Wes Anderson x Lacoste Marketing Project

WE S A NDER S O N x L AC O S TE

L AC OS TE P RO M OT I ON A L S TR ATEGY R EPO R T W ES AND E RSO N x L AC OS T E FASHI O N B R AN D M A RKE TIN G & P ROM OT I O N FAS H 3 0 0 61 J EN NY THA I | N 0 6 4 5 2 5 5 WOR D C OU N T : 3 ,2 91 i

i 01 11 21 29 39 43 ii

C ONT EN T S I NTROD UC T I ON T HE C OL L ABOR AT I ON M A RKET A N ALYS I S S T RAT EGY E XE C U T I ON C ON CLUSION F UR T HER IN FO R M AT I O N iii

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Chapter 1 INTRODUCTION 2

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Fashion advertising is becoming obsolete.

“Isn’t it weird that in a zapping society, fashion ads are betting on the same horse, stability and repetition? The pages seem so much alike that it is rather difficult to read the various brand values. The same clothes, more or less, are used in the editorials that are heavily art directed by the economy of advertisements; a new brand has little to no chance to be featured. Halting the progress of the fashion economy that used to hunt for the new and exciting. (…) Online will become the place to be, yet so far, the world of clothes has lagged behind the music and image industries. Product endorsements by bloggers are the latest way to speak up about a brand, coaching young writers into a dependence on designer drugs, such as shoes, bags and clothes. All in an obsolete system managed by a tired group of individuals and agencies, fatigued by the industries of beauty and clothes. Failing fashion in quite an obvious way.”

(Edelkoort, 2015) 3

LIDEWIJ EDELKOOR T

Trend Forecaster & Founder of Trend Union 4

fig. 1.1

I

n recent years, a paradigm shift has affected

on-demand screening. This suggests that moving

the advertising landscape within the fashion

imagery and film may be overtaking traditional

industry. What used to be regarded as an

editorials and campaigns. As the fashion industry is

innovative and forward-thinking industry,

dominated by speed and cost, it is crucial to maintain

has lost its lead, partly due to its outdated

a relevantĂĽ position by implementing a pertinent

marketing and advertising efforts (Edelkoort,

branding strategy. This report will investigate the

2015). As Edelkoort (2017) outlines in her BoF Voices

opportunity for Lacoste to expand their consumer

speech, today’s customer is consuming several

base by exploring nostalgia and cinematography in

images at the same time due to social media and

collaboration with Wes Anderson.

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About Wes Anderson Wes Anderson (fig. 1.1) is an award-winning

rectilinear, and overhead shots are part of Anderson’s

American movie director with a distinctive and

signature style. His meticulously designed storylines

quirky cinematographic and narrative style (No Film

feature nostalgic elements and explore myriad

School, 2018). Particularly his striking colour palettes

dysfunctional relationships (Honest Trailers, 2018).

(fig. 1.2) have proven to be highly influential across various industries.

Characteristics of a Wes Anderson film

Lacoste in The Royal Tenenbaums The Royal Tenenbaums is a movie that was co-written

Anderson’s movies have a dollhouse-like aesthetic,

and directed by Wes Anderson (imdb, 2001). The

inviting the viewer into a whimsical and highly-

film explores the theme of a dysfunctional family.

detailed world filled with unique characters and a

It follows the lives of three highly gifted siblings –

rich storyline (Screen Prism, 2018). The utilisation of

Margot, Richie, and Chas Tenenbaum – and their

a wide-angle lens in combination with symmetrical,

struggles and disappointments in adult life.

fig. 1.2

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SHE WAS KNOWN FOR HER EXTREME SECRECY 7

About Margot Tenenbaum Margot is Royal Tenenbaum’s adopted daughter

Although is widely assumed that the appearance of

who is a chain-smoking literary genius, played by

the Lacoste dress is a product placement strategy,

Gwyneth Paltrow (fig. 1.3). Margot has a distinctive

Karen Patch, the movie’s costume designer, denied

signature look that she maintains as she grows up.

(Elle, 2014). In fact, the costume was specifically

Contradictory to her rebellious character, she is

designed for the film and Anderson was adamant

dressed in conservative pieces, including a mink coat

about featuring the Lacoste logo. According to

and Lacoste tennis dress. Due to her nonconventional

WGSN (2015), “Margot’s look has been a central

character and style, she is reflecting Lacoste in a

inspiration behind many fashion editorials to date,”

pertinent way, offering the opportunity to utilise her

further highlighting Anderson’s influence within

and the movie as a further representation of the brand.

creative industries.

fig. 1.3

8

9

AIMS & OBJECTIVES The aim of this report is to outline a potential collaboration between Lacoste and Wes Anderson that enhances Lacoste’s branding and widens the female consumer base.

OBJECTIVES • To develop a marketing strategy pertinent for Lacoste, attracting a female cross-generational consumer base • To suggest a potential collection in line with Anderson’s The Royal Tenenbaums • To outline a strategic timeframe, aligning all essential marketing elements

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Chapter 2 THE COLLABORATION 12

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n order to attract a wider female consumer base for Lacoste, it is proposed to undertake a collaboration with Wes Anderson in 2021 to honour the 20th anniversary of The Royal Tenenbaums. The collaboration includes an exclusive Tenenbaum collection along with

a two-part spin-off of The Royal Tenenbaums. This short film, written and directed by Wes Anderson, introduces the character Renée Tenenbaum, Margot’s and Richie’s daughter, who is wearing Lacoste clothing throughout all stages of her life.

