of value to the Daretailer such as, a simplified buysustainable fashion between brand and products, the showconnection to new, the individual retaitainable sustainable and products. Protionally selected price-point, as it is significant driver sustainable conaverage consumer. For consumers: Increased retail ofavailability of trenfashion in line with creasing consumer Increased aware-
way for new strategic sales tionally, the rebranding the under a trendy community. mix of elements nish multi-brand the service of ing process for as a connection retailer. As for room offers a trendy and, for ler, often unobfashion brands ducts are addito match a fairconsidered an to increase the sumption of the
fering and strong dy sustainable actual and inwants. ness and focus
CUSTOMER RELATIONSHIP
CUSTOMER SEGMENTS
Customer relationship with brands: Serves as a connection to a community of likeminded retailers and brands, sparring partner for expansion, growth and exposure within new markets.
The business proposal generally seeks to create value for a niche market of sustainable fashion brands and further main-stream multi-brand retailers through a relational approach. The approach builds bridge between niche and mass market.
Customer relationship with retailers: Serves as a connection to a community of likeminded retailers and brands, simplified buying experience and process, supplier of desired consumer-centric products, assist in broadening customer audience.
DISTRIBUTION CHANNELS
Customer segments are reached through: Offline: Brick-and-mortar B2B showroom. Online: Related online B2B platform and social media. Awareness: Instagram, Facebook, Youtube, Twitter, Events in collaboration with Danishcreative agencies such as Social Zoo. Evaluation: Mail, Social media Purchase: Website and Showroom Delivery: Delivery from international brands by shipping. Domestic delivery by truck to retailers. Post purchase support: Showroom, Website (live chat), Mail.
Clients: Showroom brands (International and Danish brands) Stella McCartney, Mother of pearl, RVDK, Gabriela Hearst, Gemanier, Mara Hoffman, Bite, Reformation, ByTiMo, Fonnesbech, Designers Remix, Skall Studio, Baserange, Ee12, ArtFusion Copenhagen Multi-brand retailers (Located in the two biggest cities of Denmark Aarhus and Copenhagen) FF2, STĂ˜Y, Birger Christensen, OZ Women, Storm , Holly Golightly, Lot #29, Wood Wood, Companys, Collage the shop, Illum, Magasin du nord.
Business revenue streams are expected from: 1. Recurring revenues from ongoing payments from brands and retailers to deliver value propostion and/or post-purchase support. This type of revenue stream is chosen as fashion seasons change and the chosen clients (brands/designer) collections often follow the four main seasons of Spring, Summer, Fall, Winter, and the selected clients (retailers) buy accordingly. However, it is not considered a subscription service, but a returning payment from the community members (brands and retailers).
Business model canvas
REVENUE STREAMS
2. licensing and co-branding. The revenue streams are operating under a dynamic pricing mechanism due to current global economic uncertainty and constantly changing consumer preferences.
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GENTLE GARDEN
CLIENTS BRANDS AND RETAILERS
Figure 42 Baum und Pferdgarten Showroom in Copenhagen © Marie Jedig
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4.4 CLIENTS: BRANDS
SOPHISTICATED SUSTAINABILITY
OUTLINE Rooted in the Skandinavian perception of luxury fashion. A brand that is all about a great desire to create feminine and characteristic designs. Believes that every day can be a joy. It comes from within and it’s about feeling beautiful. With a mission to make women feel beautiful wearing her clothes and wants to create forever items - fashion that women will keep in their closets for decades Fashion made for positive, sophisticated women with poise and power. It’s for curious women with a lust for life, and a willingness to explore own contradictions.
NEEDS
Need to look trendy and fashionable, while being responsible for own consumption and footprint. Needs a community or social gathering of likeminded individuals in which they can share their desire to make a better industry.
POSITIVE TRENDS Increased focus on female empowering, sustainability and responsible consumption and social conditions and human rights within the fashion industry. Additionally, she finds it positive that the genereal fashion consumption increasingly is in search of a new kind of cool.
BEHAVIOUR She highly operates according to openness, politeness and responsibility. She is curious, positive and sophiticated and wants to be a powerful voice for women. She has a lust for life and a willingness to explore own contradictions.
FRUSTATIONS
Frustrated about the current environmental circumstances and social order. Additionally, a frustation exist in the lack of sustainable adoption from retailers within the Danish fashion industry and how to help that.
