SHIBUI_brand identity & collection development by Debora Ferrara

Credit: Tsukibori (“push” cutting), Ise katagami di Photo by Suzuka City Suzuka City

渋い re-crafting for fashion

RESEARCH AND PROJECT BOOK

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01. 02. Ise Ise Ise Ise Ise Ise Ise Ise

Shibui Shibui Shibui Shibui Shibui Shibui Shibui

Katagami Katagami Katagami Katagami Katagami Katagami Katagami Katagami

Shibui Shibui Shibui Shibui Shibui Shibui Shibui

Ise Ise Ise Ise Ise Ise Ise Ise

Shibui Shibui Shibui Shibui Shibui Shibui Shibui

Katagami Katagami Katagami Katagami Katagami Katagami Katagami Katagami

Shibui Shibui Shibui Shibui Shibui Shibui Shibui

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04. 05. Pay back back Pay Pay back back Pay Pay back back Pay Pay back back Pay

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Pay back back Pay Pay back back Pay Pay back back Pay Pay back back Pay

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Pay back back Pay Pay back back Pay Pay back back Pay Pay back back Pay

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02.BRAND DNA Abstract Philosophy Vision and mission Values Swot Logo development Visual identity 2.2 Marketing Analysis Business Model Product Price People Place Promotion Brand position Competitors

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03.PROJECT Moodboard Concept board Color Palette Fabrics and hardware Patterns Collection overview Outfits Technical sheet n_9

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01.RESEARCH 1.1 History 1.2 Simbology 1.3 Process 1.4 Artisans 1.5 Prints and Technologies

04.COMMITMENT 4.1 Give credit to the artisans 4.2 Museum and recognition 4.3 Fashion Universities 4.4 Itinerant Exhibition 05. COMMUNICATION STRATEGY Communication strategy Website and social Exhibition promotion SHOOTING

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< BRIEFâ&#x20AC;?> In the current fashion industry there have been too many examples of â&#x20AC;&#x153;cultural appropriationâ&#x20AC;?, mixing ancient cultural symbols with recent fashion trends, fine art and architecture without taking into account anything but the creative process. This term to the adoption of elements of one culture by members of another culture without giving credit to people to which it belongs. This aspect can be even more controversial when members of a dominant culture appropriate from disadvantaged minority cultures. The aim of this work is to carry out a deep ad specific research about artisanal craft located in a particular part of the world and related to the fashion sector, that is in danger of disappearing or runs the risk to be forgotten even in its country of origin. The selected craft will then be reinterpreted to fit the request and desire of the modern world, without forgetting the people who created it and therefore find a way to give to them the credits and benefits they deserve.

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Credit: Nanbu Yoshimatsu(1894-1976) working on tsukibori (â&#x20AC;&#x153;pushâ&#x20AC;? cutting), Ise katagami Photo by Suzuka City

1. RESEARCH

01. Ise Ise Ise Ise Ise Ise Ise Ise

Katagami Katagami Katagami Katagami Katagami Katagami Katagami Katagami

Ise Ise Ise Ise Ise Ise Ise Ise

Katagami Katagami Katagami Katagami Katagami Katagami Katagami Katagami

1. < RESEARCH >

3. Ise Grand Shrine: Japan’s Most Sacred Shrine - betway体育网址

Ise-katagami is a traditional artisanal product of great artistic value that has been carried out with the same techniques and the same raw materials for many centuries. Katagami is a word form by kata (form) and kami (paper) that identifies the paper stamp cut out by hand used to dye fabrics for traditional clothes using a reserve method. The production of the sheets is done by superimposing thin sheets of paper made of wood pulp from a mulberry tree between them and gluing them together in three to four layers with the extract of unripe persimmon. The origin of this technique dates back a thousand years and has two distinct origins. The most important one is located in south of Tokyo, in the city of Suzuka, in the Ise Prefecture, that is considered by the authorities to be the original homeland. Here the specific production of Katagami has been concentrated for centuries, with the formation of highly specialised craft workshops. In the period of greatest interest in the production the city was protected by a monopoly regime and from the beginning of the eighteenth century, the specialized production of patterns for textile printing was concentrated in this region and jealously protected by the shogunate, that were the most relevant military figures in the country. The second area of origin is located in the archipelago of Okinawa, where a similar technique was developed in competition with Ise called “Bingata”, which was used for multi-colour patterns. The Ise-katagami have always been used in Japan to design and dye the fabrics for the traditional costumes: Kimonos. The precise origin can not be exactly determinate, but it is a common believe that it has originated more than 1000 years ago. On the other hand the current Katagami technique can be linked to the Edo Period (1603-867), in which the dominant class, the Buke Samurai, imposed a strict division of the social classes and the clothing adopted by them was particularly intended as a status symbol. In fact on their clothes were represented the Komon, symbols that were linked to theirs aristocratic family and only the family members were allowed to use and replicate these design. From the second half of the eighteenth century, the Komon decorations became common also among other classes, although the rules imposed by the Shogunate to distinguish and identify the different social classes remained active. The artisans noted the interest aroused by these patterns among the inhabitants of the different cities, so they further developed this theme,

2. Katagami Artesan cutting the paper (kami)

HISTORY

4. Traditional Ise Katagami kimono

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5. Buke Samurai with his armor and weapon, 1860

Kamishimo (Men’s Kimono) in Edo Komon Emperor Meiji in his fifties. Animal Katazome, photo credit, Akemi Nakano Cohn Ningen Kokuho Series Vol.10 Shamisen

creating a type of decoration for kimono called Edo-komon. This situation stimulated an increase in the variety of patterns and colors. The widening of choice for clothing provided the incentive for the production of printed Katazome fabrics, a specific printing technique, and as a result of the increasing demand, there was a highly development of specialization centers of Katagami. People from all over the country visited the prefecture of Ise to find the production and market of patterns that could be taken to the printing centers, so this territory became the single center of this particular craft manufacturing. The predominance of the merchants in this area and their monopoly imposed strict rules on the producers of katagami, including the prohibition to sell them to other buyers and forbidding the access of apprentices from other provinces. With the new Meiji reign from 1867, radical socio-political and economic transformations developed and with the annulment of the social classes and the feudal domination, the privileges reserved for Ise were cancelled. In this period of time the development of new technologies and trade practices gave new impetus to the printed katazome fabrics, with the consequent need to increase production of katagami. In 1897 a collective organization was established in Shiroko, that include paper producers, pattern cutters and traders and in 1935 it involved 1000 artisans in the production of Katagami and Katazome printing. After 1942, despite the fact that there was still demand for prints, the number of artisans employed in the sector fell drastically as a result of changes in costume and thus reduced demand for kimonos, together with the transition to Western clothing. The area of Shiroko, incorporated in Suzuka, was converted to industrial production, absorbing most of the local craftsmen as its main workforce. Faced with this rapid transformation, the commission of protection of traditions and cultures issued a decree to protect the heritage of craft traditions, declaring the area of Ise an “intangible cultural treasure”, and giving those with the highest technical and cultural specialization the title of “Ningen Kokuho” or “living national treasure”. In the city of Suzuka in 1983 the Museum of Craft Traditions was founded and in 1997 one dedicate to Ise katagami, which preserves not only examples of the past, but also illustrates the specific techniques in a direct manner. Today the the largest collection of Katagami in Japan is located in the National Museum of Tokyo.

1. < RESEARCH >

1.2

simbology

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Chrysanthemum (kiku) an imperial symbol related to strength and endurance

The infinite images of Japanese craftsmanship contained in fabrics, ceramics and metals are deeply rooted in the world of nature. This typical imagery has developed particular characteristics that are almost non-existent in the textile sector of Western cultures. The Japanese decorative landscape is mainly based on the beauty and the strength of the natural World, that are also basic foundation of Buddhist and Shinto religions. Mountains, rivers, trees, sky and sea, birds, fish, insects and butterflies are the main elements of the decorative and artistic vocabulary of Japanese culture. For years, these have been the fundamental elements used in the decorative symbology of handcrafted products for clothing. The gradual process of the evolution of craftsmanship has increasingly sublimated this symbolism with a level of executive perfection, transforming transform the designs into ideograms. Katagami mostly represent some typical form of the Japanese widely imagery such as flowers and animals, the water flow and the shape of the waves. The depiction of flowers usually include the chrysanthemum (kiku) an imperial symbol and cultivated in hundreds of varieties, that has produced an infinite variety of compositions and ideograms. Moreover this flower has been a source

of inspiration for many poetries and it is also a symbol related to strength and endurance: in fact the chrysanthemum is a winter flower that grows facing the adversities of the cold weather. Depending on its colors, the chrysanthemum assumes different meaning: white is the color of pain while red is the color that represent love and affection. Another important flower in the Japanese culture is the peony, that is a symbol for good fortune, high honor and the spring, and it considers as the “king of flowers”. Also the wisteria, is a very important symbol because it represents longevity and immortality, since the life of this plant usually last more than a century. This flower was also used as central symbol in the aristocratic clothes for many years. In addition the cherry blossom is one of the most present and significative symbol in the Japanese culture, since the short life of its blossoms are linked to the unpredictability and marveling significance of life. It is also used in the military field to represent the motivate the soldier to scatter as “ myriad of cherry blossoms” and spread the “Japanese patriotic spirit”. There are also some trees and shrubs that held an important meaning for the Katagomi symbolism. One of them is the “nandina”, which name in Japanese is composed by the word “difficulties” and “changes”, so it is used as symbol to avoid the misfortune. Another important one for the katagami craft is the Ginkgo Biloba, this plant is used to represent the connection between opposite and it is linked to immutability of things.

