Introducing Peruvian Brand, MOZH MOZH, to the UK Luxury Market

Photos from MOZH MOZH (2021)

This business proposal pitches MOZH MOZH, a luxury Peruvian brand, to the UK market with a focus on sustainable manufacturing and heritage and craftsmanship. MOZH MOZH establishes itself as an ethical & innovative brand that takes a contemporary route on traditional Peruvian designs through close collaboration with local artisans. MatchesFashion is a successful luxury retailer with experience in sustainable brand management and hosts unique retail installations at the flagship store. The current luxury climate recognizes the importance of sustainability, transparency, and authenticity within the industry to benefit the environment, consumers, and every worker in the value chain. This document communicates how MOZH MOZH can enter the UK luxury market through an omnichannel flagship experience with MatchesFashion.

» Firstly, an introduction discusses the aims and objectives of this report, a briefing on MOZH MOZH’s brand operations, the current Peruvian market and the company’s positioning amongst local competitors, and an outline of the sustainability intentions through the CSV model and UN’s Sustainable Development Goals.

» Secondly, the proposal examines the UK’s luxury climate, the biggest competitors, and the rationale for international expansion. Next, discusses the implementation of the brand through the method of market entry, the unique creative concept of a flagship store experience, and addresses the marketing strategy of focusing on heritage, craftsmanship, and culture, and sustainable sourcing, distribution, and manufacturing. A timeline is considered for a mutually successful launch of MOZH MOZH into MatchesFashion.

» Lastly, a summary of the key points is discussed in the conclusion along with recommendations to create a better-informed proposal. The future of luxury sees an eco-friendly supply chain focusing on the craftsmanship behind each item. This proposal exhibits how the UK luxury consumer and their needs have shifted due to external factors and how MOZH MOZH can successfully place itself within this market to gain a competitive advantage over local and global competitors.

1.1. Focus and Rationale

This report approaches the introduction of MOZH MOZH from the emerging Peruvian market to the established UK luxury market. The market entry strategy includes a focus on heritage, culture and design, and craftsmanship, in addition to sustainable sourcing, distribution, and manufacturing. With the integration of these areas of focus, an experiential omnichannel approach is proposed for a MatchesFashion collaboration.

Research Methods

Aims and Objectives

For a successful partnership between a brand and a retailer, both MOZH MOZH’s and MatchesFashion’s values and expertise need to be highlighted and incorporated.

Thus, the proposal’s aims are as follows:

» Preserve the local Peruvian artisan techniques through the marketing strategy, demonstrating craftsmanship and transparency

» Maintain the slow-fashion ideals of the brand through careful supply chain management for emphasis on ethical production and consumption

» Align MatchesFashion’s expertise in luxury retailing and flagship store experiences for mutual benefits

» Create an omnichannel experience for successful engagement with target consumer

This report analyses the emerging Peruvian market and established UK luxury market through secondary research, such as GlobalData, LS:N Global, McKinsey & Co, and the use of business frameworks relevant to the context. Supplementary primary research was conducted to gain a first-hand insight into the business practices of MatchesFashion, through a store audit and manager interview, and for an understanding of international expansion through Avis Charles, an expert in emerging luxury brand expansion.

Photo from MOZH MOZH (n.d.)

About the Brand

MOZH MOZH is a contemporary, luxury brand originating in Peru. The small brand was founded in 2015 by Mozhdeh Matin, a Peruvian native. MOZH MOZH is symbolic of the collaboration between designer and manufacturer, of which they closely work with Peruvian artisans and their traditional textile techniques (Dalland, 2020). At the core of the brand’s values, Matin wants to preserve the Peruvian culture and fuse sustainability to create premium, unique pieces (See Figure 1.1).

Heritage, Culture and Design, & Craftsmanship

The brand’s DNA stems from Peruvian culture and craftsmanship. Mozhdeh Matin explains, “In each community there is a type of fabric, a technique and, as in all of Latin America, this is something that is inherited from ancestral cultures” (Latinness, 2021). Closely working with the local artisans, the brand uses fabrics native to the Andes, like alpaca, cotton, and wool. The rich heritage of intricate detailing, vibrant colours, and traditional weaving is preserved through Matin’s contemporary designs (Dupre, 2017).

Sustainable Sourcing, Distribution, & Manufacturing

With sustainability at the core of its practices, the Made-To-Order collections feature locally and ethically sourced materials. MOZH MOZH places emphasis on transparency in its supply chain to create a community through sincerity, traditional craftsmanship, and innovation (See Appendix 1). Their textile operations support thousands of families across Peru through ethical collaboration with the native population. MOZH MOZH uses OEKO-TEX, Fair Trade and GOTS certified materials, and has innovated its design to debut the eco-friendly leather alternative, shiringa, a plant-based latex from the Peruvian Amazon (MOZH MOZH, n.d.).

Figure 1.1: Anatomy of a Luxury Brand, adapted by author

Photo from MOZH MOZH (n.d.)

1.3. The Local Market

The Peruvian Market

Peru is rich in history, with textile traditions dating beyond the Inca tribe; the indigenous people tell ancestral stories through woven fabric detailing and colours (Dupre, 2017). Textiles are the major manufacturing good produced in the country, demonstrating the importance of the ancestral techniques (See Appendix 2). Peru is making strides towards a more conscious industry with steps to reduce carbon emissions and advocating for human rights in countries like Myanmar and Venezuela (See Appendix 2).

Mozhdeh Matin “believes that respect lies in taking more time to understand the meaning behind an aesthetic” (Dalland, 2020). Matin’s outlook on her Peruvian-inspired designs transcends to the brand’s customers and their beliefs. The MOZH MOZH customer values authenticity, creativity, and sustainability. When they are buying clothing, they look for unique pieces with an interesting history to add to their closet (See Figure 1.2 and Appendix 10.2).

MOZH MOZH’s local competitors are other native Peruvian brands that use traditional techniques of indigenous artisans. Escvdo is considered the biggest competitor as it also has a contemporary take on Peruvian heritage, similar product mix & quality, however it has a larger customer base, and higher prices (See Figure 1.3). Compared to Peruvian Connection and Spirit of the Andes, MOZH MOZH has a larger online presence and features a more high-fashion, luxury quality product range (See Appendix 3).

The MOZH MOZH Market

Figure 1.3: Positioning Map of MOZH MOZH’s Competitors, created by author

Figure

MOZH MOZH Customer Profile, created by author

1.4. CSV & Sustainability

The coronavirus pandemic made big brands reassess their ecoconscious practices, or lack thereof. However, MOZH MOZH has embedded sustainability, transparency, and ethical ideals into its core values since its inception. Mozhdeh Matin considers her brand to be slow fashion, unlike the current climate of the fashion industry (Latinness, 2021). Each piece from the limited collections contains ethically and innovatively sourced materials hand crafted by local artisans. These standards align with the UN’s Sustainable Development Goals, which create a model for a shared value system between businesses, consumers, and the environment (See Figure 1.4).

MOZH MOZH implements SDG 9- industry, innovation, and infrastructure- by innovating the textile industry through ecoconscious sourcing and manufacturing while employing local Peruvian artisans, which aligns with Goal 8. Transparency throughout the slow-creation supply chain for the made-to-order collections emphasizes SDG Goal 12 of responsible consumption and production (See Figure 1.5).

Figure 1.4: Creating Shared Value Model

Figure 1.5: UN’s Sustainable Development Goals

Photo by MOZH MOZH, 2021a, modified by author

The Proposal

2.1. The UK Market

The UK Consumer

Due to the Covid-19 pandemic, the retail market faced a massive shift of consumer’s motives to purchase. With a new emphasis on supporting small businesses and environmental issues, consumers are looking for more authentic and ethical brands (The Future Laboratory, 2021). However, embedded in the roots of their culture, the British are seen as indulgent and highly succes oriented, indicating that they place emphasis on leisure activities and spending their hard-earned money how they want to (See Figure 2.1)). This is beneficial for expansion into the luxury market because consumer views on shopping is positive and encouraged. Driven by the new focus of the fashion industry, the UK luxury consumer evolved to be the younger millennial, older Gen Z population (See Figure 2.2). They believe brands must be transparent, should prioritize responsible production and consumption, and offer authentic narratives where they can build a lasting relationship. They desire uniqueness and value high quality products, a strong online presence, and immersive experiences (See Appendix 7).

Global Competitors

MOZH MOZH’s global competitors that are already established in the UK market include luxury brands that either have similar values or aesthetics to the Peruvian-born brand. Stella McCartney is well-known for being a sustainable and innovative luxury brand, LOEWE is rich in the Spanish culture of leather craftsmanship, and The Elder Statesman uses transparency in the dyeing process of their unique, colourful knits (See Appendix 4). However, these brands do not focus on all these ideals at the same time, which gives MOZH MOZH a competitive advantage in the market (See Figure 2.3).

Figure 2.1: Hofstede’s Cultural Comparison of the UK and Peru

Customer Profile, created

Figure 2.3: Global Competitor’s Market Positioning Map, created by author

Push & Pull Factors

The UK has seen its largest recession since 1709 in 2020 due to the Covid-19 pandemic, however the government has implemented frameworks to overcome the high debt, increased unemployment, and the rise of income inequality. The legal system is organized, transparent, and efficient which makes for a good business environment and the UK plays a leading role in sustainable development and environmental protection (See Appendix 8). However, due to the UK’s decision to leave the European Union, the industry faces difficulties with trade, including more administrative oversight. With Brexit and Covid-19, supply chain issues have plagued many businesses due to labour shortages (Seares, 2022). Trouble with customs at the UK border is not only seen from the EU imports, but also with other materials and products shipped from various emerging luxury markets (See Appendix 9).

