Moschino Campaign Strategy Document by Gigi Soh

MOSCHINO Strategy Document: Lens of Moschino

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MOSCHINO

6.0 concl

MOSCHINO

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5.0 Moschino fopundation

4.0 campaign proposal

3.0 issue analysis

2.0 market overview

1.1 brand analysis

1.0 Executive Summary

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1.0 executive summary

“There is no

freedom without chaos – he said – the Moschino concept consists in leaving the total freedom of choice for those who wish to dress.”

MOSCHINO

The following strategy document focuses on Moschino as a whole, evaluating its position in the market, and delving into current issues affecting the brand’s social standpoint/growth. It explores on how Moschino devises strategic campaigns using digital technology and social media as main tools of communication; which I would then be using to propose solutions to, displaying an understanding of promotional and PR techniques.

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“If you cannot be elegant at least be extravagant.” FRanco moschino

About

Founded in 1983 by Franco Moschino, Moschino is an Italian luxury fashion house recognised for his irreverent and satirical take on the fashion system. Bold, eccentric and controversial all at once, Moschino captures the essence of the post-modern and surrealistic era. With its success lying in the ability to employ well-crafted parodies and thoughtful juxtapositions, setting the brand apart from other high-end luxury brands.

MOSCHINO

1.1 Brand analysis: overview

Following Franco Moschino’s death in 1994, Rossella Jardini took over as creative director shifting the focus of the brand to its aesthetics rather than commentary wit and humour.

In 2013, she was succeeded by American designer, Jeremy Scott, who used his sense of gaiety and eclectic style to bring back Moschino’s original tongue-in-cheek approach, alongside his celebrity cult following of Miley Cyrus, Katy Perry and Rita Ora. Moschino has grown to be established for its unique injections of symbolism and re-appropriation of pop-culture references, such as fast food logos and childhood favourites, like Barbie and Spongebob. In 1999, the brand was acquired by the AEFFE S.p.A. group, consisting of 3 labels, Moschino, Boutique Moschino and Love Moschino, and is now distributed amongst 86 countries.

MOSCHINO

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Franco Moschino left his job as Versace’s illustrator and formed his own company, Moonshadow and launched Moschino “couture!”.

1950

1983

The launch of Moschino Jeans.

The launch of Moschino Cheap and Chic line. Cheap and affordable for anyone who could appreciate his style and his way of doing fashion.

Moschino launched his first social awareness advertising campaign “Stop the fashion system” and decided to put a halt to fashion shows.

Franco Moschino was seized by a heart attack and died on the 18th of September. Rossella Jardini took over as creative director.

Moschino SpA signed an exclusive 10-year agreement with con Scienward International Holdings Limited for the franchising and distribution of its products in the People’s Republic of China (excluding Hong Kong and Macau). It provided for the opening of 40 stores and the exclusive distribution of Moschino brand clothing lines as of S/S 2008.

1986

1988

1991

1994

2007

1971

1985

1987

Then, a fresh graduate, Moschino’s sketches caught the eye of young, burgeoning Gianni Versace. He kickstarted his fashion career working under Versace for 6 years, drawing their publicity campaigns.. And, another 5years designing 11 consecutive seasons for the clothing brand Cadette, which he abandoned in 1982.

The launch of Moschino’s first menswear prêtà-porter line (S/S 1986), which was presented at the Regal Palace in Milan.

The launch of Moschino’s first fragrance.

1989 The opening of Moschino’s first Boutique in via Sant’Andrea, Milan. Moschino took a moral and environmental approach, introducing ecological furs on the catwalk, initiating a habit that caught on for other big names in fashion.

1993

1999

A 10-year retrospective was held at the National Theatre in Milano. A fashion show of historical dresses that ended with a stage filled with people dressed in white and wearing AIDS ribbons. Followed by an exhibition held in Milan’s Museo della Permanente and a published book, ”X Years of Kaos.”

Moschino was taken over by Moschino SpA, acquired by the AEFFE group.

On the 28th of October, Jeremy Scott was appointed the Creative Director of Moschino.

Moschino launched virtual boutique.

2009

2008 The Moschino Jeans Label changes its name to Love Moschino. Moschino and Altana signed a licence agreement for Moschino, Baby, Kid and Teen collections. The Launch of Moschino Helmets in licence agreement with Max Safety Fashion. Moschino CheapAndChic Watches and Jewels in licence agreement with Binda Group.

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Born in Abbiategrasso, Franco Moschino attended the Academy of Fine Arts of Milan where he studied painting. During this time, he worked as a freelance illustrator for several fashion magazines and houses, such as Linea Italiana and Harpers Bazaar in order to fund his education.

1.2 Brand ANALYSIS: history

2013

2010

2014

Opening of hotel “Maison Moschino, viale Monte Grappa 12 Milan. The launch of Moschino “Lost & Found”, featuring a new range of travel accessories.

Moschino launches a new capsule collection “Fast Fashion – Next Day after the Runway” – a set of ten items displayed on the catwalk, right after Jeremy Scott’s first show for Moschino.

MOSCHINO

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Designers Franco Moschino

1.3 Brand analysis: history “Being fashionable is not positive at all. Fashion is over. Let’s talk about something worthwhile. Fashion kills people. It is Fascism. As a designer, I have to convince you to change—to cut your hair, to change the frames of your glasses. You’re a creature of the fashion system, a Muppet, not yourself.”

