ELEGANCE, POWER, FEMININITY, INDIVIDUALITY
£5.00 CZK 155.00
2017-5FH503 FASHION MARKETING AND BRANDING
NO. 1 SMALL ISSUE WINTER 2017 EVALUATING DIOR BRAND
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Arik Nepo dress from the Fall-Winter 1948 Haute Couture collection AilÊe line Vogue Paris, october 1948 Š Arik Nepo / Vogue Paris
DIOR winter 2017 small issue
Executive Summary This report summarises the story about a brand whose founder was a creative individual, who made his dream come true. This man was Christian Dior. This report evaluates brand’s history and heritage as well as the brand’s values and assets associated with it. In addition, brand consumers and with it connected brand positioning and communication channels will be analysed.
On cover page is MissDior short evening embroided with flowers, Spring-Summer 1949 Haute-Couture collection, Trompe-l’oeil line. Photograph by Patrick Demarchelier. 03 DIOR
CONTENTS
EXECUTIVE SUMMARY 03
CONTENTS 04
METHODOLOGY 06
BRAND DEFINITION 07
BRAND HERITAGE 08
BRAND VALUES 12
BRAND ASSETS 15
Ready-to-wear Fall/Winter 2017-2018 Dior Vogue Paris DIOR 04
CONTENTS
BRAND IDENTITY 16
BRAND CONSUMERS 18
BRAND POSITIONING 22
BRAND COMMUNICATION MIX 24
BIBLIOGRAPHY 32
CONCLUSION AND RECOMMENDATIONS 34
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This report has been compiled using primary and secondary research. Primary research was collated from observation on a research trip to Birmingham visiting Dior stores in Selfridges and Harvey Nichols as well as competitors’ stores, and from conversations with employees. Whereas the primary research enabled me to have a first impression of the store layouts and products, contrastingly, secondary research gave me more of a factual understanding. Secondary research was collated from books, magazines, brochures, samples, websites and social media.
Methodology
Brand Definition Hameide (2011, p60) states, the brand is an old concept which as result of the similarity in mass-produced products that flooded the markets after the Industrial Revolution became a differentiating and competing for necessity in modern times.
www.cosmopolitan-jp.com 07 DIOR
BRAND HERITAGE Sketch by Christian Berard Collection Musee Christian Dior Granville Picture from Dior: 60 Years of Style: From Christian Dior to John Galliano DIOR 08
Henri Cartier-Bresson, model Alla having the May dress fitted before the fashion show, 1953 © Henri Cartier-Bresson / Magnum Photos
The real story began on 12th February 1947 on Montaigne Avenue where Christian Dior launched his first The Corolle collection and created the fundamentals of this luxury brand. Since then his world has never been the same and neither was the way of perceiving the feminine look of the time when he won back the place Parisian couture had lost during the World War II. (Pochna, 1996) and created a huge platform to build on. Malcolm Barnard (1996) indicates the purpose behind Dior’s designs was to emphasise change or discontinuity and also agree with Ted Polhemus’ and Lynn Procters’ opinion (Polhemus and Procter, 1978) on how the New look of 1947 started a revolution of many different new looks.
With regards to brand architecture, Christian Dior S.A. is a holding company founded by Christian Dior on 16 December 1946 in France (Senft, 2011). It is formed into two main divisions: LVMH Group which operates through Fashion & Leather Goods, Wines & Spirits, Watches & Jewelry and Perfumes & Cosmetics; and Christian Dior Couture (Forbes, 2017), owned by Chairman and CEO of LVMH Bernard Arnault (Duvaud, 2017, p3). The brand focuses on women’s wear and accessories, men’s wear through Dior Homme, children’s wear in Baby Dior, fragrance, footwear, skincare and colours in Dior Makeup (Dior, 2017).
Designed, retailed crafts are presented on fashion shows and sold worldwide through more than 194 boutique stores (Hoovers, 2017) and online stores. After Christian Dior’s death on 24 th October 1957, appointed artistic director position went to Yves Saint Lauren, followed by Marc Robac in 1960, Gianfranco Ferré in 1989, controversial John Galliano in 1996 (Chenoune, 2007), Bill Gaytten in 2011, Raf Simons in 2012 and since 2016 the Creative Director is Maria Grazia Chiuri (Chiuri, 2017).
