Christian Dior FMP Campaign Proposal

A comprehensive analysis of the luxury brand, Christian Dior S.A and focusing on it’s leather goods sector This public relations proposal has been created exclusively to propose and recommend public relations 12-month strategic campaign

Executive Summary:

The following public relations proposal has been devised in order to successfully promote and maintain the PR strategy for Christian Dior leather goods within the UK market. Appropriate media tactics have been carefully structured and planned to support the on going success of the brand, by developing on their grounded brand awareness. This will be highlighted throughout all objectives outlined in this campaign as well as demonstrated through relevant supporting materials.

Christian Dior leather goods are an iconic aspect of the brand, representing timeless and unique works of art with signature pieces dating back to the birth of the brand. The modernistic silhouettes of the leather goods also symbolise many of the core values that enhance the brand as a whole. However, through research conducted, it seems that the general public does not fully grasp the magnificence of the products, nor do they engage with the passion which the brand overall expresses to its audience.

On the one hand, this campaign seeks to inform industry insiders, NGOs and other relevant organisations of the company’s production methods; attracting acknowledgement from industry public’s as well as offering contribution in conversations around subjects like craftsmanship, leather knowledge and global responsibility within the luxury market. In addition, it also seeks to offer its target audience a chance to value its exquisite artistry of craftsmanship and engage with the powerful varieties that surround the personality of the brand that is deemed a timeless classic.

As the age range within the Christian Dior’s target public is so differentiated – from 18 to over 40 years old – the campaign’s strategies and tactics will be divided into two major categories, the first using online and digital information channels to attract the younger age groups, and the second using more conventional promotional material such as print media and social awareness strategies. This division will allow the brand to attract a wide consumer base without alienating its direct target customer. The majority is the ‘key client’ of whom the brand continuously aims to target through staying up to date with, more so via intimate and personal connections, generally moulding their already defined Christian Dior aura.

They are familiar with all spectrum’s of the brand as well as appreciate the foundational core values that the brand stand and pride on. The minority target group is the consumer who does not directly buy into the brand solely for their qualities, but due to the associations that is created from the brand.

As previously stated, this communication campaign is focused mainly on the leather skins content within the handbag and accessories within the brand. The main focus of the brand in terms of accessories has always been on the accessories as a brand, especially under the direction of John Galliano, but a result of this campaign will be to focus on how the accessories are displayed differently within recent years under the direction of Raf Simons.

Overview

It was the year of 1946, when Christian Dior would begin his journey in the world of fashion, officially opening his very first shop on 8th December. It was with the debut of Dior’s first and most famous collection in his salon on the morning of the 12th February 1947 that he would be remembered and honoured as the couturier of the mid-century. The collection was originally named Corolle, and from the swift positive response was nicknamed ‘ The New Look’. The collection consisted of looks that now remain signature to the DNA and overall make‑up of the brand. The Bar suit number, and the legendary curves of the Dior mid-century woman accentuated by the Bar jacket, the Corolle afternoon dress and Soiree dress, alongside many more, featured in the collection and would become the source of inspiration for future designers who would take their places as creative directors when he was to depart in the next ten years.

Since the death of Christian Dior, there have been many glorious designers running the artistic and creative direction of the brand, following suit from the Christian Dior brand core values surrounding the feminine silhouette and the importance of elegance within luxury, thereby reassigning Dior as a respectable French global luxury brand and empire. It was in 1996 that John Galliano was appointed as the new creative director replacing Gianfranco Ferré. With Galliano’s background in costume design and theatre, he brought a new perception to the brand, channelling a more extravagant persona not only to the collections but also to the interior design and make up of the shows. Whilst at Dior, Galliano was famed for his elaborate, extroverted creations, many of which made for exciting catwalk shows but often did not translate in terms of wearability. He was not only known to embrace his craft of theatrical costume design but also stood as the face of the brand, and it was during his direction at Dior that the focus shifted towards accessories within womenswear, from the birth of the legendary Lady Dior, to the vibrant and eccentric (now known as vintage gems) small pieces for all types of consumers.

Fittingly, the Christian Dior legacy was celebrated with great flamboyance during Galliano’s reign as he partook in the 40th anniversary festivities. But in 2010, couple of days before the Dior show during Paris Fashion Week, a video was posted on an internet site of Galliano at a restaurant in Paris casting racist and anti-Semitic slurs on a couple. Immediately Dior suspended Galliano the next day, and by the end of the week and after this unforeseen scandal, Galliano was dismissed.