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ANALYSIS “Collaborations are very important to Lacoste because they help us reach a new, younger audience. Partnering with different designers and brands positions Lacoste as a fashionforward, relevant brand.” Jöelle Grünberg, president and CEO of Lacoste North and Central America (Footwear News, 2018).

Collaborations: Film and Fashion Collaborations are defined as “a product, collection,

or Gloria Swanson, they started emulating them” (NY

or brand emerging from an alliance between at least

Post, 2017). Numerous brands have hired well-known

one fashion brand or designer, and another entity”

filmmakers as advertisers, pushing the evolution of

(Cope & Maloney, 2016). Since collaborations mimic

the still fashion image into a moving storytelling space

the creation of a third brand, they allow increasing

(Khan, 2012), such as Nick Knight, with the launch

visibility to a different audience. As a result, it is crucial

of ShowSTUDIO (ShowSTUDIO, 2018). Within the

that all brand values are in harmony. Collaborations

middle-market, retailer H&M is dominating, working

between film and fashion follow an organic nature,

with filmmakers, including Wes Anderson and Baz

as according to film and fashion historian Truhler,

Luhrman (Refinery29, 2017). Applying storytelling as

“movies have been influencing fashion since the

a marketing tool is a strong strategic move, as it is “a

beginning. When people [first] saw these moving

fundamental human experience that unites people

images of actresses [such as silent stars] Mary Pickford

and drives stronger, deeper connections” (Forbes, 14

2018) and therefore, holds high potential to create

the number of collaborations is significantly smaller.

engaging content. In fact, Lewis’ AIDA model (1898)

Successful examples include Brooks Brothers and

(fig. 2.1) can be applied effortlessly (see Grose,

The Great Gatsby, creating a 20s inspired range

2012), as a film is easily grabbing the customer’s

as well as working on the film’s costumes together

attention, evoking interest due to the storytelling and

(NY Post, 2017) and Banana Republic and Mad Men

visual aspect and creating the desire to be similar

(Cosmopolitan, 2013), collaborating three times to

to a certain character or part of the same world,

design mod-inspired collections. It is striking that in

resulting in the action of purchasing a tangible

both cases, vintage styles are involved, strengthening

product. However, when moving from content

the feeling of nostalgia.

creation to product development or merchandise,

Awareness

A I D A fig. 2.1

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Interest Desire Action

NOSTALGIA noun a sentimental longing or wistful affection for a period in the past. synonyms: wistfulness, longing/yearning/pining for the past, regret, regretfulness, reminiscence, remembrance, recollection, homesickness, sentimentality Nostalgia as a Marketing Tool Nostalgia is a powerful emotion that has shown

tool, and the highly popular #throwbackthursday

to create a sense of optimism and human

(#tbt) hashtag (Hootsuite, 2014). A nostalgia-

connectedness. Although it may be initially triggered

infused marketing strategy is frequently implemented

by negative emotions, the wistful contemplation of the

in line with anniversaries, for instance Coca Cola’s

past is scientifically proven to counteract loneliness

100-Year Campaign, starring icons, such as Marilyn

and anxiety, projecting a brighter future (The New

Monroe and Elvis Presley (Business Insider, 2015).

York Times, 2013). Especially when observing social

Besides, a study has found that the heightened

media, which itself is constructing seamless and

optimism associated with nostalgia decreases price

borderless connections, a nostalgic trend can be

sensitivity, leading to an increased willingness to pay

detected. This, for instance, becomes evident through

a premium price (Lasaleta, et al., 2014).

vintage filters on Instagram, the Facebook memories 16

RATIONALE Aesthetically pleasing: Brand Stories Considering various elements, a collaboration between Lacoste and Wes Anderson seems of harmonious nature. From an aesthetic point of view, the shared timelessness, quirkiness, and whimsy feelings of both parties are striking. Anderson’s distinct render and use of art nouveau-like colours are suitable for Lacoste. Furthermore, both parties hold a certain cult status, differentiating themselves

as a tennis brand. Thirdly, this film allows the crossover of the two metropoles Paris and New York.

It provides an urban setting, pertinent for Lacoste’s sporty elegance aesthetic. Additionally, Anderson has been residing in Paris for several years and is filming his upcoming 10th feature film in Angoulême in France (The Independent, 2018). In summary, both Anderson and Lacoste share a wealth of commonalities that propose a successful partnership.

from the mainstream environment. This suggests that both brand essences are compatible. In addition, The Royal Tenenbaums has created a suitable foundation

Nostalgic Marketing Strategy

for this collaboration. This is firstly achieved through

Nostalgic marketing serves as a suitable basis for

the character Margot and the polo dress she is

the collaboration. A framework can be built, based

wearing, highlighting the fact that Lacoste are not

on the cult status of both parties. While some may

required to diversifying their offering. Instead, they

argue that the film is too niche, the movie’s existing

are given the opportunity to target their female

fanbase is likely to include influencers and celebrities,

consumer base that is currently being neglected

which class as innovators and early adopters

despite existing collections. Secondly, the character

following Roger’s Diffusion of Innovations theory

Richie is a professional tennis player. This, therefore,

(fig. 2.2). According to Roger (1983), groups can

shows another potential connection point for Lacoste

be divided into six types, defined by the acceptance

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of newness (see Easey, 2002). In fact, actress Amy

Lacoste’s

Schumer has stated that The Royal Tenenbaums is

This may add to the collaboration’s ‘stickiness factor’,

among

a concept introduced by Gladwell, making ideas

her

favourite

movies

(Time,

2016),

popularity

memorable

and

market

(Gladwell,

positioning.

suggesting that her influential reach, among others,

more

2002).