1983-1994

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Came by the title of Enfant terrible, Franco Moschino remains a fashion radical whose wit, humour, honesty, free spirit, and critical lens became his legacy. Despite working in fashion, Franco never shared values of the industry. He was as much a social commentator as a designer and launching Moschino was more so a tool for him to reflect ironically on society. Overtime, Franco came to see fashion as an industry which victimises society and promotes consumerism. In respond to this unjust, he openly mocked the fashion system. This irreverence factor then became what Moschino was widely recognised for. An example being the time he parodied the Chanel suit, embroidering “This is a Waist of Money” in place of where the traditional gold chain belt sits.

PEOPLE

“I married fashion – and it has been a good wife.” - Franco Moschino

MOSCHINO

Franco felt that everything in fashion had already been done, that something completely new was impossible—as he told WWD in 1985, “New colours don’t exist, and the good cuts have already been invented.” As some designers would view this as being bleak, Franco saw this as a window of opportunity to focus on creating

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Rossella Jardini 1983-1994 Born in Bergamo, 1952, Rossella Jardini started her career by selling clothes. Prior to meeting Franco Moschino, Jardini had worked with Nicola Trussardi and Bottega Veneta as both fashion assistant and consultant In 1983, she joined her mentor and best friend full-time in running Moschino and quit her other jobs. Jardini is not a designer herself, but, someone with exquisite taste and an eye for design.

MOSCHINO

1.3 Brand analysis: history

Following Moschinoâ&#x20AC;&#x2122;s death in 1994, Jardini devoted herself to keeping his soul alive, and took over as the role of Creative director, overseeing a bunch of talented designers, transforming Moschino into its modern incarnation. Jardini has held the brand identity for Moschino strongly during her tenure as creative head. However, her elegance in designs and broader outlook towards style and fashion, brought her to Missoni as a consultant in 2014, after succeeding the position to Jeremy Scott in 2013.

â&#x20AC;&#x153;Everything I know about fashion I learned from Franco. I always play with classics and I like stealing from the menswear wardrobe. I like playing with proportions, and I always start with materials. I am obsessed with quality. I am fascinated by elegance and I have my own point about it.â&#x20AC;? - Rossella Jardini

MOSCHINO

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1.3 Brand analysis: history

2013- present

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011 JEremy scott Scott was born in Kansas City and raised on a livestock farm in Missouri. He graduated from the Pratt School of Design in New York in 1996, and interned at Moschino in the PR department during his senior year. In 2013, he took the role of creative director at Moschino, and brought the Italian fashion house back into spotlight with his unique blend of satire, humour and pop culture inspired designs. The appointment respects the DNA of the brand as Jeremy Scott has proven to be not only an eclectic and contemporary communicator, but, a designer capable of re-interpreting the identity and the essence of Moschino.

“It’s one of the few houses that has humour. It’s the same for me. We share an obsession with poking fun at fashion” Scott told Style.com. “The ironic thing is, during my last year of college, when I was at Pratt, I interned for the Moschino press office. Yeah, it’s kind of a fairy-tale story. I was the intern, and now I’m running the company.”

MOSCHINO

To date, the brand is inspired by American consumer culture, having reinterpreted logos of brands such as Barbie, McDonalds, Coca Cola and the Loony Tunes in his Moschino collections.His idiosyncratic approach to designs has struck ongoing collaborations with Longchamp, Swatch, and Adidas dating back to 2002. With Scott’s cult following of pop icons and Instagram stars, it ensured Moschino and his eponymous label’s visibility, largely boosting sales by double the digits.

1.4 Brand analysis: guidelines

BRAND GUIDELINES

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The general aesthetic of Moschino is simple and classic, which juxtaposes it’s brand essence and persona of being flamboyant and loud. However, the fact that it’s simple gives it room for versatility. An example being Moschino altering it’s logo according to different collaborations.

Purpose behind each collection: Has to convey a message about an ongoing social/cultural problem. But, using sartorial wit and unconventionality to highlight it.

MOSCHINO

Colour palette: Black & White Words always written in BOLD. Navigation of website: underlined word (before clicking), Highlighted (after). Complementary Font: Bebas Neue

BRAND ONION

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USP Irreverent, controversial, and anti-fashion approach ESP Inducing joy and spreading awareness on current social issues

1.5 Brand analysis: onion

MOSCHINO

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FOR THE IRREVERANT

1.5 Brand ANALYSIS: 7P’s

7P’s

3 labels:

WOMEN/ MENS/ KIDS

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Sales percentage 9M2019: 68% Prêt à Porter, 32% Footwear & Leather goods

Items: clothing/ bags/ shoes/ accessories/ fragrance/ furniture NOTE: All items comes with 2 year warranty, within 2 months of defect discovery upon purchasE.

Generates 74% of sales in Aeffe group.

product prICE /-

£150-4500

In comparison to its competitors, Moschino offers products of more accessible price ranges, increasing its market of audience.s with products like graphic t-shirts and accessories.

MOSCHINO

Targets people of the upper class income group and applies premium pricing strategy. However, Moschino offers products of a wide price range, making it appeal to the potential middle income class group.