What brought a lot of attention to the house of Dior during the year of 2012 was the public’s mixed reaction to the official appointment of Raf Simons as artistic director. In the 2015 film Dior and I it was highlighted that Simons was not an ideal or in fact typical choice, for he was seen as very minimalistic, and it was also noted that his experience at Jil Sander would pose many obstructions in correctly delivering Dior-worthy collections, especially after the Galliano era. Simons’s appointment appeared to be a

complete 180-degree, as he was not well known within the industry, apart from in the area of menswear, and also for his solo shows reviving the ‘skinny black suit’ during the late 1990’s. Evidently, this produced some concerns, creating more pressure on what Simons would then bring to the brand’s future.

From his first couture show in 2012 until now, three years later, he has brought a new type of energy overall to the brand, as well as redefining the sense of beauty in the venerable French maison, especially through his ventures within the accessories atelier departments. His first couture collection was deemed a breath of fresh air for the brand, showing a departure from the Galliano era, and welcoming in the ‘new slate’ of Simons’s personal passions for music, art and the overall history of the brand’s leader.

The house of Dior is a global brand owned by LVMH whose group mission and values follow; “creativity and innovation, product excellence, to reinforce the image of [our] brands with passionate determination, act as entrepreneurs and to strive to be the best in all we do” (lvmh, Unknown).

Christian Dior’s mission and core values are to continually and ultimately be known for its’ ‘symbol of elegance, excellence and luxury … continuing to define elegance and style with the same audacity that inspired Monsieur Dior when he first launched his house’ (Dior, About, 2010).

Images from archived magazine and Dior editorial located on website 2

Situation Analysis: Internal Analysis: Brand Image

Christian Dior S.A stands as a brand constantly reinventing itself whilst sticking to its aesthetics.

Some of the attributes that Christian Dior are known for is its rich heritage celebrating the silhouette of the female post war and bring elegance back to fashion, luxury, elegance and excellence are very important to the brand since its first shop.

Strengths and weaknesses

The strengths that surround the brand are primarily the beauty of the history within the brand. Dior over the years have developed strong relationships with many important figures through the global history books, dressing queens as well as being honoured by members of Hollywood. Dior as a brand is a pioneer of how to retell their history again and again through different point of views creating a fresh outlook on the brand.

Recently, they have also been understood as one of the only luxury brands to accomplish strong social media presence, including both digital and online presence that continuously promotes the rich heritage, which the Christian Dior brand holds.

Their ambassador – clientele ratio defines a fixed yet lenient persona overall of the brand. There are many faces and ambassadors who have come and gone with the brand throughout its history, as of now they are the likes of Jennifer Lawrence, Marion Cotillard, Natalie Portman, Julianne Moore, Leelee Sobieski , Charlize Theron and Robert Pattinson. Many celebrities within the past 5 years have also revealed how they are supporters of the brand like Rihanna, Mila Kunis, Olivia Palermo, Beyonce, Emma Watson, Jennifer Lopez, Sarah Jessica and many more.

Images from the Dior website

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External Analysis: Product Situation

As of 2015, Dior currently has nine leather goods collections within the brand. Two of the nine are very recent, birthed under the three-year long venture of Raf Simons at Dior named the ‘Be Dior’ and ‘Diorama’, under the direction of Galliano created the legendary ‘Lady Dior’ fantasised by the late Lady Diana herself; and amongst those are the famous Miss Dior bag, created personally by Mousier Dior himself whilst leading the brand; as well as the Diorissimo, Open Bar, D Light, Dior Soft and Dior P. Products under the brand operate within ‘three realms’, known as the ready-to-wear, studio and haute couture. In addition to purses including clutches, the sizes are variable, from micro, to mini, medium, as well as large. The leather goods come in many varieties of skins, including calf-leather and also exotic skins.

Distribution

Within the UK market, Dior leather good products are currently sold within six boutiques. One in Heathrow and Manchester; as well as four within London situating in Conduit Street, Sloane Street and concessions in Harrods of London and Selfridges. The original flagship store situated in Bond Street has been under renovation since 2014 and is scheduled to re-open during the late 2015.