Figure 2.4: Ansoff’s Matrix, modified by author

International Expansion

The UK market is an environment for MOZH MOZH to expand into as the legislature and luxury consumers both value sustainability and innovation. The luxury market offers opportunities for MOZH MOZH to grow its customer base, gain international recognition for its products and values, and increase profits for the brand and local Peruvian artisans. With the new luxury consumer dictating the retail environment, MOZH MOZH’s transparency in their ethical supply chain and their rich Peruvian heritage will ensure successful expansion into this new geographical market (See Figure 2.4).

Photo from Vú (2020b)

2.2. Method of Market Entry

The expansion into the UK market will be most beneficial with a collaboration with MatchesFashion, a large luxury retailer in the market that places an emphasis on ethical fashion (MatchesFashion, n.d.). This will introduce and establish MOZH MOZH within the UK luxury market for a competitive advantage. The method of market entry will be a pop-up installation in the flagship location at 5 Carlos Place, in London. In addition, MOZH MOZH will be launched through internet sales on the MatchesFashion website after the pop-up store has debuted. MOZH MOZH has minimal international experience in the UK luxury market and limited financial resources as a small, sustainable brand. Thus, it is suggested that a lower controlled entry mode will be advantageous, further explaining why a pop-up installation will be the first method of entry in this collaboration (Lu, Karpova and Fiore, 2011). With a lower controlled entry mode, MOZH MOZH will also be allowed to use their brand identity to design the interior space (See Figure 2.5), using MatchesFashion’s expertise in nature-inspired décor for a luxury shopping space (See Appendix 6).

MOZH MOZH entering the market through a shoppable exhibition, will also be valuable for MatchesFashion, as they have a unique retail concept in their flagship store. A unique retail concept is defined as retail brand image, retail facilities, and services offered, which provides a competitive advantage and leverage for international market growth (Park and Sternquist, 2008). MatchesFashion offers limited edition events and brand takeovers at the Marylebone location, which drives traffic from all different kinds of consumers (See Appendix 5). Developing this new brand concept with MOZH MOZH with maintain their uniqueness in their offerings (Park and Sternquist, 2008).

Figure 2.5 : Color & Texture Palette for MatchesFashion Pop-Up Interior Design, created by author

Creative Concept

Flagship Store Experience

The MOZH MOZH brand takeover will take place at the MatchesFashion flagship store in the luxury hub of London. “The luxury flagship store provides strategic value to brands which is expressed through elements of their form and function” (Manlow and Nobbs, 2013). The 5 Carlos Place location functions as a store but also as an experience, where they host book signings, dinner parties, and have limited edition brand takeovers (See Appendix 5). MOZH MOZH will collaborate with MatchesFashion to express the brand’s values and mission for the future of the fashion industry.

The concept will be to create an omnichannel experience through an in-store installation at the MatchesFashion flagship and through the e-commerce site. The delivery through the instore experience is where consumers can shop the collection and scan QR codes to discover the textile makeup, production process, and see the Peruvian artisans that made those items (See Figure 2.6). A feature film will be presented in-store and through the MatchesFashion website about the brand value chain from conception to purchase (See Figure 2.7). The value added for consumers will be to learn about new cultures and ways to be sustainable through unique, luxury pieces (See Appendix 10.6).

Figure 2.6: In-Store Experience Mock-Up, modified by author

Figure 2.7: Film Feature Stiill Mock-Up, created by author

2.4. Marketing Communications Strategy

Omnichannel Marketing Strategy

The digital marketing strategy will be to use social media and the retailer’s website to promote the in-person event and the online product launch (See Figure 2.8a). For their prior exhibitions, Matches has used their social media to promote the events, which has driven a lot of traffic to the store (See Appendix 5). Gen Z and millennials are the population most influenced by social media and about “60% of consumers in the UK research products in an omnichannel way” (McKinsey & Company, 2021).

While promotions for the event and the launch will take place online, offline marketing will also be used to target the older customers of MatchesFashion. Matches creates a luxury feel within the store through minimal marketing and unique décor (See Appendix 6). These ideals will be channelled with the MOZH MOZH brand takeover through an exclusive look book sent to Matches’ loyalty program members (See Figure 2.8b). In addition, the in-store pop-up event will be an offline strategy to promote the brand’s introduction to MatchesFashion website.

Figure 2.8a: MatchesFashion Instagram Post and Website Digital Marketing, modified by author

Figure 2.8b: Lookbook Mock-Up for offline marketing, modified by author

Heritage, Culture and Design, & Craftsmanship

“Gen Z consumers intend to splurge on cosmetics and apparel,” (McKinsey & Company 2021) and the new luxury consumer demands for brands to be authentic, transparent, and sustainable (Houghton and Taylor, 2018). The omnichannel marketing strategy will effectively express MOZH MOZH’s brand values and mission for a more innovative and ethical fashion industry. Within a luxury brand, you cannot just have high prices, there must be a story of the craftsmanship behind the products (See Figure 2.9). MOZH MOZH has embedded Peruvian textile techniques through local artisanship since inception, which places the brand in the luxury sector. The marketing strategy attached to the heritage, design, and craftsmanship of MOZH MOZH will be to create a feature film of the history of Peruvian artisan work and how the brand honours the traditions and innovates the industry from concept to carrier bag.

Sustainable Sourcing, Distribution, & Manufacturing

MOZH MOZH ethically sources and manufactures its textiles through Peruvian artisans and employing their local communities. These principles will be modelled through the QR codes available in-store. Customers can scan the codes to learn about the artisans who sourced, manufactured, and dyed each garment. This creates transparency in the supply chain and promotes the sustainable activities MOZH MOZH carries out in every step of product creation (See Appendix 9). The brand’s focus is highlighted by three of the UN’s Sustainable Development Goals: decent work and economic growth (Goal 8), industry, innovation, and infrastructure (Goal 9), and responsible consumption and production (Goal 12). The CSV model represents the social need for sustainable and ethical shopping, the brand’s expertise of honouring traditional Peruvian techniques and collaborating with artisans in a socially responsible way, and the business opportunities of reducing over production and consumption to create a shared value system for all parties involved (See Figure 3.1). MOZH MOZH’s corporate social responsibilities can be monitored through Environmental Social Governance ideals of creating annual sustainability reports, using Kering’s example of the EP&L method to measure the environmental impact of the business (Kering, 2020), and joining environmental coalitions like the Fashion Pact (2020) or Fashion Revolution that value and work towards a more conscious industry (See Appendix 10.5).

Figure 3.1: The CSV Model adapted to MOZH MOZH, modified by author

2.9: The Paradox of Luxury-Goods Marketing

Timeline

Initially, the offline strategy of the launch event at the flagship location in Marylebone was planned at the same time as the website launch (See Appendix 10.8). However, to drive more traffic to the in-store pop-up for the immersive experience, the website launch will take place after the exhibition opens (See Figure 3.2). This will encourage customers to experience the brand through the tactile experience of feeling the fabrics and trying on the clothes, building trust in MOZH MOZH and their products. As the in-store exhibition will be for a limited time, this will increase demand for the items and the omnichannel experience to guarantee that MOZH MOZH will generate success on the MatchesFashion website. Once launched on the website, each product page will include the same information given by the in-store QR codes to promote the sustainability and craftsmanship marketing strategy. In August of the launch strategy, the supply chain will be re-evaluated to ensure ethical sourcing, manufacturing, and distribution, so the demand doesn’t exhaust the Peruvian artisans and their natural resources.

Figure 3.2: Timeline of Launch Strategy

Photos from MOZH MOZH (n.d.)

Photo from Instagram (2021c)

Conclusion

In summary, the introduction of MOZH MOZH into the UK luxury market would be successful through a market entry strategy of a pop-up installation and e-commerce sales with MatchesFashion. While there are barriers to international expansion for any small brand from an emerging market, MOZH MOZH’s values of sustainability, transparency, craftsmanship, and innovation would be preserved through strategic supply chain management and marketing communications. The strategy of creating an omnichannel, flagship store experience captures the essence of MOZH MOZH’s rich Peruvian heritage and ethical manufacturing and blends it with MatchesFashion’s expertise in luxury retailing and sustainable development.

3.1. Recommendations

While, the sustainability attributes were examined, further evaluation of the supply chain strategy would be necessary as Peru is not close to the UK and increased production with overseas distribution could diminish the slow-fashion ideals of MOZH MOZH. In addition, the continuing issues with customs and commercial shipments pose an issue for retail deadlines (See Appendix 9). Supply chain management could be reassessed after the in-store installation, to review the demand of such products and therefore the supply to the MatchesFashion e-commerce site. However, additional areas to research would be how MatchesFashion usually conducts merchandising fulfilment for their overseas brands and data supporting the supply and demand. Due to ongoing struggles from the coronavirus and Brexit, MOZH MOZH will need to be malleable and resilient in its business practices to ensure a solid footing in the UK market.

