HEART EYES FOR YOU CAMPAIGN

Simon Porte Jacquemus, founded the luxury designer brand ‘Jacquemus’ in 2009 after moving from Salon-deProvence in the South of France to Paris. He launched his brand while working in retail at Comme des Garçons to support his finances and gain knowledge. (Deslandes, 2020).

Jacquemus describes himself as “happy, excited, impa tient,” (Vogue Runway, 2022) and introduces himself on his social media as “My name is Simon Porte Jacquemus.

I like blue and white, stripes, sun, fruit, life, poetry, Mar seille and the 80s”. This is directly related to his brand image and designs, as his social media is a “mood board of his brand” (Salamone, 2020). He explained in an interview with Vogue “I don’t do clothes; I do stories, creating a brand that explores more than the product but the con nection and narrative it must create a sense of emotion.

He also went to say “We know me for my smile and my sunshine and my [love of the] seaside” which sums up the positive, sunny image that Jacquemus wants to create for his brand (Vogue Runway, 2022).

BRAND POSITIONING

Jacquemus is marketed as a luxury brand with their appearance at Paris Fashion Week, their products sold in stores such as Sel fridges and Dover Street Market as well as luxury online retailers (Deslandes, 2020). However, due to Jacquemus’s product pricing, they sit on the lower end of the luxury market. This allows the products to be more accessible to the Generation Z and Millennials, pushing the target demographic down. Their social media presence also correlates with this, allowing their brand to avoid moving into the older generation and creating “the new luxury” (Salamone, 2020).

Figure 2: Jacquemus Table Display

Figure 4: Simon Jacquemus pink field runway

Figure 3: Jacquemus Brand Positioning

Womens clothing

Limited kidswear

(Jacquemus, 2022)

Product PRICE promotion place

Social Media: Instagram 4.5m followers Facebook 91k likes

Tik Tok 203.5k followers

Jacquemus Book: Images of Simon's life £30

Pop-up stores

Fashion Shows- Paris fashion week

Visual displays within storesselfridges (Jacquemus, 2022)

Pop up stores (Jacquemus, 20222)

Online- own website (Jacquemus, 2022)

Online third party retailers

Instore department stores- Sel fridges (Primary Research, 2022)

personalised

Jacquemus creates an ex perinence for his customers through his pop up stores creating a buzz as Jacque mus do not have their own stores.

partnerships

Jacquemus has never done a collaboration with another fashion brand.

Positioning

Simon Jacquemus has created a personal culture to his brand with a close link to his personal life shown through his Insta gram.

Purpose

Jacquemus has a strong brand image of positvity, happiness and brightness reflected in the colour schemes, collections and marketing imagery.

Jacquemus marketing and “ingenious social media strategy” has influenced the brands success. The brands Instagram is run by Simon himself, where he expresses his charm and im agination through his personal life, sharing pictures of him self with his boyfriend and his dog, as well as products from his brand and collections. Leach explains “Simon treats his customers as if they were his friends, inviting them home with him each day to experience the world through his eyes. He himself dances between designer and influencer, using his own allure to market his brand and encourages his fans to think about his products creatively”. The Jacquemus Instagram account has 4.5 million followers (Leach, 2020).

Jacquemus uses Pop-Up stores to market their new release products. They recently created a Pop-Up store in Selfridges, London which was made to look like a swimming pool changing rooms. This created hype on social media platforms like TikTok, which Jacquemus do not have a presence on (Chi trakorn, 2022).

See Appendix I.

The New 4ps

In the Business of Fashion article, they state that the 4p’s are not enough for businesses to market their brand and products.

“Brands can no longer rely on targeted social media advertis ing buys alone to drive sales”. Instead, brands should focus on pushing their brand in a more innovative way. Business of Fashion have created a new 4p’s which correlates with the industry today as well and consumers behavioural patterns to support the marketing (Mondalek, 2021).

7 CURRENT MARKETING The 4ps Figure 6: Jacquemus iconic top

STRENGTHS

SWOT

Analysis

Has strong brand values which sets them apart from their competitors.

Housed in many department retailers such as Selfridges and Farfetch, can be seen while browsing. Strong social media presence (Jacquemus, 2022).

WEAKNESSES

Does not have a permanent brick and mortar store for customers to see physical products.

Not as established as their competitors, if you don’t follow fashion, you may not know the brand.

Only known by a lot of people because of the mini bag trend (Dawes, 2022).

Target CONSUMER

The target audience for Jacquemus can be split into two. Simon Jacquemus discussed in a Dazed article (2014) that “the Jacquemus girl is a bit of a cliché.

“She’s your typical French girl: her name is Dorothée or Isabelle, she goes horse riding on Wednesdays and she’s actually a bit boring.” This target consumer correlates with the brand image and the past campaign photography.

Demographic Geographic

Income: Mid to high amounts of disposable income

Age: Gen Z and Millenials

Social economic grading system: C1, B

Early stage of their Career (Acorn, 2022)

Country: Europe

Smaller Urban areas, towns outside the city either renting or living with their parents (Acorn, 2022).

Warm climate

Population Density- Middle ground

Bright and bubbly

No permanent brick and mortar stores allow exciting and exclusive pop up stores.

Yet to collaborate with another fashion brand.

Room to expand into home or beauty (Chitrakorn, 2022).

Opportunities Threats

Emerged into the crowded luxury market. Their mini bag made the brand mainstream which was just a trend.

They are seen to not follow mainstream trends which may impact them negatively as the de mand for the mini bag wears off (Dawes, 2022).

The Chiquito mini bag pushed the brand into the mainstream through the fashion trend of the bag. This has led to in fluencers and celebrities such as the Kardashians wearing the bag, which switches the target consumer to more everyday urban fashion followers (Ward, 2018).

See Appendix A.

Behavioural

High brand loyalty

Shop’s each collection and owns the bags in different colours and sizes

Shops a mixture of luxury and high street retailers (Acorn, 2022)

Psychographic

Active presence on social media

Social media posts based on their organic lifestyle and family life Follows fashion trends and designers

“Living active urban social lifestyles in cities and towns” (Acorn, 2022)

Diffusion of innovation: early adopters (Rogers, 2003)

COMME des GARÇONS PLAY was launched in 2002 by Rei Kawakubo as a sub brand of COMME des GARÇONS as a line that is wearable for all (Bradley, 2012), compared to COMME des GARÇONS which is known to be “disruptive, thought-provoking fashion with an avant-garde sensibility at its core” (Farfetch, 2022). “The PLAY line makes its wearer instantly part of the cult COMME des GARÇONS club”. The PLAY line is described as “a sign, a symbol, a feeling” linking to the iconic heart logo that was designed by Filip Pagowski. PLAY doesn’t follow trends or seasons as they sell their icon

ic logo on t-shirts, knits, acces sories as well as perfume. They follow a simple colour palette usually changing the colours of the heart as part of the differ ent designs as well as the size and placement.

COMME des GARÇONS PLAY’s revenue is reported at $300 million showing a huge success for the overall brand. The heart branded have seen a colossal amount of celebrity exposure in Justin Timberlake, Pharrell Williams, Kanye West, and Rihan na which has expanded their audience. (Highsnobiety, 2022).

BRAND POSITIONING

COMME des GARÇONS PLAY can be positioned in the luxury street market like its parent brand, COMME des GARÇONS. Even though PLAY’s price point is lower than COMME des GARÇONS the sub brand fits the luxury market that is sold in luxury department stores such as Selfridges and Flannels in the UK as well as online retailers (Richardson, 2018).

