ONECULTURE
UNIVERSE
CULTURE
MA FASHION AND LUXURY BRAND MANAGEMENT Luxury marketing strategies, Element 1 ONE CULTURE - Industrial project JULIANA SILVA CORTÉS 051701 18.04.2019 W.C 2750
ABSTRACT ONE CULTURE M.S
The following report is based on an detailed study of the South Korean market and the development of a marketing strategy for the french emerging brand One Culture. Using primary research such as interviews and visits to the store and secondary research such as academic articles, blogs publications the report analyse the external context, the competitive environment and the internal functioning of the brand. Addiotionally, a detailed analysis on the communication of the brand was carried on. After this process, influential key points of success and insights for an accurate market development strategy were determined and lead to the establishment of primary objectives such as building awareness, bonding with new customers and developing the digital communication. Finally using the matrix of the 4’ps, the markeing mix strategy and communication plan were generated for fulfilling the objectives. The strategy was focused on developing a realistic plan for a short-medium phase of 12 months in which different awareness building methods such as capsule collections, collaborations with south korean artist and the concept store Rare Market were proposed. For the final part the promotion and communication strategy were focused on creating a platform for making effective the communication and bonding between the customer and the brand.
One culture is a french emerging brand focused on the mixed streetwear and urban style that promotes the multiculturalism through the designs, graphic language, techniques and materials. Currently the brand is established in Paris and counts with a pop up store in the center of the city visited by local and international customers. With the aim of expanding and developing new markets the brand has the goal to expand to Asia, starting with one of strongest fashion scenes: South Korea. The following report was carried out with the objective of developing an accurate marketing mix strategy that allows the brand to penetrate in an efficient and effective way the new market. For reaching the objective, a deep and detailed analysis of the market was carried on using in parallel primary research methodologies -such as interviews with the owner and the staff of the brand, current customers and potential South Korean customers for understanding their bond to the brand, the vision and perceptionand secondary research through academic articles, publications, and blogs for confirming the data. The research phase lead the project to determining insights that open opportunities for the market development strategy.
Figure 1: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
INTRODUCTION
Figure 2: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
3
1
Competitive Environment
2
Market analysis
External Analysis
4 Internal Analysis
5
6 Conclusions and rationals
Communication Analysis
CON
7 8
Marketing Strategy
Marketing Mix Strategy Communication Strategy
9 Retail Strategy
TENTS
10 References / Bibliography Appendix.
1
MARKET ANALYSIS
THE RISE OF THE GOLDEN FLEECE The history of the South Korean market its marked by the vast financial crisis before the 1960’s and how in the subsequent years the country experienced one of the fastest growths in the global economies (NyTimes, 2018). On the present day with 51.4 million inhabitants (appendix figure 1.1), South Korea is the fourth largest economy of Asia, a high-tech developed country with a prosperous industrial society. Thanks to globalization a high quantity of trade barriers became nonexistent making easier the trade of luxury goods (McKinsey, 2012). The fashion industry became one of the eight key engines for the growth of the country, and especially Seoul has been recognized by Condé Nast as -one of the global cities that will lead the world luxury industries. (invest in Seoul, 2017). See figure 1. Becoming one the most prominent cities in Asia in the field of luxury and fashion is a consequence of the investment of the government in creating a cultural movement (Appendix 1.2) that works as reference to world. The K-pop industry and the celebrities, influence in a enormous way the fashion scene of South Korea (Christian. A, 2018) and even when derivative and imitative fashion developed a problem of identity in Seoul the K-fashion and Hip-Hop opened an opportunity for new brands to find a way of coding original and authentic designs that attracts global audience but also keeps close the local. Seoul is becoming a fashion escenario in which not only consuming is a fundamental part of the industry but being part of it itself.
“
For the past five years, the country has seen the highest rate of luxury market growth among OECD countries. It ranks fourth in OECD for luxury spending as parentage of per-capita GDP, but first for growth rate, which is the second highest in the world after India. Its luxury market is valued the eighth largest in the world at 13 trillion won, compared with its GDP, the 11th largest in the world according to World Bank
Figure 3: The growth of the luxury market in South Korea (Bain, 2017)
2
EXTERNAL ANALYSIS
TOOLS
PESTLE Porter’s 5 forces
POLITICS -The government is composed of three independent branches: The Executive; the Legislative; and the Judiciary branch. (Heritage, 2019) -The current president, Moon Jae-in, 19th president of South Korea since 2017 to the actual date. Government centered is pro human rights, diplomacy and peace. -The actual govern helped to ease the tensions between the two Korea’s. Helping the dismantlement of N.K nuclear program and tighten relations with the US. (Heritage, 2019) -Friendly relationship with the US Conservative government that’s still in disagreement with some forms of self expression
ECONOMICS - GDP (US$ billions) 1.530,75 (World economic Forum, 2018) GDP per capita (constant '11, intl. $, PPP) 35.938 (World economic Forum, 2018) One of the countries with the fastest economic growths in history. - Economy dominated by the chaebols (biggest four LG, Samsung, Hyundai, Lotte): large groups of interconnected companies leaded by wealthiest families. Due to the big corruption one of the biggest goals of the actual government has been to reduce the corruption. (New York Times, 2017) - South Korea unemployment January 2019 rates 4,4% (Trading economies, 2019) - Economic growth is projected to remain close to 3% through 2020 (OECD, 2018) Consumer price inflation below 2% (2020)(OECD, 2018)
SOCIAL - Total population up to 2019 51.87 millions.(statista, 2019) - Fast paced country, a lot of stores opens 24h/7. - High technology developed culture. - Attached to their culture, reflected on the way of dressing and the fashion designers styles combining traditional and international waves (Koreanet, 2019) - Students in South Korea prove high levels of academic success in reading, mathematics and science, also in artistic and creativity that leads to a lot of emerging designers. - Beauty Industry is leading commerce due to the obsessions with physical appearance and beauty standards. - Culture highly influenced by K-pop phenomenon lead by millennials is a whole industry factor for luxury brands. (Koreanet, 2019)
PESTLE Figure 4: PESTLE of South Korea (made by author, 2019)
TECHNOLOGICAL - South Korea is a leading powerhouse in information and communication technology. - 45 million internet users up to 2016 ranks as one of the most connected online markets (Statista, 2019) - 81.6% of mobile use up to 2016 set to increase to 88% in 2021 (Statista, 2019) - Highly engaged with video content (Statista, 2019) - “South Korea has the highest active social media penetration among Asian countries – 82 percent as of 2016.” (Statista, 2019) - Millennials and Generation Z lead the online buyers field (appendix 1.3) - Fastest internet in the world 2,5 gigabits per second (CNET, 2018) - Research and development focus on the Fourth Industrial Revolution (AI, electronics, computers, IoT and Big data) (KoreaNet, 2018) - E-commerce leaders of all Asia and top 10 around the world (KoreaNet, 2018)
LEGAL - Internal policy structured for an easy free trade - EU free trade agreement for lifting trade barriers (European Commission, 2018) - Excellent health care system – 19th Global competitiveness report - “According to the recently revised Labour Standards Act, the maximum number of working hours in each week was reduced from 68 hours to 52 hours.” (Practical law, 2019) - South Korea has a civil law legal system (Practical law, 2019) - Laws, contracts and permits regarding employment are regulated by the LSA (labor standard act) Sale tax 10.0%
ENVIRONMENTAL - In 1995 the Republic of Korea established a ‘Cycling Promotion Law’ - Build 17 000 km/bicycle lanes and 30 000 km of bikeways in 2019 - Air is highly polluted – diesel tax increase to attack this issue - President Moon has closed 8 out of 10 coal factories - China as a major contributor of air pollution - Renewable energy strategies that helps reduce environmental impact - The country is the fifth-largest producer of nuclear energy in the world
INDUSTRY COMPETITORS The-Sirius Magliano Arder Error ESC studio Juun.J
PORTER’S 5 THREAT OF POTENCIAL ENTRANCE Études A cold wall Moho -French emerging brands
SUBSTITUTES ODD shop Thisisneverthat ZARA COS Counterfeit industry
BUYER
Low brand awareness Limited stock / collection Prices-Margin
SUPPLIER Variety of suppliers Variety of materials Loyal suppliers /High quality development Figure 6: PORTER of South Korea (made by author, 2019)
HIGH PRESSURE Different kind of competitors established in South Korea according to the concept/ product or similar target. Some of them have their own store but also sell in the multi brand store. It's considered of high pressure due to the presence and awareness that the brands already have in South Korea.