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To celebrate 70 years of this exceptional brand, from 5th of July 2017 to 7th of January 2018, The MusĂŠe des Arts DĂŠcoratifs is running a chronological themed exhibition.
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dior.com
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BRAND VALUES The products of the brand can change, develop, or be replaced, but the initial brands are supposed to outlive these products and the reason, why the brands succeed are due to their values; they represent what the brand means to its consumers (Hameide, 2011). Dior’s values would be elegance, power, femininity and individuality coming out of bold new looks represented in an excellent quality of products. For consumers to decide whether to buy a Chanel or Dior bag, there are many attributes that shape the product, therefore the consumer’s decision. Besides the tangible features, such as quality and appearance, price, distribution and added status symbols which can make the consumer feel cooler, more elegant, stylish, smarter or sexier with the product, are also important. Consumers are getting
this message from the brand and its unique selling point (USP) and emotional selling point (ESP) techniques, therefore further information will be added in the Brand Positioning section (Hameide, 2011) Sustainability should be mentioned as a brand value as well because it has an enormous effect, not just on employees but on the planet as well. Regarding to several online resources, in Dior’s case, sustainability is something that is sadly, as in many other luxury brands, not well managed. By launching LIFE 2020 in 2016 Group LVMH stepped forward by setting four joint objectives for the Maisons for upcoming years to follow and fulfilling their historical commitment which is to protect natural resources. Bernard Arnault name these objectives in his Message to the LVMH Environmental Report.
Picture on the following pageis from Dior: 60 Years of Style: From Christian Dior to John Galliano LVMH logo from lvmh.com DIOR 12
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First objective states “the Maisons will be required to
improve the environmental performance of all their products,” second is “to ensure the implementation of the highest standards throughout the procurement chains,” which encourages Maisons to use precious and raw materials for products manufacturing. Third is “keeping with the overall objective of limiting global warming to a maximum of 2°C, namely reducing the CO2 emissions relating to our energy consumption by 25%,“ therefore marking COP21 Paris and assigning a price to its greenhouse gas emissions. Lastly fourth is „to continue improving each Maison’s environmental performance,“ supporting its long lasting heritage (Duvaud, 2017, p3).
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ELEGANCE POWER FEMI ELEGANCE ELEGANCE POWER POWER FEM FEM
Marlene Dietrich in Stage Fright photo © Everett Collection Source: Vogue.it CD logo from dior.com DIOR 14
ININITY INDIVIDUALITY MININITY MININITY INDIVIDUALITY INDIVIDUALITY
BRAND ASSETS
Brand assets mean everything that is instantly recognised as a certain brand’s legacy. For instance, let’s take two letters ‘CC’, reversed and linked together. Every fashion person cannot think of anything else but Chanel and its famous logo. These little things are important even for Dior to stand out between its competitors. Amongst those competing with the Dior brand are Chanel, Gucci, Céline, Prada, Louis Vuitton, Yves Saint Laurent, Balenciaga, Hermés, Choé and others. Therefore, what is instantly recognised as Dior? Iconic black and white silhouette, the Dior bag in Jennifer Lawrence’s embrace, playful colours from Dior’s makeup on Bella Hadid’s face or Natalie Portman jumping of the pier in Miss Dior Fragrance advert? Throughout the years, the Dior has been associated with many names and many faces. To name some, in 1950 Marlene Dietrich wore Dior in Alfred Hitchcock film Stage Fight (Senft, 2011). Known for destroying boundaries between Chanel and Dior by frequently wearing both brands without hesitation was Marylin Monroe. Marion Cotillard and Jennifer Lawrence are famous for starring in Dior’s bag campaigns. Charlize Theron, Robert Pattinson, Jamie Dornan or Johnny Depp has been known for promoting Dior’s fragrances. Presently, Bella Hadid represents Dior Makeup, walks Dior’s fashion Shows and wears Dior’s gowns on various occasions. Thereby, with her playful, open and positive mindset could be understood as an ideal example for customers.
