BRAND REPORT MEGAN SIAN BOYLE BOY14428749
CONTENTS BRAND PROPOSITION BRAND HISTORY BRAND ONION BRAND TOUCHPOINTS CUSTOMER PROFILE MARKET COMPETITORS FEATURED IN BRAND POSITIONING MAP EXTERNAL TRENDS SWOT BIBLIOGRAPHY APPENDIX
BRAND PROPOSITION Describe yourself in 5 words
“Man-child, sun, naïve, smile, impatient.” i-D Staff (2015)
“Fashion has such an ephemeral quality; I want my work to go beyond that” Represa, M (2014)
“The collection is “instinctive, because I think people don’t want to see any more beautifulness in a beautiful place. It’s not in league with what we live today.” Anderson, K (2016)
“The brand has “a playful spirit, clean, fresh and raw,” Muraben, B (2015)
“I’ll always be sporty and young.” Moros, S (2014)
BRAND HISTORY 1990
Simon Jacquemus Porte born in Salon de Provence. The location of his birth has had great influence within his work.
1999
Designs a skirt for his mother out of a curtain.
2008
Simon moved to Paris, studying for a few months in ESMOD (Paris’ École Supérieure des Arts et techniques de la Mode).
2009
Simons mother dies, he drops out of ESMOD and creates the brand ‘Jacquemus’ using his mothers maiden name as the brand name.
2011
Jacquemus receives increased attention after inciting a strike outside a Dior fashion show.
2012
Simon was invited to present his collection during Paris Fashion Week.
2014
Simon signed a collection for La Redoute.
2015
Jacquemus received the Special Jury Prize at LVMH, which includes a €150,000 grant as well as a year of coaching. Jacquemus released tickets to the SS16 show to the public.
BRAND ONION BRAND PERSONALITY Anti-bourgeois Approachable Young
BRAND VALUES The collections must say something Heart and energy are the most important things Narrative and storytelling Family
ESSENCE Naive French Fun
BRAND IN ACTION
• Simple classic fabrics • The use of the french flag in his colour scheme, and making a guest appearance on his website. • A fun instagram, his use of DJ Clara 3000 as a model in his collections (which point to both to youth, lack of funds and youth culture) She also mixes for his catwalks. • Promotional images is mix of bodies (members of his team)within his recent photo featured on his website, His campaign featuring himself and members of his team when they were younger, against bright backgrounds. • For more information and exaples see ‘BRAND IN ACTION’ page.
BRAND ESSENCE Naive Simon Porte approaches his collections with a child’s eyes as such ‘Naive’ refers to the innocence and freshness that he values. Porte’s lack of classical training means that his clothing is flat when compared to a woman’s figure, though possibly intentional it serves to emphasise Porte’s naivety in design. When viewing the collections up close, hems and fraying is evident, with garments tied up in what appears to be a simple canvas material, it would appear he has made a conscious effort to not appear polished and perfect.
“I think it’s my taste. I’m obsessed with naivety. I’m self-made in fashion, everything I’ve done is very spontaneous,’ Nylander, L (2014) “I want to stay innocent my whole life, even if I don’t want to stay a kid. I wish fashion were more innocent.” Marshall, A (2016)
French
Jacquemus’ patriotism for France, particularly the South of France is seen through the use of blue, white and red within the collections. With many of the designs featured being based around updated French classics and archetypal french concepts, including ‘La Femme Enfant’, ‘La Grand Motte’ and most recently ‘Les Santons de Provence’. He is cited as “The go-to designer for the Parisian it-girl” with collections that “embody a playful french spirit” Graham, M (2014).
All images available at : Image Bibliography: 1
BRAND VALUES Heart and Emotion are the most important things
Simon Porte approaches often sites the inspiration for his collections to come from his deceased mother, the brands namesake. He is not afraid to show or make a spectacle of his emotions, this is seen by his opening a Jacquemus show to the public, before leading a white horse through the catwalk crying, or showing a child push a red ball through the idle of the catwalk, representing his red nose after a summer spent crying. Visiting the ‘Le Nez Rouge’ show was said to feel “like sitting through someone else’s therapy session” Blanks, T (2015).
Narrative/ Jacquemus the story teller
Each Jacquemus collection has a strong concept and a narrative such as the terracotta figures of ‘Les Santons de Provence’ or the girl who visits the coast, eats ice cream and falls in love in ‘La Grande Motte’.
Simon Porte “I don’t do collections, I do stories, so I always focus on the story as well as the clothes.” Graham, M (2014) Simon Porte “I don’t just do clothes, I write a story and then come the clothes. I write a script with characters — what she’s going to do, what kind of perfume she wears, what kind of place she bathes in…” Nylander, L (2014)
All images available at : Image Bibliography: 1
Available at : Image Bibliography: 4
BRAND PERSONALITY Fun/Playful/Not too serious/ Happiness
The playful aspect of Jacquemus is seen perhaps most prominently within the fashion films created alongside his collections, this is especially true of his earlier collections. This not so serious side is also seen in Portes non-conformity on social media (posting each image three times on Instagram for example), hosting protests outside fashion shows and using childhood pictures against vibrant, block colours within his promotional images, rather than using conventional models.
