360 Campaign Book

360 CAMPAIGN CHANEL THROUGH A NEW LENS

1

2

360 Campaign AD6605 Brand Concept Development & Development Olivia Buckley 1901813 Level 63

C O N T E N TS

6 - 7 INTRODUCTION 8-11 CONSUMER

12-13 LUXURY MARKET 14-15 METAVERSE 16-19 WHAT’S HAPPENING NOW 20-21 GAP 22-27 CHANEL 28-31 CAMPAIGN 32-33 OUTCOME ONE 34-35 OUTCOME TWO 36-37 OUTCOME 3 / PLAN B 38-39 TIMELINE & ARTEFACT 40-41 CONCLUSION

4

5

360 CAMPAIGN

INTRO DUCTION

This book aims to demonstrate how I have created my 360 campaign idea, I have explored the future of the fashion industry and the gaps within it in which to formulate my 360 campaign around. From discovering my brand identity in my Brand Me book, I have examined the luxury market and the Generation Z consumer and how both will progress into the future. My 360 campaign and concept focuses on creating a new emotional connection between Gen Z and luxury brands, namely Chanel. There is an undeniable disconnect between these two factors of the fashion industry, that my campaign will look to solve.

My campaign has been influenced by my brand me research. From this I found I am heavily influenced by my upbringing and own heritage. I also discovered that my personality is something of an oxymoron, a clash of many different styles and personality traits that all come together. Keeping this in mind, my concept aims to solve an oxymoron within fashion, bringing traditional luxury brands into typically untraditional landscapes.

My campaign will focus on fixing the gap between Chanel and the new consumer, Gen Z through a multi-faceted approach. This concept will aim to push the typical boundaries of Chanel through an attention to technology, sustainability, values and experience transporting the brand into the future.

6

7

8

CONS UMER

GENERATION Z

My 360 campaign is aimed at Generation Z, the con-

Characterised by their values Gen Z are subsequent-

sumer base I identified during my Brand Me research.

ly changing the face of fashion as we know it. The needs

Described as the generation born between 1997 and

of a 2.5 billion strong generation (Schroders, 2021) sur-

2012 (approximately), Generation Z have a number of

rounding authenticity, transparency and honesty are en-

different values, wants and needs to their predecessors,

forcing rapid change. Gen Z are known to be a disloyal

Millennials. Gen Z are the next consumer base hold-

generation buying what they need and like from a variety

ing $3.0 trillion in spending power by 2030. (Econom-

of brands, moreover, they are an untrustworthy consum-

ics, 2021)

er having grown up amidst recession, terrorism, and cli-

Generation Z’s main values stem from their mindful-

mate change. Hence, the importance placed on values for

ness surrounding social, environmental, and political

brands to create a deeper more profound relationship with

issues. Gen Z “are highly informed and want to take

this consumer in future to formulate new loyalty.

charge of their lives and their futures,” this implies that

Alongside the importance based on values brands must

this socially aware generation are calling out to the

adhere to, Generation Z are the first ‘Digital Natives’ in-

fashion industry to change, support and provide them

forming a large section of their behaviour and personality

with something new to solve these issues. (Hanbury,

as consumers. Consequently, they are a truly omnichannel

2021) The commitment to these issues will inform the

generation. The Corona Virus pandemic has in no doubt

future of the industry as brands grapple with enforc-

catalysed the shift of fashion brands embracing more digi-

ing meaningful change to maintain the interest of un-

tal ways of communicating with consumers. Research has

compromising consumers. With sustainability high on

found that technology will be the major driver behind the

the social agenda fashion brands must address this to

reimagined customer experience. (CX, 2019) Gen Z ex-

provide for an increasingly conscious consumer. 62%

pect brands to keep up with their online usage, providing

of Gen Z consumers are more likely to buy from sus-

something new, creative and exciting for them. For gener-

tainable companies, furthermore 73% are willing to

ation Z phones are an extension of their being and social

pay more for these products. (Sim, 2021) This suggests

media an extension of their personality, portraying the

how important fashions environmental change will be

dependence on technology of this generation. As a social

to this consumer in future, something my 360

media obsessed generation the want for new clothes and

Campaign will consider.

experiences to flaunt online is more important than ever.

9

10

WHAT ARE THEY WEARING NOW?