HOPES
CONCERNS
Concerned about the environment and social conditions and fights to find a way to help reducing the damages that has already been made by the industry.
She hopes for a more socially concerned world structure and further environmental approach to consumption and lifestyle. She hopes to inspire women, who dare to take an unconventional stance on style.
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LUXURY BRAND
Figure 43 Mother of Pearl Instagram profile. © Mother of Pearl.
LUXURY BRAND
Figure 45 Ronald van der Kemp (RVDK) Instagram profile. © Ronald van der Kemp (RVDK).
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LUXURY BRAND
Figure 44 Gabriela Hearst Instagram profile. © Gabriela Hearst
LUXURY BRAND
Figure 46 Mara Hoffman Instagram profile. © Mara Hoffman.
LUXURY BRAND
LUXURY BRAND
Figure 47 Stella McCartney Instagram profile. © Stella McCartney
MID-MARKET BRAND
Figure 49 Designers Remix Instagram profile. © Designers Remix
Figure 48 Germanier Instagram profile. © Germanier
MID-MARKET BRAND
Figure 50 Bite Instagram profile. © Designers Remix.
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MID-MARKET BRAND
Figure 51 Reformation Instagram profile. © Reformation.
MID-MARKET BRAND
Figure 53 Fonnesbech Instagram profile. © Fonnesbech.
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MID-MARKET BRAND
Figure 52 ByTimo Instagram profile. © ByTimo
MID-MARKET BRAND
Figure 54 Skall Studio Instagram profile. © Skall Studio
MID-MARKET BRAND
Figure 55 Baserange Instagram profile. © Baserange
MID-MARKET BRAND
Figure 56 ee12 showroom Instagram profile. © ee12 showroom
Clients: Brands
MID-MARKET BRAND
Figure 57 ArtFusion Copenhagen Instagram profile. © ArtFusion Copenhagen
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6.6 CLIENTS: RETAILERS
STYLE CONSCIOUS RETAILERS OUTLINE NEEDS
STOY is a leading multibrand store with an international outlook. STOY is a natural centre for fashion, culture and development, pushed forward by an engaging workforce in-theknow who takes active part in the city surrounding the store. With biannual trips to Paris, London, Berlin and New York our buyers constantly search for the very best item the fashion world has to offer, and bring them home to our customers. Centrally located in Aarhus, Denmark.
Need to look trendy and fashionable with high emphasis on quality, luxury, trends and newness. It is additionally relfected in the everyday lifestyle of eating habits, home decor and technological purchases.
POSITIVE TRENDS Strongly supporting the streetstyle movement through its style of clothing and on social media. Another important positive trends is the increasing focus on the environmental circumstances, and how this can be helped through more sustainable fashion products.
CONCERNS
Concerned about how to help creating a better worls, but at the same time keeping the trendy and fashionable style.
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BEHAVIOUR
Highly belives in personal relations and connections with likeminded individuals. Travel therefore becoms a natural part of this behaviour due to the curiousity and international interest in fashion and culture.
FRUSTATIONS
Frustrated about the current environmental circumstances, and is open to adopt a further sustainable lifestyle especially in relation to fashion. However, it is complicated to find desireable sustainable fashion within the danish retail market.
HOPES
Hopes to help in creating a more socially concened world structureand further environmental approach to consumption and lifestyle.
Figure 58 STOY store in Aarhus. © STOY.
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MULTI-BRAND RETAILER MID-MARKET
Figure 59 FF2 store in Aarhus Instagram profile.. © F22
MULTI-BRAND RETAILER LUXURY
Figure 61 Birger Christensen store in Copenhagen Instagram profile. © Birger Christensen.
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MULTI-BRAND RETAILER MID-MARKET - LUXURY
Figure 60 STOY store in Aarhus Instagram profile. © STOY
MULTI-BRAND RETAILER MID-MARKET
Figure 62 OZ Women store in Copenhagen Instagram profile. © OZ Women.
MULTI-BRAND RETAILER MID-MARKET - LUXURY
Figure 63 Storm store in Copenhagen Instagram profile. . © Storm.
MULTI-BRAND RETAILER MID-MARKET
Figure 65 Lot #29 store in Copenhagen Instagram profile. © Lot #29
MULTI-BRAND RETAILER MID-MARKET
Figure 64 Holly Golightly store in Copenhagen Instagram profile. © Holly Golightly.