“In all my collections, I try to be ironic or funny. I don’t know if people understand it, or if the message is clear, but I always try,” Hyland, V (2013) “It’s got something with to do with happiness, yes…Jacquemus is not about nightlife and clubbing and things like that, it’s more about fruit and vegetables and rolling in the grass. It’s very playful.” Muraben, B (2015)
Anti-bourgeois/Raw/Real
Simon Porte is seen as a ‘self made man’ having not been formally trained in fashion design he talks freely of his humble beginnings. He also speaks often of his time spent working within retail whilst producing his initial collections, a far cry from designers that come from affluent backgrounds and can focus solely on designing without financial constraints. This also adds an element of ‘real’ and ‘rawness’ to the band, making Jacquemus relatable to its demographic, this is reflected also in a relatively low price point. Porte wants his designs to be affordable to a younger market even if they can only afford one piece.
BRAND PERSONALITY Youth The theme of youth features heavily within early Jacquemus fashion films (Such as La Femme Enfant, whcih translates to ‘The Woman Child), and through his collaborations with DJ Clara 3000. The connection to its younger audience is seen clearly through the use of social media. Jacquemus was very popular on the online social platform tumblr, especially before the brand gained the level of recognition it currently possesses. There was tumblr debate about the lack of ethnic diversity in Jacquemus models, Simon Porte took this on board and began using a greater variety of models.
“All my life, people have told me, ‘Simon, don’t be a kid anymore,’” he remarks. “But I think it’s quite good to see life with kids’ eyes.” Diderich, J (2016)
All images available at : Image Bibliography: 1
BRAND TOUCHPOINTS Instagram
Jacquemus plays with the idea of uniform and repetition, this is reflected in his Instagram, with each image being re-posted three times, creating straight lines and a feeling of tidiness. Through the Jacquemus Instagram viewers gain an insight into Simon Portes inspiration and lifestyle, as well clothing. Porte frequently includes selfies and photographs of members of his family on the Instagram page, reinforcing the idea of family, which is something heavily valued by the brand. Simon Porte is also known for using his relatives within shows and when photographing his clothing. Posting selfies gives Jacquemus a strong designer persona, allowing viewers to see a lot of himself within the brand. Making the brand more personal and relatable. Strong interaction on Instagram makes up for lack of communication on Facebook and adds a feeling of authenticity
Simon Porte: “I just quickly realized that posting three was more strong and beautiful,” he says. “It’s kind of a signature.” Simon Porte: “I’m a fan of selfies with fruits. #Selfruits. I also mix my fashion with fruits.” The instant understanding provided by Jacquemus simple design is perfect for the ‘double tap’ Instagram mindset, putting his social media content at an advantage, compared to the work of designers who produce intricate, embellished work. All images available at : Image Bibliography: 2
BRAND TOUCHPOINTS Website The patriotism of Jacquemus is subtly reinforced with the presence of the French flag on website wash line. The collections can be viewed by using a horizontal scroll, each piece has been photographed against the same backdrop, in an area of France near where Simon Porte grew up. The playful nature in which the clothes are presented is another example of the ‘fun’ essence on the brand, whilst the location of the shoot highlight the strong French element of the brand. Simon Porte: “For me, it’s a new approach to e-commerce. E-commerce sites can be very boring and ugly – and Jacquemus is not about that. So I wanted to bring something more playful and stronger as images, but at the same time I wanted to use them to sell clothes.” Stansfield, T (2016)
Available at : Image Bibliography: 1
Advertising/Promotion
AW16 campaign image features a tangled pile of people (Including the head pattern cutter, an intern, and a model) on a Parisian bench, is a collaboration with noted performance artist and choreographer Willi Dorner, it’s a take on his ‘Bodies in Urban Spaces’ project. Simon Porte: “I was obsessed by this ‘all togetherness’ – that there are no faces, it’s a group of people, a mix…This was the idea of the collection, you had 60s inspired dresses and a 90s shirt, a lot of different things mixed all together.” The image represents the inclusive, family feeling of the brand “We are all a group of people together, so there is no individuality in this campaign, and there is something very playful. I like that in JACQUEMUS there is no hierarchy.” Creating promotional images and social media content isn’t done simply to fulfil a commercial obligation, but rather is used to create something with more longevity than a simple catwalk show. Simon Porte: “I don’t do a campaign just to do a campaign, I just want to make an image,” he explains. “I had an image in mind since the beginning of the collection, and I made it.” All above quotes available at: Allwood, J (2016) Jacquemus is featured on a large variety of fashion and visual culture related websites and publications including POP magazine, W magazine USA and Vogue UK / Germany/ Italia/ China.
Available at : Image Bibliography: 1 Available at : Image Bibliography: 2
BRAND TOUCHPOINTS Tumblr The Jacquemus Tumblr mimics its Instagram, with each image being posted three times. The blog is also devoid of a complex ‘theme’, a theme dictates how the blog is viewed and is often used to translate the aesthetic of the blog, using a simplistic, minimal theme carries on the idea of ‘tidiness’ that is seen on their Instagram.
