Research & Development Book (01) by livvyjai

WHAT CAR DO THEY DRIVE? Currently due to the age of this generation, they are most likely to purchase practical cars that are relatively cheap on insurance such as Fiat 500’s, Vauxhall Corsa’s and Ford Fiesta’s. The main focus of cars for this generation is less about colour and more about the technological functions of the vehicle. Can they access GPS easily, receive calls and use other apps from their phone, use Bluetooth, play music from Spotify instead of the radio? This integration of tech is key for this consumer. However, as this generation grow and have more economic power, more likely choosing their own car in future, they are likely to own electric cars. This sector is said to be worth $567 billion by 2026, as a conscious generation evolve they want sustainable choices in most if not all of their purchases.

WHERE DO THEY LIVE? With the majority of this generation still being young, many are still living at home as the cost of living increases, research suggests that 72% live with at least one parent. However the older consumer of this generation are more likely to be living on their own in apartments or with a partner. This generation is also more likely to live in suburban areas. Living closer to convenience than in rural areas. The suburbs have a security wanted by this generation, however, they are not too out of touch with the fast paced world around them. This has been further cemented due to the corona virus pandemic, with a mix of work from home and in office, this new generation are less inclined to move into high rises in city centres short term, instead settling down long term on the outskirts.

WHAT JOB DO Gen Z are looking to have jobs they fulfilled and pushed in their role. The goals align with their own as well as pay, good working environment, com in the early stages of their career, whe university, completed an internship o are realistic about the roles they apply a low search term, despite this they term goals set. They want stability and by their parents being impacted by the generation are looking to work in tec in demand job. However, this is also sport, fashion and sustainability

GEN Z CONSU

WHAT DO THEY LISTEN TO? Gen Z have a broad range of music tastes. 69% of Gen Z say they listen to music to relieve stress, allowing them to feel happier and more centred. The most popular genre is hip hop/rap with pop close second. Drake is said to be this generations favourite rap artist with Cardi B and Doja Cat etc also popular. The diverse nature of this consumer is also informing their listening habits, imitating this with consumers listening to everything from Stormzy to Taylor Swift to Beyonce, BTS and Ed Sheeran. More recently artists are making music based on how they feel, Billie Eilish and Lil Nas X are 2 artists telling deeper stories it seems, hence their growing popularity. The rise of tiktok is also allowing smaller artists to break through with snippets of their sounds becoming worldwide hits.

Gen Z are also listening to Podcasts with 61% believing that Podcasts are great ways to tell stories/ learn about issues. Podcasts are also more trustworthy to this generation, with 40% believe them more trustworthy than traditional media like TV and radio.

The surge of ‘co it all about aes to read pressin does not mean to trust what t sense that prin azines and bo though they’re read magazine a mix of med trust but is eas need somethin

O THEY WANT? are passionate about where they feel ey choose companies who’s values and those that have flexible hours, good mpany discounts etc. Gen Z seekers are ether they just leaving school, finished or had a part-time role, meaning they y for currently, with ‘managerial roles’ are competitive and have their long d security from jobs perhaps informed e great depression. Stats show that this ch. With ‘Software Engineer’ the most a generation looking to expand into y or set up their own businesses.

WHAT INFORMS THEM? Gen Z are informed by many things. With social media at the forefront of their minds, anything seen or heard online is hugely influential to this generation. Moreover, music and fashion is very influential to this cohort. Taking their ques from influencers and celebrities with large followings, enforcing what they do and what they purchase. Social channels such as TikTok and Instagram are main talking points for this generation, finding new trends or information through these channels. Their cultural and diverse nature is also informing what they look at. As a curious generation, they get their news from multiple sources, learning and growing. Gen Z news consumption goes beyond the facts to seek commentaries and opinions for a more holistic and honest view of current, local, and global news. Finding this is hard online in a work of misinformation but Gen Z look to find reputable sources. Brands Gen Z trust most are said to be Google, Amazon, Apple and Netflix – big names, associated with tech, with even bigger reputations. This may be due to the legacy and longevity of these brands and their quality and personalisation.

UMER PROFILE

WHAT DO THEY READ? offee table books’ has questioned, what do Gen Z read, or is sthetic? As a very informed generation, they are more likely ng information on their phone than in books. However, this n they prefer this, surveys suggest that Gen Z are more likely they read in print in a world of fake news. There is a strong nt is still influential for this generation, however less magooks are being bought, pushing them further online. Even e obsessed with their phones, the average Gen-Zer will still es for about an hour every week according to Folio. I think dia is what this generation truly want, something they can sy and quick to read, with their attention span waning they ng to capture their attention and keep them entertained or focussed.

WHAT DO THEY WEAR? Gen Z are a broad generation in what they wear. They wear a mix of brands, market levels and prices. Fast fashion is a huge market for this age group with money, ease and rapid delivery on their mind, this market is booming. However, its popularity is decreasing as consumers look for more sustainable options and long lasting alternatives for their style. The rise of Depop has created less stigma around 2nd hand clothing becoming a popular source of clothing, not to mention a cheaper and less impactful way of shopping. Shopping online and via Instagram shopping this generation has changed the face of shopping rapidly, shopping less instore and more online. Athleisure is one of the main trends for this generation, attributed to social media and the pandemic, comfort and practicality is key for this cohort…who needs to actually attend the gym anyway! Consumers look for brands that feel relevant, hence them wearing more fast fashion than luxury. However, in saying this, they are still buying luxury, it is said that they buy luxury as a treat or wait for limited edition items to come out before buying…perhaps to feel more unique. 5

DAY IN THE LI

IFE OF A GEN Z

Student Beans research found that 44% of UK Gen Zs don’t know what the metaverse is.

The metaverse is said to be a natural extension of Gen Z’s lives, describing it as a place where they have freedom to be who they want to be, interacting socially and without limitations of race, gender, location etc expressing themselves in more ways that previously possible in real life. The metaverse is giving this generation a new sense of community, cultivating niches and interests with like minded people. In the metaverse, Gen Z will have no constraints, the implications of this from a sociological perspective will affect their development personally as well as the development of the metaverse as a whole. Gen Z are said to be the lonliest generation, having spent most of their lives online, decreasing human contact. They look to create new communities online, craving new interactions and safety in this. Fashion has jumped onto this trend in recent years with introducing clothing to gaming, ar, vr, avatars etc with some success. According to WWD – Gen Z are pushing for an independent metaverse made by a collection of people and companies in which they are able to freely roam. They can be in control of their identities through avatars, own and sell items they can take from world to world and shape the way they learn, play and work. This community feeling wanted by this generation is spreading with companies needing to find new ways to interact with this generation - and finding the metaverse as a way to do this. I question however, where the fact that this generation are just digital natives ends and the ‘newness’ of the metaverse begins giving it is an infant platform. Gen Z have always looked for whats next in technology – what will the metaverse be, what will it provide that is different, what is involved in it? It isn’t purely fashion related, so where does it expand to? Generation Z have been trained sociologically via digital spaces, such as Discord, TikTok, Twitch etc for years. Learning how to act online, adapting to new platforms unlike any previous generation, suggesting they will adapt seamlessly to the metaverse. But do they actually know what the metaverse is?? Many stats actually show that Generation Z do not in fact resonate with the metaverse. This questions its success and longevity - is it just a ‘hype’ for now and a trend that will soon die out leaving fashion no further forward than is has been?

