KATERINA DVORACEK
2020
KATERINA DVORACKOVA
contact details dvoracek.katerina@gmail.com
follow us on instag ram @katerina.dvoracek Portfolio has been created as a magazine and uploaded to online platfor m: https://issuu.com/katerinadvorackovamb K aterina Dvorackova has asserted her right to be identified as the author of this work. University of Derby W223: BA (Hons) Fashion and Fashion Marketing 6FH501 - Fashion Direction 100450733 ISSN 0000-000X
content 06
EXECUTIVE SUMMARY 15
08
COMPANY DESCRIPTION MISSION STATEMENT BRAND NAME BRAND LOGO
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PRODUCTS
21
COLLECTION 2020 NAME OF COLLECTION
32
CUSTOMERS STYLING
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MARKET ANALYSIS
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FACTS ABOUT INDUSTRY COMPETITORS PRICES BRAND POSITION ON MARKET SWOT ANALYSIS 38
MARKETING STRATEGY 53
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CAMPAIGN VIDEO & PHOTOSHOOT STUDIO PHOTOSHOOT KATERINA DVORACEK BOOK LEAFLETS SOCIAL MEDIA
BIBLIOGRAPHIC NOTE
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PICTURE CREDIT
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58
63
67
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EXECUTIVE SUMMARY
In this report, the focus is on development of my idea for final marketing project. Through research and obtained experience the focus has been on Katerina Dvoracek brand development and market position; and factors such as products, competitors, segmentation of consumers, promotion, marketing strategy‌ Nowadays, every fashion brand has to communicate with customers through social networks. In this report, the thinking has also been about possibilities in this area.
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COMPANY DESCRIPTION
KATERINA DVORACEK
Katerina
Dvoracek
is
a
new
brand
that
offers, besides unique and extraordinary items for a special occasion, a timeless wardrobe for three generations of women. The goal is to create pieces inspired by the customers themselves. The first collection will be introduced in 2020.
Pieces of non-trend, non-seasonal, variable, practical,
mission statement
just the ones we all need. The intention is that this closet will serve for several years. I want to make these
Production and offer from unique and
pieces simple, comfortable and easy-to-wear. Pieces,
extraordinary pieces to a timeless women
you can combine with each other or with pieces you
wardrobe for every occasion, versatility
already have in your closet.
and longevity – pieces in which every woman finds her own style.
The unmistakable branding includes a sense of detail, perfect finishing of garments and production of quality materials.
• FE M IN ITY • TI M EL ESS • EVERYDAY CLOT HING • UNIQU E AN D EX TR AOR DINA RY I TEM S • NEUT RAL CO LO UR SCHEME • SUSTAINABILIT Y •
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BRAND NAME
KATEŘI KA The brand name is derived from the founder, CEO and designer of the brand, Kateřina Dvořáčková. Considering differences of surname of men and women in the Czech Republic (suffix –ová; Dvořáček – Dvořáčková) and the assumed activities abroad, I am using a shortened version: Katerina Dvoracek or Kateřina Dvořáček.
*** Explanatory note: In the Czech Republic and other Slavic countries it is very easy to identify the person’s gender by surname. The difference between surname of a man and a woman is a suffix –ová. I would like to explain this with the example of me and my father. My father’s surname is Dvořáček, my surname includes the suffix, it is Dvořáčková. Another example is, if I married a man named Novák, my surname would be Nováková. However, due to big influence from foreign countries, at this time we have different options. When I get married, I have the opportunity to choose the classic surname with the suffix – Kateřina Nováková; or I can choose to have exactly the same surname as my husband, without the suffix – Kateřina Novák. With my experience, it is very difficult to pronounce or spell my surname in foreign countries. Also for this reason, I have decided to use the abbreviated version (without the suffix) of my maiden name as the brand name.