Porte also said that tumblr was a great help in allowing instant feedback on his designs, suggesting an awareness of how his younger clientele and social media can benefit his brand. His designs are also rather simple, in comparison to brands such as Gucci, meaning that the message of each look is communicated very quickly. When it comes to posting internet content, viewers have notoriously low attention spans.
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Posts are made to the Jacquemus Facebook page sporadically, keeping people updated but not engaging with people as heavily as on other platforms such as Instagram.
Available at : Image Bibliography: 3
BRAND TOUCHPOINTS Labelling The labelling of the clothing photographed here shows a large tag stitched on only two sides, allowing the label to gape open within the garment, giving it an almost unfinished looking, playing up to the naive persona of the brand. The tags attached to the clothes are very simple, using a thick piece of white card, with no decoration or embellishment on the additional plastic elements. The card itself is not embossed either, this simplistic tag highlights the understated, anti-bourgeois side of the brand. However, the card is of a high quality, that will not bed and crease while hanging in store, exhibiting the higher quality of the garment in comparison to that of high street stores. For more information on the purchase and post-purchase touch points, as well as a customer interview see Appendix A.
Customer Interview
When speaking to a customer, he said he was introduced to brand via Instagram, through a friend.
“I was attracted to the brand because of it’s spirit or being very experimental” “Jacquemus doesn’t shy away from shapes, he plays with them” “He becomes friends with shapes, rather than forming the human body, he plays and works around the shapes to create interesting ready-to-wear pieces” “I like that Jacquemus is an interesting young brand, and as a customer I like to support new, up and coming designers” “Though Jacquemus is popular as a womanswear house, I like to wear the clothes as a man, as many of them are very much genderless”
CUSTOMER PROFILE “The Jacquemus girl is a bit of a cliché… She’s your typical French girl.” Dazed digital (2016)
“Sometimes there are badly dressed women, who wouldn’t wear my clothes, but I still think they’re très Jacquemus. It’s a whole universe, a concept… It’s more of a playful spirit, clean, fresh, and at the same time raw. If you put photos in front of me, I could tell you whether things were Jacquemus-y or not!” Moroz, S (2014) Simon Porte states that often he designs with his mother in mind, creating clothes that he pictures his mother would wear. However, he has a faithfulness to designing clothes for his own generation, at prices that are attainable to them. Purchasing garments from Jacquemus could be seen as less about the precision and cut of the piece, instead favouring the values and lifestyle implied by the brand. As a result, people buy into the brand based on the ethos, more than the appearance of each piece.
MARKET
Jacquemus is a young french brand, catering to creative/ fashion forward individuals who appreciate a strong narrative and concept behind their clothing especially when comapred to collections that are very trend aware. Customers of the brand admire playful, wearable garments at an affordable price point. The brand may be especially interesting to those who welcome a youthful personality and affiliation to France.
DINKYs- Double Income No Kids Yet • • • • • • • • • •
Females, Age: 25-35 Likely firmly established working within the creative sector. Probably university educated, however may have taken a different direction into the industry. Financially comfortable with a high amount of disposable income due to the lack of children and having rent and amenities halved between two people. Most likely renting on the outskirts of a metropolitan city. If in London they are likely to live around zone 2, in areas such as Peckham and Camberwell, opting to pay a higher rent in order to live in an area with ‘hustle and bussle’ with like minded indivisuals and an abundance of things to do. Stable career that they can dedicate large amounts of time too, however also have good amount of free time to spend going out to eat, exploring their city and its culture or to take weekends away. They have disposable income yet choose to spend it wisely on quality pieces. Having a refined taste in areas other than clothing, such as wine or cooking. Likely to also spend money on aesthetically pleasing or sought after home wear and decor pieces. Likely to brows items online in their free time, choosing to visit stores when they have the time, possibly on weekends, after work or in their lunch breaks. Strong career goals, If they are planning on having children it isn’t any time soon, as they still value having the extra money and time that not having children allows. Enjoys spending their free time keeping up to date on current events, especially those relevant to their career, as well as hosting dinner parties, or having friends round, rather than spending money on club nights.
MARKET
KIPPERs- Kids in Parents Pockets Eroding Retirement Savings • • • • • • • • • • • • • • • •
Females, Age:17-25 Currently a student, interning, or don’t have to work as their parents are affluent enough to support them. If currently studying or having recently left higher education, it is most likely from a fashion or artistic degree. Low personal income, other than pocket money or low wage earned through interning. As such, they are financially stable but not of their own doing and live a lavish in comparison to others their age. At a stage in life where they feel independent and are not interested in settling down and having a family. Choosing instead to focusing on their future careers, yet rely heavily on their parents to support them. Most likely living in an urban, metropolitan area. Living in a flat share or renting, funded by their parents. Spend more frivolously than most, but with the constraints of their parents. They have an awareness of their spending, leaning possibly towards quality over quantity. Less likely to shop on the high street than other people their age, instead spending money on respected clothing labels and Instagram worthy food. They shop for fun and to gain a a sense of enrichment and worth in their lives. They purchase from up-and-coming and trending designers, hipster brands. Perhaps opting to purchase staples, long lasting items and small accessories from higher end fashion brands. They purchase online or on dedicated shopping trips, possibly traveling abroad frequently in order to shop in new cities. Have a strong self image perhaps feeling superior to others, or are under the misguided opinion that they are part of the ‘struggling student population’. Have ambitious social and career goals, with a deep seated belief that they can achieve whatever they set their mind too. Interested in niche magazines and artisan food, less likely to spend their money on cheap club nights and throw away fashion when compared to their peers.