Retailers: Adopts duo distribution system (70% wholesale, 23% retail, 3% royalties) Sales Region: 23% Europe, 47% Italy, 25% Asia, 5% America 239 Mono stores

WHOLESALE

RETAIL

- Directly operated showrooms: Milan/ Paris/ London - Agents/importers - 176 franchised stores: 134 Asia, 41 Europe, 1 America

-Directly operated stores : - 9 Flagship stores - Milan/ Rome/ Capri/ Paris/ London/ Los Angeles/ New york/ Seoul/ Pusan/ Daegu - 63 Directly operated stores: 43 Europe, 17 Asia, 3 America

Online: Farfetch, Net-a-porter, Matchesfashion Physical: Harvey Nichols, House of Fraser, Selfridges

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Based in Milan, Italy by Aeffe spA.

PLACE MOSCHINO

1.5 Brand ANALYSIS: 7pâ&#x20AC;&#x2122;s

Types of stockist: Making products accessible to mass public without breaking exclusivity of targetted audience with specific price range and income group.

MOSCHINO

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1.5 Brand ANALYSIS: 7p’s

Retail stores (window display and VM) Known for their eye-catching window displays (storytelling element) However, shop floor layout is minimal and simplistic (b&w). Which can either add contrast to their products or deemed as not justifying brand’s essence and persona.

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Fashion Market Overview

Website Simplistic and easy to navigate Creates a sense of belonging with newsletter feature (Keeping them in the loop for latest drops/events) Magazine features Liaising with high profile magazines such as Vogue, Elle and Harper’s Bazaar for quick promotion.

Competitor Analysis

However, appearing in advertisements rather than interview pieces exemplifies a lack of personal touch for the audiences.

Physical evidence –

MOSCHINO

Lack of voice/cultural/social standpoint that is being picked up on its other mediums/runway shows.

1.5 Brand ANALYSIS: 7p’s

SOCIAL MEDIA High levels of engagement with 9.1M followers on Instagram, 431k on twitter, 47.8K subscribers on Youtube and 300.2k monthly viewers on Pinterest. Types of content posted on: ig & twitter - namely of famous people wearing Moschino/ editorials from collection Pinterest - lookbook/editorials of each collection. youtube - Ad campaigns/runway shows and backstage videos

Promo tion

pro: video channel linked to website, increasing site traffic. con: Could add a more personalised and fun touch, by posting exclusive/ relatable/re-postable content; or use it as a medium to spark controversy and make content interactive.

PR (celebrity/influencer endorsements) Moschino’s relevance to today’s pop culture is what amassed such a large celebrity following. With the likes and support of celebrities like Katy Perry, Miley Cyrus, Rita Ora, Rihanna, A$AP., most of them whom are great friends of Scott. With that comes the complimentary exposure the products get, from celebrities sporting them at important events such as the Met Gala/award shows, to marketing the products to their fans and being featured on high profile websites like Vogue/WWD/Dazed. Helps to cultivate a strong brand persona/image, as people would associate it to the personalities of people wearing them. From which, are people who exudes confidence, are fun-loving and not afraid to stand out.

Online

PRINT Then, in the 80’s and 90’s: Moschino advertisements were created to raise awareness for social problems, or, to rebel against commercialism with humour and wit. Now: ‘world of ad’ column on domain is used for customers to have direct access to video content while browsing. Featured in high profile magazines/digital platforms to target tech-savvy generation. RUNWAY Famous for sensory element in runway shows. (Wash bubbles in 2016, Smoke & Mirrors in Fall’16, Livestream VR) Colourful sets, mostly done by randomproduction Element of surprise

MOSCHINO

ONLINE

MOSCHINO

OFFline

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1.5 Brand ANALYSIS: 7p’s

COllaborations Collaborations with other fields in the creative industry helps to spread brand awareness to a larger audience, at the same time giving Moschino the opportunity to venture into other potential product sales.

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Exhibitions For Moschino’s 10 year retrospect, “X years of kaos” an exhibition was held, and a book published to celebrate the milestone.

MOSCHINO

Past collaborations - Kartell x Moschino’ product: Teddy bear lamp. Milan Design Week’18 - Moschino kisses Gufam, Product: wardrobe, Moschino twist to their iconic sofa and shelf 17. - Altreforme x Moschino: Harlequin collection, Product: Wardrobe and coffee table 2012.

1.6 Brand ANALYSIS: PESTLE

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027 With Brexit delaying, the changes in regulations are currently in limbo. The Italian fashion industryâ&#x20AC;&#x2122;s governing body stated that if Britain left the single market, a reduction in exports from Italy was likely, alongside a possible decline in Italian fashion sales if British import duties increased.

POLITICAL ECONOMICAL The rates of VAT applied in Italy during 2018 were maintain throughout 2019.

MOSCHINO

Recently, the Italian government has been warned repeatedly by the EU over its spiralling budget deficit, which stands at 2.5% of GDP and is expected to climb to 3.5% in 2020. Consequently, it is facing mounting pressure to go ahead with the planned VAT rate increase. As of 1stÂ January 2020, the standard VAT rate will rise to 25.2% and the 10% reduced VAT rate will rise to 13%.