Competitor observance

The position of brand is comfortably situated amongst other historical household names for many decades like Chanel, Louis Vuitton, Gucci, Balenciaga and many more. The reason because of the beauty that surrounds the maison, the various sizes providing much option for the customer, the history of the brand and story of that particular item, the celebrity association with the item and ultimately; the craftsmanship story around the brand.

Opportunities &Threats

The opportunities for the future of the brand around the leather goods collections would be to enhance the awareness of the technical skill, traditional approach and sacred craftsmanship work around the leather goods products made in their atelier. The threats against Dior are that the methods of production have remained unknown or blurred throughout the years whilst competitors have thrived on promoting their craftsmanship qualities even though their level of pure craftsmanship is questionable. An advantage that Dior own over many of their competitors are that all of their bags are made by hand within the atelier in Florence, Italy; and by maximising this rare quality (that lies within 21st luxury fashion) compared to their competitors will shift public respect towards the care taken into leather goods within the luxury fashion industry.

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Campaign:

Gathering information surrounding the internal and external factors, it is clear that the brand needs of an implementation plan to raise more so the new direction of the accessories under Raf Simons emphasised through the leather accessories.

Aim:

To emphasise the craftsmanship qualities around the Christian Dior leather goods under the direction of Raf Simons.

Objective:

The variety of pitching that would be communicated to members of press will derive from press releases, events and personalised trips catered to generate organic impressive reactions towards respecting and honouring the Dior atelier. The strategies will clearly outline the solid relationship with Dior and luxury on a well-kept and traditional way within a Raf Simons modernistic way.

Long term:

-To push Christian Dior’s delivery of key messages and within luxury through brands identity from in house online content, circling engagement online, in-store and through various media and social channels.

-To increase fashion and lifestyle press coverage, highlighting Christian Dior’s leathers handbags as a luxury brand that takes pride in craftsmanship.

-To execute the awareness of Christian Dior’s handbag range as a statement and investment piece.

-To revive Christian Dior leather goods presence online and in print through social media engagement and product placement.

Short term:

-To achieve 10 pieces of press coverage from a range of fashion Lifestyle publications to cater to the Christian Dior target consumer groups within a year.

-To increase traffic online through to the website magazine by 20 to-25% by the end of 12 months.

-To involve Raf Simons with UK and international press around luxury and craftsmanship, documented via in house print and online content as well as captured in international press (maximum 4 pieces).

The magazines we must target within the 12-month campaign, within the British market are: We also intend to attract influencers who do complement our brand values as well as product content which assure the brand of communication capability when highlighting craftsmanship within luxury.

British Vogue

ES Magazine

Elle (UK)

The Evening Standard

Harpers Bazaar

Vanity Fair The online magazines that we aim to have cover Teen Vogue age over are:

CR Fashion Book Vogue.co.uk Glamour.co.uk Other publications range from: Style.com

The Sunday Time style

Business of Fashion

Financial Times Coveteur

The Stylist

A Mixture of images from the Dior website and an illustration by Mary Momodu

The activity surround their lifestyle aspect would be pitched to a number of print and online magazines, as well as newspapers to secure awareness of an event going on for consumers to participate in. For their leather good products to build a stronger print and online presence within the media by exhibiting the products in alignment with the lifestyle they belong to so that consumer engagement is more accessible and a less strict environment where sales feel important. The target is to increase traffic flow to websites by 10-15% by the end of the 12-month campaign though social media.

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Strategies:

The driving strategy for this campaign will ensure, that Christian Dior uphold their leather goods accessories from an angle where luxury and craftsmanship relate in a visually beautiful way according to the Raf Simons direction. The tactics produced within this campaign will attract all consumers directly and indirectly. The approach is to create conversation around the relationship of luxury and craftsmanship within leather goods. From this, intentional exposure of the leather goods through a wide range of publications and online media will attract more interest around the global topic of discussion and all of the activities will be formed in a measurable content manner, through various monitoring and revising. A range of product placement, social activities, and online engagement will form attention to the consumer who is aware of the brands quality as well as incite them to engage more with the brand, be it visit the store or following social media platforms.

Tradition is still important within modern times and as a luxury global empire, pitching to the press on how Dior has prided themselves on preserving such attitudes will evoke on-going conversation between industry experts filtering through many mediums within print and online. However, it is imperative for the press and then evidently the consumer to understand the approach that Raf Simons is leading the brand, particularly since the two new arrivals to the brand.

Lifestyle qualities within luxury will cause engagement between consumer and the brand, as members of press are secondary to being a consumer, they would also partake within the activities.