Koi carp, symbol of perseverance Dragonfly, symbol of the success in the martial art Tortoise, symbol of the power to sustain the world and supervise the western quadrwnt of the universe

The world of nature is also represented by symbol of different animals, the most important and common one in the koi carp, that is an emblem for perseverance. The Koi is always moving and it is consider as one the most energetic and strong fish. Moreover it capable of swimming against the current, and it is interpreted as a symbol of unconventionality and strength of overcome hard times. This fish usually lives in calm water, but is always represented in movement surrounded by waves, because it connected to the virtues and the bravery of the warriors. Another important animals for the Katagami symbolisms is the crane, that are figures linked to longevity and good fortune. It is a common tradition in Japan to create 1000 paper crane (origami) to express a special wish, in fact giant and colorful chain made of paper crane can be found outside the temple. As well the dragonfly held an important value, this insect symbolize the success in the martial art, in fact it was used to decorate warrior helmet and armor. One of the most important animal for the Katagami imagery is the tortoise, because it has spiritual meaning since it believed that this creature helps to sustain the world and supervise the western quadrant of the universe together with a giant snake. Also the butterflies held an important value for the Katagami and Japanese culture, since they represent the souls of dead and living people taking flight and chasing them could lead to a solution of a mystery or a problem. Finally the heron, that in the Katagami drawings that are use to symbolize the importance of loyalty since they will have only one partner during their lives. These animals are considered a national treasure and are usually described in the Japanese folklore and literature. As far as regard the symbolism the water in every aspect it is used to represent the force of nature and it used to convey feeling of adaptability, transition and mystery. Water (ć°´) called Sui or Mizu, is also used to represent the formless things in the world. A spiritual connection with elements like water is believed to be a primary force in the life of a Shinto priest. Likewise, waterfalls are believed to be sacred and standing under one is thought to purify the individual.

Butterfly, symbol of the souuls of dead and living people

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1. < RESEARCH >

1.3

process

Katagami are produced by highly trained craftspeople. They â&#x20AC;&#x153;carve outâ&#x20AC;? patterns on stencil paper made from traditional Japanese paper. Carving methods of for these stencils are divided into categories: - tsukibori (push carving), - kiribori (drill carving), - shimabori (stripe carving), - dĹ?gubori (tool punching). Each method requires a different type of stencil carving knife and results in different types of intricate patterns. Ise paper stencil printing are made by pasting layers of Mino Japanese traditional paper (washi) or regular Japanese traditional paper with persimmon tannin to give reinforcement. The stiffened paper is used as a base card and stencil designs are hand cut using a variety of minute knives or chisels while applying four types of cutting techniques. The techniques are stripe carving, stab carving, decorative carving and drill carving. One of the key features of this craft is its distinctive finish carefully and skillfully cut by master craftsmen. Such stencils are used for dyeing designs and patterns on a wide range of kimono, including yuzen, komon (fine patterned), and yukata (summer cotton kimono). Nowadays the stencils are not used only for dyeing kimono, but also applied to interior decoration such as sliding screens (fusuma) and sliding paper doors (shoji) or even LED lighting as a new approach that is increasingly drawing attention. General Production Process 1. Making of the base card Stencils for dyeing require a durable paper that will not expand or contract. The process starts with the creation of a stencil base card called katajigami. First, 200 to 500 sheets of Mino Japanese traditional papper are stacked and cut into a standard size. 2. Pasting paper Washi has the property of being strong crosswise and weak lengthwise, therefore, 3 sheets of paper are alternately pasted in the order of vertical, horizontal, and vertical to create a strong base. The application of a persimmon tannin glue makes the sheets water resistant. This process is known as kamitsuke, which is similar to making plywood. 3. Drying The base is left for one to two days to allow the persimmon tannin glue to bond more effectively with the washi, and then the base is laid on a cypress panel and dried in the sun.

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1. Making of the base card

4. Sending to smokehouse The dried base is left for about one week in a cedar sawdust smokehouse at a temperature of about 40ºC to help solidify the glue between the washi fibers and create a strong base card resistant to expansion and contraction.

2. Pasting paper

5. Completing the base card The base card is again soaked in persimmon tannin glue, dried in the sun, and returned to the smokehouse. It takes about 45 days and for it to turn into a dark brown base card called katajigami and be ready for inspection, but it will not be ready for stencil cutting until it has been processed for a further one or two years to be mature enough.

3. Drying 4. Sending to smoehouse

6. Carving A dyer will request a design artisan to draw a pattern and this will be cut by the stencil maker. There are four cutting techniques, which are stripe carving (shimabori), stab carving (tsukibori), decorative carving (dogubori), and drill carving (kiribori). • Stripe carving uses a steel ruler and a thin knife to cut uniform strips. To cut one strip, the same line is traced three times with the knife. A highly skilled craftsman may cut as many as 11 strips in a 1cm wide area. • Stab carving is processed by piercing holes vertically towards the 5 to 8 stacked base cards, which is placed on a wooden board. The holes are pierced using a knife with 1 to 2mm blade. The small knife is pulled toward the body when cutting straight lines and large patterns. This technique is renowned for giving the cut lines a subtle curve, and creating a warm flowing feeling in the final design. • Decorative carving is a technique to cut a variety of patterns using tiny blades made into shapes like flowers, fans, and diamonds. This technique is commonly called gottori. Decorative carving is characterized by the expression of symmetrical patterns or diverse shapes. This technique actually begins with

5. Completing the base card

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the making of the tool, and the quality of the tool greatly affects the completion of the piece. The craftsmen specializing in decorative carving have a huge number of knives with some even owning as many as 3,000. • Drill carving uses a semi-circular tip gimlet to drill many tiny circular holes. The holes are drilled by the gimlet held vertically while rotating the gimlet by the fingers to form delicate and incredibly intricate patterns. The stencil using this technique is used for the classic Edo komon kimono. In some works, as many as 100 holes are cut in an area as small as one square centimeter, which requires years of practice and considerable endurance with high craftsmanship. 7. Reinforcing Since the cut stencil is used for dyeing, depending on the cutting method it may need reinforcing. There are two reinforcing methods: • Shabari involves pasting the stencil onto a fine silk gauze with Japanese lacquer (urushi) to reinforce. • Ito ire is to prevent a fine striped pattern from being torn, silk thread is inserted as reinforcement between two completed stencil sheets. It is applied only for stencils made with stripe carving. Since the stencils must be perfectly aligned, the artisan needs to be very concentrated. • Finally, the completed stencils are delivered to the dyers and used for dyeing kimono. The traditional techniques to dye is called Katazome. The Katazome printing technique is undertaken by positioning the pattern on the fabric to be printed, which is laid on the work table. The rice starch paste is spread with a spatula on the surface of the Katagami, which is fixed on the fabric to be dyed through the cut-out areas. Once the excess paste has been removed, the mask is lifted away and carefully replaced to repeat the laying of the reserve over the entire fabric. For example, to cover an area of 12 square meters, this action must be repeated 60 to 90 times, depending on the height of the Katagami. The skill and accuracy of the craftsman can be seen when the pattern forms one continuous design, with no joints. The cloth is dried in the sun, color is then applied by brush then steamed and dried, to fix the color. Lastly, when the color is dry and fixed, the fabric is washed in water to eliminate the reserve rice paste. The final work consists of the pattern printed on the

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6. Carving 7. Reinforcing

The textiles used for kimono are distinguished in Somemono (dyed or painted) and Orimono (with fabric motif) Among the first, the most used are: rinse silk, chirimen silk, habutae silk, ro or sea silk and tsumugi silk.

Series of tool needed for the Katagami technique

fabric on an indigo background. Traditionally, kimono are made by juxtaposing and sewing parallel strips of fabric. During the Edo period, fashion followed the dictates of the Confucian hierarchical standards of the samurai. Only the ones belonging to the privileged class had the possibility to wear silk and embroidered garments. The others, belonging to the lower classes, could only wear clothes made by cotton or bast fibers that were dyed a single color or printed in indigo blue, grey, beige or brown. Despite the rules, lines and small patterns were allowed so long as they were not too apparent.

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1. < RESEARCH >

Ito atagami at work, preparing the fabric for the dye

Katagami artisans are aging and there are just 20 Katagami artisans left in Japan and only 2 or of them are in their 60s. Their number decreased drastically since 1935 when there were around 1000 artisans employed in this sector. Even if Japan has maintain part of its traditions, we have to keep in mind the radical change that happened in the last 50 years, that shifted the Japanese heritage towards model that are strongly influenced by the western culture. Therefore it has brought women to wear less and less the typical Kimonos, that nowadays are used only in the traditional Japanese ceremonies and festivities, such as the weddings (Kekkonshiki) and the tea ceremony (Cha-kai). These traditional festivities have helped the authentic Japanese culture to endure the passing time. Faced with this rapid transformation, the commission of protection of traditions and cultures issued a decree to protect the heritage of craft traditions, declaring the area of Ise an “intangible cultural treasure”, and giving those with the highest technical and cultural specialization the title of Ningen Kokuho or “living national treasure”. Today in Japan there are only 225 “Traditional Cultural activities and Artisanal Product” that have been approved by Ministry of Industry and Trade. To gain this status the products must be designed and created following the requirements imposed by the Ministry only this point the artisans can boats themselves of the title of “Traditional Artisans”. For example, among the necessary requirements, there is one about the longevity of the technologies and techniques used, that must be older than 100 years old. Moreover the principal part of the process must be made in a specific geographic area of production.