COMPETITORS Celine Celine is a French fashion house Clothing is fresh, unconventional, totally modern, elegantly sexy, visually surprising, and perfectly classic in an understated Parisian way. Blanks, T (2013)
Pheobe Philo the creative director of Celine says she wants women to feel “confident and strong”. Political Statement behind: We should be teaching young girls to feel good ... I am not a big fan of women being sexualised through clothes… I have no problem with a woman wearing anything as long as she has chosen to wear it for herself. But I do think there are too many images of women that are sexualised and too many examples of women dressing for other people and disempowering themselves in the process. Marriott, H (2014) Philo “I find it reassuring to use fabrics that perform in a very honest, straightforward way. I like fabrics that are what they are. I find that comforting and inspiring.” Blanks, T (2013) This is a trait in fabrics that Simon Porte also admires. Celine doesn’t have an e-commerce site, official Instagram or dedicated Facebook. The fashion house has a very minimal social media presence, yet still remain desirable. For more on Celines use of social media and how it effects the brands sales see the ‘Trends’ page of this report. Phoebe Philo: “The chicest thing is when you don’t exist on Google.” Pheobe Philo: “I’d rather walk down the street naked than join Facebook”
Available at : Image Bibliography: 7
COMPETITORS Isabel Marant
The epitome of “Parisian Chic” and Gallic style Effortless, cool style Trend-inspiring knits Nomadic-inspired jewellery Mix of street-wear must-haves and beautifully updated wardrobe staples Large spectrum of clients including fashion insiders and personal style bloggers. Isabel Marant: “I would say that there is something quite androgynous but feminine about it at the same time. There’s a reinvented classicism” Gyben, E (2015) In the past decade Isabel Marant has gone from cult Parisian designer to international commercial big hitter. Worn by key influencers - Alexa Chung, Katie Holmes, Victoria Beckham. Finnigan, K (2013) Isabel Marant on social media: Do you have an interest in increasing your social media presence?
Not at all. I’m totally zero. It takes a lot of time and a lot of energy that I don’t have. It’s not that I am for or against it, it’s just that I’m not into it. Would you cast a model in your show or campaign just because she has a giant Instagram or Twitter following?
No, that’s not the way I will decide things, for sure. Klein, A (2015)
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COMPETITORS
COMPETITORS Etre Cecile
Founded by Yasmin Sewell, Jemma Dyas and Kyle Robinson Aspired to create a unique ready-to-wear collective Inspired by the cleanliness of French style The brand’s heritage is based around ‘Cécile’, an Irish-born artist living in 1960s Paris Designed for the true fashion girl. Part of a new breed of contemporary brands Combining the ease and wearability of casualwear, with considered aesthetics that sit comfortably amongst designer pieces. Originally known as a luxury t-shirt label Subtle injections of humour and lightheartedness Known as a “Fake French label” because none of the founders are French The only connection to France is one of the founders Grandmothers Sewell: “The slogans are quite photographic; its colour, it’s bright, so it’s quite good for a social media
shot.” Myere Emporium (2016) Swell: “Etre Cecile is quite wearable, and we sell a lot through Instagram and connect with customers
through social media, with customers hashtagging the brand. I look after the digital marketing and it’s all about connecting directly to the customer, and that’s all through social.” Myere Emporium (2016)
COMPETITORS Vetements £50- £3,340 (Lowest: Socks, Highest: Leather Dress) Paris based collective Started out of a group of young designers’ desire to escape the continual rebranding and reinvention of the fashion cycle. Focusing on singular, impactful pieces with immediate appeal Doesn’t focus on seasonal collections Head designer Demna Gvasalia Roughness and deconstruction Oversized trousers and overcoats Raw hems (as does Jacquemus) Elongated knits Asymmetrical shapes Ignores gender lines Make ‘clothes’ not ‘fashion’ Focus on ‘reality’ and actually dressing people on the street Vetements on Social media: Their sociological approach to clothes - a really warped take on that old idea of ‘classics with a twist’ - instantly resonated with his internet generation of the 90s to whom global access is second nature. “Every culture is inside the internet,” says Pzwerk Opassuksatit (image designer for Vetements)
”We do our research on Tumblr and in the super fast Internet world, bring it into our aesthetic and give it back. It’s a projector of culture right now,” Guram: “The now has become a game changer,” “Social media mutated our perception of reality. Screens are updated with new information every second. Our attention span is becoming extremely short. The young generation prefers to invest in the feasible hoodie today, rather than in an imaginary house in 20 years. The future is too far away— the instant is what really matters.” Madsen, A (2016)
Available at : Image Bibliography: 9
FEATURED IN
BRAND POSITIONING MAP Conservative Classic Style
Celine Jacquemus Price Low
Isabel Marant Price High
Etre Cecile
Vetements Urban/ Street Style
Coat Visual Comaprison Left to right: Isabel Marant Etre Cecile Vetments Celine Jacquemus