This report identifies the impact of external factors (i.e., the Covid-19 pandemic and Brexit) on consumers and the luxury space and internal factors of the brand and the retailer’s business practices, evaluating the market for successful expansion. MOZH MOZH’s competitive advantage amongst luxury leaders, the shift to a Gen Z/younger Millennial consumer, and the emphasis on eco-conscious ideals prove that the UK market is an appropriate environment for entry. In addition, the entry strategy considered the UN’s Sustainable Development Goals (i.e., Goals 8, 9, and 12) to underpin a shared value system between the environment, the businesses, and the respective communities of Peru and the UK.

Limitations of the report include only secondary research of MOZH MOZH, as requests for interviews did not receive a response. This would further the understanding of the brand’s activities and gain insight into other international markets they have expanded into. The focus areas for the marketing strategy would have been more developed with a cost and pricing strategy underpinning such ideas. This would serve as supplementary data for a well-informed business proposal for this collaboration. Moreover, the e-commerce strategy of internet sales could be more developed once the pop-up installation reveals the demand for certain products and the success of MOZH MOZH at MatchesFashion.

Photo from

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Figure 1.1:

Adapted from Fionda, A. and Moore, C. (2009) The Anatomy of the Luxury Fashion Brand. Journal of Brand Management MOZH MOZH. (2021a). MOZH MOZH. [online] Available at: http://www.mozhmozh.com [Accessed 26 Oct. 2021].

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Figure 1.2:

Clary, S. (2021). Only milk I drink. [Online Image] Instagram. Available at: https://www.instagram.com/p/CVVCR98grbS/?utm_source=ig_web_copy_link [Accessed 6 Nov. 2021].

Cygan, M. (2021). Littoral, Saint Jean Cap Ferrat. [Online Image] Instagram. Available at: https://www.instagram.com/p/CPlvTF4rgji/?utm_source=ig_web_copy_link [Accessed 6 Nov. 2021]. Davis, D. (2021). Everything Is New Again. [Online Image] Instagram. Available at: https://www.instagram.com/p/CQzEPRiNZY6/?utm_source=ig_web_copy_link [Accessed 6 Nov. 2021].

Denegri, A. (2021). Ciao. [Online Image] Instagram. Available at: https://www.instagram.com/p/CSejx6NI8Fg/?utm_source=ig_web_copy_link [Accessed 6 Nov. 2021].

Dornan, C. (2021). I shot artist @yanngerstberger in his epic house / studio on the outskirts of Mexico City for @voguemexico wearing head to toe @mozhmozh_. [Online Image] Instagram. Available at: https://www.instagram.com/p/CLw20c-AGj4/?utm_source=ig_web_copy_link [Accessed 6 Nov. 2021]. Haus Agency (2021). natural rubber trousers. [Online Image] Instagram. Available at: https://www.instagram.com/p/CPjaZSHLLjN/?utm_source=ig_web_copy_link [Accessed 6 Nov. 2021].

Figure 1.3:

ESCVDO. (2021). ESCVDO Devoted to Design Committed to Heritage. [online] Available at: https://escvdo.com [Accessed 26 Oct. 2021].

MOZH MOZH. (2021). MOZH MOZH. [online] Available at: http://www.mozhmozh.com [Accessed 26 Oct. 2021].

Peruvian Connection. (2021). Peruvian Connection. [online] Available at: https://www.peruvianconnection.co.uk/category/about+pc/pc+gives+back.do [Accessed 26 Oct. 2021].

Spirit of the Andes. (2021). Spirit of the Andes. [online] Available at: https://www.spiritoftheandes.co.uk [Accessed 27 Oct. 2021].

Figure 1.4:

Porter, M.E. and Kramer, M.R. (2011). Shared Value and Sustainability. [online] 3 Pillars Network. Available at: http://www.3pillarsnetwork.com.au [Accessed 24 Jan. 2022].

Figure 1.5:

United Nations (n.d.). The Sustainable Development Goals. [online] United Nations. Available at: https://sdgs.un.org/goals [Accessed 6 Nov. 2021].

Figure 2.1:

Hofstede Insights. (n.d.). Hofstede’s Cultural Dimensions: Country Comparison. [online] Available at: https://www.hofstede-insights.com/country-comparison/peru [Accessed 4 Nov. 2021].

Figure 2.2:

Bling Label (n.d.). [Online Image] Pinterest. Available at: https://pin.it/4bCiPf7 [Accessed 5 Nov. 2021].

Leitch, L. (2020). Ermenegildo Zegna and Fear of God Are Trying to Rewrite the “Rules” of Menswear. [online] Vogue. Available at: https://www.vogue.com/slideshow/ermenegildo-zegnafear-of-god-collaboration?epik=dj0yJnU9Sk1Jd09JYUIzMldUX0Q3bDVCTTRqeFhucHdkSExKV3cmcD0wJm49cEhYT3lzSXo0YURrTHBCenlxeXNDQSZ0PUFBQUFBR0dHdjNn [Accessed 5 Nov. 2021].

Li, M. and Hunter, D. (2020). The Best Street Style Looks From New York Fashion Week 2020. [online] Teen Vogue. Available at: https://www.teenvogue.com/gallery/new-york-fashionweek-street-style-fall-2020 [Accessed 5 Nov. 2021].

Ngọc Lý, T.Đ. (n.d.). [Online Image] Pinterest. Available at: https://pin.it/1eh5A4h [Accessed 5 Nov. 2021].

Parisa (2021). Wanna take a ride with me? [Online Image] Instagram. Available at: https://www.instagram.com/p/CLcZDchhquY/ [Accessed 5 Nov. 2021].

Figure 2.3:

Loewe. (n.d.). LOEWE official website luxury clothes and accessories. [online] Available at: https://www.loewe.com/eur/en/home [Accessed 5 Nov. 2021].

Stella McCartney. (n.d.). Stella McCartney GB | Designer RTW, Bags & accessories, Lingerie, Adidas by Stella McCartney, Fragrances, Kids. [online] Available at: https://www. stellamccartney.com/gb/en/ [Accessed 5 Nov. 2021].

The Elder Statesman. (n.d.). The Elder Statesman | Official Online Store. [online] Available at: https://elder-statesman.com [Accessed 5 Nov. 2021].

Figure 2.4:

Ansoff, H.I., 1957. Strategies for diversification. Harvard business review, 35(5), pp.113-124.

Figure 2.5:

Hand Knit Woolen Texture in Full Frame. (n.d.). [Online Image] 123RF. Available at: https://www.123rf.com/photo_86958044_hand-knit-woolen-texture-in-full-frame.html [Accessed 9 Nov. 2021].

MOZH MOZH. (n.d.). A/W 2020. [online] Available at: http://www.mozhmozh.com/new-gallery-1 [Accessed 6 Nov. 2021].

MOZH MOZH. (n.d.). S/S 2022. [online] Available at: http://www.mozhmozh.com/resort-2022 [Accessed 6 Nov. 2021].

Vú, R. van (2020b). MOZH MOZH Lookbook FW2020. [online] issuu.com. Available at: https://issuu.com/royvanvu/docs/mozh_mozh_fw2020_lookbook [Accessed 23 Jan. 2022].

Figure 2.6:

Hand Knit Woolen Texture in Full Frame. (n.d.). [Online Image] 123RF. Available at: https://www.123rf.com/photo_86958044_hand-knit-woolen-texture-in-full-frame.html [Accessed 9 Nov. 2021].

Joyce, J. (2019). MatchesFashion: The Curator. [Online Image] Breed. Available at: https://breedlondon.com/james-joyce-illustration-matches-fashion-1/ [Accessed 9 Nov. 2021].

MOZH MOZH. (n.d.). A/W 2020. [online] Available at: http://www.mozhmozh.com/new-gallery-1 [Accessed 6 Nov. 2021].

MOZH MOZH. (n.d.). S/S 2022. [online] Available at: http://www.mozhmozh.com/resort-2022 [Accessed 6 Nov. 2021].

Figure 2.7: Instagram. (2021c). MOZH MOZH. [online] Available at: https://www.instagram.com/mozhmozh_/ [Accessed 26 Oct. 2021].

MOZH MOZH. (2021a). MOZH MOZH. [online] Available at: http://www.mozhmozh.com [Accessed 26 Oct. 2021].

MOZH MOZH (2021b). Visiting our local collaborators in Lima. [Online Image] Instagram. Available at: https://www.instagram.com/p/CTZ5c0OrtbU/ [Accessed 11 Nov. 2021].

MOZH MOZH. (n.d.). A/W 2020. [online] Available at: http://www.mozhmozh.com/new-gallery-1 [Accessed 6 Nov. 2021].

MOZH MOZH. (n.d.). OUR VALUES. [online] Available at: http://www.mozhmozh.com/ourvalues [Accessed 6 Nov. 2021].

MOZH MOZH. (n.d.). S/S 2022. [online] Available at: http://www.mozhmozh.com/resort-2022 [Accessed 6 Nov. 2021].

Vú, R. van (2020a). MOZH MOZH Lookbook AW2019. [online] issuu.com. Available at: https://issuu.com/royvanvu/docs/mozh_mozh_lookbook_2019 [Accessed 23 Jan. 2022].

Figure 2.8a:

MatchesFashion (2019). MATCHESFASHION Woman. [online] Facebook. Available at: https://www.facebook.com/MATCHESFASHION/ [Accessed 11 Nov. 2021].

MatchesFashion. (2021). Skin Design London at 5 Carlos Place. [online] Available at: https://www.matchesfashion.com/5carlosplace/events?cta=header [Accessed 11 Nov. 2021].

MOZH MOZH. (n.d.). OUR VALUES. [online] Available at: http://www.mozhmozh.com/ourvalues [Accessed 6 Nov. 2021].