Ise Katagami Sculptor Ito Kaoru, with 58 yers of eperience

artisans

Ito atagami at work, cutting the paper

1.4

Ito atagami at work, cutting the paper

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Ito atagami at work, cutting the paper Ito atagami at work with his tools Tools to cut the paper A work by Ito atagami

Today Stencil production has been getting more and more replaced by computer graphics. Stencil itself can be easily replaced by modern technology, such us laser cutting or digital design, but the great devotion of the time, pride and perfection that an artisan put into a work like this is not replaceable. Katagami captures the heritage of 1000 years that people inherited carefully, and all these are the values that elevate craftsmanship. Katagami industry is having a significant problem to attract successors. Although all artisans invested time and energy to learn the techniques to become a professional by taking the severe apprentice system. The artisan are also open to give help an apprentice in learning techniques side by side. An apprentice learns techniques from master and improve skills sufficient to be independent by taking 3–4 years, and then spends another 2–3 years for serving himself for master’s business for return before his apprenticeship expires. This is a very complex process to learn because it takes approximately 20 days for completing a papere stencil little larger than A3 size. But in the Japanese apprentice system, a master normally doesn’t teach techniques, therefore, an apprentice needs to steal the techniques by carefully watching the master’s work and practicing himself. Moreover also the economic aspect plays an important role, since Katagami artist make around 100,000 yen per month (approximately 832 €) , in a country where the medium living wage is estimated roughly 2,300 € every month.

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1. < RESEARCH >

1.5

prints and technologies

To maintain unchanged the heritage of the ancient technique of the Ise Katagami and give an active role to the artisans, Shibui has deiced to create two different lines: one that is “made-to-measure”, that sis created by using the traditional Katagami techniques in every steps, in order keep unchanged this antique legacy, and another one that is designed with the help of innovative technologies to translate this tradition in the modern world. Shibui aim is to give their customers a high quality ready to wear collection composed by garments made with the finest fabrics and techniques. Its products are exclusive not only in the design part, but also on a printing technology level. In fact, to innovate the Katgami technique in the ready-to-wear line and to make it industrialized, Shibui uses many different types of printing techniques. One of them is the Devorè technique; this process consists in printing on drawing, on fabrics made with yarns of different nature and then apply chemical substances capable of destroying the parts of the fibers not resistant to the attack of the chemical. When the fabric is dried and subjected to heat under particular conditions; only the cellulosic part, which can be removed by vigorous washing or brushing, is destroyed by hydrolysis. Through this process are obtained areas that have different level of transparency. Using this print technique, Shibui innovate the technique of the Ise Katagami still maintaining the traditional drawings of the Japanese culture and their symbolism on its garments. Another technique used in the Shibui’s collection is the Cloché. In this case, the cloche fabrics present some parts of the surface in relief due to the action of some chemically active substances on the fibers and printing is performed with products that change the size of the fiber. The result is similar to that of embossed fabrics under engraved calendars, or to weaving effects obtainable with the use of two chains that have different feedings or returns. This technique can be used for example on the the outwear garments such as bomber or jackets. Another improvement that Shibui used in their collection to innovate the traditional technique of the Ise Katagami is the laser cut. This process is used in the ready to wear collection to reduce the time of the manual labor of the artisans, reducing the total cost of the final garment This technology allows cutting results of exceptional precision to be obtained on fabrics and natural

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DevorĂ¨ technique on fabric ClochĂ¨ technique on fabric Laser cutting machien at wor

fibers, having incisions and defined edges without burrs. The technique can be used not only for the synthetic fabric but also for the natural ones such as cotton and linen. It can be used also to obtain bleaching, abrasion, decoration, marking, engraving effects on garments like denim. The laser cut technique allow to create garments with layering effect, using different types of materials with different thickness. Playin with layering, Shibui creates innovative streetwear garments with the traditional drawings of the Ise Katagami craftsmanship. We strive for a localised and sustainable fashion industry. Therefore it is our mission to transform the fashion industry through innovation and technology. We research new textiles that are relevant for a diverse range of applications, and research alternative digital manufacturing systems for textiles and garments, but still keep the Katagami traditional alive and relevant in the modern world.

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Credit: Azabu Street, picture of Akihiro Nagashima

2. brand dna

02. Shibui Shibui Shibui Shibui Shibui Shibui Shibui

Shibui Shibui Shibui Shibui Shibui Shibui Shibui

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< abstract > Ise-katagami is traditional artisanal product of great artistic value that identifies the paper stamp cut out by hand used to dye fabrics for traditional clothes, especially Kimonos,using a reserve method. This complex technique originated in Japan in the seventeenth century, during the Edo Period, in the Ise prefecture and was carried out for many years by skilled artisans. But with the radical change that happened in the Japanese culture in the last 50 years, today there are left only 20 master that are cable to work with this ancient technique. For these reason we decided to create a Japanese based brand, called Shibui, to prevent this tradition from dying, carrying out a specific research about the craftsman behind this technique and the rich symbolism related to the Katagami imagery, that is strictly connect to the millenary Japanese heritage. To maintain unchanged the heritage of the Katagami technique, Shibui has two clothing line, that refer to diverse customers and are supported by different business models : one that is based on the use of innovative technologies and another one that has been created to protect this ancient craft and give an active role to the authentic artisans in the production of the clothings. We believe that artisans should have adequate input into each collaborative product on our line, so all the artisans that are involved in the production of “made to measure” line are treated with the maximum respect, allowing them to continue to carry on their craftsmanship in the traditional way, respecting the proper time and not eradicate this craft from its original territory. As far as regard the ready to wear line, this is designed with the help of innovative technologies to translate this tradition in the modern world and reduce the cost related to the garments production. In fact this collection is created with the help of different technologies, such as the laser cutting or the devorè printing, that helps this craft to be connected in the modern fashion industry, but keep preserved the beauty of the Katagami drawings. Finally, there is the development of a “pay back” strategy, that is studied under different lights to find a way to repay the artisans behind this craft, help them to keep this tradition alive and pass it down to younger generations.

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< philosophy > Shibui believes in the intellectual property and cultural heritage as a resource from which learn to give back, from which create to emancipate, to be disseminated to create knowledge. Shibui is a streetwear clothing brand that was born with the aim of supporting ethical sustainability and restoring prestige to an endangered craft technique. The purpose of the brand is not solely to exploit a tradition like that of Ise-katagami from the design and aesthetic point of view to create something new and appealing to the market, but rather to give new luster to a tradition that risks disappearing, updating it in terms of style and methodology, from design to the production chain. Understanding and appreciating the meanings that tradition brings with it to find the right way to enhance it is the basis of the Shibui project. Shibui is not only a clothing brand but much more: it is an initiative, an organization, a creed. Our commitment does not stop at creating knowledge and giving a new luster to a tradition, but also acknowledging the merit of artisans, redeemers of knowledge and paying homage to the territory, giving it back something. Shibui was born in Japan and then it spread out in the main international cities, such as London,Paris, Singapore, Shanghai, Hong Kong, Tokyo, Los Angeles, New York and Seoul. The brand bases its identity on the reworking of the Ise-takagami tradition. This is a Japanese craft of making paper stencils for dyeing textiles; an art traditionally centered on the city of Suzuka in Mie Prefecture. It is designated one of the Important Intangible Cultural Properties of Japan. This technique allows the creation of very detailed and unique textile prints. The uniqueness of the prints, and therefore, of each garment, consists in the dexterity with which the technique in question is made: starting from the design, the carving and finishing the dyeing technique. The process is then industrialized in the brandâ&#x20AC;&#x2122;s ready-to-wear line but always maintaining the values it is based on: the refinement and uniqueness of ready-to-wear prints lies in the innovative methodologies applied during the production process of the collection. Furthermore, Shibui presents itself on the market as a high-level streetwear brand, this choice represents the basis of the desire to actualize something as ancient and traditional as the isekatagami and re-reading it in a modern way. A streetwear line lends itself well to pursuing this desire because it allows the traditional technique to be contextualised in a modern, fresh style and predisposed to novelties, contaminations, artistic contribution, collaborations and innovation. This choice is also strategic in terms of communication: a streetwear line allows the brand to communicate with a young audience, a curious, avant-garde target that represents the future. Such an ancient technique must necessarily be communicated to younger people if we want it to last over time without becoming extinct.

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< vision >

We merge the concept of fashion with the concept of art, and craftsmanship in particular. We emancipate the idea of garments by adding deeper and more relevant artistic and cultural contents to them. We design an ethically sustainable fashion, rich in terms of research and quality, a fashion that speaks of something and of someone, a fashion that teaches and passes on, a fashion with a style and a young soul, but that is based on solid foundations, those of an important Japanese tradition.

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< mission >

Our mission is to make garments talk about people and the world surrounding. Not just to talk about them but above all to contribute to their maintenance, to their growth and to their degree of visibility and knowledge around the world. We dress an emancipated, informed fashion that does not pass unnoticed. Our target is aware clothing is a second skin of a social nature.

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< VALUES > (unique selling proposition) authenticity, people, tradition, territory

We are a brand that makes its authenticity its strength. We begin with traditions as our roots, to then see the light in something new. The main objective is to give back to the territory the heritage that has given us as a gift, allowing us to use it and rework it. What is important and makes the difference, before and after, are still people. It is from them that we take to elevate ourselves, it is to them that we give back. It is for them that we design, it is to them that we turn to grow. Authenticity, tradition, territory and people are the main values on which Shibui is born. His philosophy goes beyond the

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spontaneous creation or instrumental design of things. Shibui unites past, present and future in itself: it uses the past by taking strong communication tools from it as an ancient textile tradition; actualizes the past making it speak with the present and with all that derives from it, such as new production techniques, a fresh and young streetwear style, and an innovative and targeted communication; addresses the future as future generations, to ensure that tradition can be handed down, and to the future understood as innovations in the design process.