To further improve my knowledge of Gen Z I studied what brands they are wearing/shopping currently. From my primary research I have found that my peers, myself, and consumers are wearing clothing mainly from fast fashion and high street brands such as Zara, PLT, ASOS, and Urban Outfitters. Gen Z’s fixation with Fast fashion suggests they are hypocritical consumers. Gen Z value sustainability highly, however, they are continually buying into environmentally damaging brands. This can be explained by the constant need for new clothes for social channels and the primary consumption motivator of price. Despite Gen Z shopping for clothing at ‘cheaper’ fast fashion brands, interestingly they are mixing high street clothing with luxury accessories. It is not uncommon to see a girl wear Zara jeans with a Dior handbag. “Mixing and matching and buying different types of brands at different price points continues to be a major part of [Gen Z] consumer behaviour.” (BOF, 2021) This clash of market levels suggests that consumers of this generation are more likely to buy luxury accessories that have a longer lasting value and meaning as opposed to luxury clothing which has a shorter life/value span allowing them to maintain their newness.

This evolving and inflexible consumer will form the basis of my 360 campaign, my campaign will only be successful if my strategy focusses on them in a holistic sense. My 360 campaign will therefore look to improve the fashion industry’s current outlook of Gen Z and aid to provide this generation with meaningful change alongside experience that aligns with their values.

Clothing is almost of secondary importance to this consumer, something my campaign will take into account looking to instead build new, long-lasting relationships.

11

12

MARKE T LEVEL

After looking at the consumer for this campaign, I reflect-

must represent more to connect to consumers and be

ed on my chosen market level. My Brand Me research

symbolic of creativity, innovation, sustainability, and

allowed me to understand my aesthetic, influences and

experience. In this same sense luxury has become de-

so, I have concluded that I sit within the high-end luxury

tached from the typical ownership of highly expensive

market level alongside brands such as Chanel and Dior.

items, instead luxury has become a lifestyle, marketed

Brands at this market level embody heritage, authenticity

for consumers to align with and aspire to.

and status. Luxury provides aspiration and a community

Luxury fashion is defined as an image in the minds

creating loyal consumer bases to appreciate a brands leg-

of consumers comprising of exclusiveness, quality,

acy. My own brand sits within this level due to its authen-

superiority, and price. (IGIGlobal, 2016) This defi-

ticity and understanding of the importance of heritage.

nition can be viewed as somewhat outdated as these

This is the level my 360 campaign will be informed by and

are values gradually becoming lost on the new Gen

subsequently targeted at.

Z consumer. The luxury market has long relied upon

The upcoming Gen Z consumer will drastically change

its heritage of quality, uniqueness and craftsmanship

the luxury market in future driving 1/5 of luxury pur-

to maintain the attention of its consumers. However,

chases by 2025. (Hobbs, 2021) The future of the luxury

the increased mass production of fashion over recent

market currently is precarious as the pandemic fades and

years has rather democratised luxury fashion creating

Generation Z come to the forefront as primary consum-

a disconnect between the luxury market and consum-

ers the wave of new values and desires will become im-

ers who no longer understand what luxury is. ‘Where

portant forcing fashion to adapt in a uncertain market.

once it was all about status, logos and exclusivity, luxu-

When researching, the discovery of The New Luxury sug-

ry brands are now actors in social conversations, driv-

gested that the future of luxury encompasses not only the

en by a sense of purpose and responsibility.’ (D’Arpizio,

accessibility of luxury and the products pushed but the

2021) Luxury has always been consumer centric but

‘whole consumer experience’ (Danzieger, 2020). Prod-

based on a brands term, in future luxury brands must

ucts on their own are simply not enough anymore, brands

be consumer centric following consumers terms.

13

Furthermore, luxury will also have to adapt to the rise of the Metaverse in future. The Metaverse is said to be worth $800 billion by 2024, despite it still being in its infancy. The metaverse will revolve around intangible items unleashing creativity, personalisation and pushing the limits of what fashion can be. The interaction in virtual spaces will inevFigure 1

itably change luxury, as consumers drift between the real and the virtual brands will follow. The metaverse encompasses all that is solely virtual and is aimed at younger generations who push limits in the real world, which will be reflected in the virtual world. “Any fashion brand, needs to start to think about what the brand [will] become in the metaverse? They will not be able to sell…keep their legacy status or be top of mind, if they do not engage the community that already inhabits these spaces.” (Tashjian, 2021) This underlines the importance the Metaverse will have in

Figure 2 Figure 3

fashion, the fantasy, creativity and freedom it will provide will allow brands to expand and push boundaries to reach consumers in new ways previously unseen.

