CONTENTS
PG.1 Executive Summary PG.4. Introduction PG.5. Macro Economic Analysis PG.11. Brand Marketing Position PG.15. Competitors PG.22. Consumer Demographic PG.25. (4.1) Consumer Profile PG.27. Product Selection PG.30. Social Media and Influencer Marketing PG.32. (6.2) Influencer Marketing PG.35. Marketing Mix PG.39. (7.2) Visual Merchandising PG.41. (7.3) Campaigns PG.50. Proposed Strategy
BY HANNAH RIGBY
EXECUTIVE SUMMARY This marketing report will explore and analysis the current state of the luxury fashion brand Dolce & Gabbana, while also suggesting recommendations to help the brand improve during a time where it is beginning to decline. Throughout the report there will be relevant, insightful and considered research that will all come together to form a comprehensive evaluation of the brands current market condition, alongside any external and internal factors halting the growth of the brand. In order to thoroughly investigate the brand both primary and secondary research in the form of qualitative and quantitative data was collected. This included online articles, statistics on the brand through the use of Statista, interviews with consumers, SWOT and PESTLE analysis’, social media studies and consumer investigations
1
Overall, the research highlighted that Dolce & Gabbana is struggling to keep up with their other major competitors who are currently dominating the industry, and this may be due to these other brands being more appealing through some more fashion forward cwlothing or a more minimalistic approach. For Dolce & Gabbana perhaps taking a step towards a more minimalistic approach through their campaigns is a way to reach not only a younger demographic, but also may allow them to mold and reach the upcoming Asian market. The recommendations made come from the reflection of the state of Dolce & Gabbana; it is only from the weaknesses and strengths that they can improve and begin to once again dominate the fashion industry.
2
3
INTRODUCTION
Since Dolce & Gabbana founded itself as a luxury brand in 1985, it has been shown that the brands performance has begun to decrease over the two years as their turnover has decreased by 7.19 million Euros from 2016 to 2017 (Report Aziende, n.d.), juxtaposing with their previous years of a continuous increase. This report will explore some reasons for this slight decline through analysing the brand's economic state, consumer demographic, their social media and influencer marketing and competitors. The thorough exploration into the brand, will help to highlight what problems the brand may be facing, many of these problems being threats from competitors and Dolce & Gabbana’s controversies impacting their image. As the world of fashion continues to evolve, is Dolce & Gabbana failing to keep up with ever changing industry? As a brand which sticks closely to its original Italian roots, it may be time for D&G to expand its visions to reach a wider market. Adjusting the brands image is a recommendation that has been made in order to stop Dolce & Gabbana from entering a decline, as this may lead to a larger demographic buying into the brand, due to it becoming more appealing to them. The many different forms of research and analysis that have gone into the report which began at looking at what the brand is currently doing, their economics, competitors and social media has opened a range of paths to how the brand can improve. Furthermore, the strengths and weaknesses that have been highlighted throughout this marketing report, has helped to see which are the most important sections of Dolce & Gabbana that need to be improved upon. This brand marketing report will use in depth research to help understand more about Dolce & Gabbana and also highlight a number of recommendations that can be used to overcome some of the current problems that the brand is facing.
4
1. MACRO ECONOMIC ANALYSIS Similar too many over brands, Dolce & Gabbana’s economic performance often has depended on the state of the economy as a whole. A detailed PESTLE analysis, has indicated that fluctuations in the economy, also causes fluctuations on the brand, whether that be a rise or fall in sales, or being able to make new products and the quality of their campaigns and runway shows. Thus, always affecting the amount of money that Dolce & Gabbana makes as a brand. Statistics show that Dolce & Gabbana’s performance has begun to decrease over the two years as their turnover has decreased by 7.19 million Euros from 2016 to 2017 (Report Aziende, n.d.) On the contrary, there was an overall increase in their annual revenue since 2011; in another report, it is claimed that in the six years, Dolce & Gabbana's revenue increased by 659.47 million Euros, from 331.8 million in 2011 to 991.27 million in 2017. Furthermore, the brand’s revenue from sales also increased from 1.18 to 1.3 billion in 2017, this particularly being from retail sales which rose from 7.1% to 769 million (Scozzari, 2017).