BRANDS NOT MARKETING ONLINE

Bottega Veneta shut down all social media including Instagram, Facebook and Twitter in 2021. This raised many questions, was it a publicity stunt? (it gained a lot of traction and reach) Why are brands on social media anyway? Is social media viable for brands, does it make them money? Bottega Veneta was founded in Vicenza in 1966 by Michele Taddei and Renzo Zengiaro with producing fine leather goods. Bottega is at the pinnacle of quality. Each piece is intended to meld into the buyer’s lifestyle seamlessly. The brand stays consistently relevant on the very latest in high fashion and luxury, due to their esteemed reputation for artful design and craftsmanship. Presently, Daniel Lee is Creative Director at Bottega… Talking on social media and posts Lee said, ‘They felt empty and took so much effort in such emotionally turbulent times, yet in the end, the concepts lacked depth… Everyone seeing the same things is not healthy or productive. It doesn’t breed individuality.’ Bottega want to create a new creativity and more effective use of social media, meaning stepping back from it. This is linked with the phrase ‘Stealth luxury,’ marketing luxury only through word of mouth- this creates totally organic interest of the brand due to others posting about it. ‘SOCIAL MEDIA IS MASS NOT CLASS’ “By pulling out of social media, Bottega Veneta is simply curating its marketing messages in a way consistent with luxury branding. It is likely that other brands will follow its lead.” Will this force a return to people reading print? Magazines on rise again? How will we interact with brands if social media is not the main source? A new deeper connection to brands form? Is social media luxury?

I think that without social media brands are looking to re-establish luxury in a more traditional sense, however there is nothing traditional in the world we live in. Social media has engulfed all aspects of everyone’s lives, not being accessible on this may deter consumers long term having drastic financial and social implications for companies. Social media provides a direct contact between consumers and brands, making them more relatable whether they are luxury or not, I think that taking themselves out of this Bottega are indeed sticking to their heritage however in a progressive world this may not be for the benefit of the company. Other forms of media such as print, tv and radio are much more time consuming and costly alternatives to marketing making it difficult for brands to achieve the same results as online.

Lush is another brand that is also quitting social media. In doing this they are creating more physical events and more tailored email campaigns and Youtube videos promoting its activism and message. This gives them more time to interact with the community as well as stay clear of the mistrust on the internet. Brands are looking for longer term solutions to creating loyalty with consumers, so coming off social media where consumers are dubious of brands true intentions may be rewarded long term. However, this will have drastic financial implications for the company with Lush expecting to lose £10 million in sales due to its decision. Brands that are online have a better base of new customers as well as a better conversion rate in comparison to those not social showing the power of social media platforms. Lush’s campaign for better regulations and a restructure of addictive and sometimes destructive algorithms is certainly raising awareness but, their boycott seems unlikely to affect meaningful change unless other large brands who can afford to take the financial hit follow in their footsteps and join their cause.

Comme Des Garcons, is another brand that does not market online as such, instead they sell through Dover Street market. The stores are unconventional yet very Comme, something consumers may not feel online, hence their popularity. Comme des Garçons’ was established in 1969 by Rei Kawakubo. It’s a luxury brand that presents collections on the catwalk encompassing unconventional silhouettes yet is also highly appealing to streetwear lovers due to its avant-garde style. Regardless of the brands limited advertising, it has a large base of dedicated consumers. Comme strives to create unique purchasing experiences for consumers by focusing heavily on the design of its stores, namely Dover Street Market. The brand maintains its consumer base by creating styles relevant to urban areas that allow consumers to express themselves. Moreover, Comme des Garçons actively collaborates with other fashion brands and artists, using this approach to promote itself as a brand. Despite the fact that Comme does little to market online as such, they are still a hugely influential brand, striking a perfect balance between online and instore experience for consumers.

Definition- a fashion designer who manufactures and sells clothes that have been tailored to a client’s specific requirements and measurements. Haute Couture is a much-misused phrase that actually has very specific rules for qualification. Translated literally, couture is French for dressmaking, while haute means high. These are garments created as one off pieces for a specific client. 19th century Englishman Charles Frederick Worth is considered as the father of Haute Couture and today members are selected by the Chambre Syndicale de la Haute Couture. To qualify as an official Haute Couture house, members must design made-to-order clothes for private clients, with more than one fitting, using an atelier (workshop) that employs at least fifteen fulltime staff. They must also have twenty fulltime technical workers in one of their workshops. Finally, Haute Couture houses must present a collection of no less than 50 original designs — both day and evening garments — to the public every season, in January and July. Haute Couture has a miniscule client base (approximately 4,000 worldwide) and an exclusive allocation of industry tickets for runway presentations, the practice can seem entirely fanciful and out of reach. In truth, the art of couture is a tightly controlled, invite-only application, governed by Paris’s Fédération de la Haute Couture et de la Mode (FHCM) with widespread influence on the fashion industry at large. As of January 2020, couture members include Adeline André, Alexandre Vauthier, Alexis Mabille, Chanel, Christian Dior, Franck Sorbier, Giambattista Valli, Givenchy, Jean Paul Gaultier, Julien Fournié, Maison Margiela, Maison Rabih Kayrouz, Maurizio Galante, Schiaparelli, and Stéphane Rolland. Since the advent of ready-to-wear at the start of the 20th century, haute couture’s relevance had been slowly diminishing. The demanding guidelines and labour-intensive practices (today, one Giambattista Valli couture gown can take approximately 240 hours and 6,000 metres of fabric to create) render it inaccessible to anyone outside of the 0.001 per cent target audience. Guided by the FHCM, haute couture has evolved to be an Insta-friendly showcase of craftsmanship and creative grandeur, an ode to what can be achieved by the industry’s foremost designers and artisans, its creations providing a trickle-down effect of inspiration on ready-to-wear and high street collections.

HAUTE COUTURE

Despite my market level being luxury, I thought it was important to uncover how Chanel began and how their deigns trickle down from their Couture lines.

Chanel was limited to millinery rather than couture in her first shop in 1910, so it wasn’t until 1913 when she opened stores in Deauville and Biarritz where she was able to offer ready to wear sports clothes for women, that the Chanel couture brand was truly born. By the start of the 1920s, almost all garments made by the House of Chanel featured quilted fabric and leather finishing. The quilted construction was used to reinforce the fabric, design and ultimately the finish, producing a stylish item of clothing that maintained its form and function whilst being worn. The most notable example of these haute couture techniques being used is in the iconic Chanel Suit; a knee-length skirt and cardigan-style jacket, trimmed and decorated with black embroidery and gold-coloured buttons. Composed of two or three pieces, its practicality allowed for a modern, feminine appearance whilst being comfortable. It was an immediate success and eagerly advocated as the new uniform for afternoon and evening – a fitting example of Coco’s design rationale that “simplicity is the keynote of all true elegance.” The high-quality design, construction and finish of these clothes helped establish the professional reputation of Coco Chanel as a meticulous couturière. Today, beyond the architecture of the clothes themselves, the materials and workmanship produced by the house’s ateliers and the artisan workshops of the Métiers d’Art – as conducted by Karl Lagerfeld – is unparalleled. Haute Couture, the expression of ancient know-how and precision down to the most minute of details, is a constantly evolving playing field of innovation. Working in harmony with the ateliers and Métiers d’Art, Karl Lagerfeld breaks codes, experiments with processes and invents what has never before existed. Traditional materials rub shoulders with PVC, Lurex, plastic-coated lace and neoprene, giving a radical new volume to dresses. Offset by beading, embroidery, crystals and sequins, in the hands of Karl Lagerfeld, even cement turns to cloth.

COUTURE CONSUMER Today’s haute couture client is likely from the Middle East, China, or Russia. Bruno Pavlovsky, president of fashion at Chanel, told Women’s Wear Daily in 2010: “We have new clients from Europe and the Middle East” and commented that he has seen the business of haute couture increase by between 20 to 30 percent in recent years. Only those with the deepest pockets can afford to be a part of the world of couture, with a clientele made up of royalty, businesswomen, heiresses and socialites. The fantastical and almost unwearable nature of the garments, not to mention the hours of work that goes into them means it has been estimated that there are no more than 4,000 haute couture clients in the world. The one of a kind nature of the garments is what draws clients to haute couture, knowing that no-one else has the same piece, the complete opposite of fast fashion. Names such as Grace Kelly, Celine Dion, Elena Perminova and Wendy Yu are/were well known for their Couture purchases, making up part of the one percent that funds this market level.