EXTERNAL TRENDS Case Study: Burberry “see now, buy now” Other ways that Burrberry Burberry first ever “see now, buy now” show at London Fashion Week 2016, heralding a new era for the industry. This process allows customers to purchase “seasonless” items instantaneously. Long standing problems with the previous fashion calendar, as production and supply chains were out of sync with communications and marketing departments. Fashion shows had long been strictly industry events for press and buyers to preview collections. But the rise of digital media has shed transparency on the model, with runway shows morphing into powerful consumer marketing events, leaving brands ill-equipped to convert social media buzz into sales for collections that have yet to be produced. “The changes we are making will allow us to build a closer connection between the experience that we create with our runway shows and the moment when people can physically explore the collections for themselves,” said Burberry chief creative officer and chief executive officer Christopher Bailey in a statement. “Burberry is … a perfect example of how our fashion industry has pioneered new ways to engage with customers,” British Fashion Council chairman Natalie Massenet “We should all be proud that it was one of the first fashion brands in the world to embrace digital and social media and integrate them seamlessly into their operations” New system accommodates the new format in which collections will be ‘seasonless’ and shows will be described simply as ‘September’ and ‘February’. Above quotes and image bellow found at: Hoang, L (2016)
are interacting with customers
Burberry shows September collection at Makers House, in London’s Soho. Broadcasting show via Facebook Live Live customer service on Facebook Messenger for those who wish to buy the collection. Partnerships with Snapchat, WeChat and Kakao. Collection made available for purchase immediately the show from the company’s flagship store and on its website.
EXTERNAL TRENDS See Now Buy Now/ Immediately-Shoppable/ Ethical buying and Immediancy Model
anti-sweatshop advocacy.
The schedule has never quite made sense from the consumer perspective, why view clothing you want in February and not be able to buy the until August. This means clothes are on the shop floor for so long that they are on sale before they are even wanted, this eats away at profit margins. ‘See Now Buy Now’ allows clothing to be purchased as soon as it is seen on the catwalk.
Brands are now catering to more ‘conscious consumers’ who are interested in where their clothes come from and the ethics behind them. This includes the amount of waste created as a result of manufacturing clothes, where clothes are made and who by, and what clothes are made out of. This has been marked up as partly due to the availability of information in the digital age, and as an issue especially prevalent within Generation Y. As a result high street brands have begun producing clothing lines dedicated to more conscious consumers. Such as H&M’s ‘Conscious Collection’ and Zaras ‘Join Life’ sustainable collection.
Kanye West:
”I just thought of the craziest idea of all…I’m going to sell winter coats in the winter!” Jackie Chiquoine (WGSN’s associate editor of retail intelligence) :“Fashion has always enjoyed a healthy separation of form
and function, but the ‘see now, buy now’ system makes labels more accountable for the function of their designs” Chiquoine:
“If half the designers are doing in-season, and half resist, as most French and Italian designers have so far decided to do, it seems inevitable that people will just stop caring about which season it is, and instead begin to value most just what is new,” Above Quotes from- For more information on how other designers have adapted to instantaneous shopping, and read others opinions see: Adams, E (2016)
Available at : Image Bibliography: 8
EXTERNAL TRENDS TRENDS & Jacquemus Competitors Vetements have a ‘No concept concept’ focusing on clothes rather than fashion, there is no ‘trend’ or singular statement, their clothes don’t change much from season to season. This method goes against the fashion industry’s in built obsolescence as the collective resists fast fashion. This results in consumers buying war they like, with an interest in what is new, rather than following seasonal trends. For her debut pre-spring 2010 collection at Celine the designer wanted to create a wardrobe, and focus less on trends. Philo: “It’s not about total looks,” Philo: “It felt better for me to work on an idea of a wardrobe than too much on trends. .. The collection is about interchangeable investment pieces. I worked hard to create things that will stand the test of time.” Chetrus, C (2014) Celine’s commercial success was achieved with simplistic advertising campaigns, and no official presence on social media. Celine does not Tweet, Facebook, or Instagram and relies on its aesthetics and element of surprise to conquer the attention of the media. For example, this year, while everybody was showing Pre-Spring collections, Celine simply launched their Pre-Autumn look-book with the philosophy of see now, buy now.
How these trends are relevant to Jacquemus Jacquemus produces collections based on a concept (usually a very French concept) rather than following fashion trends. This movement away from fashion trends and instead focusing on pieces that are essentially season-less and can be worn as separates rather than whole look fits into a similar ethos to fashion production as Vetements and Celine. Producing collections in this way makesJacquemus appealing to both the conscious consumer and individuals attracted to ‘the new’ and statement pieces rather than seasonal trends.