MULTI-BRAND RETAILER MID-MARKET
Figure 66 Wood Wood store in Aarhus and Copenhagen Instagram profile © Wood Wood.
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MULTI-BRAND RETAILER LUXURY
Figure 67 Collage the Shop store in Aarhus Instagram profile. © Collage the Shop.
DEPARTMENT STORE MASS MARKET - LUXURY
Figure 69 Illum store in Aarhus and Copenhagen Instagram profile.© Illum
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MULTI-BRAND RETAILER MASS MARKET
Figure 68 Companys store in Aarhus and Copenhagen Instagram profile. © Companys.
DEPARTMENT STORE MASS MARKET - LUXURY
Figure 70 Magasin de Nord store in Aarhus and Copenhagen Instagram profile. © Magasin du Nord
Figure 71 Ganni, Store Copenhagen 2018.Š Stamuli
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5. COMPETIVE LANDSCAPE The competition within the Danish market with regard to similar B2B showroom concept is limited, however, creative communication agencies increasingly influence the Danish market and retailers and must be considered significant competition. The store and showroom, Another View, located in the centre of Copenhagen, gives emphasis to sustainable living including fashion products of high quality, ethical values and joy. However, Another View treats brand aesthetics and products according to the current market outlook on sustainable fashion (p.8) and is far from targeting a similar audience as the proposed business model. Considering the Danish communication agencies, it is clear that a direct competitor exists in the existing PR (personal relations) and influencer agencies such 9PR and Social Zoo that has gained increasingly market significance since their launch respectively in 2009 and 2016. These creative agencies seek to solve a similar issue of introducing new brands and lifestyle tendencies to the Danish market, which additionally is initiated through a showroom concept, however with regard to experiencing the products or service through events. As a result, many retailers do not benefit from these presentations of new brands or services as the events mainly are based on invitations from the agency. Additionally, both 9PR and Social Zoo, mainly collaborate with non-sustainable clients and increasingly, 9PR especially, push stock and sample sales. Both agencies lack efficient communication on sustainable fashion for the average consumer as for why the clients of the agencies, the influencers, neither push for more sustainable fashion, and consequently the conversation on the matter is damaged by ‘muted’ availability. Nevertheless, the agencies play a significant role in market competition as they convey the history of each brand through long-term strategic planning in close collaboration with the brands as well as a high level of influencer marketing. However, Social Zoo as a competitor will be turned collaborator for marketing and communication purposes.
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Figure 72 Meeting room of 9PR in Copenhagen K. Š 9PR.
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GENTLE
LEGA PROT Figure 73 Copenhagen Fashion Week, Street Style, © CFW
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GARDEN
AL TECTION B2B SUSTAINABLE FASHION SHOWROOM
Exploitation and legal protection 41
6. BRAND CREATION
6.1 BRAND NAME
6.2 BRAND LOGO AND CREATION OF SLOGAN
The brand name GENTLE GARDEN has been chosen for the showroom as it couples associations to environmental kindness with a philosophical and feminine expression. However, indifferent to many eco-fashion brands or retailers it does not exist in explicit reference to the concept ‘eco-fashion’ due to the current challenged consumer perception related to the concept. This choice of leaving out the word ‘eco’ is crucial for the rebranding of sustainable fashion, as the business idea wish to pursue, due to the aim of branding sustainable fashion towards a further desirable, aesthetic, trendy and luxurious, yet price conscious image. The name in its combination of Gentle and Garden is additionally available within the market according to the global search engine WIPO, World Intellectual Property Organization, as for why it can be successfully applied to this business proposal.
The style of the brand logo is carefully chosen to match the image described under brand name and is created by the following distinctive elements; Colour: A deep burgundy colour has been chosen in order to give the background of the logo a highly luxurious feel with the name in white written over it. Shape: The shape is mainly given by the name GENTLE GARDEN in capital letters to resemble a simplistic yet powerful logo.
Texture: The texture is bold, yet feminine in the white and thin capital letters. The slogan “An Aesthetic Approach to Sustainable Fashion” is chosen to stress its importance of rebranding sustainable fashion towards a further aesthetic image. It gives emphasis to an approach keen for details, beauti-ful aesthetics and consciousness that should be the protagonist in the fashion future.
