The purpose of this book is to visually and contextually illustrate my journey of research and development through the Brand Management module, and my overall journey across my final year at university. From travelling through and reflecting upon my ideas created during the previous Concept Direction and Development module, I have researched and developed my proposed 360 campaign narrative and potential outcomes further within my final major project. All of the modules I have completed during my final year at university have been pivotal and influential in informing my personal direction and fit within the industry, and this final module in particular has allowed me to visually and verbally communicate ideas, concepts and challenges within the industry that I’m passionate about. The process of developing and creating my own marketing campaign has allowed me to showcase my skills in creative direction, creating a branded campaign narrative for a targeted consumer, styling, and visual communication as well as my digital skills in video editing, photography manipulation and experimenting with futuristic communication technologies. This book will also visually underpin the most influential elements of my research, illustrating the main sources of inspiration and evidence I investigated into in order to create my final major project. Through a strong process of research and development, this book aims to take you on the journey of how I created my final campaign narrative, aesthetic, and overall branded concept.
The ‘Brand Me’ component in the previous module was a really beneficial process for me to undertake, as the research, development and act of self-interrogation really allowed me to understand myself, my thoughts and interests on a much deeper level. The research was both a challenging and rewarding process, as I was able to create a conclusion about my own personal branding, aesthetic, values, and career fit within the vast industry. During this process of self-discovery, I realised that my position and best fit within the industry lies within the luxury market level, specifically the Haute Couture and Ready to Wear market segments. For me personally, I have always been drawn to luxury fashion as this market level is where new innovations, designs, shapes and trends start at the top of the fashion hierarchy. I have always emerged myself within all aspects of high fashion, and I especially love to see what different designers are creating next during fashion week seasons. I also appreciate how certain luxury brands make conscious efforts to encourage consumers to buy into luxury and investment pieces that are timeless and will always remain ‘in style’ as opposed to promoting over consumption of clothing and encouraging unnecessary purchasing. With a focus on visual communication, storytelling and brand identity, I realised that I am drawn to brands that have curated a strong visual aesthetic and brand image, therefore positioning myself within the luxury market level for my final major project best aligns with my personal aesthetic and values.
Reflecting further on my ‘Brand Me’ research, I identified that my personal style is very minimalist, incorporating pops of colour into my outfits which are mostly made up from neutral and muted tones. I am a very critical thinker who pays attention to key details, which is why I think I like to keep things quite simple, minimal, and toned down when it comes to my own styling choices. These descriptions came more into focus when creating my own interpretations of what my personal branding looks like and how I would visually like to promote myself, skills, and portfolio into the industry. ‘Brand Me’ allowed me to discover the direction I want to take my final major project in terms of how I will choose to visually display, communicate, and create my final proposed outcomes. I plan to further experiment with this idea of luxury minimalism within my final campaign creation process. I believe my own personal brand is feminine, strong and timeless in the way of creating a persona of me as an individual, rather than following along with short-lasting industry trends.
Another discovery from my ‘Brand Me’ development was the reinforcement of my current career prospects, as I recognised that my passions lie in marketing communications, and social media content creation. Across my three years at university, I’ve been fortunate to secure myself with a variety of different internships and experiences across these fashion sectors, and my discoveries during the ‘Brand Me’ research process confirmed that I wanted to curate a 360 campaign that would feature different elements of these different sectors of the industry. I find that I am most confident when working on projects of these natures and I think creating a campaign concept with a driven narrative and social media content creation outcome will allow me to best showcase my skills that I have gained and developed during my time at university.
Following on from my research and findings during ‘Brand Me’, the next part of the process to create my final major project was creating my 360 Campaign – an independently considered marketing/promotional campaign that was well-rounded and developed to my own interests, values, aesthetic and career prospects. My 360 campaign was based around creating a fictional PR campaign for luxury, Haute Couture fashion brand, Chanel, in hopes to bridge the disconnection of the traditional and iconic brand with younger audiences, in particular Generation Z. Incorporating a narrative of Chanel being able to better fulfil the needs and wants of a Generation Z consumer in regards to sustainable and more affordable luxury, my 360 campaign proposed a considered response to close this gap in the market. This response aimed to show to youth audiences that Chanel is a brand that not afraid to express interests in trialling new and exciting ways of marketing and communicating their products, whether this be through creating more engaging and interactive consumer experiences or stepping into the digital world for the first time, establishing their Metaverse presence. By incorporating the uses of technology and Metaverse advancements such as Non-fungible Token creation to create more sustainable and contemporary Chanel collections, my proposed 360 campaign would ultimately explore contemporary marketing and communication techniques that Chanel could use in order to ensure the brand is fulfilling consumer demands from a previously ‘out of touch’ brand.
