Polimoda Masters Fashion Brand Management Final Kenzo by Kayla Botha

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TABLE OF CONTENT

MARKET RESEARCH & BRAND SELECTION PROCESS

- Analyse - Scan - Final selection & Argument

1 25 29

BRAND ANALYSIS

- Kenzo Takada - Strategic brand history analysis and cultural relevance context - Designers - Iconic runways - Iconic products - Genotypes - Distribution - Communication - Digital: owned, earned and paid media

39 43 53 59 71 81 85 91 106

NEW CONCEPT PROPOSAL

- Additional market and trend analysis 151 - Concept proposal 156

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NEW BRAND IDENTITY PROPOSAL

- Future 3D business model - Future vision, mission and values - Future Archetype

159 161 162

VIDEO

- Script - Video mood board and storyboard

165

BUSINESS DEVELOPMENT

- Promotion - Communication - Retail/ distribution - Brand implementation features - Future benchmark and positioning map - Analysis of potential threats of the proposed rebranding strategy

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164

191 211 261 273 275

Appendix - Competitors benchmaking - Budget - Talkwalker

281 286 291

Reference list Contributors

317 331

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MARKET RESEARCH & BRAND SELECTION PROCESS

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ANALYSE

RISING INFLATION RATES IN THE GLOBAL ECONOMY Focus point: Consumer frustration with the rising costs of high-end luxury goods The “accessible luxury” market, occupying a space between fast fashion and high-end, is now on an upswing after years of decline (Sherman, 2022). The pandemic has not only widened the income gap, but has forced consumers to change the way they shop. Business of Fashion states that wealthier buyers are happy to trade down for products with a sharp point of view. Brands are taking advantage of this consumer frustration with the rising costs of high-end luxury goods, which in some cases have risen by almost 20% (Sherman, 2022). “Over [the pandemic], people did switch to wanting fewer, better things,” said Karla Martin, a managing director at Deloitte, adding that the rise in online shopping meant that many consumers were also “exposed to brands they may not have seen in stores” (Sherman, 2022). This value-conscious mindset has, in some cases, presented an opportunity for lower-priced labels to be held in higher regard (Sherman, 2022). Some of the leaders in the category including Coach and Michael Kors, have used the pandemic to reset and focus more on profitability, distinctive designs and less on sales that are volume driven by discounts (Sherman, 2022).

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CHANGE OF PERSONAL LIFESTYLES AS A RESULT OF THE PANDEMIC Focus point: Hybrid experience in store. Customers that shop using more than one channel have a 30% higher lifetime value than those that only use one (Hassey, 2021).. Compelling trends and stats that highlight the importance of leveraging a hybrid customer experience: - Consumers of all ages – including 62% of Baby Boomers and 58% of Gen Zers, still prefer buying from physical stores. - 63% of shopping occasions begin online. - 45% of brick-and-mortar buyers check online reviews before buying. - 50% of Consumers expect to buy online and be able to pick up in-store. - 39% of consumers are unlikely or very unlikely to visit a retailer’s store if the online store does not provide physical store inventory information. - 71% of in-store shoppers who use smartphones for research say their device have become more important to their in-store experience. - 56% of consumers have used their mobile devices to research products at home whilst 38% use their mobile devices to check inventory availability while on their way to a store. Additionally, 34% who have used their mobile device to research products while in a store (Hassey, 2021).

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From 2019 to 2021, three types of digital channels grew transaction share by nearly 40%: 1) brand websites and apps, 2) retailer websites, and 3) apps and online marketplaces (Hassey, 2021). Delivery apps, social media, and messaging platforms also emerged as important channels with their share of transactions increasing more than 20% (Hassey, 2021). Design touchpoints have been a focal point for businesses in order to leverage native device capabilities and shopper behaviours. These touchpoints sites, apps, in-store, representatives) will be accelerated through ntuitive, useful, and enjoyable behaviour (Hassey, 2021).

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INCREASED APPETITE FOR EXPERIMENTATION AND SELF-EXPRESSION & LIFESTYLE Focus point: ‘Designed for Digital’ Designed for digital is a term people are very familiar with, after the 2 full years of the Covid-19 pandemic. The pandemic has led to many consumers working from home (Scapaticci, 2022). Bricks-and-mortar retail stores are disappearing due to several factors: staff being released, packing and shipping assortments working overtime and e-commerce becoming an important platform during the pandemic (Scapaticci, 2022). These factors led to businesses becoming more creative in selling their stock and earning money (Scapaticci, 2022). High-end luxury goods and accessible luxury brands are relying more and more on direct-to-consumer channels and are approaching the situation with a different approach than their large-scale predecessors (Jaglan, 2021). With Industries in the midst of uncertainty, with revenues and margins constantly under pressure, the distorted economic activities have depressed apparel market demand (Jaglan, 2021).

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McKinsey Global Fashion Index analysis predicted that in 2020, there would be two cases of recovery: “Earlier Recovery”, stating that global fashion sales will reduce by 0-5 per cent in 2021 as compared to 2019 and by the third quarter of 2022, the industry would return to the same levels of activity as it was in 2019 (Jaglan, 2021). The second is “Later Recovery” which states sales will decline by 10 to 15 per cent over 2020 compared to 2019 and the recovery of fashion sales will be in the fourth quarter of 2023(Jaglan, 2021). The pandemic increased demand for digital access, which in effect has enabled innovation, efficiency and new ways for businesses to scale up (Jaglan, 2021). It has also emphasised the need to move to more sustainable and responsible working habits. Digital channels will be the primary driver of growth in the coming years as people will remain reluctant to mass gatherings. It is expected that the industry players will see deep and long-lasting changes to both consumer demand and ways of working (Jaglan, 2021).

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INCREASED INVESTMENTS IN E-COMMERCE AND ONLINE SHOPPING PLATFORMS DUE TO LOCKDOWNS Focus point: E-commerce platforms The COVID-19 pandemic has been a setting stone for multiple social and corporate changes in society. Continuous lockdown extensions around the globe resulted in a polarising shift with consumption patterns and consumer trends such as an inflated E-commerce and Online marketplaces. E-commerce giants such as SSENSE and Farfetch had to double their investments on digital avenues such as Web Development and its UX/UI to enrich their virtual shopping experience (Emerging consumer trends in a post-COVID-19 world, n.d.). In 2020, French Group ORDRE, launched their first virtual wholesale platform for luxury brands with hedge funds; focused on technological development of the marketplace (Emerging consumer trends in a post-COVID-19 world, n.d.). Consumer mindset shifts of physical retail lead to the concept of ‘phygitisation’, which links the digital world to the physical retail space. The idea of retail was deconstructed to the brand’s values and its ability to define its exclusive experience (Emerging consumer trends in a post-COVID-19 world, n.d.). This systemic change resulted in brands focusing on smaller, more effective retail models such as experience centres or phygital spaces that bridge the gap between online and offline retail.

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Canadian E-commerce giant, SSENSE, launched its first brick and mortar store in Montreal, in order to showcase its assortments in a physical space. Experiential retail has seen a rise in Asian markets such as Shanghai and Seoul, where they have conceptual pop up stores. These popup stores evolve around themes such as ‘The invisible store’ by Bottega Veneta and the North face pop up stores (Emerging consumer trends in a post-COVID-19 world, n.d.). Multiple investments have been made in the fashion industry for the growth of newer technologies and ventures, which include the Metaverse and NFTs. The concept of Meta Facebook fueled the interest of many technologists and entrepreneurs as it was a turning point in the arena of digital asset purchasing (Emerging consumer trends in a post-COVID-19 world, n.d.). The virtual simulation of the metaverse brought to light ‘the work from home’ concept. Brands such as Valentino, Balenciaga and Farfetch are buying real estate to set up virtual stores in the Meta world, introducing a new distribution channel in the fashion industry (Emerging consumer trends in a post-COVID-19 world, n.d.).

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GREEN TRANSITION & CONSCIOUS INVESTING ON THE RISE Focus point: The environment, sustainability and the longevity trend As the world slowly starts to recover from the Covid-19 pandemic, countries start to focus on sustainability and climate change. Sovereigns are looking to meet more aggressive targets set at COP26; China to continue reducing high energy use capacity (State of Fashion Technology Report , 2022). Metal heavy green transition initiatives are being introduced to support the pricing of key commodities (State of Fashion Technology Report , 2022). ESG labelled supply should continue growing in 2022 as textiles are the fourth highest-pressure category (State of Fashion Technology Report , 2022). The new climate change goal is to reduce emissions by at least 55 percent by 2030 and achieve climate neutrality by 2050 (State of Fashion Technology Report , 2022). Currently, half of thirty of the world’s biggest fashion companies have set absolute targets to reduce emissions related to manufacturing supply chains. The EU’s carbon border tax will promote circularity by making the economics of onshore recycling and other circular models more attractive (State of Fashion Technology Report , 2022). Enabling circularity in the fashion industry involves a complex web of logistics and will require consumers to overcome stigmas in order to generate a definitive change.

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Key aspects from the market research: The “accessible luxury” market, occupying a space between fast fashion and the very high-end, is now on an upswing. Target older customer groups due to them not being born in the “sharing culture”. Brands are set to focus on the longevity factor within the clothing production sphere. Increased web traffic on e-commerce platforms like SSENSE and Farfetch due to the rise in online shopping. Return in appeal for physical retail spaces but evolved as phygital spaces and experiential pop ups. Rise in investments in the Metaverse and NFTs amongst fashion houses. Retailers focus on User experience (UX), personalization, navigation (UI), and experience integration, designing touchpoints to leverage native device capabilities and shopping behaviours. Rising costs of high-end luxury goods. Focus on direct to consumer channels.

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PESTLE ANALYSIS OF THE CURRENT TIME PERIOD

POLITICAL FACTORS

ECONOMICAL FACTORS

Geopolitical and domestic political uncertainties (Russia & Ukraine) Brexit

Rising inflation rates in the global economy Asian Markets Emerging Global supply chain disruptions

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SOCIAL FACTORS

Transition of the luxury fashion industry moving towards a younger audience Increased interest in supporting local smaller scale brands and eco-consumerism Change of personal lifestyles as a result of the pandemic International tourism is not expected to fully recover until between 2023 and 2024

TECHNOLOGICAL FACTORS

Increased investments in e-commerce and online shopping platforms due to the covid-19 lockdown Increased investments in Artificial Intellignce(AI) and Emotional Intelligence(EI) 6G advancements and investments Metaverse, NFT, Avatars and Augmented reality (AR) 3D Printing

LEGAL FACTORS

Global policy changes due to covid-19 (travel, vaccines, rules) Privacy policy NFT laws Wage & Protection law

ENVIRONMENTAL FACTORS

Green transition & conscious investing on the rise Climate change announcements after the recent G2 Summit Pollution (Clean water pollution because of the production of textile. As well as microfibers in the ocean) Veganism - material innovation with alternative leather such as pineapple and cactus leather 12

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AUDIENCE CONNECTED TO THE CHANGE

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Millennial Main Factors: The Millennials were born between 1980 and 1995. This means that in 2021 they will be between 26 and 41 years old. They are tech-savvy and are seen as idealistis. This specific generation prefers flexibility over security and are said to be more selfish than previous generations. Millennials have high customer experience expectations when focusing on their purchasing habits and are likely to invest in products that guarantee a positive customer experience. These consumers are sensitive to brand values and value brand history. Gen Z Main Factors: Generation Z members were born between 1996 and 2015. This brings the Gen Z age group between 6 and 25 years old in 2021. These consumers have been raised in a world consumed by technology and are said to be more realistic and pragmatic than Millenials. Authenticity and sustainability are of great importance to this target group. The members of Generation Z are aware of the fact that money cannot be taken for granted, resulting in a saving generation. More than Millennials, they focus on quality, long-term value and smart investments. Gen Zs are sceptical when it comes to trusting a brand or company. This group of consumers feel little urge to determine their identity by the designer clothes they purchase.

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EXTENDED MARKET & CONSUMER ANALYSIS

The concept of luxury Exclusivity is the conceptual key factor to understanding luxury in marketing. This exclusivity is maintained primarily through a high price point, but is also maintained by consciously limiting sales volumes and outlets (Statista, n.d.). Luxury Goods, according to the Consumer Market Outlook, are highly exclusive personal items that convey the taste and status of their owners. Apparel, Footwear, Leather Accessories, Eyewear, Watches, Jewellery and Cosmetics are all included in this sector (Statista, n.d.).

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The luxury goods market in U.S The luxury goods market in the United States, which generates an astronomical amount of income, was worth $74,670.00m in 2022, according to a Statista study (Statista, n.d.). Footwear, accessories and apparel are seeing a considerable rise in online sales of luxury fashion items in the United States. According to The NPD group’s new U.S. Luxury e-commerce report, buyer spending accounts for a large portion of the roughly 50% growth in dollar sales recorded in recent years (Statista, n.d.). “The luxury market is developing, new brands are gaining traction, and online retailer platforms are raising the competitive field,” said Marshal Cohen, The NPD Group’s chief industry advisor (Chojnacki, 2021).

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The luxury goods market in china In 2016, China spent $75.1 million in the luxury market sector, compared to $291.2 million in the United States (Kim, A., Luan, L., & Zipser, D. 2019).. According to the 2019 McKinsey China Luxury Report, Chinese consumers will account for 65 percent of the growth in the luxury sector between 2018 and 2025. Furthermore, the global luxury market will rise by 405 billion dollars by 2025, with Chinese customers accounting for 44% of that growth (Kim, A., Luan, L., & Zipser, D. 2019). In 2016, 7.6 million Chinese consumers spent an average of $10,375 on luxury goods (Kim, A., Luan, L., & Zipser, D. 2019). The increase of luxury spending in China has been driven by incremental spending from existing luxury consumers since 2015 (Kim, A., Luan, L., & Zipser, D. 2019). Whilst previous growth in that market was driven by wealthy consumers, China has a rapidly growing middle-class sector that is expected to contribute to the Chinese luxury market’s growth. Despite this upward trend, the middle class may be unable to afford a large number of high-priced luxury items (Kim, A., Luan, L., & Zipser, D. 2019). In conjunction, mass market and fast fashion may not meet the design and quality expectations of the Chinese middle class, resulting in consumers targeting the “affordable luxury” items to satisfy their desire for luxury (Kim, A., Luan, L., & Zipser, D. 2019).

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By 2025, Millennials and Generation Z consumers will account for more than 40% of the global luxury goods market. Much of the growth in China’s luxury sector will be driven by younger consumers purchasing luxury goods for the first time (Kim, A., Luan, L., & Zipser, D. 2019).

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The luxury goods market in europe Europe has long been known as the “home” of the luxury industry, giving birth to a plethora of brands that have become iconic in their respective categories. However, in comparison to the Chinese and US consumers, who collectively account for roughly 60% of total spending on luxury goods, the European consumer has become a minor consumer of brands that originated in their respective countries (Statista, n.d.). The United Kingdom had a value of over 76 billion US dollars in 2021, resulting in the third highest revenue of apparel markets. Resulting in Europe’s highest-earning clothing market, closely followed by Germany (Statista, n.d.). Women’s and girls’ clothing account for the largest share of the European apparel market’s revenue. The revenue of the Luxury Goods sector in the European market, amounts to $109.10bn in 2022 according to Statista(Statista, n.d.). The emerging data suggests that the pandemic may have resulted in an unexpected shift in consumer priorities in Europe, with local consumers re-engaging with brands they had previously taken for granted. Emerging preferences for timelessness and trusted quality, combined with the eventual deployment of significant ‘excess’ savings when economies re-open, could re-establish the European consumer as a significant force to be reckoned with for luxury brands (Statista, n.d.). The backdrop of younger consumers’ growing interest in sustainable lifestyles plays well to the sector’s strength: ‘buy less, buy better’ (gam.com, n.d.). 18

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The concept of affordable luxury In recent years, the term “affordable luxury” has emerged in business literature in the United States. The Boston Consulting Group began referring to premium goods as an affordable luxury in 2002 (Kapferer, 2013) . Coach, the brand, pioneered the concept of affordable luxury in China in 2008 (Kapferer, 2013). Luxury brands have begun to offer less expensive versions of their products or have expanded their product lines to include low-priced entry items such as wallets and keychains to entice consumers with disposable income into a new segment (Kapferer, 2013). Coach, Michael Kors, Kate Spade, and Yves Saint Laurent are among the brands in the affordable luxury segment, with products starting at around $500 (Kapferer, 2013). Whilst there is no universally accepted definition of luxury or affordable luxury, the general conception is that accessible (affordable) luxury “is available to the masses” (Kapferer, 2013).

A consumers’ perceptions ON What are affordable luxuries? Specialty media outlets such as The Wall Street Journal, Forbes, and Business Insider have increasingly featured articles emphasising the market growth for affordable luxuries (Kapferer, 2013). However, the terms “affordable” and “luxury” do not fit into the luxury goods literature. Whilst the concept of luxury has traditionally been associated with expensive, difficult-to-find, and exclusive products, the aforementioned business periodicals appear to imply that a variety of products such as specialty coffee, chocolate, and other commodities can be considered affordable luxuries(Kapferer, 2013). Science Direct conducted an exploratory study to see if millennial consumers distinguish between the terms “luxury” and “affordable luxury,” what products they consider to be affordable luxuries, and at what price range they are willing to pay for affordable luxuries. The exploratory study demonstrates that consumers have similar quality expectations for luxury and affordable luxury products. Distinguishing descriptors for luxury and affordable luxury products suggests that consumers see these products as a way to improve one’s image, and provides pricing guidelines for such products (Kapferer, 2013).

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Recognizing factors of Chinese consumer behaviours in luxury purchases Chinese consumers attach great importance to how actions affect their relationships with friends, neighbours, and others in their environment (Luo, 1997). Decisions are made for the common good rather than for personal gain. The conflict between frugality and the need for social recognition exemplifies the market positioning challenge for affordable luxury brands in the Chinese market (Luo, 1997). The Chinese also adhere strictly to informal rules such as rituals and traditions; these concepts are known as “guanxi” and “mianzi” (Luo, 1997). Guanxi is a distinctively Chinese and one-of-a-kind method of valuing interpersonal relationships. Guanxi, which translates as “relationships” and “connections,” refers to the cultural features of interpersonal relationship ties that exist within a society (Luo, 1997). Guanxi can be viewed as people displaying wealth in the form of high-priced luxury goods. This is positively related to recognition and acceptance within an existing network or the ability to gain access to a new network (Luo, 1997). Furthermore, giving luxury items as a gift to others in a network can indicate that one has good ‘guanxi’ with influential people (Luo, 1997). ‘Mianzi’, or face, in Chinese refers to a sense of self-worth. This perception is especially important when one considers one’s relationships with others from various social circles, such as a network of friends, relatives, or colleagues (Luo, 1997).

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Whilst physical interaction is important in many contexts, it is especially so in Chinese culture. Many consumer decisions are influenced by mianzi. While face-based consumption is similar to status-seeking behaviours, in the Chinese context, the face reflects how an individual feels about one’s social standing in relation to others (Luo, 1997). Materialistic tendencies in consumers who attach “social meanings” to goods, have been linked to face consciousness (Luo, 1997). Thus, materialists believe that purchasing, owning, and displaying certain types of goods will influence how others perceive them. Majority of Chinese consumers yearn for global cosmopolitanism and desire status items for the sake of appearance (Luo, 1997). Since the economy’s gradual opening in 1978, Chinese consumers have placed greater emphasis on self-presentation than ever before. Branded products can help people express their individuality. Purchasing “entry-level luxuries” in the form of affordable luxuries, could thus be interpreted as a way for face-seeking consumers to “buy” a face for themselves (Luo, 1997). Both “guanxi” and “mianzi” have a strong and positive influence on consumers’ intentions and motivations to purchase luxury products, and it is critical to determine whether these two concepts emerge when consumers consider purchasing affordable luxury.

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CONSUMER BEHAVIOUR related to the luxury and accessible luxury market The new consumer behaviour spans all areas of life, from how they work to how they shop to how we entertain themselves. These rapid shifts have important implications for retailers and consumer-packaged-goods companies. Three change forces that will encapsulate consumers spendings habits are: economic downturn, preference shifts, and digital acceleration.

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Return of Accessible Luxury New lifestyles GAPS

Much-needed dose of newness Good relationship between quality-design-price

Wealthier buyers happy to trade down for products with a sharp point of view Consumer frustration with the rising costs of high-end luxury goods Department stores and multi-brand free up budgets for newcomers

OPPORTUNITIES

Increased appetite for experimentation and self-expression Definitive consumer value expectations Brands relevant across multiple touch points Educational platforms Flagship stores with a hybrid experiences New Sub Lines at accessible price points

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SCAN

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JACQUEMUS

CECILE BAHNSEN

STRENGTHS Minimalist and colourful designs Strong social media presence Strong brand image and brand personality Iconic product

STRENGTHS Good quality clothing Cohesive social media platforms Strong brand following Environmentally conscious Strong Brand storytelling Good footprint and following in the Asian market

WEAKNESS No physical stores OPPORTUNITIES Build a strong brand loyalty Define a core customer Brand longevity Collaborations Sustainability approach THREATS Mass market trends

WEAKNESSES Inaccessible prices point due to high market positioning No brick and mortar stores Niche target audience Poor website OPPORTUNITIES Product line extension Physical with digital consumer experience Experiential retail formats THREATS Strong competition COVID restrictions in China Rising fuel prices because of the Russia-Ukraine War 26

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GIAMBATTISTA VALLI

COCCINELLE

STRENGTHS Good quality materials Good craftsmanship Strong instagram following Strong past collaborations

STRENGTHS Good quality products Italian heritage Online shopping experience

WEAKNESSES 5-7 days shipping Expensive Haute couture focus Social media platforms not coherent

WEAKNESSES Collections lack brand coherency Lack of brand recognition Poor use of social media

OPPORTUNITIES Creative and accessible website Accessible price points Physical stores New core customer THREATS Distribution & logistics Niche market

OPPORTUNITIES New market development - Young market Build a strong brand image Define a core customer Brand loyalty THREATS Sustainability Availability of raw materials

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P.A.R.O.S.H

ANINE BING

STRENGTHS Transeasonal vintage clothes High quality materials Wide range of products & kids merchandising extension

STRENGTHS Free shipping worldwide Personal shopping and styling service Big product extension Wide range of sizes Using good quality of materials Multiple occasion of use of clothes Strong existing collaborations Multichannel experience

WEAKNESSES Italian market focus Lack of physical stores The online orders only ship to the European Union Communication OPPORTUNITIES Expand physical stores Expand to asian market Develop new collection for international market Optimising E-commerce - digital platform such as WeChat Create a strong brand awareness THREATS Retail space Supply chain & logistics

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WEAKNESSES Does not ship to Asia No physical stores in Asia OPPORTUNITIES Expand to asian market Digital platform and physical stores THREATS Mass market trends Availability to expand to different markets

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FINAL SELECTION & ARGUMENT

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GAP: The accessible luxury market OPPORTUNITY: Defining the accessible luxury market and repositioning of the brand

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LOLA CRUZ Brief introduction Type of brand: Shoes Target: 25-38 Price range: Min: 175€ Max: 335€ STRENGTHS High quality products Competitive price points Strong customer loyalty Comfortable designs

Competitors: ASH AEYDE Bimba & Lola

WEAKNESSES Inconsistent brand storytelling & brand language No coherencey in social media campaigns No distinctive brand recognition design Sub line is positioned at a lower price

Lola Cruz problem: The brand has little to no narrative, no brand recognition and the current distribution channels are complicated due to higher price points than their sub brand, BibiLou.