Lastly,

would have a positive effect on the collaboration.

the likelihood of Anderson agreeing on the

Creating a nostalgic and vintage-infused collaboration,

collaboration is greater, due to past contact and the

celebrating the film’s 20th anniversary will induce

evoked feeling of nostalgia.

additional and free PR from many sides, ameliorating

Early Majority Late Majority Early Adopters

Laggards

Innovator

fig. 2.2

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SUMMARY Collaboration Message

Collaboration Aim

Celebrating Lacoste’s and Wes Anderson’s whimsical

To reward and increase the loyal following of Wes

nature and cult status by combining elements of

Anderson while widening Lacoste’s female consumer

nostalgia and heritage.

base.

Collaboration Benefits

Lacoste

• Attracting the female target group • Tapping into Gen Z and the Millennial group

• Increased international viewership from all ages

• Additional generated publicity

• High-quality merchandise

• Relevant storytelling to enhance brand

• Possible future support for movie costumes,

• Increased brand personality • Potentially increased popularity of the brand

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Wes Anderson

potentially financial support • Rewarded loyal fanbase

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Chapter 3 MARKET ANALYSIS 22

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T

fig. 3.1

he

Millennial

Generation,

born

hue (The Guardian, 2017). Besides, it symbolises a

between 1982 – 2000, is a global

movement within gender-fluidity (Guardian, 2017).

generation,

by

The colour’s origin is said to be Wes Anderson’s

(WGSN,

2014 film The Grand Budapest Hotel (Peclers Paris,

vastly

technological Within

advances

age,

2018). In the preceding year, Pantone have named

millennials develop nostalgic feelings

Rose Quartz, a soft pink, and Serenity, a muted

for familiar childhood brands from an early stage,

blue, the colours of the year 2016 (fig. 3.1) – both

due to ubiquitous information and choice (WGSN,

colours that are dominant in Anderson’s The Grand

2016). Current economic circumstances are further

Budapest Hotel (fig. 3.2) (The Guardian, 2017).

shaping this generation’s drive to seek a break

In fact, according to The New York Times (2014),

from reality. According to Deloitte (2018), 51% of

Anderson’s influence can be observed within the

millennials believe their financial situation will be

entire Millennial generation, ranging from décor

worse than their parents, highlighting the unstable

to themed marriages to music and fashion. He is

future of this generation. As a result, ‘dream worlds’

further described as “THE director of the Millennial

resonate with this generation. Another manifestation

generation” (Peclers Paris, 2018). To conclude,

is “millennial pink”, a pastel shade of pink that is

Anderson’s dream worlds are resonating with

particularly popular on social media and has even

Millennials, offering them a rosy, nostalgia-infused

driven the popularity of rosé wine due to its soft

escape from reality.

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2012).

shaped

this

digital

fig. 3.2

Björn Agency, concurs (see Appendix A). While it seems that many mothers want to dress their children like themselves, she has noticed a difference with Scandinavian brands. Scandi styles are especially popular among mom bloggers, due to their unisex designs and colourful aesthetic that is not adhering to stereotypes (Scandi Mummy, 2015). As a result, Scandi clothing “takes your kids’ style up a notch, with their awesome designs, soft and comfy fabrics, sustainable materials” (Nordic Design, 2018).

According to Passchier, demand can be observed in this particular market, with mothers wanting to “dress in the clothes their children wear, comfortable and colourful” (see Appendix A). This highlights the mutual influence between the womenswear and

The Millennial Mother

childrenswear markets. Particularly when it comes to unconventional styles, in this case, expressed through

According to Pew Research Center (2018), in the

the unisex aspect and non-stereotypical colour

US alone, over a million Millennials are becoming

scheme, the clothing that millennial mothers are

mothers every year. Furthermore, as of 2018, there

purchasing for themselves is highly influenced by their

are nearly 18 million mothers in the UK (Saatchi &

children’s clothing. As the Wes Anderson and Lacoste

Saatchi, 2018). As a result, childrenswear is driving

collaboration follows a quirky and unconventional

growth within the apparel sector (Mintel, 2017). It

nature, it suggests that using a younger character for

is estimated that in 2017, it has increased its share

representation would appeal to the target customer

of the overall apparel market to 14% while still

and may further induce a feeling of nostalgia.

being a growing focus for retailers. Especially social

Simultaneously, the younger generation (Generation

media is driving the ‘mini-me’ trend of matching

Z) may identify themselves with the character due to

outfits for mothers and their daughters (Business of

the similar age. All of these aspects go hand-in-hand

Fashion, 2018). Martine Passchier, co-founder of

with Lacoste’s family aspect.