NA DVOŘÁČKOVÁ TEŘINA DVOŘÁČEK KATERINA DVORACEK
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BRAND LOGO
KATERINA
DVORACEK
KATERINA DVORACEK
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PRODUCTS
The collections offer unique, classic and elegant wardrobe pieces highlighting femininity, idea of easy-to-wear and mutual combinability. Repetition, multiplication and simplification is something the brand wants to work with in cuts. The collections begin with simpler and basic pieces, which are then developed into extraordinary and extravagant. The cuts are therefore taken from other models and collections of the Katerina Dvoracek brand. Offer includes different types of tops, skirts, dresses, trousers, coats‌
IN‘VISIBLE
WOMEN’S
ELEGANCE
2020
READY-TO-WEAR
COLLECTION
I sought insipration in the home Czechia, and
The collection title is derived not only from the main
United Kingdom. As a starting point I chose
idea of the brand - elegance -, but also because of
representatives of Brutalist architecture.
paradox of denunciation. ‚Brutalist buildings are
Connecting simplicity and inspiration from
often condemned by people. Some people see the
brutalist buildings. Stylized vision of all buildings shares a common foundation in modernist architectural fascination. Each of them depicting the trend – uncompromisingly modern, surprising
grace in Brutalism, for some the beauty remains hidden and invisible. Although the buildings may seem hard and cold on the outside, their interiors can pleasantly surprise us with their softness and
and arresting, distinctive, frightening and exciting
elegance. ‘
at the same time.
As some brutalist-style buildings look ordinary or
The collection is simple, elegant, with some pieces
eccentric to controversial, the idea of collection is to
even more extravagant.
give women a sense of self.
The colour palette includes black and white, as well
Focus on several types of women from those who
as brown to powder shades. After getting results of the online survey, the palette is completed with shades of red, blue and yellow. The colour scheme highlights the idea of easy-to-wear and mutual combinability.
prefer extravagance, attract attention, want to be visible; women who do not desire for attention and would prefer to be invisible; up to women who look invisible on the outside, but on the inside, they desire to be the centre of attention.
Not only composition and structure of buildings but also the distinct colour palette inspired me to use particular materials, especially cashmere wool and cotton organdie.
–
IN
–
VISIBLE
–
INVISIBLE
–
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COLLECTION 2020
Such as the details repeating in Brutalist architecture, the same designs show up multiple times through the collection. However, they are reimagined and re-worked, or made using different materials. New for ms of the same design piece change its reality and portrays it in a new context.
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COLLECTION 2020
Cashmere wool skirt, cotton organdie dress, both KATERINA DVORACEK
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COLLECTION 2020
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CUSTOMERS
Offer of timeless wardrobe for three generations of women. Customers are women who value quality materials and perfect finishing of garments. Customer segmentation is one of the key functions of marketing. It helps enhance a company’s understanding of its customers, market position; offer products and services designed to appeal to the targeted customers. (Posner, 2015) The intention is to divide customers into three groups and two subgroups: The first group consists of specific customers. Ambitious and confident women who yearn for elegant, extravagant and individual style. Women who will not be afraid to combine pieces from the collection with each other. Lifestyle: Financially secured. Living in bigger cities. Enjoying time of travelling. Visiting fashion shows and events. Enjoying having coffee in cafÊ. Dinner in chic restaurant. Eating healthy. Magazines. Lots of free time. Instagram. Emphasis on uniqueness. Communication with the customers via social networks, especially the Instagram account of the brand.
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CUSTOMERS
The second group are women who want a sophisticated but elegant style with a touch of soft colours. Women who will combine pieces from the collection with the simple pieces from their wardrobe. Lifestyle: Busier than group one. Students. Employee. Work. Morning. Run. Yoga. Fitness. Quick coffee. Coffee-to-go. Enjoy time with friends. Shopping. Cooking. Eating healthy. Reading books. Neutral and natural make-up. Red lipstick. Watching movies instead of TV. Travel to interesting locations instead of lying on the beach. Communication with the customers via social networks, especially the Instagram account of the brand. Within this group, the first subgroup has been set up. It includes the same women and girls; however, they cannot afford such clothes. Women and girls who value quality materials and local brands. They are willing to save money for a weeks or months to buy a quality piece of clothing and to support the brand. The subgroup includes also women who ask for such items of clothing for example for birthdays, Christmas or other important events.