OPPORTUNITIES Brand awareness growth Investment in brand faces Asian market expansion Brand extension THREATS Price & market positioning Availability of raw materials

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SELF - PORTRAIT Brief introduction Type of brand: Clothing brand Target: 20 - 40 Price range: Min price 65 euro Max price 700 STRENGTHS Strong tribe following Established stores in Asia Strong brand recognition Educational platform connections Vast distribution amongst the world Competitive pricing WEAKNESSES Inconsistency of materials & quality Young brand and minimal capital Minimal physical stores Lack of engagement & consistency on social media platforms Limited product variety

Competitors: Maje Sandro Zimmerman Self-portrait problem: The brand gained initial popularity within its first lifecycle and is currently unable to deliver the same level of success and garments to its consumers.

OPPORTUNITIES Cohesive social media platforms Eco-conscious materials Experiential spaces Physical store expansion THREATS Multi brand stockists Strong growing competitors

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KENZO Brief introduction Type of brand: clothing and accessories Target: 18-35 Price range: Min price 55 Max price 895 euros STRENGTHS Long legacy and well respected in the fashion industry during Kenzo Takada’s era LVMH Funding Appointment of strong cult following leader, Nigo Strong archive department focusing on multiple sub lines such as Kenzo Denim

OPPORTUNITIES Increased investments into retail Building a kenzo experience (physitisation aspect) Omni-channel marketing

WEAKNESSES Stuck in streetwear lifecycle Repetition of designs Brand positioning has become diluted

THREATS Alienation of existing audience Strong existing competition Industry 4.0 changes Competitors: Kolor Wales Bonner

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BRAND ANALYSIS

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Kenzo was created in 1970 by Kenzo Takada. Currently, Kenzo has been infusing positive energy and contagious freedom for half a century by boldly proclaiming a polychrome, daring and borderless fashion that celebrates nature and cultural diversity (Kenzo, 2022). The brand is situated under the group of LVMH. The current CEO of Kenzo is Sylvain Blanc and the headquarters are situated in Paris, France (Kenzo, 2022).

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KENZO TAKADA

Kenzo Takada was a Japanese designer based in France and was the founding member of Kenzo and the Asian Couture Federation (Fashion Culture: Haute Couture in Paris 1960–1968, n.d.). Born in the Hyogo province in Japan, Takada found his immediate love for Fashion and arts, specifically the relationship between his Japanese roots and the western counterparts of Fashion. Post war, Takada immediately left for Paris in order to bring his vision to life through the launch of Jungle Jap (Fashion Culture: Haute Couture in Paris 1960–1968, n.d.). Jungle Jap was the initial name to the brand, Kenzo, which later had its own rebranding in 1978 (Fashion Culture: Haute Couture in Paris 1960–1968, n.d.).

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TIMELINE 1958

bunka fashion college - just opened doors to male students

1964

moved to paris

1970

first boutique - jungle jap

1971

american vogue feature

1975

collections shown in tokyo

1977

showed collection in new york

1983

first men’s collection

1986

children’s clothing line & jeans

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1993

acquired by LVMH

1998

perfume collection

1999

kenzo takada retired

1999

Roy krejberg and Gilles rosier (men and women)

2001

skincare line

2011

humberto leon and carol lim

2013

kenzo takada joined asian couture federation as organisations inaugural honorary president

2019

felipe oliver baptista

2020

urban cycle on designs (functional based on movement and protection) 42

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STRATEGIC BRAND HISTORY ANALYSIS AND CULTURAL RELEVANCE CONTEXT

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Defining the concepts of “Luxury” and “Accessible Luxury” LUXURY is “a state of great comfort or elegance, especially when involving great expense”. Whilst delving deeper into the topic, our group specified luxury to not only attain a certain brand perception, but the products must deliver a certain quality and standard with key indicative features. These features include craftsmanship, detail and a long lifespan. Along with these key features, a exclusivity and memory aspect is connected to these products. In essence, luxury is a product pertaining to a certain value to the customer, based on quality, craftsmanship, availability and brand presence. ACCESSIBLE LUXURY is defined as creating an offering of products to a consumer at a medium price point that still focuses on quality and craftsmanship. This sphere focuses on classical items that are usually offered in higher quantities than those of luxury goods, whilst still considering conscious purchasing and longevity aspects. The item and brand still have a strong storytelling/ DNA aspect and offer value products to a consumer base that is not able to purchase luxury goods.

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[LIFE CYCLE 1: THE SHAPESHIFTER]

Kenzo developed as a response to the evolution of the new emerging woman in Paris, post war, which shapeshifted many social policy changes. These changes relate to the evolution of women’s rights in society and legalisation of employment amongst married women (Gari, 2018). ‘Jungle Jap’ was a dream brought to the woman by Kenzo Takada and his closest female compatriots - Atsuko Kondo and Atsuko Ansai (Gari, 2018). Inspiration for his collections developed from his early fascinations of fashion photography from magazines such as Sun and Himawari with early inspirations seen from Yves Saint Laurent and Helmut Newton(Sanderichin, 1999). Takada’s approach was inventive and unconventional, combining his cultural philosophies of Japan into the western status quo of fashion which was deeply saturated by Haute Couture in Paris (Sanderichin, 1999). His runway presentations were celebrated for its unconventional nature, where each show had its own unique element such as circus venues, presence of animals at shows and unconventional models dancing during the presentations (Sanderichin, 1999). Kenzo’s first show was a reflection of the expectations and dreams suited by the immediate generation for ‘the Triumph of bad taste’ - the mixture of vibrant colours and fine prints along with traditional Kawaii elements (rabbit eared footwear). These elements introduced a refreshing new perspective to fashion in Paris (Sanderichin, 1999). The Kenzo woman during this period represented a new face for societies - someone who was independent, liberated and took strong roles in the society and required garments that portrayed these elements.

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The Kenzo woman during this period represented a new face for societies - someone who was independent, liberated and took strong roles in the society and required garments that portrayed these elements. ‘If I made one contribution to fashion it was helping to bring accessibility to it. What I did wasn’t exactly basic but it wasn’t couture either, but this was the time French fashion was all about couture. Creating a new market in a way at the time, you don’t realise what you might be doing is something new because everything is moving so fast’ - Kenzo Takada for his interview with Masui (Journal, 2019) Due to the brand having strong historic associations with accessible luxury, Kenzo as the main actor is responsible to remain as a driving platform for these working women, which is translated as the foundation of the emotional carrier and opportunity for the brand. INTUITION: A change in gender roles in society GAP: Women were gaining a new role within society, the workplace doors began to creak open to them OPPORTUNITY: Providing garments that where emphasising and facilitating this change in society CORE: The revolutionary women 48

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[LIFE CYCLE 2: THE COUNTERCULTURE] Following Takada’s retirement, the house transitioned through multiple eras but did not find its commercial success under the creative direction of Gilbert Rosier and Antonio Marras (Menkes, 1999). During this period, Kenzo launched many brand extensions such as perfumes and skincare (Nightingale, 2021). In 2011, LVMH announced its appointment of Caroline Lim and Humberto Leon to revive the house due to the almost announced Chapter 9 bankruptcy by the group (Pourhashemi, 2013). Kenzo regained its relevance within the accessible luxury market in 2011 through the shift of consumer habits. This specific consumer group were the early millennials born between 1992 and 1993 and were now stepping into their adulthood phase. This in turn resulted in identifying a new emerging market of accessible luxury with early weak signals such as ‘collaborations’, such as Kanye West and Louis Vuitton (Maoui, 2019). In 2010, the financial crash left a large impact on the aggregate turnover of the fashion Industry. Brands such as Kenzo found its new anticipated consumer, where consumer habits became materialistic due to the rise in status which resulted in the logomania trend (Bohlen, Carlotti & Mihas, 2018).

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The emergence of this new market resulted in a strong appeal towards a presence of logoed merchandise. This trend led to a rise in purchasing power which evolved into the streetwear segment. Initial competition in this sector consisted of the Anti Social Social Club and Pyrex, which in turn later saturated the streetwear segment. Due to this shifting perception in fashion, the designer duo adopted this lifestyle approach into the house with the introduction of the tiger logo sweatshirt which later found immense commercial success (Pourhashemi, 2013).

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Along with this change in society and logomania, the beginning market segment of influencers developed, resulting in a strong presence and engagement with consumers through social media. These influencers became important assets to brands as they represented the DNA and core target market of a specific brand. This marketing tool fueled the appeal for the logomania trend. Despite the lack of maturity within the sector, this served as their initial gap into the luxury market. The intrinsic motivations and the emotional carrier behind these consumers’ purchase behaviour in the luxury fashion market, was strongly linked with novelty, social positioning and status. This led to Kenzo moving away from the initial Shapeshifter model into a more stylised brand DNA. However, the brand stagnated with its merchandising selections as there was a large contamination of the Kenzo logo across its product portfolio.

INTUITION: A change in monetary status in society GAP: The rise of younger audiences for the luxury market OPPORTUNITY: Providing garments with visible branding within an accessible price point CORE: The influencers 50

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[LIFECYCLE 3: THE EXECUTIONIST] The new era of Kenzo with Nigo as the creative director leaves consumers with much anticipation and expectations for the new brand intuition that the Japanese designer will introduce. Following Kenzo Takada’s departure, it is the first time that a Japanese designer is joining the house. Nigo represents himself as the veteran of streetwear culture from the early 90s with the introduction of his brand, The Bathing Ape and Human Made. Artificial scarcity and collaborations fuelled his brand to gain recognition, allowing him to build a strong cult following in streetwear fashion today (Why NIGO at KENZO is ABSOLUTELY PERFECT | the state, 2021). Kenzo under the reign of the Japanese creative director will allow the brand to be more personal, inventive and unconventional; with LVMH providing infrastructure for growth. Whilst preserving the roots of unconventionality with its DNA, Kenzo will potentially re-imagine a new perspective within accessible luxury through culture being the main driver. There will be a possibility to return Japanese cultural elements into the Parisian climates of fashion due to Nigo’s association with Japanese workwear and Urban planning in Tokyo (Why NIGO at KENZO is ABSOLUTELY PERFECT | the state, 2021). 51

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At present it’s important to understand the relationship between both the Creative Director and the brand. Creative directors have an important role as they represent a face for the brand, which is further linked to the house’s tribe following. For example, with Demna’s entry in Balenciaga from Vetements or Matthew Williams from 1017 Alyx 9SM into Givenchy; where an initial tribe was built under the Creative directors name and the cult transfer was complimentary with the appointment. New possible faces are mainly contextualised through his love for music such as Pharrell Williams, Slowthai and Tyler the creator (Why NIGO at KENZO is ABSOLUTELY PERFECT | the state, 2021). The dream would be to reinvent the wheel of the house through workwear but through a modern, more relevant context.

INTUITION: Equilibrium of roles in the society GAP: There is a lack of personality and originality because we live in a world hyper linked through tunnel vision OPPORTUNITY: Generate disruption through imperfection CORE: The game changers 52

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DESIGNERS

1970-1999 Kenzo Takada, a Japanese designer from Himeji was born in 1939 (Nast, n.d.). and passed away in 2020 due to COVID-19. Takada attended Bunka fashion college, Tokyo in 1958. His fashion interest developed from his sister’s fashion magazines (Borrelli-Persson, 2020). In 1964, when Takada was in his mid-twenties, he made the decision to travel to Paris. Only having planned to stay for a short period of 6 months, he overstayed his stay and ended up living in the city for 56 years (History of Kenzo Fashion Brand | Kenzo Fashion History | Fibre2fashion, n.d.). Kenzo had worked for multiple department stores and was therefore able to start his own brand in 1970. His brand at that time was called Jungle Jap which later on changed to Kenzo (Dirvanauskas, 2020). Kenzo introduced his label with womenswear designs and 1983, introduced menswear. LVMH bought the brand in 1993 and Kenzo Takada retired shortly thereafter in 1999 (Lane, 2020). The designer was known for his introduction of colours and playfulness within the brand’s designs.

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2000-2004 Gilles Rosier is a Paris based, creative director focused on fashion design and space. He has performed creative consulting for prestigious clients such as :Balmain, Dior, Guy Paulin, Jean-Paul Gaultier, Lacoste and Kenzo (Mame Editore, 2021). Rosier is known for his personal collections and projects along with managing the fashion design sector at École nationale des Arts décoratifs de Paris ( Eternel Parisien, 2020). Gilles worked under Kenzo Takada before the designer’s departure. Following the departure, Gilles replaced Kenzo as creative director of the brand (History of Fashion Designer Giles Rosier, n.d.). In his time as creative director, he introduced a skincare line.

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2004-2011 Antonio Marras, an Italian designer, was the third creative director under Kenzo. Marras was initially appointed in 2003 as the womenswear designer and was later appointed as creative director (Coretti, 2019). The focus of the brand in the Asian and European market was determined by the designers performance. Marras was known to be extremely creative and had a clear vision for the brand. In the time he spent at Kenzo he was able to achieve positive sale growth within the brand (Wall&decÃ2 | Antonio Marras, n.d.).

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2012 - 2019 Humberto Leon and Carol Lim were appointed as new Creative Directors of Kenzo in 2011 (A, 2012). The pair studied at the University of California in Berkeley. Former to joining Kenzo, Leon was the Design Director of The Gap and Carol as a Management Consultant at Burberry (BOF, n.d.). The pair are owners of a multi-brand boutique named ‘Opening Ceremony’. Developed on the idea of the olympic traditions that cultures come together, a key aspect that is recognised in Kenzo (BOF, n.d.). The duo are well known for the introduction of fashion collaborations and self-branded collections. Leon and Lim are recognised for modernising Kenzo, introducing streetwise shapes, vivid jungle prints and cultural references (BOF, n.d.). The duo also re-imagined the visual communications aspect of the brand and focused on digitally-driven campaigns (BOF, n.d.). The duo resurrected the label’s tiger graphics and used Kenzo Takada’s archives in a sub-brand called Kenzo La Collection Momento (Yotka, 2019). Highlighted successes are the H&M collaboration and the introduction to biannual film projects (Yotka, 2019). 56

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From 2019 to 2021 Felipe Oliveira Baptista joined Kenzo on 1 July 2019. The designer was born in Azores and graduated from Kingston University, London (Felipe Oliveira Baptista joins Kenzo as Creative Director, 2019). Prior to Kenzo, the designer founded his own label that was known for its conceptualism and sensualism. During his time at Lacoste, he initiated a series of innovative limited editions (Felipe Oliveira Baptista joined Kenzo as Creative Director, 2019). Felipe is well-known for his personal attachment to diverse cultures, along with his modern and innovative approaches (Felipe Oliveira Baptista joins Kenzo as Creative Director, 2019). The designer focused on making real, desirable clothes that were lacking in today’s fashion. During his appointment, the designer chose to not focus on scalable streetwear pieces but focused on wearability, something Kenzo Takada felt passionate about (Felipe Oliveira Baptista joins Kenzo as Creative Director, 2019). Bold silhouettes and lively colours were core elements in his designs at Kenzo (Felipe Oliveira Baptista joins Kenzo as Creative Director, 2019).

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Felipe stepped down as creative director on 30 June 2021 (Felipe Oliveira Baptista joins Kenzo as Creative Director, 2019).

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From 2021 to PRESENT On 20 September 2021, Nigo was appointed as new Creative Director (Nigo’s appointment, 2022). Born in 1970 and attended Bunka Fashion College in Tokyo, the same college as Kenzo Takada; graduating in 1970 (Rowley, 2022). He is widely known for his clothing label that was created in Tokyo 1993, that made huge strides in changing global street culture (Nigo’s appointment, 2022). Nigo works simultaneously in fashion and music and innovates his work to relate to its audience (Nigo’s appointment, 2022). His career-changing collaboration to date is with Virgil Abloh for Louis Vuitton. Important brands that Nigo has founded are Bathing Ape, Billionaire Boys Club, Ice cream and Human Made (NIGO: What to Know About the Japanese BAPE Founder, 2022). These brands were highly celebrated through world-renowned collaborations. LVMH hopes to see the rejoicing of the brand’s roots and iconography in the new designers appointment (NIGO: What to Know About the Japanese BAPE Founder, 2022). 58

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ICONIC RUNWAYS First Runway show as appointed creative director - Nigo The Fall 2022 Ready-to-wear show was the first show with the newly appointed creative director, Nigo. The show was held during Paris Men’s Fashion Week at Paris Galerie Vivienne. The runway show debuted not only Nigo’s first collection but the soundtrack was a preview mix that was composed by Nigo himself, alongside Lil Uzi Vert, A$AP Rocky, Pusha T, Tyler the Creator and Pharrell (Abad, 2022). The venue, Paris Galerie Vivienne, is sentimental to the brand as the late founder, Kenzo Takada staged his first show for his label in 1970 in the same location. The Fall 2022 Ready-to-wear show portrayed various designs, fabrics and prints. The most important print to consider is the poppy print, a key print for the fashion house. Although the traditional print came through in a baroque and Jungle Jap inspired take, Nigo applied a twist on the traditional poppy and created a stylised drawing of the flower and applied it to washed denim workwear silhouettes. This was applied by velcro patches on hats, waistcoats, midi skirts and camp collar shirts (Leitch, 2022). Key details on the garments are aspects such as the 1970 date, the year Kenzo was founded. Along with cultural clichés such as the map of France paired with berets. Japanese influence was brought into the design aspects through the kimonos and bibbed gingham aprons worn over suiting. The Ivy League and American sports influence shone through the bomber jackets and unwashed dungarees.

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The denim was sourced from Japan and the top-stitching contained undyed indigo. A variety of new prints surfaced with the evident sketched prints, indicative of the strong brand DNA process of Kenzo Takada. The iconic tiger also made a debut, although adapted by Nigo’s current pottery master. Nigo described the collection as: “So it’s like 1950s and ’60s clothing remade in the ’80s, you know, but through the lens of the 2020s.”

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Second Collection Drop by Nigo: Poppy Collection 6 May 2022 Nigo has released a limited edition drop for SS22, as homage to the house founder, Kenzo Takada. Incorporating original Kenzo style codes, whilst concentrating on a modern and forward thinking design approach. The famous poppy print is a key identifier throughout the collection with deconstructed workwear silhouettes (Slater, 2022). The large scale poppy print was featured on shirts, dresses, skirts and trousers. The collection had a limited colour palette of white, black, navy, pinks and reds. His silhouettes have an important androgyny feature with loose and boxy lines incorporated throughout. Nigo uses poplin and cotton drill as key fabrics. His collection is said to represent an eternal bloom with a street-leaning inclination (Silbert, (2022). 62

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FALL 2021 READY-TO-WEAR Felipe Oliveira Baptista states: “Extreme comfort in a very strong look feels very now.” The Fall 2021 ready-to-wear fashion show did not reissue a garment from Kenzo Takada’s greatest hits of the 70s and 80s, but rather paid tribute to the late founder through intuitive ideas. Oliveira Baptista simplified and contemporised materials whilst using geometric lines into a streetwear form. His technique had a digital point of view and highlighted the pandemic in his designs. The duality between getting ready to face the world again, but being covered with loud, beautiful things (Madsen, 2021). The clothes presented on the runway are said to have an authenticity factor to them (Madsen, 2021) and that the brand strives for an ongoing response to the challenges they face. The Fall 2021 show was presented in a live video, due to Covid-19. The fashion show was a take on a new narrative in fashion - new possibilities, narrative, collections, silhouettes, functionalities and sensualities (Nguyen, 2021). The show included printed bodysuits, oversized jackets that doubled as comforters along with knit dresses with hood and chunky sleeve details. The clothes were displayed in bright colours such as pinks, blues, reds and greens. With prints that ranged from Jungle Jap inspiration to stripes and large print motifs. The models danced and twirled in the show, giving the audience a performance, allowing the garments to move and present themselves in an unconventional way. The start of the fashion show represents models wearing ruched anoraks and matching orange, blue, and green pants along with chunky boots. In other scenes, male and females alike don shift dresses, jackets, sweaters, and oversized T-shirts in chain link, plaid, striped, and floral prints. The silhouettes are dramatic with rich textures and patterns that instantly draw the eye. There is a clear link to Kenzo Takada’s designs, with the overall use of prints and bold colour pairings (Royce, 2021).