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TARGET CUSTOMER The collaboration targets the older female Millennial

series. Regarding social media, Instagram is by far

generation. This target customer has higher spending

her favourite outlet. She has a passion for pleasing

power and values high quality as much as comfort.

aesthetics and likes to share images of all aspects

She is family-oriented and the mother of a young

of life, from creative side projects, and travel, to her

daughter. Outside of her part-time office job, she

friends and family. She particularly enjoys connecting

likes to be creative and active. She enjoys visiting

with her fun and carefree side by picking out matching

galleries, watching movies and engaging in sports,

outfits for her and her young daughter. Raising her

such as tennis, with her friends and family. A lot

daughter to be a strong, independent and creative

of her style inspiration comes from movies and TV

character is her most important aim (fig. 3.3).

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fig. 3.3

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KEY COMPETITORS The collaboration would put Lacoste in competition with current competitors as well as other high-end brands that are focusing on the mini-me trend (fig. 3.4).

high price

timeless

27

trend-led

low price

fig. 3.4

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Chapter 4 Strategy Execution 30

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MARKETING MIX To ensure a well-rounded implementation of the collaboration, its execution will be outlined following the extended marketing mix. The marketing mix is described by Easey as: “the combination of elements that a fashion marketer offers to a target market. It comprises decisions made about products, prices, promotion, services and distribution that are assembled in a coherent manner to represent the firm’s offering to the consumer” (Easey, 2002).

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Product

The Film

Within the collaboration, two products are created: a

A two-part short film will be produced. The first film will

Wes Anderson collection and a short film. By combining

be solely underlined by music, inspired by ‘Margot’s

tangible and intangible products, a stronger concept

backfile’ in the original movie, and is based in Paris,

can be created and marketed to the customer. Both

showing Renée Tenenbaum growing up. Ideally, this

elements are infused with nostalgia, due to which

short film of three to four minutes in length could

more trust is created immediately. Ton increase interest

be cut into shorter pieces and used alternately when

and excitement, two releases are planned.

advertising, especially on social media outlets, such as Instagram. Simultaneously, this can be transformed into a YouTube series, a pertinent outlet with high

The Collection

shareability and one of the preferred social media channels of Millennials and Generation Z (Business

The collection is drawing inspiration from the original

Insider, 2018). It further gives the opportunity to show

movie. As a survey has shown (see Appendix B), the

supplementary videos of interviews and making-offs.

majority of participants are currently not as receptive

The second part of the spin-off, similar in length,

to wearing tennis dresses. To manage risk and

would show Renée Tenenbaum in New York, visiting

balance commerciality, it is proposed to include other

all the places that appear in the original movie, and

styles and accessories in the collection, such as skirts,

ending with a Tenenbaum family reunion in front of

shirts, bags, and other styled dresses. Corduroy may

Royal’s grave. Following the beforementioned AIDA

further be included as it is famously one of Anderson’s

model, producing a short film may already provide

favourite materials (GQ, 2018). In terms of polo shirts,

customers with an experience and making them

the option will be given to customise the shirts with

more comfortable and receptive into purchasing the

icons inspired by the movie, such as the characters

projected idea.

heads, a tennis racket, or the Tenenbaum flag. As this embroidery option can be widened to the menswear section, it gives the opportunity to test the demand for a male Wes Anderson collection.

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Price It is suggested to retail the collection at 15% above the current retail price. This is taking affordability into account, a concern many survey respondents have expressed when questioned whether they would be interested in purchasing from a Wes Anderson clothing line (see Appendix B). Simultaneously, Lacoste’s premium pricing strategy, the cost of this collaboration, and the exclusivity and potential popularity of this collaboration is taken into account.

Good, better, best Applying a good, better, best strategy, this would place the Wes Anderson collection into the ‘better’ category.

Furthermore, the option of customisation (fig. 4.1) may be offered for an additional price, moving those products into the ‘best’ category.

Promotional Discount To further consider the mini-me trend, a promotional discount may be introduced when matching adult and children’s wear items are bought together, as well as a monogramming service.

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fig. 4.1

Place The Collection

The Film

The collection will be available both online and in

The short film will be released in two parts. To attract

deparment stores and A-graded stores worldwide.

the right audience, it will be accessible on YouTube

Offering the dresses online is pertinent due to the

and shown as cinema advertising in independent

customisation option. The flagship stores in Paris

cinemas. Cinema advertising is particularly powerful

and New York may be turned into a The Royal

here, as it can target the right audience based on the

Tenenbaums-inspired space, featuring props, such

movie that will be shown. Furthermore, it is captivating

as a tent (fig. 4.2) and record players. The aim is to

as watchers are undistracted (ASG & Partners, 2018).

create an instagrammable location that will attract Wes Anderson fans and particularly Millennials, as one in four millennials are inspired to go to certain destinations purely due to its ‘Instagrammability’ (WGSN, 2017).

fig. 4.2

34

34

Packaging

Promotion

Exclusive packaging will be produced for this

A promotional strategy will be implemented in line

collaboration. This includes a clothing box in form

with the collaboration’s timeline. To reach the target

of a matchbox, inspired by Margot’s smoking habit

audience, social media shall be used as the main

and the matchboxes seen in the movie, and clothing

medium. Lacoste can use their YouTube channel to

tags that highlight the collaboration between Wes

show additional content, including behind-the-scenes

Anderson and Lacoste.

videos, interviews, and the launch day. These videos can be shared on Instagram and Facebook and further utilised for paid advertising on the same platforms.