Although PLAY is in the luxury market, their designs are assessable to a wider demographic compared to their parent brand due to the simple design using the iconic heart logo printed on basic garments (Hypebeast, 2022). The products fit into the street wear market supported by their successful and long running collaboration with Converse, which was first introduced in 2009 (Fraser, 2015).

Figure

des

stripy shoot

Figure 9: COMME des GARÇON PLAY Brand Positioning

PRICE

T-shirts £65- £115

Hoodies £170- £200

Knitted Jumpers £200- £250

Shirts £165- £200

Perfume £75 (Selfridges, 2022)

promotion

Pop-up stores (Hypebeast, 2021)

Collaborations- most fa mously with Converse (Li, 2022)

Visual displays within stores- Selfridges (Primary Research, 2022)

CURRENT

T-shirts

Hoodies

Knitted Jumpers Shirts

Perfume

Converse Colaboration

Avaliable in: Womens Mens Childrens (Selfridges, 2022)

Product place

Pop up stores (Hypebeast, 2021)

Online- own website (Jacquemus, 2022)

Online third party retailers- Far fetch, End. clothing.

Instore department stores- Sel fridges, Flannels (Primary Re search, 2022)

The New 4ps

Referring to the Business of Fashion 4p’s COMME des GARÇONS PLAY can be translated into this model showing the brand’s efforts towards innovation to push their promotions to the new era of Gen Z and Millennials. Even though COMME des GARÇONS PLAY use their store visuals to create a brand personality, their advertisement lacks this due to a shortage of campaigns and channels used. Their success within col laborations has expanded their consumers and reach but relies on the iconicity of the heart to sell their products. The purpose of the brand is to support COMME des GARÇONS as a brand creating easy to wear products. This creates a new market from their main brand (Mondalek, 2021).

COMME des GARÇONS PLAY’s target consumer can be described as some one that follows streetwear fashion in the luxury market but may not have the disposable income to shop luxury brands for all their clothes. Therefore, they will only purchase timeless luxury streetwear pieces, products with the brand logo on such as COMME des GARÇONS PLAY. This ideology and lifestyle make the consumer a less loyal customer. COMME des GARÇON PLAY is wear able streetwear meaning that con sumers who don’t follow designers and trends can still wear these garments (Banham, 2022).

Studies conducted by Personality and Social Psychology Bulletin, have shown that a male who heavily wears logo garments such as PLAY clothing are less likely to form long standing relationships. This links with the idea of the ‘typical boy’ who lives a student lifestyle with no commitments (Elan, 2021). See Appendix B.

Income: Mid to high amounts of disposible income

Age: Gen Z and Millenials

Social Economic Grading System: C1, B

Early Stage of their Career (Acorn, 2022)

Demographic Geographic

Country: Eurpose, America and Asia

Large cities, captial cities, living either in the city of surrounding areas Mild Climate

Population Density: High to Mid (Accorn, 2022)

Low to Medium brand loyalty

Will buy the products as basics for their wardrobe but will shop other brands too Shops a mixture of luxury and high street retailers (Acorn, 2022).

Behavioural Psychographic

Active on social media but doesn’t particauly post often but will enagage in others posts.

May not follow fashion brands, just shops brands that are popular.

City Sophisticates- affulent young person (Acorn, 2022)

12 13 Figure 10: COMME des GARÇONS PLAY Pop-Up Store

Accessible street wear cloth ing for anyone to wear.

Logo that can be recognised by different consumers globally.

Doesn’t follow trends so less risk of the garments decreas ing in sales suddenly (Hypebeast, 2015).

Limited clothing designs and types such as basic t-shirts (Hypebeast, 2015).

Limited social media presence and website interaction may lead to people forgetting about the brand or not seeing new designs released (COMME des GARÇONS, 2022).

Logo may be seen as child-like which may limit the age range of the consumer.

Simple designs so can easily collaborate with other brands to expand their audience reach into new markets (Hypebeast, 2015).

Sold in high footfall stores such as Selfridges allowing viewing of the products while shopping other brands (Primary Research, 2022).

Accessible to different markets due to basic style of garments (Hyperbeast, 2015).

Other luxury brands also sell ba sic garments with logo on which may have a higher brand loyalty due to range of clothing avail able.

Other luxury brands are known for their quality within their ba sics which may affect the sales of PLAY.

Limited promotional campaigns may lead to consumers purchas ing from other brands for basics rather than PLAY (COMME des GARÇONS, 2022).

Current Marketing

COMME des GARÇONS PLAY are famously known for their long living collaboration with Converse. It was first introduced in 2009 and is still as popular today within both the middle market and luxury market. The collaboration continues to release new collections with their newest being COMME des GARÇONS PLAY x Converse Chuck 70 with red soles released March 2022 (Li, 2022).

COMME des GARÇONS PLAY lack in their marketing which may be due to iconicity of their logo that they feel that it is unnecessary but when it comes to their collaborations, they rely on the other brand to market on their platform such as Converse (Vuog, 2022).

COMME des GARÇONS International’s President and Rei Kawaku bo’s husband Adrian Joffe said “there’s no point to collaborate with another designer or artist unless there’s something that can be found in between. So many collaborations these days are meaningless, therefore we try to find collaborators who can have an added value for both parties (Hypebeast, 2011).

Figure

COMME des GARÇONS PLAY Family Guys Collection

Collaboration

heart eyes for you

Jacquemus and COMME des GARÇONS PLAY will collaborate with a limit ed-edition collection of bags. The style of bags will be from Jacquemus’s best seller, The Chiquito Mini Bag.

For COMME des GARÇONS this collaboration would be a natural move as they are known for their collaborations with other brands. The collabora tion will expand both brands’ audiences through hype and brand loyalty. Jacquemus has never collaborated with another fashion brand in the past therefore this is a new avenue for the brand to explore and a good opportunity to explore a wider fashion market. With other brands in the luxury market releasing collections within collaborations, it has almost become a trend and therefore it would be the ideal time for Jacquemus and COMME des GARÇONS to release a new collaboration.

Jacquemus will be the host of the campaign with COMME des GARÇONS being the guest. The Jacquemus bag is the product being sold and the heart logo is an addition to the design of the bag, justifying the host and guest titles. See Appendix F.

Competition

Due to Jacquemus and COMME des GARÇONS sitting in the luxury market the ‘Heart Eyes for You’ will also be within the luxury market allowing the collaboration to reach both brands primary and secondary audiences. The collaboration will have competition in some iconic and much-loved collaborations in the luxury mar ket. This could create opportunity for the collaboration to join the success. The collaboration concept has almost become a trend for fashion brands and therefore may have resulted in recent success for such brands (Howell, 2021).

Brand Positioning

USP

The brands have a close connection. Simon Jacquemus began working at the COMME des GARÇONS store in 2011 to finance his business, after gaining the support of Rei Kawakubo and Adrian Joffe. As well as Jacquemus and COMME des GARÇONS having a strong link through their aesthetic and iconicity though the heart logo and Jacquemus mini bag trend, the link through their owners allows both creatives to work collaboratively and closely to create a popular and innovative design.

The collaboration will be limited stock for a limited time only, therefore the promotion and pop-up store will create for custom ers to purchase quickly.