Available at : Image Bibliography: 6
SWOT ANALYSIS Strengths • • • • • •
Strong brand persona Active on social media, especially Instagram, therefore strong brand engagement and interaction Being active on social media is a low cost way to promote, which can be capitalised on. Affordable to the target market, and a lower price point than some competitors Brand personalities and values align with targeted demographic Jacquemus produce fashion films, which create a buzz around the collection and help translate the collections narrative clearly (However, this has not happened with his most recent collections)
Weaknesses • • • • •
Though cheap for a design house, there are no truly affordable pieces to members of the demographic with lower income. E.G- T-shirts, such as those provided at DSM or by competitors such as Etre Cecile. Brand is not as established as other competitors Jacquemus doesn’t have a dedicated bricks and mortar store Lack of ethical standpoint. Jacquemus does not have a humanitarian goal, such as sustainability or model diversity. Standpoints such as these make for good communication opportunities. Jacquemus doesn’t have a strong production and distribution team when compared to larger fashion houses, and so taking a ‘see now buy now’ approach may be more difficult
Opportunities • • • • • •
Utilising Jacquemus’s strong social media presence to attract more custom. Such as introducing the use of Snapchat and Facebook Live/ Youtube Live Stream. Lack of physical store could be used to their advantage, by opening ‘Pop-up shops’ a concept that has proved popular, especially among a younger demographic. Jacquemus could collaborate with other designers to increase customer base. Such as done by Vetements. Jacquemus could look at diversifying the ethnicities of models used within its shows and promotional content, as this has caused issues for the brand before. Jacquemus could look at promoting a more sustainable approach to its manufacturing techniques. Though Jacquemus is a womanswear line, it can be seen from customer interviews that men also wear the garments. The idea of androgyny and gender fluidity is a hot topic at the moment. Introducing androgynous or male models wearing the garments on social media or campaign images could capitalise on the lack of gender boundaries provided by the clothes.
Threats • • • • • •
Competitors of the brand have already got a strong ‘anti-fast fashion’ outlook Competitors offer more accessibly priced clothing Some competitors have more ‘wearable’ garments Jacquemus strong concepts leading its collections and lack of attention to youth trends may cause clothes to become redundant The strong French theme may become repetitive unless new aspects/ narratives can be found Producing promotional materials with the wholesome, family vibe of Jacquemus makes it hard for the brand to create hype within its demographic. This is something Vetements has done well.
REFLECTION
Jacquemus’s ‘French’ brand essence is translated subtly through the website, as is the element of ‘fun’ in the way the clothes are presented in the e-commerce section of the site. Simon Porte is extremely active on Instagram, allowing viewers an insight into his inspiration and lifestyle, as well clothing. Porte frequently includes selfies and photographs of members of his family on the Instagram page, reinforcing the idea of family, which is something heavily valued by the brand. Simon Porte is also known for using his relatives within shows and when photographing his clothing. Posting selfies gives Jacquemus a strong designer persona, allowing viewers to see a lot of himself within the brand, making the brand more personal, relatable and authentic. The instant understanding provided by Jacquemus simple design is perfect for the ‘double tap’ Instagram mindset, putting his social media content at an advantage, compared to the work of designers who produce intricate, embellished work. Facebook doesn’t appear to be utilised as effectively as it could be, there is very minimal interaction with consumers, it seems to be used more as a platform for relaying information. This is a wasted opportunity to increase customer engagement, and could be seen as a disadvantageous when compared to the way the platform is used by competitors. Porte said that Tumblr was a great help in allowing instant feedback on his designs, suggesting an awareness of how his younger clientele and social media can benefit his brand. However, aesthetically the Jacquemus Tumblr mimics its Instagram in terms of lay out, with no tailored content being used here, it seems that tumblr is another social platform which could be tapped into further. Creating promotional images and social media content isn’t done simply to fulfil a commercial obligation, but instead to create something with longevity. The AW16 campaign containing a tangle of bodies (including members of the Jacquemus creative team) makes a focal point of family and inclusivity. Promotional images containing childhood photographs rather than using conventional models, highlights the brands values for playfulness, naivety and childhood. This suggests that current promotional print methods work effectively to communicate the brands personality. Jacquemus could extend its communication strategies to be more actively engaged with its consumers. This could be done by extending its activity on the platforms it currently uses, and also utilising other features of the sites, such as Facebook Live. Jacquemus doesn’t appear to be active on Snapchat, an application which is very popular with the targeted demographic and seems perfectly suited for the self confessed selfie fan. The brand could also branch out further in terms of experiential opportunities. The lack of physical store means that the brand looses an opportunity to give its clients a more immersive, memorable experience. Holding events or pop-up shops, would be another way to further engage customers and increase customer loyalty.