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fig. 4.3

People Although several actresses will have to be casted for

1999, which is pertinent for the collaboration. Besides,

the first part of the short film to show Renée Tenenbaum

Depp’s current boyfriend Timothée Chalamet will star

growing up, it is proposed to work with Lily-Rose Depp

in Anderson’s next movie (Vogue, 2018), showing the

(fig. 4. 2) for the second part of the short film. As

potential established connection between Depp and

the daughter of Vanessa Paradis and Johnny Depp,

Anderson.

she is of French-American heritage and was born in 36

Processes

Planning

In terms of manufacturing the collection, it is

The collaboration will be released in two parts (fig.

advisable to apply the identical supply-chain that

4.3). Firstly, in August 2021, in line with the back-

Lacoste is currently utilising to save time and money.

to-school season, as it considered the second-most-

As Millennials are increasingly demanding products

important shopping season of the year (WGSN, 2018).

that showcase their individuality, customisation is

According to NRF back-to-school shopping reached

an important strategy to include (WGSN, 2017).

$82.8bn in the US alone, with customers planning on

Currently, all of Lacoste’s customised polo shirts are

spending most on clothing (NRF, 2018). Secondly, for

made in France (Lacoste, 2018), which may only

the Royal Tenenbaum’s 10th anniversary, a screening

suggest that the final touches are made in France. This

was organised at the New York Film Festival (NYFF)

same approach shall be utilised for the collaboration

in October 2011, where part of the cast reunited

range.

(Huffington Post, 2011). Therefore, the second part of the short film will be released during the NYFF in October 2021. This is furthermore strategically reasonable as Halloween is approaching which is another sales opportunity for the collection.

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2021 • summer break

July 2021

• start collaboration announcements • release first clips and sneak peaks on social media • screen first part of short movie in cinemas during summer break

• start of back to school shopping in

August 2021

majority of countries • release collection in stores and online

• back to school season

September 2021

• push collaboration on social media • announcements about the second film

• New York Film Festival

October 2021

• Release part two of short film and collection • Halloween

fig. 4.4

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39

Chapter 5 Conclusion 40

40

T

o summarise, the proposed strategy is targeting the female millennial generation,

an

audience

that

is

currently neglected by Lacoste. This is achieved by utilising nostalgia and storytelling in combination with Wes

Anderson’s cinematographic talent on the basis of The Royal Tenenbaums. By exploring fashion film, as opposed to still campaign images, it puts Lacoste into a promising and engaging position.

POTENTIAL FURTHER IMPLICATIONS Depending on the allowed budget, myriad other

add an ‘Instagrammability’ factor to Lacoste. Lastly,

possibilities may be realised within the collaboration.

Lacoste could focus on the mother-daughter bond by

Firstly, a longer movie could be created and

further collaborating with suitable celebrities, such

promoted in conjunction with secret cinema events.

as Vanessa Paradis and Lily-Rose Depp, Gwyneth

Secondly, a retail space, pop-up shop or café could

Paltrow and Apple Martin, and Jada Pinkett Smith and

be designed by Wes Anderson for Lacoste, similar to

Willow Smith. To enhance Lacoste’s CSR, part of the

the café that he has designed in Milan for the Prada

sales could be donated to a female-focused charity.

Gallery (fig. 5.1) (Design Week, 2015). This would

Pertinent dates would be Mother’s Day, International

provide customers with another experience and

Women’s Day and Girl’s Day.

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42 5.1 fig.

42

ILLUSTRATIONS • Cover: Author’s Own (2019): Lacoste x Wes Anderson.

Adapted

from:

behance

(n.A).

Available

via:

https://mir-s3-cdn-cf.behance.net/project_modules/disp/

f367808570805.560bfa9856b1b.png. Viewed: 19th January 2019 • Contents Page: Background Image: Haute Basics (2017): Green Cinema. Available via: https://www.instagram. com/p/BOx_q77Bd4F/. Viewed: 19th January 2019 • Page 1&2: Background Image: Accidentally Wes Anderson Instagram (2018): Gymnasium. [digital image].

Available via: https://www.instagram.com/p/Bm8W5KqF7-J/. Viewed: 1st November 2018.

• Fig. 1.1: Upside Down Frown (2015): Wes Anderson. [digital image] Available via: http://www.iwantudf.com/ blog/2015/2/1/wes-anderson. Viewed: 19th January 2019.

• Fig. 1.2: Another Magazine (2014): The Royal Tenenbaums Colour Palette. [digital image]. Available via: http:// www.anothermag.com/art-photography/3586/wes-andersons-colour-palettes. Viewed: 19th January 2019.

• Fig. 1.3: Passerbuy (2018): Margot and Richie Tenenbaum. [digital image]. Available via: http://www.passerbuys. com/blog/fashion/shop-the-movie-tenenbaums. Viewed: 1st November 2018.

• Page 9: Background Image: Accidentally Wes Anderson Instagram (2018): Dublin LIbrary. [digital image].

Available via: https://www.instagram.com/p/Bp9Y8t0nE_5/. Viewed: 19th January 2019.