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SPRING 2021 READY-TO-WEAR The spring 2021 ready-to-wear show was held in a human-size plastic tunnel system erected with a rose garden. The designer, Oliver, is known to be nature obsessive with roots in the hills of Azores (Madsen, 2020). His mission is to install his works with an harmonious and optimistic aspect of the environment, themes that are core to Kenzo. Oliver worked with the WWF, using recyclable plastics in his works, in order to help double the global population of tigers (Madsen, 2020). The show opened with models walking down the runway, veiled in beekeeper suits. Based on the documentary, Honeyland, about a beekeeper in rural Macedonia, served as a reference for the show’s designs. Oliver explains: “The film portrays the contrast between its protagonist, a lady who respects the bees and only ever takes the honey she needs to survive—“half for me, and half for you”—and her industrious neighbours, who deplete the natural resources and end up killing the bees. “It’s one of the most ancient collaborations between man and nature” (Madsen, 2020). The comparison to a beekeeper is symbolic of humankind bargaining with the ecosystem. A bold but subdued colour palette was chosen; with reds, blues, muted greens, yellows, and pastel oranges. Garments portrayed on the runway ranged from an adaptable coat with multi-pocketing that can be transformed into a bum-bag and a cocoon coat with a caped hood. Floral prints from Kenzo archives were evident among the designs, which had been faded to look clinical and blurry. Dark undertones shone through the delicate veils, lace raincoats and little summer dresses.

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First Fashion show & collection - 1970 Kenzo debuted his first fashion show at Galeria Vivienne in Paris (Remembering Kenzo Takada, Designer Behind Kenzo Paris and Kenzo Home L’Officiel, 2022). His designs were designed for women on public transport (Fashion pioneer Kenzo Takada always stayed true to his heart | The Asahi Shimbun: Breaking News, Japan News and Analysis, 2022). He combined influences from the eastern and western worlds into his designs (Fashion pioneer Kenzo Takada always stayed true to his heart | The Asahi Shimbun: Breaking News, Japan News and Analysis, 2022). Focusing on bold colours, strong designs and bold prints in his collection. Supermodels featured in the show are: Grace Jones, Pat Cleveland, Jerry Hall and many more.

1978 The Kenzo 1978/1979 collection was an iconic show for the Parisian fashion brand. Kenzo Takada held the show in a circus tent, featuring live animals in his fashion show (Y, 2020) highlighting the merge of the eastern and western cultures. The designer was well-known for his bold colours, oriental designs and joyous moods portrayed in his creations. 67

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La Collection Momento The 2018 Fall ready to wear collection was influenced by Kenzo Takada’s archive designs. Focusing on Takada’s 1992 men’s iconic print of a hyper realist tomato, Leon and Lim incorporated this into their designs (Lane, 2020). The duo also incorporated the iconic tiger in an airbrushed format. Collared shirts, fanny packs, ball caps, turtlenecks and tiger tees are part of the key designs featured. The idea of the show was to reinforce fun and boldness.

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Spring 2014 Ready to wear Lim and Leon introduced Overfishing in the Spring 2014 collection. Highlighting that tuna, cod, trout are nearing extinction levels. A portion of proceeds on the collection was donated to the Blue Marine Foundation (Phelps, 2013). The collection was held at Luc Besson’s film studio La Cité du Cinéma; as Left Coasters. Sea motifs, surf culture and L.A.’s underground music scene were references incorporated into the designs (Phelps, 2013). The collection started with blues and changed into reds, highlighting the result of overfishing. The designers used glossy materials along with tailored design elements (Phelps, 2013).

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ICONIC PRODUCTS

Tiger sweatshirt The tiger sweatshirt became iconic under Humberto Leon and Carol Lim’s period. The duo wanted to introduce archival designs and prints. The tiger is an iconic figure that was first introduced by Kenzo Takada. Through the streetwear evolution of the brand, this sweatshirt shaped that era. 71

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Nail enamel for men (Ingot collaboration) This collaboration appeared behind the scenes at Paris Fashion week in 2017. This collaboration brought about the iconic nail enamel for men. The nail art theme for the show was inspired by auroras of Iceland.

Kimono The kimono is a key design style introduced by Kenzo Takada. The designer incorporates his Japanese heritage into modern day designs.

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Iconic Print The Jungle Jap print is inspired by Keno’s first store called Jungle Jap (Po, 2020). The chosen name represents a perfect blend of his Japanese origins and the jungle, a place that fascinates the designer with its lush and wild nature - a nature from which the prints of his clothes seem to spring. Painted on the walls of this shop were flowers, plants and junipers (Po, 2020). “The Dream” painting by Henri Rousseau also inspired the theme of Jungle Jap. This painting included an artwork that immersed the viewer into a wild and mysterious nature, dark and lush, populated by unknown flowers and animals (Po, 2020).

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Iconic Material Denim Kenzo is widely known for using cotton as his main source of material in his designs, this is due to the fabric being so reasonably priced. When Kenzo first started designing, he spent $200 on materials from a discount fabric house (Kenzo Takada 1939–2020, 2020). The fabric also allowed him to create pleats and silhouettes which he became popular for. The use of Denim cotton is a significant material due to the history of the brand and has become an iconic identifier whilst discussing Kenzo.

Cotton Cotton is the main material used throughout the Kenzo designs, still to this day. The founder of the KENZO brand eschewed silk for cotton, and elevated free and natural pret-a-porter apparel over expensive custom clothes (Kenzo Takada 1939–2020, 2020). He revolutionised the industry by frequently using cotton, a fabric rarely used in high fashion at the time, except for summer items. His goal was to make clothing for women to wear not for special occasions but for when they “use public transportation alone.” 74

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Iconic Perfume Flower by Kenzo

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This perfume was launched in 2000 (The iconic Flower By Kenzo celebrates its 20th anniversary, 2020), in celebration of the brand’s 20th anniversary. This fragrance is a tribute to its Japanese roots. The perfume is intimately linked to the evocative power of a flower, the poppy, the symbol of a fragrance that embodies softness, simplicity and joy. Flower By Kenzo was conceived as a fusion between nature and the city.

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ICONIC COLLABORATIONS

Kenzo x Vans Kenzo is well known for being a streetwear brand therefore this was an iconic collaboration in the brand’s history. Vans is widely marketed to a skater community, but with the Kenzo collaboration, a diverse range of consumers were interested in the product.

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Kenzo x Brompton Brompton, known for their bicycles, are easy to carry, fold up bikes. Brompton did limited edition bikes in collaboration with Kenzo for the FW21 collection. The colours orange and purple were used for the bikes to match the collection of Kenzo. Only 35 bikes were available and the proceeds of those bikes went to Qhubeka. This charity provides children in Africa with a bike to help them move around (Willson,2021). 77

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Kenzo x Britney Spears Kenzo combined his iconic urban jungle aesthetic with the Britney Spears collaboration in the ‘La Collection Monumento No 2’. The iconic piece was the denim look worn by the singer.

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Kenzo x H&M Kenzo collaborated with H&M in 2016. The collection included dresses, jackets, jumpsuits, clutch bags and accessories. These products were adorned in Jungle printed, a symbolic print to the brand.

Kenzo x Inglot Cosmetics

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This collaboration appeared behind the scenes at Paris Fashion week in 2017. This collaboration brought about the iconic nail enamel for men. The nail art theme for the show was inspired by auroras of Iceland.

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Kenzo x KHRISJOY A capsule collection for the FW21 Kenzo collection was created in collaboration with the well-known puffer jacket brand KHRISJOY (Saunders, 2021). Variety of different tints of blue in combination with white and red. These colours are in connection with Kenzo. 80

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GENOTYPES

The Traditional Kenzo consumer: The Traditional Kenzo consumer is the working woman. She is an eclectic free thinker with a high level of experimentation with her sense of style. She is an independent working class woman in Japan, with a deep love of arts and performance. She loves to surround herself with nature and attend events that are culturally diverse. She seeks products that are of the highest calibre, seeded with vibrant colours and prints along with utilitarianism and practical design features. This customer has evolved due to the rise in the working class. Seeking practicality whilst fusions of fun, colour and prints. Seeking garments that are culturally rich and have a fusion of eastern and western worlds.

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DEMOGRAPHICS Age: 30-50 Sex: Females(Dominant), Males, Kidswear Income/Social Position: Middle to High class with high disposable income Family structure: Nuclear families, Joint families Relationships: Couples, Stags PSYCHOGRAPHICS Free spirited Working class women Independent & Experimental Eclectic Interested in arts and culture Interested in Dance and Theatre

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TARGET PERSONA Traditional Female consumer Meet Yaoxin. Yaoxin is 27 year old with a pattern making background from Bunka college. She works in a department store in Singapore as a Sales Associate. She is a synesthetic, so naturally has a love for colour. Prints and dyes are important in her clothing purchases and has attended courses on these subjects. She enjoys Pop art and Surrealism. Contemporary artists that she enjoys are: Yayoi Kusama and Andy Warhol. She spends her free time reading, watching local theatre, travelling and attending fashion presentations about Kenzo and other Japanese designers. 83

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Traditional Kenzo Male consumer Meet Dominic. Dominic is 26 years old and is an upcoming actor in the movie industry based in Naples, Florida. He loves to listen to hip hop and is a very sociable character. Dominic has recently graduated with an Economics degree but changed his career path to acting so that he could pursue his passion. He likes to go clubbing on the weekend where he listens to his favourite artists and is surrounded with a like-minded artistic community. He works as a part time writer for his local magazine company about fashion and arts.

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DISTRIBUTION

ONLINE This is the list of online retailers selling Kenzo products on their online platforms. This long list shows that Kenzo has a large online distribution presence.

Zeeandco.com Zoofashions.com Vanmildert.com Unique1989.com Themenswearsite.com Thehut.com Thebusinessfashion. co.uk Tessabit.com Selfridges.com Rouletteclothing.co.uk Repertoirefashion. co.uk Therainydays.co.uk Psyche.co.uk Profilefashion.com Philipbrownemenswear.co.uk Maisonthreads.com Minoxboutique.co.uk John-anthony.com Harveynichols.com Harrods.com Giuliofashion.com Flannels.com

Farfetch.com Endclothing.com Diffusiononline.co.uk djk.international Cruisefashion.com Coggles.com Circle-fashion.com Choicestore.com Brownsfashion.com Atterley.com Artifactsapparel.co.uk Aphrodite1994.com 18montrose.com Simons.ca Ssense.com Footshop.eu Lanecrawford.com Bobobobo.com Brownthomas.com Ikrix.com Yoox.com Tizianafausti.com

Thecorner.com Theclutcher.com Threedifferent.com Spinnakerboutique. com Luisaviaroma.com Julian-fashion.com Giglio.com Forzieri.com Dope-factory.com Wrongweather.net Les-market.com Socialstatuspgh.com Shopbop.com Saksfifthavenue.com Raffaello-network.com O p e n i n g c e r e m o n y. com Nordstrom.com Caliroots.com

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OFFLINE For the offline distribution, the brand has a total of 122 owned stores. Multi-brand stores, department stores and outlet stores account for 80 of the 122 (Kenzo, 2022). The table included represents the amount of stores per region, and continent. The largest concentration of stores are located in Asia, most of them in between China and Japan. The second largest portion of stores are located in Europe, with France being the predominant region.

ASIA- 133 China - 58 Japan - 36 Philippines - 1 Thailand - 3 South Korea - 21 Saudi Arabia -10 North Korea -2 Lebanon - 2

EUROPE - 41 France - 21 Spain - 7 Italy - 7 Luxemburg - 1 Belgium - 3 Netherlands - 2

OCEANIA - 8 Australia - 8 UNITED KINGDOM - 8 UNITED STATES - 12

Total of stores - 202

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FLAGSHIP STORES 107 Grand Street (Soho) - SoHo, Manhattan, USA Kenzo has opened its first flagship store in New York City, designed by Felipe Oliveira Baptista. It is also the brand’s first U.S. flagship store (Wikipedia contributors, 2022). The flagship, which opened on June 25 2020. Situated at the corner of Grand Street and Mercer Street in Manhattan’s SoHo neighbourhood, it housed the new Kenzo x Vans collaboration. The interior of the cast iron-clad building features floor-to-ceiling mirrors, vintage 1970s leather furniture, and geometric plexiglass displays. Metal structures and decorative plant smatterings are incorporated in order to evoke “the house’s DNA and commitment to the natural world” according to the brand (Wikipedia contributors, 2022).. The flagship also includes a dedicated space for rotating artistic installations, beginning with a vintage television presentation, according to the label (Wikipedia contributors, 2022).

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Cheongdam-dong Fashion Street in Gangnam - Seoul, South Korea The newly opened KENZO flagship store in Seoul, located in the busy commercial district of Gangnam, features a face that speaks to the brand’s playfulness whilst creating a representation that stands out amongst the surrounding stores (L, 2018). The French brand’s favourite colour, lime green, has been used liberally in the design of their classic tiger sweatshirt, and was even the colour of choice for Michelle Obama’s Kenzo gear on her first visit to Tokyo (L, 2018). Naturally, Cárdenas used the vibrant colour for the 862 conical shapes that represent thread spools in fashion construction – identifying the tools of the trade. The design studio also chose to expose the powder-coated metal grid that serves as the installation’s attachment system as a way to interpret the physicality of brick-and-mortar stores in the digital age (L, 2018). The dynamic architectural feature generates a three-dimensional pattern that serves as a calling card. Retail spaces must provide more than goods to the South Korean consumer: they must also provide experience and service. The directors of Kenzo and RDC/AAL described shopping in South Korea as an “national sport” (L, 2018).

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Marais - Paris, France: Kenzo situated its latest Parisian flagship store in the Marais district, catering to trend-conscious, younger client. These customers have previously swooned over the label’s logo jumpers and Kalifornia bags.

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The space aims to appeal to the desires of a new generation by providing something unique, new, and different - a curated edit of Kenzo clothing not found in any of the brand’s other locations. Fans can also buy vintage Kenzo items as well as items from the archive-inspired La Collection Memento capsule collection. In addition, exhibitions, product launches, and events are held in the front of the store.

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(Photos and videos by KENZO (@kenzo) | Kenzo, Pop up shops, Pop up cafe, 2022)

(Kenzo PopUP | Kenzo, Pop up store, Mobile boutique, 2022) 90

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COMMUNICATION

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ADVERTISING Kenzo is a brand that represents playfulness and creativity through prints and colours. The brand uses a variety of cut out images in order to catch customers’ attention. The overall aesthetic is youthful, playful and optimistic. Previous campaigns also portray a level of surrealism. Kenzo has produced several short films and video campaigns on official youtube channels. Print advertisements can be seen in magazines and publications in large volumes.

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VIDEO The Kenzo official youtube channel has 86.9k subscribers. This channel portrays a variety of videos, some examples are replays of fashion shows. These videos range from full fashion shows and others that are 30 seconds long. Advertising campaigns are also promoted on this social media channel. These campaigns include behind-the-scenes, giving consumers an exclusive view of the production department. Kenzo short films are also included on this channel with the use of the “#kenzoalways” hashtag. These videos are used to portray collections and fashion shows in a different light.

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ICONIC FACES Britney Spears is an American music artist. The artist was first introduced as the brand’s face with the La Collection Memento N°2 campaign in 2018. The campaign was shot by fashion photographer Peter Lindbergh in Los Angeles. “Britney is the queen of denim to me. She’s both the quintessential American and also an eternal teenager” said creative director, Humberto Leon (Morrill, 2018).

Chance, the rapper, became the face of Kenzo during the H&M collaboration in 2016 (Hsieh, 2016). Shots for the campaign were taken by French photographer, graphic designer and director Jean-Paul Goude. This campaign is Kenzo’s vision of the future where fashion fantasy might be able to do something for social realities (Hsieh, 2016).

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EXHIBITIONS Fashion in Motion: This is a series of live fashion shows at the V&A Museum that feature leading fashion designers. Kenzo hosted a day of catwalk shows featuring designs from the label’s archive in the V&A Museum (Goss, 2022) Kenzo Parfum x William Amor, 2019 - A universal message organised by Kenzo, engaging consumers from a physical and digital scope. Kenzo and William Amor organised a charity sale of poppies for Christmas and New Year holidays (KENZO HAPPENINGS | Kenzo Parfums, 2022) Kenzo Summer Party 2019 - Celebrating summer, Kenzo Perfume organised a poppy party in Madrid. Using the “#MYKENZOEAUDEVIE 2019” to promote this event (KENZO HAPPENINGS | Kenzo Parfums, 2022). June 21 Kenzo Celebrations - Kenzo Perfume celebrates with a music festival and the arrival of summer by hosting a party for city dwellers since 2016. An urban scene in the midst of a poppy field, highlighting young musical groups sought out and selected by the Kenzo Parfum community. Locations have varied from Dauphine, Berlin and Rome (KENZO HAPPENINGS | Kenzo Parfums, 2022).

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Poppy Fields, 2001 - 2009. Beaubourg, Moscow, Mexico, Brussels and Hong Kong were able to witness poppy fields that were planted to symbolise sharing, harmony and peace (KENZO HAPPENINGS | Kenzo Parfums, 2022). Grace to the Nth Power - a virtual exhibition hosted by Kenzo, showcasing their 2014 Fall/Winter pre-collection. The exhibition was conceived as a futuristic treasure hunt. Visitors were able to use a smartphone to explore the interactive 3D spaces on a dedicated platform. A series of video installations unfolded, featuring models Grace Bol and Sang Woo Kim as art thieves. Wearing creations by Humberto Leon and Carol Lim, they moved through a crepuscular, dreamlike universe. To end it off, they visited the gallery shop, where all the pieces in the collection were able to be ordered (KENZO HAPPENINGS | Kenzo Parfums, 2022). Kenzo London Pop-up Exhibition 2017: This pop-up exhibited a selection of images that represented the new collection through a series created with established and emerging image-makers. It was a 30-page issue featuring images of the Kenzo Spring collection, inspired by culture and traditions of indigenous Igbo community (Toni, 2017).

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FIDM Museum: Remembering Kenzo Takada - The FIDM Museum holds a S/S 1975 two-piece ensemble that exemplifies Takada’s design ethos: vibrant colours, cotton fabric, full skirt, and a loose wrap top with a tie closure. Another ensemble in the “Study Collection”, a black acrylic/mohair knitted sweater and skirt; shows Takada’s skill with knits – a staple in his early collections. He honed his knitting techniques while working at Relations Textiles during his early Paris days. Though he was renowned for his dexterity with colour, Takada did feature black and white designs as an homage to the theatricality and stark contrasts of Kabuki costumes (Remembering Kenzo Takada, 2021). Kenzo Takada Painting Exhibition: The exhibition hosts 8 self portraits painted by Kenzo Takada. The paintings shown at the Studio 55 gallery, feature the designer in a series of flower-printed kimonos that recall the kinds of prints his label is known for (A, 2010). Kenzo Event Store in Paris: The concept store was designed by Fabrizio Casiraghi to showcase KENZO’s seasonal Fall/Winter and Spring/Summer collections as well as its “La Collection Memento” line as well as their accessories (B, 2017).

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PUBLICATIONS Kenzo: Fashion Memoir by Ginette Saiuderichin - “The series captures the designer’s style and contribution to fashion history. A master of prints and layering, Kenzo is also a musician of colour, multiplying its combinations, liberating and purifying its form. This book is a showcase for his bright and optimistic designs (Ginette, 1999). Kenzo Takada by Chihiro Masui - An exclusive look book of hand coloured sketches and personal photographs from the archives of Kenzo (Takada, 2021). Kenzine Vol 2 - Kenzine is the exciting collaboration between the magazine Toiletpaper and the Parisian clothing line Kenzo (Toiletpaper Shop, 2021). Kenzo Hardcover by Antonio Marras - The book celebrates the house’s 40th anniversary with more than 300 pages of illustrations, personal accounts from designers and journalists Along with pop-up pages commemorating its past, present and future (Marras, 2010). . Kenzo Folio - The first edition of Kenzo Folio, a quarterly publication by fashion house, Kenzo (Kenzo Folio, 2017).

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PRESS Kenzo News on their website - Nigo named Artistic Director of Maison (KENZO Nigo’s appointment, 2022). AP News - Kenzo’s first fashion show under NIGO. ( Kenzo returns to Japanese roots in history-making moment, 2022). PR Week x Kenzo - Kenzo Fashion brand has hired GBH Communications to promote their images and goods in the United Kingdom (Ellery, 2014). Mathieu Baboulène was appointed as worldwide press and public relations director for Kenzo (Kenzo Names Worldwide P.R. Director, 2019). Notable interviews: CNN Style x Kenzo Takada (Bateman, 2019) L’Officiel x A tribute to Kenzo Takada - contains interview pieces with the late designer (Sullivan, 2021). Schön x Kenzo Takada - Personal interview (Schön, 2019). WWD X Nigo - Interview with the newly appointed designer (Socha, 2022)

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VISUAL MERCHANDISING REFERENCES

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KENZO STORE IN MILANO The store in Milano is considered to be one of the flagship stores of the brand. In regards to visual merchandising, it is minimal in colour, using predominantly white. The store uses an excessive amount of lighting in order to enhance the colour of the garments. The store is very clean regarding the colour, and adding some details with the use of black and silver, introducing a futuristic perspective. The window displays that Kenzo usually portray are very playful and creative, especially in the Milano store. The images below show the different styles captured through time.

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KENZO & PRINTEMPS

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Kenzo has been doing multiple window displays for printemps. This one featured below was specifically for the launch of an experimental Pop-Up Store as a temporary exhibition for 6 weeks (G, 2016). The shop included a selfie booth and the use of iBeacon technology (G, 2016) . The French brand created a graphic and surreal backdrop with giant mannequins emerging from mirrors, copying the advertising campaign for the brand created by David Lynch. Kenzo and Printemps created an app that included a treasure hunt with cards scattered around the site, that when found, created dazzling special effects on tablets and for consumers to stand a chance to win a sweater (G, 2016).

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SPRING/ SUMMER 22 LAUNCH NIGO DEBUT COLLECTION VM The red is a dominant colour within the store, matching perfectly with the logo. The furniture is very minimal in a large, open space, highlighting the garments in the store. They have portrayed a small window display with a selected number of garments. Furniture includes rugs, mannequins, decorative tables that are representative of the poppy flower from the Boke Flower capsule (Silbert, 2022).

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DIGITAL: OWNED , EARNED, PAID OWNED MEDIA

Overall Kenzo is currently going through a rebranding with the appointment of the new creative director, Nigo. Due to this current rebranding that the brand is going through, it is difficult to define how the brand is performing. It is clear however, that the brand needs to update its communication.

