Erdem Branding Strategy by Melissa Ellish

Melissa Ellish Raiana Magalhães

By: Melissa Ellish, Raiana Magalhaes Printed: Firenze, June 2012

Fashion Brand Management

Contents Introduction 5 Brand 9

Vision Mission Values 19 Business Model 25 The Archetype 27 The Character 29 The Metaphor 31 Conflict Resolution 33 DNA & Identifiers 34 Image 36 Brand & Society 39

Business Plan 41 Client 42 Use & Occasion 45 Technology 47 Implementation 50 Direct Operating Store 52 Marketing & Promotion 56 Feasability 62 Legality 64 Conclusion 66 Appendix 67

Sources 68

Introduction Erdem Moralioglu, born to a British mother and Turkish father in Montreal Canada, moved to London to attend the Royal College of Art to study fashion design. Graduating with honors in 2003, he first launched his self-named company in 2005, with his first collection showing at London Fashion Week for Fall 2006. Winning several awards as a new and upcoming designer, Erdem was able to establish his business. Although successful thus far, Erdem has yet to progress his company into a complete brand. While already well known within the fashion industry for his signature floral prints and modern take on retro silhouettes, 5

Erdem lacks global awareness as a brand. Erdem conveys a very clear concept in which his muse is the protagonist of an on going love story. This feminine and mysterious woman is on a constant search for love and excitement. His designs are considered season-less, in the sense that his collections illustrate the continuous chapters of this story rather than following current trends of the season. Although not obeying seasonal trends, Erdem transmits a perception of modernity through his use of technology in his creation of digital prints, which have become his trademark. Currently, Erdem’s collections are only available in multi-brand stores worldwide. The next measure in branding Erdem is to creating new levels of communication, service, and distribution. By establishing these key elements, which the company requires, will help to generate awareness and communicate the brand image. The first step to creating awareness would be through various forms of communication. Print advertisements will be the first action and core foundation of the communication process. By combining the aura of his archetypal nymph and personifying his muse in an “Erdemesque” atmosphere, the prints will visualize the delicacy and strength of 6

the brand. Other communication initiatives such as Public Relations and Online presence can be seen further in detail in Appendix 1. In addition to current presence in multibrand stores, adding Direct Operating Stores (DOS), both online and offline, is essential to portray the brand image. By opening directly operated brick-and-mortar stores, Erdem will be able to better communicate their brand image and preserve their exclusivity through controlled distribution. As a result to establishing DOS, the service aspect of the brand will be better transmitted through various forms customer service. Because Erdem has yet to be developed into a brand, the lack of information and resources has led to the conclusion of a need for the above listed elements. While Erdem produces a strong product with an even stronger concept, the need for expansion through communication, distribution, and service will be beneficial in the forms of strengthening brand image to current clientele as well as generating new customers. By producing the correct combination of these aspects creating Erdem not only as a company, but as a brand with a clear image, will result in both stronger awarness and equity within the market. 7

Brand Erdem Moralioglu was born in Montreal, Canada in 1977 to a British mother and Turkish father. Erdem’s mother and twin sister, Sarah, is where his design inspiration grew from. His mix of ethnic backgrounds allows Erdem to combine contrasting values within his designs, which help define his brand identity. His twin sister brings the duality into his creations, playing with the dichotomy of subversion and gracefulness. Erdem’s unhinged use of contrasting textiles such as rubber and lace represents this opposition of principles. 9

Having a twin made it possible for Erdem to play with two contrasting ideas within one context. Because of the necessity of differentiating himself from his dual, Erdem has the skill to combine two conflicting thoughts into one strong concept representing his need to distinguish himself from his twin while at the same time never being able to completely escape an already established image. The concept of having two of the same, portraying different ideals, allows Erdem to create a product that is both correct and corrupt. His construction of duality continued with his internship at Vivienne Westwood, the queen of British quirkiness, which was the foundation to Erdem’s fashion career as well as his use of Edwardian aesthetic and recurrent oddities. Through merit scholarship Erdem was able to attend and graduate from the Royal College of Art in London with honors in 2003. The following year he moved to New York to work under Diane von Furstenberg, learning to embrace the female body. Further incorporating another signature value, modern ladylike elegance, to his already present historical and rebellious references. Opening his first studio and launching his self-named company in 2005 in East London, Erdem proclaimed his debut in the world of 10

fashion. By winning a significant prize at Fashion Fringe, an annual design competition during London Fashion Week, Erdem was able to establish his company and name as an emerging designer to watch out for. In 2006, Erdem started an ongoing collaboration with a brand of traditional British rainwear brand, Mackintosh, in order to reestablish their name within the fashion industry by working with a new and fresh perspective. This partnership again enabled Erdem to bring the British heritage to a modern era by mixing his soft, girly looks with Mackintosh’s hand tailored, utilitarian coats. Receiving the Swarovski British Fashion Council Fashion Enterprise Award in 2007, Erdem was given the opportunity to utilize Swarovski crystals in his designs bringing a new level of craftsmanship and quality through his hand-made embroideries. The following years, Erdem received several awards from the British Fashion Council, further strengthening his name. His most significant award, won in 2010 by the British Fashion Council/ Vogue Designer Fashion Fund, enabled Erdem to expand internationally by selling his pieces in department stores worldwide. Erdem has been able to show his adaptability 12