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CUSTOMERS
The last, but not less important group, are women who always reach for classics. No extravagance, colour scheme – black, white, shades of beige. Women who buy only the most classic and simple pieces. Lifestyle: Woman. Mother. Family. Cooking. Reading books. Cleaning. Family care. Work. Children. Friends. Communication with the customers via email marketing.
The second sub-group consists of men who demand and buy gifts for their partners or daughters for birthdays, Christmas or other special events. Communication with customers will be via email marketing. An important element of communication with this subgroup will be sending out reminders for the upcoming birthday of a partner or daughter via email.
The aim of the brand is to reveal women’s hidden needs and wishes and influence their motivation and desire to buy the products. Production in small series. Purchase of the product will be influenced by disposable income of customers and motivation to feel and look great. *Whether it is communication with customers through email marketing or social networks, every single channel will say the same message. If customer signs up to receive newsletters, they will automatically receive a welcome email with introduction to the brand.
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MARKET ANALYSIS
WOMEN’S
&
GIRLS’
APPAREL
-
WORLDWIDE
The women’s apparel market covers apparel for woman and girls. The range of products constitutes the largest share in revenue within the entire clothing market. Revenue amounts to £520.077m in 2019. The market is expected to grow annually by 4.2% (CAGR 2019-2023). Most revenue is generated in China (£99.896m, 2019).
REVENUE IN MILLION £ Forecasted revenue development for each year. (Statista, 2019)
REVENUE IN MILLION £ Forecasted revenue development for each year. (Statista, 2019)
Middle-market fashion product is designed and priced to cater for customers wishing to purchase at a level between luxury and mass market. (Posner, 2015) Based on an analysis of the market and competitors, Katerina Dvoracek will belong to the middle-market segment. Focus on placing in more luxurious but affordable section.
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SWOT ANALYSIS
strengths.
Understanding of fashion industry, quality products, individual customer approach, quality materials, exclusive goods, diversity of product range from extravagant pieces to a timeless wardrobe.
weaknesses.
New brand, so far without history, low experience of running own business.
opportunities.
Collaboration with influencers, opening store/studio, creating
brand website, product range – accessories extension, growing market potential, rise of social marketing (opportunity to raise awareness and promote products and work), presentation on fashion shows, growing experiences and knowledge.
threats.
Not successful marketing and lack of publicity,
market changes, lack of demand, cash flow – possibility of not making enough profit.
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COMPETITORS
Based on the analysis, my possible key competitors can be for example brand COS, Totême, Joseph, Dion Lee, Monographie and Gauchere. I assessed the key competitors on the basis of similarity in products, prices, style, design features, statements and values. I divided the competitors into three groups: • competitors with lower prices • competitors with similar price ranges • competitors with higher prices (Even though some of the competitors have different price ranges, I still consider them as my competitors within similarity in products.) The prices for my collection will be competitive, targeted to the specific market and customers. Prices of my brand are assessed according to exclusivity, quality production, used materials, and above-standard customer service. (for more information about each brand see Research File)
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MARKETING STRATEGY
As a student of Fashion and Fashion Marketing, I had the opportunity to choose from three options when deciding on the concept for my final project. I decided to choose option two, which focuses on garments development and marketing strategy. The marketing part of the project will allow me to market these products through a marketing campaign.
The current rapid and modern development of new technologies only confirms to us that the path through online stores is the right idea for starting companies and brands. At this moment, it is also confirmed by the current epidemiological situation. Shopping online is almost hasslefree in any situation, customers can shop freely, whenever and wherever they need. In the future, however, I would like to rent premises including a manufacturing studio and a showroom, which customers can visit personally, and buy or try on pieces of clothing. Despite all the technology, the shopping experience is still crucial for customers.