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WEBSITE & E-COMMERCE www.kenzo.com Upon entering the website, consumers are directly displayed with the upcoming event on May 6, 2022 - the Kenzo Poppy collection by Nigo. The website is easy to navigate and all categories are divided into menswear, womenswear, accessories and kidswear. For The recent collection - denim boke flower collection is highlighted in red in the first section of the category. The background is displayed as a white background with black and red text, using colourful images to highlight this graphic design layout. The images portrayed are clear and of high quality. The brand uses the font, Calibri. Merchandising products are all displayed on models with a front and back look. These images also include close-up details of the products. The products are accompanied with a product description, along with care and sizing recommendations. There are no chatbots, online customization or AR/VR features on the website. Overall aesthetic is minimalistic, clean and product centric. Colour palettes include black, white and red to evoke the emotion of youth and playfulness. Improvements that need to be made: Price arrangement for products Mission, vision and value of the brand Brand story Availability to change language and location All product merchandising is displayed on the website and the brand also offers online exclusive products. This form of marketing attracts consumers to the omnichannel platform.

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EDITORIAL CONTENT This is a compilation of the campaigns that kenzo has done throughout the years and within the different creative directors (The FMD, 2022). It is noticeable that there is an evolution through time regarding editorial content. There is however a common aspect, the usage of multiple models in their editorials. This is due to the brand wanting to reflect the community aspect of the brand. The usage of colours and prints is a key focal point within the campaigns as it is part of the DNA of the brand. The editorial campaigns from the Humberto and Carol Lim reign are particularly playful and colourful.

Nigo Kenzo Spring/Summer 2022 Limited edition

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Felipe Oliveira Baptista Kenzo advertisement for Spring/Summer 2021

Humberto Leon and Carol Lim Kenzo advertisement for Autumn/Winter 2013

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CRM/ E-MAIL MARKETING (CUSTOMER RELATIONSHIP MANAGEMENT) Once a customer signs up to the KENZO Newsletter, they receive a welcome email. This email displays an image of the current/ongoing collection campaign. Thereafter a brief write-up includes a welcome to the brand and offers free delivery. This free delivery can be used by a promotion code received in the email. A call-to-action button is underneath this promotion code that displays “Enjoy Now”, allowing customers to click on this and be redirected to the website where they can find the current collection. Along with this button, multiple call-to-action buttons are displayed underneath that allows the consumer to be easily navigated to a particular section on the website eg. women, men, accessories, kids, find a store and follow us on instagram. 111

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CUSTOMER RELATION MANAGEMENT In regards to the customer relationship management with their emails, KENZO sends their customers follow-up emails when they have viewed a certain item but then left/closed the website. This smart marketing feature reminds consumers about a particular product that was viewed in the hopes of them purchasing the item. Many consumers feel a sense of personalisation through this tool, as it is personalised to your activity on the website.

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EMAIL The email banner includes KENZO in capital letters as the sender. Thereafter the subject of the email includes The collection/drop name. The example in the image reads: “KENZO Poppy: The new print”. A small section thereafter has a written section where the viewer of the email is able to click on the call-to-action button and be redirected to the website. The new Kenzo Paris logo is largely displayed underneath this interactive section. Underneath the logo, an image of the collection or theme of the email is portrayed to advertise the theme of the current drop/collection. Under the image, detailed information on the theme, material, product range and where these items can be located are displayed underneath. Below this information, Interactive touchpoints can be located such as: Find a store, Follow us on Instagram, Legal mentions and Unsubscribing. The second email received by customers is dedicated to the brand’s history and DNA. This email outlines a brief overview of the brand, artistic director and the ongoing or upcoming collection. This email also outlines the vision, mission and values that the creative director has for the brand. KENZO states in their emails that newsletters are sent out on a weekly basis regarding new collections, limited editions and exclusive offers.

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MOBILE APP The mobile app named Kenzo tiger which is promoting the #KENZOxWWF campaign. The app provides the VR feature that we can use our mobile phone to look for the tiger around us. (scanning)

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INSTAGRAM @KENZO 2 million followers and 102 posts (till may 10, 2022) The platform has an introduction consisting of a short description with the relevant website link, in the profile banner section. The Logo on instagram is different from the one on the website. This logo has a red background and underneath the word “Paris” in green. The brand deleted all previous posts before january 17, 2022. All the posts are product centric with little information; with the website link attached to the products (CTA). The brand also has a shoppable link connected to the website.

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The hashtag the brand uses is #KENZONIGO. The reels, which is a short video on instagram, provides behind-the-scenes of fashion shows and production. Short clips of fashion shows as well as interviews with celebrities are used. The overall aesthetic is absolutely youthful, energetic and playful which is related to the recent collection of boke flowers by Nigo.

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FACEBOOK KENZO @kenzoparis 1M likes and 1M followers The Kenzo facebook page has a Fan page section which includes contact information and relevant social media links. The facebook posts include images, video campaigns and editorial campaigns. Content used on Facebook is similar to that used on Instagram. This content is mainly product centric with little written information. There is a shop section available which displays all the products mentioned on the posts. In terms of customer service, users can use Facebook messenger as well as a chatbot “Ask Kenzo”. This chatbot allows consumers to enquire about information about orders and available stock in store.

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TWITTER Joined September 2009 329.1K Followers and 932 tweets The Kenzo twitter consists of content that contains similar content to that of instagram. This content includes product centric images and behindthe-scenes video clips. A focal point of these posts are based on celebrities and influencers that are involved in the advertising campaigns. 117

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WEIBO 186k followers Weibo consists of content that includes product marketing and video campaigns. These posts contain little information and focus largely on the actual content to promote the brand and current merchandising. This social media platform specifically, focuses on advertising to the Chinese consumer about celebrities. This is to attract fans and drive traffic to the brand and media platforms.

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WECHAT Wechat provides an opportunity to sell the products directly to the consumers and to contact store sales associates on this platform. Compared to the official website, social platforms’ allow direct communication and facilitate growth in order to build a foundation for a convenient and accessible shopping experience to take place.

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Advertising of Chinese celebrities and influencers are used in order to gain traction from consumers, resulting in product purchasing. Wechat offers a sharing and WeChat circle feature, resulting in this platform being able to deliver the largest advertising content to its consumers.

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TIKTOK KENZO @kenzo 25,6K followers and 149,9K likes This social media account was started at the end of January for the fashion show of the first collection of the new Creative director, Nigo. The views on their account are very inconsistent. Ranging from 11,6M views to the lowest views which sits at 246 views. The account consists of 25 video’s which are a mix of behind-the-scenes footage for photoshoots as well as behind-the-scenes of the fashion show; portraying the creation of their clothes and campaigns.

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PINTEREST 22k followers The posts that are found on the Pinterest platform for Kenzo, focuses on images of products from the capsule collection and fashion show images of prior years.

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YOUTUBE 87.7k subscribers Kenzo currently promotes fashion show videos that range from 30 seconds to full show times. Alongside the fashion shows, advertising campaigns and behind-the-scenes video content is used to allow consumers to get an exclusive look into the production process of the garments. This allows consumers to feel involved within the brand and creates a platform for transparency to occur.

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EARNED MEDIA

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Over the past five years, the interest of Kenzo has been stable between the range of 13-36. The peak portrayed occurs on the week of October 4, 2020; which is the day that Kenzo Takada died from covid-19. The lowest indicator is in the second week of March, 2022 which is the week after the Fall ready-to-wear fashion show by Nigo.

Google trend - interest over time

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positive 58.3%

nuetrual 41.7%

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sentiment

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SOCIAL CHANNEL MEASUREMENT ON TALKWALKER 8/4/2022-9/5/2022 The followers on instagram currently sit at 2.1 M. During this evaluation period, the brand has gained 2.6k new followers, comparing the previous 30 days growth by 0.13%. The highest growth that occurred was on May 3, which the brand posted about Kid Cudi, wearing Kenzo by Nigo to the Met Gala 2022. The highest engagement resulted in 3.4K on May 8, 2022 which is two days after the launch of the Poppy Collection. The audience activity has seen growth with every post made. The audience therefore reaches the official instagram page due to this growth and frequent social media activity. Overall comments are 309. Growth increased by 1.3% compared to the previous periods. Likes are 8.7k which have decreased by 55.6%. The largest sentiment is neutral, comprising 58.3% of the overall sentiment. This is followed by 41.7% positive sentiment and with no visible negative sentiment.

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BRAND LISTENING ON TALKWALKER 19/04/2022-18/05/2022 The total results of brand performance are around 1k, having increased to 187% compared to the previous 30 days. The total results of engagement are 15.7k. During this period, the top result is on May 3, which is the post about Kid Cudi wearing Kenzo by Nigo to the Met Gala 2022. This is followed by the post on May 12 which is the day of the Kenzo Poppy Collection launch. The largest result is Twitter, comprising 41.5% of the share of media types. The top engagement post on Twitter is posted by a South Korean boy band named, Seventeen. This is followed by blogs(29.8%), online news(21.3%), magazines(2.5%), Youtube(1.3%) and newspapers(0.5%). The top theme is Kenzo and fashion, comprising 77.8% and 69.3% of all results of the themes. The top hashtag is ‘Seventeen’ in three different languages - Japanese, Korean and English. Top associated brands are Louis Vuitton (277 results) and Bottega Veneta (171 results), due to the video being made by HauteLeMode on youtube, which gives the insight of each red carpet look in the Met Gala 2022. The largest sentiment is neutral, comprising 58.2% of the share of sentiment. This is followed by positive sentiment (39.8%) and negative sentiment (2%). The negative sentiment is not related to KENZO, it is about a Japanese politician named Kenzo Fujisue. The audience is 49.4% male and 50.6% female. The biggest audience is connected to the age range of 18-24, comprising 59% of the overall demographic and this is followed by the age of 25-34 (28.5%), 35-44 (6.3%) and 45-54 (6.3%) respectively. The most active author of influencers is VNExplorer on the blog platform and the most influential author on Youtube is HauteLeMode. Location is mainly focused on the United States due to the posts of the Met Gala and the video which was made by HauteLeMode on youtube.

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male 49.4%

Gender

female 50.6%

online news 21.3% newspaper 0.5%

blogs 41.5%

Youtube 1.3% Twitter 45-54

41.5%

35-44

6.3%

25-34 28.5%

Media type

18-24 59%

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PAID MEDIA

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FACEBOOK AD LIBRARY ANALYSIS This page is organised by KENZO SA, France and is registered at Paris, 75002, France. The page was created on 17 September 2009. The primary country/region locations who manage this page include: United States, Australia, Malaysia, Singapore, France, United Arab Emirates, Japan, Hong Kong, Vietnam, Indi, Kuwait, Thailand, Taiwan, Argentina, Canada, Indonesia, Lebanon, Philippines and Saudi Arabia. The facebook username is @KENZOParis, with 1,033,872 likes and is registered as a Clothing brand and their instagram is @kenzo with 2,075,999 likes. The total number of active campaigns are currently at 74 results. The content mainly focuses on the Poppy collection that was launched and the latest Denim Boke Flower collection. These active campaigns include one image or a short advertising video. There is repetition of the same images, writing content and videos in every advertising campaign. In terms of call to action, customers can click the “shop now” button and link directly to the kenzo.com (website), as well as send whatsapp messages. To compare this with owned organic content, images are the same as those used on instagram. However, the content is more informative about when and where the collection will be launched as well as a short description about the collection. This strategy focuses on encouraging people to disco

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Kenzo Parfums The total number of active campaigns for Kenzo Parfums are 21, which are distributed between Instagram and Facebook. 9 of the 21, are active campaigns that are based in Thailand, with the rest distributed between Spain and Singapore. The main purpose of the campaign was to launch Kenzo’s Flower by Poppy EDT and also their collaboration with Sephora in the last few months. Each post has a shoppable Call to Action link attached to it which in turn directs the user to the product page in order to buy the product. In comparison to the organic images, the images used were the same as those on the Kenzo Instagram page.

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ADVERTISING SEARCH ENGINE MARKETING Kenzo currently has no paid advertising on its search engine tool on Google, however it has consistent results on the Organic search results which direct links to their online website because of the relevance of the keywords used in tracking.

DISPLAY ADS Digital display advertising is graphic advertising on Internet websites, apps or social media through banners or other advertising formats made of text, images, video, and audio. The main purpose of display advertising is to deliver general advertisements and brand messages to site visitors. Kenzo currently has a 3% Display ad presence.

PAID INFLUENCERS The current influencer list of Kenzo follows from backgrounds in music and film, mostly affiliated with his collaborations in his music album and previous associations with BAPE and Human Made.

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Gunna 4.4 million followers, 311 following, 114 posts

Nina Suess 384K followers, 1,249 following, 3854 posts

Tyler the Creator 12.6 million followers, 211 following, 488 posts

Violeta Mangrinyan 1.9 million followers, 914 following, 1002 posts

J Balvin 52.1 million followers, 2047 following, 13004 posts

Marina Romero 217K followers, 967 following, 1399 posts

Lil Uzi Vert 15.8 million followers, 0 following, 18 posts

Silvia mmb 605K followers, 683 following, 4591 posts

Mizfreckle 188k followers, 1924 following, 2437 posts

Coline Alg 40.9k followers, 867 following, 1384 posts

Ansel Elgort 8.7 million followers, 1136 following, 45 posts

Lison Sebellin 286K followers, 667 following, 2596 posts

Nazyl Firas 96.8k followers, 2801 following, 266 posts

Juhi Nars 61k followers, 1274 following, 671 posts

Kid Cudi 3.3 million followers, 6 following, 247 posts

Amina Kalykova 39.3K followers, 170 following, 290 posts

Zombie Khalid 23.3k followers, 658 following, 167 posts

Chloe Lecareux 318K followers, 969 following, 1626 posts

Melinda Wang 75.9k followers, 1481 following, 682 posts

Sanja Bestic Berisavac 29.7 followers, 2941 following, 2996 posts

Ashikaga Yoshiaki 381k followers, 559 following, 611 posts

Alvaro Mel 1.2 million followers, 1107 following, 1845 posts

Basil Alhadi 110k followers, 3984 following, 1955 posts

Sara Escudero 1 million followers,1126 following, 7089 posts

Miguel Romulo 272k followers, 2697 following, 188 posts

Wendy Swan 207k followers, 760 following, 1783 posts

Mia Regan 619k followers, 1147 following, 1000 posts

Isaya Elais 314k followers, 867 following, 1761 posts

Rania 921k followers 2305 following, 1388 posts

Elke Sockeel 55.1k followers, 3545 following, 3710 posts

Paola Locatelli 1.8 million followers, 461 following, 907 posts

Yentl Keuppens 170k followers, 2149 following, 3672 posts

Oumayma Elboumeshouli 239k followers, 925 following, 2321 posts

Vanessa Licata 24.7k followers, 980 following, 1071 posts

Avani 18.9 million followers, 876 following, 901 posts

Saray Luis Martin 114k followers, 1299 following, 5016 posts

Sulivan Gwed 1.2 million followers, 164 following, 573 posts

Katie Giorgadze 835k followers, 999 following, 2490 posts

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KPI’S Website Analysis For the engagement, traffic, visits and distribution of Kenzo between the months February and April for 2022; was the time between the fashion show for Nigo’s first collection in January and the new Poppy collection which was available to buy. The device distribution between the computer display and the mobile app, Kenzo has 1/3 of their whole device distribution on the mobile app with a percentage of 75%. The global rank was the highest for the United States. Engagement overview worldwide, showed a visit duration of one minute and 47 seconds. Regarding the monthly unique visitors for the months of February, March and April were 336 150. The monthly visits were 559 939. Visits over time were surprising with a result in a fluctuating chart. With an average of 1.679 million visits over the period, starting from February with a big downfall at the end of March, leading to a rise in April. Geographically the United states, France and the United Kingdom are in the top 3 with the highest traffic share between 22% and 8%. Kenzo has the highest percentage for channels overview in regards to desktop, worldwide. The organic search was followed by the direct channels and afterwards the paid searches. Email and referrals have the lowest results, followed by social and display ads. The term “Kenzo” has the highest organic search with a percentage of 45%. This has risen over the last few months by 21%. ‘Kenzo sale’ is on the bottom of the list with only 0.78%. 92% of all content is branded with only 8% of the content non-branded. For the paid search terms such as ‘Kenzo’ and ‘Kenzo Nigo’ are equally balanced on both ends of the spectrum. Kenzo was 52.81% which increased over the period by more than 30%. Kenzo Nigo decreased from 96.67% to 0.91%.

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Hypebeast.com was the highest referring website with an increase of more than 33%, resulting in a final outcome of 46.23%. The fashion and apparel website was the category which had the highest traffic share of 58.35%. For social traffic, Instagram was the leader for 3 months with a percentage of 30.54, followed by Facebook with 29.04%, Youtube with 15.99%, Other platforms with 11.38%, and Pinterest with 8.88% and Reddit 4.56%. The term “Kenzo” has the highest organic search with a percentage of 45%. This has risen over the last few months by 21%. ‘Kenzo sale’ is on the bottom of the list with only 0.78%. 92% of all content is branded with only 8% of the content non-branded. For the paid search terms such as ‘Kenzo’ and ‘Kenzo Nigo’ are equally balanced on both ends of the spectrum. Kenzo was 52.81% which increased over the period by more than 30%. Kenzo Nigo decreased from 96.67% to 0.91%. Hypebeast.com was the highest referring website with an increase of more than 33%, resulting in a final outcome of 46.23%. The fashion and apparel website was the category which had the highest traffic share of 58.35%. For social traffic, Instagram was the leader for 3 months with a percentage of 30.54, followed by Facebook with 29.04%, Youtube with 15.99%, Other platforms with 11.38%, and Pinterest with 8.88% and Reddit 4.56%.W

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BRAND IDENTITY ANALYSIS

PAST 3D BUSINESS MODEL

ID/CLIENT - working women

PRODUCT/TECHNOLOGY - cotton

USE/OCCASION - use public transport

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PRESENT 3D BUSINESS MODEL

ID/CLIENT - Gen Z

PRODUCT/TECHNOLOGY logo mania

USE/ OCCASION - Streetwear

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PAST VISION, MISSION AND VALUES Mission : Kenzo aims to be at the forefront of innovation and creativity, implementing a variety of cultural influences into their designs through colours and innovative forms. Offering high quality garments and expressing comfortability, joy and luxury are core components. Vision: The brand’s objective Wis to convey fresh perspectives through cultural references and unconventional norms in order to disrupt the fashion world. Values: Kenzo core values are spontaneity, authenticity, free-spirited and charismatic/cheeky.

PRESENT VISION, MISSION AND VALUES Mission : To cultivate and reinterpret with modernity the codes that make its uniqueness: the mix of prints, the harmony of refined colours and an exuberant, sophisticated creativity imbued with optimism and impertinence. Vision: To infuse positive energy and contagious freedom by claiming a polychrome, daring and borderless fashion that celebrates nature and cultural diversity. Values: Kenzo core values are collaborative, diversity, quality, curiosity and exploration.

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PAST ARCHETYPE The past Kenzo represents the archetype of the Author. The author is innovative and non-linear, generating creativity through his nonconformity and imagination. By Kenzo representing the creator, he allows his consumers to become explorers and seek independence in a disruptive society.

PRESENT ARCHETYPE The present Kenzo represents the archetype of the Guardian. The Guardian provides a service to his consumers and provides a solid foundation. Through this foundation, Kenzo consumers yearn to feel understood and to gain wisdom and clarity from the brand.

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PRESENT BENCHMARK AND POSITIONING MAP

INITIAL POSITIONING MAP ANALYSIS POSITIONING MAP: LUXURY AND ACCESSIBLE LUXURY Attributes: Accessible Luxury: Accessible luxury is defined as creating an offering of products to a consumer at a medium price point that still focuses on quality and craftsmanship. Luxury: luxury is a product pertaining to a certain value to the customer, based on quality, craftsmanship, availability and brand presence.

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2500

GUCCI

COMME des GARÇONS HOMME PLUS

DRIES VAN NOTEN JW ANDERSON ACCESSIBLE LUXURY

ETRO

MARNI LUXURY

KENZO KOLOR

CHOPOVA LOWENA

KIDSUPER

150

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1050

THE ROW

STELLA MCCARTNEY

ISSEY MIYAKE

JIL SANDER

DRIES VAN NOTEN RALPH LAUREN

LEMAIRE THE DEVOUT

THE NURTURER

KENZO

CALVIN KLEIN

BENETTON

150

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POSITIONING MAP: FEMALE WORKING WOMAN ARCHETYPES WITH SOCIETY AND CLASS SYSTEMS Attributes: The attributes for the horizontal axis fall under the umbrella of Carl Jung’s archetypes with the working women in professional environments. The Nurturer: A selfless motherly figure in the work environment with immense caregiving mentality - holds custody to self and finds contentment with her own company. She is free spirited and independent, and has her own sense of expression which is a culmination of multiple styles. The Devout: This figure has high brand loyalty and has a specific direction in the choice of her consumerism - which is further defined by specific elements such as connection with her tribes, social image and positioning.

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POSITIONING MAP : HIGH FASHION VERSUS STREETWEAR Attributes: High Fashion: Fashion houses with conventional fashion presentations such as runways, and are usually portrayed in fashion weeks. Usually positioned at a higher price point. Streetwear: A by-product of a specific subculture such as skate and surf culture with multiple subcultures under its (Such as Hypebeast and Sneaker culture). Usually positioned in the lower price bracket. .

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1050

MARNI PALM ANGELS OFF-WHITE

BAPE

HIGH FASHION

STREETWEAR

KENZO A-COLD-WALL*

SUPREME

AFFIX

STUSSY

150

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1500

LANVIN paco rabanne Off-White JW ANDERSON

Acne Studio

ICONODULES

ICONOCLAST Palm Angels kolor

ZADIG&VOLTAIRE Paul Smith KENZO MERCELO BURLON

BAPE

COMME des GARÇONS

A-COLD-WALL*

ASPESI

GANNI

300

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PRESENT POSITIONING MAP Horizontal Attributes(X-Axis): Consumer Archetypes Iconoclasts: A type of brand philosophy that is non conformist and is not drawn by social trends. This philosophy of brands is usually more out of the box with a deep, pragmatic viewpoint on life and steers towards eclectic and disruptive presentations. Iconodules: A more socially conforming philosophy in branding where the archetype is conservative, relaxed and more simplistic with their approach to the vision.