My 360 campaign will act on this research looking to redefine the relationship between luxury and consumers. Taking the metaverse into account to find new platforms in which to engage and connect with consumers.

14

15

16

Balenciaga is an example of a luxury brand currently conquering Gen Z. Their bold marketing strategies and what may seem like risky collaborations and advances into the Metaverse have rendered them a top luxury brand amongst this generation. The brand has expanded into digital spaces with their Fortnite collaboration, producing virtual ‘Skins’ for gamers on the platform being particularly successful. This collaboration allowed Balenciaga to connect with and be accessible to Fortnite’s 250 Million players at the time, of which 62.7% were aged 18-24, the Gen Z demographic. (Analytics, 2021) The advancements into gaming may be viewed as ‘democratising’ luxury stripping it

WHAT’S HAPPENING NOW?

of its original values, however it can be argued that in fact the new emotional connection formed on this platform is instead, informing a new luxury based on consumer experience and relationship. Being given access to Balenciaga formulated a new connection online with consumers and subsequently increased brand awareness and sales offline.

17

Gucci is another brand embracing new realms of luxury, like Balenciaga they have progressed into gaming, with Roblox and Pokémon Go collaborations. However, they alongside other brands are also embracing different interactions with consumers over social media platforms. Gucci is the most popular and recognised luxury brand on TikTok, with its #GucciModelChallenge driving 230.7 million views. (Fanbytes, 2021)The organic, authentic and relaxed environment of TikTok allows consumers to feel more connected to brands on a personal level, creating a new community online. VR/AR is also proving a popular route to consumers attention with brands such as Prada, Gucci and the Fabricant creating virtually worn garments worn and viewed using AR. Moreover, Dior improved shopping experiences with VR Headsets offering consumers a taste of behind the scenes and videos of the brands heritage. “VR and AR can unlock powerful connections that you have with your consumers, even if you’re not physically connected.” (Oluwole, 2021) This suggests the wide-ranging effect of VR on brand-consumer relationships giving them access and understanding about a brand. Brands that are also capturing the attention of Gen Z are those that are promoting sustainability. Brands such as Stella McCartney, Pangaia and Acne Studios are all embracing clothing that is simple, functional, and timeless with a focus on their environmental strategy. (Hypebeast, 2021) The focus on the environment is key for Gen Z, brands showing their willingness to improve the climate inherently have a strong link to this generation something

18

that will continue to develop.

19

TELLING NEW STORIES OF OLD BRANDS 20

W

GAP From this research I found a gap in the luxury market, there is an opportunity for brands to reimagine what luxury is, to formulate a new connection with new consumers. Luxury brands have a long history and their heritage is something they have relied upon to maintain their superiority. However, new generations and technologies have questioned how effective this reliance on heritage is in the modern day. In my opinion it is still important to maintain a brands heritage, values and identity as this underpins their authenticity, something Gen Z consumer’s respect. Therefore, to move forward, the answer must come from new communication, adapting a brands DNA into a new landscape. This has shown to be effective for brands like Balenciaga who understand the need to re-engage consumers with ‘luxury’ through channels such as the metaverse, gaming and social media.

Having taken all my research into account, I have found that there is a firm disconnect between luxury brands and Gen Z consumer. As the Gen Z rises to be primary consumer, this group has little respect or loyalty for the traditions of luxury brands. Moreover, luxury brands are slow to realise the importance of this generation and the shifts they are enforcing.

Reflecting on the brands I was influenced by, I found that Chanel, a brand I hold in high regard is falling behind in maintaining their relevance with consumers. Their over-reliance and perhaps arrogance in believing their heritage is enough to maintain their value is affecting their relationship with the new consumer.

21

AN INTRODUCTION TO CHANEL Chanel is a luxury fashion brand founded by Gabrielle Chanel in 1910, known for its timeless designs, classic accessories, trademark suits and little black dress, Chanel’s value lies within its history. Chanel started as a milner but soon became known for her fashion, the heritage and legacy of the brand stems from the want for practicality, comfort and versatility within fashion, something Chanel redefined within women’s dressing. Chanel had found her niche in the market, transforming necessity into style in a hugely successful way that has remained successful into the modern day.