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BRAND ID
“The process of creating a brand identity is abou
of attributes and visual symbols such as shap
Speaking of developing a brand personality, every brand needs a story, the story that makes people buy into the brand and come back for more and also, how the story is delivered to the audience by incredible content makers usually by campaigns, commercials. Whether it is Gucci Cruise 2018 Campaign: Roman Rhapsody introduced as a series of imposing portraits “of real people in real places” (Gucci, 2017) or Balenciaga SS17 Collection Campaign revealing relationship between couture and fetishism (Stansfield, 2017), they will make you feel emotions, remember old memories and relate to certain situations; but most importantly, they will cajole you to make a resolute or subconscious decision whether you do or not like what you are being presented. When Christian Dior brought his iconic “New look” to still recovering post war society there was no assurance of a success. Nevertheless, working women loved the idea of power and elegance being united to empower and inspire. Yet, women were the inspira-
tion for Dior; Fragrance Miss Dior was named after his sister Catherine as well as a springtime Dress in 1949 (Muller et al, 2013, p17). Brand identity also connects to the brand name; and choosing Christian Dior’s name as a brand name was simply genius at the time, because anyone could conclude its origin from a French name and therefore concluded association with a French heritage and luxury. By simplifying the name from Christian Dior to Dior didn’t change these appeals but quite the reverse. It is now easier to pronounce thus internationally reachable by different cultures and different markets as it was before. Besides Dior’s name, Dior uses the discernible iconic, simple, and monochromatic “CD” as logo; inspired by Dior’s most iconic outfit, the black and white Bar suit, featuring Christian Dior’s initials in black colour on a white background and has changed only slightly through the time, mainly for advertisement purposes (Hameide, 2011, p60,61).
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DENTITY
ut developing a personality reinforced by a set
pe, a colour, a logo, a package and so on.�
(Hameide, 2011, p134,135)
Photo: Irving Penn Fashion Photography 17 DIOR
BRAND CO
Photo: https://www.gq.com/story/asap-rocky-gq-style-cover-story
The decision of buying a luxury brand product is usually more emotional than rational and a customer might over economic returns appreciate the aesthetics. Store layout and atmosphere, sophistication or image, the little things that play an important role in customers’ decision, can also succeed over the value for money. Hameide (2011, p118) claims that luxury brands’ consumers are wealthy, sophisticated and rather confident in making fashion decisions and creating their own personal styles by mixing brands instead of “going for a onebrand look”. When defining a consumer position, gender, age, education, income, and social status, have to be taken in account. While anybody would assume that Dior’s consumer
dior.com
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http://fashioncow.com/2015/10/mert-alas-marcus-piggott-celebrate-youth-in-vogue-italia-october-2015/
dior.com
ONSUMER must be rich, the reality might be different. The Frequency of purchases “categorize customers into two levels: Regular luxury buyer and Occasional luxury buyer” (Hameide, 2011, p118); therefore, luxury brand consumer could be almost anyone and because of Dior’s expanding range of products, the consumer spectrum variates even more. It is no surprise, that Dior has its own core base of customers who has followed its consistently great ideas throughout the years; shared the same values and were happy to be part of the Dior’s family. But the conventional over-40-years-old-woman-orman is not the only Dior’s customer, nor the only customer Dior is trying to target. Therefore, approaching the male consumer spec-
trum, the customer is Rakim Mayers, known as A$AP Rocky; The face of Dior Homme FW17. Rakim is 29-years-old successful American rapper and actor who lives his dream, smokes weed and despite wearing Streetwear or Raf Simons, follows the rule: “Wear what suits you and not what’s trendy...” (Welch, 2017). He is playful, spontaneous and smart; he is not afraid to bring up taboo topics, does not live in stereotypes and somewhat represents Millennial’s generation. By choosing Rocky as the representative, Dior manages to target and successfully engage extensive age spectrum of consumer.
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To summarize it, men’s and women’s customer profile for the brand Dior describes smart, creative individual, with good income or great saving abilities who lives in the city or on the outskirts; someone who likes to explore his or her boundaries, goes to clubs at night and visit art galleries in day; someone strong-minded who sets up goals but is not afraid to be spontaneous.