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PRESENT SWOT

STRENGTHS

WEAKNESSES

New Creative director Strong Advertising & Promotion Strong Global footprint (High quality fabrics ) Rich Brand legacy LVMH Funding Strong Archive department Unique brand printing Colourful Strong philanthropy sphere

Disruption of creative directors Stuck in current lifecycle Commercialised Merchandise Little to no iconic products and symbols No distinction of codes and philosophies Inconsistent brand language No defined consumer group

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OPPORTUNITIES

THREATS

Rebranding Core consumer target Iconic products & logos Redefining the house’s relationship with Japan and the western status quo of fashion into its communication Connect retail framework to the accessible luxury market New opportunities for phygitization in retail Increase investment into retail and visual merchandising Kenzo omnichannel experience Increase Sustainability footprint

Import & export sanctions in Asia and America Multiple international markets Logistics and supply delays in America Possible alienation of its current audience Logistics and supply chain Fast fashion competing price points Fall of Kenzo as a brand after Designers death

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NEW CONCEPT PROPOSAL

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ADDITIONAL MARKET AND TREND ANALYSIS KENZO BRAND DNA Use of colours and prints (Used these identifiers at a time that others were monochromatic - using black and grey’s). Dresses the working woman Create a sense of community Create joy, exuberance, boldness Quality materials Hand made Embracing revolution through these physical identifiers Exotic flowers (incorporated in prints) Eastern and western influences in designs eg kimono style Unconventional ways of presenting collections eg Exuberant runway shows

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FUTURE CUSTOMER Definition of the future customer The Game Changer is a character that sits between the age of 23 to 40 and who plays by their own rules and does not follow societal trends. This person does not accept default settings that are regarded as “normal” in society but rather chooses to be disruptive and free from societal constraints. They have a minimalistic and smart way of living, purchasing products that are of value and have a long lifespan. They are conscious spenders and therefore choose to invest their money into quality. This person is well educated and informed. Their interests are: technology, news, education, and utilitarian tools. They earn a medium to high income salary. They live in the suburbs and like to vacation to culturally rich destinations.

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This consumer is said to enjoy Hip Hop, Pop and R&B music. They enjoy cooking and cook with organic and wholefood products. They seek clothes that have an unsiex factor as they enjoy sharing and exchanging their clothes amongst their friendship circles.

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Future game changer customer Male Meet Matt. Matt is 32 years old and lives in LA with his wife. They live in a private condo apartment. He loves fashion and has started a fashion magazine called En Mode Magazine. This is in partnership with his friend from Paris, Lenny Attab. Matt loves to collect archival pieces not just in fashion but also furniture and antique pieces. He has a selection of Eames chairs from Herman Miller alongside brands like Kenzo, Bode, Celine and Haider Ackermann. He currently works as a Design director for a Startup brand in LA. Matt and his wife like to live simple but invest in high quality products. They are forward thinkers and respect each other’s position in society. They live by the rule of no judgement and only acceptance of those around them. Due to this forward thinking approach, Matt and his wife share clothes that have no distinction of gendered design features.

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Future game changer female customer Meet Peggy Gou. She is 30 years old and is an Electronic Dance Music artist based between Berlin and Seoul. She loves to travel because of her tours, and has an eclectic personality which therefore gets reflected into her style. She is known for her unique and colourful wardrobe which is said to have both western and eastern design influences. She opts for this wardrobe in order to demolish the idea of status in roles within society, therefore challenging those around her to have a similar view. 155

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She loves to learn about culture and produces experimental dance music.

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CONCEPT PROPOSAL

The outcome: Pave a way for a change in status, resulting in equality and continually evolving society. New concept proposal: - To create a brand & product/service that facilitates and generates the movement of same status ideology in society. - This will be done through the implementation of the brand DNA, with use of colours & prints. Along with implementing core brand identifiers. - Brand identifiers: Kenzo QR code, Kenzo colour & implementing non-gendered design features. - This idea will be communicated through social media platforms, stores, runways and WABI SABI principles.

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Explanation: Kenzo as a brand wants to generate the movement of equal gendered status within society in order to generate a progressive community of forward-thinkers. Kenzo as a brand has been at the forefront of facilitating growth within society. Longevity, technological and societal trends are moving into the direction of a unified community. Through non-gendered design forms and a clever use of Kenzo’s DNA features of colours and prints; the brand allows the idea for a shared wardrobe to develop. To facilitate the idea of same gendered status, Kenzo will implement a colour that will represent both female and male, along with a Kenzo QR code. The Kenzo QR code will make their products identifiable among the mass market along with displaying the ‘taboo’ symbol in society. This taboo is linked to status roles within today’s society. Through this identifier, consumers are displaying their forward-thinking approach to this change in society, along with allowing consumers to display themselves and their true nature through this generated community of like-minded individuals. The code will facilitate the consumer in the knowledge of the brand, product and have a feature of the product’s history in terms of longevity, owners of the product and second-hand nature platforms. The identifiable Kenzo colour facilitates society to move in the direction of this forward-thinking approach. The colour will symbolise individuals taking a stance to society norms and allowing change to continually take place. This new societal idea will be communicated through a single runway show, a shared closet approach and brand communication tools. The main identifier within all these elements is the Wabi Sabi connection. Wabi Sabi is a traditional Japanese aesthetic that values imperfections in a world of ‘perfections’. Kenzo will implement Wabi Sabi in all spheres of the brand and merchandise in order to facilitate and link the new elements that will be implemented. This Japanese element is crucial for the brand as it has a strong link with the brand’s DNA and the late designer, Kenzo Takada.

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NEW PROPOSED BRAND DNA - Colours and prints (exotic florals, jungle inspired) - Strong brand storytelling - Top quality materials - Non gendered design features - Kenzo QR code - Quality, craftsmanship and innovative designs

CONCEPT NAMING KEN-SABI

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NEW BRAND IDENTITY PROPOSAL

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FUTURE 3D BUSINESS MODEL

ID/CLIENT the game changer

PRODUCT/TECHNOLOGY colours & prints

USE/ OCCASION shared closet

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FUTURE VISION, MISSION, VALUE Vision: To create a unified and equal society through non conformist product beliefs. Mission: To reimagine an ecosystem built by futurist thinkers where sophistication is at its core. Mindsets are defined by their inventiveness and forward minded view on societies through the use of unisex designs and colourful approaches. Values: Longevity , Quality, Innovation, Authenticity, Community, Inquisitivity

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FUTURE ARCHETYPE The Renegade is someone fearless with his or her sense of expression and lives to challenge the current status quo of what fashion is perceived to be. He displays incredible confidence and is deeply conceptual with his approach. Driven by his intuition in his decision making process and naturally leads to disruptive, new found opportunities in lifestyles that represent a forward minded and futuristic approach.

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05 VIDEO

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SCRIPT The Kenzo video will be no longer than one minute, portraying elements from the past DNA and what the brand’s future DNA elements will encapsulate. The purpose of this video is to allow consumers to recognise core elements of the brand, along with realising that a change in the brand is going to happen. This change ultimately results in Kenzo ‘blooming’ after the rebranding elements have been implemented. The approach to this video is minimalistic with hints of colour and nature elements. There is also an element of playfulness present. A combination of effects and transition elements will be incorporated, along with multiple sound clips in order to create a fully immersive fashion brand video.

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STORYBOARD SCENE #1

SET PLAN Switch TV’s ON at Gucci Garden 1.One shot from behind 2.One shot from the side SHOT: close-up

REMOTE IN LEFT HAND MOVE ARM TOWARDS TV CLICKING ON THE RED BOTTON TO TURN ON THE TELEVISION POINT AT THE TV TURN ON THE TV

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SCENE #2

SET PLAN Display full screen SHOT: Long shot / landscape pan

WIDE SCREEN VIEW DISPLAYING ALL OF THE SCREENS TOGETHER CREATING A WIDE IMAGE OF THE WHOLE ROOM WITH ALL OF THE SCREENS CREATING A LOT OF TRACTION

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SCENE #3

SET PLAN TV scene Display smaller parts screens zoom in on videos

the

SHOT: Medium shot / Dolly

SHOW ALL THE TV’S IN A CLOSER LOOK ZOOM IN ON ALL THE SCREENS

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SCENE #4

SET PLAN A chess board with chess pieces displayed on it. SHOT: Birds eye

SHOW ALL THE CHESS PIECES

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SCENE #5

SET PLAN A walking scene where the focus will be on the feet SHOT: close-up / extreme close up

WALKING SCENE FOCUSSING ON THE FEET WHILST WALKING MULTIPLE PEOPLE WALKING

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SCENE #6

SET PLAN the ‘ come with me’ shot. inviting the viewers to follow them SHOT: medium shot

“COME WITH ME” SHOT THE MODELS WILL ME WALKING WHILES THE CAMERA FOLLOWS THEM THIS SHOT WILL DRAW THE VIEWERS ATTENTION TO FOLLOW THE STORY

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SCENE #7

SET PLAN Party scene SHOT: middle shot / close up

FILMING PEOPLE IN A CLUB PRESENTING THE FUN AND BOLD LIFESTYLE OF KENZO HIGHLIGHTING THE STUDIO 54 INFLUENCE

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SCENE #8

SET PLAN TV scene Display smaller parts screens zoom in on videos

the

SHOT: Medium shot / Dolly

THE GUCCI GARDEN SCENE OF THE TELEVISIONS HAVING DIFFERENT TV SCREENS PROJECTING DIFFERENT SCENES ZOOMING IN ON 1 SCENE AT THE TIME TO DRAW THE FOCUS ON IT TRANSITIONING INTO THE NEXT SCENE

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SCENE #9

SET PLAN Nature scene Focussing on the details of nature SHOT: Extreme close up - Dolly

SHOWING THE CONNECTION FROM KENZO WITH NATURE CREATING A FEELING OF BEING IN NATURE

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SCENE #10

SET PLAN Nature scene Focussing on the details of nature SHOT: Medium shot - Roll

FILMING THE SURROUNDINGS IN NATURE

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SCENE #11

SET PLAN Japanese concept Walking forward, towards camera SHOT: Longshot

REPRESENTATION OF THE JAPANESE CULTURE

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SCENE #12

SET PLAN Japanese concept A animated image of a geisha SHOT: Landscape - pan

BRINGING IN THE JAPANESE CONCEPT SHOWING AN IMAGE OF A GEISHA WHICH IS CONNECTED TO THE HERITAGE OF JAPAN

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SCENE #13

SET PLAN Japanese concept Walking forward towards camera SHOT: 3/4 short

ADDING CULTURAL ASPECT OF THE JAPANESE CULTURE ADDING THE 3 MAIN CULTURAL VALUES : Harmony, order and self-developmen

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SCENE #14

SET PLAN Japanese concept Kintsugi SHOT: Full shot

IMPLEMENTING THE KINTSUGI CONCEPT FOCUSSING ON THE IMPERFECTIONS OF LIFE

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SCENE #15

SET PLAN French concept filming the market SHOT: Medium shot - pam

VISUALISING THE FRENCH CULTURE THROUGH DAILY LIFE VIDEOS FOCUSSING ON THE IMPERFECTIONS OF LIFE A FRENCH MARKET SHOWS THE AUTHENTIC SIDE OF FRANCE HIGHLIGHTING THE SKETCHES THAT TAKADA DID IN HIS REIGN

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SCENE #16

SET PLAN French concept filming a French hallway with stores on the side SHOT: Landscape

HIGHLIGHTING THE CORE AVENUE WHERE THE FIRST KENZO STORE WAS

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SCENE #17

SET PLAN TV scene SHOT: Medium shot / Dolly

THE GUCCI GARDEN SCENE OF THE TELEVISIONS HAVING DIFFERENT TV SCREENS PROJECTING DIFFERENT SCENES ZOOMING IN ON 1 SCENE AT THE TIME TO DRAW THE FOCUS ON IT TRANSITIONING INTO THE NEXT SCENE

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SCENE #18

SET PLAN A chess board with chess pieces displayed on it. Moving a chess piece SHOT: Extreme close up

FOCUSSING ON THE FRONT PIECES ON THE CHESS BOARD SHOWING THE MOVEMENT OF THE CHESS PIECE PRESENTING THE MOVE FORWARD OF KENZO

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SCENE #19

SET PLAN TV scene SHOT: Medium shot / Dolly

THE GUCCI GARDEN SCENE OF THE TELEVISIONS HAVING DIFFERENT TV SCREENS PROJECTING DIFFERENT SCENES ZOOMING IN ON 1 SCENE AT THE TIME TO DRAW THE FOCUS ON IT TRANSITIONING INTO THE NEXT SCENE

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SCENE #20

SET PLAN Stair scene Focussing on the legs of the people SHOT: Full body - Pan

WALKING FORWARD AND UPWARDS THIS MOVE WILL REPRESENT TO MOVE TO THE FUTURE CONCEPT OF KENZO

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SCENE #21

SET PLAN Nature scene Focussing on the details of nature SHOT: Extreme close up - Dolly

SHOWING THE NEW REBRANDING WHICH IS CONNECTED TO NATURE AS WELL FOLLOWING THE JOURNEY INCORPORATING CORE COLOURS OF KENZO

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SCENE #22

SET PLAN Shared closet idea Male and female sitting next to each other SHOT: Details / Dolly

THE PARTY SCENE CONNECTION SIMILARLY, REPRESENTING THE REBRANDING STRATEGY TAKING PLACE

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SCENE #23

SET PLAN Shared closet idea Male and female sitting next to each other SHOT: Long shot

SHOWING BOTH GENDERS NEXT TO EACH OTHER THE MODELS ARE WEARING THE SAME CLOTHES TO REPRESENT THE SHARED CLOSET ASPECT OF THE BRAND

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SCENE #24

SET PLAN Switch TV’ OFF 1.One shot from behind 2.One shot from the side SHOT: close-up

REMOTE IN LEFT HAND MOVE ARM TOWARDS TV CLICKING ON THE RED BOTTON TO TURN ON THE TELEVISION TURN OFF THE TV

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SCENE #25

SET PLAN TV scene SHOT: Medium shot / Dolly

THE GUCCI GARDEN SCENE OF THE TELEVISIONS HAVING DIFFERENT TV SCREENS PROJECTING DIFFERENT SCENES ZOOMING IN ON 1 SCENE AT THE TIME TO DRAW THE FOCUS ON IT TRANSITIONING INTO THE NEXT SCENE

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BUSINESS DEVELOPMENT

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PROMOTION

DIGITAL STRATEGY Our strategy is to build conversation with our “game changers” about how we, the brand and society, all live equally and we aim to generate the same status quo in society. To implement this, we plan to set up several advertising campaigns on different social media platforms. We plan to use four social media platforms- Instagram, Facebook, Twitter and Tiktok. Our core objective is to gain more engagement for each, generate traffic for all existing social media platforms and implement one new platform, the Kenzo app. It is also our objective to increase the Tiktok engagement as it is not performing to its full potential at the moment. Our strategy plans are to gain 5% potential reach in each platform.

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5 YEAR PLAN Creating a new journey for Kenzo is essential to the brand as the world keeps updating and transforming. Social media spaces change every minute with the constant technological progress. This results in Kenzo constantly staying up to date with all the new implementations of the specific apps that they use. With so many changes that can make or break a person or a brand, Kenzo will have to keep updating, evolving and re-assessing their strategy for the brand, alongside the needs and wants of the Kenzo consumer. Kenzo needs to choose their influencers wisely due to avoiding a downfall and miscommunication of the brand to the consumers. Since 2009, the term influencer came into the world with many brands having to adjust to this new way of marketing. Influencers in general have a lot of power over their audience.

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INFLUENCERS A brand wants to have authentic content and this is an important aspect for Kenzo. This is why Kenzo will connect with people online who create authentic, minimalistic, colourful and bold content. This will attract the specific customers that Kenzo aspires to inspire and connect with. As the world of influencers is different in many ways all over the world, Kenzo will be targeting every area with a ‘main’ influencer in order to create this special bond with their consumers. Over the upcoming years Kenzo will choose 5 head influencers who will work with the brand to get more brand awareness and involvement. For Instagram, as one of the main social media platforms together with Weibo, the Chinese popular social media platform, there will be several different influencers who will be a part of the Kenzo tribe. This tribe will have their own story but they will use the Kenzo platform to convey this message. Every year a different influencer will be assigned to a project for Kenzo. There will be 5 influencers who will be working together with Kenzo over the upcoming year. This is a proposed plan for the influencers but can be subject to change as the online world is constantly changing. It is important for Kenzo that the their influencers are aligned with the brands core values.

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TYLOR, THE CREATOR

SUSIE LAU

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SLOW THAI

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SHY GIRL

LAKEITH STANFIELD

PEGGY GOU

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STORES As Kenzo has 122 stores they will expand the number of stores by opening 10 new stores all over the world, within five years. The biggest stores, flagship stores, will continue operating as they are. Those flagship stores will be filled with the full merchandise collections and will be able to display the complete storyline of that specific collection. Those stores will work on making sure the customer who visits the store leaves with a full storyline of Kenzo and its core DNA. The smaller stores that will be located in multiple cities and towns, will be targeting the customers who buy the brand on a regular basis. They want to make this connection with the customers that visit the store on a frequent basis and contribute to the creation of the Kenzo tribe. To ensure the content of the brand stays relevant to its community, Kenzo will be implementing several collaborations within the upcoming 5 years. All of the collaborations will have a certain characteristic and aesthetic to them and that the brands align with the vision of Kenzo.Some brands are in different markets which gives Kenzo the opportunity to venture out into other markets and target groups.

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These new collaborations allow Kenzo to build a more diverse community. Clothing brands such as Nike, Vetements, Uniqlo as well as the Japanese beer brand, Asahi. This beer brand has not only reached a status in Japan but has developed a reputation all around the world. These collaborations will include two Japanese brands and one French brand, in order to keep the connection of these countries which are big DNA features of the brand. Nike will connect another type of consumer to the brand. This collaboration will connect Kenzo to the leisurewear market, possibly resulting in a line extension for the brand. Focusing on shoes as well as clothing, Vetements has the expressive element that Kenzo also aspires to add to their garments. For Uniqlo, this Japanese brand is well-known for their minimalistic and timeless aspects within their collections. Asahi, the only non fashion brand will be a partner of Kenzo, as the beer is popular in Japan and world renowned. By collaborating with a brand outside of the fashion world, Kenzo will make a name outside of its retail walls. All collaboration will be completely different which also taps into the rebranding of Kenzo. Different price ranges, styles and heritage, they all connect with the new idea for the brand. Connecting the core elements of Wabi Sabi and Kintsugi.

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RUNWAY For the first year, Kenzo will start with implementing the ‘Tribe’ aspect. They will implement live performances during their fashion shows and open their shows to the public. Customers can buy tickets for the fashion show as this is one of the actions Kenzo will take to make the connection with their family/tribe.This implementation allows Kenzo to become more accessible.

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To accompany this new attribute to the shows, Kenzo will display several transparent boxes over different cities with Mannequins within these boxes, presenting the new items that are in the runway shows. With this idea, Kenzo will aim to transform the way of presenting fashion shows and will aspire to keep evolving and being a pioneer in the fashion field.

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CAMPAIGNS OVERVIEW After the first year implementations of runway shows, the second year will be about moving the runway concepts to another level. With live performances being translated into films and the boxes will be evolved into 3D holograms with smart screens, creating an interactive space for their consumers. Each year an influencer will be the main point of attention, giving them the power and ability to connect with the audience of Kenzo, on an online and offline platform. They will be included in all the activities that Kenzo will host. The influencer of that year will be embedded into the Kenzo tribe. Kenzo will constantly evaluate the market and ensure their strategies align with the market and the consumers. With the world changing and evolving extremely fast, Kenzo will implement as much as they can to keep up to date with the latest technology. This vision is in relation to their heritage, vision and mission. Following up on the campaigns, In the same year these concepts will flow into vending machines and will be found all over the world. Together with experience centres within the Kenzo flagships stores. Concepts like art and a library will be presented over time within these stores. The Kenzo vending machines will be located in ‘lesser’ known streets but within areas with a lot of history and meaning. This will allow the vending machine to acquire a more relatable fashion installation.

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2022

2022 IMPLEMENTATION For the remaining part of 2022, Kenzo will start implementing the rebranding strategy. Kenzo will implement the rebranding strategy into their whole brand. With a big change within their stores, changing the collections little by little to make sure there will not be a loss of customers. The social media accounts will be a big target point for the brand, with implementing a complete new approach to the channels of the brand. They will start with adding new influencers to their platforms.. ‘The Tag’ is the latest introduced app evolution of the brand. This app will give customers the opportunity to subscribe to the brand itself. Not only with newsletters but as well as a system where they can enter their own information. This information allows consumers to see the history of the garment and all information on previous owners. This will tap into Kenzo being transparent within the fashion industry.

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2023

2023 IMPLEMENTATION In 2023, the brand will add the concepts of pop up stores into their portfolio. Creating hyperphysical spaces within a limited amount of stores. The concept of the shows will be added starting from the beginning of the year. The app, ‘The Tag’, will be launched. By launching the app, the brand will add more value to the rebranding and especially to the brand as a whole. One main feature of the app will be a section where customers can create the history of the garment. In doing this, Kenzo will advertise the way people view clothing, tapping in on the evolution of society. Iconic products will be added to the collection to implement more features into the whole brand. Online exclusive products will also be available on this app.

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2024

2024 IMPLEMENTATION 2024 will be about adding more stores to the Kenzo world. Continuing the concept of the pop-up stores together with implementing the interactive shows, where customers from Kenzo can buy tickets to the runway shows. This will ensure the customers are connected through physical experiences within the brand. This year will be a continuation of the previous action that Kenzo will take to reassure the rebranding implementation and tell the story Kenzo wants to tell through their brand. During these shows the concept of a shared closet will be highlighted.

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2025

2025 IMPLEMENTATION By 2025, Kenzo will have their own cemented community, which they have created through several different activities. With many transformations on a branding level, Kenzo will review their actions on an in-deep analysis and revise the plans for the next few years. Kenzo will need to evaluate what their tribe is asking from them and if their performance is on the level as it should be. The poppy flower is the main symbolism that Kenzo will implement in their logo. This logo will be implemented on a higher frequency and will slowly discard the tiger logo. The tiger logo will still be used by the brand but the impact of that logo will be at a much lower level than the poppy flower. There will be an introduction of new iconic products.