MOZH MOZH. (n.d.). S/S 2022. [online] Available at: http://www.mozhmozh.com/resort-2022 [Accessed 6 Nov. 2021].

Figure 2.8b:

Vú, R. van (2020a). MOZH MOZH Lookbook AW2019. [online] issuu.com. Available at: https://issuu.com/royvanvu/docs/mozh_mozh_lookbook_2019 [Accessed 23 Jan. 2022].

Vú, R. van (2020b). MOZH MOZH Lookbook FW2020. [online] issuu.com. Available at: https://issuu.com/royvanvu/docs/mozh_mozh_fw2020_lookbook [Accessed 23 Jan. 2022].

Figure 2.9:

Dubois, B. (1998) The Paradox of Luxury-Goods Marketing. L’art du Marketing, Village Mondial, p. 292

Figure 3.1:

MOZH MOZH. (n.d.). OUR VALUES. [online] Available at: http://www.mozhmozh.com/ourvalues [Accessed 6 Nov. 2021].

Porter, M.E. and Kramer, M.R. (2011). Shared Value and Sustainability. [online] 3 Pillars Network. Available at: http://www.3pillarsnetwork.com.au [Accessed 24 Jan. 2022].

Image References

Instagram. (2021c). MOZH MOZH. [online] Available at: https://www.instagram.com/mozhmozh_/ [Accessed 26 Oct. 2021].

MOZH MOZH. (2021a). MOZH MOZH. [online] Available at: http://www.mozhmozh.com [Accessed 26 Oct. 2021].

MOZH MOZH. (n.d.). A/W 2020. [online] Available at: http://www.mozhmozh.com/new-gallery-1 [Accessed 6 Nov. 2021].

MOZH MOZH. (n.d.). S/S 2022. [online] Available at: http://www.mozhmozh.com/resort-2022 [Accessed 6 Nov. 2021].

Vú, R. van (2020a). MOZH MOZH Lookbook AW2019. [online] issuu.com. Available at: https://issuu.com/royvanvu/docs/mozh_mozh_lookbook_2019 [Accessed 23 Jan. 2022].

Vú, R. van (2020b). MOZH MOZH Lookbook FW2020. [online] issuu.com. Available at: https://issuu.com/royvanvu/docs/mozh_mozh_fw2020_lookbook [Accessed 23 Jan. 2022].

Photo from MOZH MOZH (2021a.)

Kapferer’s Brand Identity Prism

Analysis of Peru

Political Economical Social

- Protests broke out in Peru as many citizens has opposed the removal of former Vice President and termed it as a coup. Manuel Merin was sworn in as the President after Vizcarra’s removal and resigned five days later due to violent protests throughout the country

- “Peru is a relatively open country and foreign companies are allowed unrestricted access to most sectors of the economy”

- “Peru’s legal structure and trade laws, low wages, and abundance of natural resources have made it an attractive destination for investors”

- The Peru-Australia Free Trade Agreement (PAFTA), which allows the Australian minerals industry to have access to new export markets and investment opportunities. In addition, Peru will eliminate 99.4% of its tariffs, including its natural resources (p.25)

- “Pedro Castillo, presidential frontrunner, plans to increase taxes on Peruvian copper exports which is expected to lead to a temporary downturn in exports.”

- Unemployment rate rose to 12.8% in 2020 because of the Covid-19 pandemic (p. 11)

- “Youth unemployment was 7.4% in 2019 and a majority of the youth employment is in the informal sector, which is prone to precarious working conditions, such as low wages, unstable employment, no social security or health insurance, and dangerous environments” (p.33)

- GDP declined by 11.1% in 2020 and expected to grow by 9.6% in 2021 (p. 19)

- Low per capita income (p.33)

- Mining, manufacturing, and utilities sector is the biggest driving factor in terms of economic contribution

- Mining contributes to most of the country’s exports

- Textiles is the major manufacturing good produced in Peru

- Population is 32.8 million and is expected to grow at an average annual rate of 0.9% over 2021-2025 (p.12)

- Median age is 29.1 years in 2020, which suggests that Peru benefits from a large working-age population (p.12)

- 100.2 males per 100 females in 2020, expected to be 50:50 of males and females in 2025 (p.12)

- Population features high inequality and poverty in rural and urban areas

- Because of higher development in urban areas, the country witnessed a large volume of rural to urban migration in the last few decades (p.20)

- Gender and socio-economic status have a significant impact on access to employment opportunities (p.6)

Technological Environmental Legal

- Electricity installed capacity: 14.7 billion watts (2018), 97% of Peru’s population has access to electricity (2019) (p.22)

- The number of air passengers increased to 18.8 million in 2019

o Total # of airports with paved runways: 59 (2017)

o Goods transported: 340.3 million ton-km (2019)

- Passenger journeys on railways rose to 76 million passenger km in 2015

o Goods transported: 900 million ton-km (2014)

- Container port traffic decreased by 12.7% in 2019

o Major ports: Callao, Matarani, Paita, Iquitos, Pucallpa, Yurimaguas (Amazon) (p.22)

- Peru received $340m in loans in May 2021 for the Road Infrastructure Program for Regional Competitiveness

- Frequent earthquakes and extreme flooding, rich in environmental resources (p.40)

- “Main agricultural products are cotton, sugarcane, coffee, wheat, rice, corn, and barley, natural or cultured pearls, Precious or semi-precious stones & metals, Edible fruit and nuts (p. 26, 29)

- Peru has passed several laws related to climate change dealing with increasing carbon capture and the use of carbon sinks, building resilience for sectors most vulnerable to climate change (p.40)

- The European Investment Bank loaned US$100m to finance projects in the renewable and efficient energy sectors (p.40)

- The Peruvian parliament passed a new agricultural law that requires a higher minimum living wage and a special bonus for workers in the agriculture sector.”

- Gender parity law requiring that 40% of the congress candidates should be female by 2021, 45% by 2026, and 50% by 2030

- “Peru has supported resolutions to highlight human rights abuses in various countries like the Philippines, Syria, Myanmar, Iran, and Venezuela.”

Local Competitor’s Analysis

MOZH MOZH Escvdo Peruvian Connection Spirit of the Andes

Products Sweaters, Skirts/Pants, Outerwear, Dresses, Tanks/Bras, Shawls, Hats, Bags

Sweaters, Bottoms, Outerwear, Dresses, Tanks, Bags

Sweaters, Skirts/Pants, Outerwear, Dresses, Tees/Tanks, Accessories, Jewelry, Home

Sweaters, Bottoms, Outerwear, Tees/Tanks, Accessories, Bags, Jewelry, Lounge/Nightwear

Pricing 190 895 (in USD) 90 2,275 (in USD) 18 1,898 (in GBP) 4.95 299 (in GBP)

Quality High quality sustainable, fabrics

Expertise Traditional Peruvian textiles & artisan techniques

Unique Features Local Peruvian textiles made by artisans, sustainable methods

Distribution MOZH MOZH website, online retailer sites, various in store retailers

Location Based in Peru, Small worldwide audience

Luxury, sustainable fabrics High quality, ethical production Premium Quality

Traditional Peruvian textiles & artisan techniques

Local Peruvian textiles made by artisans, sustainable methods

Escudo website, online retailer sites, various in store retailers

Based in Peru, small worldwide audience

Tradition Peruvian textiles & artisan techniques

Local Peruvian textiles & styles made by artisans

Peruvian Connection website, Flagship stores in major cities in the USA & London

Made in Peru, USA & London stores

Service Made to order Free shipping for orders > $500 Curbside pickup, Personal Shopping, Newsletter, Style Guide

Reputation Positive for sustainable, traditional techniques through contemporary, colorful designs

Marcomms Magazine features, Vogue Italia: The Next Green Talents, International Fashion Showcase, Instagram (19.7K followers)

Strengths

Uses traditional & ethical approach in a trendy, contemporary style

Positive for sustainable, traditional techniques through contemporary designs

Instagram (41.4K followers), Facebook, Ambassadors, various Vogue magazines, Magazine features,

Positive for traditional techniques & locally sourced textiles made in Peru, brand created in Kansas

Instagram (17.8K followers), Facebook, Pinterest, YouTube, plethora of magazine & newspaper features, gives back to local Peruvian community

Traditional Peruvian textiles & artisan techniques

Local Peruvian textiles & styles made by artisan

Spirit of the Andes website

Made in Peru, based in the UK

Newsletter, Free Return for 90 days

Positive for traditional techniques & styles

Weaknesses

Worldwide customer base is small and not well known

Sources (The Androgyny, 2017)

(MOZH MOZH, 2021) (Pervinca Bellini, 2019), (Instagram, 2021c)

Uses traditional & ethical approach in a contemporary style, PR & marketing

Minimal information on practices

Uses traditional approach & style, widespread marcomms & organization collaborations

Small international customer base

(ESCVDO, 2021), (Instagram, 2021a) (Peruvian Connection, 2021), (Instagram, 2021d)

Instagram (117 followers), Facebook, Pinterest, YouTube, Twitter, Discount store (currently closed)

Uses traditional approach & style, sister brands that support textile sourcing

Small international customer base

(Spirit of the Andes, 2021), (Instagram, 2021e)

Global Competitor’s Analysis

MOZH MOZH LOEWE

Products Sweaters, Skirts/Pants, Outerwear, Dresses, Tanks/Bras, Shawls, Hats, Bags (Womenswear)