As the purpose of my campaign is directed to women (and solely about the leather goods handbags), the majority is the ‘key client’ whom they are continuously aiming to target into: -Staying up to date with the modernity path which the brand is venturing in, -To the unique décor and visuals which they continue to flourish in, -To generally helping her to refine her Christian Dior aura.

In addition, the campaign must be crafted in a way that does not alienate a minority, and by the term minority; it is the consumer who does not directly buy into the brand solely for their qualities, but due to the associations that is created from the brand; for example, an introduction of the brands latest product triggering media frenzy and labelled ‘the new product’ as well as everyday celebrity affiliation and ambassadorship.

Though the objective of this 12 campaign is to clarify mainly with the press, Christian Dior would like to also entertain the public in an exhibition space style approach. To start of the campaign will commence in December 2015, as part of the festive season Christian Dior will celebrate the beauty of its atelier’s craftsmanship in handbags with an advent calendar.

The London Bond Street boutique store is set to open later in the month of December, and to celebrate the flagship maison store, the brand will host a private gathering to celebrate the opening of the store and the soon to be exhibition space that will be later unveiled in the following month. These guests shall be made up of UK, and close international press, private clientele, influencers, models and celebrities.

The gathering will serve the purpose is to provide as a tool to national and international press about the stores renovation and celebrate the ateliers achievements as members of a traditional and excellent craft within luxury within the upcoming global events. In addition, provide a personal approach with Raf Simons and his propositions and excitement for the store together with highlighting the workmanship of which is taken into making these handbags. It will also celebrate the future exhibition space that will be open in the near future.

The exhibition will start off in London, during the month of January 2016 (28th) until mid- February 2016 (22nd February). Afterwards it will travel to another 3 cities around the world. In total the exhibition will run for about 7 months, traveling from London, to Paris, Beijing and New York City.

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Strategy part 1: The Advent Calendar

As previously stated, in cognition with the festive season Christian Dior will celebrate the beauty of its atelier’s craftsmanship in handbags with an advent calendar. This advent calendar will be made in 24 parts, available digitally as well as hard-copy for consumers in the major boutiques in London.

This will be a new and interesting way of helping the consumer understand how the bag is assembled.

In order for this advent calendar to work in favour for the customer it will go around the idea in the festive season which is all about giving. Therefore to put into context, a person is to buy the advent calendar and present it to the receiver, and in order for the receiver to understand their Christmas/ festive present, they will open each specific day and unveil a specific element of the bag to understands that by the 24th day their present/ gift shall be a Christian Dior bag.

The reason why the app is to be available in two versions is because the aim of this strategy is to create a social interaction between the brand and consumers involving them in the understanding of the desired bag online and offline. The digital version within the app will be available globally, whilst the hard-copy version will remain as an exclusive to the London boutiques (Selfridges, Harrods, flagship in Knightsbridge and conduit street). Having two versions will benefit the brand in terms of demand as well as exclusivity for home residence consumers and international visitors.

This strategy will be pitched to a range of newspapers in the ‘must have’ and gifting sections for the Christmas season; gifting options available to members of press and online influencers as well as receive coverage with glossy magazines online discussing a fresh and innovative way of joining technology with craftsmanship within luxury.

Examples are: Stylist Es Magazine Harrods Sandra Hagelstam from ‘5 inch and Up’ Reem and Natalya from ‘five five fabulous’

A digital social media campaign will also mirror this strategy through on various days that holds an importance to the brand which will be publicised through their well known and interactive social media sites like Instagram and Facebook primarily. (An example is displayed on the next page).

3 mins ago

On the 16th December 1946, Mousier Dior founded his shop in 30 Ave Montaigne, then, soon expanding to the UK, where he found the maison in Bond Street, come and visit us this season ! #latelierduDior

Screenshot of their social media with an insert of an illustration by Mary Momodu

The target Dior consumer is considered as a favourable member from an elite group. In order for this tactic to remain as a luxurious piece, the hard-copy advent calendar will act as purchasable in the ‘early adopters’ to ‘die-hards group’ because it will come with every purchase, and the app will be available to the desirable consumer who fall into the ‘fashion followers’ to ‘fashion girls and boys’ instigated by the influencer.

The advent calendar will be in four formats: - Lady Dior - Miss Dior - Diorama - Be Dior Following the advent calendar initiative there will be the re-launch of the Bond Street store opening that will follow through later within the month of December.