5
Overall, this indicated that Dolce & Gabbana has had an extremely strong economic performance, which will hopefully continue to strengthen each year. Despite this, the PESTLE analysis also brought alight the economic consequences of negative publicity on a brand. For Dolce & Gabbana, their controversies can also effect their sales. A Business of Fashion article stated, "according to Bain & Company’s latest report on the luxury market, Chinese consumers account for an estimated 33 percent of global luxury goods spend, a share that is likely to hit 46 percent by 2025" (Hall,C., & Suen, Z. 2018). The future of a large amount of D&G's market heavily depends on the support of China and thus can hurt their string of strong economic performances.
6
Political
Fashion is now more globalised; fashion brands are now accesible to new markets, with Asia being one of them. When Dolce & Gabbana took an initial step towards reaching Asia, it backfired due to their racist comments. This highlights the profound importance of brands being politically aware when trying to access new markets, often there can be major social, economic and even legal consequences to not doing this.
Economic Brands, like all industries, depend of the state economy. Fluctuations in the economy also reflects the brand, perhaps impacting production and other brand aspects. On the other hand, for Dolce & Gabbana controversies can impact their sales. According to Bain & Company “Chinese consumers account for 33 percent of global luxury goods�, thus showing that the future of D&G’s market heavily depends on the support of China.
Social
7
The rise of social media means that brands are now heavily dependent on using social media to sell their brand. However, this has meant that brands need to advertise through influencers in order to promote their probduct as people are more likelt to buy from a company supported by a influuncer. Dolce & Gabbana have been using influencer to engage a younger demographic. Social media and influencers is now one of the most vital marketing ploys.
Technological
Fashion brands are now selling online, thus brands need to make sure theif websites are easy to use so sales continue. Brands are also trying to merge technology with fashion. Dolce & Gabbana sent drones carrying handbags down during their Autumn/ Winter 18 fashion show. The mix of fashion and technology shows how their is going be a major shift towards interlinking fashion with technology in the future.
Legal
Environmental
A large problem that comes with luxury brands, is counterfeit good. Although there are often illegal under trademark laws, many people still buy them, as they are a cheaper alternative to luxury products. However, it is likely that this is always going to be a legal problem fir luxury brands, as many places are still finding loopholes and continuing to make money on designer copies.
The fashion industry is one of the most polluting industries. Many luxury brands burn leftover probust as they do not want them to be devalued. Many brands are now stopping this e.g. Burberry. While others such as Gucci and Calvin Klein are becoming fur free. Dolce & Gabbana have made an ambiguous statement about their sustainability, indicating that they could still be behind on becoming a more environmentally friendly brand.
8
2. BRAND MARKETING POSITION Dolce & Gabbana have always had a strong market position, with their attachment to their brand image which consistently appeals to D&G's target consumers. It has allowed the brand to transcend through the through the fashion industry with their sleek and sophisticated clothing, while also being known to a wider demographic. Nevertheless, Dolce & Gabbana's continuous use of social media marketing strengthens their position. The brand continues to work with influencers and celebrities, therefore being able to reach new consumers through targeting those whom support those influencers. D&G have collaborated on campaigns with influencers such as Cameron Dallas and Ashely Graham – a major model who is working to change the societal views on plus sized. This social media and influencer marketing gives a large amount of exposure to the brand, thus allowing them to access new consumers, while also maintaining their strong brand market position. On the contrary, there are many weaknesses to Dolce & Gabbana, which may jeopardize their brand market position, including the controversies
caused by the owners and creative directors, Stefano Gabbana and Domenico Dolce. In the past, Dolce & Gabbana have been involved in controversies that have led to backlash against the brand, e.g. homophobic comments about same sex couples and calling IVF babies synthetic and racist comments about China after they released an insensitive advertisement targeting the major Chinese market and some of their past campaigns being portrayed as gang rape. All of these controversies have also led to the loss of consumers, something that holds major consequences for their market position. ww Nevertheless, there is still opportunities for Dolce & Gabbana to advance their current position in the market. By following in the footsteps of their fellow competitors, whom are also the brands biggest threats, Dolce & Gabbana could try to expand their consumer demographics - especially Asia, as Dolce & Gabbana’s average penetration rate of China in 2013 was only 1% (Credit Suisse, n.d.). The engagement of new demographics can allow Dolce & Gabbana to uphold and perhaps even rise past their current brand position.
Strenghts • Strong Brand Image • Use of Influencers • Range of products - both online and instore. • Strong Conntection to their origins.
• Expand their Geographical Markets e.g. Asia. • Expand their target demographic - to Milenials and Gen Z.
Opportunities
Weaknesses • Increased Liabilities - risk of furture financial hardhsips. • Controversies - led to backlash against the brand.