22

Figure 4

CONSUMER PROFILE Chanel’s consumer is described as middle class women aged 20-40 with high disposable income who aspire to be a part of the exclusive Chanel community. They have high brand loyalty and a high sense of social pride. They look for elegance and appreciate quality wanting clothing that is classy, comfortable, and high fashion. Chanel has always been a consistent brand, as Lagerfeld maintained the brands value, awareness and style over his reign as Director, Chanel continues to be known for its sustained tradition within its looks. Chanel’s fashion is ageless, providing consumers with wardrobe staples that are pulled out again and again furthermore, its wide product range of perfume, makeup and accessories means it is wide reaching to consumers on multiple levels. However, this consistence may be to the brands downfall. Chanel is currently under pressure, a new creative director, a new landscape of luxury and a new consumer all threaten to undermine the relevance of Chanel today and in future… something this campaign aims to amend.

23

“We are firm and we remain firm on our principle, which is not to sell them online.”

24

Figure 5

PROBLEMS

Despite the high value of the company, Chanel is somewhat arrogant in their beliefs about their future. Chanel’s finance chief Philippe Blondiaux stated, “We are firm and we remain firm on our principle, which is not to sell them online… We believe that our boutiques remain at the centre of the relationship, that our fashion advisers will remain at the centre of the relationship.” (Kurbanova, 2021) This disregard for digital enhancement is a huge problem for Chanel and portrays how dependent it is on stores to provide consumers with experience. With a digitally savvy consumer wanting more than ‘real life’ interactions it is imperative that Chanel acclimatises to the new opportunities provided by technological innovation.

It is proven that Chanel needs to bring itself online, as revenue fell by a dramatic 18% between 2020/21 to $10.1 billion as the Pandemic hit and stores closed, this was drastically lower than brands with omni-channel presence. (Williams, 2021) Despite sales improving in 2021, due to stores opening, studies indicate that 30% of Gen Z are more likely to shop online.

25

26

CHANEL FOR THE METAVERSE?

My campaign will aim to rectify the outdated ideol-

crave and a new outlook on the brand.

ogy surrounding experience in-store only, bringing Chanel in line with their new consumer. This experi-

Another issue for Chanel is their philosophy that their

ence will involve mixing both online and offline spac-

brand heritage will solely sustain them in future and

es. Originally my research looked at Chanel progress-

maintain sales. As Boomers and Gen X lose their dis-

ing into the Metaverse as this will soon be a significant

posable income Chanel will slowly run out consum-

part of the fashion industry. However, after much re-

ers with the knowledge and aspirations for a brand

flection I decided that neither Gen Z or Chanel are

like theirs, “Brand loyalty is dead… brands are now

ready for that step. This was based on the Metaverse

expected to play a bigger role in young consumers’

still evolving and Gen Z looking for a blend of phys-

lives…The ones that get it right are intrinsically bond-

ical and virtual fashion. After reading an article stat-

ed to their consumers, building emotional connection

ing ‘Chanel’s latest show was proof that IRL fashion

and therefore loyalty.” (Christina, 2021) As Gen Z rise

can survive the Metaverse,’ I re-evaluated if Chanel

up they will look for a deeper connection to brands

was right for the metaverse in its fullness. I found the

who recognise them as important and value them

answer to be no, the intrinsic values of Chanel and

and what they want. Generation Z simply don’t un-

authenticity surrounding it alongside the quality it

derstand the heritage of age-old brands like Chanel,

holds so highly may be undermined and lost in a sole-

they have no loyalty as a generation, choosing brands

ly digital landscape. However, this is no means to say

for what they provide rather than what they aspire to

my campaign will ignore the Metaverse/virtual inno-

be. It is this that my 360 Campaign will aim to solve

vations. Instead, the blurring of physical and digital

through re-aligning the values of luxury with the val-

boundaries is much simpler and effective solution for

ues of consumers.

a brand such as Chanel, not straying too far from the traditional experience it has built a reputation upon but this will provide Gen Z with the escapism they

27

28

29

CAMPAIGN My 360 campaign will therefore aim to give Chanel a new personality and emotional connection with Gen Z, viewing Chanel through a new lens. My campaign will centre around the needs, wants and values of this generation educating them on Chanel’s core values and introducing Gen Z’s values to Chanel. My campaign will explore how Chanel can embrace technology, sustainability, and experience to encourage a new long-lasting relationship and loyalty with consumers.