through several collaborations across various industries, including accessories, luggage and other hard goods. By combining the distinctive values from different industries, Erdem incorporates functionality with his emotional message, thus showing his ability to evolve into a brand. Since Fall 2006 Erdem has been showing his collections at London Fashion Week. His past few collections expressed “wrongness”, although in very distinctive stories. While Spring 2011 had the flowy easiness of the Russian ballerina, the color palette was inspired by ghostly figures with embroidery details in blood red. The duality between the delicacy of the ballerina and the phantasmagoric feel of an ethereal presence represents the constant expression of contradiction. Continuing his “pursuit of the wrong” , his Spring 2012 collection plays with the idea of a young girl experimenting with adulthood. This concept of uniting innocence and experience is conveyed through floral prints yet in revealing shapes, having a “seen and unseen” feel. Erdem’s latest collection, Fall 2012, epitomized his use of duality through design using provocative elements such as black rubber combined with delicate embroidered lace. The empowerment of his women through “eerily composed” drama is inspired by literature 13

Spring 2011

Spring 2012

Fall 2012

and other theatrical arts. By drawing inspiration from such powerful references, Erdem maintains his muse and identity. Currently, the press and media are the main source of exposure for Erdem. The importance of his story and muse are frequently portrayed through articles and interviews with the designer. Relative MO, the public relations agency that represents Erdem, constantly relays information of the company through their own social media channels. The PR company is not responsible for advertising campaigns, however, they do focus on sightings of celebrities wearing Erdem’s garments and various events. Relative MO also oversees appropriate editorials to relate the essence of Erdem with the image portrayed in the magazines. The significance of the story behind Erdem’s collections is what is best communicated, this is what interests the public most. His ongoing and everchanging story engages the consumers on an emotional level and keeps them wondering. While the image of Erdem is strong, the imagery of the brand needs to be portrayed through various means of communication. Through creating valuable communication, service, and distribution Erdem will be able to better connect to the public by emotionally connecting 16

the consumer with the values of the brand. use of technology Erdem is able to adapt his romantic and Edwardian interpretation into a modern style. The brand’s mission is to always transform his vision and references in a fresh and identifiable way, which will be done by building stronger connections with the consumer through final product, ambiance and experience.

Vission Mission Values The first step to branding Erdem is defining the vision, mission, and values of the company; this was done through the process of a mind map and can be found on Appendix 2. Erdem as the designer represents both the front man and the values of the brand. The vision is a ritual passage, such as the transformation of girl to woman or youth to experience. 19

The tangible values of Erdem translated from the designer himself to the brand image are seen through the quality and craftsmanship of his textiles and embroideries. Erdem as a designer is a colorist and his expertise lies within his creations of innovative digital prints and materials. The intangible values are a visible translation of his emotions. He describes himself as a shy and sensitive person, which is visualized through his feminine and romantic aesthetic. Erdem’s optimism and whimsy is conveyed through his colors and prints. The melodramatic combination of the modernity of his prints and romantic perception, results in a neo-Edwardian style. Erdem’s vision is portrayed through his muse, a protagonist in an ongoing love story. Not distinctly defined, the transformation of this character, from girl to woman, is visible through his collections. The muse, as a result of the archetype of the nymph, is unconsciously on an endless search for love. Never satisfied with the present, this woman refuses to settle for the ordinary, she is constantly looking for thrill and pleasure. While hedonistic and sensual, these qualities are discreetly portrayed, not in an obvious or vulgar manner. Erdem expresses this duality through the combination of the ethereal 20

and femininity with romanticism and the enigmatic. Because this muse is constantly evolving, Erdem brings an element of wonder through his collections. Not knowing the next chapter of his on-going story, keeps the fascination. Erdem illustrates his vision through his ideal of subtle sensuality that can be seen both in the product and his muse. The mission of Erdem is expressed through his creations. His designs are the results of the brand’s vision and values, which can be seen through his odd combinations of prints/ silhouettes, textiles, and insights. Through his use of technology Erdem is able to adapt his romantic and Edwardian interpretation into a modern style. The brand’s mission is to always transform his vision and references in a fresh and identifiable way, which will be done by building stronger connections with the consumer through final product, ambiance and experience.