• Competitors - other brands at the forefront of the industry. • The Rise of Streetwear.
Threats 12
Dolce & Gabbana Competi
13
itors and Brand Positioning
14
3. COMPETITORS As a luxury fashion house, Dolce & Gabbana has many competitors. Therefore, making competitors one of the largest threats to Dolce & Gabbana. Although there has not been a noticeable decline in the brands business, the growth of the brand is starting to become stagnant. This is in comparison to Dolce & Gabbana's competitors, who are continuing to rise, despite the ever-changing industry. An example of this is Gucci; the revenue of the fellow Italian brand had a sharp increase of 51.97 million Euros between 2016 and 2017 (Report Aziende, n.d.), which could be due to the success of the brands new creative director Alessandro Michele who joined Gucci in 2015. The increase for Gucci juxtaposes Dolce & Gabbana's the fluctuation of revenues and turnovers describes in the macro economic analysis. Gucci, along with other competitors such as Louis Vuitton, Balenciaga and Saint Laurent are continuing to drive the luxury fashion industry, with many of their campaigns and runways being posted around the internet, and even becoming viral, e.g. Gucci FW 2018 show. The map positioning map visually compares where Dolce & Gabbana stands amongst their competitors through their price range and how heritage orientated the fashion brands are. With more and more brands beginning to develop with the technological changes and the evolving industry. Is the fact that brand is perhaps too closely linked to their origins, the reason why they may be the onset of falling behind their competitors?
15
16
High Pricing
Heritage Orientated
Fashion Foward
Low Pricing
17
18
GUCCI CRUISE 18
19
VERSACE SPRING 18
AMOUNT OF INSTAGRAM FOLLOWERS (MILLIONS)
COMPETITORS INSTAGRAM FOLLOWERS
35
32.4
30 23.9
25 20
19.7 16.7
15 8.7
10
5.7
5 0
Dolce & Gabbana
Gucci
Versace
Saint Balenciaga Laurent
Dior
COMPETITORS
20
21
4. CONSUMER DEMOGRAPHIC The Dolce & Gabbana’s consumer demographic, similar to other luxury fashion brands, are often females. Yet, there are still men buying into the brand. It is thought that Dolce & Gabbana is seen with a positive outlook by consumers under the age of 35, with a large amount of support coming from 16 – 34year old’s, which the brand seems to be aiming many of their recent campaigns too, especially with the use of social media influencers. However, consumers over the age of 45 highlight the brands quality and classic clothing and brand image, highlighting the brand is still appeal to an older consumer. On the other hand, the is a high number of consumers who hold a negative portrayal of the Dolce & Gabbana, with some consumers characterising the brand as disappointing and overrated, compared to other luxury brands (Designer Fashion - Brand Research, 2015).
22
Current Consum
23
mer Demographic
24
4.1 CONSUMER PROFILE A Dolce & Gabbana consumer would typically have a disposable income estimated between ÂŁ15,000 to ÂŁ50,000 + (Designer Fashion - Brand Research. 2015). This higher income bracket infers that the consumer perhaps has a more affluent job that allows them to reach this income. It can be assumed that the brand consumer will often take both city and beach holidays, perhaps to locations such as Paris, Milan and even the Caribbean. 25
Nevertheless, looking through Dolce & Gabbana's tagged Instagram posts creates a public profile of the generalised consumer. There was posts from a mix of middle aged and millennial people posting their Dolce & Gabbana purchase. Some D&G tagged were created by European women, with many being Eastern European, mixed with the occasional male. Often, Dolce & Gabbana was not the only designer brand that was tagged, thus indicating that Dolce & Gabbana consumers often buy from other luxury clothing brands and then one can again infer that many of these people have high earning jobs, which allows them to have a disposable income.