30

31

32

OUTCOME ONE My strategy is based on seeing Chanel through a new

clothing from luxury brands instead, they buy luxury ac-

lens. Chanel holds consumer experience highly, some-

cessories.

thing that has been a huge aspect of the brand for dec-

The focus on accessories will also align this campaign with

ades, however, this must be updated. The use of technolo-

an attention to sustainability. Accessories have more mean-

gy in the form of VR/AR to engage with consumers both

ing to consumers, they value them, re-wear them and treas-

physically and virtually will be integral to this campaign.

ure them viewing them as having higher quality. Moreover,

VR is said to be a $51 billion industry by 2030, (Sinclair,

luxury accessories are often passed down through genera-

2021) giving brands ultimate control of what consumers

tions as a result they can be viewed as more sustainable due

can see and interact with. This gives huge opportunity for

to their longevity. The use of accessories will bridge the gap

luxury brands such as Chanel to reintroduce their values

between high end luxury and fast fashion, meeting in the

and heritage to consumers. This will provide the expe-

middle both in price and in emotional value.

rience both Chanel and Gen Z hold in high importance

This campaign suggests that Chanel adapts its accessories

but through a channel both can benefit from.

into wearable tech, a market said to be worth 74.03 billion

My research into what consumers are wearing also in-

by 2026. (Intelligence, 2021) Ingraining VR into accessories

formed this use of VR. The luxury market is dominated

Chanel can provide for the new consumer in a whole sense

by luxury accessories like jewellery, eyewear and bags

as well as pulling Chanel forward into digital realms whilst

with a value of 96 billion euros in 2021. (Statista, 2021)

maintaining its traditionalism. Luxury fashion used to be

Luxury goods are most popular with younger genera-

about promoting a dream for consumers to aspire to…in

tions who purchase entry-to-luxury goods to gain a snip-

future luxury brands will promote a reality and lifestyle,

pet of luxury. Despite Gen Z being the future of luxury

the creative opportunities within virtual landscapes give

consumerism, from reflecting on my primary research,

brands a chance to provide consumers with something real.

I have found that Gen Z consumers are unlikely to buy

33

OUTCOME TWO To promote this concept visually, I will style and undertake a photography shoot. From this I will create a look book and short film. These outcomes will aim to show how Chanel can create a new emotional connection with consumers in future. To produce this shoot I will need a number of things. Firstly, I will need a model, a female between the ages of 15- 24 to represent the Gen Z consumer and links to femininity from my own brand as well as Chanel.

I will also need clothing. I will style this clothing on my model; however, it is likely that I will edit my photographs digitally to promote the virtual ideology surrounding my campaign. The clothing will look to encompass the authenticity of Chanel but will be simplistic to focus on the accessories this campaign is based around. I will look for sustainable options when choosing my clothing to enforce this principle throughout my campaign. I will also need a camera and lighting set, I will look to collaborate with a photographer to make this campaign look more professional and have high quality given its market level. The location of my shoot is yet to be determined however, a studio shoot may be beneficial if I chose to edit my imagery

34

digitally post production to enhance the ‘virtual’ aesthetic.

35

OUTCOME THREE My concept will be represented in a digitally driven way using visual communication to connect with consumers. To do this I will create a marketing campaign via social media, over the platforms Instagram and TikTok. Historically Chanel has chosen fashion film to storytell creating emotional connections with consumers. However, with the new consumer having an attention span of 8 seconds, shorter more punchy videos with personality will become increasingly important to grab consumer attention. ‘To hold Gen Z’s attention brands have to show personality.’ TikTok is a platform famed for its organic and down to earth style being relatable to consumers on this level will be important to this campaign. Moreover, the platform boasts over 1 billion users with 60% in the Gen Z demographic suggesting the importance of my campaign being marketed on here. Furthermore, Instagram will be used to promote behind the scenes footage as well as still images that will engage Gen Z. Currently, 70% of Gen Z use Instagram as their main social channel, hence why I will use this platform to represent my campaign. (Collins, 2021)

36

PLAN B With the uncertainty of the past few years I have also created a backup plan for this campaign in case any more restrictions come into force. My plan includes if I cannot use a photographer or we enter another lockdown, I will create an at home shoot using my sister who is 18 as a model I will also take the images on my phone as well as filming the short film/tiktok video myself. Despite this not being the original plan, this will still allow me to produce a visual outcome for my campaign.

