PRADA
PRADA ROOTS BA Fashion Marketing & Communication Level 5 2020/2021 Module title: 5FAMK003C Visual and Video Techniques Subject Coursework: CWK1 Teacher: Nicolas Godon Student: Magdalena Wimmer Word count: 3.844 words
TABLE OF
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CONTENTS
ANALYSIS
PAGE 4-17
EDITORIAL BRIEF
PAGE 18-27
EDITORIAL PREVIEW
PAGE 28-35
LOOKBOOK BRIEF
PAGE 36-37
LOOKBOOK PREVIEW
PAGE 38-41
MINISITE BRIEF
PAGE 42-43
MINISITE PREVIEW
PAGE 44-46
BIBLIOGRAPHY
PAGE 47-52
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CORPORATE
PROFILE
In 1913, Mario Prada opened his first store in Milan where he mainly sold handbags, travel trunks, beauty cases, accessories, jewellery and other luxury items. Due to his innovative designs and high-quality products, Prada became known by the aristocracy within a short time. Over the years, the brand gained large awareness and prestige. More than 60 years later, Miuccia Prada, Mario’s granddaughter, joined the family business, where she mostly worked on designing accessories. In 1977, when Patrizio Bertelli became part of the brand, Miuccia and him took the brand in a new, successful direction. While Miuccia was responsible for the sophisticated creativity, Patrizio was in charge of Prada’s business model. Together, they couple, was complementing two tremendously important components for a luxury fashion brand. This was also the starting point for their international success and recognition. It allowed the brand to open stores worldwide, to design more collections and to launch other brands, related to the Prada Group, for instance MIU MIU, Church’s, Car Shoe and Marchesi 1824. Until today, Prada is led by Miuccia Prada and therefore one of the very last luxury family businesses. In
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April 2020, Raf Simons became cocreative director and supports Prada with his pioneering approach and vision. Prada, among other brands, has a high top-of-mind awareness when it comes to luxury goods. Their mission is to be a successful luxury brand that observes the contemporary society and its interactions by a fluid perspective. To remain faithful to their core values, such as ethical values, freedom, creative expression, reinterpretation, know-how and valorisation of people’s work. According to Miuccia and Patrizio, they believe that today is no longer enough, and their vision is to become a leading actor of change, with the flexibility to understand the market’s and customer’s demands.
MARKET
POSITION
A previous analysis has shown that Prada is following the differentiation strategy in order to achieve awareness in the market. Their brand values are the Italian culture, the family business, their originality in finish and details and their high qualitative, long-lasting items. Unfortunately, it is no longer a secret that Prada is suffering some decrease in the market position. Due to strong innovative competitors, Prada is falling behind in the list of the top luxury brands. Some of Prada’s renowned competitors are Burberry, Dior, Valentino, Dolce & Gabbana and Gucci. Since Alessandro Michele was named Creative Director of Gucci, the brand has become Prada’s strongest and most remarkable competitor. Gucci’s fluidity in values, products and visuals is one of the reasons that they are several steps ahead in the market. Prada, compared to their competitors, has one big advantage, which is their family business. The brand is mentioning that being a family business after so many years, is very rare nowadays and therefore one of their core values. Nevertheless, they are not able to transmit this value to their audience. When it comes to the products and the service Prada is offering, they are acting well. The brand is known for having one of the most qualitative leather goods which will last for many years. They are mainly focusing on minimalist fashion in black, white, grey and beige colour and have a strong passion for details. Whereas Gucci is bringing his collections to life by using vivid colours, patterns and creating emotions on the runway. Emotions are extremely important in order to increase recognition and awareness. As Prada has no or poor emotional territory, they cannot connect to customers as its competitors do.