Upon reflection of my 360 campaign and looking into what aspects I want to take forwards for my final major project, I have decided to research further into what Generation Z consumers are demanding from brands in regards of sustainability, as well as looking into the psychology that goes through a consumer’s thought process before they choose to support or purchase from a brand. My research led me to gain a stronger interest and understanding of brand collaborations and partnerships in order to reach new, previously untouched markets, and a large majority of these collaborations also fall under the social media campaign category. Realising from my extended campaign research that youth audiences and Generation Z in particular are known to be responsive and engaged with brand collaborations, I decided that incorporating a collaboration concept within my campaign might be beneficial in order to better capture the attention of Generation Z and a collaboration concept may be a stronger way to communicate industry change to a wider audience base. As a result of deciding to include a collaborating brand within my final major project, I developed my research further looking into brands across multiple market levels that I thought share similarities with Chanel’s aesthetic, brand image and target consumer segmentations. Even though I was proud of my 360-campaign proposal, I felt that may campaign lacked depth in regard to the campaign narrative and backstory. Moving forwards, I aim to develop my concept of bridging the disconnect of the luxury market with youth consumers further, however looking into a more impactful methodology of creating a campaign narrative which is unique and fulfils the needs of a Generation Z consumer.
The journey to my FMP is outlined in this book, after conducting a process of further research and development to outline how I can adapt my campaign to fulfil my new ideas and concepts. The purpose and thought process behind my final major project consists of creating a visually compelling and conceptually engaging marketing campaign concept that aims to highlight how a high-end luxury market brand can collaborate with a new market level, whilst delving into technology/Metaverse possibilities in order to create a stronger brand connection to youth audiences. Following on from my 360-campaign proposal, my campaign still aims to showcase a bridged connection between Chanel and Generation Z through more conscious consideration of meeting the demands of younger consumers. However, moving forwards, my campaign now also aims to explore how such an iconic and impactful brand can share the narrative of experimenting with Metaverse and digital fashion innovations to provide a potential solution for issues regarding sustainability across all market levels. No matter what market level a brand positions itself within, Generation Z are more educated, aware, and demanding than other generations we have experienced previously, therefore it is more important for brands now to create a sense of relevancy and futurism within their marketing and communication efforts, as they face tougher competition from competitor brands who are transitioning into a more digital world.
By visually illustrating the benefits, capabilities, and possibilities of Metaverse and technology advancements, my campaign will also carry underlying narratives of significant industry issues, such as sustainability and overconsumption, which can then be brought to the attention of Generation Z audiences – hoping that is generation can bring about change to a ‘damaged’ and ‘broken’ industry (Hesketh, J. 2022).
The luxury market of the fashion industry can be further broken down into multiple categories, such as Haute Couture, Ready to Wear and the top half of diffusion. My research into these different segments within the luxury market level allowed me to really focus in on the specific market position I wanted my campaign to sit within. All aspects of luxury fashion can be defined as a symbol of wealth, status, relevancy, and sophistication, which are all elements that I thought would be interesting to experiment with in my concept development process. For many, a luxury brand such as Chanel, Dior and Gucci are symbolic of a creating a sense of desirability, adoration and showcasing a level of status that for most consumers and mass markets is unattainable and inaccessible (Maxwell, S. 2023). As my campaign development aims to focus on bridging this disconnect between the luxury market and a Generation Z consumer, these findings sparked inspiration to investigate how I could create a campaign concept which could make luxury fashion more accessible and readily available for the everyday consumer.