MISSION STATEMENT ANALYSIS Chanel mission statement tries to maintain a balance between their past legacy and their modern fashion collections. According to Chanel mission statement, the fashion house wants to be the “Ultimate,” showing thier desire to be at the top of the luxury market. Chanel is truly a timeless and sophisticated fashion brand as has carried through this philosophy to present day. Chanel’s statement also mentions ‘defining style.’ Chanel was a fashion visionary, she redefined female creating clothing with simple refined lines that allowed women to move about freely with no restriction. This legacy has remained to present day showing the importance of the brand throughout time. Chanel is not about rules and restrictions but about freedom and feminine elegance. The prominent Chanel core values are creativity, elegance, luxury, excellence, and craftsmanship, 28 expressed throughout the brand.

“ To be the Ultimate

House of Luxury defining style and creating desire now and forever

“

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, but 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.

CONSUMER

roduct

Chanel has a large product portfolio from couture to ready to wear to fragrances, watches, skin care, make up, accessories and of course clothing. Chanel is credited with many product innovations such as redefining the colour black, liberating women by removing corsets, using comfortable fabrics such as jersey and the little black dress, products and themes that have remained over time. Chanel’s products are known to be counterfeited regularly, perhaps undermining the brand. Scarcity, Chanel is known for making few products, making consumers want to buy them to feel part of an exclusive community.

Haute Couture is priced in the extreme high-end segment, starting from $10,000 to $60,000, with the far end going beyond $100,000, as compared to the everyday fashion wear which is mostly in the range of $1000 to $50,000. Most recently, Chanel has increased the price of its most popular product, handbags by 10%. This is due to the Corona Virus Pandemic disrupting sales due to store closures.

rice

eople

The Chanel consumer is a 15–40-year-old woman of a middle or upper class group who loves fashionable accessories. Chanel is known to all but ensures exclusivity marketing to a select few who can afford to buy and truly understand the brand. The Chanel staff are what make the brand special according to their Chief. Their knowledge about the brand and high level of experience they consistently uphold is why

Chanel is known not to sell online, a premise they are determined not to change. Instead they sell in Chanel boutiques/stores to provide consumers with the full experience.

The Chanel boutiques are located around the world including cities like New York, Boston, Amsterdam, Sao Paulo, Sydney, Hamburg, Cannes, Miami, Bangkok, Geneva, Tokyo, Saint Tropez, Moscow, Los Angeles, Paris, Dubai and London- which is the biggest in the world. There are around 300 Chanel boutiques out of which 120 are situated in North America, 90 in Asia and 70 in Europe. Its fragrance and skincare counters are available across high-end luxury shops such as Selfridges.

lace

rocess

Scarcity marketing – increases the value of a product in the eyes of consumers due to the fear of lack of choice. The main storyline reinforced throughout the brands marketing is that of liberated young women. Chanel constantly maintains its values put in place from the birth of the company and the legacy enforced by Coco Chanel herself. Making sure that freedom, liberation, creativity, ultimate luxury, elegance and simplicity are all at the heart of what they do.

Distinct colour packaging – black and white – easily identifiable brand colours. Strong brand identity- branding leaves a lasting impression Packaging is the same across all products– from make-up to bags Online website – easy to navigate

hysical Evidence

romotion

Via stores or Chanel boutiques and a small amount of e-commerce (for accessories only) Chanel’s promotion is less about selling, more about telling stories to engage consumers. Influencers/ celebrities such as Pharrell, Cara Delevingne, Kristen Stewart and Margot Robbie are all known for their links with the Chanel brand. Marilyn Monroe was one of the first Chanel superstars unknowingly promoting the No 5 perfume in the 50s. Current “inside Chanel project” on their website, explaining the history of Chanel. Magazine marketing in Vogue, Harpers Bazaar Elle etc– focus on accessories, watches and perfume in this medium. Cheaper and more easily accessible items, consumers can feel more included.

CHANEL PRODUCTS Chanel has a broad range of products from high end clothing to lower prices make-up items. The product categories are: - Fashion: Haute couture Fashion n, Handbags Ready-to-wear clothes - Jewellery: Watches & jewellery - Fragrance: Perfumes & colognes - Others: Makeup, Skincare & Sunglasses Chanels most well known products are the tweed blazer, classic flap bag, red lipstick, sunglasses, No5 Perfume, slingback shoes and pearls. MAKE-UP Chanel’s make-up propells much of the brands growth, it is estimated that beauty accounts for a third of Chanel’s business, and e-commerce sales of fragrance and beauty products increased globally by 50% year-over-year between 2017 and 2018, according to Business of Fashion. As make up and fragrance are lower priced items, it allows a price-conscious consumer to partake in the brand and build early brand loyalty before being able to afford a more expensive product like a handbag. CLOTHING & BAGS

Chanel’s clothing has always been instantly recognisable but known to be expensive due to its luxury status. Only the elite in society can afford to own a little bit of Chanel, wanting to encompass the brands feeling of elegance and sophistication. Chanel’s most popular items are their bags with the Classic Flap and Boyfriend bags being best sellers. Instantly recognisable by thier CC buckle they command prices upwards of £7000.

CHANEL INSTAGRAM Chanel currently has 49.9M followers on Instagram and uses the platform to promote its newest collections, campaigns, and products. In 2017, Chanel was named the most influential luxury brand on social media (based on overall engagement.) Due to Chanel’s abstinence from selling online, their social channels are even more important to maintain their connection with consumers. That being said, Chanel is still keen on maintaining a sense of exclusivity where possible. So, while it has millions of followers across social, Chanel deliberately follows no one back maintaining their aloof image. However, this can be perceived as a negative in that they cannot interact with other users nor use the channel for customer service. Unlike brands that promote products in the context of consumers’ everyday lives, Chanel deliberately depicts its own world – one that is extremely editorial and arty in nature. Chanel also post a lot of video content on Instagram, short videos of upcoming campaigns or runway shows pique interest and encourage viewers to view full videos on Youtube.

CHANEL CELEBRITY MARKETING Chanel uses many celebrities and stars to promote its shows and products, each carefully chosen to promote the Chanel brand image. Chanel’s brand focuses on high earning individuals to ensure that the term ‘luxury’ is promoted, their association indirectly expresses the brand philosophy - an icon of complete refinement, affluence, and high living. Over the years celebrities from Catherine Deneuve, Kiera Knightly, Cara Delevigne, Nicole Kidman, Pharell and Brad Pitt have all promoted the Chanel brand. The most iconic endorsement came from Marilyn Monroe who was the face of the No5 perfume ensuring its popularity for years to come.

CHANEL MAGAZINE MARKETING Chanel also leans heavily on print marketing such as magazines to market its brand. Seen often in Vogue, Harpers Bazaar and Elle the brand produces much editiorial content to promote a desirable lifestyle to consumers. Chanel’s content is never about the hard sell instead it promotes stories to engage consumers. Chanel’s magazine strategy mainly focusses on promoting its best sellers such as perfume and watches targeted a a specific audience. 39

instore experience

Chanel holds in-store experience in the highest regard. Its stores exude luxury and a personable feeling with marbled floors, pristine displays and bright interiors. Visual merchandising attracts a wider target audience, increasing sales. Window displays also are used to advertise seasonal sales or inform passers-by of other current promotions. The interiors are promoted as cosy places that are inviting and timeless. Chanel’s refusal to sell online puts much more pressure on thier stores to provide the perfect consumer experience to maintain loyalty and 41 repeat custom.

S TRENGTHS

One of the main strengths of Chanel is of course their status as a top luxury brand. This is supported consistently by their strong brand heritage and legacy that is maintained to present day. It is these values that drive high brand awareness and loyalty from consumers - another strength to the brand. Furthermore, Chanel hosts a wide product range of a mix of price levels keeping their consumer base wide. Chanel is known for their timeless design, luxurious products and quality as well as a high level of customer service all which keeps the brand image strong.

W 42

EAKNESSES One standout weakness of Chanel is their lack of online shopping. This has rendered them weaker than their competitors with a strong online presence such as Balenciaga and Gucci. This feeds into their second weakness of consumer knowledge, Chanel does not market to the ‘next’ consumer yet, instead focussing on their current consumer who will soon lose their disposable income rendering Chanel as relatively unknown with younger generations. Chanel’s innovations are restricted to the beauty market only- this forward thinking could be utilised more wisely on the main Chanel brand.