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CURRENT
SITUATION
The fashion industry, and many others, are characterized by the pandemic Covid-19. Now, more than ever, consumers have a strong desire for the basic needs in life, such as stability, traditions and affiliation – whether it is to the family, friends or culture. Millennials, the younger target of Prada, are heavily affected by the coronavirus and it changed their way of thinking. The fact, that consumers are changing, means the industry does have to change too. Transparency between the brand and the target audience is crucial for any business. Unfortunately, Prada is still having issues with that and it also affects their image. As mentioned before, Prada lately is suffering an important lack of emotions and also during the pandemic their actions did not coincide with their core values. Many consumers were complaining on how Prada, being an Italian family business, did not offer immediate help during the first lockdown. Therefore, this project is especially focusing on the initial brand values and the origins of Prada. The new campaign of Prada is an homage to its origins – Mario Prada, to the Italian culture and to love and family. Prada wants to create emotions by applying basic needs (stability, friends, family, love), while keeping the sophisticated designs and minimalist influence. Family, love and culture are returning trends, customers are looking for. Prada, together with the new campaign, is adapting to the new needs in order to build a stronger, more transparent relationship to the consumer.
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COMMUNICATION
In terms of communication, Prada is famous for its 365 advertising campaigns. The brand is using short movies as a communication tool for the presentation of new collections. Instead of making one film, they are focusing on several scenarios with several narratives. The story behind might be different for each, but they have one thing in common – Prada’s handwriting and the collaboration with famous photographers, models and celebrities. However, the 365 advertisements are a recent strategy. In previous years, Prada focused on “Abovethe-line-communication” – the traditional advertising, such as billboards or fashion editorials for magazines. Through the years, Prada started adapting to new technologies and therefore, spends a great effort on the digital transformation. Another tool Prada is using, is a countdown on the website and in the newsletter 9
BACKGROUND
for limited items. Instead of dropping everything at once, they are presenting products step by step and as a result they are gaining more awareness. As any other luxury fashion brand nowadays, Prada is paying a lot of attention to their social media accounts. Just as their competitors, they are communicating through Facebook, Twitter, Instagram and TikTok. These platforms allow the brand to connect to many customers as possible and in addition, it is one of the cheapest communication strategies. Furthermore, Prada is known for combining fashion with architecture, art and literature. Customers also had the possibility of participating in one of the brand’s contest and Prada raised important awareness through it.
THE
MESSAGE
The message of the campaign is to learn how to appreciate origins. Prada will encourage the younger generation, in this case the Millennials, to go back to their roots, traditions and culture. Attributes that society had forgotten about lately, but pandemic has brought back to life. 2020 is the year of recalling the past and Prada wants to invite its younger target to learn where the brand started and to live the experience. On the one hand, Prada needs to adapt to the desires of the Millennials while keeping the relationship to their loyal customers. The editorial should be a time travel to the beginnings of Prada, but the designs will adapt to current trends and Prada’s trademark. The new collection is influenced by Italy, which is synonym for family, love and Prada. Italy is Prada & Prada is Italy.
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TARGET
MARKET
Prada’s target is both, male and female. Due to the fact that the highest profits still come from leather accessories (e.g. bags) and these are mainly bought by women, Prada is focusing more on their female target group. The target market is between 25 and 40 years old and therefore a high percentage of their consumers are Millennials, and some of them, Generation X. Despite the fact that many of Prada’s consumers are celebrities, the rest of them do have a wealthy lifestyle and they are concerned about their appearance in public. Prada’s consumers search for high qualitative products with a strong brand image and they do not mind spending more money. They do come from an upper social class and are usually well-educated, living in or close to big cities. In addition, Prada’s target group is aware of fashion trends or current events (e.g. pandemic). Even though, they have a strong connection to their own culture, they love to travel and explore new languages, traditions and cuisines. Prada consumers tend to work in an office job – whether it is in the financial or the creative sector – or they are successful self-employees. All in all, Prada’s audience is an established person coming from the elite-society and having a big knowledge regarding fashion, lifestyle and trends.