Thanks to obtained experience and knowledge during studies of fashion marketing at the University of Derby and marketing placement with fashion designer; the marketing part of final project presents the campaign aimed at promotion of new collection and brand, and raise awareness of problematic of not only brutalist architecture. I divided this campaign into several parts:
c a m pa i g n v i d e o a n d p h o to s h o o t studio photoshoot book leaflets social media
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CAMPAIGN VIDEO AND PHOTOSHOOT
Regardless of film’s creativity, length or style, the main goal of all fashion films is to promote a brand or collection through something memorable and, crucially, shareable. (Cope and Maloney, 2016) The goal of my campaign video is to introduce and promote a new brand collection, raise awareness of Brutalist architecture, but also to show customers products on the model, in motion, which would affect the purchase needs.
interest of potential customers, to raise awareness of the new brand and its very first collection. The video was posted to the brand’s Instagram account. Video Length: 0:15 The next step was to create the remaining videos that would be shot in one same day. Unfortunately, due to the pandemic and quarantine, it was not possible to create these videos, so the next part is only theoretical. place
National Theatre Filming and photography would take place with the consent and under the conditions of the Nation Theatre „ ‚Any students wishing to arrange photography on site may do so subject to permission. We allow students on site for up to 1 hour and crew size no larger than 4 people. If you wish to film on site you will need to write in advance to the Commercial Events team for approval with a minimum of 5 days’ notice of your shoot date… ‘ An alternative solution for the location was: Barbican, London My aim for this part of the project was to prepare a set of different videos: – coming soon video – backstage video – main video – ‚5 second’ video – The team of collaborators for this project was expected as follows: filmmaker and photographer Katerina Vahalova model Elisa Mitrofan (models 1) or Deimante Misiunaite (milk management) MUAH
coming
soon
video
As a preparation to the coming soon video, during the process of making the garments, I shot very short videos including from the beginnings of cutting, following by showing a huge pattern piece for sleeve before sewing, the sewing itself, to the final version of the outfit. These videos were then processed and edited by Katerina, and supplemented with music called Parita III. Courante – Roomful Of Teeth. The video is made in black and white version, it is aimed at attracting the
date
Saturday 4 April 2020 Unfortunately, the Theatre was already closed at this time, and it is so until the end of June. The following was prepared for the main campaign videos: MUAH more expressive make-up with a distinctive lipstick. Sleek, straight hair at the crown takes a frizzy ponytail from messy to polished. .
Deimante Misiunaite
coming soon video
Elisa Mitrofan
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CAMPAIGN VIDEO AND PHOTOSHOOT The ideas for the scenarios were as follows:
make-up and hairstyle
STYLING – The most important elements were dress and skirt. To shoot a separate dress, it was necessary to get black high panties and a strapless bra. The second outfit would feature a dress and a skirt on top. My goal regarding to styling was to collaborate with other university students in the field of footwear or accessories. Collaboration was agreed with Ales Hnat, a student of Fashion and Footwear design at UPRUM University in Prague, Czech Republic. As part of my project, I would have the opportunity to raise the profile of both Czech production and newly starting Czech designers. Unfortunately, due to the epidemiological situation, I had to suspend the collaboration and resolve everything differently and very quickly. As already mentioned in the company description, my goal is to create pieces that can be combined with each other or with those that we already have in the wardrobe. The following styling was therefore derived from the pieces of clothing that I own or have recently bought. mules, oversized turtleneck sweater and blouse with tie MANGO, handbag JEENA, high heels MOHITO, sleeveless jacket with shoulder pads ZARA
MAIN VIDEO As I made only one outfit (or two – skirt and dress – the dress separately), the overall idea of the video was focused on fastchanging shots of the model in both motion and standing, but also, for example slower movement in more extravagant poses. We also wanted to work with abstraction, which means that the model, for example, would move along the wall, and this shot would then be rotated horizontally. The model would be shoot from different angles when moving, we would work with shadows and other possible variants, such as zooming, making eye contact with the camera, shots focused on details, especially the sleeves, working with accessories, etc. The video would be processed in more cheerful colours, with a touch of romance. Video Length: The key intent is to capture the audience’s attention in a shorter period of time. Attention is a limited concentration. The average time to watch single video online is two minutes and fortytwo seconds. According to Wistia, a video hosting and analytic provider, a shorter clip will encourage an audience to watch the entire video. More interesting finding from Wistia Video Analytics: • 50 percent more people will complete a one minute video than a two-minute video. • After a certain point, the engagement will balance out so a four to five-minute video has the same engagement as a five to ten-minute video. (Ruedlinger, 2012, cited in Bendoni, 2017) For these reasons, the main video will take around 0:45 Usage: social media ‚5 SECOND VIDEO Video consisting of 6 shots together – shot 1. detail of the building; shot 2. detail of the building; shot 3. whole building; shot 4. model dressed in the dress by Katerina Dvoracek, sitting on a chair (half-sitting), hand hanging down, which will highlight a distinctive element of the outfit – the sleeve; shot 5. detail of the building; shot 6. model dressed in a dress with skirt on top, extravagant pose in front of building – very slow movement – eye contact with the camera Video Length: 0:05 Usage: social media especially Instagram
A backstage video would be prepared and filmed throughout the day. Due to the crisis situation, after an agreement with Katerina, a trial version of the photoshoot (at her home) was arranged with a green background, which was subsequently modified and replaced -> we placed our own photos of the National Theatre into the background. In the given pandemic situation, the model changed. The model and friend of Katerina – Cali White – agreed to do the trial photoshoot. I planned to take part in the test photoshoot, but the development of the coronavirus situation in London, and the cancellation of the bus services from Derby to London, prevented me from participating personally.