Figure 13: Collaboration Brand Positioning

target audience

Target market segmentation

Demographic Female or Non-Binary Generation Z Age 18-25

Early Career (Acorn, 2022)

Socail Economic Grading System: C1, B

Psychographic

Values individualism and avoids labels.

The target audience are more interested in the narrative and ideologies of the brand allowing them to connect and feel a sense of belonging.

“Seven out of ten Gen Zers say it is im portant to defend causes related to identity” (Francis and Hoefel, 2018).

Behavioural

Mainly shops online but does visit stores and pop-up on a regular basis especially for luxury items.

Shops both luxury and high street cloth ing weekly.

Would prefer to buy items which are good for the environment therefore shops lux ury to allow them to be a higher quality, and shops at high street retailers who are conscious of their impact on the environment such as H&M (Tynan and Drayton, 2022). See Appendix C.

Geographic City Slicker Europe or US Based

Figure 14: Jacquemus Girls

Figure 15: Target Audience Moodboard

Key Words:

Self Reliant

Pragmatic

Accepting

Tolerant

Liberal Minded Ambitious

Entrepreneural

High Expectations

Channel usage

Fashion blogger from the city

Gender: Female

Age: 20

Location: Manchester

Occupation: Marketing Assistant

Bio:

A self-driven female from Manchester who spends her spare time styling clothing to create Instagram content. She aims high and aims to become Marketing Lead at her workplace. She is consistent with her social media presence to gain followers and likes. She follows fashion religiously but tries to buy her clothes from brands who have a positive ideology towards the environment and ethics.

Motivations:

Success is very important to her, whether that comes from monetary value, personal achievements, or work accomplishments she is always striving to do her best and more.

Her styling and fashion are extremely crucial to her personality and strives off her outfits, making her feel confident and empowered. She is passionate about female empowerment and equality for all. She is open minded and believes everyone should be given an equal opportunity in life.

Goals:

TwitterYOutube

Her goals are mainly personal and revolve around making herself the best version she could be. This involves eating well, working out to keep fit, pushing herself in her job to be promoted, working on her social media to gain more followers.

Digital Habits and Media Consumption:

Her digital habits are typical for a Generation Z female from the city, posting on her social media daily and an active user on most social media platform. She uses Instagram and TikTok to post fashion inspiration and styling as well as Twitter to voice her opinion.

Customer profile

Figure 16: Target Consumer Infographic

Attitudinal segmentation

‘Conventional segmentation is losing relevance due to the personalities and values shared by Millennials and Gen Z’ (Gosselin, 2022). Attitudinal segmen tation allows a better understanding of the consumer and therefore allows brands to better market their product (Attitudinal Segmentation, 2022).

In terms of Attitudinal Segmentation, the ‘Heart Eyes for You’ campaign will have some common interests which will influence the style of marketing for the campaign:

- Social Media

- Fashion Styling

- Celebrity/ Influencer Culture

- Luxury fashion

Post demographic consumerism

Demographics a much more complex idea. “Society is becoming more liber al, and conventions, such as family structure and gender roles are changing” (Denver Public Relations Firm, 2022). Therefore, when exploring the target audience for the ‘Heart Eyes for You’ campaign modern ideas and representations have to be considered, for example pronouns, eradicating gender stereotypes and encouraging inclusiveness.

Figure 17: Jacquemus Paris Pink Shoot

product mockup

The bags for the campaign will be available in two different designs in three different colours: blue, pink, and white. The logo of PLAY with be implemented in the design of the bags using the heart within the logo and pattern. By keep ing the Jacquemus aesthetic but still using an element of PLAY it allows target consumers from both brands to engage in the collaboration.

The message

The message behind the collaboration campaign is to spread love to each other but also within self-love. The campaign uses the PLAY logo as the symbol of love with it being printed on the campaign images, bags, and pop-up. With the world coming out of a pandemic and Ukraine showing their resilience in a time of terror, spreading love is essential therefore creating a campaign is fitting to the current climate.

StrapLine

The strapline for the collaboration campaign is ‘Heart Eyes for You’. This pushes the ideology of the campaign encouraging people to spread love and believe in self-love.

logo development

Sending from Jacquemus

from Jacquemus

from Jacquemus

with Jacquemus

with Jacquemus

with Jacquemus

Figure 18: Product Mockup

Promotional Channels

objective

The promotional channels are chosen to market the collaboration match the ideologies of both the brands. However, COMME des GARÇONS PLAY do not have an online presence therefore in their previous campaigns have relied on their partnership brand to promote the collaboration and share the campaign images. So, Jacque mus’ channels will be used. See Appendix D.

The campaign will show innovative designs using illustration on the images which is very different to what either brand has done before, however links with the PLAY logo. The aim is to create a campaign that catches customers eyes due to the obscurity of the image with the illustrations.

Influencers

Influencers will be invited to the pop-up store for a PR evening before the pop-up opens to the public. They will be invited to walk around the store and create Instagram content to share, and for Jacquemus to re-post on their story. The influencers will match the aesthetic of the collaboration with their fashion style being streetwear.

Jacquemus Website

The collaboration campaign will be shown on the front page of the Jacquemus website. COMME des GARÇONS do not show their recent campaigns and collections on a website therefore this will be true to the collaboration.

The front image will show some of the campaign images. The theme of the website cover which replicate the styling of the campaign and Jacquemus’ usual layout.

Instagram

Instagram will be the primary channel for the collaboration campaign as this links directly to the use of Jacquemus’ usual promotional techniques (Jacquemus, 2022). Instagram is also used highly by Generation Z who are the target audience for this campaign. This allows engagement for the collaboration and wider reach to new customers for the brands (Statista, 2020).

feed posts

Jacquemus tends to post the same image multiple times therefore I will use similar images from the same shoot to be posted on the feed along with other stylings. There will be a selection of models and different outfit changes. The posts will be from the photoshoot with the illustrations added to the photographs.

Stories

The stories will be candid photography of the pop-up and re-shares of influencers, celebrities and customers visiting and posting on their stories. At the pop-up customers will be encouraged to share images on their stories to help exposure of the collaboration and new customers to visit.

Reels

The reels with be simple short videos of the models walking with their bags as well as shots of the different bags available on the collaboration.

Figure 20: Jacquemus website

Figure 21: Jacquemus Instagram Reels

pop-up Store

.

The pop-up will be based in Paris next to the Eiffel Tower, with ‘the city of love’ mantle linking directly to the campaign ideology. With Jacquemus being a French brand, the iconic location intertwines and additionally links to streetwear and city life market that COMME des GARÇONS PLAY aim their products at. See Appendix E.

The Pop-up store’s sole purpose will be to sell their limited-edition collaboration bags, however a pop-up is meshed with the concept of an experience, therefore this will be an aspect that will be crucial to this Pop-up. Customers will walk around the Pop-up exploring the different styles bags in different rooms. There will be opportunities to scan QR codes to interact with the Pop-up collaboration, and mirrors to take pictures and post on their social media as a type of shared media. See Appendix H.

PARIS POP-UP

Figure 22: Eiffel Tower, Paris

Figure 23: Pop-Up Store Moodboard

pop-up Store Mock-up

Exterior Mock-up

Interior Mock-up

Figure 25: Interior Pop-Up Mock-up

Figure 24: Exterior Pop-Up Mock-up

art direction and styling

model

The model that was selected for the shoot is Cat Perez who is a uni versity fashion student currently living in Paris as a part time model. Cat’s experience in modelling is minimal leading to an authentic Paris girl vibe which is what the shoot for the collaboration should represent.

styling

The clothing will be within streetwear style, however this will be toned down to represent Jacquemus’s style of playful, carefree and minimal chic. The bags will be available in three colours: blue, pink, and white with the details in black therefore the clothing will match the bag colours.