OPPORTUNITIES The main opportunity for Chanel is to market to a new consumer, Generation Z, and establish a new relationship with them. This can be done by innovation and pushing the brand outside of its typical comfort zone to bring it in line with a younger audience to be revenant again. A new view of technology, online sales, cultural changes and increased sustainability could be explored in future.

HREATS The main threats for Chanel are their competitors, more affordable brands and a lack of younger consumers. Chanel’s competitors are that of Gucci, Balenciaga, Louis Vuitton and Dior Each of these brands has made significant stride towards engaging a younger market- something Chanel has not. Chanel is losing the loyalty of consumers as younger generations do not understand the brand or it’s heritage well enough to connect with, this is a large threat for the future.

The first idea was to place Chanel into the Metaverse. I researched further into the opportunity of the metaverse and how brands can adapt to the new ways in which consumers are currently interacting in this space and where the gap is for brands. The metaverse offers escapism and experience, two values hinted at in my 360 campaign hence I want to discover more about this and what it may look like visually for my final campaign.

AVATARS The new report from BoF Insights reveals that:

When it came to fashion, IoDF’s research found

•

that 92 per cent of people report that customisa-

approximately 70 percent of US general

consumers (Gen-Z to Gen-X) rate their digital

tion is important when creating virtual avatars.

identity as important

The range of desired types of clothing reflect the

•

range of styles people want in virtual spaces: with

65 percent rate digital ownership as impor-

tant •

surreal (24 per cent), casual (20 per cent) and 50 percent are interested in purchasing a

couture (15 per cent). Brands are increasingly

digital asset in the next 12 months — whether a

partnering with metaverse platforms to provide

digital skin or other item in gaming, digital fashion,

digital clothing and creating their own virtual

digital avatar and/or an NFT.

spaces and customisable avatars. Tapping into what people want — and offering options that

For years the fashion cycle has been stuck in a

aren’t currently available — offers a chance to

cycle of overproduction and waste. The industry

become more relevant to online consumers.

was at a tipping point, pushed over the edge by

This is especially true when appealing to Gen Z.

the global pandemic. But it’s given fashion houses

“Gen Z is ushering in an identity revolution. Every

and designers a chance to step back, slow down,

individual person has the right to create their own

re-evaluate, and create for the future.

identity.”

Designers are shifting their focus back to creativity with technology at the heart of it. Designers,

Avatars alos offer the opportunity for consumers

brands, and celebrities alike realize that future

to access a piece of luxury they may not have

consumers are online. They have digital identities

been able to purchase to have in real life, making

in games and virtual hangouts. In order to mar-

fashion more accessible and inclusive.

ket to future customers, they need to meet them 46 they are at - in the metaverse (or Fortnite where or Roblox).

IDENTITY: the fact of being who or what a person or thing is. What will brands and consumers identities look like in the Metaverse? As Gen Z interact with Avatars and new ways of expression can luxury brands reconnect virtually with a disconnected luxury consumer?Will Avatars wear ‘traditional’ Chanel clothing to feel a sense of a new community 49 online bringing Chanel’s identity and heritage into an untraditional space?

BLUR: make or become unclear or less distinct. As consumers lives intertwine between virtual and real where will brands such as Chanel sit to be involved with this Gen? As Gen Z shop, socialise and play online as well as in real life brands are looking to be a part of all these expereinces. 50

ESCAPE: a form of temporary distraction from reality or routine. Gaming and the metaverse are providing consumers with an escape from the everyday as well as a distraction. There are many opportunities for brands to connect thier brand to this feeling of escapism. With Chanel stores having always been marketed as the ultimate experience and escape into the luxury market- can this be brought online? 53

WHAT NEXT? From looking at brands that aren’t marketing online and how this may or may not strengthen the connection between consumer and brand one idea was to put Chanel into Dover Street Market. A concept store created by Rei Kawakubo. My second idea was to transport Chanel into the Metaverse as a whole and how consumers would interact with this.

First opened in London in 2004, Dover Street Market is a directional multi-brand retailer with stores in New York City, Tokyo, Singapore, Beijing and Los Angeles. It was founded by Japanese fashion designer and founder of the Comme Des Garçons brand, Rei Kawakubo and her husband Adrian Joffe.

The success of Dover Street Market and its respect as a concept store lies in its unique nature of daring and creative merchandising, curating ‘beautiful chaos.’ Incorporating a mix of brands, cultures, and aesthetics into one cohesive space. Dover street blurs the line between fashion and art exhibition, allowing a multi-sensory experience and experimentation that is completely open to brands which is different to any other store, disrupting the way consumers shop. This in turn has created a strong community of like-minded individuals who are able to discover fashion with a fresh perspective. The majority of shoppers are millennial fashion types, who may not be able to afford what’s in-store but who appreciate high-fashion artistry. Dover Street is known for selling both exclusive collaborations with big-name brands (Prada, Louis Vuitton, Vetements) and ready-to-wear looks from high-end labels (Alaïa, Comme des Garçons, Christopher Kane, Erdem, Jil Sander, Nina Ricci, Raf Simons, Rick Owens, Supreme, Thom “I don’t think Browne)

we are what you would call a concept store anymore. This term is no longer relevant. Just like the word luxury, it has lost all its meaning. At the new DSM in Haymarket, we simply want to try and make the retail experience stimulating and modern. The relationships between us and the brands we share our space with are the main focus, as are the relationships between our employees and customers.”

Finding brands such as Supreme next door to Jil Sander is unique only to DSM, exhibiting brands in an art like manner. The closing of the store twice every year ensures the store is not static and is changing to enforce new creativity and innovation for consumers to view.

The value of streetwear is based on its ability to allow consumers to build an identity around the items they buy to distinguish their sense of self. By having certain pieces, they are automatically placed in an exclusive community- something psychologically humans need as part of survival a sensation of being part of something. The pieces themselves are almost secondary to the meaning of the brand itself and what it represents. The collectable, rare and valuable nature of streetwear items stems from their exclusive origins only so many are made so everyone wants a piece. Hypebeast defines streetwear as “fashionable, casual clothes”, but explains that this definition undermines the “multi-billion dollar” industry that streetwear has become. Streetwear as we know it today originated in the ’90s, in the hip-hop scenes of New York, the surf-skate and graffiti culture of Los Angeles, and within the nightlife of Japan. James Jebbia has said that his influence as a designer “was definitely the young skaters in New York. Also traveling to Japan and seeing their great style. Traveling to London. It was a combination of that.” Designers like Jebbia and Shawn Stussy pio-

STREETWEAR

neered streetwear in the US with their brands Supreme and Stüssy, and de-

signers such as Nigo and Hiroshi Fujiwara aka “the godfather of Harajuku”, led the movement across the Pacific. It is important to view streetwear as a movement, not as a trend because it is a cultural phenomenon. 90’s graphic tees, loose-fitting jeans, and statement sneakers were created purposefully as an expression by their consumer: the rapper, the skater, and the rebel. In the ’80s and ’90s, many traditional brands would not dress some musicians or sports stars, so the community had no choice but to make their own clothing and define what fashion meant to them. Streetwear has risen in mainstream fashion over the past few decades. Unlike most other fashion genres, this growth was not pushed by brands, rather brands were sought out by consumers wanting to be “in” on the exclusivity of streetwear clothing. Exclusivity in the form of capsule collections, limited editions, and artistic collaborations are defining signatures of streetwear. Many luxury brands now use limited editions as a sales tactic, aiming to promote the feeling of exclusivity for the consumer.

TRENGTHS One of Dover Streets strengths is its global presence with stores in Ginza, New York, Beijing etc. Another success is that the store offers a unique shopping experience that is seemingly unmatched, the variety of designers and fashion houses draw in a wide range of consumers and makes the experience of the store exclusive and unlike any other. Furthermore, the store is more like a art exhibition than a shop with installations that give designers creative freedom, the fact that the store changes its internal features twice a year means it is constantly evolving. The store also offers not just fashion but a cafe and lifestyle products and a range of prices that means that everyone can find something for them in store. A final strength is the many collaborations the store undertakes broadening its consumer base further in offering exciting limited edition pieces.