Mind Map

Business Model

The core aspect of a successful business model relies on the relationship between the client, use/occasion and technology. This relationship is dependent on an emotional association with various elements that define the vision, mission, and values of the brand. Erdem’s vision is a result of his archetype, while at the same time the archetype is a result of his vision as well as the vision of the consumer. 25

Client - Protagonist

Being a company that creates a luxury product, Erdem today is mostly known by the proper and elite higher class. Because Erdem has yet to create a heritage and establish an image for himself, he does not have a defined target market. Celebrities and politicians’ wives are the majority of his current followers. In order to reach his true potential clientele, 26

those who would most relate to the values and image of the brand, Erdem needs to better communicate this brand identity through stronger imagery and distribution. The prospective consumer, while still somewhat proper and belonging to a higher class, is more perceptive to the ideology and symbolism behind the physical product. The improperness behind the product must be conveyed by a woman who understands the duality of nature in both the muse and herself. Because the muse of Erdem is a reflection of the one who is imagining it, the client is directly a part of the story being told. The client is therefore the protagonist of the love story created by Erdem. By making clear these contradictions relatable to life through this story, a larger clientele can be reached. More people relate to this duality of nature rather than just the proper and rightness of being, because it represents the duality within everyone, there are two sides to everything, a proper and improper. Currently Erdem is available at 35 exclusive boutiques and departments stores and online at net-a-porter.com. Of the 45 international points of sale where Erdem’s products can be found, none of those locations are directly operated. In order to establish Erdem as a brand, a direct operating store must be launched therefore creating an ambiance, 27

allowing a complete experience to the consumer. This whole experience, generated by the service and atmosphere, will ensure stronger connections between the client and the brand resulting in higher brand value.

Use/Occasion - Chapters of Story

The products of Erdem fit into the everyday lifestyles of his clientele. These garments embody the image in which the consumer wishes herself to be perceived. The product is the outcome of Erdem’s ideals and images of the perfect woman, his personification of the nymph. Being that Erdem’s designs are casual while remaining chic and sophisticated, they can relate to any day or chapter of the consumer’s 29

daily life. By the client representing the muse, a protagonist in an ongoing love story, these garments convey each phase of her life. Through this clothing, the Erdem woman is able to express her emotions and desires and is able to physically manifest the ideals that she envisions through the nymph. In order to continually and emotionally involve the client, there is a need to open a direct operating store to embody this atmosphere that Erdem envisions. By creating this environmental stimulus, it will establish a better connection between client, product, and brand. The intangible brand values will be conveyed through personal marketing, through the environment and service provided in the concept store, creating the Erdem ritual of purchase. The product will be the tangible reflection of Erdem, which will complete the entire brand image. Erdem will utilize social marketing to emotionally involve his customers. Social media platforms such as Facebook, Twitter, Pinterest, and Tumblr, as well as a stronger webpage will be used to tell Erdem’s story. The application of technology will therefore not only be used in to production process but in the fashionability of the brand as a communication and marketing tool. By sharing pictures of the 30

brand’s items and inspirational photos, Erdem will be reaching his followers and diverse web users. This group represents the clientele who will be most fitting to the experience offered in the flagship store, as well as the ones interested in the books and art available in the store.

Technology - Digital Prints

Technology, for Erdem, is the means to creating his final product. It is through the utilization of technology that he digitally produces and designs his own prints and textiles. Erdem communicates his experiences and emotions through technology, which is seen in the impressionistic style portrayed in his prints. This technology will be brought into the use/ occasion through the flagship store. The digital prints will be projected on white walls creating unique and characteristic wallpaper. This “wallpaper” will be changed every season along with the designs of prints, linking to 32

the mutability of the nymph, because of its impermanence. Having various prints created each season, will enable the changing of the wallpaper depending on the time or day. This personalized wallpaper will also allow the customer to connect and experience the adapting ambiance on an individual level.

The Archetype The archetype is the nymph, she an image based off the imagination and memory of the one who is envisioning her. Being the result of an individual and personal creation, she is mutable and unpredictable. The nymph is a creature formed according to the inaccessible and unattainable fantasy of the human. Once the vision of this illusion becomes reality she is now a physical being, no longer the nymph. In order to maintain this perception of metamorphism, Erdem’s archetype must be preserved as a nymph to remain personally adaptable to each consumer. The nymph is both strong and fragile due to the 35

fact that she is a product of the imagination. Her essence, strength and fragility, relies on the beliefs and ideas of the creator, which gives her the power of mutability. This mutability represents both her strength and weakness. She is fragile because she can be so easily changed in the mind; however, she is strong because her desirability is so intense by her imaginer. The individual consumer being the personal creator of her desired image is then impactful on the image of the brand. As the nymph depends on the imagination of the consumer, the emotional perception of the brand is individualistic to each person. This impacts both the brand and the consumer because it creates personal and emotional relationships between each customer, the brand, and the design. The nymph is also needed by Erdem in order to portray the many dualisms influencing his designs. “It’s a distinct idea of a woman I have in my head, but it’s almost an imaginary figure that happens in the process of creation rather than at the end.” The nymph is the perfect representation of contradiction, she is constant yet mutable, she is powerful yet delicate, she is innocent yet experienced, she is proper yet improper, she is lucid yet enigmatic; she is the result of the imagination and desires of what the person themselves wish to be. 36