MEDIUM - HIGH PRESSURE
HIGH PRESSURE Similar brands, with similar style but different concept, similar pricing strategy and customer. South Korea its a very desirable market for emerging designers (more in the streetwear field).
Recognized fast-fashion and lower prices fashionable brands, the common street wear brands that are more accessible and asequible for the south korean customer.
Porter
In this specific field its very important to take into account the counterfeit industry that in south korea has become a culture not seen as a “bad thing�. (see appendix 1.3)
HIGH PRESSURE
As a new brand with limited budget the buyer has a lot of power of decision over the way of selling.
MEDIUM - LOW PRESSURE
Different suppliers for material and manufacture around Asia and Europe, few pieces, loyalty is gained , high quality. Figure 7: PORTER of South Korea (made by author, 2019)
3
COMPETITIVE ENVIRONMENT
TOOLS
Perceptual map Pen Portrait Key success factors
PERCEPTUAL MAP The competitor analysis is made in four different edges. Affordable Vs Premium and Conceptual Streetwear Vs Mainstream Streetwear. As the context its south korea, the perceptual map includes the french competitors (that can be potential competitors on SK market), and the korean brands that are already established in the market. SUPREME OFF WHITE
MAINSTREAM
UNIQLO
COS
AFFORDABLE
ZARA
PREMIUM
RICK OWENS
ACNE STUDIO MUUN
ADERERROR ONE CULTURE MOHO
ESC
ÉTUDES
A COLD WALL MAGLIANO
CONCEPTUAL
THISISNEVERTHAT
ODD SHOP
Figure 8: Perceptual map (made by author, 2019)
Figure 9 Pen Portrait (made by author, 2019)
GENERAL PROFILE Young customer between 24 and 37 Y.O Social media lover Medium-High income Educated, professional in areas of design, business or fashion Enterpeneur or employed in areas related to design, advertisement, arts, styling andf ashion. Single
The target customer purchase special pieces of fashion that can be used to express individuality. It's a well educated and well informed person, travels often and it's very interested in street fashion.. This kind of consumer it's a Tech-savvy, usually does research online before buying and it's up to date with the trends. Use a lot of social media to expose his/her style and to search for information about potential brands to know or purchase, also products in use by specific K-pop and Hip-Hop celebritie. .
Figure 10: Street wear Figure 10 inspiration (made by author, 2019)
Figure 12 south Korean user (Jerry 2019)
Figure 13 south Korean user (Jerry 2019)
Figure 14 south Korean user (Jerry 2019)
Figure 15 south Korean user (Jerry 2019)
Figure 12
Figure 13
Figure 14
Figure 16 iKon (Idntimes, 2018)
Figure 17 Billie Ellis (Billie Ellis instagram, 2019)
Figure 18 Vogue Korea (iluvyooai, 2018)
Figure 11 NW (Aaron Burson, 2019)
MUSIC: K- pop, Hip-hop, pop SOCIAL MEDIA: We chat, instagram, KakaoTalk OTHER BRANDS: Arder Error, ESCS studio, Supreme, Vetements STYLE: Oversized, neutral colors and one highlighting piece, sneakers, mixed textures and graphics KIND OF PURCHASE: Online for basics/sneakers, in store for others THEY LOOK IN A BRAND FOR: Uniqueness, style, high quality, affordable prices (edge of premium) SHOPS ARROUND: Gangnam-gu, Cheongdam-Dong FAVORITE STORES: Dover street NY, MĂœE, Rare Market, Boon the shop FOLLOWS: Highsnobiety, Pause, Hypebeast, Vogue Korea They are focused on international and local trends and usually mix brands, switching and combining mainstream premium brands and emerging premium brands that offer them new and unique products. Online buying for basics but apprecietes the concept store experience. (see appendix 2.3)
PEN PORTRAIT
KEY
SUCCESS FACTORS
-Adaptation Being able to adapt to the current global trends but also to follow the local culture (K-fashion). -Customer relations and experience Prioritizing factors such as location , correct target, and finally letting the customer know the product and its provenance deeply. Create a narrative between all the components of the brand. -Being in the spotlight Catch the attention of the target from the beginning, with good collaborations that follows the DNA of the brand, or innovatives way of launching.
Figure 19: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
-Digital Adapting to the digital scene, making possible the navigation and the connection with the brand through the media and website. Not only selling digital what matters but developing an interface that allows a real connection with the brand. (See Appendix 1.4)
Figure 20: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
4
INTERNAL ANALYSIS
TOOLS
Swot Value chain
Figure 21 SWOT One Culture (made by author, 2019)
S
T
Concept/ DNA behind the brand Mixing of techniques and materials Small team Variety of suppliers High quality.
O
P
Develop of product for younger customers Improving the traceability of materials Omni channel experience Creating experience in store linked to the concept
W E
High prices for new retail Small quantity of production (rise in prices) Small quantity of stock Low brand awareness Limited budget
T H
A lot of emerging brands on the same field “street wear� Countefeiting Competition of local and international emerging designers
MAIN STRENGHTS FOR CAPITALIZATION
-Concept and brand storytelling “universal language without cultural barriers� (Alvarez A, 2019) -Provenance, high quality and uniqueness - Not Small quantity, its exclusivity
Figure 22 Value Chain (made by author, 2019)
VALUE CHAIN General administration
Anthony Alvarez [Management/ Financial and planning].
Human resources
Inhouse, not an specific department. Very focused to artistic direction and communication.
Technology development
No technological support.
Procurement
Design in Paris, variety of suppliers and manufacturers.
Inbound logistics - Inventory - Local warehouse - Supplies for fabrics: France, Japan, Italy and Portugal
Opperations - Convert raw material to final product, Manufacture in : Rumain and Portugal mainly
Outbound logistics - Social media sales - Website sales - Retail points sales - Instore sales
Marketing and sales - Product commercialization - PR -Press communications - Events - Social media and website manage and promotion
5
COMMUNICATION ANALYSIS
SUBTOPICS The brand Audience Channels of communication
THE BRAND
-Young brand (2017) -Strong brand DNA -Urban/Sophisticated style -A globe-trotter that uses multiculturalism as source of inspiration. Its mission is to share cultural plurality through streetwear the “universal language�. Mixing high fashion and urbanstyle.
Figure 23: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
COMMUNICATING THE CONCEPT
-Imagotype and logotype - Unisex designs Figure 25: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
-Graphic language as a signature: The use of graphic techniques, mixes of fabrics and process makes it unique. - The brand fulfills its purpose of creating one universal culture and promoting multiculturalism through the designs and collections.
Figure 24 Logotype and Imagotype (One Culture, 2017)
Figure 26: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
THE AUDIENCE - The brand currently appeals to two different kinds of customer: 1. The international tourist 2. The fashionable local -Young persons between 27-40 y.o -Mostly men, few women that buy unisex -Into pop and hip hop -Well educated in fashion, with a sophisticated taste and style, lives in the scene of the urban culture, well traveled, part of the big cities, searching for new trends.
THE CHANNELS OFF LINE
1. Store -Location: boho-fashionable district of Paris. -Combines a minimalist /sophisticated look with and artistic - urban vibe. -White walls and floors , amplitude and cleaness. -Light in ceiling gives a warm sensation. -Displays the clothe in racks and some in white furniture. - Different objects related to the brand such as a bike, books, and pieces of collaborations with different artists. - The lookbook is displayed in the store as part of the books collection. -reflects a lot of attention to the detail -Windows: display pieces of the collection and the statement of the brand displayed attractively. -The service is good, collection explained. (See appendix 2.4) Figure 27: One Culture Store (Source: Kodd magazine, 2017)
Figure 28: One Culture Store (Kodd magazine,2017)
2. Events Exclusive events. Not a special list of guests. -PFW: rivate showrooms in which the collections are displayed with models, lights, and music.