In celebration of the new store, Raf Simons, will host a private gathering for their special guests within the UK market. A cocktail and canapés reception would suit the evening perfectly fine for the type of guests we shall be receiving. A simple invitation in the form of the advent calendar will be sent out inviting key stakeholders. These guests shall be made up of UK stakeholders, advertisers from magazines, as well of members of Christian Dior (including Peter Mariano) and LVMH. The guests will be guided around the store as a tour, unveiling the first leather accessory room in the form of an art space in the world.

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An example of the Miss Dior Advent Calendar Illustrated by Mary Momodu, Graduate at LCF

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Strategy part 2: The exhibition – Dans L’atelier du Dior Pre Exhibition:

A press pack shall be sent out to the guests, which will attend the private dinner. Within the press pack shall hold a specific element piece of a Christian Dior handbag appropriate to the characteristic that the person holds.

For example, a Miss Dior bag gifted to Emma Watson shall contain in her press pack/invitation, the buckle of the Dior bag.

The missing piece which is included in the press pack/invitation shall be brought along to the store opening dinner and will be assembled at the private dinner as the atelier from Florence, Italy shall be present at the dinner highlighting the relationship of luxury and craftsmanship within the brand. The press will be covering this as well as the fact that they too have a first hand understanding of the elements and marvellous efforts put into every bag.

Ambassadors in London will be: Marion Cotillard, Emma Watson.

Invitees:

The dinner: will be a seated dinner, very light, secluded around imported workstations that mimic the atelier in Florence, Italy. What will also be featured are members of the team that will actually be able to complete the finished product of the bag right in front of the press.

These guests shall be made up of UK, and close international press, private clientele, a blogger, models and celebrities. The private will serve the purpose is to provide as a tool to national and international press about the stores renovation, celebration of the ateliers achievements as members of a traditional and excellent craft within luxury as well as a personal approach to hear from Raf Simons propositions and excitement for the store as well as show of the workmanship of which is taken into making these handbags.

Exhibition details:

From London – 28th January 2016- 22th February; in the London exhibition, it will showcase how the bags are made in Florence, Italy, focusing primarily on the Lady Dior bag at the centre and her story to existence. It would be appropriate to start in London, continuing in attract the press, and capture Dior’s audience to visit the store and explore the beauty of the new renovation, as well as have a social experience in one of the brands piece collections on a vivid international level. It will continue to February during London Fashion Week as week, for international visitation and possibly attract online coverage from influencers and international blogging press.

Visitors will be guided around the exhibition space by a small team and leather goods experts, allowing customers to understand how the bags are made. The bag that will be made is the Lady Dior bag, with a special story behind the concept of the bag. The exhibition will be held and travel from flagship to flagship store.

Travelling next to Paris, in the Parisian exhibition, it will showcase how the bags are made in Florence, Italy, focusing primarily on the Be Dior bag at the centre and her story to existence. It will be launched during Paris fashion week, with an exclusive event for press catering for the French and Italian press running from the very end of February until the ending of March.

There will be a slight pause in between April, and the exhibition story will continue to China in May 2016 and land in Beijing. During exhibition, it will showcase how the bags are made in Florence, Italy, focusing primarily on the Miss Dior bag at the centre and her story to existence. The reason why it will travel from Paris next to Beijing, is because the it will mark one year since the Miss Dior exhibition which took place in Beijing, but did not emphasis so much on the bag itself, but more so the characteristics of the Miss Dior Christian Dior created himself.

Its final stop will take place within the America’s, New York City, in the flagship store exhibition, taking place in the flagship store. It will to showcase how all of the bags are made in Florence, Italy; (just like the previous ones) focusing primarily on the Diorama bag at the centre and her story to existence, attaching the relationship of her characteristics with the city and ambassador, and connecting with luxury and craftsmanship.

A physical copy is available for you to see in your package.

Image orginally from CR Fashion book and manipulated by graphic designer, Joel Vaughan

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Strategy part 3: The Anatomy of the Bag #LeateilierduDior From research and understanding the behaviour the indirect consumer of Dior, this very last strategy is crafted with collaborating with online influencers. These chosen figures are no strangers to Dior accessories, and from observations, there followers are most interested and keen whence Dior is mentioned by them.