The Character

Erdem can be defined as a project brand, combining utopian and ludic spirits. The mashing of periods and styles represents the unpredictability and metamorphism of time. This is visible through the combination of historical references and modernity in Erdem’s designs, making his products both timeless and contemporary. The people, individuals who have their own ideas of the brand, are then marginalized by others, finding themselves as part of a bigger collective based on those ideals. Space, like the nymph, is based on the imagination of the consumer; it is mediated 37

depending on the time and person perceived. There are three different relationship segments within the foundation of the brand. The complexity of the relationship between the designer and the product can be seen through the development of the creations. The dualistic properties of the use of opposing elements and ideas convey this complicated affair. Seduction describes the relationship between the product and the client. The alluring aspects of the story behind the designs are what are most intriguing to the consumer. The final product is the physical object of temptation and seduction that can be experienced by the user. The last sector of the brand relationship is the unpredictability of the vision of the archetype. This is because the relationship between the consumer and the archetype varies on the imagination and desires of the specific client. Due to the mutability of the nymph, the relationship is considered temperamental. Erdem’s passion is exhibited through his expression of ideas into a concept that results in a physical product; this garment is then used to express the emotions of the wearer. The pleasure relies on the ability to change the ideas behind the clothes along with the wearer’s change of mood and feelings. This constant change of the concept can be perceived as a game, always creating something new. 38

The Metaphor

The metaphor of transforming can be applied to several aspects of Erdem. The reoccurrence of duality conveys his desire for mutable situations; this is visible through the ongoing story telling of his muse. The unpredictability of the brand creates an excitement for the unknown, establishing a personal experience for each client. The ephemerality of the nymph and agelessness of the muse results in a broadened visionary client, due to the fact that the image of the muse and nymph is dependent on this heterogeneous customer. 39

The rite of passage, of becoming part of the brand, is seen through the ritual of the consumer envisioning the nymph as a desired reflection of themselves. This mutability of the nymph allows a constant adaption of the image of the brand through the customer’s vision. The transgression of thoughts determines the dependability between the brand and the consumer through the recurrent mutation of this relationship, and thus creating a subversive utopia.

Conflict Resolution

The conflict resolution defines the archetypal paradox between good/bad and clean/dirty. While the conflict lies within the duality of placement, it is also the solution. The selfcondition of the nymph is a balance between bad/clean and dirty/good. The duality expressed in the brand’s vision is portrayed through the dichotomy of the nymph; while she can’t be too good, causing a lack of interest and excitement, she can’t be too bad either, resulting in an inadequate personal association between brand and consumer. 41

DNA & Identifiers

Erdem’s DNA as an outcome of the vision, mission, and values can be summarized by three main ideals. These principles can be defined as: neo-Edwardian, subtle sensuality, and neoteric impressionism. NeoEdwardian represents the revival of elements and characteristics from the Edwardian era. These attributes are translated into modern times through Erdem’s floral prints, use of lace and romantic femininity. The sensuality of the woman is portrayed through a muted 42

sexuality, where the eroticism of the nymph is veiled to the individual fantasizing her. Neoteric impressionism is the manner of translating his ideas into prints through the use of technology. His impressionistic style induces emotion through colors and creative prints. Erdem’s digitally created prints have become one of his main identifiers as a brand. The combination of perfectly feminine silhouettes with odd textiles, colors, and prints define the brand’s pursuit of the wrong.

Image

The final image of Erdem is an emotional relationship between brand, product, and consumer. This eerily composed vision defines the muse’s transformation of girl to woman. Although seeming as a beautiful, delicate flower, Erdem’s endless search for proper made improper forces the flower to blossom, morphing the hidden meaning of beauty into something dark and sexual. This balance of clean and bad embody the essence of the nymph. 44

Brand & Society The idea of duality and multiple characteristics within everyone is represented by the brand image of Erdem, mainly through the archetype of the nymph. In order for a woman to portray her ritual passage, there is a need for an appropriate product that will both include her into her social community, but at the same time disconnect her from that role. One garment alone can represent a number of different dimensions depending on the wearer. The core concept of Erdem, the duality 47

of the human, is not only a consequence of today’s societal values but at the same time a counteraction to the need to depict those values. The complexity of having multiple characteristics within one brand, or one woman, will be represented by concealing the identity of the women in the brand imagery and advertisements. The anonymity of the women will allow the viewers to connect to the images on different levels by reflecting their own individual ideal and fantasies of who she may be. The woman being portrayed can represent either the viewer themselves or who they would like to be. The image is then the answer to the viewers’ wants and desires.

Business Plan

The business describes in depth the implementation of the flagship store, with description of the specific image to be portrayed, as well as the establishment of a new marketing department and signature logo. 49

Implementation

The implementation of this business plan will bring Erdem from a designer to an established fashion brand. The objective of the business plan will be to introduce direct operating stores as well as promotion and marketing strategies. After in depth analysis of Erdem as a company, which can be seen through the presentation of a SWOT analysis in Appendix 3, two strategy proposals will be presented. 50