“Diversity has always been a huge part of my shows but I’ve never shouted about it,” said Scott. Previously, the designer has been wary of being too political. “But now I need to talk about it. It is hideous the kind of plans they are trying to sneak through”

SOCIAL

1.6 brand ANALYSIS: PESTLE

TECHnology

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Digital Recalibration continues to be a major focus of the fashion industry. Brands are rightly obsessed by how to make digital pay, not just in respect of the customer interface, but across the organisation. Investors too have been pushing this shift — mentions of “digital” in leading brand earnings calls have risen 130 percent over the past four years. (Business of Fashion x McKinsey & Company, 2019)

According to the State of Fashion 2020 report, consumers today increasingly express their disdain if diversity is not represented or considered. The highlighted trend of Inclusive Culture, places an increasing pressure on fashion companies to become proactive advocates of diversity and inclusion. (Business of Fashion x McKinsey & Company, 2019)

Moschino utilises digital platforms such as social media and website to their advantage in creating buzz and building strong relationships with their consumers. Customers have access to runway shows, behind-the-scenes videos and ad campaigns.

MOSCHINO

Moschino does a brilliant job at promoting inclusivity. An example, being the 2018 collaboration with H&M, raising the bar and coming up with an Instagram world-first, connecting a diverse mix of influencers under the MOSCHINO TV concept. Moschino’s method of adopting a high-low culture also creates room for a larger range of audience making the brand more accessible and relatable compared to its competitors.

Moschino is driven by the influence of pop-culture and is known for its re-appropriation of iconic logos and motifs. As a result, the legality of using other sources puts the brand at stake, involving in many cases of legal implications for the past few years.

1.6 brand ANALYSIS: pestle

Moschino is a brand that is leaning towards the ethical spectrum, with its anti-fashion approach and halt to using fur.

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legal environment Moschino Spring 2019: Resemblance with Edda Gimnes Spring 2016 & 2017 collection Moschino Fall/Winter 2015 collection: Imitation of Rime’s mural ‘Vandal eyes’

MOSCHINO

“I stopped using fur in my designs a few years ago and have always been a big proponent of faux fur in my collections.” —Jeremy Scott, Moschino

opportunities

- Strong parent distribution network & financial stability: Aeffe S.p.A. - High celebrity profile entails additional coverage for products. - Strong heritage and history, brand persona unique to its own.

STRENGTHS

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033 - The brand’s anti-fashion means give it the chance to introduce any concept to their collections. It injects an element of surprise, keeping consumers curious. - To become a mission brand, using commentary means as a medium to spread important messages. - Bold and unapologetic personality would attract new generation.

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1.7 brand ANALYSIS: swot

- Witty interpretations may come off as being insensitive and offensive. - Using of other sources puts brand in a grey area when it comes to plagiarism.

MOSCHINO

SWOT analysis

threats

MOSCHINO

- Outlandish designs might be seen as impractical. - Collections target a niche group of people. - Disconnect between runway collections and collections in actual stores.

Weaknesses

“I hate the idea of exclusivity in fashion,” Scott said before the show. “I’m all about the democratisation, about reaching people who can’t normally afford this stuff.”

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Beyond the economic context, there is no doubt that digital remains at the forefront of executives’ minds. The word itself was the fourth most popular to describe the industry, while digitisation was listed as one of the top three opportunities.

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2.0 market overview: luxury fashion

Overall, the McKinsey Global Fashion Index predicts that the fashion industry will continue to grow at 3 to 4% in 2020. Consumers are being increasingly cautious amid broader macroeconomic uncertainty from political upheavals across the globe. The US-China trade war has led to billions of dollars of tariffs being imposed on imported goods between the two countries, with knock on implications around the globe. Also, Trade tensions and Brexit continue to create significant uncertainty and are having a quantifiable impact on growth.

LUXURY MARKET

MOSCHINO

An emerging middle class market with rising levels of disposable income can be found in Southeast Asia. Driven by young digitally sophisticated consumers, set to drive growth in the region’s $50 billion apparel sector across 6 core markets — Vietnam, the Philippines, Indonesia, Malaysia, Thailand and Singapore.

037

AEFFE SpA is a company quoted in the Borsa Italiana Star segment and for over thirty years it has been one of the most important players internationally in the luxury goods and fashion sector. It manages the production and distribution of high-profile brands such as Moschino, Jeremy Scott, Alberta Ferretti, Philosophy di Lorenzo Serafini, Pollini and Cédric Charlier. The Aeffe Group was created on the initiative of the designer Alberta Ferretti who set up her own business in 1972 as an individual enterprise.

AEFEE S.p.A competitors 1. Antichi Pellettieri s.p.A 2. Meganesuper Co.Ltd. 3. Krizia s.p.A. 4. Dolce & Gabbana S.r.l. 5. Diesel s.p.A

2.1 market overview: Aeffe

brands 6 boutiques 65 countries 69 employees 1450

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About

In January to September 2019, Moschino generated a revenue of €199.4 million, equivalent to a 4.8% rise at constant exchange rates. The label is the genuine driving force of Aeffe, accounting for 74% of the group’s total sales. (Aeffe Group, 2019) Fig. Net Sales Breakdown by Brand

Fig. Net Sales Breakdown by Region

MOSCHINO

In the first nine months of 2019, the Italian fashion group’s sales have been affected by a troubled economic environment, diminishing especially in the ready-to-wear category, while costs and investments both increased. Only Moschino recorded a sales growth and as a result, Aeffe’s revenue grew by a mere 1.7% between January and September, reaching €269 million (up 1.4% at constant exchange rates).