shot 01
shot 02
shot 03
shot 04
shot 05
shot 06
Cotton organdie dress KATERINA DVORACEK; bag JEENA; shoes MANGO; model Cali White; photo Katerina Vahalova
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STUDIO PHOTOSHOOT
After the completion of the manufacturing the outfit, due to the coronavirus situation, the photographic studio at the University of Derby was closed, and subsequently also an alternative variant – the Belper studio in Derby. The photoshoot supposed to include both lookbook photos and photos focused on more extravagant poses. All with white background. The team consists of: photographer adam kay model lauren frary muah emma grant or anika ahmend styling already mentioned in the ‚main video‘section
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BOOK
The next part of my marketing project supposed to be a magazine or catalogue including infor mation about brand and current collection. However, I realized very quickly that it does not present myself enough. I am a keen reader since my childhood. I absolutely adore reading books and feel sad, that books are not so popular anymore. I am torn into 2 worlds, I do respect past, however I need to look into future as well. The book present timeless marketing product of the brand. On the contrary, to stay present and open to future trends, the brand is using social media as well. The Instagram present very powerful marketing tool of the brand. It will be used mainly for promotion. Despite the fact that the book unfortunately lacks campaign photos of the final outfit, I decided to print the book and bind it in the Czech Republic at CDSM. In agreement with the company, the binding of the book was modified for the additional insertion of photographs from the photoshoot, which will take place after the end of the coronavirus period.
The book is divided into several parts. The first of them is a short biography of myself as the founder, CEO and designer of the brand Katerina Dvoracek. The biography was written by my best friend since childhood Eliska Paryzkova. The following is an introduction to the brand itself. The next part of the book focuses on the Brutalist style, which I chose as my inspiration for the very first collection. I deal with its origin, past, present but also future. I consider it necessary to include in the book a campaign called SOSBrutalism, which for several years aims to save the endangered Brutalist architecture. An interview with Miriam Kremser, who has been working here for 3 years, was created to get acquainted with the campaign. A transcript of the interview is part of the book. The idea of connecting Brutalism with art is not only dealt with by me in my collection, but also by other important artists. Examples of ‘Brutalism differently’ are included in the book. The main part of the book is focused on the first collection of the brand, its development from the initial idea to the final production of the outfit.
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LEAFLETS
The aim of these leaf lets is to present the In’visible Elegance collection just before the fashion show. No photos, only text about the collection. Before the exhibition, visitors will be able to read infor mation about the collection – inspiration, colour palette, selection of materials, introduction to brutalist architecture… As promotional materials, 3 leaf let designs were created. It will be all placed in an envelope with a printed brand logo, and it will be given to every visitor at the fashion show.