6.3 TESTIMONIAL Chosen for the testimonial is ex-editor, chief executive & president of Global Fashion Agenda and now leader for Copenhagen Fashion Summit, the world’s most important forum on sustainable fashion, Eva Kruse. The Danish pioneer is moreover among BoF’s 500, a definitive professional index of the people shaping the $2.4 trillion fashion industry. Kruse has ambitiously worked towards changing the world through fashion and pushing the sustainable agenda globally since 2007. She believes that not only companies and politicians, but consumers likewise, should be at the forefront of sustainability efforts and aims to create a movement within fashion towards positive change and responsible innovation (Authors of Business of Fashion, (N/A), “Eva Kruse”)
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Figure 74 Eva Kruse speaking at Global Fashion Agenda. © GFA
GENTLE GARDEN B2B SUSTAINABLE FASHION SHOWROOM
An Aesthetic Approach to Sustainable Fashion 43
7. LEGAL PROTECTION The showroom is protected under the trademark class 35 as it fits under the class description of either a concept of ‘bringing together, ‘for the benefit of others’ or ‘of a variety of goods’. A class in which services and products are enabling customers to conveniently view and purchase the offered goods, which can be provided by retail stores, wholesalers, outlets, through mail order catalogues or by means of electronic media, for example, through websites. The showroom is protected under an international trademark in order to stay open to future growth possibilities and brand extension. Additionally, it is desired to extend brand reach to strategic markets such as London, United Kingdom, Stockholm, Sweden, and Olso, Norway to which the international protection comes in highly beneficial, due to political uncertainty on inclusion within the European Union in the UK, and the exclusion of Norway from the same.
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2. LONDON, UNITED KINGDOM
4. STOCKHOLM, SWEDEN 1. COPENHAGEN, DENMARK
Legal Protection
3. OSLO, NORWAY
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8. EXPLOITATION
TOP OF PYRAMID The top of the pyramid gives emphasis to the persona of this business proposal and serves the purpose of visualizing the uniqueness to the brand. Factors of high importance in this field include friendliness, creativity, responsibility, fashionable, luxurious, trendiness.
MID-SECTION OF PYRAMID The mid-section of the pyramid is dedicated to understanding both the beliefs and functionalities of the showroom. Included in this section is beliefs such as convenient, simplified buying experience, connector, leadership, supplier, community, beautiful aesthetics.
BOTTOM OF PYRAMID Finally in the bottom of the pyramid treats of the tangible attributes and elements of the showroom. Included here is assistant for growth and exposure, establishing connections, creates a unique eco-system between brands and retailers, simplifying tasks, community.
8.1 PYRAMID OF VALUES
TRENDY LUXURIOUS FRIENDLINESS FASHIONABLE RESPONSIBILITY SUSTAINABILITY CREATIVITY
VALUES
LEADERSHIP COMMUNITY CONVENIENT CONNECTOR BEAUTIFUL AESTHETICS SIMPLIFIED BUYING EXPERIENCE
FUNCTIONALITIES COMMUNITY SIMPLIFYING TASKS ESTABLISHING CONNECTIONS ASSISTANT FOR GROWTH AND EXPOSURE CREATES A UNIQUE ECO-SYSTEM BETWEEN BRANDS AND RETAILERS
ATTRIBUTES
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8.2 KAPFERER BRAND PRISM (Fano, 2015) HONEST
HAPPINESS
INNOVATOR
BEAUTIFUL
TRENDY FASHION APPAREL
CURIOUS
QAULITY PRODUCTS
PHYSICAL
CONCERNED WITH THE ENVIRONMENT
TRENDY RESPONSIBLE
SUSTAINABLE PRODUCTS
PERSONALITY
TRUST INTERNATONAL WITH A TOUCH OF SCANDI CHIC STYLE
COMMUNITY
CUSTOMIZED ADVICE
EXTERNALISATION
GENTLE GARDEN
LISTENING
B2B SUSTAINABLE FASHION SHOWROOM
EXPERTISE
EXOTICISM
POSITIVE CHANGE
REFLECTION
SELF-IMAGE
SOCIAL A MATURE PERSON
ECONOMIC FLEXIBILITY STYLE ORIENTATED
MATURE
Brand Exploitation
RESPONSIBLE INNOVATION
TRAVEL
INTERNALISATION
BEAUTIFUL CONFIDENT
FEEL GOOD ABOUT ONE SELF ENVIRONMENTAL FRIENDLY
RESPONSIBLE
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8.3. CO-BRANDING PROPOSAL
PRODUCT CO-BRANDING
In order to increase future purchase intentions and extending brand reach beyond fashion products, a co-branding strategy with the Danish interior company HAY HOUSE is applied to the business model. This partnership seeks to strategically extend the brand reach into the field of interior design and further lifestyle orientation, while additionally assisting HAY in extending their target audience. The partnership with HAY comes in line with HAY’s most recent move towards a sustainable approach to production and publication of sustainable development goals. Moreover, the aesthetic of the HAY products and the universe is highly complementary to the look and feel of the showroom. The products generated from the co-branding will naturally be of sustainable or recycled materials to match the values of GENTLE GARDEN and will be featured as fixed inventory in the showroom.