Sweaters, Skirts/Pants, Outerwear, Dresses, Shirts, Bags, Shoes, Home, Fragrances, Accessories (Men & Womenswear)

The Elder Statesman Stella McCartney

Sweaters, Tops, Bottoms, Outerwear, Dresses & Jumpsuits, Accessories, Bags, Hats, Home (Men & Womenswear)

Knitwear, Dresses & Jumpsuits, Sweatshirts/Shirts, Denim, Swimwear, Lingerie, Outerwear, Bags, Shoes, Accessories (Unisex, Womenswear, Kidswear)

Pricing 190 895 (in USD) 40 11,100 (in GBP) 115 8,995 (in USD) 40 2,850 (in GBP)

Expertise/ Quality High quality, sustainable fabrics made with tradition Peruvian artisan techniques

Distribution MOZH MOZH website, online retailer sites, various in store retailers

Reputation Positive for sustainable, traditional techniques through contemporary, colorful designs

Marcomms Magazine features, Vogue Italia: The Next Green Talents, International Fashion Showcase, Instagram (19.7K followers)

Luxury quality, Spanish craftmanship and leather expertise

LOEWE website, Flagship stores in major cities, luxury retailers, department stores, & sites

Positive for luxury quality & innovative designs with heritage & traditions in mind

LOEWE Foundation & Poetry Prize, digital platform “The Room”, Multiple Instagram pages (3.1M followers on main), Magazine, News, Media features, Newsletter

Luxury quality, hand dyed knitwear

Luxury quality, sustainable at the core of the brand

The Elder Statesman website, Flagship store in California, luxury retailers, department stores, & sites

Positive for transparency & fun, contemporary designs, graphic design communications

“The Wormhole” blog, Magazine, News, Media Features, Instagram (114K followers), Newsletter

Stella McCartney website, Flagship in London, luxury retailers, department stores & sites

Positive for sustainability & luxury quality pieces

Stella McCartney blog & news, “A to Z Manifesto” artist collaboration, Magazine, News, Media Features, Instagram (6.6M followers), Newsletter

Strengths

Uses traditional & ethical approach in a trendy, contemporary style

Weaknesses Worldwide customer base is small and not well known

World famous, craftsmanship & luxury

Not much information about sustainability

Authentic branding & design techniques Large worldwide customer base & product categories

Not much information about sustainability

Sources (The Androgyny, 2017) (MOZH MOZH, 2021) (Pervinca Bellini, 2019) (Instagram, 2021c)

(Loewe, n.d.) (Instagram, 2021b)

(The Elder Statesman, n.d.) (Instagram, 2021g)

Not much heritage, culture, story behind the brand other than Stella McCartney herself

(Stella McCartney, n.d.) (Instagram, 2021f)

MatchesFashion Store Manager Interview

Emily Freund

Hi, I’m Emily Freund, I’m currently doing a business proposal that pitches an emerging luxury brand to an established market, and I’m conducting primary research on MatchesFashion for the report. Is it okay if I ask you some questions for my university project and record your answers?

Simone La-Rose

Nice to meet you. And yes, that is okay.

Emily

Nice to meet you. What’s your name?

Simone Simone [La-Rose].

Emily

What do you do?

Simone I’m the store manager.

Emily

OK, great! What is the usual process of setting up an installation in the store?

Simone

The setup is a fraction of the process. The real process is the delivery schedule of stock and if it coincides with anything that’s happening culturally in the industry. So, for example, Mary Katrantzhou had her 10-year anniversary in 2018. We had to get her stock in on time to change the [visual merchandising] to a pop-up Mary Katrantzhou store. So, it all goes along a calendar, but the process, if you want it to work, is changing. We have to pack down the whole floor and depends on what is going in would depend on how the setup would be. So sometimes right now it’s a mixture of brands, but sometimes it’s a brand takeover. So, if it’s a brand takeover that we work with those brands as well, so the last brand takeover we had was last month, we had Valentino. It was a brand takeover. So, the Valentino current Autumn/Winter campaign is them in old Italian cinema. So, we turned upstairs into an old Italian cinema.

Emily

That’s so nice. Was there a launch event?

Simone

For Valentino? No, there wasn’t a launch for the Valentino because we weren’t launching anything that they didn’t have in their own store. So, it wouldn’t be a launch in that sense, because it’s nothing exclusive, but we do a lot of launch events. We do a lot of events in the house.

Emily

What kind of events do you usually host?

Simone

Last week, we did the Annie Liebowitz book signing. We did styling sessions with the Vampire’s Wife. We did a lunch with La Double J. And the designer was here as well, launching her new home wear. But we’ve done loads of events over time.

Emily

And who do you usually invite to the launch events?

Simone

Depends on what the event. So, if it’s an open event like this. It will just be on our website, on the website is the calendar, and any customer, anyone who looks on our website doesn’t have to be a shopper of Matches [Fashion]. Anyone can sign up and come to the event with RSVP. But if it’s a private dinner, then there is much more limited space. But again, it depends on what the dinner is for, and who’s hosting the dinner, and is it that private connections and things like that?

Emily

Right. What is the busiest time people come to see the installations or the events like throughout the timeline of the installation? What’s the turnout from the beginning to the end? Is there a difference?

Simone

I don’t know how to answer that. I guess. Once we put the installation in, it goes on social [media]. I guess the first few days and then maybe the last few days because people think ‘oh this calming down a bit’ to go and see it. So it might be that kind of thing. Some installations are way more popular than others. Sometimes people just come and want to see Christmas installations regardless and see all the stores Christmas installations, you know? So, there’s maybe more people in town at that time.

Emily

What classifies a successful exhibition at this location?

Simone

Well, all the installations, in a sense, are successful because they all have kind of an impact. They give customers different experiences. If I was to walk with you now, how you will feel in this room is not how you’re going to feel in the room upstairs. So, this is a different type of experience here.

*Starts walking through the store*

Simone

For example, how you feel downstairs is different to how you feel in this room. And then again, it’s different to how you feel in this room.

Emily

And how do you market the different installations in the rooms?

Simone

It’s on social [media] When we do the brand partnerships, both us and the actual brand will both have it on their social [media]. So, I guess on the social media, on the website, there will be links to the website, ‘If you want to see the latest,’ if it’s a brand takeover, ‘Come and see it at Carlos Place.’

Emily

And who is the usual consumer that comes to visit exhibitions that you have?

Simone

It’s difficult that one because everyone’s different ages, different cultures, because we’re in Mayfair, so it’s international, this space we’re right across from the hotel. So, it really depends upon travelling.

Emily

And is that the similar consumer that comes just normally when there isn’t a collaboration?

Simone

Yeah. There are [people] here all day, every day.

Emily

Why does MatchesFashion host events here?

Simone

So here, this is the flagship. So, we do it for awareness and it’s nice to bring a bit of community spirit, bringing people together.

Emily

Thank you so much for your time.

Audit

MatchesFashion Store Audit

Section 1 – Details

Store Brand Name: MatchesFashion

Student Name: Emily Freund

Location: 5 Carlos Place, London, W1K 3AP

Date, Day & Time of Visit: Thursday, December 8th , 2:00PM

Site Characteristics: Short walk from Bond Street station, surrounding area has luxury brand stores

Weather: Sunny, partly cloudy & windy

Section 2 Exterior & Windows

Store front/fascia Red brick facade, big glass windows with white frames around windows and white tiling, black gate, gold signage, logo light up sign, marble stairs

Projecting signs(s) MatchesFashion neon light up sign & flag with logo

Window dressing One mannequin facing outwards into the windows, not much of window dressing, plants line the entrance and underneath the windows

Entrance(s)

One main entrance with a doorman

Doors Large, glass doors with gold framing

Branding decals etc signage is the biggest branding, mannequin in window isn’t emphasized as a window dressing

Lighting light up MatchesFashion sign

CONSIDER:

Does the exterior attract attention amongst neighbours

The exterior attracts attention amongst neighbors because the signage outside and the design of storefront gives a high end, luxury feel. Branding through the use of window displays and mannequins is minimal to continue to the high end feel, but doesn’t attract as many customers in that same sense.

Does the store encourage entry / do the windows generate interest.

The store somewhat encourages entry because it is the MatchesFashion flagship and it’s well known, however not much branding or marketing draws the customer in.

Is there anything specific which would attract tourist spending? How is this achieved?

MatchesFashion is already established in the luxury tourist market and the surrounding area attracts that kind of consumer. The lack of marketing for the exterior adds a luxury feel as the clothes sell themselves and the store doesn’t need to attract consumers that aren’t willing to spend on designer items.

Section 3 General Interior Ambience

Store size & shape 5 floors; stairs and lifts available

Layout/zones/spaces

Ground Floor: Table display with accessories, mannequins, clothing, Gucci Christmas tree in the garden outdoor space, sitting area inside & outside

First Floor: Table display with La Double J tableware & other accessories, bags & jewelry, clothing

Second & Third Floor: Personal Styling rooms, Skin Design London event room

Fourth Floor: Kitchen & eating space for dinner events, La Double J tableware

Surface finishes, texture

Ground floor has terracotta tiling, 1st & 4th floor has wooden floors, personal shopping rooms have colored carpets, wooden stairs, wooden tables, crown moldings on ceiling & around fireplaces, linen/natural textiles

Colour white walls, light colored flooring except for tiles on ground floor, personal shopping rooms are decorated with different colors for different rooms (green, peach, blue)

Sound, music

Different music on ground floor & 1st , alternative music, styling rooms you can choose your own music

Smell, scent no specific smell

Overall Visual Merchandising limited amount of stock, not many repeated items for different sizing, mannequins posed in different ways, table displays with accessories and home decor

Atmospherics not that busy on any floors, more people on the 2nd floor

Sight lines mannequins and the nature inspired décor are integrated

Focal points colored coordinated clothing items in each section, natural decor

Graphics none, although there are minimalistic brand plates on tables & around mannequins wrist to learn about the brand

Lighting (Ambient/Feature) spot lighting, drop lighting on some floors

CONSIDER:

How are all the above used / how do they work to create an ambience?