ON LINE
1. Website -Shows the actual collection and the online sell. -Video and the lookbook. -Easy to navigate -Very few information about the brand -mailing not in use 2. Social Media -Instagram and facebook (9,700 followers) -No highlighted stories (instagram) -The communication is based on instagram, facebook doesn't represent a big part of the brand. -Instagram: Shows the product in a cool/big scene. Exposes celebrities using the garments in well done photographies, editorial pieces, and few images of the inspiration behind the collection (travels), and events. - Graphic coherence, with 3 pictures narrative. -Few interaction with the audience -Punctual description of the pictures -Average of engagement in the last six months 2.28% (see appendix 1.5)
Figure 29 One culture instagram (One culture instagram, 2019)
Figure 30 One culture instagram (One culture instagram, 2019)
Figure 31 One culture instagram (One culture instagram, 2019)
Figure 32 One culture instagram (One culture instagram, 2019)
Figure 33: One culture promotion video (One culture instagram, 2019)
Figure 35: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
TRANSVERSAL
(uses online and offline channels)
-Lookbooks Plain images, focused on displaying the product more than a scene, only male models. -Campaigns/Ad’s Videos and well curated images, reflect the soul of the collection with the music, models, and the product as a star. -Press Recognize the brand for its mix between high fashion and urban style. The strong creative behind it makes it a powerful emerging brand.
Figure 34: One culture Editorial (One culture instagram, 2019)
6
CONCLUTIONS & RATIONALS
INSIGHTS
INSIGHTS THE RESEARCH
The previous research has been carried out with the purpose of developing a complete marketing strategy that allows One Culture to penetrate in a strong and efficient way the South Korean market. Whit a detailed analysis of the functioning of the socio-economic factors, the fashion scene itself in SK and in parallel a deep understanding of the brand, determining findings for success were identified.
The mix and match scene Products that mix the international trends in an innovative way and at the same time the local scene culture with a unique touch. Being able to find a formula that balances the two aesthetics. No logo age With a new era of consumers that focuses on high fashion, but not necessarily the mainstream, the high quality and originality in design turns into leading factors. One Culture counts with a very strong graphic language that can become a signature of the brand. The young fashion scene Make connections beyond the selling point becomes a “must� for success in this market. Its necessary to keep on the development of the digital universe and create an omnichanel experience.
7
MARKETING STRATEGY
RECOMMENDED MARKETING STRATEGY
Figure 36: One culture collection SS 19 (lookbook SS 19, 2019)
RECOMMENDED MARKETING STRATEGY According to the Ansoff Matrix the accurate strategy is the market development strategy: identify new markets in which the current products can be valued. Marketing Objectives: Realistic and measurable, for a short-medium period of time (12 months) with the end of having an accurate planning, and being in control of the first steps in penetrating the South Korean market. 1. Build awareness of One Culture in the South Korea fashion scene Increase brand awareness by: launching campaign, promotion and collaborations. 2. Growth the digital engagement of the brand Elevate the digital engagement by a complete communication strategy. 3. Build solid customer relationship Reach loyal customers (proved by return), that understand and value the brand by developing a 360 experience and appropriate communication.
The strategy is focused on covering the principal areas: First the recognition of the brand meaning arriving to a new market and take actions for spread the brand message, and second establishing a relation with the customer in different leves (digital and experiential) with the end of increasing profits and sales. ess and recognition awaren
Figure 37 marketing mix environment (made by author, 2019) Customer bonding
Sales
8
MARKETING MIX STRATEGY
4 P’S Communication strategy
MARKETING MIX STRATEGY CALENDAR WEEK 1
WEEK 3
WEEK 2
WEEK 2
WEEK 1
WEEK 4
JULY
JANUARY POP UP STORE HIGHER PRICE FOR CAPSULE COLLECTION
AUGUST
FEBRUARY
SPECIAL DETROIT HIGHER PRICE
POP UP STORE
PIECE
SEPTEMBER
MARCH JEONGMOON X ONE CULTURE SFW USUAL PRICES
OCTOBER
APRIL LAUNCHING SPECIAL 10% DISCOUNT
MAY
NOVERMBER IZUMI KATO x ONE CULTURE COLLAB. HIGHER PRICE FOR COLLABORATION
JUNE
Figure 80: Marketing mix strategy calendar (made by author, 2019)
ATHENS COLLECTION RELEASE
DECEMBER
12 MONTHS - 2020 WEEK 3
WEEK 4
WHY
A CALENDAR?
The marketing mix strategy calendar is a tool used for understanding in what point of the 12 months strategy the brand is. It’s important to highlight that all the collaborations and events were distributed across the year to keep the audience with expectative and attentive to the brand. All this events will be promoted by social media and mailing too.
PLACE RARE MARKET
Located in the Gangnam district, is independent of the chaebols which gives them autonomy. Rare Market it's considered as one of the coolest concept stores from Seoul (Vogue, 2016). According to the owner The store is characterized for bringing to the audience “pieces that are unique” and having a more nuanced view of the luxury market in SK . The store makes 6 annually buying trips and select both emerging designers and international brands to be part of the stock of the store. Rare Market has the authority to raise the brand value in the market making it “cool” and usable for the South Korean customer. The store keeps a minimalist aesthetic that follows the concept of One Culture, allows creativity in the corner spaces. + Plus: G-Dragon (see appendix 1.6) brother of the one of the owners (Kwon) pulling K-pop public to the store. Variety of audience (Millennial and Gen z) from local, international, hip-hop/ rap, and K-fashion addicts. Unisex design meaning making stronger the female market. Customers searching for unique pieces.
THE CONCEPT STORE
The concept stores focuses on reaching VIP customers, very fashion-forward, interested in more specialized fashion trends and different concepts and experiences. Not as saturated as the department stores. Usually this kind of places dress the K-pop stars and influencers a leading factor in terms of gaining awareness. For an emerging brand its fundamental to have exposition and validation, as well bringing new experiences to the customers. Figure 38: Rare Market (Studio Unravel, 2018)
Figure 39: Rare Market (Studio unravel, 2018)
Figure 40: Rare Market (Studio Unravel, 2018)
PRODUCT Launching with the Detroit collection The actual product of One Culture fits the audience in a way that brings to the South Korean scene the unique, international vibe, and adequate design in terms of size (oversized) mix of high quality materials and graphic techniques. The rest of the product strategy is divided in two special events during the year to keep the consumer with expectative and vinculated with the brand.
POP UP ONE CULTURE X RARE MARKET Figure 42 Sacai Pop up (HighsNobiety, 2019)
Figure 39 Figure 43 Drake Scorpion Pop up (HighsNobiety, 2018)
Figure 41 Sacai Pop up (HighsNobiety, 2019)
Its proposed a pop up store located in rare market. (see marketing mix calendar) Figure 44 Louis Vuitton Pop up (HighsNobiety, 2019)
for inspiration
-Visual proposition: key pieces of the detroit collection and a capsule collection of 3 hoodies (best seller) developed in collaboration with Rare Market. -For: increse awareness to the brand in a first apparition but also to spread the DNA in a visual way and create expectative in the audience. -measure the market, the interest in new brands and best seller products.
Figure 45 Dries Van Noten Pop up (Hypebeast, 2019)
Attracting new audiences it’s fundamental, thats why the collaboration with Izumi Kato (see appendix 1.7) an artist with a very creative profile and a particular taste for art- will work as a pull for the brand in this new market. The capsule collection of (5) items will take a different look at the work of the artist, mixing the aesthetic of the brand with his art to develop disruptive products that fit the market.