Pictures on this double page: https://cz.pinterest.com/pin/528821181238114288/, http://brittanysbookrambles.tumblr.com/, http://blog.date4sports.com forallwomankind.com/posters/for-all-womankind-illustration-poster, https://models.com/work/vogue-
m/, https://inspiration.detail.de/british-museum-courtyard-in-london-107406.html?lang=en, https://www.pinterest.jp/pin/326722147941537058/, https:// -italia-youth-1/437418, chanel.com, http://dizajnsvakidan.com/impresivne-old-school-skate-fotografije/
BRAND POSITIONING
Picture on the following pageis from Dior: 60 Years of Style: From Christian Dior to John Galliano DIOR 22
“Today, a luxury brand is one that consistently delivers a unique emotional value and possesses the capacity of creating a lifestyle experience through a strong identity, a high level of creativity, and closely controlled quality, quantity, and distribution, all of which justifies asking for a premium price. ”
30 avenue Montaigne Photo by Patrick Demarchelier dior.com
Brand positioning is how the brand is strategically positioned in a current market. How people see the brand, as well as how the brand wants to be seen (Jobber, 2010), therefore it goes closely hand-in- hand with brand consumers’. For brand positioning are important Unique and Emotional Selling points which allow the brand to define itself in business matter as well as to play a little game with consumers’ minds and win them over to buy into the brand and to behold its importance. Dior is positioned in the market as a lifestyle luxury brand, usually associated with adjectives such as expensive, trendy, creative, exclusive, high quality and so on (Hameide, 2011). Nonetheless, thanks to its ready to wear segment, the chances of selling
are higher and allows the customer to be more complex; and supports Dior’s USP. Moving onto ESP, Hameide (2011) adding to the USP description, says “Today, a luxury brand is one that consistently delivers a unique emotional value and possesses the capacity of creating a lifestyle experience through a strong identity, a high level of creativity, and closely controlled quality, quantity, and distribution, all of which justifies asking for a premium price. ” Positively, Dior carries a huge baggage filled half with emotional influence, including elegance, decency, originality and strength, and half with its inherited values and appreciation. Dior differentiate from its competitors by its history, name, logo, designs and by everything that Dior is.
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BRAN MMUN TIONS
ND CO NICA S MIX
Dior’s makeup branch in Selfridges, Birmingham on the floor with its competitors
IN STORE EXPERIENCE Brand Communications Mix Fill (2006, p14) states that “Marketing communication mix consists of a set of tools (disciplines) that can be used in various combinations and different degrees of intensity in order to communicate with a target audience.” To simplify, as any artist communicates with his or her audience, brands need to communicate with their consumers as well and there are many ways from adverts in magazines, videos on the internet to brand apps. The first to occur is in store experience, the store layout in the
Selfridges had a running theme with the rest of the shops located on the same floor. Clean, smart and sophisticated cabinets and tables filled with Dior’s makeup and fragrances, all positioned next to the Chanel branch. Dior’s branch in the Harvey Nichols was very similar to the previous one with gloomier lighting and sunglasses stand. Shop assistants were mostly pleasant, professional and able to hand out leaflets, brochures and samples.
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Brochure given by a shop assistant
Dior’s competitor Chanel in Selfridges 27 DIOR
ADVERTISING Speaking of advertising, Dior Homme SS17 campaign with beautiful visuals photographed by Willy Vanderperre celebrating icons such as Boy George, Rami Malek or previously mentioned A$AP Rocky (Stansfield, 2017) has succeeded amongst the audience and critiques. Further, Dior has its own Dior Mag magazine as well as Dior TV, keeping up with latest Dior’s news. Those are put up on Dior’s website accessible online (Dior, 2017). Along with four page in i-D magazine, citation celebrating love on billboard for Miss Dior fragrance on Melrose Avenue in L.A. (Morgan, 2017), book about Dior’s makeup and colour development (Stafford, 2016) or earlier mentioned exhibition falls under Dior’s strategically controlled advertisements. An example of possible bad judgement is Dior’s choice for the new Anti-aging line starring 25-year-old Cara Delevigne, who is way too young to
promote products aimed for 40-to-50-year-old consumers (Saltzman, 2017). Dior represents itself and new collections on worldwide propagated Fashion Weeks, attended and followed by millions of fashion enthusiasts and critiques. Dior has is also regularly worn on Red carpet by many famous celebrities including Jennifer Lawrence, Kirsten Dunst and Felicity Jones. Referring to Dior’s Direct Marketing, customers can visit the Dior’s website, create an account and sign up for daily news, new collections and items from Dior sent by email. Dior has records of customers’ orders and therefore can reward them for their loyalty (Dior, 2017). Dior’s Packaging is handled by L.O.V.E., collaborative artistic studio whose clients are, besides Dior, luxury brands such as Giorgio Armani, Valentino and Prada (L.O.V.E. 2017).