Location

The location will be based in the city which changed the iconic bag’s location to link with PLAY, as it known for the rural setting. The style of the images will represent influencer Instagram photographs with lower production to allow for an authentic feel linking the brand Jac quemus.

30 31 Critical

Inspiration

Anya Hindmarch Chubby Heart Campaign

Anya Hindmarch’s Chubby Heart campaign follow the theme of love as she aimed “to spread love around the city”. The campaign itself of the heart balloons around London doesn’t advertise the products she sells or her as a brand partially. For the ‘Heart Eyes for You collaboration the narrative and ideology will be important in spreading love to everyone.

Jacquemus’s Personal Life

Jacquemus uses his Instagram as a personal scrapbook, he posts images of himself and his husband clearly very much in love. Therefore, with the collaboration follow ing the theme and narrative of love linking to the connotations of the PLAY logo, the theme directly links with Simon Jacquemus’s aesthetic and ideologies.

Hattie Stewart

As the photoshoot is heavily based on Jacquemus’s brand aesthetic it is important to incorporate a stronger element of PLAY. The style of illustration will be used to draw the bag as well as other elements will be illustrated too to create a hybrid image of photography and illustration. See Appendix K.

Sebastian Curi:

The style the Curi uses that involves using illustration over photography to create an almost stick feel has inspired the collaboration shoot for ‘Heart Eyes for You”. It cre ates a playful feel which links to Jacquemus’s ideologies but also the styling of the PLAY logo. See Appendix L.

Figure 27: Photoshoot inspiration Moodboard

Figure 28: Simon Jacquemus and Marco Maestri

Photoshoot development

After the shoot, the images were uploaded onto Adobe Bridge to view through a larger screen. From there several images from each look were chosen to represent the look for the campaign and edited through Adobe Photoshop. These images were lightly edited to keep the sense of realism from the iPhone quality. Af ter the drawing for each of the six bags for the collection sticker style illustrations were drawn to represent love and self-love.

Figure 29: Initial Heart Eyes for

Photoshoot

Figure 30: Edited photoshoot

media promotion

Instagram- reels

Short videos have become a key promotion al tool for many brands with the use of Tik Tok and Instagram Reels. Neither COMME des GARÇONS PLAY or Jacquemus have a TikTok, however Jacquemus does use the Reel fea ture to create TikTok style videos therefore to increase engagement in the collaboration, campaign, and pop-up some short videos will be posted on Jacquemus’s Instagram reels.

Instagram- stories

Website

The main hub of the collaboration and cam paign will be based on Jacquemus’ website where the front page will display four images from the campaign shoot in the website front style that Jacquemus usually follows. There then will be direct link to purchase the bags showing all the bags available.

Mobile website mock-up:

Figure

Physical product pop-up invite Lookbook

A day before the pop-up launch a press event will take place, invite only. To invite influencers to the pop-up for the press event a look book will be sent to them with the invite information on the cover. The images from the campaign are used within the look book to showcase all the images, collaboration, and products. See Appendix J & M.

Jacquemus Target Comsumer

Jacquemus’s target consumer can be described as the ‘Socialising Young Renter’ by Acorn (2022). Acorn describes this catogory of person as young singles who are in their early stages of their ca reers. “They are living in an urban social lifetyle in cities or towns.”

“Twice as likely as average to own tablet PCs and smartphones, most will also own a laptop. They are more likely to have down loaded free and paid for apps to their phone, which they might use to access financial information, lifestyle, entertainment, maps and travel content.”

“They are more likely than average to use their phone to locate shops and restaurants, access content with a QR scanner, use GPS, download music, and watch video. Some will regularly vote in ce lebrity TV competitions using their phone. Their sociability extends to the internet. They will share content, read blogs, and visit online dating sites.”

“It is extremely unlikely any of these young people will not have gone online in the past week. They will manage their finances online, plan their travel online, access current affairs and read newspapers and magazines online, and order pizza online.”

“Social networking sites are used to establish business contacts more than to follow celebrities and while some might become a fan of a brand most tend to use social media less than average. Instead, these people will be out with their friends, having a meal, going to the cinema or a club, generally living a young social life style” (Acorn, 2022).

Similar Web (2022) shows Jac quemus’s top countries for traffic. This demonstrates the mass purchase from a desktop being from the United States and Eu rope, in particular France and the United Kingdom. Even though Jacquemus is a French brand and their traffic is still high it shows that once the brand has com mercialised though the trending mini bag the brand and products reach more influenced countries such as the United States and United Kingdom.

With Jacquemus being the prima ry brand within the collaboration it is important that their target audience is reached significantly with the style of promotion and marketing to be aimed at them.

Similar Web (2022) also shows the engagement that Jacquemus gains. This is important to eval uate when developing a budget for the collaboration or future campaigns as the engagement can provide insight in where marketing needs to improve and what is proving successful. The success can be replicated into the collaboration.

Figure 34: Socialising Young Renter

Figure 35: Jacquemus top countries

Figure 36: Jacquemus Engagement

Comme des garcon play

Target Comsumer

COMME des GARÇONS PLAY’s target market can be described as City Sophisticates by Acorn (2022). According to Acorn (2022) these affluent younger people generally own flats in major towns and cities”. The City Sophisticate are known to be single or in a relationship without children, many of these people are graduates and white collar occupations which are known as “proffessional jobs”. Even though their careers are known as proffessional they are not all highly paid with their incomes above national average and pay higher rates of tax.

City Sophisticates double the national average of ownership of iPhones, iPads and other smartphone and tablet devices.The in ternet usage is quite frequently used in order to keep up with current affairs, shop, download music or films and watch TV channels/ stream (Acorn, 2022).

Collaboration Target Consumer

McKinsey & Company conducted a study which showed the four core Gen Z behaviours. “Gener ation Z individuals value individual expression and avoid labels. They mobilize themselves for a variety of causes. They believe profoundly in the efficacy of dialogue to solve conflicts and improve the world. Finally, they make decisions and relate to institutions in a highly analytical and pragmatic way. Its members are more idealistic, more confrontational, and less willing to accept diverse points of view” (McKinsey&Company, 2018).

For companies to be successful in their sales and engagement McKinsey & Company believe that they “should be attuned to three implications for this generation: consumption as access rather than possession, consumption as an expression of individual identity, and consumption as a matter of ethical concern” (McKinsey&Company, 2018).

“Young people have always embodied the zeitgeist of their societies, profoundly influencing trends and behaviour alike. Technology has given young people an unprecedented degree of connectivity among themselves and with the rest of the population. That makes generational shifts more important and speeds up technological trends as well. For companies, this shift will bring both challenges and equally attractive opportunities” (McKinsey&Company, 2018).

Promotional Channels

When analysing the channels to use for the promotion of a new collaboration it is important to look at the data to support the leading social networks. Statista (2020) have conducted research that provides the evidence that Instagram provides 83% of share respondents showing this is still a very strong marketing tool after the increase in popularity of TikTok among Gen Z and Millennials. Their research was conducted as well as in 2020 but in 2022 to compare the top social media. This shows that the social me dia popularity doesn’t change a lot and is consistent so using Instagram to promote the campaign is a safe option for the brands and will allow continuous engagement (Statista, 2022).