• Page 11&12: Background Image: Accidentally Wes Anderson Instagram (2018): Polish Train. [digital image].

Available via: https://www.instagram.com/p/BhwLc6il2nd/. Viewed: 1st November 2018 • Page 13: Background Image: YouTube (2014): The Royal Tenenbaums Screenshot. [screenshot]. Available via: https://www.youtube.com/watch?v=QrxJrnVUO7Q. Viewed: 1st November 2018.

• Fig. 2.1: Author’s Own (2019): AIDA Model • Fig. 2.2: Author’s Own (2019): Roger’s Innovation of Adoption Curve • Page 20: Background Image: Town & Country (2017): Pink and Green Building. [digital image]. Available via: https://www.townandcountrymag.com/leisure/arts-and-culture/news/a2822/photos-that-prove-pink-and-green43

is-the-best-color-combination-ever/?click=welcome-ad. Viewed: 19th January 2019 • Page 21&22: Background Image: Dezeen (2016): Pastel Tennis Court. [digital image]. Available via: https:// www.dezeen.com/2016/07/24/ward-roberts-pastel-coloured-basketball-courts-photo-essay/.

Viewed: 19th

January 2019 • Fig. 3.1: Pantone (2015): Serenity and Rose Quartz. [digital image]. Available via: https://www.pantone.com/ color-intelligence/color-of-the-year/color-of-the-year-2016. Viewed: 19th January 2019 • Fig. 3.2: Wes Anderson Palettes (2014): The Grand Budapest Hotel. [digital image]. Available via: https:// wesandersonpalettes.tumblr.com. Viewed: 19th January 2019 • Fig. 3.3: Author’s Own (2019): Customer Profile.

Images viewed 19th January 2019 and taken from:

o https://www.messynessychic.com/2017/06/08/location-scouting-for-wes-anderson/

o http://www.mamasaidphl.com/mama-moments/2016/7/7/mini-mamas-mother-daughter-fashion-on-

the-runway

o https://rec.mcmaster.ca/programs/drop-ins/indoor-tennis

o https://www.elitedaily.com/p/30-clever-captions-for-pictures-with-friends-that-are-worthy-of-your-

squadgoals-9742077

o https://unsplash.com/photos/MUf7Ly04sOI

o https://unsplash.com/photos/3GZlhROZIQg

o https://unsplash.com/photos/qY9zgRqmNtA

o https://unsplash.com/photos/y3aP9oo9Pjc

• Fig. 3.4: Author’s Own (2019): Perceptual Map. • Page 28: Background Image: Accidentally Wes Anderson (2019): Lighthouse. [digital image]. Available via: https://www.instagram.com/p/Bs0ZZcvgPqh/. Viewed: 19th January 2019.

• Page 31: Decoration: Accidentally Wes Anderson (2018): Hearst Castle. [digital image]. Available via: https:// www.instagram.com/p/BlsWNfWF1eu/. Viewed: 19th January 2019.

• Fig. 4.1: Author’s Own (2019): Customisation option.

Images edited from:

o https://dribbble.com/shots/4603285-The-Royal-Tenenbaums-Movie-Poster

o https://mir-s3-cdn-cf.behance.net/project_modules/disp/f367808570805.560bfa9856b1b.png 44

• Fig. 4.2: Magiquiz (n.a.): The Royal Tenenbaums Tent. [digital image]. Available via: https://www.magiquiz. com/quiz/can-you-guess-these-wes-anderson-movies-from-a-single-frame/2/. Viewed: 20th January 2019.

• Page 35: Accidentally Wes Anderson (2018): Marshall Street Bath. [digital image]. Available via: https://www. instagram.com/p/BqPagUlFEN9/. Viewed: 20th January 2019.

• Fig. 4.3: Teen Vogue (2016): Lily-Rose Depp. [digital image]. Available via: https://www.teenvogue.com/story/ lily-rose-depp-interview-love-magazine. Viewed: 20th January 2019.

• Page 37: Decoration: Accidentally Wes Anderson (2018): Letterboxes in Lisbon. [digital image]. Available via: https://www.instagram.com/p/Brm9iq5gDqH/. Viewed: 20th January 2019.

• Fig. 4.4: Author’s Own (2019): Calendar • Page 39&40: Background: Dezeen (2016): Pastel Tennis Court. [digital image]. Available via: https://www. dezeen.com/2016/07/24/ward-roberts-pastel-coloured-basketball-courts-photo-essay/. Viewed: 20th January 2019.

• Fig. 5.1: Violet Grey (n.a.): Bar Luce. [digital image]. Available via: https://www.violetgrey.com/violet-files/ violet-must/wes-anderson-bar-luce-prada-milan. Viewed: 20th January 2019.

45

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50

The New York Times, 2014. The Wildebeest in the Room. [Online]. Available at: https://www.nytimes. com/2014/03/06/garden/the-wildebeest-in-the-room.html. [Accessed 23 December 2018].

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Khan, N., 2012. Cutting the Fashion Body: Why the Fashion Image Is No Longer Still, London: Fashion Theory, Volume 16, Issue 2, pp. 235-250.

Lasaleta, J., Sedikides, C. & Vohs, K., 2014. Nostalgia Weakens the Desire for Money, s.l.: JOURNAL OF CONSUMER RESEARCH, INC..