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LEAFLETS
LEAFLET 01
SIZE A5. MATTE SURFACE. 150G/M
LEAFLET 02
SIZE A5. MATTE SURFACE. 150G/M
BROCHURE 03
SIZE 21 x 3 CM. MATTE SURFACE. 150G/M USE THIS BROCHURE AS A BOOKMARK
ENVELOPE 04
SIZE C5 162 X 229 CM. BLACK V FLAP PEEL & SEAL ENELOPE. 110 G/M
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SOCIAL MEDIA
Social marketing is modern and effective method of interacting with target market. Consumers provide feedback and feel more connected to the company. (Bickle, 2011) During the 4th lesson called ‘Product Me’ (module 6FH502 – Entrepreneurship and Enterprise) we discussed, among others, the popularity of social networks – Facebook and Instagram. Facebook is becoming less and less popular. Last year, Facebook users fell from 67% of Americans to 62%. This drop has been consistent across age groups and genders and is likely to continue. Many people no longer trust Facebook. For the younger generation, it is no longer fresh or fashionable. On contrary, Instagram remains a very successful and popular marketing tool. In 2018, Instagram exceeded 1 billion active users per month. The fashion industry is an image-based business, making Instagram a powerful platform. According to Lisa Pomerantz, Senior Vice President of global communications and marketing at Michael Kors, “We go where our fans go, and we believe that more and more consumers are spending their time on Instagram for both inspiration and product discovery.” (Strugatz, 2014, cited in Bendoni, 2017)
For the mentioned reasons, I decided to create only an Instagram profile of the brand. The Instagram account was created as a company account, but I will be able to see the exact statistics only after reaching at least 100 followers. The content is diverse, including information about the brand, but also brutalist architecture, photographs and videos of clothing. My marketing strategy for social networks is to add individual posts every other day, either at 7 am or between 7-8 pm. The reason for these times is, when waking up and on the way to work, people
most often go through their Instagram, and vice versa before going to sleep. I am adding posts one by one, in the future I would like to connect individual photos with each other, but no square will be left blank or all white. Each post must say some information or pass on a message to followers and potential customers.
I use the free mobile application called UNUM to pre-prepare all Instagram posts. It is a marketing tool for the planner, which makes it easier to have a social media marketing strategy, any posts are pre-prepared in the application, the feed is unified, and all of that without publishing it. To get more followers, I also add Insta stories, and I created two highlights with names: ./brutalism
promotion and inspiration of
brutalist architecture in’elegance
promotion of contributions related
to the collection
comments and interaction with followers
instagram stories
#in‘visible elegance #katerinadvoracek
#collection2020
#brutalism
#neutraltones instagram profile
using UNUM app
layout for following posts
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BIBLIOGRPAHIC NOTE
Posner, H. (2015) Marketing Fashion:
Bickle C., M. (2011) Fashion Marketing:
strategy, branding and promotion.
theory, principles, & practice. New York,
2nd edition. London, Laurence King
Fairchild books.
Publishing Ltd. Strugatz, R. (2014) ‘Fashion Brands Push Statista (2019) Women’s & Girls’
Social Media Ads’. Women’s Wear Daily,
Apparel. https://www.statista.com/
October 13. Available online: http://wwd.
outlook/90010000/100/womens-
com/business-news/advertising/fashion-
girls-apparel/worldwide [Accessed 15
brands-push-social-meda-ads-7977246/.
November 2019]
Cited in: Bendoni K., W. (2017) Social Media For Fashion Marketing: storytelling
Cope, J. and Maloney, D. (2016)
in digital world. London, Bloomsbury
Fashion promotion in practice. London,
Publishing Plc.
Bloomsbury Publishing Plc. Ruedlinger, B. (2012). ‘Does Length Matter?’Wisia, May 7. Available online: http://wistia.com/blog/does-lengthmatter-it-does-for-video-2k12-edition. Cited in: Bendoni K., W. (2017) Social Media For Fashion Marketing: storytelling in digital world. London, Bloomsbury Publishing Plc.