Collaborative Retail Multi-brand Partnership Strategies 2022

“In a post-pandemic world that relies increasingly on a saturated e-commerce market, brands are putting a new spin on collaboration to drive traffic and make the most of complementary assets. We dive into the brand partnership modes of the future through the lens of multi-brand retail and synergistic strategies”.

Collaboration and partnerships within brands are a powerful source for physical retail. “By leveraging different players’ various areas of expertise, brands can bolster one another during difficult times, shar ing costs and customers. Joining forces with brands across categories, particularly those that are experience-driven, can also help companies elevate their physical presence among shoppers by offering something they can’t access online”. The use of a large physical store has no longer a postive effect on customer engagemn t and purchasing as people don’t want to have tro look for products they wan it given to them like they can do online.

“In an effort to reinvigorate consumer interest in visiting physical stores, brands should join forces to create new bricks-and-mortar spaces that combine the best each retailer has to offer. Strategic un ions between retailers that have different strengths can reinvigorate interest in the shopping experience. To boot, partnerships offer a val ue add for both players. Larger, less agile players can get buzz and exposure to a younger consumer base from working with a smaller counterpart, while their collaborator gets access to additional capital, retail penetration, merchandising talent and distribution capability. Brand collabs are the norm, but partnerships between retailers are a newer method of building bridges and working collectively. Blending retail spaces is also a way to share resources and cut down on spending” (WGSN, 2022).

Leading social networks among Gen Z and Millennials to connect to others in the United States in 2020 (Statisa, 2020).

Most popular social networks worldwide as of January 2022, ranked by number of monthly active users(in millions)

Figure 38: Gucci x Balenciaga

Appendix e

Collaboration visual boards

To represent my visual my collaboration ideas I created three visual boards that showcase three aspects of the collaboration for Jacquemus and Comme des garcons. I received peer and tutor feedback on these to help me to develop the collaboration further.

Introduction to the brand, collaboration:

I created a visual board that gave a summary of my brand collabora tion with my proposed logo development, brand name and strapline included. My initial idea for the collaboration is to include a pop-up store or event as a promotional technique. This also supports previous campaigns that both Jacquemus and Comme des garcons have created. The visual board also includes images of Jacquemus accessories such as the iconic mini bag, which would be in-corporated within the collab oration with the addition of the PLAY logo.

USP:

The second visual board represents the USP of the Jacquemus and Comme des Garcon col-laboration. The first aspect of the USP shown on the visual board is linked with the history of the brands, where Simon Jacquemus previously worked for Comme des Garcon and from this job he earnt the money to be able to set up his brand Jacquemus. This USP has a deeper link with the designers and history of the brand. In terms of the product’s USP the collaboration will be only available for a limited time as well as the pop up that will support the collection. Large well-known celebrities will be used as influencers of the brand. The packaging will al-so be a large part of the purchase in terms of aesthetic.

Peer Feedback:

StrengthsStrong logo design and brand aesthetic. The campaign inspiration has strong links with the brands. The colour scheme is good choice to link both the brands. The visual board has exciting visuals and strong strapline.

DevelopmentDevelop a clear product concept for the final outcome. Show the product development for the collaboration. Visually show the USP so it is clear.

Channel initial ideas: The third visual board explores the channels that will be used for the collaboration. The campaign should connect with digital marketing to stay relevant therefore Instagram will be the main platform for the campaign, this will be supported by TikTok and their website as the main hub of information. The pop-up is another way in which the collaboration will inter-act with the consumer. The pop-up will create an experience and follow the aesthetic of the collaboration such as the primary images of Jacquemus in Selfridges.

Tutor Feedback:

StrengthsProfessional board, excellent branding development, strong use of colour and brand identity. All the boards work well together.

DevelopmentFurther annotation required to clarify ideas for final campaign and the chan nels intended to use. Refine channel ideas- digital element.

Self-Reflection:

StrengthsStrong theme, design, and concept boards

DevelopmentDevelop the USP further, clearly show the channels intended to use for the collaboration and add comments to the boards.

Collaboration Visual Board

Collaboration Inspiration

Business of Fashion (2022) describes “Anya Hindmarch as a British accessories designer whose cre ations have become easily recognisable thanks to her vibrant, playful designs”. A campaign that she created as a “love letter to london” involved placement of colosal heart shaped red balloons located in landmarks across the city. This campaign was conducted over valentines day which obviously aligns perectly to the concept. The campaign was first launched in 2018 and was repeated in 2019 during London Fashion Week. Hinchman was asked why the campaign was run again with that she responded, “We have been overwhelmed with people asking us to run the campaign again from all over the world. This time, it marks the beginning of an international chubby hearts project to spread the love from London to other cities later in the year.”

The Mayor of London, Sadiq Khan shared his views on the campaign. “I’m delighted to see the chubby hearts return to the capital. It sends a clear signal around the world that London is open to creativity and talent, and always will be” (Newbold, 2019).

The way in which the campaign has a narrative and aim that is not just to raise awareness of the brand or to sell products but to spread love and positivity is something which could be implemented into the ‘Heart Eyes for You’ campaign. Launching the campaign around Valentine’s Day is also clever as it links the sea-son with the narrative campaign.

pop-up Store

Pop-up stores have been proven to be a beneficial way in which brands can engage with their customers, boost brand awareness, and receive feedback. Although a pop-up could be a key promotional tool for a brand and their campaign, they are a complex and time-consuming task to prepare and execute, a venue needs to be chosen or built, promotion is needed as well as evaluating and measurement of success. Pop-up shops create a sense of scarcity as they are temporary stores which create an automatic buzz and urgency for customers to visit the popup. (Decker, 2021). “Short-time pop-up stores usually work for creating amazing customer experiences, as these should be an impactful per spective of the brand identity” (Kundicevic, 2022).

The timing is important when considering a pop-up store opening as you need to maximise the number of customers that will enter the popup or the footfall in the area. Factors that need to be considered are school holidays, bank holidays, seasons and the fashion week calendar (Kundicevic, 2022).

Even though ecommerce and online marketing has been seen to be the most engaged tool for fashion brands at present and predicted to continue, shop presence and a physical experience is still important to some customers and can create an innovative way in which to promote. A pop-up allows retailers that only trade only to engage with their con sumers on a more personal level, it also allows the customer to connect with the brands narrative and aesthetic at a deeper level. Additionally pop-up stores allow customer to see products in the flesh and give feedback on merchandising.

Pop-up stores also allow brands to experiment with physical trading if they are considering opening a brick-and-mortar store. This could apply trialling to a new product line, a new target audience, new pricing, product bundles and merchandising ideas, allowing a brand to analyse

the success of a potential permanent store.

“According to CRBE, in 2021 the commercial rent has dropped by as much as 37.5% in parts of popular retail areas like New York City.” Therefore, the ability and cost to create a pop-up tied in with a campaign may be a good option for a brand or brand collaboration such as Jacquemus and COMME des GARCON PLAY to market (Decker, 2021).

Figure 42: Anya Hindmarch Chubby Heart in London

Figure 43: Anya Hindmarch Chubby Heart campaign promotion

Pop-up stores are becoming an important asset within the growth of a brand. According to PopUp rental comapny, Appear Here, Pop-Up’s have increased in demand by 300% from 2018 with 300 Pop-Ups a month opening across London. “PopUps are a great way to experiment with playful store design, to drive hype, and to respond to cultural shifts or trends that connect authenti cally.” Pop-Ups are used as retail playgrounds by brands to “offer experimental, immersive and discovery-led experiences which create emotion al connections with shoppers.”