26
5. PRODUCT SELECTION Dolce & Gabbana have a wide range of products, ranging from clothing, shoes, bags and accessories to beauty products and fragrances. When analysing the products and their prices, it is undeniable that the consumer has a somewhat disposable income, due to the most expensive item on the website being £27, 500 for a watch and the cheapest costing £155 for a wallet. A Flannels employee in Liverpool, which has a section dedicated to Dolce & Gabbana, stated that “the most popular Dolce & Gabbana products in this store is their clothing and handbags, not their shoes”. Juxtaposing this statement, Dolce & Gabbana are focusing on their shoes, perhaps to increase their popularity. They have created a range of shoes that can be personalised by the customer with their ‘#DGYOURSELF’ section on their website, that includes ‘#DGPATCH’ trainers and slides ranging from £485 to £245 (Dolce & Gabbana, 2019). This range follows on from the brands pop-up store in Mexico City that allowed customers to customerise the Sicily handbag with hand-painted designs for #DGLovesMexico (Designer Fashion - Launch Activity and Innovation. 2017). Dolce & Gabbana may be focusing more on personalised ranges in order to create a stronger and more personal bond with their customers, while also creating products that will appeal to a younger demographic. 27
28
29
6. SOCIAL MEDIA AND INFLUENCER MARKETING 6.1 SOCIAL MEDIA Dolce & Gabbana can be found in most social media platforms, including Instagram, Twitter, Facebook and YouTube. Through these accounts the brands are able to advertise and market their products, but also create a personal bond with their customers, as they are able to keep up with Dolce & Gabbana. Instagram is Dolce & Gabbana’s most popular social media, with 19.7 million followers (Instagram, 2019) – 19.2 million more than their smallest social media YouTube, that only has 338, 908 subscribers (YouTube, 2019). This is not an unusual pattern for brands, as Instagram allows them to visually communicate their brand image to the public. Dolce & Gabbana have a high engagement on their Instagram, as it is estimated that their daily average of followers is around 4000, and the brand systematically posting 3 images per day. Although, it is YouTube that has the least number of followers for Dolce & Gabbana, it is here that they post their full video campaigns, behind the scenes of the brand and full runway shows. Dolce & Gabbana shows how imperative the use of social media is for a luxury fashion brand. With the increasing growth of technology and social media, it is vital that the brand continues with the use of social media, as it allows Dolce & Gabbana to reach a large audience.
30
31
6.2 INFLUENCER MARKETING Since 2016, Dolce & Gabbana have been making strong bonds with influencers and through featuring them in many of their campaigns and runway shows. By using social media influencers, brands are able to increase social media engagement, as they become more appealing to supporters of the influencers and increasing the likelihood of buying from the brand. For Dolce & Gabbana, the heavy use of influencers has meant that the they had one of the most engaged with social media due to them using Cameron Dallas in their many of their campaigns. Dolce & Gabbana had 742, 342 action per post, following behind Celine’s 1, 182, 087 actions per post with Kim Kardashian (Exane. n.d.). Furthermore, with the use of Emilia Clarke and Kit Harrington in their campaigns, it led a sharp increase in the amount of views on their YouTube, as “The Only One – The Film” featuring Emilia Clarke had 519k views, juxtaposing with the other videos which have an overall average of 10k views. This indicates the importance of influencer marketing, as it targets a much larger demographic and thus more consumers.
32
33
Current Social Media/Influencer Marketing/ Marketing Mix 34
7. MARKETING MIX
PRODUCT Dolce & Gabbana have products for Women, Men and Children, with their products ranging from clothing, footwear and handbags to watches and jewellery. The brand has also collaborated with Italian Domestic Appliances company Smeg, to create a range of home appliances that fit in with the brand image. A make-up line was launched in 2009 and continues to sell popular fragrances such as Light Blue.
PRICES Dolce & Gabbana is a luxury fashion brand, thus their prices fit with this title. The most expensive item on the brands website is ÂŁ27, 500 for a watch and the cheapest being ÂŁ155 for a wallet (Dolce & Gabbana, 2019). These expensive prices compliment the high quality of the products. Yet, the prices are also due to the brands celebrity and influencers endorsements, which bring major publicity to the brand.
35
36
PLACE Overall, there is around 222 Dolce & Gabbana monobrand stores across 41 different countries (Hoang, L, 2016), but the brand makes sure to keep the number of stores controlled in order to keep exclusivity. Dolce & Gabbana can also be found on different E-Commerce sites and luxury department stores including Harrods and Net-a-Porter. The brand has opened different popup stores in Dubai, Mexico City and Vietnam to promote their products. This not only makes people want to visit an exclusive store, but it also reaches new demographics, perhaps leading to new consumers.
37
PROMOTION Dolce & Gabbana uses a range of different communications in order to promote their brand. With the rise of social media, the brand focuses on promoting on platforms such as Instagram, Twitter, Facebook and YouTube allowing Dolce & Gabbana to promote to an ever-increasing group. More celebrities and influencer are now promoting the brand, which is appealing to a much wider audience. However, the brand continues to use print promotion in magazines, as this is still a major market. On the other hand, Dolce & Gabbana’s controversies have led to lots of the publicity. Although, there has been backlash against the brand, people still hear about the brand through this publicity.