BIBLIOGRAPHY
Adams, E (2016) Instantly-Shoppable Runways Are Here, But Do They Work? Available at: http://www. racked.com/2016/2/26/11120066/nyfw-runway-see-now-buy-now-banana-republic-michael-kors (Accessed: 26 October 2016) Anderson, K (2016) Just Kids: Why Simon Porte Jacquemus Doesn’t Need Clothes to Advertise His Namesake Brand. Available at: http://www.vogue.com/13392477/jacquemus-fall-2016-campaign-interview/ (Accessed: 6 October 2016) Blanks, T (2013) PHOEBE PHILO, a real life interview. Available at: http://purple.fr/magazine/ss-2013-issue-19/phoebe-philo/ (Accessed: 24 October 2016) Blanks, T (2015) Concept is King. Available at: https://www.businessoffashion.com/articles/fashion-show-review/concept-is-king-for-jacquemus (Accessed: 5 October 2016) Chetrus, C (2014) The Rebranding Success Stories: Saint Laurent, Celine and Dior. Available at: https://fashionbi.com/insights/marketing-analysis/the-rebranding-success-stories-saint-laurent-celine-and-dior (Accessed: 25 October 2016) Dazed digital (2016) The Dazed 100. Available at: http://www.dazeddigital.com/projects/article/22558/1/71-jacquemus (Accessed: 4 October 2016) Diderich, J (2016) Ten of Tomorrow: Simon Porte Jacquemus. Available at: http://wwd.com/fashion-news/ designer-luxury/10-of-tomorrow-designer-simon-porte-jacquemus-10315119/ (Accessed: 6 October 2016) Finnigan, K (2013) Isabel Marant: ‘I am my own muse’. Available at: http://www.telegraph.co.uk/fashion/people/isabel-marant-designer-interview/ (Accessed: 24 October 2016) Graham, M (2014) Jacquemus: La Grand Motte. Available at: http://www.anothermag.com/fashion-beauty/3666/jacquemus-la-grande-motte (Accessed: 4 October 2016) Gyben, E (2015) Isabel Marant Doesn’t Think What She Does Is Actually Fashion. Available at: http://www. refinery29.com/2015/02/82503/isabel-marant-fashion-is-not-important (Accessed: 24 October 2016) Hoang, L (2016) Burberry is Operationalising ‘See Now, Buy Now’. Available at: https://www.businessoffashion.com/articles/intelligence/how-burberry-is-operationalising-see-now-buy-now (Accessed: 26 October 2016) Hyland, V (2013) New Designer: Simon Porte Makes a Splash in Paris. Available at: http://www.elle.com/ fashion/a26302/designer-simon-porte-jacquemus-brand-profile/ (Accessed: 4 October 2016) Instagram Blog (2015) A Triple Take on Fashion with @jacquemus. Available at: http://blog.instagram.com/ post/112603157402/20150303-pfw-simon-porte-jacquemus/embed (Accessed: 24 October 2016) i-D Staff (2015) Simon Porte Jacquemus creates stories and clothes. Available at: https://i-d.vice.com/en_gb/ article/simon-porte-jacquemus-creates-stories-and-clothes (Accessed: 7 October 2016) Jacquemus Instagram: https://www.instagram.com/jacquemus/?hl=en
BIBLIOGRAPHY
Klein, A (2015) ISABEL MARANT OPENS UP ABOUT CELEBRITY, SOCIAL MEDIA AND REDESIGNING THE CLASSICS. Available at: http://fashionista.com/2015/04/isabel-marant-interview-barneys (Accessed: 24 October 2016) Madsen, A (2016) Vetements Nation. Available at: https://i-d.vice.com/en_gb/article/vetements-nation (Accessed: 26 October 2016) Marriott, H (2014) Phoebe Philo: ‘I find mediocrity hard’. Available at: https://www.theguardian.com/fashion/fashion-blog/2014/mar/31/phoebe-philo-celine-interview-vogue-festival-alexandra-shulman (Accessed: 24 October 2016) Marshall, A (2016) Simon Porte Jacquemus Gets Personal. Available at: http://www.wmagazine.com/fashion/2016/03/simon-porte-jacquemus/ (Accessed: 4 October 2016) Moroz, S (2014) Q&A Simon Porte Jacquemus on Being a Young Designer in Paris. Available at: http://nymag.com/thecut/2014/05/qa-jacquemus-a-young-designer-in-paris.html (Accessed: 5 October 2016) Muraben, B (2015) Simon Porte Jacquemus and Bertrand le Pluard playfully lampoon fashion films. Available at: http://www.itsnicethat.com/articles/simon-porte-jacquemus (Accessed: 5 October 2016) Myere Emporium (2016) Cecile Girls. Available at: http://www.myeremporium.com.au/fashion/2016/february/yasmin-sewell/ (Accessed: 24 October 2016) Nylander, L (2014) Loosen up and get to know Jacquemus, creator of avant-garde womenswear. Available at: https://i-d.vice.com/en_gb/article/loosen-up-and-get-to-know-jacquemus-creator-of-avant-garde-womenswear (Accessed: 4 October 2016) Represa, M (2014) Take a trip to La Grande Motte with Jacquemus. Available at:http://www.dazeddigital. com/fashion/article/20007/1/take-a-trip-to-la-grande-motte-with-jacquemus (Accessed: 4 October 2016) Stansfield, T (2016) Getting surreal in the south of France with Jacquemus, French fashion’s young poet reveals his AW16 e-commerce campaign, and tells us how he is approaching online retail in a different and distinctly ‘Jacquemus’ way. Available at: http://www.dazeddigital.com/fashion/article/31861/1/getting-surreal-in-the-south-of-france-with-jacquemus (Accessed: 4 October 2016)
IMAGE BIBLIOGRAPHY 1. 2. 3. 4. 5. 6. 7. 8. 9.