37

TIMELINE JANUARY - FEBRUARY

MARCH - APRIL

In this time, I plan to cement my idea, continue

These months will be used to conduct my shoot

to research and plan what my outcome may look

and film to gain as much content as possible

like undertaking styling experimentation.

for my campaign. This will then be put into my lookbook.

FEBRUARY - MARCH In this time frame I intend to contact collabo-

This time will be used complete all my work

rators and source models for my shoot building

bringing it all together visually in my books and

moodboards and further plans of what my final

social media.

campaign will look like.

38

APRIL - MAY

ARTEFACT

To further promote my work I have created a website (Livvyjai.com) and Instagram account (livvyjai_fmc) where I will present my work. The use of these channels will be beneficial in providing strong digital platforms that my work can be published on. The capabilities of these platforms will enable me to use a range of digital features to enhance my work as well as show a range of digital skills within my work. Moreover, these channels will show my work progression over time keeping it up to date.

I will display my best and favourite imagery from the past modules I have undertaken.

This will include my Fashion Forecast of 2030, Drowning in Clothing, that I developed last year showcasing my forecasting skills, ability to create a narrative, concept development and fashion shoot and film skills. My fashion futures essay will also be uploaded onto the site showing my analytical skill and research into Generation Z, moreover, my brand me and 360 campaign will also be showcased once it is developed. This will display a range of skills I have learnt and expanded over the course of my degree.

39

CONCLUSION In conclusion, my 360 campaign will aim to repair the disconnect between Chanel and consumers, giving Chanel a new personality and new meaning to its brand values to reconnect with Gen Z. To repair the growing gap between luxury brands and their upcoming consumer, this emotional connection will be based on value and experience allowing both parties to develop and move forward in harmony without compromising, informing a new relationship between both. I think my campaign has been able put into play the messages and values that I identified in my Brand Me, aligning them with the future of the luxury market and its consumer. This campaign will solve the oxymoron of bringing traditionally luxury brands into untraditional landscapes future-proofing this market level. The focus on sustainability, technology and values are integral to this campaign and this research has shown how each of these will identify themselves throughout my campaign. These concepts will be innovative for Chanel whilst not straying too far from their heritage re-engaging consumers with traditional luxury brands on a personal level. Moreover, the multi-channel approach to this campaign through social media, film and look books will help create a strong presence for my campaign grabbing the attention of the target consumer and allowing them to build new relationships with Chanel.

40

Figure 6

41

REFERENCES Analytics, V. (2021, September). Balenciaga drops fashion collection inside Fortnite. Retrieved from Contagious: https://www.contagious.com/news-and-views/ campaign-of-the-week-balenciaga-drops-fashion-collection-inside-fortnite BOF, S. (2021). How Gen Z buy luxury. Retrieved from Business of Fashion: https://www.businessoffashion.com/articles/news-analysis/how-gen-z-buys-luxury/ Cabigiosu, A. (2020, May). An Overview of the Luxury Fashion Industry. Retrieved from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7355146/ Christina, N. (2021). To Hold Gen-Z’s Attention, Brands Need to Show Some Personality. Retrieved from Business of Fashion: https://www.businessoffashion. com/articles/marketing-pr/to-hold-gen-zs-attention-brands-need-to-show-some-personality/ Collins, T. (2021). Have social platforms reached their peak? Pew Research survey shows little user growth since last year. Retrieved from USA Today: https://eu.usatoday.com/story/tech/2021/04/07/pew-social-media-survey-facebook-youtube-gen-z-instagram-snapchat-tiktok/7107392002/ CX. (2019). New global research: What will customer experience look like in 2030? Retrieved from SAS: https://www.sas.com/pl_pl/news/press-releases/2019/ october/customer-experience-2030-ax19.html Danzieger. (2020). An Overview of the Luxury Fashion Industry. Retrieved from Digitalization in the Luxury Fashion Industry: https://www.ncbi.nlm.nih.gov/ pmc/articles/PMC7355146/ D’Arpizio, C. (2021). The Future of Luxury: 7 Trends To Stay Ahead in 2022. Retrieved from Luxe Digital: https://luxe.digital/business/digital-luxury-trends/luxury-future-trends/ Economics, O. (2021). GEN Z’S ROLE IN SHAPING THE DIGITAL ECONOMY. Retrieved from Oxford Economics: https://www.oxfordeconomics.com/recent-releases/Gen-Z-role-in-shaping-the-digital-economy Fanbytes. (2021). Luxury Brands On TikTok. Retrieved from Fanbytes: https://fanbytes.co.uk/luxury-brands-on-tiktok/ Hanbury, M. (2021). Gen Z is leading an evolution in shopping that could kill brands as we know them. Retrieved from Business Insider: https://www.businessinsider.com/gen-z-shopping-habits-kill-brands-2019-7?r=US&IR=T Hobbs, J. (2021, June). It’s official—Gucci is the most popular luxury brand for Gen Z on TikTok. Retrieved from Vogue: https://vogue.sg/gucci-tiktok/ Hypebeast. (2021). Acne Studios. Retrieved from Hypebeast: https://hypebeast.com/tags/acne-studios Hypebeast. (2021). Acne Studios. Retrieved from Hypebeast: https://hypebeast.com/tags/acne-studios