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< strenght >

< swot >

SWOT analysis is a strategic planning technique used to help a brand to identify strengths, weaknesses, opportunities, and threats related to business competition or project planning. It is intended to specify the objectives of the project and identify the internal and external factors that are favorable and unfavorable to achieving those objectives. Users of a SWOT

Internal attributes and resources that support a successful outcome. • Shibui is a Japan based company with strong brand values and global attitude • The idea of exclusivity, that’s really in at the moment. • Shibui markets its products across the world through a online network (e-commerce worldwide) and it can rely on the presence of official store in the main cities of the world: Tokyo, Beijing, Los Angeles, New York, London, Paris. • Good presence and wide product range on offer (through different product lines) • Apart from clothes, Shibui offers headwear, handbags and shoes. • The company is collaborating in partnership with Japan master craftsmen in order to mantain traditional technique, otherwise lost. • Strong branding and marketing through online ads, print media etc • Possibility to customize several items

• Brand with a few years of life, not yet recognized internationally • Intense competition means limited market share growth for Shibui • Few exclusive stores around the world, the vast majority based in Asia. It means difficulty to be reached. • Not many employees Shibui can count on

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< Weakness: >

Internal attributes and resources that work against a successful outcome.

analysis often ask and answer questions to generate meaningful information for each category to make the tool useful and identify their competitive advantage. The framework is credited to Albert Humphrey, who tested the approach in the 1960s and 1970s at the Stanford Research Institute. A SWOT analysis examines four elements:

< Threats >

• Designing collections that bring back traditions that would otherwise disappear. • Lots of Japanese or world traditions to take up and / or use as source of inspirations • Take advantage of the moment of great interest for luxury streetwear • Shibui can try to expand its market globally to tap customers • To use the digital revolution to its full advantage, convert old techniques to new ones • The brand can focus on advertising to increase brand recall

< opportunities >

External factors that the entity can capitalize on or use to its advantage.

External factors that could jeopardize the entity’s success. • Intense competition means reduction of Shibui market share • Ease of substitution as many options available to the customer • Imitation is the biggest threat in this industry • Being a global brand, recession and economic instability affects its global operations • Do not give enough recognition to the artisan traditions that are brought back into vogue • Fall into the trap of cultural appropriation issue.

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< LOGO DEVELOpMENT > Creating a logo for a brand does not only mean giving it a name but, above all, translating it into a graphic sign that speaks of the brand itself, a sign capable of synthesizing in itself and communicating to others, the main aesthetic characteristics and values on which the brand is based his identity. The name as well as the logo must be the mirror of the company. To fully understand this concept it is possible to imagine a logo like the tip of an Iceberg. The most interesting feature of the icebergs, and also the most dangerous, is that the visible part of an Iceberg is only a small part of the entire Iceberg which is enormously larger. The same thing happens in the relationship between logo and branding. The logo is the visible part of the iceberg. The brand is the entire iceberg. The logo, therefore, becomes the visible part of the brand, which sums up the whole brand, the whole iceberg. It is the part that tells, in a synthetic way, its enormous mass. If the logo “is not seen” then the brand becomes invisible. Therefore, the logo must be effective. It must be the right one. Its effectiveness depends on its ability to express the entire soul and essence of the company. NAMING The naming is the process of choosing and registering a company name or names associated with certain products / services. It is a fundamental phase of the brand positioning process, because it reveals certain aspects of the brand, and helps the company to be remembered by its target audience. The key words that must guide research in choosing the name are: simplicity and minimalism. It is useful to focus on short names, quick to write and easy to pronounce. Some names, born with the intention of being original and creative, are likely to generate confusion and easily lead to typing or transcription errors. The name must be above all easy to memorize, redundant, whose sound or meaning (if it has it) refers to something positive, lasting and that, in some way, tells something about the company. The same applies to the accompanying logo. It is also necessary to pay attention to the use of acronyms, as they are often “cold” and impersonal and, therefore, suitable only for certain sectors (computer and economic). In reality, like the fashion world, brands base their strength on customer relationships, transparency and loyalty. In

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this case the involvement of the customer is fundamental, which is why acronyms are not usually an effective choice. The name, therefore, must be well chosen keeping in mind the aforementioned dynamics. A name, however, does not necessarily have to be accompanied by graphic elements, but can become a logo in itself, especially if you find a wellstudied lettering. In the specific case of the project in question, starting from a detailed study of what the values the brand intends to become a spokesperson and a careful analysis of the market and, therefore, of the target to which the brand aspires, it has arrived to the choice of a short naming, easy to pronounce, with an international sound but that has an important meaning in the Japanese language, that is: Shibui. This term has a fundamental role in the reconstruction of Japanese aesthetics and is the adjectival form of the shibusa noun さ. It has its roots in the poetics of the Muromachi Period (1333-1568), indicating, essentially, everything that is dry or “astringent”, as opposed to what is loved 甘い, that is “sweet”. Precisely in this word, which communicates nothing to us, the secret of what for the Japanese is the supreme ideal beauty is hidden. Identifies a beauty rich in nuances, which nothing can corrupt or undermine because it changes at every moment; not necessarily young, proportionate, smooth, but ancient, irregular, rough, a beauty to be discovered, to be interpreted, not obvious and sometimes hidden. The shibui, with its minimalist and “pungent” elegance, suited

to the good taste of the era in which this term entered the common language, was soon released from the aesthetic boundaries of color and form, to embrace - more generally - social attitudes and lifestyles. In this sense, the words of the critic and philosopher Yanagi Sōetsu (18891961) take on a decisive weight: “Precisely in a beauty rich in inner implications lies the discriminating character of the shibui. Not a beauty shown to the public by its creator, therefore, [but] a beauty that the observer himself must find for himself. Thus, as our taste refines, we will inevitably come to experience the charm of shibui.” The charm of a shibui thing lies precisely in this being a restrained force, a hidden beauty, veiled, not shameless but to be discovered, to be glimpsed little by little, to be appreciated in all its aspects, on which to dwell for a long time even if it is enough a moment to understand it. On the one hand, the fact that this beauty that is not announced, sudden and unexpected, is not immediately obvious to anyone, refers to the ideas of privacy, aristocratic elegance and composure; on the other hand, its being so widespread and, as soon as discovered, simple and unpretentious, odd, broken, imperfect, makes sure that everyone can identify with it.

A term which, therefore, lends itself very well to communicate all the values of the brand and which respects the fundamental characteristics that an effective naming must have. Shibui expresses different concepts well: - How the brand wants to give new life to something “old” but beautiful and fascinating, like the ise-katagami technique; - The target of the brand is a high target: for those who have a certain eye for beautiful things, those who can recognize them and appreciate them; - The beauty of the brand and its products is not blatant, screaming or ostentatious but hidden by a street, avant-garde and easy-going aspect, but which hides a richness and refinement traceable in the uniqueness of the prints; - The term is fast, catchy, with an oriental charm but with an international pronunciation, suitable for the target and the market to which it aims. Once the right naming was identified, only a first part of the process, although fundamental, was completed.

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LOGO A name, however, does not necessarily have to be accompanied by graphic elements, but can become a logo in itself, especially if you find a wellstudied lettering. On the basis of this, it makes a difference between logotype (lettering), that is the use of a word or text; logomark, ie the use of a symbol, an icon, a graphic element; or the combination of both. In general, in order to work, the logo should respect some fundamental characteristics, such as:

- Be simple. When building a logo, you need to focus on something that is easily recognizable and identifiable. In a logo, every element must have a meaning, a precise role. No unnecessary decorations or random elements should be inserted. - Be appropriate. An effective logo must be adapted to the public with whom the company will have to interact. The logo must also be consistent with what the company wants to convey and with what it offers and sells. However, this does not mean that we must necessarily represent in a didactic way what a company sells. Indeed, one must be careful not to fall into banality. - Be able to tell a story. It must tell the company, his story. And it must know how to do it as effectively as possible. - Be versatile and adaptable. On any shape or surface. It must be able to be printed, projected, inserted, on any shape or surface (online and offline). This means that when designing a logo we must consider all the potential future applications of the same and make targeted choices, in terms of dimensions, colors, and relationships between the individual elements. To make a logo truly effective and adaptable in every situation it is possible, therefore, to think of it in different versions. - Be distinctive. The primary role that a logo has is to identify and to do so it must be easily distinguished from the competitors. It may be due to its particular style, the effectiveness of the forms, the story it tells but also its color or the name of the brand. We must immediately focus on a logo design that is already recognizable in itself. That is to say that even its shape or its outline make it come to mind. For this reason, it is initially recommended to work on a logo design project always using only black and white. The choice of color is something that will come later. In addition, to define the intentions and the graphic imprint that you want to give to the logo, there are two the most complicated and incisive phases during the design: the choice of the font and the choice of colors.

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CHOICE OF THE FONT The choice of typeface, within a branding process, is crucial. The font is not something that accompanies a logo but an integral part of it. A good font choice is something that can determine the success or failure of the entire project. Its choice is even more delicate in all those cases where the logo is typographic, when it is composed only of the writing, the logotype. The characters have a soul, convey a certain feeling and can tell a story. The font, therefore, must reinforce the message that one wants to give and be perfectly in line with the rest of the image: both in terms of shapes, thicknesses and dimensions, and from the point of view of the transmitted message. The Shibui brand is a young, avant-garde but sophisticated brand that aims at a high target. The streetwear style, the international positioning and the idea of precise lines, detailed and sculpted in order to create prints that remain soft and harmonious, led to the choice, immediately, to use a font sticks in order to respect the aforementioned features. Franklin Gothic, Agency FB, Atrament, Rift, Aliens and Cows and Blanch are the main fonts with which the first developments were designed. In the various constant attempts at design were: the choice to space the character, in order to make it breathe, make it more elegant, detailed, refined and legible; the heaviness of the font has almost always remained more or less “regular” to make it readable, of impact but still maintaining a certain sophisticated air. Below there are some developments that preceded the final choice of the logo:

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blanch caps abcdefghilmnopqRstuvz 1234567890

小塚ゴシック Pr6N R abcdefghilmnopqrstuvz 1234567890

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CHOICE OF COLORS Colors convey emotions, communicate a message depending on the context. Each color has a meaning that varies over time and in cultures. His choice, therefore, becomes crucial and must be absolutely taken into consideration, bearing in mind other factors such as: the sector, the market and the reference target, in terms of geographical, economic, social and cultural positioning. Furthermore, each color transmits different sensations and impulses to our brain, capturing our attention in different ways and levels. The color affects the choices of the client and the associations that the same unconsciously elaborates on a given product / service.