All these features work to create a high end, classy ambience to the store, showcasing multiple outfits per section on mannequins.

How would you describe that ambience?

The ambience is a stress free, luxury feeling

Does this fit with the branding and positioning of the store?

MatchesFashion is known for selling designer & luxury brands which aligns with the general interior of the store as you can see the brands, scan QR codes to learn more about them and the décor adds a natural, luxe ambience.

How do you think this ambience appeals to the international customer?

The ambience appeals ot the international customer by creating that high end, luxury shopping feel that international customers want when coming to London

Section 4 Merchandise Display

Densities (amount of stock per linear foot): There’s not a lot of stock, there’s usually one of each size per item

‘Hotspots’ People were spread out throughout the whole store, but mainly on the ground and first floor

Mannequins/props Mannequins posed in multiple ways (some sitting, some standing in fashion poses), tables, chairs, blankets, pillows, and plants sourrounded the mannequins and decorated each floor

Fixture types wooden tables, light grey painted metal hanger racks, color coordinated painted racks in styling rooms, natural wood hangers, white Styrofoam and wooden mannequins

Category co ordination organized by outfit creation with accessories and clothing near each other and color coordinated

Stock organisation organized by color

Sale/fragmented stock none

CONSIDER:

Is the strategy to offer a large selection of product or to provide a smaller, more exclusive product offer? How does the international shopper relate to this?

MatchesFashion’s strategy is to provide a smaller, more exclusive product offer to create that luxury, high end exclusivity feeling. The wealthier international shoppers relate to this as they want to feel important and have a personalized experience when they come to this area to shop, and MatchesFashion delivers that with their product offering.

Do the merchandising techniques used encourage sales?

The merchandising techniques encourage sales because the outfits are already made for the customer and the color coordination is aesthetically pleasing, making it easy and stress free for the customer to shop designer labels. In addition, there are brand plates & tags that the customer can read about the brand, scan a QR code, and search more in depth within the brand, creating an omnichannel experience, encouraging sales on multiple fronts.

Did ranges appear to offer the full range of colours and sizes?

The ranges offered were not in multiple colors or sizes, this furthers the company’s idea of creating an exclusive, luxury shopping feeling. However, they can scan the QR codes for that brand and shop that item in their size on the MatchesFashion website.

Are the same principles followed throughout (eg, different price points or brands, male/female ranges etc).

All ranges are designer so similar price points throughout, there are more female ranges and little menswear ranges

Was the merchandise in the window or on internal displays easy to find in-store?

The merchandise shown on the mannequins were not shown on the clothing displays as there was usually only one of each item, however similar items in similar colors were near the mannequin & table displays.

Section 5 – In Store Marketing

Describe the typical Target Customer (from observation)

Mainly females, some males, married couples around 24 45 years

Describe Positioning (style, price, usage)

Designer, luxury, high end

Brand Communication & Impact (staff, labels, tickets, carrier bags etc)

MatchesFashion logo on branding cards & tags, neon logo signs, Gucci Garden

Customer information & education: Customer relationship & loyalty marketing (service, credit, clubs etc)

No advertisements for any loyalty program but they had personal shopping for enhanced customer relationships

Promotions, mark down items, links to external marketing: none

CONSIDER:

Is the in store marketing activity appropriate for the brand?

MatchesFashion sells designer, luxury items, so the lack of in store marketing aligns with their brand positioning

Is it effectively engaging with customers?

There’s a lack of in store marketing which doesn’t effectively engage with customers, however the brand QR codes are engaging for the customer to learn more about that specific brand and shop more from them.

Are there elements which specifically engage the international consumer?

The QR codes engage the international consumer as they can scan them for an omnichannel experience of shopping online & in person. Also, the personal shopping rooms appeal to the international luxury consumer for a more personalised and customised experience.

Section 6 Customer Service and Experiential Elements

Staff identification, roles, languages spoken, attitude & behaviour

I was immediately introduced to the store manager who gave me a tour of the whole store and answered a series of questions. She also gave me her card for any additional questions may have. The staff were extremely helpful and kind.

Services personal shopping, fitting rooms, tax refunds, gift vouchers etc

Personal shopping & styling were available by appointment, didn’t see any fitting rooms within the store.

Delivery methods (use of digital, click and collect etc)

Brand personality & values

MatchesFashion’s brand personality is luxury and they value sustainability and authenticity within the brands they choose

Omnichannel approach (ie social media integration into store environment etc)

The scannable QR codes for each brand allowed customers to shop online and learn about the brand

Digital applications (Apps, QR Codes etc)

QR codes

CONSIDER:

How do the staff ensure the international customer feels welcomed?

The store manager was very helpful and welcoming, think this engages the international customer as they would feel appreciated and important.

Does the store have a competitive advantage from the services it provides?

The flagship offers personal styling, dinner events, and other installation events which has a competitive advantage as shopping from MatchesFashion is more of an immersive experience with personalisation for the customers.

How are the services adding value to the store experience?

The omnichannel shopping and overall ambience with the integrated décor adds value by creating a immersive shopping experience with a luxury feel, perfectly aligning with the brand’s values and customer base.

Section 7 – Evaluation

MatchesFashion uses effective décor and merchandising techniques to attract the international luxury consumer. Organizing stock with color coordination, accessories that could build an outfit near the clothing items, and having table displays of brands they’re collaborating with all create a stress free, luxury shopping experience. The use of high end, unique interior décor (like the Wassily chairs on the ground floor) seamlessly integrates with the clothing items and invites customers to shop through a truly luxurious, designer experience. MatchesFashion does not focus on in store marketing or sales which doesn’t sway the customer towards any one item, but rather to look throughout the whole store to find their item; this allows for a longer time within the store.

7. UK Customer Profile

Age: 16-34 years old (Statista, 2021), Younger millennials, Gen Z

Gender: Any gender

Race/Ethnicity/Sexual Orientation: Any gender, race, ethnicity

Occupation:

Students, Recent Graduates, Fashion related jobs of any level, white collar jobs, social media related jobs

Residence:

Major town and cities, like London, in flats

Family: Mostly single or in a couple

Values:

“80% of global consumers believe brands must be transparent about their environmental impacts in the production of their goods and services, with 38% stating businesses should prioritize responsible production and consumption of goods and services” (Houghton & Taylor, 2018)

- “Generation Z and Millennial consumers who self-identify as being creative (47%), while aligning with street and hip-hop fashion styles (52%). ‘Brands that are able to participate in credibility – those that offer authentic narratives and honest cultural interventions – are the ones who can build lasting relationships with this next generation of consumers,’” (Houghton & Taylor, 2018)

“70% of European consumers are interested in the idea of retailtainment, connecting with brands to purchase via live-streams or social media platforms” (Houghton & Taylor, 2018)

- For regular treaters, branded luxury buying is still important, but they also highly value experiences and travel, which reflects a desire for uniqueness - naturally fueled by social media. (Dialogue Blog, 2021)

This customer values authenticity, high quality, great customer service, stories & narratives behind the brand, a strong online presence, and immersive advertising or experiences (Dialogue Blog, 2021)

Because the new luxury consumer brought on by the pandemic is Gen Z and younger millennials who are entering the workforce, they have more money to spend on themselves. (Dialogue Blog, 2021)

Interests:

They eat out at restaurants, go to the cinema, and make the most of the culture and nightlife of the big city (CACI, 2014), Streaming TV on Netflix, Amazon Prime, or ITV. They love to travel and do various activities with their friends like go shopping. They will read fashion magazines online, avidly use social media to share content about their life and browse through social media to access content related travel, lifestyle, music, news, sports, and other entertainment. They like to shop luxury, but also loves a good vintage find

Market Criteria Model - UK

Avis Charles Interview

Emily Freund

What is your job title and description?

Avis Charles

Okay. My job title is founder and CEO of Avis Charles Associates

Emily

What is your role? What does Avis Charles Associates do?