EAKNESSES One of Dover Streets main weaknesses is its online presence only selling a handful of items online, however this is in line with the brands philosophy of in store experience. The store has limited marketing online and via social media, perhaps eluding to its exclusive nature but this may cause a lack of knowledge about the store in the minds of consumers. A final weakness is that the brand image is somewhat dated with it being associated with older brands and aimed at millennials, meaning its current target market is somewhat limited.

PPORTUNITIES Dover Street has many opportunities, one is to expand upon their collaborations finding new and exciting brands to pair with to bring newness to consumers. Furthermore, there is opportunity to grow their online presence and e-commerce. This can be via an improvement of their social media marketing and increasing the number of products on their website to engage a wider audience. Dover Street is also currently grasping the opportunity to incorporate more streetwear brands within their store to appeal to a younger audience which is something that can be further expanded upon. Another opportunity is further global expansion opening more stores in other capital cities again expanding the consumer market.

HREATS One of the main threats to Dover Street is the change in consumer behaviour and rise of online shopping depleting the popularity of brick and mortar stores due to an unstable economy. Furthermore, rising competition and other well established departments stores such as Selfridges are also a threat to the success of Dover Street.

UNEXPECTED: not expected or regarded as likely to happen. In order to engage with Gen Z, Chanel must do something unexpected. A possible move into Dover Street Market could be this. DSM is known for pushing brands to create the unforseen to market thier brand in-store, constantly bringing something new and 63 engaging to consumers.

DE-COMMERCIALISE: not managing or running something principally for financial gain. By de-commercialising Chanel, they will have chance to form a deeper routed connection with consumers. DSM offers experiential fashion placing more importance on art than money, ensuring longer term loyalty. 64

COMMUNITY: the condition of sharing or having certain attitudes and interests in common. To engage consumers Chanel must tap into new tribes & communities of like-minded individuals, giving them a new story to wrap around. This may be tapping into already stated tribes such as Streetwear or creating a new Chanel tribe to encourage Gen Z. 67

WHAT NEXT? From this research into each idea, I have come to the conclusion that I want to explore the possibility of placing Chanel into Dover Street. This is due to it being more unexpected and the opportunities to reconnect Chanel with its consumer are greater. Connecting Chanel’s strong stance on in-store experience and a moving consumer is an interesting proposition. Despite this, I will not over look the metaverse as a way of possibly promoting this project. I want to research into Dover Street further to understand which brands it contains and why, to see if there was a correlation between them. From this I will be able to understand how Chanel can be marketed to belong in this space. 69

I have never met anyone with such a strong, single-minded vision who has always stayed close to his sense of values… That’s why our collaboration was so meaningful—and why the growth of Supreme has in a way mirrored our own.” 70

Adrian Joffe

Supreme ‘Bogo’ Hoodie - The box logo has become one of the most notorious logos in the menswear scene. Having started from humble beginnings, one way independent skate stores would build revenue was simplistic designs on tees and hoodies, which consumers bought to support local businesses. When Supreme opened, Three T-shirts were designed, one featuring a 1970s skater, one with NY icon Travis Bickle from Martin Scorsese’s “Taxi Driver” and one with just the shop’s simple logo – the word “Supreme” written in a white Futura Bold Oblique font inside a red rectangle. The logo design was an homage to Barbara Kruger creating a bold statement and hence has become one of the most well recognised images.

Dover Street Market first collaborated with Supreme in 2018 when the released a t-shirt for the 5th year anniversary of the DSM New York store. Moreover, with CDG having a history of collaborations with the brand also, stretching back almost 10 years the two are seemingly intertwined. Supreme is a top streetwear brand. Founded in 1994 by James Jebbia in New York the brand embraced NYC skate culture encouraging neighbourhood kids, skaters and local artists into its store. Supreme has grown to be a huge part of young culture embodying down-town culture. Over 25 years Supreme has expanded to become a global community working with people with similar interests, who defied conventions and contribute to its unique identity and attitude. It has become known for its quality, style and authenticity furthermore, the less commercial tone to streetwear has also contributed to the brands success. With a consumer aged 18-25 who simply want to buy ‘cool’ stuff and are therefore willing to pay for it, Supreme has become magnetic. This community is relatable they ‘understand high-low, they’re smart, intelligent and they’re humorous. They know what they want and are very loyal.’

The Louis Vuitton collaboration was, for many, the first glimpse into Supreme for many luxury consumers. Supreme is more than a generic company, bringing out collections twice a year like most companies but their ‘drops’ are more like huge events. Playing off exclusivity their consumer mindset lies in, ‘if I like it, it may not be here tomorrow, so I should buy it.’ This has also fuelled the re-sale market, with streetwear fuelling a $1 billion secondary market. The limited quantities of Supreme stock and the huge demand has created this new world of secondary shopping, with significant mark-ups. The psychology behind the brand devotion has driven this, a commitment

The fact that Supreme is not a typical luxury

to the community and loyalty to the brand has

brand can suggest it may be viewed as odd

inspired consumers to pay over the odds for a

that it has expanded into a place like DSM that

simple piece.

is filled with luxury retailers. However, its move into the store may indicate a repositioning of the brand into a more luxury sphere. The drop of the F/W collection occurred online, in DSM and in Supreme stores all at the same time suggesting the common identity of all the locations. James Jebbia is said to view Supreme more as a space than a brand, suggesting why his brand works so well in a concept store such as DSM. Moreover, after Supreme’s collab with CDG in 2012 Adrian Joffe said “I have never met anyone with such a strong, single-minded vision who has always stayed close to his sense of values…That’s why our collaboration was so meaningful—and why the growth of Supreme has in a way mirrored our own.” Supreme is one of the top three selling brands in Dover Street.

PALACE PALACE PALACE PALACE PALACE PALACE PALACE PALACE 74

Palace is another top streetwear brand known for breaking the rules. The British skate brand began in London and has now become one of the biggest streetwear brands in the world. Beginning in ‘The Palace,’ in South Bank London Lev Tanju decided to create his own streetwear brand, ironically named Palace. Despite the brands obnoxious exterior, they are completely set apart from other streetwear brands. Their 90’s aesthetic and laid back, don’t care attitude in their videos transported consumers back in time, capturing the true essence of street skating. The brand uses a range of references from British culture such as Tracksuits, Shell Suits, windbreakers etc all pay tribute to the sportswear silhouettes that all British people can relate to. The brand also incorporates dance culture from 90’s raves to the Chicago House scene. Palace first emerged onto the London scene quietly in 2009, popping up in a handful of boutique stores like The Hideout. Initial designs like the brand’s now iconic Versace and Chanel flips sold out to those in the know, and within a year ripples started to spread throughout the city. Other stores that were quick to pick it up include Present in East London’s Shoreditch and Liverpool’s iconic Lost Art skateshop. From late 2012 to 2013, Palace first began dipping its toes in brick-and-mortar retail with a series of brief pop-up stores in London known as their ‘Pop-Off Shops’ or ‘Palace Retail Powerslide.’ In one of the first flashes of what would become the brand’s trademark irreverent sense of humor, flyers for the events promised ‘fully untrained staff’ and ‘posh new high-end shit’. However, the ventures proved to be a success and soon led to a more permanent fixture…

In April 2015, Lev and co made big steps when they announced the opening of the first ever Palace shop in London. Located in Soho on Brewer Street, the store’s plush marble flooring made clear references to the opulent Italian fashion labels that London’s youth wore during the UK Garage days (such as Moschino, Versace and Prada), and brought to the forefront the brand’s unparalleled knack for sarcasm in the best way possible. Located just around the corner from Supreme, the Palace shop has continued to benefit from the cross-pollination of hype between the two labels, with Supreme releasing new product on a Thursday, Palace releases theirs on Saturdays. Palace is completely unapologetic in its celebration of streetwear and urban culture from a British perspective. Over the years, Palace has collab-

orated with many British brands and staples such as Umbro, Reebok, Tate and Adidas. These collabs have a correlation of sportswear culture, community and a little bit of a tongue in cheek feeling. Palace is suited to Dover Street Market due to its position somewhere between curation and coincidence. Its appeal lies in its eye for menswear that is unbreakable and its unique playfulness. It has made ‘britishness’ a sensation never straying from their roots Palace has embraced where it comes from instead of running away like many before. Leaning into subcultures similar to CDG the brand is based on a community and artform rather than profit. Similar to Supreme, Palace’s best pieces are those with the Tri-Ferg logo on. This is the brands staple and emblem and has become way for consumers to represent/signal they are part of the Palace community. The logo is featured on everything from tees to duffle bags with nameless celebs wearing it such as Rhianna.