X
IZUMI KATO
for inspiration
Figure 47 Izumi Kato Vector(made by atuhor, 2019)
COLLABORATION ONE CULTURE X IZUMI KATO
Figure 46 Hoodie proposal (made by atuhor, 2019)
Figure 48 T-shirt proposal (made by atuhor, 2019)
SPECIAL DETROIT PIECE
Figure 49 Bagpack proposal (made by atuhor, 2019)
For the loyal customer: launching a unique piece of the detroit collection. An accessory, one of the most selled products for millenials (see appendix 1.8) and an field that its advisable to the brand to explore deeper, would be the perfect touch point since is different from the rest of the collection.
for inspiration
Figure 50 Bagpack proposal (made by atuhor, 2019)
PRICE Rare Market carries in a 50% its own brand (We11done) and the other 50% its composed by emerging brands curated by the owners, the prices are between 210-2000 €. For this reason it's advisable that One Culture raises the prices that actually manages for worldwide retail between 5%-8% maximum, it will keep them as a premium brand but in the edge of affordable. Exceptions for the exclusivity concept: -Capsule collection a bit higher only for the three hoodies -After launching event 10% discount for the following 2 weeks -Detroit special piece a bit higher -Before the new collection launching 15% max 20% discount
Benchmark of prices
T-shirts 185-220 € Hoodies 300-400 €
Figure 51 Rare Market Becnhmark (Rare Market, 2019)
Figure 52 Rare Market Becnhmark (Rare Market, 2019)
Jackets 850-900 € coats 1400-1900 €
caps 125 €
Figure 53 Rare Market Becnhmark (Rare Market, 2019)
Figure 54 Rare Market Becnhmark (Rare Market, 2019)
PROMOTION It’s focused on highlighting all the touch points with the consumers by collaborations, events and releases from the hand of a communication strategy across the whole calendar of the marketing strategy.
EVENTS ONE CULTURE X JEONGMOON CHOI SEOUL FASHION WEEK /20 To attract media and customers during the seoul fashion week its proposed a collaboration with the visual artist Jeongmoon choi (see appendix 1.12). Concept: art exposition. Where: Factory gallery (see appendix 1.13) How: making an attractive scene between the show of lights of the artist and the exposition of the collection with models. The lights and looks will vary during the evening, and accompanied with house vibrant music, french petit appetizers, and variety of drinks -Guest: magazines (Pause, vogue) and influential celebrities with help of the PR department of rare market.
Figure 55 Jeongmoon Choi exhibition (Plantoon, 2016)
LAUNCHING After the Seoul Fashion week event, potential customers and VIP guests (selected with the help of PR department of Rare Market) will be invited to a private event in the second floor of Rare Market in which a showroom will be displayed with the photographies behind each piece and the story, the guest will have the possibility to buy in a private and special way. A glass of whine will be shared. Figure 56 Dior Fashion week (Culturebox, 2018)
Figure 57 Factory Gallery (typocrafthelsinki, no date)
360 STRATEGY Communication Strategy Focused in using all the touch points involved on the buying process for creating a better consumer experience. Divided in three sections: Before purchase, during purchase and after purchase.
“
luxury sales growth is being driven by millennials and Generation Z. With different expectations, younger shoppers seek a personalised shopping experience that seamlessly integrates both online and offline platforms. Figure 58 Luxury market and the young generations (Deloitte, 2018)
BEFORE PURCHASE ONLINE CHANNELS
Re-think the communication by using the social media. -Use the highlight stories to expose the celebrities using the brand. - Meaningful content: Use the pictures for connecting with the audience with brief description of the importance and story of each pictures Ex. Behind the scenes, videos, etc. -interact with followers through the comments
“
By 2025, the online channel will represent 25% of the market’s value, up from 10% today. Approximately half of all luxury purchases will be digitally enabled as a result of new technologies along the value chain, such as virtual reality and mobile payments, and nearly all luxury purchases will be influenced by online interactions Figure 81 Luxury market and the young generations (Bain, 2018)
WEBSITE Creating storytelling through the website will attract the audience. Creating a challenging interface in which the customer follows a line for knowing the brand, interactive videos, the collection meaning and finally arriving to the online sell of the product. (see appendix 1.14). -Korean language
Figure 50 Instagram proposal (made by atuhor, 2019)
ONECULTURE
SS19
The splendor, decline and resurrection of the American Midwest city inspired the fall/winter collection by ONE CULTURE. The Detroit collection catch the vibrant city’s history, from its boom years and the automobile industry success that gave the city its Motown nickname.
Figure 60 Website proposal (made by atuhor, 2019)
Figure 61 Website proposal (made by atuhor, 2019)
PRESS & LOOKBOOK -Editorials: making connections with magazines such as Vogue, Pause e-sites such as Highsnobiety or Hypebeast will help with the exposure and awareness of the brand. -Use androgynous models for encourage the multicultural concept.
SELLING POINT (See chapter 10 retail strategy).
SERVICE - THE SPECIALIST -Train staff for transfering the story from digital to tangible. Knowledge deep about the brand, the materials, the provenance and the meaning of each piece and styling.
ONECULTURE
Figure 64 Packaging proposal (made by atuhor, 2019)
Figure 62 Decorative paper proposal (made by atuhor, 2019)
PACKAGING
DURING PURCHASE Figure 63 Decorative paper proposal (made by atuhor, 2019)
OFFLINE TOUCH POINTS
for inspiration
Use the packaging to create brand recognition and differentiation, also to create a point of bonding with the customer. Should feel designed, premium and special.
ias c a Gr Dan i u yo tzie iéx s k a X a an i Gr atô raci n h T rc rig G Da i e u A M k yo tzie iéx s a k T an Gra tô X acia Th rci riga Gr Dan Me k A you tzie iéxi s Ta ank Gra tô X acia Th rci riga Gr Dan Me k A you tzie iéxi s Ta ank Gra tô X acia Th rci riga Gr Me k A you Ta ank Th
AFTER PURCHASE
VALUE THE CUSTOMER ¡thank you for your purchase! for the customer to feel appreciated by the brand. Figure 65 Thanks card proposal (made by atuhor, 2019)
MAILING Having a mailing list for reminding the consumers constantly about the designs, products, special collections and capsules. One monthly mail and for VIP customers another with special news.
FOLLOW UP Suggestions of similar products or other pieces that can complement the outfit or collection. The client needs to have the opportunity to communicate with the brand after the purchase.
Figure 66: One culture collection FW 19-20 (lookbook FW 19/20, 2019)
9
RETAIL STRATEGY
Instore disposition Flagship
IN-STORE CORNER For the in-corner store in Rare Market the proposition is to think about transfering the values of the brand -elements that make allusion to the multicultural and international scene.