Avis

Well, basically we do, it’s split into groups of what we do. So, part of it is academia and training. So, from the academic perspective, I do things like what I do for LCF, quite a few universities, basically across the country, where I come in as either an associate lecturer or as a guest speaker, from time to time. So that’s from the academic point of view. But I will be going into doing more lecturing. And because I do this on a continuous basis, and in the same way that technology has changed, academia has changed as well. So, I’m also at this point, from the academic point of view, doing postgraduate certificate. And the reason is because it teaches from point of view of pedagogy, and it just says a different approach to teaching, which I think, is something I want to be able to add, because I’ve always been a consultant coming in, which is totally different from academic coming in from the outside. The training aspect of it, is that I do a lot of work with people at the UN, the International Trade Center, which covers when developing countries, and government associations, or charities that may want to develop- I do mainly women in their countries. So, people at the UN asked me to put together a project to work with a group of women, and one, that is worth quoting. So, we were asked to put together a training program for a group of women from Papua New Guinea, Palestine, Peru, India, Mongolia, and Ethiopia. So usually, when we do that, we would never do it from the point of view of the way, the association itself would do it, we always want to bring in new knowledge. And the best way we believe to do that, is knowing about each of the countries that you are talking about and the way that women work. So, we would historically, look into the background of the country, the traditional crafts country, because usually it’s going to be around fashion. We’d look at the various spiritual values in it as well because we don’t want to offend anybody. And then we would ask for samples to be sent over and from those countries- the UN takes care of all of that. Then we would research and research and research and then find the best way to do this. So, for that project, by receiving the samples from the ladies, we would then ask about their work in surroundings; how many women they work with, and what they want to achieve. Usually, it’s the other way around. I’ve only said from my point of view, consultants may have already decided what they think the ladies need to achieve. On the other hand, there’s some people that will just because it’s a great payday as well. But we didn’t want to do that. We wanted to make sure we developed the women in a way that was suitable for them. Not a one size fits all because you come from Peru you shouldn’t be doing the same as the Mongolians just because you happen to use knit similarly. Or that’s what you think until you receive the samples and see what the huge difference is. But also, with the

number of women that we’re working with, so we had two women from every country except Mongolia, where we had three. And so, looking at the way the Mongolians work, again, each of these women are as individual as we are as designers. So, they will have different ways of weaving. So, you’ve got three sets, three sets of women who’s knit and weave is totally different. And so, there’ll be things that you haven’t you haven’t seen before, because they’re not selling those things. Here in the store, that fabric, or anything like that. And it brings up a lot of surprises about countries that you didn’t know. So that’s just from the samples. But we also put together our own questionnaire as opposed to the UN’s questionnaire because obviously, they must tick their boxes accordingly. But we push that we would write our own questionnaire for the ladies, that pertains to them. How many women do you work with what surroundings at work in, because all that affects how you’re going to do things; will also affect the lead time once you start making things. So, the important thing is, is your family involved in the business, how long does it take to get to the nearest port, all those things. From that you will get an understanding of the fact that not all the women are selling out of the country than in the country. So, they are usually able to drive to wherever they need to go, if that’s the case, or find a way to get it there. So, if they ever wanted to export, which is what the UN wanted them to do, you can’t do that if you don’t even understand what DHL or FedEx or whatever is relevant in your country. There’s no point in learning new ways and what they’re doing in the West, if you have not investigated how you can transport anyone. So that’s a huge thing. And then I noted, again, through our research that when most designers go into this country or countries, they will work with the women to do something that’s suitable for them through their business. If you decide to move on and not stick with one country, because [for example] there’s been a disaster in a part of Vietnam, and you want to be able to help them, so you may pick up and go there. Instead, we just left a whole group of women no work, because they now have no idea how to sell to another designer or sell to the west. So as much as they’ve made money during that time, they haven’t been able to extend it. So, we developed three income streams for the women that we worked for. The first income stream was basically doing exactly what designers have done in the first place. But we’ve now explained to them how they put together a look book if that was the case, when a designer said to them, what do you make? Or what can we help you with? So that was the simplest one. The next income stream was working closely with a designer on new designs where you’re giving them your input. And nobody had done that before. And coming from LCF I thought let’s approach LCF and if they would do it. And at the time a friend of mine was running London, New York (LDNY). And that was to get designers in New York and designers in London, all students to create a collection based around those two places, and any aspect of it. So, I thought rather than getting a whole load of students that you wouldn’t be able to connect properly, create a competition. And then we narrowed that down just to final year students in London College of Fashion, and at Parsons School of Design. So then during that

competition, we had to break it all down. When it came to the last bit to choose six students, we then made the decision that the students would have to design a collection that was based on 60% artisan’s work. We would then sit with them go through what the artisans have done, make PowerPoints and everything, and then pass the samples around because you can’t make something or design something in billon. If you’ve just seen a picture, and you haven’t felt it. And as creatives we need to touch what we do that every time we design something with our fabrics. The third income stream was for each of the artisans to earn to design their own capsule collections. So, I treated them in a way that I would for any designer. And we sat with them to then find out what was in their heads, which was quite amazing. Because you then realize these women are no different from us. So, they come up with some great ideas. And the UN said that they were put on this fashion show, the first step of fashion show at the United Nations head office in New York. So that meant we have a collection of all the artisans’ clothes, a collection of the winning designers within students’ clothes because we did first second third, and a winning collection of both universities were involved in that. Well, I think for any student who must be shown in New York, you haven’t paid for it, because we also made sure that the fabrics and everything that were given to them was already covered. from the student perspective, working with the artisans meant that their specification sheets, their illustrations, everything had to be perfect. But what it also did, it allowed the artisans to start working with a medium that they hadn’t worked with before. And so, what that has gone on to do is that the artisans still do their own collections. And one artisan that we have in India, we linked her with Goldman Sachs. She does four franchises of her business in India, which is impressive. When my daughter and I were in India, and I called her [personal assistant] answered. So not only is she able to employ a lot more people. The ladies from Mongolia, I went to afternoon tea with some friends and a few ladies there that I didn’t know. And one of them was wearing one of our artisan sweaters. Obviously, I recognize a knit. And she said over the year she’d bought six because they are so beautiful. We’ve had artisans and speaking on TedTalks, it’s just incredible. One thing that is special is the fact that they’re all still in business and the number of women that they’ve managed to employ which also led to the Mongolians going to Ethiopia: because Ethiopians and Mongolians both weave fabric and spin yarn. So that worked out well. So that’s the training aspect of it. So, I do a lot of that all over the place. When working with designers, it’s really going into find what the gaps in the market are. And when you have an outsider to do that, they see it from a different perspective from you, because of the different elements and the ways that I’m working. So, I bring that aspect to it as well but as opposed to just being the PR [public relations] person. None of those I would do, I don’t do. But I know how I’d perceive it as a consumer from the outside. And then as well as that I’m trained in couture. So, to know how something should fit perfectly, but also what it’s going to do, before you start giving it to your seamstresses or anything, the weight of the fusing, because I’ve done it for so long, I’ve been in this business now almost 50 years, and always at the top. So

that’s the way that I work with designers. So those are the three aspects of what the company does.

Emily

What did you do when you worked with Peruvian artisans and brands, and what were the challenges?

Avis

The Peruvian artisans are incredible. Again, you just assume they’re doing alpaca in the way that they do knitting. That’s what you think, until when you meet them, and how different their work can be. And the two that we worked with, it was just so different, because one of them would do her way, that she knitted or how thin she got managed to get the yarn, the alpaca, is that when she then knitted it, by hand, by the way, it looked like a piece of lace. And I’ve never seen that before. When she did her own capsule collection, she had some of that, but she also had this heavy knit, it was amazing. We also want to show what the rest of the world their work. Because when you’re working in something, if you’re not able to get the kind of communication that we can get, whether it’s a magazine or whatever. You don’t know how special your start with your country is first away from all the political upsets. And she had, she had created over 100 different stitches how to do things. I mean, her stuff was extraordinary. And then for [the other artisan] totally different. Where you had a knit, then you had all this embroidery on the top that virtually told its own story in lots of bright colors. But because we’ve done all this research beforehand, we had an idea of what each thing was because that was more cultural than what [the first Peruvian artisan] was doing, but fabulous.

Emily

What were some of the boundaries that artisans face when expanding into new markets?

Avis

I think because there’s perceptions of that country. And certainly, for Peru, it’s as if all they’re going to be doing is knits. So, nobody looks at any of the creativity, except obviously the Peruvians because they’re there. So, when we’re talking about exporting from Peru to another country, you have to then take into consideration chances are, it’s going to take two to three weeks longer, because customs are going hold it in Peru, and hold it everywhere else. Similarly, Palestinian things got to us in three days, the Peruvians three weeks. And they’re small samples. And when we did the things for the show, it took even longer, because the box was bigger. And I’ve just finished working on a collection with a Colombian designer, but he’s working with Peruvian fabrics, the Alpaca and everything. And his stuff was stuck in customs for over a month [in Colombia]. And first, it took a long time to crack through but when it got here. It was in customs for all that time. And Andy had to pay a lot of money that he wasn’t supposed to pay. But it was just an absolute nightmare. This stuff arrived three days before the show. So [he] got all these models and everything else. And to me, that’s completely

unfair. That took three days before the show, things arrived on Wednesday. And what’s so sad about that was that he had direct contact to the ambassador of Peru, in this country and the British ambassador in Peru, and he had the same for Colombia as well, just in case they could speak to each other, and they couldn’t ship it. And that’s when you know you’ve got an issue. Then when they opened the packages, [customs] stole some stuff. And of course, you haven’t got the time to reknit it, you couldn’t even go and buy alpaca fabric to then remake the outfit. So, the people that suffer are the women that put in all that work.

Emily

How did you facilitate this expansion, knowing these boundaries?

Avis

Because I think you have to keep believing that it’s going to work. I already knew about the delays. So obviously that I would have told him that straight away, so everything was ready earlier, even though I would have liked it to be a lot earlier, nobody knew it was going to take that long to get through customs. And when they did send it, they send things bit by bit. There were three things that came the day before the show, but I think what was really upsetting for him is the items that got through were all Alpaca fabric, any of the things that were hand knitted by the ladies or crocheted were the things that went missing.