Stussy was created in the late 80’s early 90’s by Shawn Stussy, born from the Southern Californian surf scene and the ideology of casualwear. Stussy began screening t-shirts and shirts to sell with surf boards and after a few years he had built an empire. The laid back and free-spirited origins of the brand are still prominent today.

The brand grew during a time with huge cultural shifts

One thing that set Stüssy apart in the early days

in contemporary pop culture. A clash of different dec-

was the fact that it was one of the first brands

ades enforcing new inspirations such as 70s punk

to produce goods like caps and varsity jackets

and 80s rap gave new outlets for cultural expression.

that weren’t explicitly designed for sports teams.

All Stussy’s designs referenced these subcultures

Combined with the brand’s playful repurposing of

in which he himself had interest. This approach ap-

logos such as Chanel’s double C insignia (trans-

pealed to a worldwide network of creative youth who

formed into a double S; Shawn Stüssy), Stüssy’s

shared a common interest in surf-culture, skating and

ground-breaking reconfiguring of traditional style

music. Limited distribution fuelled the desire interna-

rules and boundaries laid the foundation for virtu-

tionally, and those who wanted the gear found it and

ally every brand that followed.

felt a part of something bigger in the process.

“He started it all.You know, James at Supreme or Nigo at A Bathing Ape, he was doing it even before them—they all look up to him and respect him.” Kim Jones

The brand is committed to producing relevant, good quality clothing at a reasonable price available only at very select stores worldwide in limited quantities. The ‘International Stussy Tribe’ of like-minded people allowed the message of the brand to spread organically. Given custom embroidered jackets they allowed the Stussy movement to spread worldwide and encourage others to join. The members such as J Alex Baby, Gimme 5 founder Michael Kopelman, The Clash’s Mick Jones, and Big Audio Dynamite founder Don

Letts, were more like friends than influencers but were subcultural icons in their own right. Stüssy was truly about how its Tribe members wore the clothes. It was about style (an attribute Chanel once made much of, too). When Shawn left the company in 1996 it plateaued. However, its recent refound success has been due to its refocus on the niche and respect of its heritage without wringing it dry. Jayne Goheen, along with Israel Gonzalez, the men’s design director, has made the clothing into some of the best American ready-to-wear on the market. Where the brand once churned out recreations of Shawn’s pieces, it now sticks rigorously to its design points—and looks equally at home alongside Marni or Ralph Lauren. Stussy has recently collaborated with Dover Street itself, creating a series of streetwear staples. Stussy’s branding is printed at the front with DSM’s signature “House” motif stamped atop, on many products such as hoodies, tees and sweatshirts. One of Stüssy’s greatest legacies is the art of collaboration. While Stüssy’s logo is the signature of one man, the communal nature of the International Stüssy Tribe and its ensuing energy have always put collaboration at the heart of this shape-shifting brand and has helped cultivate an ongoing yield of fruitful creative coming togethers with like-minded brands. Dover Street Market is the perfect example. DSM,”is the most exciting retailer in the world, the product is exciting, the spaces are special and the mix of brands and their focus on working with new talented people keeps the energy really authentic. It’s one of the few places where you can go in, and you might actually find something you didn’t know about.” They are kindred spirits. We really just wanted to have fun with it and create something with a positive vibe.

Margiela is a Parisian fashion house established in 1988 by Martin Margiela, known for its sartorial excellence and pushing of boundaries in menswear and womenswear reinventing and refining both silhouettes. The company is strong in its philosophy that fashion is an artistic expression rather than a personality, renouncing the overcommercialised industry and taking an avant-garde outlook. Margiela was first noticed for his unorthodox designs reflecting an androgenous, grunge, raw and unfinished aesthetic. The houses daring and ambiguous designs have remained over the years with John Galliano named Creative Director in 2014 due to his sense of spectacle and creative flair. The in-

seen to deconstruct and twist the traditional way

visible nature of Margiela has maintained the brands

of wearing this item. The minimal marketing and

fascination alongside its trade mark ‘deconstructed’

quiet nature of the brand also entices consum-

fashion and untraditional take on tailoring. In this

ers who look for artistic fashion and who want to

way the brand constantly questions the functionality

belong to a brand.

of clothing looking to make it futuristic and statemented removing itself from other brands. This is

Despite their unconventional shows and avant-

often shown in the brands use of white lab coats,

garde fashion, Margiela sells more toned down

employees wear them giving collective identity yet

items within Dover Street such as bags and

mystery to those in the brand, but Galliano has been

shoes. The pushing of boundaries within the brands DNA is what makes it a perfect match for Dover Street. Creating new from old and embracing innovation the brand sits alongside Rei Kawakubo’s own values. The understanding of shape and form as well as the ability to be conceptual, appropriate and forward thinking is what stands Margiela apart yet allows it to seamlessly fit into Dover Street. Similar to the streetwear brands within DSM, Margiela inspired tribal adherence. With their consumers sharing traits such as being intellectual, pristine and not trend driven, instead they

followed Margiela for what the brand created.

“Margiela wasn’t a house, it was a philosophy.”

One of the most iconic pieces from the brand are the infamous Tabi Boots. The split toe design created the illusion of a bare foot resting on a heel, the heel was chunky and the leather mixed masculinity creating a unisex. The first Tabi shoe was debuted in 1988 when the models walked the runway wearing white lab coats with their shoes dipped in red paint, creating footprints no one could ignore. The prints were later used in his next collection where Margiela used the fabric the models walked on to create a bold trench coat with tape marking the waist. The silhouette was unconventional and unknown to the West, and became Margiela’s defining success during his humble beginnings in the industry. It later grew to become a staple in the label’s future collections for more than 30 years.

SIMONE ROCHA

“What interests me about her work is actually its endurance, there is a timelessness about it, which runs at different levels. First, there are themes at work — femininity, effortlessness — but there is very little seasonality about them.” 86

Simone Rocha is a designer, known for her signature sense of subversive femininity. She has a knack for layering ideas and concepts — a reference to an artist, or to a womenswear trend — onto classic feminine shapes produced in interesting fabrics, most of which she develops herself, heavy on solid blacks and reds, and all of it focused with a steely eye toward function. Rocha is the daughter of renowned London-based designer John Rocha and his wife and business manager Odette, so grew up immersed in creativity, consistently shown through her designs. She is able to take from her own heritage and transform it into something modern and new for the females of today. Her use of bold shapes, textures and motifs allow consumers to draw meaning from each little detail she proposes on her

catwalks. Her love of nature, form and man made all adds depth to her style. Simone has been at Dover Street for over a decade. Her installations are a constant stream of fun and experience drawing consumers in to explore more. She brings a sense of home and comfort to her installations mixing textures in her clothing and the surrounding spaces enveloping table cloths and embroideries. Simone Rocha is most well known for her smock dresses, recreating almost a childlike wardrobe for a new femininity. Pushing the boundaries of femininity is what marries Simone Rocha and DSM perfectly, she creative flair and use of her history is what constantly makes her different and exciting. 87

DOVER STREE

The DSM consumer varied on one side understanding of the brands within the st exhibitions. They wander around the sto through each brands space, knowing inst in. These people are probably higher clas disposable income to afford the h On the other hand, are those who visit f example the basement street brands. Th draws in this consumer and hence lead store expanding their knowledge of new lower classed consumers but have an in specifics of streetwear connecting with its a t-shirt for th

ET CONSUMER

e is those of intellect, they have a deep tore, visiting regularly to explore the new ore, soaking up the details and passing tinctively which brands presence they are ss, and more well off than others with the high priced items on offer in DSM. for the lower end brands specifically, for he ‘drops’ and exclusivity of these brands ds them to view other brands within the and exciting brands. These are probably ntense knowledge of the community and s background and history not just buying he sake of it.