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Business of Fashion, 2018. Why Mini-Me Dressing Is Big Business. [Online]. Available at: https://www.businessoffashion. com/articles/intelligence/why-mini-me-dressing-is-big-business?utm_campaign=80ca436f31-seeingdouble-mother-daughter-dressing-is-big-busi&utm_medium=email&utm_source=Subscribers&utm_term=0_ d2191372b3-80ca436f31-418291097. [Accessed 16 November 2018].

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Elle, 2014. Why That Outfit: Margot Tenenbaum’s Bad Girl Prep in ‘The Royal Tenenbaums’. [Online]. Available at: https://www.elle.com/fashion/news/a15685/why-that-outfit-margot-tenenbaums/. [Accessed 16 November 2018].

53

Footwear News, 2018. The 8 Most Memorable Lacoste Collaborations. [Online]. Available at: https://footwearnews. com/2018/focus/athletic-outdoor/lacoste-collaborations-1202566357/. [Accessed 17 November 2018].

Forbes, 2018. 3 Reasons Why Storytelling Should Be A Priority For Marketers. [Online]. Available at: https:// www.forbes.com/sites/kimberlywhitler/2018/07/14/3-reasons-why-storytelling-should-be-a-priority-formarketers/#77443c4c6758. [Accessed 21 December 2018].

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Guardian, T., 2017. Gritty in pink: reclaiming fashion’s most controversial colour. [Online]. Available at: https:// www.theguardian.com/fashion/2017/mar/15/gritty-in-pink-reclaiming-fashions-most-controversial-colour.

[Accessed 25 December 2018].

Hootsuite, 2014. Why Nostalgia Is An Effective Marketing Strategy, Explained By Science. [Online]. Available at: https://blog.hootsuite.com/why-nostalgia-is-an-effective-marketing-strategy/. [Accessed 15 December 2018].

Huffington Post, 2011. ‘The Royal Tenenbaums’ 10th Anniversary: Wes Anderson, Gwyneth Paltrow, Bill Murray Dish At Lincoln Center. [Online]. Available at: https://www.huffingtonpost.com/2011/10/14/royal-tenenbaumsanniversary-wes-anderson-gwyneth-paltrow_n_1010642.html. [Accessed 26 December 2018]. imdb,

2001.

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tt0265666/?ref_=nv_sr_1. [Accessed 16 November 2018].

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No Film School, 2018. 17 Trademarks of Wes Anderson’s Idiosyncratic Filmmaking. [Online]. Available at: https:// nofilmschool.com/2018/03/17-trademarks-wes-andersons-idiosyncratic-filmmaking. [Accessed 15 November 2018].

54

Nordic Design, 2018. 6 Scandinavian Kids Clothing Brands You and Your Little Ones Will Love. [Online]. Available at: https://nordicdesign.ca/6-scandinavian-kids-clothing-brands-you-and-your-little-ones-will-love/. [Accessed 19 January 2019].

NRF, 2018. Back-to-school and college spending to reach $82.8 billion. [Online]. Available at: https://nrf.com/ media-center/press-releases/back-school-and-college-spending-reach-828-billion. [Accessed 26 December 2018].

NY Post, 2017. How movies changed the way we dress. [Online]. Available at: https://nypost.com/2017/02/24/ how-movies-changed-the-way-we-dress/. [Accessed 15 December 2018].

Peclers Paris, 2018. MILLENNIAL PINK. [Online]. Available at: https://www.peclersparis.com/uncovercolor/ portfolio-item/millennialpink/. [Accessed 25 December 2018].

Pew Research Center, 2018. Defining generations: Where Millennials end and post-Millennials begin. [Online].

Available at: http://www.pewresearch.org/fact-tank/2018/03/01/defining-generations-where-millennials-endand-post-millennials-begin/. [Accessed 22 December 2018].

Pew Research Center, 2018. More than a million Millennials are becoming moms each year. [Online]. Available at:

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each-year/#comments. [Accessed 25 December 2018].

Refinery29, 2017. Watch Baz Luhrmann’s Flower-Filled Film For The H&M x Erdem Collaboration. [Online].

Available

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fall-2017. [Accessed 19 January 2019].

Scandi Mummy, 2015. A-Z OF SCANDINAVIAN CHILDREN’S CLOTHES – K,L,M,N,O. [Online]. Available at: https://scandimummy.com/a-z-of-scandinavian-childrens-clothes-klmno/. [Accessed 19 January 2019].

55

Scandi Mummy, 2015. A-Z OF SCANDINAVIAN CHILDREN’S CLOTHES – K,L,M,N,O. [Online]. Available at: https://scandimummy.com/a-z-of-scandinavian-childrens-clothes-klmno/. [Accessed 19 January 2019].

Screen Prism, 2018. You Know It’s Wes Anderson IF.... [Online]. Available at: https://www.youtube.com/ watch?v=nqfRmceGwUs. [Accessed 15 December 2018].

ShowSTUDIO, 2018. About ShowSTUDIO. [Online]. Available at: http://showstudio.com/about. [Accessed 21 December 2018].

The Guardian, 2017. ‘Millennial pink’ is the colour of now – but what exactly is it?. [Online]. Available at: https:// www.theguardian.com/artanddesign/shortcuts/2017/mar/22/millennial-pink-is-the-colour-of-now-but-whatexactly-is-it. [Accessed 25 December 2018].