My research into the luxury market highlights the shift in demands and expectations from a luxury consumer, as over recent years, the psychology behind a luxury consumer’s purchasing power has changed. Luxury consumers are no longer buying into luxury to elevate their own social status or to display a signage of wealth, but are rather choosing to buy into luxury brands who are becoming more conscious of sustainability, ethics and diversity and inclusion. As a result, “the focus of all luxury shoppers on conscious purchase decisions is accelerating” (Bain, M. 2022). I think this idea of the luxury consumer being more conscious of their impact on the fashion industry evokes a really interesting conversation about sustainability within the luxury market, signalling inspiration for my own marketing campaign. Looking into how Chanel could further contribute to battling issues regarding sustainability and ethics within the luxury market, communicating an educational narrative towards Generation Z, I want my campaign to illustrate an exploration of incorporating different ways of communicating a sustainability narrative.
Generation Z is the population of people currently aged around 18-24, who are said to be some of the most educated, vocal, and technologically orientated cohorts. Following from my 360-campaign proposal in the previous module, I knew I wanted to target my final campaign towards Generation Z, as they are said to be potential ‘changemakers’ (A, Foundation. 2021) when it comes to enforcing sustainable and ethical practice not only within the fashion industry, but as a general enforcement of living. Growing up in a period where environmental education, ethical responsibility and conscious consumerism is key, Generation Z share a broad variety of values and expectations that they want to be filled when supporting a brand. This means that all brands, but especially luxury market brands need to ensure that they are fulfilling the needs and wants of a Generation Z consumer, especially due to the higher price and value points attached to a luxury product or service. After researching more in depth about the types of demands regarding sustainability and ecologically minded expectations, this also sparked inspiration for my final major project in the way of wanting to create a luxury market campaign which was reflective of the needs and wants of this dynamic audience.
I was also intrigued by the idea of Generation Z being ‘social savvy’ and very technology orientated in a variety of aspects across their daily lives. Generation Z have never known a life without technology, social media or having a source of media right at your demand – “Gen Z was born into a world of peak technological innovation – where information was immediately accessible and social media increasingly ubiquitous” (A, Foundation. 2021). My research into this consumer demographic highlighted an opportunity to play around with this concept of Generation Z being so keen of absorbing information, marketing, and media communications through social media platforms. This idea of Generation Z being accepting of technology development and social media obsession is definitely something I want to take forwards within the visual communication aspect of my final campaign creation.
Following on from my findings of Generation Z’s newly founded interest in sustainability and conscious consumerism within the fashion industry, I wanted to look further into the ways and explorations that fashion brands are already doing in terms of operating sustainably. I think when it comes to sustainability, brands are often complicit by turning to sustainable fabrics, ethical production processes and creating marketing material which highlights their own personal contribution towards sustainability. My research made me question whether these practices are enough to fully be able to say to a consumer that a brand is engaged with sustainability, as recently it seems common that fashion brands are choosing to involve themselves within sustainability because they ‘have to’. A study in Forbes magazine discovered that “the vast majority of Generation Z shoppers prefer to buy sustainable brands, and they are most willing to spend 10 percent more on sustainable products. Generation Z along with Millennials are the most likely to make purchase decisions based on values and principles, such as sustainability” (Petro, G. 2022).
As sustainability now looks like a core expectation for Generation Z consumers, this will be a key aspect to include in my campaign, as this Generation are now being more selective and cautious with the brands they are choosing to support, therefore it is important for me to consider this point of view when creating the narrative of my final campaign. I think incorporating this idea of sustainability driven narratives within my campaign will be able to further demonstrate how Chanel is a brand that can cater to the needs and wants of a younger consumer, showing the brand’s ability to listen and act upon a consumer’s demands, aiding in forming a stronger connection with a Generation Z audience. This is an important aspect to consider because Generation Z have the opportunity to act as ‘changemakers’ within the industry, driving the force of increasing the sustainability race narrative across to wider industries.