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G O A L S
GOALS
The goal is to bring back the Italian nostalgia of Prada by honouring its origins while keeping their minimalist, snobbish designs. In addition, Prada wants to create again emotions that drive consumers and raise awareness among the Millennials and Generation X. The brand wants to be again in the top-of-mind of luxury fashion – but not only for their leather goods, but also for their designs, actions and storytelling. These objectives can be measured by increasing profits, higher awareness (e.g. number of followers on social media, earned media) and a stronger, more transparent relationship between customer and brand (can be analysed by the amount of shared media Prada is receiving)
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WHERE TO
FIND INSPIRATION
The inspiration can be taken from their history – how they used to communicate, design and how they used to play with visuals. Prada should take a look on their competitors’ strategy – especially Gucci in terms of communication and Dolce & Gabbana, when it comes to emotions and storytelling. The models should be well selected since it is one of the principal elements, consumers are criticizing. Prada’s consumer like their designs, but they miss the emotional connection to the brand, or they simply cannot relate to it due to missing reality in their campaigns. The balance between nostalgia, modern elegance and timeless pieces should be a crucial inspiration to make Prada relevant again.
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WHAT NOT
TO DO
- Avoid too many colour mixes that are not coherent - Do not use ornate, squiggly fonts - Avoid too skinny, “sick-looking” models - Avoid a “busy” layout – it does not fit the brand
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- Do not show models with an empty stare – bring emotion in the editorial - Do not make it too gloomy – remember the vivid Italian nostalgia - Avoid changing the whole brand or making it a new brand – remember the core values
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EDITORIAL
BRIEF
The editorial brief “Prada Roots� as the name already reveals goes back to the origins of the luxury brand. Influences are coming from Italy, Mario Prada and the love and romanticism, the country is known for. The idea is to combine the minimalist elegance of Prada with their sensual, romantic influence coming from their history and country. During the last years, Prada became more and more minimalist while consumers where claiming the lack of emotions. By focusing mainly on couple shoots in an romantic atmosphere outside the Studio, Prada wants to relive the emotional, historical and defining years of what the brand used to be. The goal of the editorial is to invite the viewer being part of the scenario and models are expressing calm, love and happiness towards the consumer.
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STYLIST
Anna Sokolowska is a Polish fashion stylist who lives in Amsterdam since 1997. She especially works for fashion and lifestyle magazines and loves naturalness in the fashion industry. Anna is known for her eye for details and a chic, but sensual style. Altough, Anna Sokolowska never worked with Prada before, they are coinciding in many aspects. The fact, that it is a new collaboration in this editorial allows the brand to be more open-minded and receptive to new influences. Anna Sokolowska is the right stylist when it comes to the combination of clean, minimalist outfit with its focus on details.
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MODEL
CASTING
The models for the editorial are already known in the Prada family. Especially the female models, for instance Ymre Stiekema and Kathryn Kruger will remind consumers of the Spring/Summer 2012 campaign. The collection was characterized by feminine silhouettes, sexiness and vivid tones. The purpose of the model casting is to corporate with models, consumers can relate to. They should not be too skinny and during the photoshoot their expressions should transmit fun, love and happiness. Tim Schuhmacher became part of the Prada Family a few years ago and with Mattia Regonaschi as the second male model, Prada is representing their origins.
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MAKE-UP
& HAIR
Pat McGrath and Guido Palau will be responsible for makeup and hair. They are one of the best in their profession and they both already worked with Prada and some of the mentioned models. For the editorial, the focus of the makeup lays on the lips, there will be hardly any eye makeup. The idea is to transmit a “no makeup” look while the female models will wear a catchy matte lipstick in mainly red and berry colours. Regarding the hair, women will whether wear their hair open and with waves or they will simply wear it tied up with some lose strands of hair. When it comes to the male models, the motto is “less is more”.
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PREPARATION &
ART DIRECTION
As soon as all the necessary tools and persons are decided, Prada will finally book the models, set up all the contracts with hair and makeup, the stylist and the photographer. The photoshoot will take place at the Villa del Balbianello at Lake Como and the brand should already have the permission for it. As the editorial will be done in Italy, the organization of it is much easier than in other countries (e.g. in terms of laws). The only additional effort is that most of the participants are coming outside from the country, which could make it more complicated due to Covid-19 restrictions. The brand has to make sure, that every one of them has the possibility to travel to Italy.
As Raf Simons is Prada’s Creative Director he will also be responsible for the art direction of the editorial. In addition, Miuccia Prada will also be part of the art direction as they are combining exactly what we are looking for in the editorial. Raf will be in charge of the minimalist side of Prada while Miuccia, coming from the family business, will bring the historical Italian flair of her grandfather. As Miuccia is working in the company since the 1970’s, she will know how to convert the ideas into an authentic editorial.