38
7.2 VISUAL MECHANDISING For Dolce & Gabbana, it is imperative that they have a strong visual merchandising to make sure that their store consistently fit with the brand image. The brand wants to make the store an exciting experience, thus creating almost setlike instore layouts that will create a sense of curiosity and excitement for the consumer, making them want to visit. Over the Christmas period, in Milan the brand recreated Sicilian Markets in their store and a window display inspired by Sicilian puppet theatre. Furthermore, the window displays of Dolce & Gabbana stores is also greatly important, as this is the first impression of the brand that a consumer gets. Dolce & Gabbana often change their displays in order to keep up with the changing seasons but also to keep consumers entering the store. Therefore, indicating the emphasis that the brand puts on visual merchandising and how it is a major strength of Dolce & Gabbana.
39
40
7.3 CAMPAIGNS Dolce & Gabbana’s campaigns have changed drastically, from sleek and minimalistic, to an ultra-decadent and almost elitist style. Since 2016, the brand has been using social media influencers in their campaigns in order to target a younger demographic while also keeping up with the rise of social media in the fashion industry. The has been a move to social media to promote their campaigns through short Instagram clips or full video on campaigns on YouTube, rather than a focus on print, although it is still a continuous part of the brands promoting.
41
42
43
44
Dolce & Gabbana has created a new bond with their Italian heritage and basing their campaigns around the Sicilian lifestyle. They have moved away from using one photographer, to now around eight to capture their vision on Dolce & Gabbana. This has led to images including both models, influencers and Italian locals, far from their once minimalistic style.
45
This major change in their campaign style perhaps was due to Dolce & Gabbana wanting to create a connection between their consumers and nonluxury consumers, while also appealing to both a young and old demographic.
46
47
“The super gang rape-y ad that the decided was a good idea... ensured that I would never buy from them again. Its been over 10 years and that’s still all I think about when I hear ‘Dolce & Gabbana’.” 23, US.
“They are racist towards Chinese/ Asian people. Will never buy from them.” Female, 25, US.
48
49
8. PROPOSED STRATEGY Dolce & Gabbana’s campaign strategy is perhaps hindering their growth as a brand, as over the past two years, the brands turnover has decreased by 7.19 million Euros. In the past, the campaigns often took a more minimalistic approach, with many images being in black and white, leaving a focal point on the clothing and the models. However, the brand moved away from this, to create fun, colourful and Italian oriented style campaigns. Currently, there is a juxtaposition in the campaigns between the traditional Sicilian lifestyle and the new social media influencers that are being featured. Although, the direction may be to merge new and old traditions, it is hard to see who their target demographic is. The rise of social media has meant that it is easier for campaigns to go viral, enticing new consumers to the brand. It is possible for Dolce & Gabbana to use social media to appeal to new consumers, through creating a more minimalistic approach to images, merging technology into their film campaigns and recreating this in store, to make more people want to come to their stores as well as online shopping.
50
Dolce & Gabbana could incorporate technology into the brand, which is something they have begun to do with the use of drones in their A/W 18 runway show. To do this they could create a campaign film based around a video game with the end goal being reaching the Dolce & Gabbana store. This game, set in Milan, could then be made into an instore experience through VR technology that can be played by consumers. Not only is this merging fashion and technology, it can also result in viral marketing across social media, that can lead to is reaching new geographical demographics such as Asia. It was reported that in 2013, Dolce & Gabbana only penetrated the Chinese market by 1% (Credit Suisse, n.d.), indicating a major gap in their consumer market. The use of a video game is appealing to a younger and Asian demographic who may be more excited with the linking of fashion and technology, while continuing to appeal to an older and western demographic through the continuous use of an Italian setting and the clothing staying in the same style. Fashion films are becoming increasingly important, and brands such as Gucci are creating films to go alongside each campaign. It is partly thanks to these viral campaigns, that Gucci has 12.7 million more Instagram followers than Dolce & Gabbana (Instagram, 2019).