The purpose of this strategy is to also inform the target group who may desire the brand, but not be able to connect directly with them through physicality avenues. These consumers usually find out the most interesting things regarding a luxury brand that they follow through online activity, social media and especially through online influencers such as bloggers. Though many industry experts believe that luxury brands and bloggers/ online influencers shouldn’t mix well, this ‘theory’ has proven how strong and powerful these bloggers act and pose more so like the heritage brands themselves. So what I thought would be best is to select the attendance of whom is heavily involved in the campaign within the exhibition, but also hand pick bloggers who feature Dior as well as have a relationship with the brand be it through attendance to runway shows or private viewings.

They will attend this press trip which is scheduled to commence within the month of November, a little after the spring summer show season, and checking though their traditional blogging calendars, November seems to be quite an interestingly calm month.

The press trip will include a trip to Florence, Italy where they will meet with members of the Atelier of Dior. They will be able to see the actual steps taken, how materials are sourced and chosen, the whole and very true understanding of craftsmanship within luxury leather goods and overall, become knowledgeable in regards to fine luxury leather goods because there is one thing to hear when you are served within a retail setting about the beauty of fine materials coming together and the customer picturing it, (but for a group who are not extensively knowledgeable regarding material structure, this may be hard to fully comprehend); and then there is a total different meaning when you meet the very same people who live exactly for what you choose to invest in.

Images from Instagram

The carefully selected bloggers are: Chiara Ferragni - The Blonde Salad- Italian Leandra Medine - Man Repeller - New Yorker Hanneli Mustaparta - Photographer / Blogger - Norway Jessica Stein - Tuula -Sydney, Australia Shiona Turini - contributor to the coveteur - New Yorker Aimee Song - songofstyle - LA / Asia

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Key Messages:

The key message crafted for this campaign is to focus on real-life connections between the products with consumers. In a world where mobile apps, social media and online activity form the majority of our communication with each other, many topical questions for example; a need for the continuation of retail stores remaining relevant, an on-going argument about the true meaning of a luxury brand as well as to whether sustainability and luxury can work together. The true beauty of a campaign crafted like so would be that the brand will be supplying an existing a developing experience first hand giving opportunity to connect with the brand beyond computer devices and within secured inside spaces.

Images from Dior

-True luxury requires genuine materials and the craftsman’s sincerity. It is only meaningful when it respects tradition.

-DIOR is the ultimate symbol of elegance, excellence and luxury.

-In the 21st Century, DIOR continues to define elegance and style with the same audacity that inspired Monsieur Dior when he launched his house.

-Dior is a luxury brand that embodies craftsmanship and luxury.

Target Audience for campaign

Christian Dior is a global brand, serving to over 21 million ‘users’ online. These users are made up of customers, who have been brought up in the way of Christian Dior (through family, previous generations would have left the admiration of the values at the maison and the respect for the brands celebration of beauty in woman would have trickled down the generation) engaging in more or less, the haute couture and ready-to-wear aspect of the brand; a new wave of clients who have acquired a status achievement in life where they can respectively buy according to their hierarchy of needs as well as desires, this may range from the ready-to-wear collection or certain favourite pieces which the brand reproduce every season in a different style and finally a group of people whom are consumers of the brand through small leather goods, accessories, fragrance and beauty; yet still acquire a desire to perhaps own something from the brand a little pricier due to the admiration of their products shown through their deluxe characteristics .

In order for any campaign under a brand like Christian Dior, I will have to consider the majority and the minority. In this case (as the purpose of my campaign is directed to women and solely about the leather goods handbags), the majority is the ‘key client’ whom they are continuously aiming to target into staying up to date with the modernity path which the brand is venturing in, to the unique décor and visuals which they continue to flourish in, to generally helping her to refine her Christian Dior aura.

In addition, the campaign must be crafted in a way that does not alienate a minority, and by the term minority; it is the consumer who does not directly buy into the brand solely for their qualities, but due to the associations that is created from the brand; for example, an introduction of the brands latest product triggering media frenzy and labelled ‘the new product’ as well as everyday celebrity affiliation and ambassadorship. These consumers are known as the potential clients, buying into the brand because of the characteristics based upon an understanding from its history relived in the celebrity pop culture. They may buy into the fragrance and beauty aspect of the business and desire to purchase from the leather accessory product range.