Figure 67 Adererror pop up (instagramer news, no date)
Figure 69 Katherine Mavridis Rare Market (Artorial , 2018)
Figure 68 Comme des garcons (Comme des garcon instagram, 2017)
Figure 70 Valentino (Questmag, 2018)
Figure 71 Axel Arigato ( Frame, 2017)
Figure 72 Comme des garcons (Comme des garcon instagram, 2018)
Figure 72
Figure 73 AcneStudios (DesignLover, ND)
Figure 75 AcneStudios (DesignLover, ND)
Figure 74 Études (Dazed, 2014)
Figure 77 Words on wall (Design lovers, ND)
Figure 78 One Culture (KODD, ND)
Figure 76 Worksout (Worksout website ND)
Figure 79 Selfridges (Selfridges website 2018)
In a future for the opening of a flagship/ concept store it’s advisable to create a minimalistic atmosphere that reflects the brand DNA -Itinerant: change the aesthetics according to the collection. Ex.printed map (in adhesive vinyl) of the city in the floor
RETAIL FLAGSHIP STORE
10
REFERENCES
BIBLIOGRAPHY & APPENDIX
References Bain. (2017) Gentle Moster and Louis Quatorze - Emergence of Korea’s homwgrown luxury brands. [Online][accessed 27 March 2019] https://www.bain.com/insights/gentle-monster-and-louis-quatorze/ Bain. (2019) The Future of Luxury: A Look into Tomorrow to Understand Today [Online][accessed 2nd April 2019] https://www.bain.com/insights/luxury-goods-worldwide-market-study-fall-winter-2018/ Christian, A. (2018) What is K-fashion in Seoul? South Korea continues to push it newest export. [Online][accessed on 30 March 2019] https://www.vogue.co.uk/article/the-rise-of-seoul-fashion CNET. (2018) South Korea gets super fast in internet. [Online][accessed 27 March 2019] https://www.cnet.com/news/south-korea-gets-super-duper-fast-internet/ Contact lab. (2016) Luxury in.. South Korea. [Online][accessed on 30 March 2019] https://contactlab.com/en/show-resource/?step=doin&file=https://contactlab.com/wp-content/uploads/2016/07/LUXURY_GOODS_redacted-for-CL_290716.pdf/ Deloitte. (2018) Global powers of luxury goods 2018-Shaping the future of the luxury industry [Online][accessed 26 March 2019] https://www2.deloitte.com/content/dam/Deloitte/mx/Documents/consumer-business/2018/Global-Power-of-Luxury-Goods-2018.pdf European Commission. (2019) South Korea free trade agreement. [Online][accessed 27 March 2019] http://ec.europa.eu/trade/policy/countries-and-regions/countries/south-korea/ Heritage. (2019) 2019 index of economic freedom. [Online][accessed 27 March 2019] https://www.heritage.org/index/country/southkorea HighsnobietyTV. (2017) Alech Leach- Korea’s next level counterfeit culture. [Online][accessed 15 March 2019] https://www.highsnobiety.com/2017/08/24/counterfeit-culture-seoul/ KoreaNet. (no date) Unesco Heritage in Korea [Online][accessed 27 March 2019] http://spanish.korea.net/AboutKorea/Culture-and-the-Arts/UNESCO-Treasures-in-Korea KoreaNet. (no date) Education, research and industry [Online][accessed 27 March 2019] http://spanish.korea.net/AboutKorea/Society/Education-Research-Industry New York Times. (2017) Money, power, family, inside South Korea Chaebol. [Online][accessed 27 March 2019] https://www.nytimes.com/2017/02/17/business/south-korea-chaebol-samsung.html New York Times. (2018) How South Korea left the north behind. [Online][accessed on 30 March 2019] https://www.nytimes.com/interactive/2018/02/06/world/asia/korea-history.html
References New York Times. (2018) How South Korea left the north behind. [Online][accessed on 30 March 2019] https://www.nytimes.com/interactive/2018/02/06/world/asia/korea-history.html New York Times. (2017) Money, power, family, inside South Korea Chaebol. [Online][accessed 27 March 2019] https://www.nytimes.com/2017/02/17/business/south-korea-chaebol-samsung.html OECD. (2018) Korea-Economic forecast summary. [Online][accessed 27 March 2019] http://www.oecd.org/korea/korea-economic-forecast-summary.htm Practical Law. (2019) Doing business in South Korea: overview. [Online][accessed 27 March 2019] https://uk.practicallaw.thomsonreuters.com/5-501-0628?transitionType=Default&contextData=(sc.Default)&firstPage=true&comp=pluk&bhcp=1 Rare Market. (2019) for benchmark [Online][accessed 31 March 2019] http://www.raremarket.com Salsberg, B and Jae Eun Shin, M. (2012) South Korea Living it up in luxury. [Online][accessed on 30 March 2019] https://www.mckinsey.com/business-functions/marketing-and-sales/our-insights/south-korea-living-it-up-in-luxury Soesmanto, T. (2018) K-popnomics: How Indonesia and other nations can learn from Korea Pop music industry. [Online accessed on 30 March 2019] https://theconversation.com/k-popnomics-how-indonesia-and-other-nations-can-learn-from-korean-pop-music-industry-107229 Statista. (2019) Total population in South Korea from 2012 to 2022 (in million inhabitants) [Online][accessed 27 March 2019] https://www.statista.com/statistics/263747/total-population-in-south-korea/ Statista. (2019) Internet usage in South Korea [Online][accessed 27 March 2019] https://www.statista.com/topics/2230/internet-usage-in-south-korea/ Trading Economies. (2018) Corea del Sur - Tasa de empleo. [Online][accessed 27 March 2019] https://es.tradingeconomics.com/south-korea/unemployment-rate Vogue. (2016) Meet the women behind the coolest concept store in Seoul. [Online][accessed 31 March 2019] https://www.vogue.com/article/rare-market-seoul-concept-shop-dami-kwon-jessica-jung
References World Economic Forum. (2018) The global competitiveness report 2018. [Online][accessed 27 March 2019] http://reports.weforum.org/global-competitiveness-report-2018/country-economy-profiles/#economy=KOR World Economic forum. (2018) Global gender gap report. [Online][accessed 27 March 2019]http://reports.weforum.org/global-gender-gap-report-2018/data-explorer/#economy=KOR
Figures Figure 1: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 5) Figure 2: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 5) Figure 3: The growth of the luxury market in South Korea (Source: Bain, 2018)[online][accessed on 17 March of 2019] https://www.bain.com/insights/gentle-monster-and-louis-quatorze/ Figure 4: PESTLE of South Korea (Source: made by author, 2019) Figure 5: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 16) Figure 6: PORTER of South Korea (Source: made by author, 2019) Figure 7: PORTER of South Korea (Source: made by author, 2019) Figure 8: Perceptual Map (Source: made by author, 2019) Figure 9: Pen portrait (Source: made by author, 2019) Figure 10: Streetwear inspiration (Source: made by author, 2019) Figure 11: New york (Source: Aaron Burson, 2019) [Online][accessed on 31 of March 2019] https://unsplash.com/photos/YihQdPSK9jI Figure 12: South Korean user (Source: Jerry, 2019) [Online][accessed on 31 of March 2019] https://www.instagram.com/p/BvTb-TwnoEN/ Figure 13: South Korean user (Source: Jerry, 2019) [Online][accessed on 31 of March 2019] https://www.instagram.com/p/BvwoJlYnO_D/ Figure 14: South Korean user (Source: Jerry, 2019) [Online][accessed on 31 of March 2019] https://www.instagram.com/p/BugOMFnHuFN/ Figure 15: South Korean user (Source: Jerry, 2019) [Online][accessed on 31 of March 2019] https://www.instagram.com/p/BqzlmjrBy7O/ Figure 16: iKon (Source: Idntimes , 2018) [Online][accessed on 31 of March 2019] https://www.idntimes.com/hype/entertainment/suci-wu-1/10-boyband-kpop-dengan-pendapatan-tertinggi-dalam-10-tahun-c1c2/full Figure 17: Billie Ellis (Source: Billie Ellis instagram , 2019) [Online][accessed on 31 of March 2019] https://www.instagram.com/p/Bq3_N_llyrz/ Figure 18:Vogue Korea (Source: iluvyooai, 2018) [Online][accessed on 31 of March 2019] https://yooahinsikseekland.wordpress.com/2018/12/05/yoo-ah-in-mesmerizes-in-paris-for-vogue-korea-pictorial-december-2018-issue/ Figure 19: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 10) Figure 20: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 10) Figure 21: SWOT of One Culture (Source: made by author, 2019) Figure 22:Value Chain (Source: made by author, 2019) Figure 23: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 7) Figure 24: Logotype and Imagotype (Source: One Culture, 2017) Figure 25: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 15) Figure 26: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 15) Figure 27: One Culture Store (Source: KoddMagazine, 2017)[Online][accessed on 1 of April 2019] https://kodd-magazine.com/en/oneculture-opened-its-first-shop-in-paris/ Figure 28: One Culture Store (Source: Kodd magazine, 2017)[Online][accessed on 1 of April 2019] https://kodd-magazine.com/en/oneculture-opened-its-first-shop-in-paris/ Figure 29: One Culture Instagram (Source: One Culture Instagram , 2019) [Online][accessed on 1 of April 2019] https://www.instagram.com/p/BvJ3uUyhH0L/