Figure 75 HAY for Sonos limited edition collection. © HAY.
GENTLE GARDEN Figure 76 HAY for Sonos limited edition collection. © HAY.
Figure 77 Marselis lamp by Kaschkasch. © HAY
POP-UP AND EVENT
In order to increase the visibility within the market of entry, Copenhagen, Denmark, the co-branding with HAY is including the creative communication agency Social Zoo for a pop-up flower store in reference to the name of the showroom GENTLE GARDEN. The pop-up store and event within will be coordinated by Social Zoo, while HAY will provide the interior and GENTLE GARDEN will appear on interactive screens in which the guests will be able to digitally visit the showroom and browse the products. This collaboration will be highly beneficial for all three parties as it establishes and extent brand associations as well as visibility and exposure for these new initiatives.
Figure 78 Tableau flower installation with reused plastic. (Online). © image: _jeanettemadsen.
Figure 79 Wallpaperstore ”inflorescence” pop-up shop at hay house. © HAY.
GENTLE GARDEN
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8.4 LICENSING PROPOSAL Licensing may be considered for this business proposal if entering markets of United States, southern or eastern regions. The licensing agreement would, in that case, exist as a tool for GENTLE GARDEN to grow by tapping into new geographic markets, product categories or services that the business is not equipped to cater to. The licensing agreement additionally serves to commercialize the IP and ease the international expansion. Hereby, the agreement would grant the licensee the right to market and distribute the services of GENTLE GARDEN in which the licensee agrees to make the required adaption such as translation of the website, modifications of the service to conform to local laws and regulations, logistics and distribution as well as adjustments in marketing and communication. However, the scale of these modifications will be measured in order to evaluate if the market entry will represent a deviation from the general brand persona or not.
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Figure 80 Tableau table designed from industrial materials. Š tableau_cph.
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GENTLE GARDEN
GENTLE GARDEN
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GENTLE GARDEN B2B SUSTAINABLE FASHION SHOWROOM
An Aesthetic Approach to Sustainable Fashion 53
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Figure 20 Tibi, Autumn/Winter 2018, New York. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.28475289/set/%5B%22image.28475289%22,%22image.28475230%22,%22image.28566865%22%5D (Accessed 8th November 2018) Figure 21: Loewe, Autumn/Winter 2018, Paris. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.28674873/set/%5B%22image.28695846%22,%22image.28428935%22,%22image.28640828%22,%22image.28674873%22%5D (Accessed 8th November 2018) Figure 22: Golden Goose Deluxe Brand, Autumn/Winter 2018, Milan. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.28639137/ set/%5B%22image.28639137%22,%22image.28175022%22,%22image.28776487%22,%22image.28938024%22%5D (Accessed 8th November 2018) Figure 23: Tom Ford, Autumn/Winter 2018, New York. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.28428935/set/%5B%22image.28695846%22,%22image.28428935%22,%22image.28640828%22,%22image.28674873%22%5D (Accessed 8th November 2018) Figure 24: Polimoda, Spring/Summer 2019, Florence. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.29071746/set/%5B%22image.29312218%22,%22image.29071746%22,%22image.28748028%22,%22image.29458281%22,%22image.28730373%22,%22image.29458282%22,%22image.3454280%22%5D (Accessed 8th November 2018) Figure 25: João Pimenta, Autumn/Winter 2018, Sao Paulo. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.28938024/set/%5B%22image.28639137%22,%22image.28175022%22,%22image.28776487%22,%22image.28938024%22%5D (Accessed 8th November 2018) Figure 26: Assembly New York, Autumn/Winter 2018, New York. (Online). © WGSN. Available from:https://www.wgsn.com/content/image_viewer/#/image.28769092/ set/%5B%22image.28505907%22,%22image.28639726%22,%22image.28416883%22,%22image.28769092%22%5D (Accessed 8th November 2018) Figure 27: Christopher Raeburn, Autumn/Winter 2018, London. (Online). © WGSN. Available from: https://www.wgsn.com/content/image_viewer/#/image.28175022/ set/%5B%22image.28639137%22,%22image.28175022%22,%22image.28776487%22,%22image.28938024%22%5D (Accessed 8th November 2018)