This audience cannot be statically categorised simply because boundaries cross paths, and within the age of digital media, reader consumption in print and online news vary down the individual and generalised on an average. However, for the purposes of the campaign, I have sectioned the age groups into 5 separate tiers: Below 28:

The below 28 age group are a very impressionable category, it is argued that they may be the ‘richest’ group of all as they have fewer responsibilities and higher drive to earn money quickly. This category however, fall into the type of consumer who are trend focus, in terms of the fashion industry, should they realise that they would want to purchase something, a media frenzy normally contributes to their overall decision. They have grown up to maybe prefer one brand over another due their upbringing cultural experiences, however explore other brands due to the opinionated online influencers in the forms of bloggers

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who have a desire to share their inspiration, or simply a member of someone from industry who spends times in between the two separate yet merging worlds. Magazines that cater to this category are Teen Vogue, British Vogue, Grazia Magazine, Dazed & Confused, i-D , style.com, vogue.com, and Look.

29-35:

The 29-35 age category are those who are quickly in a stage of life where they have gained a great deal of understanding regarding future decisions. Based upon research, they have attained their ‘dream job’ and settled in a promising position or looking towards to elevate their job role within their respected company.

They also happen to dwell in the category where they have thought about settling down, so the expenditure within this age gap has decreased due to entering the stages of life where becoming a property owner and starting a family would step at the forefront more so than looking for another holiday. The time spent on fashion as a trend decreases, and the focus is more so on making sure a piece is transferable in every collection, long lasting and relevant; somewhat like on-trend classic that revokes a statement in may ways without much fuss. Due to many experiences spent shopping or having friends that shop within these luxury stores (also to take into consideration – shopping over the world), this age group would definitely understand which brand works best for a certain type of garment or accessory, and also acquire a favourite brand due to overall personal experience, yet they take great consideration into paying attention to who is seen in these brands as well as how they are worn by these ‘famous’ personalities, be it established bloggers who constantly work within the luxury market to the celebrity type of royalty within their location (reality stars).

In addition to who it is seen on through celebrity culture, paying close attention to important figures ranging from political and social affairs globally. However, the world of social media is more so at their hands than ever before towards a category like so; with the birth on fashion magazines transferring online, adapting their content to suit the pressed time their consumers own, a brand like Christian Dior would benefit from being featured in such a way that is most pleasing to the consumer (making them want to journey that curiosity towards store). This category also happens to be important brands like Christian Dior through email communication, where information is shared towards the consumer in a way where it is sufficient enough to again, go into store, or discuss via customer service. The magazines that this group would definitely embrace within the British society are Harrods, Tatler, Instyle, Business of Fashion (online), Harpers Bazaar, W (American but sold in UK at major off licences and department stores) Marie Claire, British Vogue, Glamour UK, and The Edit (on tablet) 30-49

This category of consumers for this campaign has been labelled as the early adopters as well as quality seekers because from research, it has been highlighted that these group of buyers are heavily interested in seasonal purchasing and investment buying. The term by seasonal purchasing, means that by a type of custom where the buyer purchases a high-priced item due to a special occasion, be it birthday, anniversary, special occasion and more. Though it is a time of celebration and reward to the individual, paying attention to its price and value is usually taken in to consideration greatly because they value the longevity of the item. This category would prefer to come back to a particular brand because of its quality over its popularity. They also care far more about their reoccurring ranges in different forms and extravagant collections that would possibly be tailored to their benefits.

The magazines that this group would definitely embrace within the British society are Harrods, Tatler, Instyle, Harpers Bazaar, Marie Claire, British Vogue, and The Edit.

40-49

This category of consumers for this campaign has been labelled as the ‘die hards’ to simply represent the fact that they have been with the brand for a number of years. This category would be informed of the brands actions, additions ad general news through the Dior in house magazine, delivered to them (if they do not shop within stores) or whenever they make their purchase. In-house content are primarily for them, however, the relationship between customer and sales adviser gives the motion of information updates more personal. However, the other forms of news within Fashion that this category read would be along the route of The Edit (online), Sunday Times Style or Marie Claire.

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Timeline

December 1 2015The launch of the Dior mobile app

November 15 2015Dior announces the anatomy of the bag

December 15th 2015The official London Store has opened

December 10 2015London Store opening event (private gathering)

From the median plan on the previous page, the members of press titled ‘priority’ will be covering events from the very beginning, they would have received embargoed press releases months prior, whilst members of the Dior press team will be receiving media training alongside the members of store staff.