Figures Figure 30: One Culture Instagram (Source: One Culture Instagram , 2019) [Online][accessed on 1 of April 2019] https://www.instagram.com/oneculture_official/ Figure 31: One Culture Instagram (Source: One Culture Instagram , 2019) [Online][accessed on 1 of April 2019] https://www.instagram.com/p/BvRqCHmBBWP/ Figure 32: One Culture Instagram (Source: One Culture Instagram , 2019) [Online][accessed on 1 of April 2019] https://www.instagram.com/oneculture_official/ Figure 33: One Culture promotion video (Source: One Culture Instagram , 2019) [Online][accessed on 1 of April 2019] https://www.instagram.com/p/BuWPaeVhR25/ Figure 34: One Culture promotion editorial (Source: One Culture Instagram , 2019) [Online][accessed on 1 of April 2019] https://www.instagram.com/p/BuoAfD_hTOS/ Figure 35: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 6) Figure 36: Collection SS 19 (Source: One Culture lookbook, 2019: page 13) Figure 37: Marketing Mix Environment (Source: made by author, 2019) Figure 38: Rare Market (Source:Studio Unravel , 2018) [Online][accessed on 2nd of April 2019] http://www.studiounravel.com/works/rare-market-renewal Figure 39: Rare Market (Source:Studio Unravel , 2018) [Online][accessed on 2nd of April 2019] http://www.studiounravel.com/works/rare-market-renewal Figure 40: Rare Market (Source:Studio Unravel , 2018) [Online][accessed on 2nd of April 2019] http://www.studiounravel.com/works/rare-market-renewal Figure 41: Sacai Pop Up (Source: Highsnobiety , 2019) [Online][accessed on 2nd of April 2019] https://www.highsnobiety.com/p/hello-sacai-pop-up-tour/#slide-8 Figure 42: Sacai Pop Up (Source: Highsnobiety , 2019) [Online][accessed on 2nd of April 2019]https://www.highsnobiety.com/p/hello-sacai-pop-up-tour/#slide-3 Figure 43: Drake Scorpion Pop Up (Source: Highsnobiety , 2018) [Online][accessed on 2nd of April 2019] https://www.highsnobiety.com/p/drake-scorpion-pop-up-nyc/ Figure 44: Louis Vuitton Pop up (Source: Highsnobiety , 2019) [Online][accessed on 2nd of April 2019] https://www.highsnobiety.com/p/louis-vuitton-ss19-new-york-residency/#slide-2 Figure 45: Dries Van Noten Pop up (Source: Hypebeast , 2019) [Online][accessed on 2nd of April 2019] https://hypebeast.com/2019/3/opening-ceremonys-dries-van-noten-pop-up-la Figure 46: Hoodie proposal (Source: made by author, 2019) Figure 47: Izumi Kato Vector (Source: made by author, 2019) Figure 48: T-shirt proposal (Source: made by author, 2019)Figure 49: Backpack proposal (Source: made by author, 2019) Figure 50: Backpack proposal (Source: made by author, 2019) Figure 51: Rare Market BenchMark (Source: Rare Market website, 2019) [Online][accessed on 2nd of April 2019] http://raremarket.com/shop/list.php?ca_id=20 Figure 52: Rare Market BenchMark (Source: Rare Market website, 2019) [Online][accessed on 2nd of April 2019] http://raremarket.com/shop/list.php?ca_id=20 Figure 53: Rare Market BenchMark (Source: Rare Market website, 2019) [Online][accessed on 2nd of April 2019] http://raremarket.com/shop/list.php?ca_id=20 Figure 54: Rare Market BenchMark (Source: Rare Market website, 2019) [Online][accessed on 2nd of April 2019] http://raremarket.com/shop/list.php?ca_id=20 Figure 55: Jeongmoon choi exhibition (Source: Platoon, 2019) [Online][accessed on 2nd of April 2019] http://www.platoon.org/report/jeongmoon-choi Figure 56: Dior Fashion week (Source: Culturebox, 2018) [Online][accessed on 2nd of April 2019] https://culturebox.francetvinfo.fr/mode/style-et-defiles/fashion-week/pret-a-porter-masculin-automne-hiver-2017-2018/fashion-week-dior-revisite-le-savoir-faire-tailleur -version-rave-party-251633 Figure 57: Factory Gallery (Source: typocrafthelsinki, no date) [Online][accessed on 2nd of April 2019] https://typocrafthelsinki.com/exhibition/typocrafthelsinki-in-seoul/
Figures Figure 58: Luxury market and the young generations (Deloitte, 2018) [Online][accessed on 2nd of April 2019] https://www2.deloitte.com/content/dam/Deloitte/mx/Documents/consumer-business/2018/Global-Power-of-Luxury-Goods-2018.pdf Figure 59: Instagram proposal (Source: made by author, 2019) Figure 60:Website proposal (Source: made by author, 2019) Figure 61:Website proposal (Source: made by author, 2019) Figure 62: Decorative paper proposal (Source: made by author, 2019) Figure 63: Decorative paper proposal (Source: made by author, 2019) Figure 64: Packaging proposal (Source: made by author, 2019) Figure 65: Thanks card proposal (Source: made by author, 2019) Figure 66: Collection FW 19-20 (Source: One Culture lookbook, 2019: page 2) Figure 67: Ader Error Pop up (Source: Instagramer news, no date)[online][accessed 2nd April 2019] https://instagrammernews.com/detail/1752292825275612233 Figure 68: Comme des garcons pop up (Source: Comme des garcons instagram, 2017))[online][accessed 2nd April 2019] https://www.instagram.com/p/BTt50AtAQWN/ Figure 69: Katherine Mavridis (Source: Artorial Editions, 2016) [online][accessed on 2nd April 2019] https://artorialeditions.com/mavridis-stigle-Rare-Market Figure 70:Valentino (Source: Quest, 2018) [online][accessed on 2nd April 2019]https://www.questmag.com/blog/valentinos-vltn-mens-athluxury-line-debuts-at-its-soho-location/ Figure 71:Axel Arigato (Source: Frame, 2017) [online][accessed on 2nd April 2019]https://www.frameweb.com/news/axel-arigato-goes-offline-with-new-stockholm-pop-up-store Figure 72: Comme des garcons pop up (Source: Comme des garcons instagram, 2017))[online][accessed 2nd April 2019] https://www.instagram.com/p/BqhIHpenWbI/ Figure 73: Acne Studios Seoul (Source: Designlover mag, ND))[online][accessed 2nd April 2019] https://designlovr.de/cityguide/ Figure 74: Études (Source: Dazed, 2014)[online][access 2nd April 2019] http://www.dazeddigital.com/artsandculture/article/20009/1/devs-new-favourite-label-pops-up-in-ny Figure 75: Acne Studios Seoul (Source: Designlover mag, ND))[online][accessed 2nd April 2019] https://designlovr.de/cityguide/ Figure 76: Worksout Seoul (Source: Worksout website, ND) [online][accessed 2nd of April 2019] http://www.worksout.co.kr/front/storeInfo/Ryse.do Figure 77: Words on wall (Source: Designlover mag, ND))[online][accessed 2nd April 2019] https://designlovr.de/cityguide/ Figure 78: One Culture (Source: KODD mag, ND))[online][accessed 2nd April 2019]https://kodd-magazine.com/en/oneculture-opened-its-first-shop-in-paris/ Figure 79: Selfridges (Source: Selfridges blog, 2017))[online][accessed 2nd April 2019] https://www.selfridges.com/QA/en/features/articles/selfridges-guideto/art-at-selfridges/ Figure 80: Marketing mix strategy calendar (Source: made by author, 2019) Figure 81: South Korea density population (Source: Contact lab, 2016) [online][accessed on March 26 2019 ]https://contactlab.com/en/show-resource/?step=doin&file=https://contactlab.com/wp-content/uploads/2016/07/LUXURY_GOODS_redacted-for-CL_290716.pdf/ Figure 82: Seoul fashion week K-fashion (Source:Vogue ,2018) online][accessed on March 26 2019 ]https://www.vogue.co.uk/article/the-rise-of-seoul-fashion Figure 83: Seoul fashion week K-fashion (Source:Vogue ,2018) online][accessed on March 26 2019 ]https://www.vogue.co.uk/article/the-rise-of-seoul-fashion Figure 84: Counterfeit industry (source: highsnobiety, 2016) online][accessed on March 26 2019 ]https://www.highsnobiety.com/2017/08/24/counterfeit-culture-seoul/ Figure 85: Blindness (source: blindness studio website, 2019)online][accessed on March 26 2019 ] https://www.blindnessstudio.com