DOVER STREET MARKETING Despite being a brick and mortar store and focussing most of its marketing tactics on the promotion of the store Dover Street does have an online presence in the form of a website and Instagram page for each store around the globe. With 758k followers Dover Street uses simple imagery of brands within its store posted on its grid, taking down all imagery each season and starting over, mirroring the store in this sense. Its grid and eclectic similar to the store expressing the many different brands it holds. On its website Dover Street sells mainly commercial items online such as t-shirts and hoodies however the more luxury and higher priced items are available in store only. This again acts as a draw for consumers to enter the store gaining an experience they simply cannot gain online. In this sense DSM lacks marketing especially on social channels - a potential down fall when looking to entice new consumers in a digitally developing world. However, its lack of marketing is based on principle of experience and building deeper connections to consumers by getting them through the door. However, there may be a better balance to be had when it comes to online marketing. 90

WHAT NEXT? From this research of brands within Dover Street I knew that I needed to view Dover Street in London to gain a deeper understanding of the space, why the brands that are in there have been invited into the DSM space, how they are exhibited and how such different brands interact with eachother. My main goals from this trip was to gain a deeper understanding of the curation and storytelling of DSM to inform how Chanel may be placed into it. I wanted to understand which brands were sat next to eachother and why as well as how this influenced the consumer journey. I also wanted to understand what type of products the brands within DSM were selling in comparison to products in a store such as Selfridges. Therefore, whilst in London I planned to visit Selfridges to compare the two stores, which have the same brands within them but sell different products and are marketed very differently. From this I wouold be able to draw a conclusion as to how Chanel could be best placed in Dover Street.

Dover Street Market is a multi brand retailer located in Mayfair in London. A concept store, built upon the Rei Kawakubo’s premise of ‘beautiful chaos,’ Dover Street hosts a plethora of brands from Gucci to Palace to Molly Goddard. The store aims to create new experiences for consumers allowing them to reconnect with brick and mortar stores in a digital age. Twice a year they close their doors to completely reconfigure the space and curate new installations ready for the next season, creating a new beginning. Brands are given full creative freedom in DSM to transform their space into whatever they want. No floor or brand has a specific gender meaning the spaces are open to all with all clothing mis-matched into the space but still in a unified style. Over the years DSM has supported many young talents from Craig Green to Charles Jeffery etc, there is a fine balance of brands enticing many consumer bases to explore the floors fully. Consumers may go in to view one brand, but the open spaces draw consumers round to view many new brands they may not have previously seen. The increasing number of Streetwear brands is driving younger consumers to discover DSM, bringing them in to explore the many floors within. Hidden away from the hustle and bustle of Piccadilly Circus Dover Street is one of the most exclusive concept stores. As you walk into Dover Street you are able to witness the curation of many somewhat different brands come together. When entering you are finally able to see what is behind the large white balls acting as security in the windows.

GROUND 96

FLOOR

The ground floor as a whole is a very open space. It is more artistic and conceptual than other floors, with the exhibitions more like gallery spaces with the clothing being almost secondary. The spaces provoke wonder as the brands merge into one another whilst maintaining their own identity. 97

In comparison to the ground floor, the first floor is more boutique-like with each brand sectioned off and separated by walls. Whereas on the ground floor the space is more open and brands flow into one another more seamlessly. Moreover the installations on the ground floor are more artistic and conceptual like with the clothing being secondary to the space. In comparison the first floor the clothing is the focus, this may be a reflection of the brands within these floors with the higher-end luxury 100

brands sitting here, they keep to their space in more structured settings.

FIRST

FLOOR 101

102

103

SECOND 104

FLOOR

The second floor is more open and inviting a space, it is more retail like in its appearance in that it is very white and bright in comparison with the floor below. The brands at this level are a mix of higher end streetwear and brands that present themselves as lower end luxury in that they are more wearable but they still carry a high price tag.

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Overall the third floor is a very textured floor it is far more tactile and art and crafts like. It is filled with lower end luxury brands that are quite almost childlike in their designs. This may draw in a younger market but also those with less to spend who will look to buy into lower end luxury. The infamous Rose Bakery is also o this floor adding to the experiential shopping DSM hope to provide, giving consumers time to sit and reflect 108

on the products as well as socialise.

THIRD

FLOOR 109

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BASEMENT 112

FLOOR

The basement floor is a home to the streetwear brands. The floor is vibrant mixing vintage and contemporary styles in a cohesive space. It is very different to the other floors with concrete floors, bold colours and wooden rails exhibiting the street style clothing.

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After visiting Dover Street Market, I went to Selfridges to look at comparisons of the two stores. Selfridges is the so-called heart of luxury shopping on Oxford Street, the iconic department store is host to many luxury and designer brands selling everything from clothing to bags to shoes to jewellery to make up. Created by Harry Gordon Selfridge in 1906, Selfridges is the only store to be named the Best Department Store in the World four times. Today it is more than just the sum of its products – its ‘everyone is welcome’ attitude creates a shopping experience that promises to surprise, amaze and amuse its customers by delivering extraordinary customer experiences. Tourist sites in their own right, Selfridges stores themselves are known for their architectural innovation and excellence.

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I found Selfridges to be, of course, profoundly different to Dover Street Market. Selfridges is more controlled in how it presents the brands it holds, they all have a Selfridges tag, in a space governed by Selfridges on how it is curated in comparison to DSM where brands have total creative freedom and control. Understandably this is due to the different consumers in both spaces and the fact that one is a concept store and one is a department store. I felt that DSM felt more personal and artistic as a whole whereas Selfridges was less gallery like but still maintained an air of experience in the displays and restaurants etc. Another difference was the type of products each store sold. DSM hosted mainly clothing that had obviously been specifically chosen and curated for each space. The consumer in DSM would is more likely to be deeply fashion aware, understanding the brands they see on a deeper level hence why brand names are not obvious around the store and neither are the prices. This suggests they are shopping with meaning and are drawn around the store to see new things. Whereas in Selfridges there is a mix of lower priced and commercialised items such as bags and shoes for high end designers such as Gucci as consumers in there have a lower price range to spend. The more commercial aspect is shown throughout with more streetwear items and lower end luxury brands but accessories are the clear winner of consumer attention in the shop.

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WHAT NEXT? After deciding upon this collaboration, I researched into previous collaborations as well as the similarities within the brands - shown further in my 10 x 10 book that allowed me to understand how this collaboration would need to look visually to be successful. 121

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There are many similarities to be drawn between Coco Chanel and Rei Kawakubo apart from thier shared love of the colour black. Both women have been instrumental in redefining fashion and are hugely important within the industry. Both have changed the way we view fashion, Chanel redefined the traditional womens wardrobe removing tight corsets and restrictive fabrics in favour of comfortable fashion that has continued to be one of her greatest legacies to today. Similiarly, Rei Kawakubo’s avante garde designs have changed the way consumers view fashion, creating wearable art that questions the body and its form, through the creation of new silhouettes that went against convention. In this sense, both women pushed boundaries and redefined the conventional allowing consumers to wear what they wanted how they wanted. Both brands and women are instantly recognisable, they have established a perfect brand image and legacy that consumers respect and understand. Chanel with her sophisticated form, CC logo and little black dress and Rei with her voluminous style, iconic love heart play logo and inspiring runway designs.