PICTURE CREDIT
Photos. Moodboards. Illustrations. All by Katerina Dvorackova. Pages: 4-5, 14-15, 18-19, 21-25, 31, 45, 51-55, 60-61, 63-65, 67-69. Customers. Pages: 32, 36, 40, 42. All founded via: Customers. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/698339485953938191/ Customers. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/191262315411149262/ Coffee. In: Pinterest [online]. From: https://www.pinterest.de/ pin/423056958748650687/ Balmain Fashion show spring 2016. In: Fortras Fashion [online]. From: http://www.fortrasfashion.co.uk/ff-about-us/fashion-shows/ Background. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/705517097854610548/ Paris. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/545920786079142542/ Customers. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/529806343666495178/ Customers. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/269230883960422374/ Sport. In: Pinterest [online]. From: https://www.pinterest.dk/ pin/411727590938246789/ Joga. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/779333910508586637/ Coffee. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/239464905175537050/ Coffee to go. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/298293175323069224/ Quote. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/157344580716877241/ Customers. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/370280400613958606/ House. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/95420085842311981/ Cooking. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/472596554648524360/ Family. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/790029959620690358/ Book. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/344806915223318112/ Customer. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/479844535289133964/ Customer. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/525654587760878704/ Customer. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/424675439906715798/ Customer. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/333547916133260645/ Presents. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/443323157073032423/
Bra. In: Telegraph [online]. From: https://www.telegraph.co.uk/fashion/ style/best-strapless-bras-every-outfit-occassion/ The Gentlewoman. In: The Gentlewoman [online]. From: https:// thegentlewoman.co.uk/magazine Background. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/150026231325830538/ Blue shirt styling. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/83105555612288547/ Hair-style. In: Pinterest [online]. From: https://www.pinterest.ca/ pin/389139224052879018/ Sunglasses. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/584764332849819315/ Hair-style. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/54746951707289613/ Vest styling. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/450782243956470110/ Oversized sweater styling. In: Pinterest [online]. From: https://www. pinterest.co.uk/pin/518265869623028246/ Background. In: Raw Design Block [online]. From: http://rawdesignblog. blogspot.com/2018/11/101-cph.html Leather Chelsea Boots. In: Pinterest [online]. From: https://www.pinterest. co.uk/pin/464715255301285303/ Coat. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/394839092322092753/ Coffee. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/491244271856362276/ Styling. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/436638126373982181/ Woman. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/199988039692634373/
Statistics and graphs. Page: 44. Graph – revenue in million. In: Statista [online]. From: https://www.statista. com/outlook/90010000/100/womens-girls-apparel/worldwide Graph – revenue growth in percent. In: Statista [online]. From: https:// www.statista.com/outlook/90010000/100/womens-girls-apparel/worldwide
Competitors. Pages: 48-49. All pictures found by google-ing each brand name ‚cos‘, ‚arket‘, ‚Totême‘... Models. Page: 53-54. Deimante. In: Milk Management [online]. From: http://www. milkmanagement.co.uk/women/main/1055-deimante-misiunaite/ Elisa. In: Models1 [online]. From: https://www.models1.co.uk/women/ image/3810-elisa-mitrofan/ MUAH. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/133911788897342107/
Photography. Brutalism. Model. by Katerina Vahalova. Pages: 55-57
Customers styling moodboards created by Katerina Dvorackova. Pages: 33-35, 37-39, 41-42. Including brands:
fashion
Katerina Dvoracek, The Frankie Shop, Jacquemus, Bottega Veneta, COS, Ralph & Ruso, Linda Farrow, Amina Muaddi, Anderson’s, ARKET, Mango, JEENA, Ter et Bantine, The Row.
beauty Chanel, RMS, NARS. furniture Leibal, Note Design Studio & Norm, Detjer O thers : Hair-style. In: Pinterest [online]. From: https://www.pinterest.co.uk/ pin/695454367446140337/
Studio Photoshoot. Pages: 55, 58-59 Poses. In: Pinterest [online]. pin/454933999836224123/ Poses. In: Pinterest [online]. pin/551620654357457996/ Poses. In: Pinterest [online]. pin/618330223826583316/ Poses. In: Pinterest [online]. pin/618330223826303159/ Poses. In: Pinterest [online]. pin/618330223826303147/ Poses. In: Pinterest [online]. pin/454933999836224123/
From: https://www.pinterest.co.uk/ From: https://www.pinterest.co.uk/ From: https://www.pinterest.co.uk/ From: https://www.pinterest.co.uk/ From: https://www.pinterest.co.uk/ From: https://www.pinterest.co.uk/
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