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2026

2026 IMPLEMENTATION In 2026, the 5 year plan will come to its end with the aim to have as much engagement, growth and brand awareness as possible. Having a full community with a lot of open communication from the brand. The idea of a shared closet will be cemented. Kenzo will aim to complete the project on creating a shared closet and is aiming to have a society without the limitations, in which the community of Kenzo currently lives. Kenzo will have opened several new stores over the five years. A total of 10 new stores will be introduced worldwide. By 2026, the world will have implemented the metaverse completely and it will be a way of living. Kenzo will implement digital clothing into their collection but still keep the concept alive with the shared closet perspec

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VISUAL ASPECTS OF THE REBRANDING

Our key symbol is Poppy that emphasises all channels including products and visual applications that represent the brand. The poppy represents the vibrancy and beauty which is present in every KENZO customer. Other symbols will be minimally implemented into the designs are the eye and the tiger. The new name typography is Burnfolk Demo Version. Regarding the colour palette, Our main colour is KENZO Red and the sub brand colours are dark blue, yellow and white which reflect more divisiveness in the brand.

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LOGO Since the start of the fashion brand, the logo of Kenzo, previously known as Jungle Jap, has changed several times. For over 30 years the brand used the same logo which they have now returned to. In 2013 they designed a new logo, adding ‘Paris’ into the logo. The main goal of Kenzo has always been to connect both western and eastern elements. In 2020 Kenzo created a new logo combining both previous logos into one. For the rebranding, Kenzo needs to be connected to their Japanese roots. The created logo is seen as a form of Japanese calligraphy. This connects both the Japanese culture and the element of playfulness that the brand conveys.

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CORE COLOURS Kenzo will implement three core colours which are chosen from the history of the brand. Red is known to be a very meaningful colour in many countries. Red is a symbolic colour and is seen on the Japanese flag. Red is a colour which is associated with many aspects in life, joyfulness, the sun, happiness, power and strength. Blue is a heavenly colour, it is associated with cleanliness, calmness and purity. All elements that the rebranding wants to highlight. Yellow is chosen as a main colour as it has been evident in the brand, surfacing in past collections. Red will be the primary colour of Kenzo, following blue and yellow as the secondary colour. Although these are the basis colours, the brand will remain colourful and continue to incorporate all other colours.

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KENZO TONE OF VOICE Kenzo’s tone of voice addresses the personality of the brand across all points of contact; it informs all consumers what the brand would like to express. Clear communication is important to the brand. Communication will be represented in the format of text and images. It is intended to serve as an umbrella that informs and unifies the style guides of departments, countries, and languages. Our target group ranges from 23 to 40 years old, so the tone should be young but disruptive, thus connecting the link to Kenzo’s original DNA. The elements of direct and simple tones are essential, as they are elements that comply with the principle of Wabi Sabi, and should be present in all the elements that shape the brand.

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VOICE

DEFINITION

GUARDRAILS

DISRUPTIVE

Our voice amplifies the need for equality amongst men and women. Kenzo represents the shift of mentality to inspire the society.

WE ARE… EQUAL PROGRESSIVE

BOLD

Unafraid to imagine our own world with our rules dictated by Wabi Sabi.

WE ARE… INSPIRING FEARLESS

SIMPLE

Our voice is clear and direct, always linked to the principles of Wabi Sabi. Straightforward, matter of fact, just transparency.

WE ARE… DIRECT TRANSPARENT

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COMMUNICATION IMPLEMENTATION AND ESTIMATED RESULTS

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OWNED MEDIA WEBSITE/ E-COMMERCE In order to increase engagement and inward traffic onto the website, Kenzo can divide its existing content under shoppable and editorial selections. The editorial selections of content can include collection storytelling, our Kintsugi campaigns, new opening of stores, interviews of collaborators and also some features of the Kenzo community. The website can include online exclusives which are more exclusive to the E-shop in order to generate more traffic onto the website. The categories can also have a seasonal and core selection in the website to assort the merchandise in a systematic way. The Kenzo community can be a platform that is linked with the Kenzo Tag, where Kenzo consumers can build a personal profile on the application to post fits or engage with resellable models on the forum. Building SEO Rich Editorial content(SERP’s) will not only help establish a community or a tribe for Kenzo but also increase the click-ins and build trust within consumers. Due to the active engagement with information exchange and shoppable content. Building a library of content with a strong choice of keyword targeting will also help the website gain traction with its algorithm, categorising the page to the top for Google search. The overall aesthetic and language of the website will follow the Wabi Sabi aesthetic, specific to Kintsugi, to build on our brand concept. To commit to our principles, we will also be reducing the number of End of Season Sales. This will be done through Artificial scarcity by capsule collections and drops in order to reduce unnecessary waste and make it more sustaina

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CRM/ EMAIL MARKETING Whilst a potential customer decides to take the decision to go to the website of Kenzo and enter the world of Kenzo, they will be swept into the journey of the brand through the email propositions set out. By browsing the website, they will be welcomed by a video of the new storyline of Kenzo which will direct them to the ‘sign up’ page. This page will explain what it means to be signed up, all the benefits it has. When receiving the confirmation email in the customer’s account. There will be an invitation for a member’s only page which will be revealed on the app. This means that by signing up people will be motivated and curious about what the app has to offer. With the first email every potential customer will receive, there will be a video with a message from Nigo as well as a story about the creator of the brand, Kenzo Takada. This will help the brand to tell their story without only having this information on the website. Besides these emails, there will also be weekly emails with the links to the newest podcasts, stories, collections and activities. These emails will be well aligned with the direction in which the brand is headed. The aesthetics of the emails will be very minimalistic and clean. It will have disclaimers and give the reader a clear view.

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Customer relation management emails: Whilst using the app, the user will have to consent to the app sending out emails to their email address as soon as they log in. This login will be exactly the same as for the Kenzo website. If the customer already created an account on the website, they can then use those details for the app. With this consent they will be receiving emails and notifications of the app about their purchase, new items, items they looked at but also similar items. When an item is sold out on the app or website they will be notified and also invited to go back to the desired platform to have another look at the website/app.

Newsletter

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MOBILE APP The Mobile application of Kenzo can represent itselves as a medium for expression. The website can have a separate interface within itself where users can share images of their daily lives, books they have read or podcasts that they have listened to. This is to create an interactive platform for education. The Kenzo TAG will also be implemented within the application where the QR code is attached to every product. It will link you to the product page in the application, mentioning the details of its make, the designer and the user’s own bio. The faces for the Product Display pages(PDPs) will use younger faces who are very youth centric, individualistic and expressive. To link in with phygitization, the Kenzo application can also serve as a virtual experience centre where users can host events and webinars in order to trickle up and build a community for the brand. The stores will follow an End-to-End encryption format where the user has to go through an authentication process for the subjects in question which will also allow a new experience in the platform. Interactive gamification formats such as the Kenzo World can also be introduced during the second pilot of the application where users can have their own experience as a first person character on their online or virtual stores.

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SOCIAL MEDIA CHANNELS Every social media platform will have a different but still similar approach for the rebranding for Kenzo. As different social media platforms have multiple audiences as well as approaches to what they want their users to get while using the app. With new technology being implemented every day, each platform needs to follow the new adjustments to stay as up to date as regularly as possible and be the trend setters instead of followers.

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TWITTER Followers: 329,5K They follow 16 people Started their account: September 2009 With the largest percentage of the share of media types for Twitter, Kenzo will need to keep the momentum high for this particular platform. As Twitter is number 16 on the rank of the amount of users on the social media platforms, they would still need to work on the platform itself. Kenzo can however introduce new ways of using the platform which will lead to a higher usage of this social media platform. Twitter is currently the second used platform for news, for Kenzo. The main users on Twitter are between the ages of 25 until 34 years old. Kenzo’s channel will be implementing a hashtag for their tweets, #Thisishowikenzo. This will ensure that the brand Kenzo will not be confused with other accounts on Twitter that are similar with Kenzo’s name. For example, ‘The Real Kenzo’ is a account which could be confused with the brand as it is one of the first accounts google shows when searching for Kenzo on Twitter. Currently Kenzo is sharing all of the campaigns as well as celebrities wearing their clothes. But for the future they will be implementing more tweets about current affairs in the world. As Twitter is a platform to inform people, Kenzo will be working with this as well. The language will be more formal but still in line with the playfulness and minimalism and Kintsugi idea of the rebranding. Kenzo will be linking all the new fashion and art projects from both Japan and Paris in Himeji to connect their customers with their heritage and take them into their story.

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FACEBOOK Only in the US alone, Facebook live was the feature that had an immense impact. With almost half of the users using it. With the Kenzo hunt that will be organised, there can be a community on Facebook. This will consist of only followers of the brand which can then view the campaign that Kenzo made along with having interactive activities, games, videos and chance to join for the hunt itself. Through this, Kenzo will gain more followers on Facebook and improve their likes as they will interact more with their consumers instead of only posting videos and images onto their account. Their account will be clean but at the same time have all the relevant aspects of Wabi Sabi and Kintsugi into their communication. The language which will be used will be playful but also honest. Kenzo will be colourful in their images and videos which will be shared as well as the communication used. Campaigns, articles about Kenzo and related subjects will be shared on Facebook. Facebook will be a platform where news will be shared which will be close to the brand as well as to Nigo. Going through all three of the stages of the marketing funnel, Kenzo will implement these marketing tools for Facebook in specific. The proposed result will develop into more sales but also be targeted at awareness and involving the audience onto this specific app. The biggest age range on the platform is between 25 and 35. Which connects perfectly with the customers Kenzo is targeting.

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WEIBO As Weibo was launched in 2009, the social media platform became very well-known in China. Sina Weibo is the original name, and was created in Beijing. The translation of the name is ‘microblog’ which is similar in many aspects to many different European platforms. When the platform started they were compared to the European platform, Twitter, but changed in a way which now is seen as a platform on its own. Weibo still has different parts which can be compared to other platforms. As the platform is one of the biggest in China, many people use the application which means this can possibly lead to a lot of traffic to the Kenzo website. Influencers are exploiting their content on the application. Asian influencers are able to show their fans what they are doing, what they like but also dislike. For the rebranding of Kenzo, Weibo will be the main platform for the Chinese market. Using Chinese influencers/celebrities, which will be the brand ambassadors for Kenzo. Kenzo will add videos in the form of a vlog on this platform. Kenzo will utilise this technology to convey their brand story. Through this implementation, the brand will form a community in the Asian market specifically. Weibo had more than one million content creators that are recognized as official influencers. They cover different areas, with 520 million monthly users on the app. One third of the users are between the age of 16 and 30 years old. Users use this application for similar things as Facebook. With the application gaining more active users after the Pandemic in 2020. Consumers have now opted for this application as it allows them to follow news events around the world, following trends and staying up to date with societal changes. Yoyo, the proposed influencer, will be implemented into the campaigns which will be targeted at the Asian market. The language will be conform to the general way of communicating in Asia.

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YOUTUBE Youtube is the number one live streaming platform (Lin, 2022). With the platform already receiving a large amount of views, this platform will not have the biggest change on the account of Kenzo as they currently have more than 86K subscribers. However, Kenzo can make it more personal, implementing interviews with different people, people who are connected to the brand as well as ‘ in the life of’ segments. Nigo will be implemented in the channel more frequently to give the customers a close look into his thought process as well as keep the customers involved. On youtube the use of language will be clear and engaging, yet playful in order to communicate the brand DNA effectively. The concept of Kintsugi will be implemented in the Youtube channel through the layout and in the video content. These videos will be available on all relevant social media platforms.

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INSTAGRAM The core objective of our new social media plan is to create more engagement and generate online traffic into our existing social media channels. For asset management and image selections, we propose a new approach to content development which is more interactive and dynamic. This is in line with the physical visual merchandising strategy for Kenzo. Content will be segregated and scheduled based on its objective. This is in relation to lookbooks, editorials, shoppable content and press. For our initial rollout spanning between 1-3 months, each post will be in a video format and will include a common thumbnail image. The thumbnail image would be for instance, the Kintsugi pot or a blank red thumbnail, which upon click per view, will invite you to the actual video of the model. The main purpose of this strategy is to create excitement and intrigue the user to click on the page, hence increasing the level of engagement for the brand and thereby helping with free retargeting algorithms and increasing bounce rates. Kenzo will also incorporate other media formats such as reels as it is very effective for expanding its instagram footprint. The type of content will mostly revolve around communal content such as pieces styled by the new Kenzo consumer. Instagram captioning: This will be in line with the tone of voice portrayed on platforms. The caption will be informative and invite people to shop the looks or visit the website.

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Product centred content: Introduce the shoppable feature in targeted geographies which have high engagement. Merchandise selected with strong keyword tracking and Search Engine Optimisation strategies linked with product specifications. Internal CTA to direct to the site will also increase website traffic to the specific product pages. Editorial centred content: Brief introduction to the story of the collection alongside the details of the main creative direction leads such as the photographer in order to bring off site traffic from mentioned profiles into an in-house channel. PR centred content: A more lifestyle approach to content of faces in order to create tribes. A careful selection of faces in sync with the brand’s ethos and values. Captions will accentuate their style and archetypes along with the shoppable links tagged on the images itself. Exclusive hashtags: Every post will have its own exclusive hashtag designated to the type of content that is posted such as #Kenzoworld and #KenzobyNIGO, to create its own community hashtag where users can post their outfits. aEvery week the best outfit is featured on Kenzo’s story, in turn creating high engagement and favouring the instagram algorithm. This will be used across all the social media platforms.

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PINTEREST Pinterest can be an interesting platform to bring in the new storytelling for Kenzo due to its deeply visual nature. The current Pinterest profile of Kenzo lacks cohesion in image formatting, captions and hashtags and could do with improvements in a different array of areas of the asset management sphere. Kenzo could adopt more interactive mixed media content such as short videos and editorials bringing in the non gendered and Wabi Sabi elements to focus on the new philosophy of the brand. Pinterest could also be used to link it with phygitisation. Kenzo can also adopt a shoppable platform for its fast moving products such as cosmetics and t-shirts. Kenzo can also introduce stronger captions with dedicated hashtags to further increase the engagement of the pins.

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TIKTOK KenzoTiktok account details 26,0K followers on Tiktok. First video: 23th of January 2021 à 11.1K views , 653 likes, 31 reactions Most viewed tiktok: 3th of February à 8,9M views, 21,2K likes, 109 reactions Total likes: 154,0K Total Tiktoks: 26 video’s Last uploaded video: 24th of May 2022 à 360 views,, 24 likes, 1 reaction Looking through the hashtag ‘ Kenzo’, the Tiktoks are mostly not related to the fashion brand. With #Kenzo-365.8M, #Kenzochallenge-3.2M and #kenzo paris-579.9K, being the top 3 hashtags that the brand still needs to connect their platform. For the rebranding, the theme will be minimalistic, taking from the Wabi Sabi culture. The Tiktoks posted by the brand should be clear, energetic and interactive. Kenzo will introduce Tiktoks that users will be able to duet with, generating social media interaction. #Kenzowithus will be the hashtag which will be advertised the most. Due to the hashtag being so specific, it is unlikely for random videos to be mentioned with this hashtag. On the Kenzo page, they will also participate with the viral tiktok challenges and have influencers that will be connected to the brand. The video’s will all be corresponding to the reels which will be posted on Instagram. The aim for this platform for Kenzo is to engage more with their audience, make it more authentic but also a line with the rebranding while not losing any of their playfulness. The number of followers will be targeted as well as the reactions, which is all about the creation of a tribe.

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LINKEDIN Kenzo Mode on Linkedin currently focuses on content specific to promotion of latest campaigns and capsule launches with good engagement and SEO management. However, with the rebranding process of Kenzo, they can focus more on the communal aspect of its DNA. Introducing content related to the Kenzo workplace environment philosophies in order to incorporate transparency. As the platform is mainly aimed for professionals who are either similar minded or interested in working for Kenzo; the brand can develop content specific to Linkedin such as the press house kit which focuses on informing about Kenzo’s new value chain with Wabi Sabi aesthetics.

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VIDEO STRATEGY Instagram and Weibo are Kenzo’s two main platforms that they will be using. Instagram will be used in regards to the European and American market, whereas Weibo will be used specifically for the Asian market. The Brand Refresh: Use video Video to Reestablish the High Points Kenzo as a brand needs to use this new rebranding video to refresh consumers’ memory of the brand and what they stand for. The footage chosen to be displayed in the video is a representation of the core pieces integrated into the brand originally, and how these core subjects have evolved and will be portrayed in the current lifecycle. The Brand Evolution: Show the Brand’s Reinvention on Video In this section Kenzo needs to focus on incorporating its DNA and past life cycles to fully interpret the new journey for the brand. This element focuses on the changes within society and creating an equilibrium of roles in society. This sphere of the promotional video facilitates the view in recognising that the brand is going to change as well as the product offering. Kenzo is ultimately establishing its position within the accessible luxury market. The Brand Overhaul: Abandon the Past, Embrace the Future The Kenzo rebranding is a communication form that implies that the brand is changing and that the brand image is going through a reconstruction phase. This element is crucial to the consumers as we need to portray key identifiers that customers will still be able to recognise the brand. Elements such as colours, prints and flowers will be incorporated into the video in order to make this connection to Kenzo.

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Video Strategy: The video will be launched on Kenzo’s main social media platforms. The main advertising platforms will be Facebook, Instagram and Weibo. These platforms will have the most generated content in terms of the launch of the video. Kenzo will focus a portion of its budget on advertising this campaign and extending the reach of its main geographical areas which include USA, Europe and Asia. Smaller social media channels such as TikTok, Twitter and Linkedin will advertise the launch of the video. These advertisements will be implemented in a smaller quantity to that of the above mentioned platforms. The target for this video launch is similar to a campaign launch. The main focus is to present that a change is occurring within the company. From a competitive angle, Kenzo the brand needs to reach a high level of consumers in order for the brand and video to gain traction on social media.

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NATIVE ADVERTISING Content has become a central part of our lives. Focusing on news articles, television shows, photos and social media posts. Native advertising is intended specifically to not appear as if an ad, creating it more durable to ignore. Instead, it’s designed to appear just like the rest of the content on the page. The strategy for Kenzo is to focus on Native Advertising on Social Media. Kenzo wants to generate attention to this application through subscriptions to newsletters and generate traffic in the e-commerce and resale platforms. For our Native Advertising strategy, we have sub segmented it under three main types of content. First we have the editorial styled Native advertising in high profile websites such as Business of Fashion, WWD and Nowfashion, which is targeted for industry professionals and students who are more critical with their approach with fashion. Secondly Kenzo will focus on the editorial sections of E commerce models such as SSENSE and Matchesfashion, which takes the role of a tastemaker in the field. These platforms can engage with storytelling principles which are either capsule or collection specific. These have a more conceptual view on the collection. Lastly, Kenzo can incorporate a possible paid media strategy with the art collective, NOWNESS, which focuses on producing short art films. This is to connect the roots of Kenzo Takada and the initial DNA of the house.

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ORGANIC PR Vogue france: Local to the HQ of Kenzo, the content of the article will focus on the shift in cultural exchange and business models with Kenzo as the case study example. Elle Magazine: In order to generate traffic from the masses, Elle Magazine will follow up with an interview with Nigo, speaking about culture and the relevance of rebranding. Highsnobiety: A youth centred subculture magazine focusing on millennials, early adopters and style seekers. The content will be centred around the overall overview of the new rebranding of Kenzo, reflecting the philosophies of the house. Hypebeast: A subculture magazine focusing on youth centred fashion such as streetwear and high end, ready-to-wear. The content will be centred around Nigo in an interview format of him reflecting the new ethos of the brand. Sabukaru Online: A Japanese subculture magazine run by Adrian Bianco(former Eye_C Magazine editor), focusing on Japanese fashion and its associated subcultures. The readership of this publication are purists in the field with very good exposure of the cultural heritage behind brands. For this platform, the content developed will be more in line with the culture that is associated with Kintsugi and an in depth review of Wabi Sabi, as a philosophy.

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Press release

PRESS OFFICE The new Press Office for Kenzo will include all information regarding the statistics of the social media platforms such as the number of followers, engagement rate and also the bounce rates. Along with extra information such as detailed reviews of Kenzo’s target audience, the Customer Relationship Management strategies and new direction for other collaterals such as newsletters and email marketing. The Press Office will also include a Press Release which would be sent out to magazines and other forms of publications in order to advertise and build features for organic growth in the digital media. A separate section about the new ethos of the brand alongside the past partnerships and collaborations will also be mentioned in the press house.

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INFLUENCERS ESTIMATED RESULTS Total Potential Reach= 2.3 M

Yoyo Cao Followers: 436K Avg. engagement rate: 0.93% Avg. likes: 4,017 Avg. comments: 31.06

Megan Adelaide Vega Followers: 120K Avg. engagement rate: - Avg. likes: 0 Avg. comments: 0

Camille Charrière Followers: 1.3 M Avg. engagement rate: 1.02% Avg. likes: 13,376.8 Avg. comments: 107.75

Lorenzo Liverani Followers: 214K Avg. engagement rate: - Avg. likes: 0 Avg. comments:

Deon Hinton Followers: 264K Avg. engagement rate: 3.51% Avg. likes: 9227.71 Avg. comments: 76.36

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PAID CAMPAIGN ESTIMATED RESULTS The paid campaign will be launched on facebook and instagram which is Kenzo main social media platforms. Our target audience is from 23 to 40. The consumers based in France and the United States are interested in shopping, fashion and cosmetics. The estimated audience size is from 94.7k to 111.4k Kenzo plans to have a video campaign and a product campaign with different objectives. The first stage is launching the video campaign to gain brand awareness. The campaign will be launched in a month and is planned to be scheduled every day at 9am-11pm. The estimated daily results for this stage is to gain total reach around 5.9k-17k. The second stage for video campaign is to gain video views and launch a product campaign to keep gaining brand awareness. The campaign will be launched in a month and the time is to be scheduled at 9am-11pm every day. The estimated daily results are to reach 4.6k-13k by launching a video campaign and to reach 5.9k- 17k for the product campaign. The third stage includes a launch of a product campaign to drive traffic to the website. The campaign will be launched in the month after the second stage and it is planned to schedule the time every day at 9am-11pm. The estimated daily results are to reach around 3.7k-11k. The budget of each campaign is estimated at 1000 euros for each objective campaign, resulting in a total of 4000 euros.