Looking into ways and potential solutions in improving the issues within overconsumption and excessive fashion purchasing within the Generation Z demographic, I was really interested to learn more about the Metaverse and the creative opportunities that digital fashion presents to all market levels. Chanel is a very traditional brand in their way of carrying out marketing campaigns, their classic aesthetic, and their overall brand status, so I began to question how I could go about creating this marketing campaign in a unique way, which could still emulate the sense of status, luxury, and unique ability to communicate a brand story with a sustainability narrative. During my process in planning my 360 campaign during the previous module, I began to research into the Metaverse and investigate what other luxury brands are currently doing in participation of delving into the virtual and digital world of fashion. My findings allowed me to gain a much deeper understanding of the Metaverse, which can be defined as “a portmanteau of the prefix ‘meta’ (meaning beyond) and ‘universe’. The term is typically used to describe the concept of a future iteration of the internet, made up of persistent, shared, 3D virtual spaces linked to a virtual universe” (Hackl, C. 2022).
virtual reality technology innovation meta digital imagine concept sustainable futureproof avatar identity unique inspire create expression immersive
The usage of the Metaverse and its possibilities is endless, and luxury market fashion brands such as Balenciaga, Gucci, Louis Vuitton and Dolce and Gabbana are all starting to delve into this new digital world of fashion design, marketing, and communication. The whole idea of the Metaverse acting as this virtual creative space where fashion brands can create their own worlds such as ‘Gucci Town’, or immerse an audience through virtual reality is a very exciting concept, and the more I researched into the Metaverse and it’s capabilities, I knew I somehow wanted to incorporate a Metaverse concept within my campaign. I think that fashion brands entering the Metaverse is a good way of extending their brand exposure and brand visibility, as the different industry crossover examples we have seen from luxury brands like Gucci can allow brands to benefit from acquiring new markets (Webster, A. 2022). Looking into the ‘Gucci Town’ Metaverse collaboration further, I think it’s really interesting to look into see the benefits of Metaverse capabilities and what the digitalisation of the industry could bring to fashion brands across all market levels. Through collaborating with an online gaming brand, Roblox, Gucci demonstrated a way of reaching out to previously untouched markets, which in this case was the gaming industry, indicating targeting a younger consumer demographic to develop an interest into the Gucci luxury brand. Moving forwards, I want to experiment with this concept of collaboration crossovers to reach out to new market levels myself in my own campaign narrative. The Metaverse poses a limitless opportunity particularly within fashion to create more immersive, interactive, and more accessible methodologies of consuming fashion through the purchasing of clothing, but also through the visualisation of digital fashion marketing communication. In relation to my final campaign, I really wanted to incorporate a Metaverse element within my campaign to further communicate my narrative of making luxury more accessible to the everyday youth consumer, exploring uses of virtual marketing and promotion efforts to better reach my target Generation Z consumer.
Further developing my interest and research development into the Metaverse, I started to look into digital fashion innovation and concepts that other luxury market brands are creating to further inspire my final FMP campaign outcome. Still focusing my campaign narrative around providing a sustainable solution for limitations in sustainability across the fashion industry, I decided to look into wearable digital fashion in the form of NFT’s (Non-fungible tokens) and virtual clothing concepts as a potential campaign response to my contemporary fashion narrative. This research process was really intriguing, as it opened my eyes to the endless possibilities of digital fashion creation and the opportunities that technology advancements create for the fashion industry.
A key element of digital fashion I was particularly drawn to was the concept of NFT creation, which can be defined as “digital assets, which could be in the form of photos, videos, audio files, or another digital format.” (Kaspersky. 2023). I started to look into what fashion NFT concepts have already been created within the luxury market level, particularly Dolce and Gabbana’s digital-led NFT collection which is estimated to be worth a six-figure value. This digital fashion innovation is really interesting conceptually, as the whole idea of merging digital art creation with fashion, then producing virtual and intangible clothing pieces sounds so far advanced and futuristic that it almost creates a sense of shock factor from mass market audiences.
I find it engaging when luxury fashion brands explore more creative and innovative ways of capturing an audience’s attention, particularly through the use of digital fashion technology such as NFT’s, as it can demonstrate to audiences that these brands are not afraid to step out of their comfort zone and brand image, not slipping away from industry advancement. Moving forwards with my own campaign concept, I like the idea of experimenting with digital fashion and Metaverse technologies and NFT creations to propose a sustainable and contemporary solution to issues regarding overconsumption of fashion amongst Generation Z. Not only is digital fashion an ever-evolving concept, I feel that the innovation as a whole is really impactful it its current existence in the present day. The idea that brands can create virtual based clothing collections and marketing campaigns which consumers around the world can purchase into, support and visually engage within has really inspired my project in the way of creating a digital fashion collection which is accessible to audiences globally, and consumers can virtually engage with my campaign concept, further spreading my level of brand visibility.