Direct Operating Store

The opening of a direct operating store will be the first step of the business plan. Appendix 5 displays Erdem’s balance sheet from the years 2010 to 2011. After analyzing these figures it was decided that a financial partner would be consulted to financially support the opening of not just one, but three direct operating stores beginning in the year 2015. The location of these stores will be in London, New York, and Los Angeles, being that the Unites States is currently Erdem’s largest market. This was decided based on the fact that while Erdem is currently profitable enough to consider 52

opening a small brick and mortar store within the next three years, it would be of better interest to seek financial help to prevent the tying up of all his funds into one store. In order to validate this concept, the idea will first be established as a trial in a small boutique along with the relocation of Erdem’s studio and show room to a new building. This new location will be the foundation of the flagship store. This site will be placed at an old bookstore to incarnate the feeling of Erdem’s concept of story telling. By relocating the entire Erdem office into one building, transforming the ground floor into a flagship boutique will allow him to recreate his vision into an actual space and time. Above the boutique will be Erdem’s show room and main offices where the garments will be produced. One of the offices will be occupied by a marketing department to be brought in house (explained further in following sections). The importance of having an exclusive point of sale is essential to verify Erdem’s placement in between the niche and luxury markets. This store will place the product at a higher perceived level, compared to the multi-brand stores where his garments are sold, by bringing the retail mix into one location. By having all parts of production in one structure, it will give the 53

client the feeling of being part of the process, by sharing the same space as the designer and his story telling. The service provided in store will add additional value to the product and brand as a whole because of its exclusivity of product knowledge and personal services offered. Personal marketing will be provided through offering individual shopping services by trained personnel and full product mix in order to develop the in-store Erdem ritual. An important aspect to communicate the feeling of the flagship store will be visual merchandising, because of the very specific image, which will be portrayed. Along with the original interior of the old bookstore, Erdem will create a prestigious selling point through Edwardian styled furniture and decorations mixed with modern and technological elements. The combination of decadent romanticism with modern displays will physically portray the element of duality. In addition to his products on display and for sale in the store will be old books and paintings, which Erdem draws inspiration from. This will not only envision his concept but will emotionally involve the customer into his story telling, as well as supporting the importance of culture within the society.

Marketing & Promotion

While Erdem is represented by the public relations agency, Relative MO, they are only responsible for the public image of the brand in reference to the stockists; they are not accountable for advertisement. In addition to the opening of the concept store, the second part of the business plan will be to implement an in house marketing department. Through advertisement, social and personal marketing, this team will be responsible for emotionally involving the customers through communication. The marketing 56

department will work hand-in-hand with Relative MO to conceptualize and execute the marketing and communication strategies. The first marketing strategy will be to develop a stronger online presence, which is important for international recognition. While Erdem is globally distributed, the brand’s visibility is not strong outside of Europe and the United States. In order to strengthen the brand’s personal webpage a web design professional will be hired as part of the marketing department. This will ensure constant updates and a more personal approach between brand and client. The marketing department will also be responsible for all social media channels. Although Facebook and twitter accounts are already opened under the Erdem name, they are managed by Relative MO. This results in infrequent updates and a lack of personal approach, the essence of social networking. Today, the importance of word of mouth and opinion leaders online are so strong, it is essential for any brand to be in contact and maintain a relationship with their clients. Facebook and Twitter will be utilized to create online conversations with followers. After thorough analysis of social media platforms and their use by competitors (see 57

Appendix 4), it has been decided that Erdem needs to include platforms such as YouTube, Instagram, and Tumblr, in addition to Facebook and Twitter. YouTube can be utilized to create Erdem’s own channel to display his catwalk shows, interviews, and backstage and inspirational videos. Instagram and Tumblr, photo-sharing platforms, can be used to post pictures of his garments as well as things he is inspired by. While Instagram is strictly a mobile application to share photos, it is a good way to reach a more niche market. Tumblr is a photo-blogging site that would be a positive way of influencing fashion followers and bloggers, as well as visualizing his inspirations online. By including inspirational pictures and videos on these platforms, Erdem can further include his customer into his creation process. While online presence is important for a brand in order to establish a strong relationship with customers, having a personal online store does not fit within the image Erdem portrays. Because there is a need to personally experience and physically touch the product in store, a website would not correctly create this atmosphere or personal contact. Although online marketing and discussion is important to encourage shoppers to buy [81% of shoppers get advice from friends before buying; and 77% use online reviews to make 58

a decision ], personal interaction is essential to the feeling of belonging. By opening a store it encourages shoppers to spend time browsing and enjoying the ambiance, meanwhile the social marketing will be used to draw in the customers and have them express their personal experiences with others. Another form of marketing to be implemented in Erdem’s communication strategy will be advertising. Erdem does not currently produce any type of advertising. Print media and online advertisements are important to entice customers to purchase in store, as well as propagate brand awareness. These advertisements are to visualize the brand’s concept and strength the relationship with their customer. Print media will be publicized in appropriate fashion magazines, such as W, Elle, and The Gentlewoman. The importance of advertising in these specific magazines will be to visualize the brand and help to draw the customer to want to be part of Erdem. Aside from the fashion content, these magazines portray the importance of the woman in strong and powerful roles and reach a worldwide audience. The concept to be visually portrayed in the print advertisements will be coherent with the idea of the nymph and the imagination. Although the print advertisements will change according 59