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During the first developments, all elaborated in black and white to try not to let oneself be influenced by it, we then it came to the conclusion of trying to use a color to highlight certain concepts and emphasize their meaning. The colors with which the developments were designed are mainly orange and blue. Two very current colors and full of meaning in Japanese culture. The orange is current because used in the latest collections by many reference brands and a certain shade of blue is even the pantone color of the year 2020. Significant because the orange in Japanese and Chinese culture has always been considered an expression of good luck, happiness, prosperity and abundance. But then orange also becomes the color of the setting sun and autumn leaves, with the relative experiences of sadness and nostalgia that accompany the end of the days or the end of a cycle. Two meanings that if unified can work well for the idea that the Shibui brand wants to give of itself and of the values â&#x20AC;&#x2039;â&#x20AC;&#x2039; it wants to convey: the nostalgia of a tradition in danger of extinction, the wish of prosperity and abundance as an expression of the will of the brand to bring it back to life, updating it and communicating it. Finally, in the definitive development of the logo, it was decided to use Blanch as a font and

to associate the word â&#x20AC;&#x153;Shibuiâ&#x20AC;? with its Japanese translation, which for the rest of the world and for the brand itself takes on the value of a graphic element. The combination of the two makes the logo much more personal, narrative and meaningful. The international character is made through the choice of the Blanch font while the refined, oriental, traditional air and the sense of uniqueness are given by the graphic element of the letters of the Japanese alphabet. As far as colors are concerned, in addition to the right black and white variations, the choice of orange and blue has been maintained, and their possible combinations. These two colors have been combined with others, such as purple, yellow, gray and beige, to emphasize the international character of the brand and link the logo to the color palette of the reference collection.

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< VISUAL IDENTITY > It was decided to develop the visual identity of the brand while remaining in line with what has been said so far. As a whole, in fact, identity remains clean and linear on the whole, simple in form but strong in graphic design and colors. The choice of grey and orange as the primary colors of the brandâ&#x20AC;&#x2122;s visual identity aims to create something that remains neutral but impactful, something that leaves a memory of itself even though it remains refined in style and legible in substance. Two colors, a traditional, strong, bright, young and dynamic, orange; the other neutral, international, soft, clean and basic, grey. Together they lend themselves well to narrating the valuesâ&#x20AC;&#x2039;â&#x20AC;&#x2039; of the brand to the consumers of reference. Not only in the shapes and colors, but also in materials, the brand makes choices that are consistent with everything else: basic materials such as recycled paper was chosen for packaging, labels, envelopes and letterheads, business cards and so on. It was chosen to use only one material outside the lines, and only for a certain application: the internal packaging of the products is made of recycled PVC. The choice of PVC brings the product even closer to its target, young and street; it represents the present that meets the past referring to the future and, finally, puts just an accent within a rather linear, clean and coherent whole, what is needed to capture attention while remaining sober.

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marketing analysis

2. 2. brand dna / marketing analysis

02.2 Shibui Shibui Shibui Shibui Shibui Shibui Shibui

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Shibui Shibui Shibui Shibui Shibui Shibui Shibui

< business model >

01.

Shibuiâ&#x20AC;&#x2122;s turnover is based on the economic proceeds of the sale of items belonging to ready to wear line, made to order/diy program and customization of the items.

ready to wear

Ready-to-wear is the term for factory-made clothing, sold in finished condition in standardized sizes. In the fashion industry, designers produce ready-to-wear clothing, intended to be worn without significant alteration because clothing made to standard sizes fits most people. They use standard patterns, factory equipment, and faster construction techniques to keep costs low, compared to a custom-sewn version of the same item. Some fashion houses and fashion designers produce mass-produced and industrially manufactured ready-to-wear lines but others offer garments that are not unique but are produced in limited numbers. Fall Winter and Spring Summer Collection presented during Paris Fashion Week. In this line new innovative and sustainable industrial processes are tested. The Ready to wear line intercepts an intermediate target thanks to its prices in line with the competitors.

Craig Green Menswear Fall Winter 2015 London

PONYĂ&#x2014;HARBIN Ready To Wear Fall Winter 2019 Shanghai

Trasher streetwear style, picture by teenVogue

Pop up store AI 16 Vetements, Corso como 10

Coworking space Vetements, Zurich

Dover Street Market, Singapore

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02.

diy/ made to order

Gucci DIY program (Do It Yourself) Ralph Lauren Made to Measure service, from handselected fabrics to private fittings. Levi’s® Lot No. 1, available on Regent Street flagship store, London Kamishimo (Men’s Kimono) in Edo Komon

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Animal Katazome, photo credit, Akemi Nakano Cohn

Make to order is a business production strategy that allows consumers to purchase products that are customized to their specifications. It is a manufacturing process in which the production of an item begins only after a confirmed customer order is received. The make-to-order (MTO) strategy means that a firm only manufactures the end product once the customer places the order, creating additional wait time for the consumer to receive the product, but allowing for more flexible customization compared to purchasing directly from retailers’ shelves. The main advantage of the MTO system is the ability to fulfill an order with the exact product specification required by the customer. A couture garment can take anywhere from 150 to over 6,000 hours to create, ranging from a simple dress or suit to a heavily decorated and embellished gown. The Made to Order items are not found in the ready to wear collection, but take their inspiration. A varied offer of customizations is presented to the customer, so if he wants, he can have a key role in the final result, in fact the customization of the garment represents the essence of the MTO line. The customer can select the model, the fabrics, the colors, add customizations such as patches, initials etc. Quality is one of the key points of the MTO, it is the details that increase the cost of the garment and therefore the quality (eg the unique and precise process of the katagami carried out by Japanese master craftsmen), to understand the quality of a garment is important to know the details that make the difference. Superior fabrics, dyes and trimmings go hand-inhand with exquisite workmanship to realise a designer’s dream. A whole team of people will work on one garment, cutting, sewing and hand stitching details. Haute couture’s offering of distinction in design and technique remains a compelling force, one even more potent when in many areas of the industry, quality has atrophied Made to Order offers an exclusive product for a niche market, this leads to customer loyalty.

03.

MASS CUSTOMIZATION

It combines the advantages of both mass production and customized production. MC provides customized product which satisfies increased consumer awareness of quality and functionality demands with lower cost and shorter lead time. The customization process can take place either online (at the time of the order) or during the various events organized by the brand, such as travelling exhibitions. Customization allows customers to implement ready-to-wear products with high added value details in order to make them unique.

Bottega Veneta, customization program on Stripe group items.

Dolce & Gabbana Sneaker Customization, store las vegas

Custom Hermes Birkin Bag by ARTBURO

Option of decorating Gucci items with initials.

Chance to get own name or initials embroidered on some of Diorâ&#x20AC;&#x2122;s cultfavourite items.

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< PRODUCTS >

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Shibuiâ&#x20AC;&#x2122;s ready to wear has an extensive and varied product line consisting of edgy, oveersized, high-end streetwear. The garments are all relatively minimal and wearable, often portraying painting and graphics, but they also contain design elements representative of streetstyle, such as the elongated sleeves or the lettering on garments. Their product line includes pieces such as hoodies, t-shirts, jeans, outerwear, footwear and accessories such as socks, bags and scarves. Overwear: Jackets, tunics and cloaks Lower Garment: Trousers, Skirts Shirts: T-shirts, Shirts Knitwear: Jumper, Turtleneck, Pullover Accessories: Scarves, Hats, Gloves, Bags, Socks, Backpack, Pouch, Belts.

Made to order: Made to order’s price depends on several factors, it is established by the degree of customization chosen by the customer and the type of techniques used. The price range is from a minimum of 3.000$ to a maximum of 100.000$. Eg. Outerwear jacket with Ise Katagami process on the back: 30.000$ Customization: Customization’s price depends its size in terms of time, techniques and quality used. Eg. Addition of a Ise Katagami patch: 250$.

02.

01.

< Price >

03. 02.

Although the majority of the collections appear relatively casual and ready for everyday wear the pieces definitely come with a luxury price tag. Ready to wear: Overwear price range: 950$ - 1500$ - 2500$ Lower garment price range: 750$ - 1250$ Shirts: 250$ - 600$ Knitwear: 600$ - 900$ Accessories: 200$ - 600$

ready to wear 950 - 1500- 2500 $ • oUTWEAR • lowerwear 750 - 1250 $ 250 - 600 $ • shirts 600 - 900 $ • knitwear • accessories 200 -600 $ •

made to order 3000- 100.000 $

customization up to 200 $

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< people >

Urban upper middle class men and women looking for premium stylish clothing and accessories. The percentage of Millennial luxury clients worldwide is growing, and fast. Along with Gen Z, Millennial spending power will account for 45 per cent of the global personal luxury goods market by 2025. But whereas luxury and made to order goods were once the preserve of older women and men, more recently there is interesting phenomenon of generational change. Millennials are now fair game in the seductive world of the maisons. They desire clothing that is rooted as much in reality and practicality as in the new, fun and frivolous. As the biggest demographic segment – there are approximately 2 billion Millennials globally, according to the Pew Research Centre – their desires and spending patterns will drive production for the next two decades and they have the most spending power of any generation yet, so it’s logical that they are increasing the demand for bespoke, personalised experiences. There is also a veil of mystery surrounding haute couture and made to order goods: customers who regularly buy it do not advertise themselves, while the fashion houses will not reveal their client lists. Wearing made to order goods is an aspirational symbol of power and prestige reserved for those for whom money is no object. More significantly, the notoriety and prestige of made to order goods is actually part of a carefully executed business strategy. They have the unique ability to generate tremendous publicity for a design house - and that almost always leads to higher sales in the designer’s ready-to-wear collections. Most of the market who wears Shibui is very interested in the fashion industry and is part of an exclusive group. The target market has a liquid and steady income, with a keen eye for artistic and creative fashion.