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Picture: https://jasoninhollywood.blogspot.co.uk/2017/09/beauty-fragrance-and-fashion-billboards.html
Rami Malek for the Dior Homme SS17 Campaign, dior.com
SOCIAL MEDIA has the biggest artistic appeal; Dior Makeup is celebrating last year’s release of the Dior: The Art of Color book. This book, which lured a lot of publicity, honours Dior’s Makeup visionaries - Serge Lutens, Tyen and Peter Philips through exceptional, colourful arranged fashion photographs, and interviews (Stafford, 2016). Each Instagram keeps posting relevant content, in order to gain more followers and potential customers. Dior has many inspirational Makeup videos, Campaigns and Fashion Shows’ recordings with audience interviews on YouTube. One of the newest uploaded videos is The Great Outdoors promoting Cruise 2018 Collection, captured by Cass Bird for the Dior Magazine. Story sets in wild desert fields starring Graze Hartzel and Ruth Bell who is gay, which sends very positive message to the audience (Dior, 2017).
https://www.youtube.com/channel/UC6xD-jKli-_qIYXDTsNv4dw
As any modern brand, Dior must keep up with social media. Dior’s Facebook page, has been liked by over 16 million people (@Dior, 2017) and is linked by photographs, videos, and general content with other social media. Dior’s Twitter has over 8.17 million of followers (@Dior, 2017) and Instagram, running account for each Dior’s section with links to their websites mentioned in bios, has gained over 20 million followers all together. Main Instagram domain Dior Official, Dior Makeup (@diormakeup, 2017), Dior Homme and Baby Dior (@babydior_official, 2017) show pictures from Dior’s events, photoshoots, new or trending products as well as celebrities (@Dior, 2017). Each site looks slightly different and follows different theme. Men representing Dior Homme Official, where Artistic Director is Kris Van Assche (@diorhomme, 2017),
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https://www.instagram.com/diorhomme/
dior.com
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BIBLIOGRAPHY 1. Barnard, M. (1996) Fashion as communication. London, Routledge. 2. Chenoune, F. (2007) Dior: 60 Years of Style: From Christian Dior to John Galliano. London, Thames & Hudson. 3. Chiuri, M. S. (2017) interviewed by Scarlett Conlon for Vogue Daily, 4 July. Available at: http://www. vogue.co.uk/article/maria-grazia-chiuri-christian-dior-artistic-director-70-anniversary-interview (Accessed: 20 November 2017) 4. Dior, C. (1956) Christian Dior et moi. Librairie Amiot, Dumont. 5. Dior (2017) Dior. Dior, https://www.dior.com/couture/account/login [Accessed 3 December 2017] 6. Dior (2017) Dior. Dior, https://www.dior.com/home/en_gb [Accessed 24 November 2017] 7. Dior (2017) Dior Mag. Dior, https://www.dior.com/diormag/en_hk/ [Accessed 24 November 2017] 8. Dior (2017) Dior Mag: The Great Outdoors. Dior. 20 November [online] https://www.dior.com/diormag/ en_hk/article/the-great-outdoors-the-video [Accessed 24 November 2017] 9. Dior (2017) Dior TV. Dior, https://www.dior.com/diortv/en_gb [Accessed 24 November 2017] 10. Dior (2017) Exhibition. Dior, https://www.dior.com/couture/en_gb/the-house-of-dior/exhibitions/christian-dior-couturier-du-reve [Accessed 20 November 2017] 11. Duvaud, É. (2017) LVMH: Environmental report 2016. 22, avenue Montaigne, LVHM. [online] https://r. lvmh-static.com/uploads/2017/04/lvmh_rapport-environment_2016en.pdf (Accessed 21 November 2017). 12. Fill, C. and Jamieson, B. (2006) Marketing communications. London, Edinburgh Business School. 13. Forbes (2017) #189 Christian Dior. The World’s Biggest Public Companies, May [online] https://www. forbes.com/companies/christian-dior/ (Accessed 3 December 2017) 14. Gucci (2017) ‘Roman Rhapsody’, Gucci, https://www.gucci.com/us/en/st/stories/advertising-campaign/ article/cruise-2018 [Accessed 24 November 2017] 15. Hameide, Kaled K. (2011) Fashion branding unraveled. New York, Fairchild. 