Figure 86: Blindness (source: blindness studio website, 2019) [online][accessed on March 26 2019 ] https://www.blindnessstudio.com Figure 87: Engagement formula (source: Canning, N, 2018)) [online][accessed on March 30 2019 ] https://latecom/blog/instagram-analytics/ Figure 88: G-Dragon (Source: SCMP, 2017) [online][accessed on March 30 2019 ]https://www.scmp.com/culture/music/article/2159867/how-k-pop-star-g-dragon-became-famous-and-why-turning-30-wont-put Figure 89: Izumi Kato Mexico (Perroni, 2019) [online][accessed on March 30 2019 ] https://www.perrotin.com/artists/Izumi_Kato/177#news Figure 90: Izumi Kato Soft Vinyl [online][accessed on March 30 2019 ] http://izumikato.com/SOFT-VINYL-SCULPTURES Figure 91: Accessories (Bain, 2019) [online][accessed on March 30 2019 ] https://www.bain.com/insights/luxury-goods-worldwide-market-study-fall-winter-2018/ Figure 92: Jenmoong Choi Analog Art (Amura, 2017) [online][accessed on March 30 2019 ] https://amuraworld.com/en/topics/history-art-and-culture/articles/6445-jeongmoon-choi-2 Figure 93: Factory Gallery (My art guide, 2016) [online][accessed on March 30 2019 ] ttp://myartguides.com/art-spaces/galleries/gallery-factory/ Figure 94: Ah bin-shim (My art guide, 2016) [online][accessed on March 30 2019 ] ttp://myartguides.com/art-spaces/galleries/gallery-factory/ Figure 95: Adererror (Source: adererror website, 2019) [online][accessed on April 2 2019 ] http://en.adererror.com Figure 96:Adererror (Source: adererror website, 2019) [online][accessed on April 2 2019 ] http://en.adererror.com Figure 97:Comme de garcons (Source: comme des garรงons website, 2019) [online][accessed on April 2 2019 ] http://www.comme-des-garcons.com Figure 98:Comme de garcons (Source: comme des garรงons website, 2019) [online][accessed on April 2 2019 ] http://www.comme-des-garcons.com
Bibliography Bain. (2019) The Future of Luxury: A Look into Tomorrow to Understand Today. [Online][accessed on 28 March 2019] https://www.bain.com/insights/luxury-goods-worldwide-market-study-fall-winter-2018/ Bain. (2015) A new era for brands in developing Asia [Online][accessed on March 26 2019] https://www.bain.com/insights/a-new-era-for-brands-in-developing-asia/ Bog-rae, K. (2015) “Past, present and future of Hallyu (Korean wave)- American international journal of contemporary research, 5(5) Pg. 154-160 Chitrakorn, K. (2017) Korea's big retailers under pressure [Online][accessed on 30 March 2019] https://www.businessoffashion.com/articles/global-currents/koreas-big-retailers-under-pressure Cho, Choi and Weber. (2013) Spotlight on South Korea: Understanding the South Korean consumer [accessed on March 26 2019] https://www.lek.com/sites/default/files/insights/pdf-attachments/Consumer%20Spotlight_South%20Korea_1113.pdf Eshopworld. (no date) South Korea ecommerce insights [accessed on April 2 2019] https://www.eshopworld.com/blog/south-korea-ecommerce-insights-2017/ Fashion network. (2019) Watch out for the new brand, One culture! [accessed on April 2 2019] https://ch.fashionnetwork.com/videos/video/20858,Watch-out-for-the-new-brand-One-Culture-.html#.XLSLkafW40p Hypebeast. (2018) Why Seoul is now Asia’s hottest fashion city. [accessed on March 27 2019] https://www.scmp.com/magazines/style/fashion-beauty/article/2119773/why-seoul-now-asias-hottest-fashion-city Korea Bizwire. (2018) The Personal Luxury Goods Market Delivers Positive Growth in 2018 to Reach €260 Billion – a Trend That is Expected to Continue Through 2025. [Online][accessed on 30 March 2019] http://koreabizwire.com/the-personal-luxury-goods-market-delivers-positive-growth-in-2018-to-reach-e260-billion-a-trend-that-is-expected-to-contiune-through-2025/1 27501 Seoul Fashion Week. (2018) Hera Seoul fashion week daily. [Online][accessed on 27 March 2019] http://www.seoulfashionweek.org/data/file/newspaper/40c42921d1cb1f02d335e4290348ff64.pdf World Economic Forum. (2019) Global risk 2019. [Online][accessed on 30 March 2019] http://reports.weforum.org/global-risks-2019/chapter-one/ Yon-se, K. (2018) Luxury European brands extend to reach to Korean shoppers [Online][accessed on 28 March 2019] http://www.koreaherald.com/view.php?ud=20180201000941
APPENDIX
Appendix 1 - Secondary Research 1.1 South Korea population
1.2 South K-pop industry The K-pop industry is a determining factor in South Korea. This industry its a project created by the government to promote and export culture. This movement or music was used to improve the nation image and the cultural influence. The growth of this industry not only is supported by music but restaurants, stores, fashion among others. Taking into account the aesthetic and the people that influence the most the industry is a key point of success in South Korea. (Soesmanto. T, 2018) The fashion industry is specialy related to the K-pop wave, during the Seoul fashion week its easy to identify the aesthetics and style. The brands that arrive to South Korea adopt this characteristic movement. Figure 82 Seoul fashion week K-fashion (Vogue, 2018)
Figure 81 South Korea Density population (Contact lab, 2016)
As can be see in the image, the population in South Korea is concetrated in Seoul and Busan. For this reason the chosen city for developing the extension of One Culture is Seoul, the city with the biggest infrastructure and rate of millennials and Gen Z people
1.3 Counterfeit Industry The competitiion with the counterfeit industry in South Korea is very high. The real problem focuses in the fact that in the average medium class society its not bad seen to have replica products. A culture around it has been developed and its growing. Figure 84 Counterfeit industry South Korea (Highsnobiety, 2016)
Figure 83 Seoul fashion week K-fashion (Vogue, 2018)
Appendix 1 - Secondary Research 1.4 Connection with the brand
Figure 85 Blindness (Blindness studio website, 2019)
Figure 86 Blindness (Blindness studio website, 2018)
The brand blindness works an example of how the communication between the designer and the customer turns explicit. The explanation of every item and collection is linked to the concept of the brand, and not only communicates the material or basic features but the DNA behind it. For more information visit: https://www.blindnessstudio.com
1.5 Instagram engagement
Figure 87 Engagement formula (Canning. N, 2018)
The engagement of One Culture was measured with the formula proposed by Canning on Later. One Culture has a 2,28% rated as a low-medium, the optimum engagement percentage would be 6%. Oct. Nov. Dec. Jan. Feb. March.
1.6 G-Dragon G-Dragon is one of the most famous K-pop artist, he started his career in 1995 and highlights among the other K-pop artists for being the pioneer between the mix of rap and k-pop. The artist is a very important hook to pull the ideal One Culture customer that is avaible tobalance the mix between the international vibe and the K-fashion. Figure 88 G-Dragon (SCMP, 2017)
Appendix 1 - Secondary Research 1.7 Izumi Kato
1.8 Accesories as a best seller
Izumi Kato is a Japanese artist born in 1969, he studied oil painting and currently he experiments with different techniques. The work of Kato is based in enigmatic characters with strange faces, forms and colors. For more information visit: http://izumikato.com
Figure 91 Accessories (Bain, 2019)
Figure 89 Izumi Kato Mexico (Perrotin, 2019)
According to bain one of the stronghest categories in the luxury market are the accesories, due to the change in generations (fewer incomes) the most acquiere items are the ones that can be afordable but still luxurious.
1.9 Jeongmoon Choi It’s a Korean artist, currently living in Berlin. She focus on creating disruptive installations with lights and structures that generate an immersive experience. The collaboration with the artist will help the brand to create an innovative experience and attract new customers.
Figure 90 Izumi Kato Soft vynil (Izumi Kato website, 2014)
Figure 92 Analog Art (Amura, 2017)
Appendix 1 - Secondary Research 1.10 The factory gallery An event in a gallery suggest a different experience for a fashion brand. The factory gallery is a small space located in Changseong-dong, Seoul. The gallery it's characterized for the exhibition of contemporary artworks and artists..