Emily

Why do you think that they weren’t sent to you? If they were handmade?

Avis

I think they went missing because knowing what Peruvian work looks like, it’s so beautiful. If you’ve seen it before, and it’s so unusual, and they’re one that they’re one offs. You and I may not steal it, but them guys at customs. There were things in the goodie bag that they’d stolen; 50% of it. But anything that went missing was anything that had a lot of handwork on it from these artisans that are outside of Lima. And that’s heartbreaking because people enjoyed the show. But it was supposed to be about these [artisans] and they’ve lost out on that because if you can’t show it- as much as you’re talking about why you’re doing it and everything, we’ve seen Alpaca in fabric so no big deal- then the people that were invited were all top notch. And this is perception of a country and usually a country you’ve never been to, only about what you’ve read. So, you have no knowledge of the importance of [the fashion culture]. And don’t think [the items] dropped out the package. You’ve just deprived a whole set of artisans, as they’re usually women, who would have been able to grow their work, so they can support their families. Just I just it was gut wrenching.

Emily What kind of sustainable attributes did you consider when discussing this expansion for the Peruvian artisans?

I always consider that and everything that they do sustainable anyway. I can speak about the ones that I work with. So, I actually find this certainly more sustainable than what we are. I think we in the West are very good at telling the story of sustainability, run into a country and get something made. And then as I said at the beginning, leaving when it gets a bit hot. And I don’t think that’s time when you should leave. I think you should be there. I think also, we in the West are not aware or maybe don’t want to be aware of the fact that we’ve created the ship. It didn’t happen by accident, because any of the countries that we have been to; my daughter and I travel all over the place, like Myanmar. We’re complaining about the officials ruling the countries, but people in Myanmar don’t actually own anything, the military do. But when we turn around and say, ‘I’m not buying anything from Myanmar because the way the military treat the people, or the way that people are treated’, it’s easy for us to say that while we’re polluting, but we can easily switch on our lights, we can get online to Amazon, and order a pair of black sheer tights. And when you go to somebody else’s country, and you see what they are being deprived of, blew our mind. In one of the villages that we went to, that was all on water, all the houses were on stilts. Everybody you went past had a huge bag, and they would put every tin in it; talk about dissecting all your waste. You just thought, ‘Oh my God’, there’s all that rubbish. And the other thing that that whole village had was solar panels. Every house in London doesn’t have a solar panel. You’ve made solar panels so expensive that nobody can afford to do it anyway. So, all these great ideas you’re coming up with, you don’t put money into that. Yet, you want to turn around and complain that climate change is somebody else’s country. We don’t get to see the damage done to people’s livelihoods. The fact that we were exporting our waste to other countries, how on earth did you think it was going to be disposed of, if you dispose them here? Remember these are developing countries, so you’re bribing them with money to take your problem away, and then you punish them for taking your problem away, when they’ve got a bigger problem anyway. And that’s not just Barbados, it’s Thailand, it’s Indonesia, everywhere we’ve [travelled to], we’ve come across this, which then means you’re taking away how they sustain themselves without the fact that you’re messing up the planet completely. One of my best friends is head of climate change and biodiversity, she knows exactly what’s going on, and she does this the UN. So, she knows exactly what’s going on and what it does to the world. So, we can talk sustainability and climate change until we are blue in the face. Unless it’s affecting you and if it wasn’t for the fact, it started affecting the West; Australia with its wildfires going on forever, Europe’s wildfires, as well as flooding. So, I don’t think the West is in the position to say anything about sustainability. And I think for yourself if you’re going to, at any stage, be working with Peruvians- when working with anybody really- you must do what is right for your business. I think y’all as the young people can make people move. Because the fashion industry is for me is one of the greatest industries in the world, but some of the biggest polluters, but when something must be done, we are usually the ones that do it. So, you’ve repurposed denim in so many ways, we invented infrastructure, not just structure,

machinery, and everything else that can repurpose it in ways. Some are saying ‘bring back your clothes that are old and we’ll find something else to do with it.’ I’m talking about Stella McCartney here; I’m talking about as individual designers and lots of young designers working towards that. And the only way there’s going to be any change is through you guys. So, I think whilst we’re talking about sustainability, and we’re not going to take anything from China, if it’s been made by the Uyghur people that are in what they’ve called concentration camps, I don’t think the West is in the position to say absolutely anything about any of them. The reason why the Chinese output is that way is because you keep sending everything there get made, because it’s cheaper. So don’t come preach to us about sustainability, you’re the ones that won’t do the work in your own country. You’re not recognizing the wealth of what this country has because you’re the ones that exported out. So don’t be screaming other countries, human rights, when your level of human rights is shipped across the country, it was built on slaves. You can’t talk about people’s human rights when you colonize India, and then portray it as being practically the pits of the earth; ‘we’ve got to come here and teach them how to do things.’ And I think that rolls into sustainability; and then us wanting clothes, faster, cheaper, yesterday. That is doing more harm. Companies like Boohoo, when you found out that they were paying people four pounds an hour, you allow them to go out and do their own investigation when they’re still making decisions. So that’s my opinion on sustainability, the word. Because the places that do work sustainably, which I’ve seen in Ethiopia, in Myanmar and all the other places that we go to; the ones that I’m not doing it. It’s the worst. I just think that we’re just behaving like hypocrites.

Emily

What’s one piece of advice, you would give a small sustainable brand trying to expand into the UK luxury market?

Avis

Be careful how you use the word sustainable. I would tell the brand ‘Do not say it’s 100% sustainable’ because you can’t issue thread to sew something up to be sustainable. I think that we need to work on the design and make the design special because I think you can start with a sustainable cotton, but because you’re trying to save every scrap, you end up with a square. And at the end of the day, people want to wear clothes, number one to their body, but also so that they feel and look beautiful as well. So, if you are going to be a sustainable brand, even if you say the alpaca is all sustainable, then you are able to show why it is because of the way it’s grown or the people that work on it. Include the people because sustainability doesn’t come on its own. I think that there are aspects of what you can say is sustainable. But I want to be able to include the people that are involved in it. I think that shows a level of caring. And I think that’s when we’re talking about sustainability in the story that normally goes with it, is that it’s because we care about the planet, because we care about people. But you’ll never see the images of the people. I’m talking about looking at their hands and the way they work on things and whatever. Nothing sells more than when somebody feels they’re a part

of the story that I’ve just bought. You’re buying a product, but you’re also buying whatever this company is doing, as well. That’s the reason why almost every luxury brand is named after the family. Because you get the feeling that they’ve sat there, come up with these designs practically spend it on their own, for you to be a part of the world that they’ve attained and their creative bubble. But that creative bubble must just have words of this ‘has been made in Peru by female artisans,’ it’s got to be more than that. So, you’re telling a really good story, and that’s what people want.

Emily

Okay, those are all my questions. Thank you so much, this was so insightful. I love Peruvian artisan work. I went there a couple of years ago, in 2017, and I saw how the Indigenous women dyed and spun their yarn and it was super cool. I even wrote my personal statement to get into LCF about my trip to Peru.

Information and Consent Form for Interview Participants

Title of the report: Introducing Peruvian Brand MOZH MOZH, to the UK Luxury Market

Interviewee name and contact details: Avis Charles avis@avisgcharles.com

Hosting Institution: University of the Arts London College of Fashion

Background and Rationale

My business report discusses a plan to introduce Peruvian born brand, MOZH MOZH, into the UK market through a collaboration with MatchesFashion. Avis Charles Associates has worked with a plethora of luxury brands, that use their local culture & history in garment creation and collaborated with the United Nations to bring these brands into the forefront of a new luxury industry.

Aim of this research

As the CEO of Avis Charles Associates this interviewee will give me primary insight into the practices & strategies of bringing a luxury brand from an emerging market into the UK

FAQ

How much time will be involved?

Approximately 20 30 minutes How will the data and information collected be used? will use it in my business report as primary research into the business strategies of pitching a brand to a new market

Will the outcomes of the research be published? They will informally be published to TurnItIn Will my name or the name of my company appear in the research report? Yes

Consent

“I have read the Information Sheet and have had the details of the study explained to me. My questions have been answered to my satisfaction, and I understand that may ask further questions at any time.

I understand have the right to withdraw from the study at any time and to decline to answer any particular questions. I agree to provide information to the researcher on the understanding that my name will not be used without my permission. (The information will be used only for this research and publications arising from this research project.)

Agree Not Agree

agree/do not agree to the interview being taped. Yes

My name can be mentioned in this research study Yes

The name of the organisation I work for can be mentioned in this research study Yes

I understand that I have the right to ask for the audio/video tape to be turned off at any time during the interview. agree to participate in this study under the conditions set out n the Information Sheet.

Name: Avis Charles

Signed: AvisGCharles Date: 20 January 2022

Emily

Fashion Management-

Photos from (MOZH MOZH,

Sustainability

the

of Peruvian

with them in a

way

Reduce over production

consumption through slow fashion ideals of Made-To-Order system

» Annual Sustainability Report of

» Use Kering’s

(Environmental Profit & Loss)

that places a monetary value on the

Creative Concept/Idea

Reduce environmental impact of the textile

→

production industry by locally

ethically sourcing natural materials

Use innovative methods and materials to improve the lives of the people across the value chain

impact caused by a business (Kering, 2020)

»

environmental coalitions like The Fashion Pact, Fashion Revolution, etc. (The Fashion Pact, 2020)

Thank you!

Image References

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