16. Hoovers (2017) CHRISTIAN DIOR: Company Information. Dun & Bradstreet, Inc. 2017 [online] http:// www.hoovers.com/company-information/cs/company-profile.christian_dior.296dff7505c01778.html (Accessed 3 December 2017). 17. L.O.V.E. (2017) Clients. L.O.V.E., [online] http://www.agencylove.com/about-us/ (Accessed 3 December 2017). 18. Morgan, J. (2017) ‚Beauty, fragrance and fashion billboards filling L.A.’s September 2017 skies...‘ 29 November 2017 [online], https://jasoninhollywood.blogspot.co.uk/2017/09/beauty-fragrance-and-fashion-billboards.html (Accessed 21 November 2017). 19. Muller, F. et al (2013) Dior impressions: the inspiration and influence of impressionism at the House of Dior. New York, Rizzoli International Publications, Inc. 20. Pochna, M. (1996) Dior. London, Thames and Hudson Ltd. 21. Polhemus, T. and Procter, L. (1978) Fashion and Anti-fashion: An Anthropology of Clothing and Adornment. London, Pandora. 22. Saltzman, S. (2017) ‘DIOR TAPS 25-YEAR-OLD CARA DELEVIGNE FOR ITS NEWE ANTI-AGING LINE‘. Fashionista. 14 November [online], https://fashionista.com/2017/10/cara-delevingne-dior-anti-aging-campaign (Accessed 24 October 2017). 23. Senft, A. (2011) History of Dior. Fashion History, 7 February [online] http://www.fashionintime.org/history-of-dior/ (Accessed 3 December 2017). 24. Stafford, J. (2016) Dior: The Art of Color. New York, Rizzoli International Publications, Inc. 25. Stansfield, T. (2017) ‘See Harley Weir’s fetishistic campaign for Balenciaga’. Dazed, 14 November [online], http://www.dazeddigital.com/fashion/article/34254/1/see-harley-weir-s-fetishistic-campaign-for-balenciaga (Accessed 21 November 2017).
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26. Stansfield, T. (2017) ‘Boy George and A$AP Rocky team up with Dior Homme.’ Dazed, 10 January [online], http://www.dazeddigital.com/fashion/article/34257/1/boy-george-and-asap-rocky-team-up-with-diorhomme (Accessed 3 December 2017). The Great Outdoors: The Video (2017) YouTube video, added by Christian Dior [online], https://www.youtube.com/watch?v=AchesBwnseo (Accessed 21 November 2017). 28. @babydior_official (2017) Baby Dior official, https://www.instagram.com/babydior_official/ (Accessed 29 November 2017) 29. @diorhomme (2017) Dior Homme Official, https://www.instagram.com/diorhomme/ (Accessed 29 November 2017) 30. @Dior (2017) Dior, https://twitter.com/Dior?lang=eng (Accessed 29 November 2017) 31. @Dior (2017) Dior, https://www.facebook.com/Dior/ (Accessed 29 November 2017) 32. @Dior (2017) Dior Official, https://www.instagram.com/dior/ (Accessed 29 November 2017) 33. @diormakeup (2017) Dior Makeup, https://www.instagram.com/diormakeup/ (Accessed 29 November 2017) 34. Welch, W. (2017) A$AP Rocky Talks New Album, Underr Armour Deal, and His Deep Love of Flowers. GQ Style, 23 October 2017 [online] https://www.gq.com/story/asap-rocky-gq-style-cover-story (Accessed 3 December 2017).
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Conclusion and recommendations This report spoke about brand Dior, looked at its history and heritage, identity, assets and consumer, evaluated its values, brand positioning and communication channels. Dior, considered as successful luxury brand, should operate more sustainable and use its power to encourage other brands to do so as well. Moreover, I would recommend collaboration with small independent brands, which would give Dior positive publicity while helping new designers to break out.
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Author: Martina Monsportova 1st edidion Published at University of Derby December 2017 For the 20117-5FH503 Fashion Marketing and Branding Module On the back page Maria Grazia Chiuri http://www.thisisglamorous.com/2017/02/dior-est-une-femme-maria-grazia-chiuri-at-dior/ 35 DIOR