The Guardian, 2017. Think pink! How rosé became the booze of choice for millennials. [Online]. Available at: https://www.theguardian.com/lifeandstyle/2017/jul/18/think-pink-how-rose-became-the-booze-of-choice-formillennials. [Accessed 25 December 2018].

The Independent, 2018. Wes Anderson to shoot new film in France [Online]. Available at: https://www.independent. co.uk/arts-entertainment/films/news/wes-anderson-new-film-movies-france-2019-wii-angouleme-a8490936. html. [Accessed 21 December 2018].

The New York Times, 2013. What Is Nostalgia Good For? Quite a Bit, Research Shows. [Online]. Available at:

https://www.nytimes.com/2013/07/09/science/what-is-nostalgia-good-for-quite-a-bit-research-shows.

html?partner=rss&emc=rss. [Accessed 15 December 2018].

The New York Times, 2014. The Wildebeest in the Room. [Online]. Available at: https://www.nytimes. com/2014/03/06/garden/the-wildebeest-in-the-room.html. [Accessed 23 December 2018].

56

Time, 2016. Amy Schumer, Mindy Kaling, and Other Celebrities Share Their Favorite 7 Films. [Online]. Available at:

http://time.com/4455297/amy-schumer-mindy-kaling-and-other-celebrities-share-their-favorite-7-films/.

[Accessed 15 Decembre 2018].

Vogue, 2018. Timothée Chalamet To Star In Wes Anderson’s Next Film. [Online]. Available at: https://www.vogue. co.uk/article/timothee-chalamet-wes-anderson-film-the-french-dispatch. [Accessed 26 December 2018].

WGSN, 2017. Instagram key for Millennial vacation choice, but reality often disappoints. [Online]. Available at:

https://www.wgsn.com/news/instagram-key-for-millennial-vacation-choice-but-reality-often-disappoints/.

[Accessed 26 December 2018].

Videos: Edekoort, L., 2017. Anti-Fashion: A Manifesto for the Next Decade | Li Edelkoort | #BoFVOICES. [Online].

Available at: https://www.youtube.com/watch?v=LV3djdXfimI. [Accessed 15 December 2018].

Honest Trailers, 2018. Honest Trailers - Every Wes Anderson Movie. [Online]. Available at: https://www.youtube. com/watch?v=trWLY6NrS2Q. [Accessed 15 December 2018].

Screen Prism, 2018. You Know It’s Wes Anderson IF.... [Online]. Available at: https://www.youtube.com/ watch?v=nqfRmceGwUs. [Accessed 15 December 2018].

Other Publications: Edelkoort, L., 2015. Anti_Fashion: a manifesto for the next decade, Paris: trend union.

WGSN, 2012. Millennials, New York: WGSN. 57

WGSN, 2014. Millennial Parents, London: WGSN. WGSN, 2015. Wes Anderson, New York: Wes Anderson.

WGSN, 2016. Millennial Nostalgia, London: WGSN. WGSN, 2017. Custom Product: Millennial & Gen Z Retailing, London: WGSN. WGSN, 2018. Back to School Campaign Trends 2018, New York: WGSN.

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List of Appendices Email Interview with Martine Passchier, Co-Founder Appendix A

of Bjรถrn Agency, an Amsterdam-based fashion

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agency, specialised in sustainable childrenswear.

Appendix B

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Results of a questionnaire undertaken with 80 female Millennials, aged 18 - 35.

Page 62

Appendix A - Interview with Martine Passchier JT: Over the past years, have you noticed a higher demand for matching clothing for mothers and their children?

MP: Yes I see that the demand is higher these last few years. Children are either dressed as a mini me or moms like to dress in the clothes their children wear, comfortable and colourful.

JT: Would you say that mothers rather want to dress their kids like them or that mothers want to dress like their kids?

MP: In the scandi style clothes it concerns moms wanting to dress as their kids. For the rest of the fashion it seems like moms mainly like their child to be a mini-version of themselves.

JT: Do you come across nostalgic elements in children’s wear? How does it tend to manifest? (e.g. through prints/ colours/styles/etc) MP: Some years ago the retro-style was very popular with colours and prints from the seventies, at least in the corner with the Scandi inspired clothes. In the scandi corner you see it mainly in the prints and colours, but also in the use of fabrics, like velours.

JT: How do you think do mom networks influence the behaviour of mothers? Which social media channels are dominant for that?

MP: The main channel at the moment is Instagram. They mainly influence by pictures and by texts about the brand and in the case of Maxomorra also terms as sustainability and eco-clothing.

JT: What do you believe is the biggest influence for mothers when purchasing clothing for their children?

MP: Social media and other moms. But ofcourse there are mothers and fathers that make completely their own choices based on their principles and budget. But social media is important for getting to know brands.

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Appendix B - Questionnaire Results

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Describe Lacoste in 3 words Most answers include the following: polo, tennis, crocodile, menswear, old, preppy, classic

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What do you think of polo dresses?

Most answers include the following: cute, sporty, not my style, boring, I wouldn’t suit them

How much would you be willing to pay for a high-quality polo dress?

Most answers include the following: Under £100/ $130 / EUR 110, I wouldn’t buy one

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