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2.2 market overview: competitors

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REPOSITIONING map

unconventional

MOSCHINO

classic

MOSCHINO

high

low

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2.3 market overview: customers

Age group 18-45 GENDER 58% females, 42% males (Mostly millennials and generation x) most likely to READ i-D Dazed Vogue

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CONSUMER PROFILE

Target Customer

CELEBRITy/influencer REPRESENTATION: Miley Cyrus, Katy Perry, Rita Ora, CL, ASAP Rocky, gigi & bella hadid, AMIAYA

What motivates THE customers

With its success lying in the ability to employ wellcrafted parodies and thoughtful juxtapositions, setting the brand apart from other high-end luxury brands. The customer of Moschino is likely to be someone who is of a medium to high disposable income. He/she is updated on the latest news regarding politics and social problems, someone who wants to make a change and is not afraid to speak up. He/she is also tech-savvy and well equipped on social media.

MOSCHINO

Moschino isnâ&#x20AC;&#x2122;t a brand for wallflowers, with its bold experimental style of fusing low brow with high fashion and being heavily immersed in pop culture. Moschino is a brand that expresses creativity through irony and wit. It attracts a specific group of consumers who are driven by individualism and self-expression. He/she is adventurous, confident and appreciates having a bit of fun in their process of getting dressed.

IMITATION VS INSPIRATION: THE LOOPHOLE IN THE FASHION INDUSTRY There is a fine line between imitation and inspiration, and the fashion industry has been implicated for decades. It has been a subject of controversy, with loopholes being thinly stretched, exploited and occasionally embraced. Despite, the emphasis on a lack of copyright protection, especially in global regions such as the United States of America. The transgression continues with smaller designers being ripped off and renowned ones getting away with it. Instead of dwelling on the shortcomings of intellectual property, which is “the body of law that protects the creative process. It is simply intangible property.“ (Fashion & Intellectual Property, 2018), it is time to delve deeper into other factors and tackle this issue with a different approach.

3.0 issue analysis With a rise in demand for transparency and cultural awareness, fashion is now a response to social and political matters. There is a shift in consumer expectations, people embrace outspokenness and chase after the idea of serving “justice”. An example would be the byproduct of the watchdog culture, the protagonist of fashion industry news, Diet Prada. An anonymous Instagram account created to call out knockoffs, throw shade and other injustices.

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As much as the creator of The Fashion Law, Julie Zerbo agrees that we should applaud Diet Prada for starting a grassroots movement and encouraging victims – indie designers who do not have the resources to fight back, to stand up for themselves. Many a times, drama is stimulated quickly, and the accusations made her feel queasy.

“I have concerns in terms of the transparency of their methods, about who’s holding them accountable, and I really think this is a function of the fact that they do have such a broad reach.” (Zerbo, 2019)

Here we have two elaborated standpoints on the loophole of copyright within fashion.

MOSCHINO

In this modern day and age, everything is taken to the public domain, news travel with a click of a button, from the live broadcasting of a runway show to who showed up in what on the red carpet. The world seemed to have collectively forgotten how readily available reference materials are; nobody is designing in a vacuum and people have access to what is trending. Fashion thrives on inspiration and the reason why the market is growing so rapidly is due to the proliferation of trends without prosecutable consequences. “There will always be cases where someone is copying a good idea. And that is good, we want that to happen. We want a good idea to be replicated with each company’s own particular take and version of it.” (Fashion & Intellectual Property, 2018)

Social media is inundated with claims of copying and realistically speaking, there are only so many ways a designer could reinterpret clothing. Designers should not be shamed for referencing the history of fashion. Oftentimes, these acts of calling out begin to function more as bullying than a display of insightful information.

“THAT’S WHAT SOCIAL MEDIA CAN BE…ALL THAT SPACE TO COMMENT BREEDS A TENDENCY TO FESTER, VERSUS ACTUALLY MAKING SOMETHING.” (ABLOH, 2019) “Zerbo said it was common knowledge that people were scared of the social media army at Diet Prada’s command. Those targeted have told her that they “don’t even want to send a cease-and-desist letter because they’re going to post the cease-and-desist letter and will be swarmed with more angry comments from people on Instagram.” (Bromwich, 2019)

That being said, there is still an uncharted area within intellectual property. More so, being abused and contributing to the theft of designs. Focusing on an area with great room for improvement, the lack of ethics and respect for other designers.

MOSCHINO

“A copyright is nothing more, nothing less, than the right to copy. It’s designed to encourage more artistic creation and expression by giving creators control over what they create.” (Fashion & Intellectual Property, 2018)

“Our touchstone [when looking at designer collections] is always, “Is this done from a place of love? Is it an homage?” Are they learning about [the designer] and gaining a new perspective, or are they reissuing a Yohji Yamamoto skirt for no reason, without recognising its roots?” (Dietprada, 2017)

3.0 issue analysis

RIME

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Using Jeremy Scott, as an example stating the difference between handling reputable and indie brands. Scott is a designer who draws inspiration from pop culture and is notorious for cases of copyright infringement. When it comes to reputable companies and logos such as Cartoon network or Barbie, Scott took precaution by going through proper legal procedures. This contradicts the times he choses not to with Jim Philips, Rime and Edda Gimnes as examples of victims.