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made to order The specific target market of Made to order is dedicated towards celebrities, athletes or rich people who can afford the brand with its high price point products. RETAIL ORIENTED This specific target market is dedicated to vip, celebrities or athletes, in order to show their goods during a special event, such as a red carpet. THE WANNA BE Customers who seek and want customizations to raise their status, to be evaluated in a certain way; THE RICH people with great financial possibilities who enjoy creating their own garments; they read books, and focus on self-education in order to improve themselves.

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ready to wear Due to the price tag, it’s clear to see that Shibui is an elitist, exclusive brand, as it’s difficult for less wealthy people to purchase ready-to-wear items, even if they are cheaper than made to order goods. Ready to wear customers are young, middle class, creative types or they’re trying to appeal to all walks of life. The main consumers are the millennials and Gen-z from the ages of 18 to 35 who love street fashion trends, like to express themselves, show off their easy-going personalities and enjoy sports, hip-hop music. The subculture associated with the street brands is attracting a large number of core consumers to buy or even collect at all costs, and street fashion products account for the vast majority of the personal expenses of these highly enthusiastic core consumers. According to consumption power and brand penetration, consumers are divided into core consumers, middle consumers and mass consumers. CORE CONSUMERS Core street fashion consumers have been exposed to the street fashion and streetwear culture since junior high school and high school. They love sports and have broad interests. They have a good understanding of the stories behind the street fashion brands and the styles of their leaders, and their purchase frequency will be higher. Core consumer will pay more attention to the history, design philosophy and cultural attitude of the street brands. These consumers collect street fashion products and enjoy going on the jourey their search takes them, the popular street fashion becomes essential to their personality. They are keen to share their goods in their circle of friends on social media, and they love to mix and match their Shibui items with luxury goods to show their fashion style.

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MIDDLE AND MASS CONSUMERS Middle-end street fashion product consumers are obviously influenced by celebrity hipsters, but they don’t pay attention to the story behind the brand and instead care about popularity and recognition. The public street fashion product consumers only started to contact the street fashion brands in recent years. They are only aware of the well-known street fashion products and are not very interested in the street fashion culture. THE TRENDSETTERS They are a small percentage of Shibui target but the most important one because they are those used Shibui before it was known, in this way they positioned Shibui in the market. They are 71% more able to influence their peers on the music they listen to and 78% more able to follow the latest trends. likely to be the first to adopt new brand, awarding tradition, advanced technologies and sustainability initiatives. A majority of them (78%) are more likely to follow a brand on social networks. They are 70% more likely to spend their money in cosmetics and toiletries and attach great importance to the judgment of others regarding their appearance. Finally, they are also more likely to share content on social networks, comment or post their opinion on online products. Born to stream and influence.

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04.

< pLACE > As regard as ready to wear goods, customers can reach Shibui through nine own stores worldwide, independet luxury chain department stores and online e-commerce. Shibui has retail locations across the world, the vast majority in Asia (Shangai, Beijing, Hong Kong, Singapore, Seoul), but it’s also present in USA (New York, Los Angeles) and Europe (London, Paris) . Shibui’s boutiques combine a clean, minimalist style and a strong artistic atmosphere by use illustration and photography on the wall, on the floor or through digital screens, showing beautiful Ise Katagami pieces. Usually the location is a high street footfall rate with other notable fashion brands. The brand name is printed on the glass door and only see it while the customers are walking into the shop. A brand signature is located in front of the entrance and on products exhibitors. Externally the store wants to communicate visually Shibui soul through Guerrilla marketing, in order to become more recognizable. Besides own stores worldwide, Shibui is sold as a concession in various, independent luxury stores such as Dover Street Market, Nordstroms, Saks, Barneys and Selfridges, however for a customer, it would seem much easier to find a particular piece online. The brand itself has it’s own website but this acts more as a platform to release news and announcements as well as display Shibui collection, fashion films, behind the scenes and house links to stockists. These websites include Mytheresa, Totokaelo, Net-Aporter, Mr Porter, Dover Street Market London, Ssence and Matchesfashion. Focusing to sell through e-commerce means the brand is able to save on overhead costs on property and rent, it also appeals to a more niche audience as shopping online is increasingly popular with the younger generations. As regard as Made to order goods, customers can reach the brand through a confidential channel on the brand’s website or call a number reserved for the made-to-order service, customers can go to the store only after booking the appointment. The service for made to order customers is completely different from that reserved for ready to wear customers. The exclusive service stars from a selling room where customers can customize its garments. Customers and client advisor follow the steps of the made to measure in order to give the best option to the customer. The made to order service is available only in Shibui stores, where there are reserved corner for the service.

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store locator

LOND

12 M

LOS ANGELES

8420 Melrose PI

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NEW YORK

620 Madison Ave

LONDON

12 Mount St, Mayfair

PARIS

231 Rue Saint-HonorÃ© 1E

BEIJING

Wangfujing St

SHANGAI

Xuhui, Huaihai Middle Rd

SEOUL

11 Apgujeong-ro 60-gil, Cheongdam-dong

HONG KONG

10 Ice House St, Central

SINGAPORE

391 Orchard Rd

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04.

< promotion >

Shibui appeals to a young, artistic, fashion-forward audience, meaning they definitely take an unconventional approach to adverts and editorials. Due to its still being a changing and evolving brand focused towards the youth, its main focus for advertising and connecting with its audience is through social media in order to gain momentum and attention for its latest “drop”. Shibui doesn’t post editorials in glossy magazines like Vogue as part of its advertising campaigns, which gives some insight into who Shibui is choosing to target with its branding scheme. By having most of its activity and imagery posted on Instragram Shibui’s able to directly market to its follower, posting minimal, unedited images of new lines/pieces along with new collaborations with craftmens and upcoming collections. Shibui seemingly post every day, meaning its presence is prominent on its followers’ Instagram feeds, demanding potential customers’ attention. As regard as offline strategy Shibui focuses, rather than having TV commercials or double page spreads in famous fashion magazines, in guerrilla marketing to advertise the brand. This kind of advertising is inexpensive and creative and shows the kind of brand Shibui is, as they think outside of the box. Every year, Shibui uses famous protographers to take a series of photographs of a famous celebrity wearing the signature Shibui garments. The image should be in color, few black and white; suggestive narrative and focus on premium material. Besides Guerrilla Marketing, Shibui opts for billboards in the main cities worldwide. Billboard shows the product accompany with a nostalgia feeling, often the company uses celebrities wearing Shibui.

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online • • • • •

influencers social media website google ads

offline • • • • • • • • •

brand ambassador launch event stores openings travelling exbith private preview collection catwalk ready to wear accademic workshop guerilla marketing billboard

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< brand position >

Affordability – quality perception diagram. Shibui offers an apparel line with a perfect balance between streetwear style and refined Japanese elegance. The brand has as an essential pillar to revive and preserve traditional Japanese craft techniques or those coming from other territories in manufacturing or other fields.

exclusiveness

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low quality

Accessible

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< competitors >

By competition it is meant a market situation in which, for the same potential customer, different companies producing goods belonging to the same product category or to different categories compete, provided they are able to satisfy the same type of consumer need. Every company has direct and indirect competitors. A direct competitor is a company that offers the same primary services to the same customer base, while an indirect competitor is a company that offers identical or similar services as part of a broader service offering or offering a good or a service that can serve as a valid substitute. One of the main differences between direct and indirect competitors is the type of business: to be considered a direct competitor, the competitor must be in the same specific sector as the company in question and serve the same customer base. Indirect competitors, on the other hand, would be stores that offer the same product or service, but not as a main service. When creating business and marketing plans, many companies fail to take into account both direct and indirect competitors, but both can affect a companyâ&#x20AC;&#x2122;s success. Indeed, there is some evidence that indirect competitors can attract more companies from a company than direct competition. This is especially true when the competitor offers multiple offers in the same position. Going into specifics and analyzing each of these direct competitors, it is easy to understand their relationship with Shibui as they produce the same categories of products at about the same price range, therefore both indoor and outdoor clothing but also shoes, scarves, hats, bags, backpacks and accessories with a strong street and urban connotation. They refer to a target of consumers between the ages of 20 and 30 with a particular attention to details and the workmanship of the garments, interested in a fashion strongly tied to trends but with a great component of uniqueness and recognizability. Moreover, despite being now global brands, both from the point of view of aesthetics and from the point of their presence, they continue to preserve some fundamental traits thanks to which they keep their origins alive. In particular the following in the pages.

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ON BRAND COMPETITORS

01. Y-3 is a hybrid German and Japanese brand as it was born in 2002 from the collaboration of the sports giant Adidas and the designer Yojhi Yamamoto, known for his avant-garde designs and striking silhouettes. His collaboration with adidas aims to bring Yamamoto’s sartorial aesthetics to the adidas brand by fusing high fashion with advanced sportswear. Y-3 is mostly known for its range of sneakers, with its widely acclaimed Qasa, but it also produced both menswear and womenswear, accessories, scarfs, caps, bags and backpacks.

02. French fashion house founded in Tokyo by Rei Kawakubo in 1969, and established as a company in 1973, became a successful women’s fashion brand during the seventies, adding to its production also men’s clothing in 1978. Aesthetics of the brand stands out for being monochrome and asymmetrical.

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03. Junya Watanabe, historical assistant and designer at Rei Kawaubo’s fashion house, founded her nomino brand in 2001. He is renowned for innovative designing and distinctive clothing. He is particularly interested in synthetic and technologically advanced textiles and fabrics but also uses more traditional materials such as cotton. Watanabe is often considered a “techno couture” designer, creating unusually structured clothes out of modern, technical materials.