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RETAIL/DISTRIBUTION

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In today’s world, the purpose of the store extends beyond a transactionary platform, but rather a channel to translate a new experience. The physical store is the biggest communication tool of today’s business which therefore becomes the extension of the brand itself. With Kenzo’s retail strategy, we focus on extending our new philosophies of Wabi Sabi and Kintsugi into the retail extension of our brand, whilst staying rooted with our brand DNA and values. Kenzo has designed global mono-brand, flagship, freestanding malls, pop-up and Kintsugi stores to be implemented into the rebranding. The new retail concept that was developed, is a language of minimalism and transparency in line with Kenzo’s new codes based on the Wabi-Sabi principles.

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FLAGSHIP STORE Kenzo flagship stores are representative of the lead stores in the retail chain, acting as a showcase for the brand. These flagship stores are crucial to Kenzo as they will be representative of the main trends and re-branding strategies implemented. The flagship store’s purpose is to draw customers into the brand, over and above making sales. The focus is on experience and creating a destination store that people want to visit. These stores will be implemented in Tier 1 cities, each consisting of a different concept; this will be dependent on the country. The flagship store will focus on the physitisation element in the re-branding and will consist of minimal merchandising. The merchandising offer will consist of the new core and iconic products of Kenzo, along with the latest collection. These stores will be updated every 5 years on an average estimate. This estimated time frame is subject to change, keeping in mind budget availability.

SERVICES Full Retail Services AREA 40m2 - 1,000m2 STORES 60+ TYPOLOGIES Corners, Shop-in-shops, Freestanding Malls, Flagships LOCATION Worldwide THEME Wabi-Sabi

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General implementation of a Personalisation space: As co-creating economies are continually on the rise, the flagship and tier 2 city stores can include a personalisation space which goes beyond the conventional printing of the consumers initials on leather accessories. A potential launch of micro product portfolios such as charms and badges, alongside personalised embroideries. These features can be styled with existing Kenzo products. Each product from the portfolio extension would be categorised under two main types: carryovers and In store exclusives. This strategy would not only add a personalised touch but also give a sense of exclusivity to the consumers. To explore sustainability initiatives, the store can also have a donation spot where customers can bring old Kenzo pieces in exchange for point redemption in order to buy new products. With an extra surcharge, the consumer can either upcycle the old Kenzo garments into a homeware piece or receive points for the donation itself.

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FLAGSHIP IMPLEMENTATION & DEVELOPMENT PARIS, FRANCE SERVICES Full Retail Services AREA 300m2 VISUAL MERCHANDISING - Real Flora - Vibrant colours - Cracks of kintsugi Japanese flora and fauna has always been a consistent trope within the legacy of Kenzo Takada’s fashion house. To extend this core feature into their designs would be an innovative link towards the brands DNA. Kenzo could also opt in for Zen philosophies such as the idea of strolling through nature related elements in order to bring in the Wabi Sabi philosophy, alleviating the Japanese DNA of Kenzo. Using real Flora inside the store can also increase the number of walkins and visibility for a retail storefront from a visual perspective. The store can act as an information exchange centre with a potential omni-channel approach by having a database of the flowers of each store on the Kenzo app. The products themselves can be combined with RFID and ultrasound connected rails, which allows the consumer to see the products and get more information about the product through the screens allocated in the store. With regard to the visual merchandising of the store, we would like to propose strong vibrant colours with kintsugi like cracks and actual kintsugi pieces as decor for the store itself.

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TOKYO, JAPAN SERVICES Full Retail Services & Bar AREA 400m2 VISUAL MERCHANDISING - Archive Garments KT - Vibrant colours - Mochi Bar Japan is known for having impressive flagship stores. The Asian market with a focal point on China, considers design features of shops to be an important factor that influences future product purchasing. The Tokyo flagship store therefore will be decorated with archival products from Kenzo Takada, making it into a museum experience. This allows customers to connect with the origin of the brand, which is a key point within the rebranding strategy. . The concept of Wabi-sabi will be present in the Kenzo shop through the use of neutral tones, giving prominence to the colorfulness of the products. This will act as a balance between products and visual merchandising. Finally, the store will not only be regarded as a place of purchase but will be viewed as a meeting point for the Kenzo to get together. This store will therefore include a Mochi Bar where you can enjoy an aperitivo service.

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NEW YORK, U.S SERVICES Full Retail Services & Bar AREA 400m2 VISUAL MERCHANDISING - Zen Garden (Flora, Water, Rocks) - Vibrant colours - Scents Space All the shops are based on the concept of Wabi-sabi, and for the New York store, the decorative concept will be the Zen garden. The flagship store will be a giant relaxing garden, where customers will experience a feeling of maximum relaxation thanks to the use of certain elements such as sand, stones, plants and water. This will be accompanied by music that matches the ambience. This garden is to allow consumers to remove their shoes and enjoy the introduction of Japanese culture. This experience links with the phygitization element that Kenzo would like to implement. In addition, this store will have a special space for scents. Consumers are able to custom make their own parfums.

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HYPERPHYSICAL STORES The Kenzo hyperphysical stores are defined as experiential stores. These stores are ‘soulful’ shops that deliver a higher level of personalisation, culture and memorable experience for shoppers. The Kenzo hyperphysical stores can include community-based gatherings, workshops, try-beforeyou-buy services, and double as entertainment venues. The merchandise offer will be location specific, allowing for a more exclusive and community-based environment to develop. Kenzo will implement 5 hyperphysical stores in the pilot stage of the re-branding. Thereafter, Kenzo will open one store per year for another 5 years. This initial implementation is crucial in the beginning phase of the rebranding; to allow Kenzo to build a strong brand image and solidify its positioning in the accessible luxury market.

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Hyperphysical Stores Strategies Concept 1: The outside display of the store will be extremely decorated with campaign photographs and past consumers posts of them wearing Kenzo. This will be contrasted by a calm and minimalistic store interior. This contrast will evoke emotions within the customers. The store will be completely white with hints of the Kintsugi lines incorporated in the visual merchandising. This store will have special limited edition garments that will have the store theme incorporated within the design. The kintsugi lining will be red to represent the rebranding of Kenzo. The concept of this contrasting store is based on the Kenzo consumers following the Kintsugi lines which is symbolic of the Kenzo story. Concept 2: The second store concept is based around the idea of the Japanese Zen garden. Customers entering the store will be asked to remove their shoes and will be handed biodegradable feet covers. Consumers will be able to enjoy the store and the garden through this interactive experience.

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Concept 3: The third concept is in relation to an interactive art studio where consumers will be able to paint and make pottery. This concept is derived from the vast history of Kenzo Takada. The late designer enjoyed painting. This connection is crucial in the rebranding process as it linkes the late designer and creative aspects into the idea. The pottery element is an introduction to the foundation of the Kintsugi element which is utilised in the Kenzo rebranding. This space will give customers the chance to be creative and to provide them a platform to be educated Concept 4: The fourth concept is to open up a perfumery. This concept expands on the famous Poppy perfume by Kenzo. Customers will enter a perfumery lab and be able to witness Kenzo employees creating the popular scent. Along with this experience, they will have the opportunity to create their own unique scent. Through this creative and immersive experience, the idea is derived from the foundation of the brand, resulting in educating consumers. Kenzo’s core mission is to add value into society through an artistic format. Concept 5: The fifth concept expands on the idea of the Japanese tea houses which are sentimental to the Japanese culture. These tea houses are referred to as Chashitsu. This tea house experience will provide consumers with a direct link to the brand, whilst creating a Kenzo community at the same time. Customers will also have the chance to be educated on the tea house tradition, connecting experience and culture.

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BRICK & MORTAR STORES The Kenzo Brick and mortar stores refers to a traditional stores that are situated amongst industry competitors. These stores will feature the Wabi Sabi and Kintsugi elements that are highlighted in the rebranding strategy of Kenzo. The merchandising offer will consist of a vast width and vertical scope within these stores. Kenzo will focus on limiting production of merchandising, emphasising minimal waste. These stores should be easily accessible and should represent the DNA of the brand and rebranding strategy. The Kenzo Brick and Mortar stores will be situated In Tier 1 and Tier 2 cities. Currently sitting at 122 stores, Kenzo will focus on opening 20 stores within a 10 year time frame. This expansion will facilitate the growth of the rebranding and to help stabilise the positioning in the accessible luxury market. SERVICES Full Retail Services AREA 30-90m2 VISUAL MERCHANDISING Cracks of kintsugi Vibrant colours Japanese Plants

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Developing the Japanese DNA of Kenzo, the Wabi Sabi philosophy needs to be implemented into the store. For the visual merchandising of the store, the new core collection will be displayed on hangers made from bamboo. The store will be displayed in all white with Kintsugi design elements. Red Kintsugi lines will be incorporated throughout the store. Traditional Japanese plants will be incorporated into the stores, connecting the fauna and flora of the country. Bamboo and maple trees are two examples of traditional plants. In regards to furniture, a red sofa will be presented in the middle of every store. The renovation plan is to implement this new idea into six stores on a yearly basis, totaling to thirty stores in five years.

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POP UP STORES Kenzo pop-up stores are short-term sale spaces that last for a limited period. This concept will be a core element in implementing and facilitating the rebranding to ensure this new Kenzo brand concept is translated into a long-term strategy. The Kenzo pop-up stores will focus on highlighting the brand’s DNA, values and new societal movement. The product offering will consist of core and iconic products, along with concept specific products, implementing the exclusivity factor within the experience. These pop-up stores will help in facilitating the growth of sales and brand image. In regards to a long term strategy, Kenzo will regularly create popup stores to grow their community. Phase 2: Pop up stores into Tier 1 cities In today’s world, Experiential marketing is the new currency in hard luxury. Due to the shifting demographics of the luxury market into a younger consumer, consumers derive appeal from fresh and innovative experiences in retail; such as pop up stores, installation experiences and thematic flagships. Amongst popular beliefs, pop up stores have found its commercial success amongst retail formats. This experience is a derivative of exclusivity and medium for artificial scarcity, hence a very cost efficient approach for brands to tap into new markets.

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Idea 1: The Kenzo Cornerstore The rebranding of Kenzo focuses on the accessible luxury market. This accessibility factor is linked to ‘normality’. A proposal for the pop-up store launch is to introduce the Kenzo Mart. In Japan, Konbini or convenience store chains such as 7-11 and Family Mart remain home to all types of products. The Kenzo Mart pop-up will follow the ideology of a Kenzo pop-up store disguised in the style of a Japanese Konbini.

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Idea 2: The Kenzo Arcade Throughout the legacy of Kenzo, Kenzo Takada was all about bringing Japanese culture into Paris. Games like Initial D and Pacman are very popular in countries like Japan due to its heavy arcade culture. Using arcades as a medium, Kenzo can alleviate the concept of cross culture by using it as a concept for the pop up installations. Kenzo will be able to introduce kenzo gaming experiences. This can be applied by using classic games and based on the tokens collected, consumers would stand a chance to win a prize which could be location exclsuive.

Idea 3: Mall pop up stores Mall pop ups are known to be one of the most effective multichannel formats of retail. It is renowned for its high walk-ins and in store traffic. The retail merchandising selections made for the pop up store will depend on the location - both the mall type and the format of the floorplan.

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Idea 4: The Kenzo Ramen Experience centre Much like the ideology of streetwear which follows principles of Artificial scarcity and drops, Japanese ramen stores also follow a similar distribution model. The product demand is inelastic, where the demand is not reflected by the changes in price. Japanese Ramen stores are known within Japan to have long queues and attract a young audience inside the store. The pop up store can be in collaboration with a Japanese Ramen chain, integrating the Japanese element. In regards to merchandising selections, Kenzo could introduce limited edition location specific exclusives. Examples are t-shirts and sweatshirts which would be packaged using compressed instant ramen cups. Idea 5: Japanese Ryokan This independent pop up store will be located in the main luxury streets of the flagship cities. It will be installation based and follows the theme of a traditional Japanese Ryokan or a traditional inn. This will be implemented through the aesthetic of Kenzo, replicating a particular collection, in each room. This allows customers to experience the history of Kenzo through a dynamic experience. These pop up stores will be slightly larger than the previous mentioned pop up stores, ranging between 70-100 sqm.

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OUTLET STORES An outlet store or factory outlet is a brick and mortar store in which manufacturers sell their stock directly to the public at a discounted rate. Due to Kenzo repositioning itself in the accessible luxury market, the brand will not be focusing on this store concept and will be closing all of their outlet shops. Kenzo recognises that they have a strong community and consumer target that they attract with outlet stores, therefore Kenzo will be launching a Kintsugi store. The closure of these stores will generate the identity the brand requires in order to stabilise itself in the accessible luxury market. SERVICES Repair, Resale and Personalization services AREA 50-70m2 VISUAL MERCHANDISING - Smart Glass - Repair and personalisation machines - Red

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KINTSUGI STORE The re-branding of Kenzo will lead to the closure of outlet stores but will introduce the new concept of Kintsugi stores. Kintsugi stores will encapsulate longevity and the Wabi Sabi culture, highlighting no waste. This store will allow customers to go and up-cycle garments, resell garments and create personalised garments from ‘deadstock’. This new concept will facilitate the re-branding of Kenzo and solidify a new community of consumers. These stores will also create a platform for growth and education. Kenzo can hold sewing and textile courses every few months, in order to draw attention to these new Kenzo stores. The Kintsugi stores will initially be implemented in Tier 1 cities in the pilot stage of the rebranding, and will then move on to Tier 2 and Tier 3 cities. These types of stores will be made of smart glass, which will be transparent whilst the store remains open, upon closure, the glass will become opaque. For the visual merchandising, the glass will be decorated with the Kintsugi lines, and the inside will be equipped with repair and personalisation machines in the colour red. The furniture will include tables and chairs for the workshop and compartments to keep the stock.

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ADDED BRAND IMPLEMENTATION FEATURES

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APP Kenzo will introduce an app that is linked to the omnichannel sector of the brand. The app will allow consumers to purchase products as well as access and sell products on the resell platform. The Kenzo app facilitates features beyond the purchasing phase. The app allows consumers to get digital newsletters and notifications, product information and pricing as well as customer product ID information. The QR code introduced, facilitates the implementation of the Kenzo app and these two elements work together in order to portray and facilitate the rebranding.

QR CODE/TAG: This QR code will represent the symbolism of the iconic logo of Kenzo. The QR code will have four dedicated areas of the garment where it could be placed, this introduces the playful aspect of the brand into the garments. Only Kenzo fans will know where the logo can be found. The QR code provides information on the product, pricing and customer ID. This feature is also crucial to the accessible luxury positioning as it serves as a form of certification for the Kenzo consumers.

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MERCHANDISING: Longevity and the Wabi Sabi culture promotes minimal waste and good quality garments. With this core focal area within the brand, Kenzo will produce limited pieces in order to minimise wastage along with emphasising the exclusivity factor of the garments and brand. Merchandising will be available in physical stores along with being accessible on the Kenzo website and app. Iconic and core merchandising pieces will be available on all platforms, however Kenzo will implement online exclusive items in order to facilitate the growth of the omnichannel platform.

MERCHANDISING DESIGNS: The Kenzogi rebranding will fuel the change in design elements for the brand. The new Kenzo will facilitate the movement towards a ‘shared closet’ concept; with no distinctions between men and womens design features. This change in design features and the idea of a shared closet will implement and solidify the longevity and Wabi Sabi trend within the brand. Kenzo will continue to take inspiration from its DNA, by implementing colours and prints, whilst considering a minimalist approach. The new merchandising will portray the Kenzo poppy QR code as well as either the Kenzo poppy or tiger logo that is symbolic to the brand. Kenzo will highlight its brand colour by introducing “Kenzo Red” in all their designs and brand features.

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MERCHANDISING PRICING: Kenzo the brand has always been regarded as being a brand at the forefront of innovation. Designers Leon and Lim created an accessible market with the introduction of the tiger sweatshirt (Tashjian, 2019). This sweatshirt currently starts at €250. This price reflects a low to medium price point. In order to reposition Kenzo in the accessible luxury sector, the brand will need to increase their prices. This price increase will range between 5%10%.

RESALE PLATFORM Kenzo will introduce a resale platform with their new rebranding strategy. This resale platform will be available in the Kintsugi stores as well as on the Kenzo app. The introduction to the resale platform facilitates the longevity and no waste culture that is a core concept within the rebranding of Kenzo. The app will allow consumers to view the garments past owners, allowing the community aspect of the brand to be highlighted in this feature. Consumers will have the option to resell their products through the app or physical Kintsugi stores.

INTERIOR Kenzo introduces Japanese culture through Wabi Sabi in their new rebranding strategy. Through this Wabi Sabi influence, the brand will focus mainly on the art form, Kintsugi, which emphasises the ‘imperfect’. This art form adds values to products that have imperfections and history to them. The Kintsugi art form is noticeable through the use of gold materials. Kenzo will adapt this idea and implement red Kintsugi art forms throughout the store interiors.

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MOCK UPS

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1500

PETER DO THE ROW COMME des GARÇONS HOMME PLUS

JIL SANDER HED MAYNER

RICHARD QUINN

DRIES VAN NOTEN

LEMAIRE

DISRUPTIVE

DOGMATIC KENZO

ETRO

VIVIENNE WESTWOOD Courrèges

cult gaia heaven BY MARC JACOBS

STAUD

300

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FUTURE BENCHMARK AND POSITIONING MAP

Horizontal Attributes(X): Consumer archetypes Dogmatic: A traditional consumer archetype reserved in his/her level of experimentation and purchasing habits in fashion, where consumption is driven by seasonal trends. This consumer is usually influenced by novelty, social positioning and hype. Disruptive: An evolved consumer archetype who creates his/her own path, who is self explorative of their path of expression and style. They have a forward minded approach to consumption and lifestyle paths. Vertical Attributes(Y): Purchasing archetypes Eminent purchasing --> 1500: A form of purchasing that is associated with luxury consumption, where there is high brand loyalty within the brand arena and focused around the idea of tribes/communities. Conscious purchasing --> 300: A form of purchasing much associated with accessible luxury, where the purchases are well informed and deeply linked with culture and values. This purchasing archetype is highly self aware of what they want.W

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ANALYSIS OF POTENTIAL THREATS TO THE SUCCESS OF THE PROPOSED REBRANDING STRATEGY

FUTURE SWOT ANALYSIS Strengths Increased social appeal amongst first world societies with newer changes in identity, gender fluidity and desensitisation of status Returning to the Japanese legacy of the house through Wabi Sabi principles compared to the present day mass commercialisation of the brand, will increase its brand equity Mass appeal of media channels such as TikTok, for community building Zero waste philosophy with minimal and reusable packaging with the introduction of the Kenzo Tag High transparency level within the brand More effective experiential retail formats such as Hyperphysical stores and Pop up stores Weaknesses Alienation of the existing audience from developing countries New barriers of entry as it is a new market to venture into High Capital Expenditure investments Risk of appropriation during the execution process

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Opportunities Extend the adaptation of this philosophy into future retail and visual merchandising of Kenzo Rebranding direction into something more inclusive and diverse as a community Forerunner in building exclusive communities within the accessible luxury market Potential new faces for the creative direction Strong brand collaborations Line extensions Threats to the rebranding strategy: Damaging the brands identity if the rebranding is not well executed The brand is unable to move to the proposed rebranding lifecycle

Possible loss in translation of the philosophy of the concept Culturally and emotionally sensitive market Core consumer group is lost with the removal of some brand symbols that the brand would be unrecognisable Execution of elements may be difficult due to variety of continent sanctions Kenzo is unable to build this experimental and open minded community Rebranding could be misinterpreted for the gender fluidity trend

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CONCLUSION

For the rebranding strategy, the fundamental objective aims to revitalise the Japanese roots into the western status quo of fashion. The principal cultural driver which we have identified for our strategy is the philosophy of Wabi Sabi, which remains core to Japan. Incorporating cultural identifiers such as Kintsugi into the media channels, product portfolio and packaging remain core to the success of the strategy. With shifting perceptions of Identity, Sex and Gender amongst the Gen Z consumer, it is imperative to recognise the core philosophies and belief systems of the new market. Sharing economy business models such as AirBNB and Uber have been on a rise in the past decade and now society is slowly gravitating into the product space. Where genderless wardrobes and personalisation take place. Kenzo by Kenzo Takada represented the idea of celebrating communities and societal changes, therefore resulting in a new genderless wardrobe, as the next chapter for the fashion house.

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The physical store is not just the extension of the brand, but also the brand itself. The extension of the Wabi Sabi philosophies will extend into the retail strategies outlined through Japanese contextualisation. With this approach, the rebranding will prospectively have a refreshed approach to its imagemaking. This will be done through possible temporary retail channels such as pop up stores and repair centres(such as the kintsugi stores). The new retail strategy will provide a new image for the brand which can prospectively translate into new store experiences. With our digital communication strategy, we aspire to link all the core values and codes of the initial lifecycle of Kenzo through a modern lens. With the rise in importance of social media, information exchange has become a vital driver through online platforms such as instagram and twitter. The pandemic has resulted in newer definitions for communities and tribes resulting in Kenzo to find innovative ways to engage with the emerging markets. In conclusion, the core rebranding elements outlined should easily facilitate the rebranding of Kenzo. This rebranding strategy is crucial to the brands lifecycle as it connects an integral element, the history of the founder, Kenzo Takada. Kenzo Takada has been at the forefront of innovation, and Kenzo as a brand, will continue to facilitate this growth.