Colour Play

Instagramable spaces for brand Pop-Ups have become popular as they are memroble and are a perfect places for content creation when cus tomers visit. “The ephemeral nature of a pop-up means that the bolder and more attention-grab bing the colour is, the more people will be inclined to snap and share it, driving hype around its opening. As well as translating well into onscreen visuals, unique colour applications can also influence a customer’s mood and feelings – particularly positivity-inducing or soothing shades.”

Socially-driven causes

“In an age of diversifying populations and heightened sensitivity, inclusive retail strategies are more important than ever. Brands and retailers should consider using temporary space to demonstrate messages of radical inclusivity, go ing the extra mile to resonate with underrepre sented communities. Brands who are considering socially-driven pop-up stores must be mindful not to be seen to be jumping on the bandwagon, amid ongoing backlash against corporate woke-washing. Failing to carry out these initia tives in an authentic way will make them look like tokenism, so be sure to use pop-up spaces as hubs that demonstrate real commitment to causes, by hosting mission-based events or educational workshops that build community and create loyal brand advocates.”

Collecting data

Unique Format

“New and novel pop-up formats are a great way to offer an immersive experience that drives traf fic and creates hype. For brands looking to reach younger shoppers and retain shoppers’ interest, consider fun, temporary formats which speak to current trends, or are based around popular events.”

“Pop-up stores offer retailers the chance to collect data in ways that they couldn’t online – through real-life, face-to-face interactions. While apps and websites are highly valuable for gathering customer data, pop-up scenarios help retailers to understand their customers better, as they often draw out deeper insights based on customer interactions within quirky, playful en vironments.”

Merging online and offline

“Merging the physical and digital shopping experiences is a key strategy for brands looking to engage shoppers who like to shop across plat forms, especially Gen Z, who like to do their re search online, and then shop in-store” (wgsn, 2022).

“Jacquemus have used hyperphysical retail to energise the brand’s presence in the UK market, which, Simon Porte Jacquemus tells Vogue Business, is very important for the brand. [It’s why] we created several experiences at Selfridges. We wanted to create strong visuals and surprising settings for our customers. I love to play with concepts, especially those that relate to buying and retail experience. With the opening of Jacquemus 24/24 in Paris, Milan and now London, I hope to disrupt and create a unique Jacquemus experience.”

Other luxury brands such as Balenciaga have introduced a hyperphysical store. The brand opened pop-ups in London and Bangkok for the Le Cagole it-handbag (worn by Kim Kar dashian in the brand’s most recent campaign). The store was displayed with a shaggy pink faux fur that covering the floor, walls, chairs, and shelves.

Hyperphysical Stores

Many luxury brands are introducing the Hyperphysical store into their brand strategy. “The macro trend was identified by The Future Laboratory, a trends and strategy company, to describe retail spaces that are enriching and emotional. They create a sensorial and holistically memorable store experience that goes beyond the original idea of retail, says Abi Buller, foresight analyst at The Future Laboratory”.

“Hyperphysical retail at its simplest is multisensory. It leans into the five senses of sight, sound, touch and potentially even smell and taste. That essentially captures what it means to be human,” says Jacqueline Windsor, UK retail leader at PwC and a partner in the Strategy& Deals team. “These pop-ups are a manifestation of that and are in response to the other side of the coin, which is digital and the rise of the metaverse, a parallel universe where consumers can increasingly socialise, work, shop and play.”

“Some 56 per cent of global Gen Z shoppers head to physical stores for a fun experience, according to a 2018 survey by IBM and the National Retail Federation, which interviewed 15,600 global consumers between the ages of 13 and 21.” “Retailers are facing significant challenges as consumer confidence fell to its lowest levels since 2008.” Therefore, it is important for retailers use innovative methods to engage their customers and bring them into their store through more than just sell ing a product.

Sales don’t necessarily drive these sensorial pop-ups. Jacquemus stated on his Instagram story that “It’s not just about buying, it’s also an experience, a concept. The idea is to break the frontiers in the world of luxury. We want you to come in feeling welcome and have a great experience no matter what you do inside. You can also just walk in and take a picture. This is Jacquemus” (Chitrakorn, 2022).

The rise in Pop-Ip Stores

Prada

Channel

Louis Vuitton

Figure 44: Pop-Up Stores

Figure 45: Retail Footfall

Jacquemus Primary research

To expose myself to the current visual mechanising that Jacquemus is expressing I visited Selfridges to take inspiration for the collaboration pop-up. Jacquemus uses a neutral base colour for their pop-up with the products bringing the bright vibrant colours. For this current campaign they are using wicker baskets, pampas grass, stone, and wood to create a field aesthetic which corelates with their Instagram.

Previous Jacquemus pop-up stores:

Jacquemus is not shy to create a pop-up store with opening short term ex clusive pop-up stores around the world. Between March 27 and April 3 Jacquemus launched a Flower Pop named Les Fleurs. Simon Porte “Jacquemus teamed up with the family horticultural business Les Fleurs de Paul and the Yoann & Marco agency”. The pop-up took a different approach to a fashion pop-up with a floral arrangement service to click and collect or to be deliv ered to a home address. Simon Jacquemus said “I've always been passionate about flowers, and they are a continual source of inspiration for me whilst I am designing my collections. I also wanted to share something other than clothes during this particular period”. The pop-up explored a deeper meaning beyond Simon’s love for flowers as it allowed him to promote responsible manufacturing methods and encourage up-cycling. Each bunch of flowers were wrapped in unique fabric from previous Jacequemus collections, this gave the materials a second life. “I've always dreamed of having a Jacquemus flower shop. The idea of this pop-up shop came naturally with my hor ticulturist friends at Fleurs de Paul, the Abeille family, and the Yoann and Marco agency,” said Simon Porte Jacquemus (SALESSY, 2021).

Paris has recently launched a pop-up store in Rue de Richelieu, Paris named Jacquemus 24/24, for only three days, 24 hours a day. Th pop-up was created to promote the pink Bambino long bag with all the stores being covered in the hot pink colour. The store was very plain and basic however coloured in pink, the interior was filled with vending machines, which references Japan’s convenience store and side street snack bars in Amsterdam (Andreas, 2021). The pop-up store only sold pink products from the Jacquemus Pink 2 Capsule collection which included, bucket hats, scarves, and the Rond Carré candle, a collaboration with Belgian artist Ann Vincent that was limited. “After com pleting the credit card-only transaction, customers receive a locker number and the code to unlock the door to get their prize. Behind the scenes, regular refills will ensure items remain available for the duration of the pop-up” (Templeton, 2021). In 2022 Jacquemus revealed another pop-up store in the location of Palazzo Clerici, Milan during fashion week. The pop-up mirrored the all pink 24/24 in Paris but replaced the pink with white. The new La Vague bag was sold along with the iconic Bambino and Sweatshirt Brodé (NSS, 2022).

Figure 46: Jacquemus- Selfridges Primary Images

Figure 47: Jacquemus Flower Pop-Up Store

Figure 48: Jacquemus Pop-Up Milan

“« Le Bleu » at @theofficialselfridges London. We created different Jacquemus experiences related to water �� Please come and visit us at « The Corner Shop » a giant Jacquemus bathroom, « Le Vesti aire » swimming pool lockers with unique 3D experi ences and the newest « Jacquemus 24/24 » all in blue with exclusive products. See you there ! (Jacquemus Instagram, 2022).