04. Issey Miyake, a brand founded in Tokyo in 1970 by the Japanese designer of the same name, first produces only women’s clothing but then also dedicates himself to men’s clothing. It differs from any other brand because of the geometries it manages to create with its clothes, above all thanks to the patented technique of Pleat Please, as well as strong references and respect for Japanese culture and aesthetics.

05. Balenciaga, a company founded in Spain in 1917 by designer Cristobal Balenciaga, suffers a great moment of decline after death and then comes back into vogue thanks to the current designer Demna Gvasalia who twists its style and roots, turning it from haute couture to sophisticated and luxury streetwear brand. It produces both a male and female line of clothing, shoes and many varieties of accessories.

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06. Vetements was started in 2014 as a French clothing and footwear “design collective” and a brand founded by Georgian fashion designer Demna Gvasalia. It produces men’s and women’s clothing and accessories with a strong street connotation, experimenting above all with shapes, silhouettes and materials.

07. Y-3 is a hybrid German and Japanese brand as it was born in 2002 from the collaboration of the sports giant Adidas and the designer Yojhi Yamamoto, known for his avant-garde designs and striking silhouettes. His collaboration with adidas aims to bring Yamamoto’s sartorial aesthetics to the adidas brand by fusing high fashion with advanced sportswear. Y-3 is mostly known for its range of sneakers, with its widely acclaimed Qasa, but it also produced both menswear and womenswear, accessories, scarfs, caps, bags and backpacks.

08. GCDS was founded in 2015 by brothers Giuliano and Giordano Calza in Milan, Italy. The name is an acronym for the phrase “God Can not Destroy Streetwear”. The aesthetics of the brand, as its name suggests, has a strong street and urban connotation but it also seeks to unite the Italian canons with that Chinese, having the designer studied fashion design in Shanghai. 064

OFF BRAND COMPETITORS

Returning instead to the analysis of indirect competitors, we cannot limit ourselves to looking only at aesthetics and production but also at the values they express. From this point of view, therefore, Kenzo can be associated with Shibui for the importance it gives to the search for prints and production technologies that derive from other historical and cultural contexts, for example the Peruvian-derived print present in t-shirt, sweatshirts and sweaters from his latest collection. As regards, instead, the importance that is given to craftsmanship and pay-back towards the same artisans, we can consider Hermes and Loius Vuitton, as they are two very active brands in the protection of crafts and master craftsmen especially from France .

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Credit: Instagram post by Earth Vangwithayakul

3. COLLECTION

03. FW21 FW21 FW21 FW21 FW21 FW21 FW21

FW21 FW21 FW21 FW21 FW21 FW21 FW21

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< MOODBOARD >

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URBAN----AUTHENTIC--BRAVE---AWARE--CONTEMPOR ANEOUS

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< CONCEPT >

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DETAILED--- - U N I S E S H A P E S - O V E R S I Z E VOLUMES-LAYERING------PRINTS

X D -

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PANTONE 3590 C ULTRAMARINE BLU

PANTONE 526 XGC EGGPLANT PURPLE

PANTONE 17-1350 TCX PUMPKIN ORANGE

PANTONE 809 C LEMON YELLOW

PANTONE P 1-1 C CREAM

PANTONE P 51-3 U LATTE

PANTONE 13-4201 TPG OYSTER MUSHROOM

PANTONE 419 C BLACK

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< fabrics and hardware > The fabrics that have been used for the creation of this collection, range from the most traditional and conventional to the most sought after and current, to underline once again the concept of the dual nature of the brand, which has its roots in the centuries-old tradition of Ise Katagami and wants to give back credit through a process of discounting. From this it derives that the materials used are wool, cotton, cotton poplin, woolen thread for making knitwear and denim that reflect the traditional fabrics used for the historical realization of Japanese kimonos. To these, however, also the nylon have been added, both in its natural form that I add to the padding for the realization of the bomber, and the â&#x20AC;&#x153;beltsâ&#x20AC;? similar to the safety belts through which the realized garments can be modified in their form. Furthermore, fabrics and materials that could reflect the taste and needs of both male and female audiences were considered purely, being Shibui a brand with a unisex allure.

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nylon denim woolen cloth scottish thread gabardine wool

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< PATTERNS > 01.

WISTERIA The wisteria is a very important symbol because it represents longevity and immortality, since the life of this plant usually last more than a century. This flower was also used as central symbol in the aristocratic clothes for many years.

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LUCKY NANDINA The nandina, which name in Japanese is composed by the word “difficulties” and “changes”, is used as symbol to avoid the misfortune.

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THE HUMBLE TORTOISE The tortoise has spiritual meaning since it is believed that this creature helps to sustain the world and supervise the western quadrant of the universe together with a giant snake.

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04.

THE LONG-LIVED SPRING The crane, that are figures linked to longevity and good fortune, is a common tradition in Japan to create 1000 paper crane (origami) to express a special wish, in fact giant and colorful chain made of paper crane can be found outside the temple. The peony is a symbol for good fortune, high honor and the spring, and it considers as the â&#x20AC;&#x153;king of flowersâ&#x20AC;?.

05.

KOI The koi carp is an emblem of perseverance. The Koi is always moving and it is consider as one the most energetic and strong fish. Moreover it capable of swimming against the current, and it is interpreted as a symbol of unconventionality and strength of overcome hard times. This fish usually lives in calm water, but is always represented in movement surrounded by waves, because it connected to the virtues and the bravery of the warriors.

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THE IMPERIAL LOYALITY The heron is used to symbolize the importance of loyalty since they will have only one partner during their lives. The chrysanthemum is an imperial symbol and it is cultivated in hundreds of varieties, that has produced an infinite variety of compositions and ideograms. The chrysanthemum is a winter flower that grows facing the adversities of the cold weather. Depending on its colors, the chrysanthemum assumes different meaning: white is the color of pain while red is the color that represent love and affection. 077

< collection >

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< outfit 01 >

- nylon - scottish thread - cotton + wisteria print

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- nylon - padding - scottish thread + koi print

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< outfit 03 >

- jersey - denim - leather

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+ the long lived print

- nylon - cotton - scottish thread + the imperial loyalty print 083

< outfit 05>

- nylon - wool - padding + the long lived print 084

- jersey - denim + koi print

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< outfit 07 >

- jersey - nylon - padding

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+ the humble tortoise print

< outfit 08>

cotton neoprene scottish thread denim

+ koi print

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< outfit 09 >

techinical SHEET

- popeline - nylon - scottish thread

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+ the long lived spring print + the imperial loyalty

18 cm MULTICOLOR JACQUARD - wool - silk - cotton

30 cm

RETAINED STITCHES - wool - silk - cotton

90 cm

MULTICOLOR RIB - wool - silk - cotton

9 cm

8 cm

10 cm 52 cm

front

back

sleeve

260 courses 560 courses

170 needles

60 courses 190 needles cuff

60 courses

neck

80 needles

140 courses

170 needles

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Credit: Ise Katagami Artisan Isao Uchida, by medium.com

4. commitment

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Pay Pay Pay Pay Pay Pay Pay Pay

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4.< commitment >

4.1

gIve credit to the artisanS

In todays world there have been too many examples of cultural appropriation in the fashion system, mixing ancient cultural symbols with recent fashion trends, fine art and architecture without taking into account anything but the creative process. For these reasons Shibui makes sure to understand the value of traditions of the symbolism of Ise Katagami, to ensure that their use is appropriate and benefits those they belong to. To maintain unchanged the heritage of the Katagami technique, Shibui has decided to create two different line: one that is based on the use of innovative technologies and another one that has been created to protect this ancient craft and give an active role to the authentic artisans. We believe that artisans should have adequate input into each collaborative product on our line. This goes back to producing products with a conscience, ensuring that each piece is well-designed with a strong regard for its cultural heritage. We seek to collaborate with artisans to produce contemporary pieces that remain true to its roots, while also staying relevant in today’s world. Our handcrafted artisanal garments are not so expensive related to markup; it is because of human power involved in it. In fact all the artisans that are involved in the production of “made to order” line are treated with the maximum respect, allowing them to continue to carry on their craftsmanship in the traditional way, respecting the proper time and not eradicate this craft from its original territory. Indeed all the Shibui products are design and product within the Japanese borders, because we believed in the “Inspired Locally, Made locally” philosophy. Even if many parts of the world are now increasing globalized and open-minded to sharing their heritage. We believe that it is extremely important that you co-produce with the originators of these symbols and techniques. This is one vital way to ensure we can fairly share the value derived from the internationalization of their craft. All the artisans that are involved in this collaboration receive a proper amount of money that allow them to have salary that is equal or above the estimated living wage in Japan, that is around $ 2,300 per month. Moreover on our website it is possibile to find detailed information about every artisans that is working on our clothes, in order to educate people and understand the commitment and passion of these masters. Even if Shibui is a Japanese born and based brand, we have ensured to study deeply the symbolism

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Ise Katagami Artisan working on stencil, by takumist.com

behind the object represented in the Katagami imagery, in order to bring to life ethical design in every piece of our collections, also in those that do not required the direct involvement of the artisans. For this reason, attached to every garment, there is a label reporting exactly the meaning behind the symbolism of that particular print, to teach our customers about the massive Japanese heritage and bring out more awareness. Shibui strongly believes in spotlighting our extraordinary artisans and elevating their origins and our collections honor the craftsmen involved in making of the garments, celebrating the rich heritage that it borrows from and interacts with it.