51
For Dolce & Gabbana, this will mean they could be at the forefront of fashion film, alongside their competitors rather than falling behind them, especially when the engagement on video posts on Instagram is higher than images. Many of Dolce & Gabbana’s video posts having an average of 100,000 views and 20,000 likes. Without moving away from their current campaign direction, they could reduce the amount of people that feature in each image. Thus, making it easier for people to view the clothing and the models. Through using this approach, Dolce & Gabbana could not only be reaching new major markets like Asia, but also continue to target both a young and old demographic. Reducing the number of models in their images, will mean that people there is a focus on the clothing and models, rather than surroundings around them. Furthermore, viral marketing could result in a wider audience engaging with the brand.
52
Hannah Rigby Dolce & Gabbana Future Recommendati
53
ions - Change the Art Dwirection of the D&G Campaigns
54
Proposed Consum
For Dolce & Gabbana demograhic, they could c western markets, while a the Asia markets, such By doing this, Dolce & their brand into Asia Asian cr Furthermore, Dolce appeal to wealther older continue to work with younger consumer demo reach the audience
mer Demographic
a’s proposed consumer continue to target major also trying to break into h as China and Japan. & Gabbana could expand a and work with more reatives. e & Gabbana can still r demograohic, but also h influencer to reach a ographic and appemt to e of the influnecers.
Proposed Social Media/ Infleun
57
ncer Marketing/ Marketing Mix
58
REFERENCES
Credit Suisse. (n.d.). Average penetration rate* of fashion brands in China in 2012 and 2013. In Statista - The Statistics Portal. Retrieved February 23, 2019, from https://www-statista-com.hallam.idm.oclc.org/statistics/372779/chinese-penetration-rate-of-fashion-brands/. Designer Fashion - Brand Research. (2015). Retrieved on February 10, 2019, from http:// academic.mintel.com/display/754870/?highlight#hit1 Designer Fashion – Launch Activity and Innovation. (2017). Retrieved on Februaury 10, 2019, from http://academic.mintel.com/display/866517/?highlight Dolce & Gabbana. (2019). Retrieved from https://www.dolcegabbana.com/ Exane . (n.d.). Number of social media actions generated per post by top luxury brand influencer during 1st quarter 2017. In Statista - The Statistics Portal. Retrieved February 23, 2019, from https://www-statista-com.hallam.idm.oclc.org/statistics/246866/luxury-brand-social-media-buzz-top-influencers/. Hall, C., & Suen, Z. (2018). Dolce & Gabbana China Show Cancelled Amid Racism Outcry. In Busines of Fashion. Retrieved on January 28, 2019, from https://www.businessoffashion.com/articles/news-analysis/racism-accusations-force-dolce-gabbana-to-cancel-chinese-fashion-show Hoang, L. (2016). Dolce & Gabbana’s Local Retail Revolution. Retrieved from https:// www.businessoffashion.com/articles/news-analysis/dolce-gabbanas-local-retail-revolution Instagram. (2019). https://www.instagram.com/dolcegabbana/?hl=en Instagram (2019). https://www.instagram.com/gucci/?hl=en Instagram (2019). https://www.instagram.com/versace/?hl=en Instagram (2019). https://www.instagram.com/ysl/?hl=en Instagram (2019). https://www.instagram.com/balenciaga/?hl=en Instagram (2019). https://www.instagram.com/dior/?hl=en Report Aziende .(n.d.). Turnover of the Italian luxury fashion company Dolce & Gabbana between 2011 and 2017 (in million euros). In Statista - The Statistics Portal. Retrieved January 27, 2019, from https://www-statista-com.hallam.idm.oclc.org/statistics/675280/ turnover-of-italian-company-dolce-and-gabbana/
59
Report Aziende . (n.d.). Revenues of the Italian luxury fashion company Guccio Gucci between 2011 and 2017* (in million euros). In Statista - The Statistics Portal. Retrieved February 23, 2019, from https://www-statista-com.hallam.idm.oclc.org/statistics/676699/ revenues-of-italian-company-guccio-gucci/. Scozzari, C. (2017). Affari d'oro per Dolce & Gabbana. E loro si premiano con un super dividendo da 70 milioni. In Business Insider Italia. Retrieved from https://it.businessinsider.com/dolce-gabbana-fanno-festa-la-dg-stacca-per-loro-un-maxi-assegno-da-70-milioni/?refresh_ce YouTube. (2019). https://www.youtube.com/channel/UCnsNsFAFPvFwpbaHJf2JtCQ
IMAGE REFERENCES
https://www.dolcegabbana.com/ https://www.icanstyleu.com/dolce-gabbana-sneaker-pop-up/ https://www.vogue.com/fashion-shows/designer/dolce-gabbana
60
61