Reflecting on my final campaign proposal during the 360-campaign development stage of my FMP, I felt as though my campaign narrative wasn’t strong enough by just focusing on Chanel as a sole branded project. Looking into ways of capturing the attention of Generation Z and youth audiences in particular, I noticed during my campaign research process that younger, social media obsessed consumers tend to respond well to brand collaborations and brand cross over campaigns, such as Adidas and Prada, Burberry and Supreme and Louis Vuitton and Nike. This concept of creating a luxury market cross over collaboration sparked further inspiration for me to consider including a collaboration narrative within my campaign, as this may aid in better connecting with a youth audience if a collaboration partner already has an existing presence within Generation Z’s brand loyalty.
Since Chanel is said to have a strongly defined consumer demographic and consumer loyalty base, who tend to have a specific ‘look’ or aesthetic (Blance, D. 2020), I felt it would be beneficial to consider a juxtaposing brand as a collaboration partner. This concept could create a sense of intrigue and differentiation within my campaign, rather than just sticking to a brand that people may already associate Chanel with.
To develop this idea further, I started to research further into some brands that Generation Z audiences are already loyal, supportive, and engaging with, which appeared to mostly be lower market brands, located within the high street and fast fashion market levels. Generation Z evidently has stronger connections to more affordable and accessible brands, such as H&M, Zara, PrettyLittleThing and ASOS (Berthiaume, D. 2022). This fact is interesting to consider when analysing the buying habits and brand loyalty connection between Generation Z and fashion as a whole, as my research into Generation Z demands suggests that this consumer base is willing to buy into more luxury markets, however at present for most this market still feels out of reach.
“Despite their willingness to support sustainable and underrepresented brands, affordability remains an important criterion for this generation: 66% of respondents said that price is one of the 3 most important factors when fashion buying” (Staff, N. 2022). This element of research inspired me into thinking of ways to potentially incorporate a brand from a different market level as my collaboration partner with Chanel, to further extend my campaign concept of making the luxury market more accessible to Generation Z.
When considering the final campaign outcomes themselves, I knew straight away from my ‘Brand Me’ and 360 Campaign development from the previous module that I wanted to create a social media campaign to exhibit my final campaign visual representations. I think that because social media platforms, with a particular focus on Instagram and TikTok, have such a wide-ranging audience base, creating a social media campaign can be a powerful marketing technique to reach new audiences that previously may not have been tapped into. My research into luxury fashion brands in particular introduced me to the idea of brands using social media to make impactful statements across the industry. For example, in 2021, luxury fashion brand Bottega Venetta deleted their whole social media presence, including Instagram, in attempts to convey a powerful message of the brand being able to succeed and being well-known enough to not have the need for a social media presence.
“Bottega is now so keenly aware of its own cachet that it can position itself above the fray. By eliminating competition for likes, the brand is relying on marketing by word of mouth, or more accurately, carefully rendered photos of it’s leather Cassette bags on influencers’ coffee tables” (Fredette, M. 2021). This idea of luxury brands using social media to make bold and powerful statements has been a key influence in my decision to create a social media campaign as part of my final campaign outcome, as the narrative of my concept is to divert Generation Z from continuing to buy into overconsumption and excessive purchasing within the industry. Therefore, creating a social media campaign has the ability to send out an impactful message to the potential reach of millions, which is the desired aim for my social media campaign concept, as well as considering the attention and interest of Generation Z when it comes to social media consumption.
Extending the visual campaign narrative further, I wanted to explore the idea of merging the digital and Metaverse inspirations of my campaign with the physical and consumer journey experience. I conducted research into the ways of potentially making my campaign also have a ‘physical’ element to further communicate my branded message to my target consumer, Generation Z and came across the idea of incorporating visual merchandising efforts into my campaign. Taking inspiration from luxury department stores, such as Selfridges and Flannels, I wanted to look further into the idea of creating a digital, Metaverse based visual merchandising installation to visually illustrate the idea of fashion delving into Metaverse technologies through creating a first-hand, physical consumer experience. From looking into existing visual merchandising campaigns within the luxury market level, such as Chanel’s iconic window displays and beauty and accessory merchandising within department stores, I thought it would be interesting to also experiment with how my Metaverse NFT campaign could take form in a physical presence also, visually communicating a digital fashion concept as part of a consumer’s shopping journey. From researching further into different types of luxury market level visual merchandising, I’ve learnt that brands can use this visual element of communication to better tell brand stories, messages and create an impact amongst audiences who experience elements of merchandising. I really want to explore how a digital fashion installation could look in a physical form, creating a fusion between creating digital fashion as an art form in the real world, which can help to further emphasises my campaign concept of bringing affordable luxury to a Generation Z consumer, who can also experience my campaign in a physical setting.