http://jacquemus.com https://www.instagram.com/jacquemus/?hl=en https://www.facebook.com/JACQUEMUSPARIS/ http://observer.com/2015/09/the-jacquemus-show-included-a-cameo-from-a-horse/ http://www.arcstreet.com/article-isabel-marant-fall-winter-2013-ad-campaign-with-daria-werbowi-photographed-by-karim-sadli-119097116.html http://www.zara.com/us/en/woman/join-life/editorial-c861040.html https://cafelilium.wordpress.com/tag/hm-conscious/ http://de-smitten.com/tag/celine/page/2/ https://uk.pinterest.com/pin/501236633506840180/
KIPPERS Mood Board Cheese Plant: https://uk.pinterest.com/pin/310889180504788535/ Flat-Lay good vibes: https://uk.pinterest.com/pin/234750199305786174/ Flat-Lay donuts: https://uk.pinterest.com/pin/474144667000109104/ Flat-Lay Cereal: https://uk.pinterest.com/pin/354869645617592048/ Acne shopping bag: http://mulpix.com/post/1112125827473271791.html Fairy lights: http://www.urbanoutfitters.com/urban/catalog/productdetail.jsp?id=38806303&category=A_ FURN_PRETTY Passport: https://uk.pinterest.com/pin/329607266454923121/ Mini cacti: https://uk.pinterest.com/pin/288793394828698761/ DINKY Mood Board Camberwell: https://twitter.com/PACTforBakerloo Desk: https://uk.pinterest.com/pin/350436414738402678/ Cocktail: https://uk.pinterest.com/pin/ATRQOmzlCRPLGuvTEtCpokCNwt-ZTUU_NnA_AWEe0jcB7MyMzbGpSj4/ Ladder shelf: https://uk.pinterest.com/pin/324118504411049535/ Book and jar shelf: https://uk.pinterest.com/pin/298082069067543188/ Coffee: https://uk.pinterest.com/pin/178595941451529142/ Customer Profile page Alexa Chung: http://www.whowhatwear.co.uk/alexa-chung-jacquemus-skirt/ Alexa Chung: http://www.whowhatwear.co.uk/outfit-ideas-best-dressed-british-celebrities-2015/slide20 Lady Gaga: http://dress.yournextshoes.com/lady-gaga-ciara-striped-shift-dress/
APPENDIX Appendix A
Purchase
Bricks and mortar stockist: Stockists DSM, Selfridges Online Stockists: Net-a-Porta, Nordstrom, Farfetch, Shop style, Opening Ceremony When visit both physical stockists the staff were friendly, however too busy to answer any questions. I also noted that in neither location did Jacquemus have dedicated staff, as they do for Celine in DSM, or other higher end designer brands in Selfridges. In both locations the Jacquemus garments where on simple hangers, and on a single rail, matching all other designers at a similar price point on that floor. However, larger brands had dedicated sections, independently decorated to suit the brands aesthetic. The lack of attention to individualistic detail for the brand reflects the lower price point and smaller market of consumers when compared to other brands. The labelling of the clothing photographed here shows a large tag stitched on only two sides, allowing the label to gape open within the garment, giving it an almost unfinished looking, playing up to the naive persona of the brand. The tags attached to the clothes are very simple, using a thick piece of white card, with no decoration or embellishment on the additional plastic elements. The card itself is not embossed either, this simplistic tag highlights the understated, anti-bourgeois side of the brand. However, the card is of a high quality, that will not bed and crease while hanging in store, exhibiting the higher quality of the garment in comparison to that of high street stores.
Post-Purchase
I asked a customer of Jacquemus what other brands they shop at and they said Ximon Lee, Craig Green, Angel Chen, Acne Studios, Vetements, Celine, Comme Des Garcons, Junya Watanabe, Simone Rocha. They said that when talking about the fit of the garment you must consider each piece individually as every garment is unique and cut differently, as such there isn’t one straight size that will fit every time for the same kind of garment. The customer owns a few jackets and states that the woollen one is quite boxy, a sleeveless blazer which gives the appearance of a cape when worn. Both items require dry cleaning. Owns a shirt with a plastic circle attached to the centre, the fabric of the shirt itself is structured, meaning that the shirt also has a “boxy” shape much like the coat. This item must also be dry cleaned, due to the element of plastic. The woollen trousers are described as “soft and wearable”