to season, product, and chapter of the story, the conceptualization will remain constant. The ads will feature a woman, always with her face hidden, in order to represent the mutability of the muse and nymph. The detail of the hidden face also symbolizes the seen/ unseen attribute of the muted sensuality. The camera will focus on the product, rather than the model, highlighting the neoteric impressionistic traits. The neo-Edwardian elements will also be visible in the ads sometimes through the mood and scenario of the shot, as well as in the details of the garments. The final aspect to be considered for the marketing and promotion strategy is strengthening the brand’s identity through its logo and product packaging. By personalizing the logo, it will become an instant recognition and link between the customer and brand. The logo will be in the design of Erdem’s personal signature filled with one of the prints in which he digitally created for that season’s collection. The use of the logo will be seen on items such as labels, hang tags, shopping bags (see in Appendix 7), as well as a letterhead on company stationary and contracts. The recurrent use of the logo will not only help strengthen awareness but also increase brand equity.

Feasibility

The feasibility of the implementation of the proposed business plan (relocation of studio in addition to the opening of flagship store, assigning an in-house marketing and promotional department, as well as registering a new trademark) is base off the numbers found in the balance sheet (Appendix 5) as well as forecasting assumptions made for the upcoming years. Based on the high percentage (256%) of increase on current assets from the year 2010 to 2011, it can be assumed that a growth of sales will bring an even higher increase of 62

assets for the current year of 2012. In addition, Erdem is not currently in any debt to the bank or holding a mortgage, meaning that all his assets are accessible for the use of relocation. It is also under the assumption, based on these numbers, that the introduction of a marketing department and a new trademark registration can be supported by the recorded assets available. The marketing department will also ensure brand visibility, bring in more sales and adding value to the brand name. Further addition to brand value will be generated by the new signature trademark, strengthening brand identity and recognition. The relocation and opening of the flagship boutique will be a trial for the establishment of direct operating stores. While Erdem can currently afford the costs of relocating his studio and the opening of the small concept store, he does not have enough disposable funds to afford the opening of international stores. Therefore, the proposal of a financial partner will ensure sufficient funds in order to support the opening and distribution of international direct operating stores. The launching of direct operating stores will further increase sales, bringing in more profit, and brand awareness.

Legality

The legal actions that need to be taken during the implementation of the business plan will be regarding the creation of a new logo. The logo will be a distinctive trademark of the brand because it is the designer’s name and signature. By using his personal name and handwriting will make the logo unique and exclusive. Other identifying marks, besides the style of writing, will be the colors and prints used. The logo will be designed using the digitally created prints which Erdem develops each season for his collections. 64

The color and print used in the logo will be changed each season according to collection, giving full rights of the prints to the designer. The trademark will be registered for use in both Britain and the United States, where the direct operating stores will be opened, as well as in the European Union and all Asian countries in which Erdem products are sold. The new logo will be used on all products and services offered by the brand. For further description of the trademark registration see Appendix 7.

Conclusion

By defining clear values for Erdem, a distinct vision and mission is then possible to determine a strong identifiable image, therefore establishing the company as a recognizable brand. Although Erdem already offered his customer a strong product, he did not have a strong identity in which the client could relate. By illustrating the brand image along with the implementation of a direct operating store, Erdem is able to provide 66

Appendix

Appendix 1

Appendix 2

Appendix 3

ERDEM

Brand Concept – “birth of brand, core concept” - DNA Feminine/girly/ladylike à romantic/precious/delicate/whimsical Floral prints = TRADEMARK “Erdem woman” Silhouette Fabrics French lace Colorful/bright/vibrant/optimistic Fresh and young Prints Modern-retro/neo-Edwardian Mixing of bright prints and lace/silk Silhouette Brand Identity – developed after concept is established, how brand is perceived Personality – strong, powerful, independent, adventurous, season less, whimsical Image – subtle/muted eroticism/sensuality, delicate, whimsical, “proper made improper”, dreamy, fresh Brand Awareness – recognition, recall Editorials 72

Fashion shows Reviews Celebrity recognition Brand Positioning – where in consumer’s mind Effortless luxury Uniqueness In-house print design Craftsmanship Embroidery Word of mouth No advertisement Brand Loyalty – why chosen by consumer, tangible values Craftsmanship Exclusivity of prints Quality of fabrics Brand Equity – intangible values Uniqueness Print Attitude Optimism Story Whimsy Romanticism Service in stores (no DOS no service directly related to brand) 73

Brand Value – financial value Communicate the brand identity to the customer Communication Distribution Service The only value to the Erdem brand currently is its product; our proposal is implement the brand image through communication, distribution, and service. SWOT ANALYSIS

6 Ps: Product: Pricing: Place of Distribution: London Paris Online Store Promotion: Prints Magazines Vogue Harpers L’Officiel Elle Online Social Media Facebook Twitter Youtube LinkedIn Pinterest FourSquare Instagram Webpage Biography Store Locations Online Shopping Promoting Collaborations 75

Links to Social Media webpages French language optional Newsletters Public Relations Fashion Shows Special Events Editorials Charity Support Brand Collaboration Brand Ambassador/Muse Andrea Risenburough Rachel McAdams Melanie Laurent Anne Hathaway Lilly Collins Positioning