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Figure 37: Baum und Pferdgarten Showroom in Copenhagen © Marie Jedig. Available from: http://mariejedig.com/2017/08/paa-det-seneste-har-jeg-19/ (Accessed 8th November 2018) Figure 38: Stine Goya, showroom: Copenhagen K, (Online). © Stine Goya. Available from: https://stinegoya.com/pages/stores (Accessed 8th November 2018) Figure 39: Stine Goya, showroom: Copenhagen K, (Online). © Stine Goya. Available from: https://stinegoya.com/pages/stores (Accessed 8th November 2018) Figure 40: Stine Goya Showroom and Reform Kitchen: Copenhagen K, (Online). © Andreas Omvik. Available from: https://www.reformcph.com/en/stories/stine-goya/ (Accessed 8th November 2018) Figure 41: Helle Hestehave & Rikke Baumgarten in Baum und Pferdgarten Showroom in Copenhagen © Daniel Stjerne. Available from: https://www.skandiastyle.com/row/articles/ fashion/article-kinfolk-copenhagen-fashion-week-helle-hestehave-rikke-baumgarten.html (Accessed 8th November 2018) Figure 42: Baum und Pferdgarten Showroom in Copenhagen © Marie Jedig. Available from: http://mariejedig.com/2017/08/paa-det-seneste-har-jeg-19/ (Accessed 8th November 2018) Figure 43: Mother of Pearl Instagram profile. © Mother of Pearl. Available from: https://www.instagram.com/motherofpearl/ (Accessed 8th November 2018) Figure 44: Gabriela Hearst Instagram profile. © Gabriela Hearst. Available from: https://www.instagram.com/gabrielahearst/ (Accessed 8th November 2018) Figure 45: Ronald van der Kemp (RVDK) Instagram profile. © Ronald van der Kemp (RVDK). Available from: https://www.instagram.com/ronaldvanderkemp/ (Accessed 8th November 2018) Figure 46: Mara Hoffman Instagram profile. © Mara Hoffman. Available from: https://www.instagram.com/marahoffman/ (Accessed 8th November 2018) Figure 47: Stella McCartney Instagram profile. © Stella McCartney. Available from: https://www.instagram.com/stellamccartney/ (Accessed 8th November 2018)
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Figure 48: Germanier Instagram profile. © Germanier. Available from: https://www.instagram.com/kevingermanier/ (Accessed 8th November 2018) Figure 49: Designers Remix Instagram profile. © Designers Remix. Available from: https://www.instagram.com/designersremix/ (Accessed 8th November 2018) Figure 50: Bite Instagram profile. © Designers Remix. Available from: https://www.instagram.com/bitestudios/ (Accessed 8th November 2018) Figure 51: Reformation Instagram profile. © Reformation. Available from: https://www.instagram.com/reformation/ (Accessed 8th November 2018) Figure 52: ByTimo Instagram profile. © ByTimo. Available from: https://www.instagram. com/bytimo/ (Accessed 8th November 2018) Figure 53: Fonnesbech Instagram profile. © Fonnesbech. Available from: https://www.instagram.com/fonnesbechcph/ (Accessed 8th November 2018) Figure 54: Skall Studio Instagram profile. © Skall Studio. Available from: https://www.instagram.com/skallstudio/ (Accessed 8th November 2018)
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Figure 58: STOY store in Aarhus Instagram profile. (Online). © STOY. Available from: https://theculturetrip.com/europe/denmark/articles/the-best-fashion-boutiques-in-aarhus/ (Accessed 8th November 2018)