42 IGIGlobal. (2016). The Blending of Luxury Fashion Brands and Contemporary Art: A Global Strategy for Value Creation. Retrieved from IGI Global: https://

www.igi-global.com/dictionary/the-blending-of-luxury-fashion-brands-and-contemporary-art/54404#:~:text=1.,intangible%20features%20and%20symbolic%20 meanings.

Intelligence, M. (2021). WEARABLE TECHNOLOGY MARKET - GROWTH, TRENDS, COVID-19 IMPACT, AND FORECASTS (2021 - 2026). Retrieved from Mordor Intelligence: https://www.mordorintelligence.com/industry-reports/wearable-technology-market Kurbanova, T. (2021). What Future Awaits Chanel: Brand’s Management About Its Income and Strategy. Retrieved from World Fashion Channel: https://wfc.tv/ en/articles/insiders/what-future-awaits-chanel-brands-management-about-its-income-and-strategy Oluwole, M. (2021). The augmented and virtual reality opportunity for luxury. Retrieved from Vogue Business: https://www.voguebusiness.com/technology/ the-augmented-and-virtual-reality-opportunity-for-luxury Schroders, 2. (2021). What investors need to know about Gen Z. Retrieved from Schroders Wealth Management: https://www.schroders.com/de/ch/wealth-management/insights/markte/what-investors-need-to-know-about-gen-z/ Sim, J. (2021, April). Calling Gen Z: how brands can engage with a purpose-driven generation. Retrieved from Marketing Mag: https://www.marketingmag.com. au/hubs-c/opinion-calling-gen-z-how-brands-can-engage-with-a-purpose-driven-generation/ Sinclair, B. (2021). VR to be a $51bn market by 2030, says GlobalData. Retrieved from Games Industry: https://www.gamesindustry.biz/articles/2021-11-08-vrto-be-a-usd51bn-market-by-2030-says-globaldata Statista. (2021). Fashion & Accessories. Retrieved from Statista: https://www.statista.com/markets/423/topic/463/fashion-accessories/#statistic3 Tashjian, R. (2021, December). Why Is Fashion So Obsessed with the Metaverse? Retrieved from GQ: https://www.gq.com/story/metaverse-fashion-explainer Williams, R. (2021, June). Chanel Sales Bounce Back After Heavy Pandemic Hit. Retrieved from Business Of Fashion: https://www.businessoffashion.com/articles/luxury/chanels-sales-bounce-back-following-heavy-pandemic-hit/

43

44

IMAGE REFERENCES Figure 1 - The Fabricant - Retrieved from - https://thenextcartel.com/discover/digital-clothing-nft-fashion-business Figure 2- Drest Fashion - Retrieved from - https://aproposagency.com/work/drest/ Figure 3- Gucci x Pokemon Go - Retrieved from - https://www.dazeddigital.com/fashion/article/51574/1/pokemon-go-players-can-get-north-face-and-gucci-avatar-items Figure 4 - Coco Chanel - Retrieved from - https://www.vogue.com/article/5-things-youdidnt-know-about-coco-chanel Figure 5- Chanel 2019 - Retrieved from -https://www.vogue.com/fashion-shows/spring2019-ready-to-wear/chanel#gallery-detail Figure 6- Chanel 2017 - Retrieved from - https://fashionmagazine.com/style/chanelfall-2017/

45

46