People Customer “Erdem Woman” Age – mid 20’s – early 40’s Income Employees

Appendix 4

SOCIAL MEDI

Brand Name

Rank

Facebook Fashion Index Likes Growth Posts Com

Erdem

Alexander McQueen Dries Van Noten

71 -

DVF Lanvin Rodarte

Brand Name Erdem Alexander McQueen Dries Van Noten DVF Lanvin Rodarte Valentino

652,344 -

0.68% -

186,436

3.53%

115

226,290

0.46%

Valentino

207

Twitter 9,823 UN 6,268

192,788 Facebook

1.28%

Online Presenc YouTube Google +

5,442 654,897

2,303

47,283 -

391,353

187,177

444

22,460

226,439

2,523

7,408

78,044

248

20,610

193,148

859

UN - U

IA ANALYSIS I

mments

C-Rate Post Likes -

0.24

P-Rate -

4,373 -

13.41 -

0.45

981

8.77

0.23

2,212

16.29

0.78

1,877

ce - Followers Tumblr Blog Instagram -

24.34

FourSquare

Linked In Flicker

49116 -

281 -

7122 -

2,313 UN

184 x

2,573 2,231 UN

3,510 -

UNOFFICIAL

X - OFFICIAL

SOCIAL MEDIA ANALYSIS II Alexa Brand Name Erdem Alexander McQueen Dries Van Noten DVF Lanvin Rodarte Valentino

Rank 2194509 66,559 1,137,814 56,102 128,868 1,395,426 79,676

Chart Comparison of “Likes” on FB

SOCIAL MEDIA ANALYSIS III TRAFIC Query

Alexander McQueen Percent of Search Traffic

1 alexander mcqueen 2 mcqueen alexander mcqueen 3 boots 4 mc queen 5 alexander mc queen 6 alexander 7 mcq alexander mcqueen Diane von Furstemberg Percent of Search Traffic diane von furstenberg dvf diane wrap dress furstenberg diane von furstenburg diane von furstenberg 7 dresses

Query 1 2 3 4 5 6

Valentino Percent of Search TrafQuery fic 1 valentino 2 red valentino

3 4 5 6 7

valentino shoes valentino garavani valentino handbags winter clothes 2012 valentino red

61.80% 7.01% 1.65% 1.61% 0.95% 0.86% 0.76%

37.63% 14.43% 3.61% 2.70% 1.95% 1.41% 1.30%

58.50% 4.32% 2.06% 1.28% 0.83% 0.76% 0.68%

Lanvin Query

Percent of Search Traffic 1 lanvin

48.02%

2 happy 2012

6.07%

3 lanvin shoes

2.20%

4 lanvin paris

2.03%

5 alber elbaz

2.02%

6 Lanvin (Japanese)

1.86%

7 lanvin el homme

1.62%

Rodarte Query

Percent of Search Traffic 1 rodarte

70.02%

2 probability

3.64%

3 rodarte sisters

2.51%

4 redarte

2.42%

5 kate mulleavy

2.02%

6 rotarde

1.61%

7 kate and laura mulleavy

1.55%

Dries Van Noten Query

Percent of Search Traffic

1 dries van noten

84.34%

2 dries van notten

2.00%

3 dries

1.57%

4 dris van notten

1.21%

5 van dries

1.13%

6 van noten

1.03%

7 dres van noten

0.77%

SOCIAL MEDIA ANALYSIS IV OBSERVATIONS official site

Lanvin

Valentino

McQueen Dries Van Noten Rodarte

twitter

none

no information on company, link to twitter, pictures of collections, editorials and celebrities wearing garments

not frequently updated

yes, fairly well updated, informative, links to official site, twitter and pinterest

yes, frequently updated

facebook, twitter, youtube links

good representation of brand, informative, links to official site, twitter, and youtube channel frequently update

facebook, twitter, youtube links

updated fairly frequently, informative, links to other pages

Erdem

DVF

facebook

updated requently, responds to followers

frequently uadated, not informafacebook, youtube, tive, links to official site, twitter, and frequently updattwitter links youtube channel ed, informative

none

links to facebook, not frequently updated, extremely twitter, tumblr, and informative, links to official site, youtube channel twitter, youtube, and tumblr

updated very seldomly, few followers

updated fairly often, links to other sites

flickr

pinterist

yes, not informative

fashion shows, interviews, awards, videos, etc.

only 2 since Aug boards, 2007, not not well well utilized utilized

yes (only 2 pictures)

runway shows, backstage footage, commercials, interviews; links to other social media sites

instagram

yes, very informative, available job ed offers

youtube

yes, informative

small background on company,

yes, 7 boards, 75 pins, 140 followers

yes, not informative

link to official page, runway shows

not used since 2010

no yes, 26 photos, 48,714 followers

links to all other pages, fashion shows, backstage footage, interviews, videos

yes, 93 photos, 7003 followers

Appendix 5

Appendix 6

TM The legal actions that need to be taken during the implementation of the business plan will be regarding the creation of a new logo.