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MODEL
DIRECTION
Although most of the chosen models already worked with Prada, they need to receive a detailed brief before the shoot as every editorial has a different approach. The idea is to show them mainly as couples, but also as one single person. Their facial expression, in contrast to other Prada editorials, should be a romantic, calm look. The models should look like they are in love. Even though they should not laugh out loud, as it is still an elegant and serious shoot, they must transmit
happiness. The models will pose in the garden of the Villa but there will also be some close-ups from the couple itself where the details of the garments will appear. In some occasions, it should look like a snapshot taken from a couple that is in love. This is where Prada is making it authentic. In the following, examples for the model poses can be found. In the final editorial the photos will be in colour.
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PROCESSING
& RETOUCHING
Mario Sorrenti is a Naples-born photographer who grew up in New York City. Sorrenti, as many other photographers, comes from an artistic family. He is not only known because of his relationship with Kate Moss, but also because of his sexual editorial work in the fashion industry. Firstly he only took intimate photos of Kate Moss as a hobby, but it later converted into one of his biggest passions and his profession until now. During his career he did not only work with influential figures, such as Oprah Winfrey, Joe Biden or Barbra Streisand, but he is also in high demand by many fashion brands, for instance Chanel, Hugo Boss or Prada. Sorrenti even had the honour to shoot an editorial with Miuccia Prada herself. The fact that he already used to work with the Italian brand, will help to make the editorial even more authentic. Prada lately, is mainly working with photographer Steven Meisel. The new editorial with Mario Sorrenti is the first step towards a more sensual, vivid and successful Prada – the Prada we once knew. Mario Sorrenti will also be in charge of the photo’s retouch and process from raw to tiff files.
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PAGE
LAYOUT
The layout of the editorial will appear as a full-page layout in the A4 format. The orientation of the photos will be vertical which makes it comfortable for the viewer’s eye. Some photographs might go over two pages.
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PRADA
BACK TO THE ROOTS - a historical love story around the Lake Como
Photographer: Mario Sorrenti Art Direction: Raf Simons & Miuccia Prada Stylist: Anna Sokolowska Hair: Guido Palau Makeup: Pat McGrath Models: Ymre Stiekema, Kathryn Kruger, Tim Schuhmacher & Mattia Regonaschi
Models: Mattia Regonaschi & Ymre Stiekema Outfits: Prada SS21 Watches: Rolex Earrings & Rings: Cartier
Models: Ymre Stiekema & Kathryn Kruger, Dresses: Prada SS21
THAT’S AMORE
Models: Tim Schuhmacher & Mattia Regonaschi Outfits: Prada SS21 Shoes: Church’s
Model: Kathryn Struger Dress & Tights: Prada SS21 Necklace: Cartier Shoes: Christian Louboutin
Model: Tim Schuhmacher Shirt: Prada SS21
Models: Tim Schuhmacher & Kathryn Struger Outfits: Prada SS21
LOOKBOOK
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LOOKBOOK
BRIEF
The best and most coherent option for Prada is a lookbook. As Prada is a high luxury brand, they care a lot about exclusivity – lookbooks are for the brand only and therefore very exclusive. Another important aspect of lookbooks is their minimalist, straight-to-the-point style which is exactly what Prada is representing. In previous occasions, Prada already published lookbooks and it is therefore one of their trademarks – nowadays they do not use catalogues anymore as they do not fit that much with the brand’s philosophy. In addition, catalogues are for the public and can be found in the stores mainly. Since the pandemic Covid-19 appeared in consumer’s and brand’s life, everything moved from an in-store experience to a digital one. Despite the fact, that brands could make their catalogues digital for consumers – the result will not be the same. Therefore, Prada is opting for a lookbook – which can be done digitally and so they are avoiding future issues, for instance lockdowns. The lookbook for this editorial will reflect again the fonts and they visual style that can be found in the beginning of the research. Nevertheless, one must take into consideration that the focus of the
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lookbook lies on the garment itself. As the lookbook and the brand itself are very minimalist, neutral and straight, theses visual must be applied also on the photos. The models and garments will be shown in a full body photograph whereas the photos can be taken from different angles. The floor and the background will be in a soft beige or ivory colour – it will not be black nor white because these colours might seem to strong or hard in comparison to the garments. As Prada is very detail-oriented and the lookbook should give an informative insight of the product, every page of the lookbook will have another detailed photo after the full body one. Next to it the explanation of every single cloth will appear – this is where important details, for instance the collar, the seams or the hem will be explained. As the colour of a lookbook’s garment must be as authentic and real as possible, the colour code will be shown too. Every photo for the lookbook will have the logo and next to each model, there will be a brush strike in the colour of the garment and with the name of the model on it – the brush stroke symbolizes a handwriting which is also strongly connected to love or writing love letters.