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APPENDIX

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COMPETITORS BENCHMARKING

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BUDGET

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SOCIAL MEASUREMENT ON TALKWALKER

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BRAND LISTENING ON TALKWALKER

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REFERENCE LIST

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A. (2010, June 17). Kenzo Takada First Painting Exhibition. LUXUO. https://www.luxuo.com/culture/ art/kenzo-takada-paintings.html A. (2012, October 16). Carol Lim & Humberto Leon of Opening Ceremony & Kenzo. AnOther. https://www.anothermag.com/fashion-beauty/2261/carol-lim-humberto-leon-of-opening-ceremony-kenzo Abad, M. (2022, January 25). Julia Fox. PAPER. https://www.papermag.com/kenzo-nigo-debut-celebrities-2656470728.html?rebelltitem=10#rebelltitem10 Alla scoperta di nuovi mondi con i due designer di kenzo. (2015, June 24). I-d. https://i-d.vice.com/it/article/8xq3qa/alla-scoperta-di-nuovi-mondi-con-i-due-designer-di-kenzo B., A. (2017, September 21). KENZO Opens New Event Store in Paris. Fucking Young! https://fuckingyoung.es/kenzo-opens-new-event-store-paris/ Bateman, K. C. (2019, July 1). Prints master Kenzo Takada talks Paris, sketching and how fashion has changed. CNN. https://edition.cnn.com/style/article/kenzo-takada-interview/index.html Bobb, B. (2020, September 29). Cecilie Bahnsen Spring 2021 Ready-to-Wear Collection. Vogue. https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/cecilie-bahnsen BOF. (n.d.). Carol Lim & Humberto Leon | #BoF500. The Business of Fashion. https://www.businessoffashion.com/community/people/carol-lim-humberto-leon Bohlen, B., Carlotti, S., & Mihas, L. (2018, January 8). How the recession has changed US consumer behavior. McKinsey & Company. https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/how-the-recessionhas-changed-us-consumer-behavior Borrelli-Persson, L. (2020, October 4). Designer Kenzo Takada Has Died. Vogue. https://www.vogue.com/article/obituary-kenzo-takada Bumpus, J. (2008, December 8). Antonio Marras appointed creative director at Kenzo. British Vogue. https://www.vogue.co.uk/article/antonio-marras-becomes-creative-director-at-kenzo

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Capital, F. (2020, October 8). ANINE BING, the LA-based lifestyle and fashion brand, has joined the Felix Family! Medium. https://medium.com/felix-capital/anine-bing-the-la-based-lifestyle-and-fashion-brand-has-joined-the-felix-family-f111443dc95c Chojnacki, R. (2021, November 30). Luxury Fashion Spending Is On The Rise Online, Reports NPD. The NPD Group. https://www.npd.com/news/press-releases/2019/luxury-fashion-spending-is-on-the-rise-online-reports-npd/ COCCINELLE Spring Summer 2018 Campaign | What We Adore. (2018, February 19). What We Adore. https://www.whatweadore.com/coccinelle-spring-summer-2018-campaign/ Contributors, C. (2022, May 20). 10 cose da sapere dei tuoi Levi’s 501 | Collater.al. Collateral. https://www.collater.al/kenzo-takada-morte-style/ Coretti, P. (2019, October 20). Marras lascia Kenzo. La Nuova Sardegna. https://www.lanuovasardegna.it/regione/2011/07/13/news/marras-lascia-kenzo-1.3488200 Dirvanauskas, G. (2020, October 5). How Kenzo Takada brought colour and fun to Paris fashion. Drapers. https://www.drapersonline.com/insight/analysis/kenzo-takadas-colourful-and-inclusive-influence-on-fashion D’Angelo, M. (2020, October 4). Chi era Kenzo Takada, lo stilista più pagato al mondo. Money.it. https://www.money.it/kenzo-takada-stilista-morto-81-anni-coronavirus Ellery, S. (2014, July 10). Kenzo. PR Week. https://www.prweek.com/article/99278/kenzo Emerging consumer trends in a post-COVID-19 world. (n.d.). McKinsey & Company. https://www.mckinsey.com/business-functions/growth-marketing-and-sales/our-insights/emergingconsumer-trends-in-a-post-covid-19-world Eternel Parisien. (2020, December 13). the é.p. brand. https://eternelparisien.fr/en/about-ep/

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Fashion Culture: Haute Couture in Paris 1960–1968. (n.d.). Archive on Demand. https://archiveondemand.fitnyc.edu/items/show/687 Fashion pioneer Kenzo Takada always stayed true to his heart | The Asahi Shimbun: Breaking News, Japan News and Analysis. (2022). The Asahi Shimbun. https://www.asahi.com/ajw/articles/13789973 Fashion Obituary: Kenzo Takada (1939 - 2020) & The Multicultural Identity of a Joyful Transnational Mythologist. (2020, October 4). Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law & Technology. https://www.irenebrination.com/irenebrination_notes_on_a/2020/10/obituary-kenzo. html Felipe Oliveira Baptista joins Kenzo as Creative Director. (2019, July 1). LVMH. https://www.lvmh.com/ news-documents/news/felipe-oliveira-baptista-joins-kenzo-as-creative-director/ G. (2016, January 24). Kenzo Pop-Up Store en Printemps, París. Paison Retail Design. https://www.pasionretaildesign.com/kenzo-pop-up-store-en-printemps-paris/ gam.com. (n.d.). Luxury brands and European consumers: Returning to their roots? GAM. https://www.gam.com/en/our-thinking/investment-opinions/luxury-brands-and-european-consumers-returning-to-their-roots Gari, I. (2018, May 20). Women who called for equality in French May revolution battle on with #MeToo. The Mainichi. https://mainichi.jp/english/articles/20180520/p2a/00m/0na/006000c Ginette, S. (1999, May 31). Kenzo (Fashion Memoir) /anglais: SANDERICHIN GINETTE: 9780500019221: Books. Amazon. https://www.amazon.com/Kenzo-Fashion-Memoir-GINETTE-SANDERICHIN/dp/0500019223 Goss, S. (2022). V&A · Fashion in Motion: KENZO. Victoria and Albert Museum. https://www.vam.ac.uk/articles/fashion-in-motion-kenzo

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Gray, R. (n.d.). Obituary: Kenzo Takada. WWD. https://wwd.com/eye/parties/gallery/obituary-kenzo-takada-1234621773/ Guzman, I. (2016, December 7). Antonio Marras, inspirations and tokens. Abitare. https://www.abitare.it/en/design-en/visual-design-en/2016/12/07/antonio-marras-at-the-triennale-design-museum/ Hassey, K. (2021, November 15). The hybrid customer experience may be the key to your eCommerce success. Elastic Path Software Inc. https://www.elasticpath.com/blog/the-hybrid-customer-experience-may-be-key-for-ecommerce-success History of Fashion Designer Giles Rosier. (n.d.). Marybawa. http://marybawa.in/historyofashion/rosier.html History of Kenzo Fashion Brand | Kenzo Fashion History | Fibre2fashion. (n.d.). Fashion. http://fashiongear.fibre2fashion.com/brand-story/kenzo/history.asp Hsieh, V. (2016, September 22). Kenzo and H&M debut new visuals by Jean Paul Goude. Dazed. https://www.dazeddigital.com/fashion/article/33027/1/kenzo-and-hm-debut-new-visuals-by-jeanpaul-goude Introducing Kenzo’s first magazine, Kenzo Folio. (2017, May 8). PLEASE! Magazine. http://www.pleasemagazine.com/introducing-kenzos-first-magazine-kenzo-folio Jaglan, A. (2021, October 5). Fashion trends during COVID-19 scenario. Fibre2Fashion. https://www.fibre2fashion.com/industry-article/9241/fashion-trends-during-and-post-covid-19-scenario Jane, E. (2022, February 8). Bad Bunny is a sxc pool boy in Jacquemus’ new campaign. RUSSH. https://www.russh.com/bad-bunny-jacquemus-campaign/ Joan Smalls Enchants in Giambattista Valli Fall 2020 Haute Couture Designs. (2020, July 15). Fashion Gone Rogue. https://www.fashiongonerogue.com/collection/giambattista-valli-fall-2020-haute-couture/ Journal, T. G. (2019, September 3). Little Interview: Kenzō Takada - Gentleman’s Journal. The Gentleman’s Journal. https://www.thegentlemansjournal.com/article/kenzo-takada-designer-interview/

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Kapferer, J. (2013, November 22). Does luxury have a minimum price? An exploratory study into consumers’ psychology of luxury prices. SpringerLink. https://link.springer.com/article/10.1057/rpm.2013.34?error=cookies_not_supported&code=fd04c8 8b-4dbe-4d7c-b1f8-61fa8d2083e2 Kenzo by Nigo: unique poetry inspires designer’s debut Fall/Winter 2022 Women’s and Men’s collection. (2022, January 26). LVMH. https://www.lvmh.com/news-documents/news/kenzo-by-nigo-unique-poetry-inspires-designers-debut-fallwinter-2022-womens-and-mens-collection/ Kenzo Names Worldwide P.R. Director. (2019, October 2). Mulen. https://www.madeulookeyewearnews. com/single-post/2019/10/02/kenzo-names-worldwide-pr-director

Kenzo returns to Japanese roots in history-making moment. (2022, January 23). AP NEWS. https://apnews.com/article/entertainment-lifestyle-business-health-europe-27d0b83673675b9ef088a88808eae703 Kenzo Takada. (2021, December 14). ACC Art Books UK. https://www.accartbooks.com/uk/book/kenzo-takada/ KENZO HAPPENINGS | Kenzo Parfums. (2022). Kenzo. https://www.kenzoparfums.com/us/en/events/ Kenzo PopUP | Kenzo, Pop up store, Mobile boutique. (2022). Pinterest. https://www.pinterest.es/pin/19351473385040763/ Kenzo, ready-to-wear and accessories - Fashion & Leather Goods. (2022, May 28). LVMH. https://www.lvmh.com/houses/fashion-leather-goods/kenzo/ Kenzo Takada, 1939–2020. (2020). ArtReview. https://artreview.com/kenzo-takada-1939-2020/ Kim, A., Luan, L., & Zipser, D. (2019, August 12). The Chinese luxury consumer. McKinsey & Company. https://www.mckinsey.com/featured-insights/china/the-chinese-luxury-consumer Kim, M. (2019, February 27). The First Look at Kenzo’s La Collection Memento No. 4. Vogue. https://www.vogue.com/article/kenzo-la-collection-memento-no-4-paris-fashion-week L. (2018, August 27). Kenzo a new flagship store in Seoul. Luxury Retail. https://luxuryretail.co.uk/11771-2/ 323

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Lane, G. (2020, October 5). Fashion designer Kenzo Takada’s catwalk â in pictures. The Guardian. https://www.theguardian.com/fashion/gallery/2020/oct/05/fashion-designer-kenzo-takadas-catwalk-in-pictures Leitch, L. (2022, January 23). Kenzo Fall 2022 Ready-to-Wear Collection. Vogue. https://www.vogue.com/ fashion-shows/fall-2022-ready-to-wear/kenzo Leleu, C. (2021, June 23). Kenzo Takada, Joyful Fashion. Pen Magazine International. https:// pen-online.com/design/kenzo-takada-an-exuberant-figure-in-japanese-fashion/ Li, J. (2022, April 29). KENZO Unveils Final Limited-edition SS22 Collection By NIGO. HYPEBEAST. https://hypebeast.com/2022/4/kenzo-nigo-limited-edition-ss22-collection-final-drop-lookbook Lin, Y. (2022, April 12). 10 Facebook Trends That You Need To Know in 2022 [Infographic]. Oberlo. https://www.oberlo.com/blog/facebook-trends

Lola Cruz Shoes | Tienda online oficial. (n.d.). Lolacruz. Retrieved 2022, from https://www.lolacruz. com Luo, Y. (1997, January 1). Guanxi: principles, philosophies, and implications - IOS Press. IOS Press. https://content.iospress.com/articles/human-systems-management/hsm16-1-06 Madsen, A. C. (2020, September 30). Kenzo Spring 2021 Ready-to-Wear Collection. Vogue. https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/kenzo

Madsen, A. C. (2021, March 26). Kenzo Fall 2021 Ready-to-Wear Collection. Vogue. https://www.vogue.com/ fashion-shows/fall-2021-ready-to-wear/kenzo

Magazine, S. (2019, February 8). interview | kenzo takada. Schön! Magazine. https://schonmagazine.com/interview-kenzo-takada/

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Mame Editore. (2021, November 18). Rosier, Gilles. Mame Editore Srls. https://fashion.mam-e.it/rosier-gilles/ Maoui, Z. (2019, July 16). Kanye West x Louis Vuitton are most valuable trainers in the world. British GQ. https://www.gq-magazine.co.uk/fashion/article/most-valuable-trainers-kanye-west-louis-vuitton Marras, A. (2010, October 26). Amazon - Kenzo: Marras, Antonio, Saillard, Olivier, Bonami, Francesco, Quinn, Bradley, Orman, Catherine: 9780847834716: Books. Amazon. https://www.amazon. com/Kenzo-Antonio-Marras/dp/0847834719 Menkes, S. (1999, September 14). Gilles Rosier:On to Kenzo. The New York Times. https://www.nytimes.com/1999/09/14/style/IHT-gilles-rosieron-to-kenzo.html Morrill, H. (2018, March 20). Britney Spears Is the Face of Kenzo’s Latest Collection. ELLE. https://www. elle.com/fashion/celebrity-style/a19493953/britney-spears-kenzo-la-collection-memento-no-2/ Mundel, J. (n.d.). An exploratory study of consumers’ perceptions: What are affordable luxuries? ScienceDirect. https://www.sciencedirect.com/science/article/abs/pii/S0969698916304404 Nast, C. (n.d.). Kenzo News, Collections, Fashion Shows, Fashion Week Reviews, and More. Vogue. https://www.vogue.com/fashion-shows/designer/kenzo Nguyen, A. (2021, March 30). What Will I Wear When I Go Dancing Again? The Cut. https://www.thecut.com/2021/03/kenzo-fall-2021-show-was-a-celebration-of-life.html Nightingale, S. (2021, September 13). Kenzo Homme is reinvented & reveals new (unexpected!) “face.” The Perfume Society. https://perfumesociety.org/kenzo-homme-is-reinvented-reveals-new-unexpected-face/ NIGO: What to Know About the Japanese BAPE Founder. (2022). Highsnobiety. https://www.highsnobiety.com/tag/nigo/ Nigo’s appointment. (2022). Kenzo. https://www.kenzo.com/eu/en/stories/nigo Osman, A. (2022, January 23). Nigo, the godfather of streetwear as we know it, makes his debut at Kenzo. I-d. https://i-d.vice.com/en_uk/article/wxdgw4/nigo-kenzo-aw22 (2020, October 7). Kenzō’s happy clothes. Fashion for Breakfast. 325 https://www.fashionforbreakfast.it/en/2020/10/gli-abiti-felici-di-kenzo/

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Pourhashemi, P. (2013, May 23). Interview with Humberto Leon and Carol Lim at Kenzo. Contributor. https://contributormagazine.com/interview-with-humberto-leon-and-carol-lim/ Pourquoi votre pop-up store va être le boost idéal. (2022). Appear Here. https://www.appearhere.fr/inspire/ blog/pop-up-store-le-boost-ideal Profumi Tester San Marino. (2022, May 11). Tester Flower by Kenzo edp 50 ml. Tester Profumi Newton. https://www.testerprofuminewton.com/profumo/tester-flower-by-kenzo-edp-50-ml/ Pulse Talent Spotlight: An Interview With Lorenzo Liverani. (2017). Pulse Advertising. https://blog. pulse-advertising.com/pulse-talent-spotlight-an-interview-with-lorenzo-liverani Remembering Kenzo Takada. (2021, June 25). FIDM Museum. https://fidmmuseum.org/2020/10/remembering-kenzo-takada.html Remembering Kenzo Takada, Designer Behind Kenzo Paris and Kenzo Home - L’Officiel. (2022). L’officiel. https://www.lofficiel.cy/fashion/remembering-kenzo-takada-designer-behind-kenzo-paris-and-kenzo-home Rowley, F. (2022, January 26). Hypebeast Comes to High Fashion: Meet Kenzo’s Newest Artistic Director Nigo. L’Officiel USA. https://www.lofficielusa.com/fashion/nigo-kenzo-creative-director-first-collection Royce, A. (2021, March 29). Kenzo’s Colorful Fall Winter ’21 Video Celebrated The Late Founder’s Passion For Life. Daily Front Row. https://fashionweekdaily.com/kenzos-colorful-fall-winter-21-video-celebrated-the-late-founderspassion-for-life/ Sanderichin, G. (1999). Kenzo : Sanderichin, Ginette : Free Download, Borrow, and Streaming : Internet Archive. https://archive.org/details/kenzo0000sand/page/6/mode/2up?view=theater Saunders, B. (2021, November 22). KENZO X KHRISJOY Team Up on Arctic-Inspired Capsule. HYPEBEAST. https://hypebeast.com/2021/11/kenzo-x-khrisjoy-puffer-capsule-collection-info

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Scapaticci, S. (2022, February 4). The impact of the COVID-19 pandemic on lifestyle behaviors in children and adolescents: an international overview - Italian Journal of Pediatrics. BioMed Central. https://ijponline.biomedcentral.com/articles/10.1186/s13052-022-01211-y Sherman, L. (2022, January 27). The Unlikely Return of Accessible Luxury. The Business of Fashion. https://www.businessoffashion.com/articles/entrepreneurship/the-unlikely-return-of-accessible-luxury/ Silbert, J. (2022, April 29). NIGO’s KENZO “Poppy” Spring/Summer 2022 Collection, Release Date. Highsnobiety. https://www.highsnobiety.com/p/kenzo-nigo-ss22-poppy-collection-release-date/ Silbert, J. (2022, February 7). NIGO’s First KENZO Collection, SS22 “Boke” Release Date. Highsnobiety. https://www.highsnobiety.com/p/nigo-kenzo-ss22-collection-first-drop-boke/ Slater, B. (2022). An exclusive look at Nigo’s final Kenzo SS22 limited-edition drop – HERO. Hero. https://hero-magazine.com/article/211885/kenzo-ss22-limited-edition-drop-nigo Smith, K. T. (2022, January 23). Nigo Is Exactly What KENZO Needs Right Now. Highsnobiety. https://www.highsnobiety.com/p/nigo-kenzo/ Socha, M. (2022, January 19). Nigo Wants to Revive ‘Fun’ in Fashion at Kenzo. WWD. https://wwd.com/fashion-news/designer-luxury/nigo-kenzo-interview-debut-1235032937/ SS22 MAIN COLLECTION. (n.d.). P.A.R.O.S.H. https://www.parosh.com/lookbook/ss22-main-collection.html State of Fashion Technology Report 2022. (2022, May 4). McKinsey & Company. https://www.mckinsey. com/industries/retail/our-insights/state-of-fashion-technology-report-2022 Statista. (n.d.). Luxury Goods - Europe. https://www.statista.com/outlook/cmo/luxury-goods/europe Sullivan, R. (2021, September 23). Models and muses remember Kenzo Takada. L’Officiel Malaysia | Fashion, Beauty, Lifestyle, Arts & Culture. https://www.lofficielmalaysia.com/fashion/models-and-muses-remember-kenzo-takada Tashjian, R. (2019, June 14). A Requiem for the Kenzo Tiger Sweater. GQ. https://www.gq.com/ story/kenzo-tiger-sweater 327

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The FMD FashionModelDirectory.com. (2022). Kenzo - Spring/Summer 2015 Ready-to-Wear Fashion Advertisement | Brands | The FMD. https://www.fashionmodeldirectory.com/brands/kenzo/advertisements/2015/spring-summer/12420/ page/2/ The FMD FashionModelDirectory.com. (2022a). Advertisements of Kenzo - Fashion Brand | Brands | The FMD. https://www.fashionmodeldirectory.com/brands/kenzo/advertisements/ The iconic Flower By Kenzo celebrates its 20th anniversary! (2020, September 18). LVMH. https://www.lvmh.com/news-documents/news/the-iconic-flower-by-kenzo-celebrates-its-20th-anniversary/ The Times. (2020, October 6). Kenzo Takada obituary. Register | The Times. https://www.thetimes. co.uk/article/kenzo-takada-obituary-f78np7sqr Toiletpaper Shop. (2021, June 17). KENZINE vol. 2. https://www.shoptoiletpaper.com/product/kenzine-vol-2/ Toni, J. E. (2017, May 20). Kenzo Mounts Pop-up Exhibition at London Store – Unity is Strength. Lux Afrique. https://luxafrique.net/kenzo-mounts-pop-exhibition-london-store-unity-strength/ Tschorn, A. (2020, September 8). How the COVID-19 pandemic sped up beauty and fashion trends. Los Angeles Times. https://www.latimes.com/lifestyle/story/2020-09-04/covid-19-pandemicsped-up-beauty-fashion-trends Wall&decÃ2 | Antonio Marras. (n.d.). Wall&deco. https://www.wallanddeco.com/en-us/designers/antonio-marras/ Why NIGO at KENZO is ABSOLUTELY PERFECT | thestate. (2021, September 24). YouTube. https://www.youtube.com/watch?v=5KmCQb8gkG8 Wikipedia contributors. (2022, May 3). SoHo, Manhattan. Wikipedia. https://en.wikipedia.org/wiki/SoHo,_Manhattan Willson, T. (2021, October 19). KENZO Rides With Brompton For Exclusive Fold-Up Bicycle. HYPEBEAST. https://hypebeast.com/2021/10/kenzo-brompton-bike-collaboration-release-info Women who called for equality in French May revolution battle on with #MeToo. (n.d.). The Mainichi. https://mainichi.jp/english/articles/20180520/p2a/00m/0na/006000c

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Y. (2020, October 7). KENZO TAKADA. Cool Girls Closet. https://thecoolgirlscloset.blogspot.com/2020/10/kenzo-takada.html

Yotka, S. (2019, June 14). Humberto Leon and Carol Lim Leave Kenzo After Eight Years. Vogue. https://www.vogue.com/article/humberto-leon-and-carol-lim-leave-kenzo-after-eight-year

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POLIMODA MASTER CLASS FASHION BRAND MANAGEMENT 2022

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NATALIA BELENGUER

KAYLA BOTHA

JASMIJN RINKENS

SAURAV LAL

SHU MIN CHUANG

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“FASHION IS LIKE EATING. YOU SHOUDN’T STICK WITH THE SAME MENU.”

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Polimoda Masters Fashion Brand Management Final Kenzo

Articles inside

Communication

- Retail/ distribution Brand implementation features

the proposed rebranding strategy

Future Archetype

Script - Video mood board

Future vision, mission and values

Concept proposal

Communication

Designers

Iconic runways

- Strategic brand history analysis and cultural relevance context

Scan

Iconic products

Genotypes

Distribution

Final selection & Argument