Figure 93 Factory gallery (My art guides, 2016)
Figure 94 Ah bin-shim the factory (My art guides, 2016)
1.11 Website The storytelling in the website its fundamental, below there are examples of the most interesting pages that mix video, music and narrative to create an online universe. Also, special features as the Blue mark in Ader in which every garment has a unique code to verify the originality.
Figure 95 Adererror (Adererros website, 2019)
Figure 96 Adererror (Adererror website, 2019)
Figure 97 Comme des garcons (Comme de garcons website, 2019)
Figure 98 Comme des garcons (Comme de garcons website, 2019)
Appendix 2 - Primary Research 2.1 Visit to the store The visit to the store apport a lot of information to the report, it helped to create the structure of the brand and to understand the vision and its functioning. Talking about the collections A.A there has to be stability through out the collections so there is inspiration of street wear also and some pieces French sophistication as well so you know backgrounds I want to reflect through the collection so for example we have camouflage that is very interesting … ( I love this one ) yes is very nice and is like (how many size do you have) usually goes from x small to x large but for some peace’s we have small medium large where we can separate as much and the fit is pretty large, the fit, so for example typically people that wear medium will take a small. it is the design only where in Paris? You have your studio here? A.A Yes, downstairs ill show you guys after we finish where everything is downstairs … the store opened end of September 2017. the brand was created when? A.A at the same time as the store, at first the real first collection is really Tokyo… before we were still you know kind of figure out which is best for us. The first couple months w were really a mix between two collection, but really we started with Tokyo. for research you go to the city? A.A Yes, cities that I have visited before that have inspired me. what will be your next city? A.A it will be Detroit, with all the automovile industry, music, techno music that was created there How far in advance you start the collection? A.A We start working in a collection a year in advance and we show it 6 months in advance. Talking about the boutique A.A we have atemporal pieces, it's important to have a mix between more image pieces and more comercial pieces having a boutique that's the hard part of having a boutique because if you don't have a boutique you can produce in big quantity, but we have to predict and that very risky but it's also fun because we have to design better. Talking about the concept A.A I wanted to bring two universes together(...) that's also part of one culture showing that the world it's more similar than you think, it can be different cities or whatever. (...) We are not only streetwear brand because we have the french sophisticated, as brand we have being evolving and as we have the store it's hard to only do streetwear, we develop it to more than streetwear. About the pices A.APrices are tough for a brand because when you start you have minimum quantities no manufacturer wants to work with you so the manufacturers charge (...) the brand is french and the french brands can not be priced to high at least for this market. About collaborations A.A We like to promote different artist in the store, usually friends of ours mostly people that we know. It's a big place and we need to fill it up and it's not always easy with just the clothes so we built the community.
Appendix 2 - Primary Research 2.2 Interviwe with current customers Current customer 1. Where are you from? 2. How old are you 3. How do you know the brand? 4. How do you classify the style of the brand? 5. What do you like the most? How you Select something when you are going to buy? 6. What do you think about the quality? 7. Do you feel connected with the concept of the brand? ( multicultural promoter, inspired in different cities of the world) 8. As a streetwear fashion expert do you see the brand in the Asian market? Alexander Keulen 1. The hague, netherlands 2. I am 22 years old 3. I was helping my father on a buisness trip to paris and in my free time I stumbled across the oneculture store. It was pure luck but the moment i saw the store i knew i had to check it out 4. I would say something along the lines of "high-end" streetwear. The items i bought came from the previous collection. While most of their stuff does manage to stand out, it isn't as "screamy" as other high-end brands. Their pieces are defined by cool designs as well as High quality work such as stiching and the way the fabrics are cut 6. The quality is great! I bought te cargo pants from the previous collection and they still are my favorite pants to wear. They truly have paid a lot of attention even to a "lowkey" piece such as this one, e.g the pant itself isn't made from straight-cut pieces of fabric. Along the legs the fabric was cut in a slightly bent line to the side making the pants follow your legs perfectly 7. I feel like the brand manages to capture the feel of every location they choose. I LOVE exaples such as the dr.dre sweater coming from a brand that in their previous collection focused on japanese biker-culture. 8. I feel like part of the brands succes comes from it being inspired by different places in the world and for them to be succesful in the asian market they would have to very carefully pick the next place to focus their collection on. I dont feel like their current collection, with stuff like the dr.dre sweater and the brightly coloured trackpants would resonate well with asian streetwear, but due to their high-quality work, their less "out there" designs could get really popular. Ferdinan de la Ubier 1. I am french 2. I am 29 years old 3. I know one culture since pop up larry deadstock 4. street wear 5. I buy at the heart, if the clothes fall well. 6. I find the quality excellent 7. not really but I like the concept for the originality that it brings 8. yes! the pieces work well with a japan style.
Appendix 2 - Primary Research 2.3 Interviwe with potential customers Potential customer 1. Where are you from? 2. How old are you? 3. Where do you live? 4. Favorite brands? 5. What do you look in a brand when you buy the clothe? 6. Where do you buy your clothe usually? 7. Do you buy in South Korea if yes where? 8. Do you buy online? If yes, do you prefer to buy online or in store? 9. What do you think about One culture brand? Vincent -Im from south korea -im 24 -Between new york and Seoul -ader error, supreme, stone island, nike -I look for the fit, because if it doesnt fit you clothes gon look weird on you, but I also love the oversize if I wanna wear skinny pants I would use less size for the tee -usually vintage shop and going to soho -yes , ader error -yes, but i like going to store better so i can see if it fits me well or looks nice on me. -Ohh its fire, I actually like it a lot I want something from it, already check the website and all. Jerry 1. Im from South Korea 2. Im 26 years old 3. Im currently living in South Korea but because of my work I travel monthly to different countries in Asia 4. I love Adererror, Escs, Rick Owens, and my brand Symphony 5. I like the style that its oversized, also I like to buy things that are different that only few people have..I buy mostly in black or white or blue but I like to combine it with accessories or sneakers in vibrant colors. I like a high end fashion brand but that its affordable, when I buy in the luxury brands its for special pieces the normal is premium. 6. I love stores as Dover street market 7. In South Korea I like to go to specialized places like Beaker, MĂœN, Rare Market and some times Boon the shop. I also buy online some things but I prefer to go and try it, to touch it and see how it looks on me. 8.Yes, I buy online but as I told you I prefer to buy in store because of seeing and touching the clothe. I mostly use the internet to know the brands, see reviews, see the videos, websites that now more than for sell are like seeing a movie, very cool. 9.Yes, I definitively like it a lot, there are a lot of thing that seem pretty cool, I would like to try it some day.
Appendix 2 - Primary Research 2.4 Secret customer experience Secret Customer: Carlos Alberto Roa Díaz 26 years old No french speaker The following exercise was carried out with the purpose of understanding the customer service, the staff training and how the new audience is receiving the DNA of the brand. The secret customer went into the store a Saturday at 2:00 PM, the owner was not there. Below is available a transcript of the interview made to the secret customer after the experience. How can you describe the entrance to the store? When I arrived there were two girls attending in the store. They were cleaning the racks and putting everything in order, no other customers were there, what I think it’s good because they can pay more attention. The music was not loud, according to the place and the atmosphere is very clean I like it a lot. Describe the experience step by step I enter to the store and say Hi, the staff respond but they didn’t get closer to see if I was interested in something. I started looking at the garments and when I liked a hoodie I ask to the girl which should be my size. After that she came and she was very kind, she explain that the fit was oversized and she started telling me about the material and the concept of the hoodie, she even explain the provenance of the concept of the whole collection and I think that was very cool because it made me like better the hoodie. Then I took the hoodie and I went to the dressers, I asked if they had it in other colors but I finally decide to buy that one. When I went to the cashier she gave me a sticker I think a rectangle with the logo, the bag and then I went away. How do you feel about the brand and the experience in store? I like it a lot, I think that the fact that they are able to explain everything about the collection is very good. Maybe at first i didn’t feel very connected because they were not very kind, but after they saw my interest everything change. Do you think the store transmits the concept of the collection or the brand? Not really, I was very surprised because I think it’s really good to have that kind of vibe but I didn’t feel that the store connected me at all with the provenance of my hoodie, not the music or the decoration.. I mean I like it a lot it’s very clean and beautiful but no connection with the travels and all of that.