LOOKBOOK
MATTIA
SKU: JW1994 two pockets on the left small collar colour code: 360ff2y
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LOOKBOOK
YMRE
SKU: JW1464
gathered by a cord in the waist high knitted collar colour code: 28r7ff4b
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LOOKBOOK
KATHRYN
SKU: MD934 seam in front part two pleats in the front colour code: 354op29i
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LOOKBOOK
TIM
SKU: LT1464 high hem in the length diagonal seam on hem colour code: bu82dw78
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MINI
SITE
The aim of this minisite is not to replace the original website of Prada. The minisite, which is called Prada Roots, is like the daughter of Prada’s website. Prada is known for discussing other topics despite fashion – even though these are related to the fashion world. The Fondazione Prada, for example, is an institution that dedicates its work to contemporary art. Art and fashion do have a very strong connection and therefore, Prada’s Fondazione can be considered as another “daughterwebsite” of their original one. The minisite Prada Roots has the same approach – but in terms of history and culture. The idea is to look back to the beginnings of the brand and to follow their footsteps and traces they left throughout the years. Italy is the birthplace of Mario Prada and has an intense influence on the development of the company. The brand is characterized by its culture – but lately, they are suffering a lack of it. This is one of reasons why the minisite wants to show Prada’s customers the importance of the brand’s origins. Prada is Italy – and Italy means love. Romanticism also plays a crucial role in this minisite. In short, Prada’s original website will still be in charge of selling and promoting garments, campaigns and the launch of new collections – the minisite in comparison is explaining consumers the footsteps Prada has left in the world and what their most important influences are. The minisite could also be considered as a visual and written trip to Prada’s past. The Visuals Visually, the minisite will coincide with the layout of the project. This means that only two types of fonts will be used – the headline will have a more romantic one while the body text will be simple and straight to the point. The photos will be a mix of colour and black and white – one of Prada’s trademarks. Since some of the photos are only in black and white – visitors can reference it to the past and the history of Prada. Additionally, this will give the minisite an elegant touch and therefore accompanies the brand’s style. The layout of the minisite will be in black and white. In some occasions, the background could be black and with a white font (e.g. quotes) – but it should not be used in the whole layout as having a white background is more comfortable for the viewer’s eye.
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The surprise Bringing consumers closer to Prada’s history and influences is not the only aim of this minisite. As mentioned already throughout the analysis, consumers are claiming a lack of emotions and feelings from the brand. Therefore, the minisite is also creating a contest for anyone who would love to join – from Prada’s loyal customers to potential consumers with a creative mind. The idea of this contest is to invite anyone to explain their very own love story – whether it is written, painted or in form of an audio or video. Only five people will be able to win the contest and they will be invited to
a trip to Italy where they will get to learn Prada’s origins by visiting the brand and they will also have the option to get to know the Italian culture. Due to this type of contest, Prada is encouraging consumers to participate and become part of the brand’s philosophy. Prada already did a similar contest and as consumers worldwide participated – they earned a lot of awareness and new customers. As a result of this contest, we expect a stronger and more transparent bound between consumers and Prada and to fulfil consumers desire of a more emotional Prada.
Minisite: https://pradaroots.wordpress.com/ ISSUU: https://issuu.com/magdawimmer/docs/indesign_project_for_issuu
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