Comme des garcon play primary research

I also visited the COMME des GAR CON display within Selfridges to gather inspiration. Their display was very minimal with no extra props to enhance their aesthetic. They allow the products to be the centre of visual using black matte rails to hang the clothing. The collaboration with Converse were separate to the clothing as were mixed in with all the foot wears. Once again, the display was very basic with the shoes put on a silver block. Although the display in Selfridges is basic this different to other popups they have done. Therefore, the collaboration will be based on the bright colours like the products.

Figure 49: Jacquemus Le Bleu Pop-Up

Figure 50: COMME des GARÇONS PLAY- Selfridges Primary Images

Development Task

Previous COMME des GARCON pop-up stores:

COMME des GARCON are known for their success in terms of their pop-up stores. With minimal online presence, only though third part retailers, the brand’s marketing strategy is based around their pop-up stores.

From 2004 to 2009 COMME des GARCON was granted permis sion to run single-year stores in mostly European locations — including Ljubljana, Berlin, Helsinki, Istanbul, Barcelona, and Reykjavik. These stores began the success of their pop-up store presence with reports vocalising that they “met 300 percent of its projected monthly sales in the first week.”

The pop-ups allowed COMME des GARCON to experiment with low-cost brick-and-mortar stores (Silbert, 2021).

In September 2009 the pop-up store, Comme des Garcons x Louis Vuitton was launched in Tokyo, Japan for a three-month period. Local celebrities and fashion editors were invited to the pop-up initially to first view and purchase the collaboration. This could be implemented into the collaboration with Jacquemus to enable celebrity and influencer endorsement. The interiors of the pop-up store were described as “true to the COMME des GARCON aesthetic” (HypeBeast, 2008).

In 2021 COMME des GARCON PLAY launched their “PLAY TOGETHER” campaign as a pop-up box in Bloomingdales. This was a “tiny merch store” allowing a space for them to sell their most popular garments and accessories. The interior of the store was covered in polka-dots matching the brand aesthetic. “COMME des GARCON’s pocket stores are unique in their layouts, as they’re each formatted to best fit within the confines of a desired space that changes in each locale. Furniture, aside from some small stools, is eschewed in fa vour of a relatively open layout that puts the focus on the product” (Silbert, 2021).

Self-reflection:

Feedback

Peer Assessment

Strong Logo

Good visuals and style

Strong content inspirations

Colourful aesthetic matches the brands

Good use of multichannel roll out

Cohesive and fun collaboration

Well developed concept idea, very fitting for both brands

Lots of research for how you want the collaboration to look like

Development:

Show more clearly the outcome with deeper explanation

Show mock-ups and specific examples

What images will be shown in the look book?

Show what will be sold at the pop- up

More explanation on the pop-up needed

Explain what the brands are gaining from the collaboration

Develop the look book idea further

Further develop the pop-up, will there be any freebees and fun elements

Tutor Feedback:

Positives:

Good range of channels used for your campaign, love the pop-up store and branding elements.

Excellent cohesive branding. Great consideration of how to make the physical ‘instagrammable”.

Development:

Further develop the illustrative style for the shoot.

What exactly will the reels show?

Think about if the use of influencers is needed

Develop ideas of look book for the printed element

I have developed my ideas for what the pop-up store will look like and where it will be located. I have also created a visual to represent the styling of my photoshoot and the inspirations behind it.

I have decided that my printed element will be a look book based on the images from the campaign and shown how this will be presented.

Actions after today:

Further develop my look book printed element. Mockup the products sold at the pop-up with explanation.

Develop the ideas of Instagram reels and what they will look like.

Further explain what the brands are gaining from the collabo ration.

Figure 51: COMME des GARÇONS PLAY BOX

Figure 52: COMME des GARÇONS PLAY Pop-Up Store

Figure 53: Development task feedback

Figure 54: Promotional Channels Visual Board

Figure 55: Physical Product Visual Board

Photoshoot Inspiration

Hattie Stewart

Hattie Stewart is an illustrator who’s unique and playful style extends itself through advertising, art and fashion. “Her work is deliberately childlike, yet searingly contemporary, with a smart, stylish edge that has made her a darling of the fashion industry”. Stewart is popular with companies who want, as someone put it recently, “a big old dose of colour and weird magic injected into their brand” (Jones, 2020). As well as creating illustration art, Hattie Stewart uses her illustrations on top of photography usually for magazine covers and music albums. “She calls this work doodle-bombing, where she draws over the covers of copies of Vogue, Interview, i-D, Rolling Stone and Love, as well as old-fashioned titles such as Time and Playboy”.

She has collaborated with artists such as SZA, Ariana Grande and Kylie Minogue. As well as brands such as: Adidas, Apple Music, Bimba Y Lola, Mac DeMarco, Marc by Marc Jacobs, MTV, Nike, Pepsi and Playboy Magazine (Stewart, 2022).

Stewart says that her influencers are based on the style of cartoons such as the old Beano comics as well as Japanese art. Her biggest influences are the pop-artists Martin Sharp and Pauline Boty. Her work encourages meaning and individual thought and interpretation, she states “I’m not one of those artists that’s like, ‘Here’s the meaning, now feel it.’ I feel that’s what makes people connect with my work, that it’s not patronising, it’s kind of open to everyone” (Jone, 2020).

Sebastian Curi:

Sebastian Curi is an illustrator and animator originally from Argentina but currently based in Los Angeles. Curi started out as an animator and con tinued this for around ten years before moving into illustration. His unique style is based on creating “colourful, quirky characters using bold shapes and strong lines” (Curi, 2022). In recent years Curi has moved his passion for illustration from a hobby to business focusing on her to create work that is commercial and can be collaborated with (Angelos,2022). This has led to Curi working with the likes of Apple, Spotify, Uber, Facebook, Adobe, Soul Cycle plus a lot more (Curi, 2022). Curi describes his illustrations as joyful, simple, and usually colourful, it is “utterly charming in its bouncy compo sitions and vibrant colour palettes”. He told ‘It’s Nice That’ in an interview that he “likes to work on projects that are loud and create meaning from a place of emotion. I resonate with that kind of stuff.” Angelos says, “He works intuitively and with style, creating bountiful scenes and characters that prance about happily in his joyful universes” (Angelos, 2022).