“I regret that certain pieces of my February 2013 Fall Winter fashion line incorporated imagery that was similar to images owned by NHS and Messrs. Phillips. I now recognize my mistake and out of respect to their work and their rights, the clothing and handbags at issue will not be produced or distributed.” (Scott, 2013)

In 2016, Scott alongside Moschino was involved in another lawsuit filed by Joseph Tierney, also known as Rime, a Brooklyn based graffiti artist for the imitation of a mural named “Vandal Eyes”. This particular case was handled with distaste, with no signs of remorse and the audacity to fame the artist he has stolen from.The replica was identified in the print of a gown sported by Katy Perry at the 2015 Met Gala, with Scott arriving in a matching blazer. As if the misappropriation and superimposing of Rime’s artwork was not awful enough, Scott criticised Rime as an “unabashed felon” for a mural he was invited to create in Detroit in 2012. He claimed that “Brazen and wilful violations of the law cannot, and, indeed, should not result in the award of copyright privileges.” (Scott, 2016) The lawsuit ended up in a settlement, with Moschino compensating a huge sum of money. Cases like these puts the victim’s reputation at a risk, as it exposes them to a potential distortion of image, and presents their work in an inaccurate context to a whole new demographic of consumers.

MOSCHINO

His debut as the creative director of Moschino was a controversial one, taking reference from junk food and re-appropriating famous icons, such as Macdonald’s iconic golden arches, albeit with a Moschino twist. Moments before his debut, Scott was slapped with a huge lawsuit for the usurp of Jim Philips, who is known to have designed some of the most iconic Santa Cruz skateboard graphics from the eighties. Despite, plastering Philips artwork all over his eponymous collection, he has made no mention of Philips as a source of inspiration. It was only when he faced legal consequences that he acknowledged his mistake and apologised.

3.0 issue analysis

Edda Gimnes In 2018, widespread speculations were made regarding Scott ripping designs off Edda Gimnes, a Norwegian womenswear designer based in London. The collection consisted of uncanny resemblances in its “scribbled” aesthetic for both Gimnes’s Spring 2016 and 2017 collection, and Moschino’s Spring 2019 collection.

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Gimnes took her frustration with Moschino’s incompetence to credit and assumption of problem being overlooked by a ‘vulnerable young designer’ to Instagram and Facebook. She backed it up with claims of meetings with an employee from the brand last November, during which she showed off all her work, including her original sketchbooks and ideas.

“Normally I do not address gossip or questions about my inspirations, but I feel I need to defend myself against untrue accusations regarding my latest Moschino collection,”(Scott, 2018), while in an IG post, he addressed Gimnes directly, directing her to his references, and wishing her ‘all the success and accolades’ she deserves.” (Scott, 2018)

Be it intentional or coincidental, small designers remain in limbo with big designers and people like Scott reaping the benefits. This analysis highlights on the criticality of the lack of respect large brands have for smaller designers, giving insight on the entitling toxic nature that comes with success, money and power.

MOSCHINO

Scott is not known for addressing scenarios like this, which often leads to him losing the lawsuit. The case above depicts how is trying out a different approach, blurring the lines between imitation taking place by responding with gathered proof from his work process.

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PURPOSE To establish Moschino as a brand with authenticity.

Approach

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4.0 campaign proposal: executive summary

[internal]: Campaign guidelines: To make Moschino Authentic by introducing the brand as a curator of the Fashion world. (a narrator instead of author)

Lens of Moschino

campaign overview With the ongoing civil and political unrest, Moschino wants to divert this bleak outlook and turn it into a chance for humans to come together. Instead of pitting ourselves against one another, Moschino wants to celebrate the extensive talent blooming across the globe, creating a melting pot of creative talent, from all walks of life, and all fields of design.

[public]: To show how Moschino is authentic through establishing exactly who they are and what they do.

With this preposition comes a bi-annual initiative: The world of Moschino, taking one on a journey behind the lens of moschino. Whereby Moschino in partnership with frieze would shine a light on artists globally, merging disciplinary and forming new dynamics of the art world.

In liaise with this proposal, Jeremy Scott is launching a separate non-profit organisation, The Moschino Foundation. Founded to support designersâ&#x20AC;&#x201C; the new and the seasoned, contributing to ground-breaking, experimental and controversial representations of art addressing cultural and societal issues of the world. The launch of the film series will act as a medium to announce the establishing of the foundation.

MOSCHINO

Tying in this initiative with Moschinoâ&#x20AC;&#x2122;s vision for the year of 2020, which is to curate, celebrate and collaborate. Moschino together with frieze studios would be coming up with a Introducing the first episode of a six-part film series. Introducing the first episode, Lens of Moschino: 2020 vision.

4.1 campaign proposal: vsion and execution

KEY MESSAGES

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We believe in collaborations. We believe in celebrating the talent. We do not capitalise on social issues.

Results to be achieved 1. Peacemaking, the forging of good relationships between artists Moschino features and the brand themselves. 2.Improve brand image: Change public’s perception of Moschino as a brand that is unauthentic to a curator/ door opening conversations to culture/ societal issues. 3. Give back to the community as signs of moving forward. 4. To expand diversity of target audiences

EXECUTION

3C’s

Invite past designers they have gotten on the wrong foot with to make amendments for displaying their work in an inappropriate context. Also to introduce fresh creatives with a unique angle. Featured creatives will then produce a limited edition keepsake (in contexts of their own) to be featured in the film and sold in limited quantities. 20% of the proceeds from the campaign will be donated to launch of The Moschino Foundation in funding recipients and protecting intellectual property in the fashion industry, 30% to the respective featured creatives, 20% to frieze and 30% to Moschino.