DISTINCTIVENESS – NOVELTY LEVEL: The logo will be a distinctive trademark of the brand because it is the designer’s name and signature. By using his personal name and handwriting, making the logo unique, not only making the trademark exclusive but novelty as well. The signature is unique to the market because it is Erdem Moralioglu’s personal inscription, because the logo is an exact imprint of his actual signature it cannot be used by any other brand or designer.

PRACTICAL – MARKETING ISSUES: The first print of the logo will be in black and white as a standard format for trademark applications. However, the digital prints that Erdem Moralioglu personally creates for his seasonal collections will be used as the filling of the logo. The specific combination of colors and prints will be another example of identifying marks. There will not be a need to reregister the logo every season when the color/print combination changes because Erdem already has the copyright due to the fact that they are his own creations. The trademark is therefore only recognizable by the style of handwriting; the color and print will just add another level of uniqueness.

CREATION: The logo will be designed using the digitally created prints which Erdem Moralioglu develops each season for his collections. The color and print used in the logo will be changed each season according to collection, giving full rights of the prints to the designer. Since Erdem Moralioglu himself is the sole stakeholder of the company, the rights to the signature will be entitled to both the company and himself. If Erdem is to license out his company’s name the licensee will then be able to use the logo in accordance to Erdem’s contractual terms, excluding the use for decoration.

LEVELS OF REGISTRATION/PRODUCTS AND SERVICES: The trademark will be registered under the Madrid System international route for trademark registration. This level of registration covers the logo trademark under the concepts of distinctiveness, novelty, legality, and design. The countries in which the trademark is protected in include Australia, Canada, China, European Union, Hong Kong, India, Ireland, Philippines, United Kingdom, and the United States. This level of registration will also protect font trademark and color trademarks within certain countries if necessary. The new logo will be used on all products and services, such as clothing and accessory labels, packaging, advertising and media, and licensed products, offered by the brand. The domain https:// erdem.co.uk is already registered by the company.

REASONS FOR A TM SIGNATURE: By changing the actual trademark to a signature trademark the consumer relates to the logo on a more personal level, creating an emotional relationship between company and consumer, adding more value to the trademark and the brand itself.

Appendix 7

Sources

(2012). Retrieved May 10, 2012, from Relative MO: relativemo.com (2012). Retrieved April 5, 2012, from Erdem: http://www.erdem. co.uk/home.php Aries, A., & Trout, J. (2001). Positioning: The Battle of Your Mind. New York: McGrawth-Hill. Bickle, M. (2010). Fashion Marketing: Theory, Principles and Tactics. USA: Fairchild. Blanks, T. (2011, September 19). Spring 2012 Ready to Wear: Erdem. Retrieved May 15, 2012, from Style.com: http://www.style.com/ fashionshows/review/S2012RTW-ERDEM/ Cole, B. (2008, September 15). Star in the making: Designer Erdem Moralioglu. Retrieved May 20, 2012, from The Independent: http:// www.independent.co.uk/life-style/fashion/features/star-in-themaking-designer-erdem-moralioglu-930495.html Corbellini, E., & Saviolo, S. (2009). Managing Fashion and Luxury Companies. Firenze: ETAS. Darlington, M. (2012, April 23). 10 Digital Marketing Trends for Fashion, Luxury, and Retail. Retrieved May 25, 2012, from FMM: http://fashionablymarketing.me/2012/04/digital-marketing-trendsretail/ Easey, M. (2009). Fashion Marketing. United Kingdom: Blackwell Publishing. Erdem and his fashion harem. (2011, September 16). Retrieved May 10, 2012, from London Evening Standard: http://www.thisislondon. co.uk/lifestyle/fashion/erdem-and-his-fashion-harem-6444104.html Erdem Moralioglu Limted. (2011). Director’s Report. London. Floor, K. (2006). Branding A Store: How to Building Successful Retail Brands in a Changing Marketplace. London: Kogan Page Limited. Okonkwo, U. (2007). Luxury Fashion Branding: Trends, Tactics, Techniques. New York: Palgrave MacMillian New York. Omar, O. (1999). Retail Marketing. Essex, England: Pearson Education Limited.

Picture - Order of Appearance Fig 1 Playing Fashion Magazine October 2010 Fig 2 Vogue Australia Magazine April 2012 Fig 3 British Vogue Magazine 2010 Runway Pictures p.14 and p.15 from Style. com Fig 4 Erdem Pre-Fall 2011 at Fashionolic Fig 5The Independent Magazine - 14th April 2012 Fig 6The Independent Magazine - 14th April 2012 Fig 7 Collage Fig 8 A/W 2011 Erdem backstage Fig 9 Observer on Sunday designed by Helen Seamons Fig 10 Abby Lee Kershaw Collage at FFFFOUND! tumblr Fig 11 Erdem Pre-Fall 2012 Fig 12 Erdem Print Fig 13 Dansk Magazine 2011 Fig 14 Vogue China March 2012 Fig 15 Erdem Backstage S/S 2012 Fig 16 Erdem A/W 2010 Fig 17-19 Collage Fig 20 Collage Fig 21 Collage 96