During the ‘Brand Me’ and 360 campaign development process for the previous module, I decided that I wanted to create a campaign which visually communicated the campaign narrative of creating a social media campaign which would aid in bridging the gap between an out of touch high-end luxury market brand, with a youth consumer, Generation Z. As I have explained in detail during the influences and inspirations part of this journey book behind my final campaign, I have explored a variety of different avenues to further justify and have more depth to my campaign concept. In doing this research and further development, I have decided to proceed with adding a collaboration partner to my final campaign with Chanel.
The purpose of creating a collaboration aims to create a more genuine connection and strengthen the narrative of bridging the disconnection between Chanel and Generation Z. I thought continuing to create my campaign concept with Chanel alone would potentially be difficult in executing the Metaverse and digital fashion incorporation elements of my project, as the brand I feel is too well-known for their existing image and marketing campaign style. Therefore, moving forwards my campaign will have an equal partnership between Chanel and another brand. This concept aims to create a digital fashion campaign which highlights the ability to make luxury fashion more accessible to a Generation Z consumer, whilst also raising awareness of Metaverse possibilities in combating issues within industry sustainability and overconsumption. For the Chanel aspect of my campaign, I really want to communicate the idea of Chanel listening to a Generation Z consumer’s brand expectation, then delivering a product concept which fulfils their needs and wants. After a process of concept development and researching into brand partnerships, I feel I will be able to better communicate my ideas through a branded collaboration.
I have decided to proceed moving forwards with my collaboration concept, incorporating high street and Generation Z approved, Zara into my final campaign. My research into Generation Z’s buying habits and circumstances with brand loyalty demonstrated to me that this consumer demographic already has a long existing sense of support and adoration for Zara (Berthiaume, D. 2022). As Zara is positioned within the high street market level within the fashion industry, I feel that this cross over collaboration between the luxury market and the high street market will allow me to further communicate my campaign concept of making luxury fashion more affordable for younger audiences and Generation Z consumers. Zara is already affordable, easily accessible and widely followed by Generation Z, almost as though Zara is a trend within itself, therefore I am more confident that my campaign will reach the Generation Z consumer successfully.
Creating a collaboration between both Chanel and Zara creates the opportunity of both brands benefitting from becoming accessible and having better levels of brand visibility within both the luxury and high street market level, creating a campaign which aims to effectively illustrate how a luxury brand like Chanel can incorporate different marketing methodologies within their existing practices to cater their brand more towards the up-and-coming luxury market consumer, Generation Z. As Zara already has a strong brand presence within the Generation Z consumer demographic, I believe creating this collaboration will also improve my ability to vocalise the issue of overconsumption and lack of sustainability within fashion. Zara is a brand which already has a large social media presence and following, of which a lot of these followers are Generation Z consumers, meaning that Zara has the ability to create an impact and influence over this market segmentation already. Through collaborating with Chanel, I believe that Zara is the best collaboration partner for my campaign based off of their existing impact, influence and connection with Generation Z, but also the brand’s status of being positioned at the top end of the high street market level, already signalling this idea of allowing Generation Z to start to buy into affordable luxury.
In conclusion, this journey to my final campaign book aimed to showcase the reasonings, further explanations and justifications as to why I have decided on campaign concepts, ideas, inspirations and intended outcomes in fulfilling my campaign. This book aims to take you on the research and development journey with me, traveling through my process and development which has allowed me to create a plan and next steps process in executing my final major project.
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Berthiaume, D. (2022). Retrieved from https://chainstoreage.com/survey-reveals-gen-zs-shopping-preferences Petro, G. (2022). Retrieved from https://www.forbes.com/sites/gregpetro/2021/04/30/gen-z-is-emerging-as-the-sustainability-genera tion/
KEIRA DAVITT-BAILEY