MOSCHINO

Moschino’s cheeky ironic take They were once the offenders of copyright but have now switched over to the defending party. Giving back to the community shows their desire to change without broadcasting apology.

Video: youtube/frieze/moschino (news/ ad campaign section) Publications: vogue, i-D, Dazed, lâ&#x20AC;&#x2122;officiel, widewalls, female , frieze mag

communication routes

Action

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The promoting of the Lens of Moschino campaign would be adopting mainly digital strategies, playing to its strength. However, the campaign expands beyond the scope of media, to cover other experiential areas.

AWARENESS

MOSCHINO

4.2 campaign proposal: STrategy

Interest - to utilise social media as main medium (save advert cost/get words out fast) - To announce collaboration through Instagram live/ frieze website - Paper Billboards to be put up in countries frieze is based in. Berlin, NY and London (Piccadilly circus/ Trumen brewery and London bridge)

-Interactive posters to be put up at train stations/underground (Details of campaign activated with sensor in optic trial glasses place beside it for interactive experience) - Posting of fun gifs /re-post worthy content for users on Instagram to make it viral. (igstories/IGTV/post/filter) - Work with celebrities and influencers to bring about commotion.

- Screening of film and panel discussion - Release of videos on all websites and publications

- Introduce participating artists before hand through short interview feature series on ig - Host Press conference over breakfast

DESIRE

MOSCHINO

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roll out schedule / execution

Apr’20 Dec’19

Jan’20

Feb’20

Mar’20

Apr’20

Engagemenmt of artist outsource: ryan carl to design social media edms film: pre-production

production

postproduction

-pitch - finalizing concept - location approval - engagement of creatives - timesheet 3 segments: -reality - Moschino world 1 - world 2 - over span of 2 weeks , 3 locations - shooting of assets (on set and afterfeature interviews / studio visit bts) - designing of billboards

Jul’20

- around london, ny and berlin (countries where frieze is based in)

Preparing flow of content on all didgital channels

- posting of social media assets

Press release

- send out 3 weeks before screening

RELEASE of social media assets

- BUild suspense by posting highlights, edms and behind-the scene footages over course of 3 weeks before premiere

- FOllow up with results of campaign launch. - social media analytics - sending of report to marketing/ sales team

Budget implementation

- Delivering of promo video in all ig formats and youtube format.

- finalising interactive video for train station - FInalise ig filter design - finalise design of campaign poster - creation of keepsakes

MOSCHINO

jun’20

5th of June’20: Premiere of Lens of Moschino at frieze london’s auditorium followed by a panel discussion. make sure videos are up on all channels

- finalising social media content across all platforms

breakfast Press conference

put up print billboards

May’20

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4.3 campaign proposal: budget & timeline

- Held on the 8th of April, wed, 10-11am

BILLBOARD RATES 3 in each country: London (Picadilly Circus/ London Bridge and Trumen Brewery) ENGAGEMENT OF ARTIST 3 collaborators + graphic designer ryan carl PRODUCING OF FILM produced by frieze studios DIGITAL ADVERT 4 underground stations, 1 in each side of london for 3 weeks IG/FACEBOOK engagement for 1month (ads) KEEPSAKES PRODUCTION postcards/posters

Total budget : £ 2 Million /-

MOSCHINO

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4.4 campaign proposal: SPonsor

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MOSCHINO

Founded in 1991, frieze is the leading international magazine on contemporary art and culture. Including essays, reviews and columns by today’s most forward-thinking writers, artists and curators, including amongst others, Michael Bracewell, Brian Dillon, Olivia Laing, Lynne Tillman, Jan Verwoert and Marina Warner. Redesigned in 2017, frieze has a new look comprising of a new suite of typefaces, additional room for images and more commissioned photography. This visual re-think reflects frieze’s ongoing commitment to providing jargonfree and fresh perspectives on both new and established artists, and highlighting new trends. Published 8 times a year, with offices in London, New York and Berlin.

Sharing a common goal of getting the word out there and creating more opportunities in the arts sector. Frieze has agreed to collaborating with Moschino and producing Moschino’s 20/20 promo film. Frieze is also utilising their venue for the screening of Lens of Moschino in exchange for content to be published on their domain and publication.

MOSCHINO

frieze

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Ksenia Mikhailova

Scott believed there was a gap between art and life. For the debut of Lens of Moschino, Scott has gathered 3 creatives with the irreverent factor of Moschino in mind, to show the world the possibilities that lay in-between that gap by using objects, visuals, and personal representations, turning everyday familiar occurrences into something fresh and stimulating.

@ukosina is a Russian set designer/artist from Moscow. Mikhailova’s Instagram is evidence of the obsession she has with collecting products, a hobby turned art form that began after she left her job as a photo editor. She started building structures with her discoveries—starting typically with a piece of fruit or a metal wire—and then posted them on Instagram, gaining a cult group of fans and landing her on the more widely followed feed of Fruit Assembly. Mikhailova’s carefully orchestrated off-kilter compositions magnifies the beauty of everyday objects, such as detergents and sponges, serving a reminder of the art of simplicity.