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The PLAY line launched in 2002 described by the label as “a sign, a symbol, a feeling”. The now-iconic logo was designed by artist Polish artist Filip Pagowski. “I remember working on something... not connected to anything. I got this idea of a red heart with a set of eyes. I drew it instantaneously and the first draft was it. I submitted it for another CdG project, for which it never made it, but eventually it resurfaced; making bigger waves as a logo for the PLAY line.” Designed by Rei Kawakubo, PLAYincludes graphic T-shirts, knits and accessories. Making use of a simple colour palette, the pieces use the heart logo in various ways – from applique patches to multiple collage arrangements. Available for men, women and children, the line makes its wearer instantly part of the cult CDG club. Following Comme’s collaborations with artists, the PLAY line has also seen partnerships with brands such as Converse and A Bathing Ape. The lower priced items allow consumers to gain a taste of the wider CDG brand without the price tag.

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COLLABORATION RESEARCH

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MONCLER GENIUS Since 2018, Moncler Genius has disrupted the fashion calendar. Instead of releasing two seasonal collections a year, Moncler Genius unveiled its plan to release monthly capsule collections throughout the calendar year, each helmed by a different designer. The project is the brainchild of Moncler chairman and CEO Remo Ruffini, who purchased Moncler Group in 2003 and has modernized the brand ever since by launching collaborations with Thom Browne, visvim, and Off-White among others. Collaborations have been a way for Moncler of reinterpreting their DNA through different designers’ visions, while also expanding their universe to include communities from, on the one hand, streetwear (as in Matthew Williams of 1017 ALYX 9SM), or ballroom couture (as in Pierpaolo Piccioli from Valentino). The craftmanship and thoughtful designs of the collections within the Genuis collection are what makes it so interesting, each looking to recreate their brand in an over-sized volume previously unseen. Craig Green pushed the qualities of Moncler’s fabrics to create sculptural and technical master-pieces in a signature Craig Green silhouette. Whereas Matthew Williams of ALYX created a luxurious, high gloss version of classic Moncler items mixing futuristic styles with minimalistic street influences. Simone Rocha’s take was intricate and detailed, as is her work, yet voluminous and striking mixing her delicate patterns with the bold silhouettes of Moncler. All the collaborations have a theme of volume, lightness, craftmanship and protection that are all synonymous with Moncler. Proposed in a new way mixing the DNA of brands together formulating something stimulating and different for consumers, especially those that are young/ Gen Z to engage with. 128

PIERPAOLO PICCIOLI

PALM ANGELS

RICHARD QUINN

SIMONE ROCHA

J.W ANDERSON

CRAIG GREEN

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NIKE X SACAI The styling and designs of the Nike x Sacai is something I have referenced in my own work. This collaboration saw a feminine edge redefined into sportswear in an 8 piece capsule. The shared passions of both sides of bold expressions and innovation are seen clearly through this collaboration. The collection blends together the performance wear of Nike with the functionality and creativity of Sacai. The panelling and pleated aesthetic alongside the beautiful smaller details are true to Sacai whilst the fabrics are innovative and technical bringing about a great collision of looks. The deconstruction of Nikes traditional items such as the Windrunner into a skirt are juxtapositions previously unseen for Nike but these twisted ways of wearing still provide a fluid look of motion key to Nike’s brand identity. It is this deconstruction and reconstruction that I want to take forward into my styling, layering together the identities of both brands in new ways.

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PHARRELL X CHANEL It is well known that Chanel does not collaborate, perhaps another of its downfalls. However, their only collaboration was with Pharrell in 2019. “The urban collection highlighted Pharrell William’s long-term relationship with the house.” (Chanel, 2019) The unisex capsule collection was available only in Seoul and comprised of a vibrant street art aesthetic with the iconic CC logo reimagined into graffiti style motifs. The bold yellow hoodies, rhinestone costume jewellery worn as chains alongside bucket hats and bum-bags the collection embraced a Pharrell’s personal street style and was significantly different for Chanel. Despite the fact that this collection seemingly symbolised Chanel’s step into the streetwear market, this collection was relatively poor and was not widely received. It did not target the youth, of whom streetwear defines much of their personality furthermore, the collection could have done more to maintain the distinctly Chanel aesthetic. 132

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LOUIS VUITTON X SUPREME

One of the most hyped collaborations of all time, the Supreme x Louis Vuitton collection broke in 2017. It consisted of hats, keychains, wallets, co-branded coats and denim jackets, T-shirts, hoodies, bags, and sneakers perfectly blending the characteristics of both brands. The collab sought to “create customer excitement” in a “world where everyone wants the new, new, new.” (Kim Jones, 2017) Met with some dissatisfaction, overall the collaboration became a ‘reference point in fashion history of how two masters of branding have come together to create a collection to satisfy such a diverse group of customers.’ This collaboration was one of the first for a luxury fashion brand, setting an everlasting tone for the top luxury brands and streetwear brands alike. The desire for this collab has continued as in 2019 a hoodie from the collab was for sale on eBay for $29,999! This shows the gravity of collaborations of this nature. The simplistic nature of this collaboration was also to its success, the range of items and differing price points, with simple logo designs and prints made it instantly recognisable, accessible and desired by many. 135

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WHAT NEXT? After reseraching into previous collaborations and starting my styling ( please refer to other development and reserach books.) I needed to research how this campaign would be marketed online. I have researched into Dover Streets promotion and in store look already hence I have been able to curate my own retail space for the collaboration. However, Gen Z are very focussed on Social Media, so this was an important platform to understand and connect with consumers on.

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INSTAGRAM Instagram is the second most accessed network behind Facebook. The popular visual-first social medium sees over one billion active monthly users and 500 million daily Instagram Stories. Instagram’s primary advantage over other social media platforms is its visual nature and ‘aesthetic’ nature. It allows users to express their unique visions alongside many others. Gen Z are digital natives and average 4 hours a day on apps such as Instagram, TikTok and Facebook. The majority (97%) of Gen Z consumers say they now use social media as their top source of shopping inspiration and 61% of them are specifically interested in watching more video content. Instagram has turned into a multifaceted app that combines elements from Snapchat (Insta Stories), YouTube (live streams, IGTV), Facebook (sharing photos) and Twitter (political statements) into one platform. It’s no surprise that 65% of Gen Z checks Instagram on the daily, given its versatility. Brands that want to capture this audience’s attention need to prioritize authentic, organic content rather than the more polished imagery they became accustomed to producing for millennials. Instagram campaigns are successful when they are relatable and down to earth and can create huge awareness for brands. To build awareness campaigns aim to showcase what’s distinct, exciting and exceptional about your brand. User generated content is also important to Instagram campaigns. UGC campaigns, encourage followers and customers to share posts featuring products, using a specific hashtag to tie the campaign together. Instagram will be key to this campaign as not only is it the main platform for gen z, the consumer of the collaboration but it is the platform most used by both brands already meaning they will have a large reach of consumers. 139

CONTENT PLAN EXAMPLE LAUNCH WEEK

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It will be incredibly important to have a structured social content plan for this launch for both brands to follow to ensure maximum impact and reach of this collaboration.

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TIKTOK TikTok is a social platform that lets users create and share entertaining 15-second videos, such as lip-syncs, feature skits and dance competitions. Over 60% of TikTok users are comprised of Generation Z. Whether it’s for casual entertainment or formal education, Generation Z often prefers to consume content in rich video formats. While it’s believed that young, digital-savvy audiences don’t like being marketed to, this is not actually the case. Rather, Generation Z consists of online natives who are familiar with digital tactics and are simply drawn to fresh takes on advertising, such as authentic videos. This is what makes TikTok videos so appealing: TikTok videos are typically characterised as raw, high-energy and deeply engaging appealing to a consumer who wanted relatability. Fashion brands have been able to use TikTok to give a new perspective of their brand and have been successful in this. For example the #GucciModelChallenge which wasn’t set up by Gucci but turned into a huge marketing opportunity. Consumers dressed up in their most outrageous clothing to become a ‘Gucci model,’ Gucci re-posted the TikToks, and made note in their caption that some users selected by the brand will be part of an upcoming project with Gucci. This gave consumers to interact with the brand hopping on the trend as it grew giving Gucci a personality and humorous feel. 142

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