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Figure 59: FF2 store in Aarhus Instagram profile. (Online). © F22. Available from: https://www.instagram.com/ff2store/ (Accessed 8th November 2018) Figure 60: STOY store in Aarhus Instagram profile. (Online). © STOY. Available from: https://www.instagram.com/stoy_com/ (Accessed 8th November 2018) Figure 61: Birger Christensen store in Copenhagen Instagram profile. (Online). © Birger Christensen. Available from: https://www.instagram.com/birgerchristensen/ (Accessed 8th November 2018) Figure 62: OZ Women store in Copenhagen Instagram profile. (Online). © OZ Women. Available from: https://www.instagram.com/ozwomen_cph/ (Accessed 8th November 2018) Figure 63: Storm store in Copenhagen Instagram profile. (Online). © Storm. Available from: https://www.instagram.com/storm_copenhagen/ (Accessed 8th November 2018) Figure 64: Holly Golightly store in Copenhagen Instagram profile. (Online). © Holly Golightly. Available from: https://www.instagram.com/hollygolightlydk/ (Accessed 8th November 2018) Figure 64: Lot #29 store in Copenhagen Instagram profile. (Online). © Lot #29. Available from: https://www.instagram.com/lot29dk/ (Accessed 8th November 2018) Figure 66: Wood Wood store in Aarhus and Copenhagen Instagram profile. (Online). © Wood Wood. Available from: https://www.instagram.com/w00dw00d/ (Accessed 8th November 2018) Figure 67: Collage the Shop store in Aarhus Instagram profile. (Online). © Collage the Shop. Available from: https://www.instagram.com/collagetheshop/ (Accessed 8th November 2018) Figure 68: Companys store in Aarhus and Copenhagen Instagram profile. (Online). © Companys. Available from: https://www.instagram.com/companysviborg/ (Accessed 8th November 2018) Figure 69: Illum store in Aarhus and Copenhagen Instagram profile. (Online). © Illum. Available from: https://www.instagram.com/illumcph/ (Accessed 8th November 2018)
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Figure 70: Magasin de Nord store in Aarhus and Copenhagen Instagram profile. (Online). © Magasin du Nord. Available from: https://www.instagram.com/magasindunord/ (Accessed 8th November 2018) Figure 71: Ganni, Store Copenhagen 2018. (Online). © Stamuli. Available from: http://www.stamuli.com (Accessed 8th November 2018) Figure 72: Meeting room of 9PR in Copenhagen K. (Online). © 9PR. Available from: http://www.9pr.dk (Accessed 8th November 2018) Figure 73: Copenhagen Fashion Week (CFW), Street Style, (Online). © CFW. Available from: http://copenhagenfashionweek.com/gallery/street-style-2/ (Accessed 8th November 2018) Figure 74: Eva Kruse speaking at Global Fashion Agenda. (Online). © GFA. Available from: https://www.globalfashionagenda.com/eva-kruse-on-bof-500-for-third-consecutive-year/# (Accessed 8th November 2018) Figure 75: HAY for Sonos limited edition collection. (Online). © HAY. Available from: https://hay.dk/en/news/news-2018/hay-for-sonos-limited-edition-collection (Accessed 8th November 2018) Figure 76: HAY for Sonos limited edition collection. (Online). © HAY. Available from: https://hay.dk/en/news/news-2018/hay-for-sonos-limited-edition-collection (Accessed 8th November 2018)
Figure 78: Tableau flower installation with reused plastic. (Online). © _jeanettemadsen. Available from: https://www.instagram.com/p/BpYu_foBrz9/ (Accessed 8th November 2018) Figure 79: Wallpaperstore ”inflorescence” pop-up shop at hay house. (Online). © HAY. Available from: https://hay.dk/en/news/news-2018/wallpaper_popup (Accessed 8th November 2018)
Bibliography
Figure 77: Marselis lamp by Kaschkasch. (Online). © HAY. Available from: https://hay.dk/en/news/news-2018/marselis-lamp-by-kaschkasch (Accessed 8th November 2018)
Figure 80: Tableau table designed from industrial materials. (Online). © tableau_cph. Available from:https://www.instagram.com/p/BqRytZAHHzY/ (Accessed 8th November 2018)
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ANNEX Exhibit 1: AVAILABILITY OF BRAND NAME FROM WIPO.INT.
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Annex
Exhibit 2: AVAILABILITY OF LOGO FROM WIPO.INT
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GENTLE
BUSIN
66
GARDEN
NESS IDEA B2B SUSTAINABLE FASHION SHOWROOM
An Aesthetic Approach to Sustainable Fashion 67
GENTLE GARDEN B2B SUSTAINABLE FASHION SHOWROOM
An Aesthetic Approach to Sustainable Fashion 68