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4.5 campaign proposal: collaborators

featured creatives

MOSCHINO

For the debut of the Lens of Moschino series, we have 3 artist from different regions of teh world and backgrounds, a set designer, graffiti artist and new media make-up artist.

Jersey Tierney, also known as RIME, is an American artist whose work belongs to the graffiti movement. Originally from New York, and based in Los Angeles, RIME has over 25 years of experience in graffiti and is recognized as an esteemed artist with adventurous style. Influenced by cartoons and his outlandish life experiences he is an idiosyncratic storyteller, allowing improvisation to guide his brush and narratives. Through his application of bold colors and graphic line work, RIME’s multilayered compositions burst with a sense of frenetic energy that mimics the wildstyle work he’s created in the public for decades. Social relationships are the main source of inspiration for RIME’s work. By combining an assortment of unique symbols, text, and characters, he communicates erotic, dysfunctional, and humorous stories taken from his everyday life. This autobiographical process allows RIME to emotionally invest into every piece, making the finished canvas true even if exaggerated.

4.5 campaign proposal: collaborators

Kicki Yang Zhang is representative of the new age of multi-hyphenate creatives using their digital know-how to amplify their artistic prowess. The Chinese born, Berlin-raised artist has garnered the attention of 200k followers, who look to her Instagram (@kickiyangz) for experimental make-up looks (and impeccably put together outfits – all of which adhere to a changing colour gradient that is present across her feed). More than just a lover of beauty, fashion, and art, Kicki uses her social media platform to discuss social issues, such as growing up around racism and as a third-culture kid, showing her followers that they’re not alone in their experiences and can do anything they want in life.

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kicki yang

His frescoes are present in more than 25 cities in the United States and in more than 15 countries around the globe (Australia, Japan, Spain, Canada etc).

MOSCHINO

RIME

Key words Irreverence, everyday objects, sartorial modern cheeky angle SCREEN GRABS OF FILM

4.6 campaign proposal: assets

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MOSCHINO

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film: lens of moschino

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mock ups

MOSCHINO

065 4.6 campaign proposal: assets

4.6 campaign proposal: assets

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INSTAGRAM Ryan Carl is a multidisciplinary designer who has collaborated on projects with Nike, Google, J.Crew, Warby Parker, MoMA and others. He received a Masterâ&#x20AC;&#x2122;s degree in Religion from University of Oxford, before becoming a self-taught designer and opening his own studio in 2005. Ryanâ&#x20AC;&#x2122;s academic background informs his design process of radical simplicity and his ideals of designing with thoughtfulness and purpose.

MOSCHINO

Commisioned edms designed by graphic designer Ryan Carl.

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5.0 MOschino foundation

All proceeds generated by the bi-annual collaborative initiation of Moschino, goes to supporting designers in their process of constructing and presenting their art projects. Every year, a grant of up to $20,000 will be awarded to an emerging designer who shows exemplary talent. Beyond the lifespan of the financial grant, the recipient would be awarded a yearâ&#x20AC;&#x2122;s worth of mentorship under Jeremy Scott, and prospects such as future collaborations with Moschino.

mission The Moschino Foundation recognises the historic and systemic marginalizationÂ of people by ethnicity, social status, geography, sexual orientation and gender-identity. The foundation is committed to promoting inclusivity within the creative industry and to stimulate the rise in creative talent.

who we fund Creatives located anywhere on the globe are welcome to apply. While we do welcome projects from established artists, our emphasise is on motivating and supporting emerging designers to take risks. Collaborations between artists of different disciplinary backgrounds. We want to celebrate the merging of talent and creation of something new.

MOSCHINO

what we fund Grants can be applied towards the process of execution. E.g. The cost of materials necessary to fulfil projectâ&#x20AC;&#x2122;s vision. Grants can also be applied to stages of presentation. E.g. Securing of event venue/ constructing of structures needed for display of work. Average grant range is from $10,000-25,000 for 1 recipient per year, with secondary grants of $5,000-10,000 being awarded to exceptional runnerups based on case basis.

STrategy document

The Moschino foundation is a separate non-profit organisation founded by Jeremy Scott in 2020 to celebrate and nurture emerging design talents of the world. With the Aim of bridging the gap between various fields of the creative industry, including that of fashion, media, architecture, graphic design and the visual arts. The Moschino foundation is initiated to support designers tampering with risk-taking, experimental and controversial representations of art. Namely, engaging in projects addressing ongoing and potential cultural and societal issues of the world.

Eligibility Current priorities New work or ground-breaking re-interpretations of classic repertoire that stimulates merging disciplinary: to reach a larger and more diverse audience/ new categories to the art form. Creation of socially and culturally driven art addressing ongoing/potential issues of the world. Displaying points of relevance and controversy, invoking a need for change. Creation of interactive and community-driven art. Promotion of inclusivity within the community, art that can be experienced by the mass public. *All applicants are to note that the grant does not cover capital campaigns and stages of idealisation/conceptualisation.

Moschino foundation

MOSCHINO

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history

6.0 conclusion

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conclusion

MOSCHINO

Through the implementation of this campaign, we hope to improve on Moschinoâ&#x20AC;&#x2122;s brand image, to make ammendments of past mistakes and move onward into the new decade forging relationships, helping those in need, and for the world to have a better understanding of the irreverant off-kilter world of Moschino.