Tool used to dye Kimono, Yukata and Tenugui(Japanese towel), by Kimono-craf.com

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4.< commitment >

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Unesco

Aside from the financial importance of artisanship to Katagami artisans, for Shibui is also important because to guard against the loss of a dying field. Today the the largest collection of Katagami in Japan is located in the National Museum of Tokyo. However there are a lot of Katagami stamps in the archive of western museums that were taken during the Nineteenth Century for the first universal exhibitions that displayed the Japanese crafts. Katagami has been actually already known in Western countries since then, and gave influence to many artists and designers since mid 19th century, when the industrialization has flourished in the society. So we are working on an permanent exhibition that will be held in the Louvre Museum. This exhibition will introduce how Katagami was reinterpreted in those countries at the time of art and design reform movements, such as the Arts and Crafts Movement, and how it has inspired the western decoration style of that period. It will also introduce how far it has been taken over to the present by showing approximately 400 pieces of exhibits from variety genres collected from 70 locations of inside and outside of Japan, comparing them to the original artwork created in Land of the Rising Sun. Even if Katagami is recognize as a national treasure in Japan, it has not the same relevance in the rest of the world. For these reason Shibui is working to gain recognition from the UNESCO and to include Katagami in the â&#x20AC;&#x153;List of Intangible Cultural Heritage in Need of Urgent Safeguardingâ&#x20AC;?. Since the cultural heritage is not formed only by monuments and collections of objects but also all the living traditions transmitted by our ancestors, including traditional craftsmanship. This intangible cultural heritage is fundamental in maintaining cultural diversity in the face of globalization and its understanding helps intercultural dialogue and encouraging mutual respect for different ways of living. Its importance does not lie in the cultural manifestation itself, but in the wealth of knowledge and skills that are transmitted from one generation to another. This certification will help Katagami to gain more credit worldwide and be treated as a craft that is slowly dyeing due to the globalization and standardization of the way of dressing.

Intangible Cultural Heritage

MUSEUM AND RECOGNITION

Tokyo National Museum

4.2

MusĂ¨e du Louvre

4.< commitment >

4.3

FASHION UNIVERSITIES

Japanese craftsman Yuichi Hirose in his kimono design in Tokyo Kazuhiro.

Our worshop at FIT in New York.

The ancient art of Katagami is slowly dying. Nowadays there are only 20 people left in the world that are capable to use this technique, and the youngest among them is sixty years old. For this reason Shibui is committed to trying to pass this craft to young people, not only in Japan but also in other parts of the world. Since this technique requires a lot of time in order to be learnt, we have decide to create a partnership with the most important fashion schools of the world. Starting from Bunka Fashion College that is headquartered in Shinjuku, Tokyo, and has more than 70 branches throughout Japan. Here will be held a post-graduate course in which young students will learn in the first place the traditional techniques and related symbolism of the Katagami craft, and then they will try to take the lead in re-asserting the position of this craft and making in the contexts of contemporary design discourse, society and humanity. This collaboration will be carried out with the participation of the Katagami artisans, the one that are willed to share their in knowledge, in order to give them the credit and recognition for their time-honored profession.

Workshop with FIT brochure example.

As far as regard the other fashion universities around the world, Shibui has decided to start a partnership with different universities such as: London college of Fashion in London, FIT in New York, Politecnico of Milan, Aalto University in Finland, Tsinghua University in Beijing, ESMOD International in Paris and the Swedish School of Textile in Sweden. Here will be held summer courses in which the students will learn about the basic Katagami techniques and his history, if some of them are interested to explore deeper this world they will receive economic facilities and benefits in order to attend the full course in Tokyo. If done right, people all around the world will use fashion and craft to change the dominant narratives surrounding those who have been underrepresented, looking at it with admiration and respect, rather than sympathy or condescending approach. We are sure that involving young students during their formative years is the best way to seize their interest towards this ancient technique, shaping new professional figures and not letting the Katagami cultures to fade away. Through this process we believe in modernizing, using technology to make it more relevant, but still keeping the soul of the craft. In this way, the traditional craft is also being passed down over generations, and younger crafters will have their own interpretation.

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4.< commitment >

4.4

ITINERANT EXHIBITION

Shibui as brand believes that the direct exposure to a vast audience of these masterpiece can help not only the future of Ise Katagami and of the Japanese craftsmanship in general, but also it can present Japan under a different light to foreign visitors. It can underline the ideal link between modern and old technology, represented by Katagami, because both of them are products that are made creative intelligence combined with a persistent research of perfection, both aesthetical and practical. Since this craft is strictly related to territory and not many have the possibility to travel to Japan, Shibui has deiced to create itinerant exhibition to promote Ise Katagami, that will stop in the main cities around the world. The exhibits will offer a visual journeyÂ through the history of Katagami that revisits its landmark innovations in technology and design in all its long history. From its beginnings in 1603 to the present day, the story will be told using rare and celebrated objects selected from the archive, with the inclusion of Katagami stencil that will arrive from museum all over the world. In addition, there will be live demonstrations of the cut of a Katagami stamp by Ishimi Osugi, one of the few artists which is continuing the tradition in Japan of drawing and making Ise Katagami. Thanks to the quality of his work, he is a part of what the Japanese Government considers â&#x20AC;&#x153;intangible cultural heritageâ&#x20AC;?. This will help to build a direct connection between people and the craft, creating an emotional link with the artisans and its skills that remain as relevant today as they have in the past centuries. Moreover, the exhibition will also demonstrate the ways in which Shibui has decided to reinterpret this ancient technique in order to help the Japanese heritage to endure and the Katagami master to get the recognition that they deserve.

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Billboard Adv Shibui Workshop

5. communication strategy

05. ADV ADV ADV ADV ADV ADV ADV ADV

ADV ADV ADV ADV ADV ADV ADV ADV

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COMMUNICATION STRATEGY Effectively communicating is essential to promote and strengthen the brand reputation. The reason is simple: communication is the tool that allows you to get closer to your customers or potential ones, to favor the memorization of your brand, to stimulate the memory of it, to affection your customers to you. In short, knowing how to communicate is for a brand part of its identity, its personality and its daily activity. We must start with a communication strategy and we must draw up a communication plan capable of providing the guidelines to achieve its objective and to stage an integrated, coordinated and coherent communication both with the brand identity and in the individual promotional actions. This is a fundamental aspect to ensure that the brandâ&#x20AC;&#x2122;s initiatives are successful and the investment in communication can be beneficial and useful. The Communication Plan is a strategic document that defines and plans the communication objectives, strategies, actions, activities, deadlines and also the context in which the brand operates. In this way, reaching the goals (which must be established clearly, precisely and measurably) will be easier and more possible. In particular, the Communication Plan establishes: - The context in which you work and communicate (sector, market, competitors); - Your target audience; - The concrete and determined goals you want to achieve; - The creative communication strategy; - The means of communication you will use; - Activity planning; - The timing and timing of the individual actions; - The timing and timing of the individual actions; - Activity monitoring;

In Shibui case, therefore, a communication strategy has been built both off-line and online that took into account the dual mission of the brand of continuing the tradition of Ise Katagami by guaranteeing a pay-back to the artisans and on the other hand selling the brand products. This is because for the fundamental brand to create knowledge about both these points so that consumers are immediately aware of the fact that Shibui is not just a clothing brand but much more, and this is an important aspect to communicate as effectively as possible. Considering also that our target audience are mainly millennials, great importance must be given to the transparency and credibility of the brand as they represent a market share that is very attentive to these aspects, decisive for their final decision to purchase or not the product proposed. Furthermore, emphasizing these aspects will only increase our credibility as a rand. In order to implement an effective communication strategy, a time schedule has been constructed that takes into account both the creation of hype and curiosity for the launch of this new brand and the timing through which to be able to keep the attention high on us and maintaining a certain level of engaging in consumers. It should in fact be emphasized that this strategy was conceived starting from the actual launch of the brand itself and it was therefore necessary to consider that nobody in the world is currently aware of us. In this regard, therefore, the various steps proposed are: -Guerrilla marketing for the flagship store -Opening of online communication channels (website, instagram, retargeting) -Opening of stores -Opening of the permanent exhibition at the Louvre Museum -Opening of the traveling exhibition -Start of workshops in universities

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As already anticipated, therefore, offline communication operations start from the creation of guerrilla marketing, or a low-budget advertising strategy, implemented through unconventional communication techniques to hit the imagination and stimulate the curiosity of users. In the case of Shibui, it was decided to wrap the Tokyo flagship store in a huge sheet of paper carved with one of our main prints in order to attract the attention of passers-by in a curious and effective way and, furthermore, to immediately understand that our brand strongly linked to the Ise Katagami tradition. After about two weeks, there will be the opening event of the store itself and the identity of the brand and the products offered will be revealed, it will also be possible to get to know some of the artisans who have collaborated in the creation of the collection and have the opportunity to pre purchase tickets for scheduled exhibitions and workshops at universities.

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WEBSITE AND SOCIAL As regards the opening of online communication channels, the website was developed in two macro-categories, namely the one linked to the brand and its products with an e-commerce annex and the one linked to its own history with an in-depth study of the history of Ise Katagami and the artisans who collaborate with Shibui. In this way we give consumers the chance to make conscious and conscious purchases and we reinforce once again the importance that we as a brand give and that our consumers should give to this technique by now in danger of extinction.

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The Instagram profile was also developed, being one of the most used communication channels by our reference consumers as well as one of the most immediate and effective means of this historical moment. In it you will find contents concerning products, advertising campaigns, events and once again more notional contents based on the history of the Katagami state and the artisans who collaborate with us.

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EXHIBITION PROMOTION Once they have landed on the market to all effects and after letting us know, the campaign will begin on the opening of the permanent exhibition at the Louvre Museum, the traveling exhibition that touches the main Asian, European and American cities and finally the promotion of the workshops in the most important world fashion schools.

0104

From a graphic point of view, we wanted to maintain a certain recognizability and consistency in all the proposed contents, above all in terms of color, in order to create a strong visual impact in the observers who will be able to immediately understand that the content they are reading or watching is linked to the Shibui brand. 0105

< shooting >

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A project by: Elisa Albertini Martina Angilella Morena Chiriano Giulia Colombo Debora Ferrara Claudia Mainardi Martina Zenone

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