Figure 56: Hattie Stewart Illustrations

Figure 57: Sebastian Curi Illustrations

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image References

Figure 1: Collaboration Bags Illustrations (Source: Emilie Kelly, 2022)

Figure 2: Jacquemus Table Display (Source: Jacquemus, 2020) https://www.instagram.com/p/B_KO1QpDJ1M/?utm_source=ig_web_copy_link

Figure 3: Jacquemus Brand Positioning (Source: Emilie Kelly, 2022)

Figure 4: Simon Jacquemus pink field runway (Source: Jacquemus, 2020) https://www.instagram.com/p/B99QAbxDl2p/?utm_source=ig_web_copy_link

Figure 5: Jacquemus Rose Suit (Source: Jacquemus, 2021) https://www.instagram.com/p/CNFr5Ths6Zv/?utm_source=ig_web_copy_link

Figure 6: Jacquemus iconic top (Source: Jacquemus, 2021) https://www.instagram.com/p/CS12K0iMnl_/?utm_source=ig_web_copy_link

Figure 7: Jacquemus accessories (Source: Jacquemus, 2019) https://www.instagram.com/p/B2cUoBTDQFU/?utm_source=ig_web_copy_link

Figure 8: COMME des GARÇON PLAY stripy shoot (Source: HypeBeast, 2020) https://hypebeast.com/2020/9/comme-des-garcons-cdg-play-family-guys-collection-editorial-jean-jacques-ndjoli

Figure 9: COMME des GARÇON PLAY Brand Positioning (Source: Emilie Kelly, 2022)

Figure 10: COMME des GARÇONS PLAY Pop-Up Store (Source: mcep.es, 2022) https://www.mcep.es/2020/04/13/quedate-en-casa-y-diviertete-en-familia-12abril2020/?ss=4_35_7_26_58&pp=play+comme+des+garcons+shop&ii=10938837

Figure 11: COMME des GARÇONS PLAY Family Guys Collection (Source: HypeBeast, 2020)

https://hypebeast.com/2020/9/comme-des-garcons-cdg-play-family-guys-collection-editorial-jean-jacques-ndjoli

Figure 12: Jacquemus Blue Le sac rond (Source: Jacquemus, 2022)

https://www.instagram.com/p/CbdB1DGsCTr/?utm_source=ig_web_copy_link

Figure 13: Collaboration Brand Positioning (Source: Emilie Kelly, 2022)

Figure 14: Jacquemus Girls (Source: Jacquemus, 2019)

https://www.instagram.com/p/BubTvgbBXuj/?utm_source=ig_web_copy_link

Figure 15: Target Audience Moodboard (Source: Emilie Kelly, 2022)

Figure 16: Target Consumer Infographic (Source: Emilie Kelly, 2022)

Figure 17: Jacquemus Paris Pink Shoot (Source: Jacquemus, 2019)

https://www.instagram.com/p/BulvvVQhKTc/?utm_source=ig_web_copy_link

Figure 18: Product Mockup (Source: Emilie Kelly, 2022)

Figure 19: Logo Development (Source: Emilie Kelly, 2022)

Figure 20: Jacquemus website (Source: Jacquemus, 2022)

https://www.jacquemus.com/

Figure 21: Jacquemus Instagram Reels (Source: Jacquemus, 2022)

https://www.instagram.com/jacquemus/reels/

Figure 22: Eiffel Tower Paris (Source: Jacquemus, 2019)

https://www.instagram.com/p/B0dPz-7jViF/?utm_source=ig_web_copy_link

Figure 23: Pop-Up Store Moodboard (Source: Emilie Kelly, 2022)

Figure 24: Exterior Pop-Up Mock-up (Source: Emilie Kelly, 2022)

Figure 25: Interior Pop-Up Mock-up (Source: Emilie Kelly, 2022)

Figure 26: Instagram Page (Source: Cat Perez, 2022)

Figure 27: Photoshoot inspiration Moodboard (Source: Emilie Kelly, 2022)

Figure 28: Simon Jacquemus and Marco Maestri (Source: Jacquemus, 2020)

https://www.instagram.com/p/CAX2qPRjVdT/?utm_source=ig_web_copy_link

Figure 29: Initial Heart Eyes for You Photoshoot (Source: Emilie Kelly, 2022)

Figure 30: Edited photoshoot (Source: Emilie Kelly, 2022)

Figure 31: Instagram Feed Posts (Source: Emilie Kelly, 2022)

Figure 32: Instagram Stories (Source: Emilie Kelly, 2022)

Figure 33: Pop-Up Invitation (Source: Emilie Kelly, 2022)

Figure 34: Socialising Young Renter (Source: Acorn, 20220) https://acorn.caci.co.uk/data/#t17_p1

Figure 35: Jacquemus top countries (Source: Similar Web, 2022)

https://pro.similarweb.com/#/digitalsuite/websiteanalysis/overview/website-performance/jacquemus.com/*/999/3m?webSource=Total

Figure 36: Jacquemus Engagement (Source: Similar Web, 2022) https://pro.similarweb.com/#/digitalsuite/websiteanalysis/overview/website-performance/jacquemus.com/*/999/3m?webSource=Total

Figure 37: City Sophisticates (Source: Acorn, 20220) https://acorn.caci.co.uk/data/#g4_p1

Figure 38: Gucci x Balenciaga (Source wgsn, 2022) https://www.wgsn.com/insight/article/92795

Figure 39: Collaboration Visual Board 1 (Source: Emilie Kelly, 2022)

Figure 40: Collaboration Visual Board 2 (Source: Emilie Kelly, 2022)

Figure 41: Collaboration Visual Board 3 (Source: Emilie Kelly, 2022)

Figure 42: Anya Hindmarch Chubby Heart in London (Source: Dezeen, 2019) https://www.dezeen.com/2019/02/14/chubby-hearts-anya-hindmarch-valentines-day-installation-london/

Figure 43: Anya Hindmarch Chubby Heart campaign promotion (Source: The Current Daily, 2018) https://thecurrentdaily.com/2018/02/15/anya-hindmarch-lfw/

Figure 44: Pop-Up Stores (Source: wgsn, 2022) https://www.wgsn.com/insight/article/84682

Figure 45: Retail Footfall (Source: Vogue Business, 2022) https://www.voguebusiness.com/consumers/from-jacquemus-to-balenciaga-luxury-fashion-brands-go-hyperphysical-retail#:~:text=Jacquemus%20has%20 arrived%20in%20London,blue%20pop%2Dup%20at%20Selfridges.&text=Jacquemus%20is%20among%20many%20brands,that%20are%20enriching%20and%20 emotional

Figure 46: Jacquemus- Selfridges Primary Images (Source: Emilie Kelly, 2022)

Figure 47: Jacquemus Flower Pop-Up Store (Source: L’Officiel, 2021) https://www.lofficielmonaco.com/lifestyle/les-fleurs-jacquemus

Figure 48: Jacquemus Pop-Up Milan (Source: nssmag, 2022) https://www.nssmag.com/en/fashion/28974/jacquemus-milano

Figure 49: Jacquemus Le Bleu Pop-Up (Source: Jacquemus, 2022) https://www.instagram.com/p/CdGk07vIzVC/?utm_source=ig_web_copy_link

Figure 50: COMME des GARÇONS PLAY- Selfridges Primary Images (Source: Emilie Kelly, 2022)

Figure 51: COMME des GARÇONS PLAY BOX (Source: V2mshop, 2022) https://www.v2mshop.com/?product_id=93024790_62

Figure 52: COMME des GARÇONS PLAY Pop-Up Store (Source: mr-mag, 2021) https://mr-mag.com/comme-des-garcons-pocket-opens-shop-at-bloomingdales-59th-street/

Figure 53: Development task feedback (Source: Emilie Kelly, 2022)

Figure 54: Promotional Channels Visual Board (Source: Emilie Kelly, 2022)

Figure 55: Physical Product Visual Board (Source: Emilie Kelly, 2022)

Figure 56: Hattie Stewart Illustrations (Source: Hattie Stewart, 2022) http://www.hattiestewart.com/work/work-2/

Figure 57: Sebastian Curi Illustrations (Source: Sebastian Curi, 2022) https://sebastiancuri.com/

Figure 58: Lookbook MoodBoard (Source: Emilie Kelly, 2022)