Though we will be working closely with these members of press, we also expect to recieve additional coverage from publications and daily outlets covering theses events.

26th February 201625th March Paris exhibition

January 28 2016London exhibition finishing 22nd February

14th April 2016- 20th May Beijing exhibition

3rd June 2016 - 2nd July New York exhibition

September 12-15 2016 The anatomy of the bag

Within this part of the campaign, we expect to receive coverage generated within our social media platforms.

Not only will our consumers and followers be excited over the events, but our developed relationships with online influencers will create original and desirable content.

The campaign will continue until September, just in time for Paris fashion week (in October) where the exhibition spaces will be turned into art spaces within the flagship stores.

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Budget

By gathering information from similar venders that would be used by a brand as such enabled a budget to fit the elements of this campaign. As well as extracting information from the Christian Dior financial report of 2014, the budget devised has met the demands of real life the Dior social events department within their very own PR.

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Evaluation

How I expect to validate the success of my evaluation follows as so: Social Media Tracking:

With the implementation of various hash-tags used throughout Twitter and Instagram during the campaign, the press team will be able to evaluate continuously (instead of waiting until the end of the campaign). By monitoring the hash-tags and mentions through online behaviour on a monthly basis; we will be able to monitor what is being said about the campaign as well as what isn’t being said (but should be) and alter how the missing information of key words should be highlighted. This will be presented back to a team of senior members within the brand globally to inform the current behaviour and predict the ‘interest’ future.

Also, a prediction would be ultimately that the interest would have increased, by using Facebook analytics, we will be able to monitor as well as observe a number of things including customer background by footfall per day and personal experiences.

Click through a will also be watched and monitored from social media pages regarding the dior magazine website page. As discussed, the content Dior publish in their very own magazine for their valued clientele is also displayed on the Dior website, during the campaign, there will be an increase in the promotional updates online, with the social media pages providing links directly to the site. Observing the click through from the social media pages to the site will enable the brand to understand which social media platform is performing better in terms of customer engagement. For example, if the Dior magazine content is retrieved via Twitter, then it is most likely that the reader attained that from a mobile device. If the content was read via Facebook, it is likely that the user was viewing this at a certain point within the day. If by Instagram, then the brand could also predict the certain age range. Monitoring the click through will aid the brand in refining their customer profiles especially online to determine how directly (or indirectly) they are investing within the brand.

Survey/interview:

Hosting a focus group with the members of the atelier as well as staff who worked throughout the course of the exhibition will be conducted. There will be two parts to this query, anonymous as well group to ensure that we as members of press understand the experience of the customer throughout the exhibition. This will be conducted 1 week after initial opening, then revisited by the end of the exhibition. This is vital because we will know from the results whether our objectives have been met.

Press observation:

Monitoring press coverage will also enable us to calculate the return on value against our campaign.

We have collaborated with many industry experts within the accessories field and expect the value of coverage around the technicality within Dior leather products to reflect the invested relationships. Monthly reports demonstrating the coverage will also highlight the value by measuring the worth of the coverage against the campaign worth. This will be done alongside regular product placement reports, as part of the campaign objectives highlight the need to push the accessories across targeted publications.

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Market Presence

Christian Dior is purely focused within the luxury market presenting them and appealing to a particular demographic selling a product and a manner of living as a luxury good. Christian Dior seeks for wealthy consumers in terms of finance and lifestyle who will buy into a brand for status symbols, social acknowledgement and for exquisite good quality products.

Advertising and Campaign

The advertising facet of the brand has many avenues, beauty, ready -to-wear, fine jewellery, Dior Homme (menswear), eye-wear, accessories, leather goods and childrenswear. Dior use their ambassadors according to the ‘type of persona’ they portray as a representative of the brand, for example:

Natalie Portman, came to the brand in 2010 as the face of Miss Dior (Cherie) which is most known as the perfume of the brand. But ambassadors of Dior not only promote the product but share interest within the characteristic, therefore embodying the ‘Miss Dior persona, from the make-up range to the very Miss Dior bag advertising. In this way, the understanding of the beautifully fresh and core essence of the brand is highly visible.

Although Charlize Thereon is seen in the advertising campaign for the J’adore Dior perfume collection, the very same explanation of detailed above can be translated into this context, for the characteristics she shares mirror the same characteristics of the Lady Dior bag, promoted by Marion Cotillard. Marion Cotillard was introduced as the brand ambassador in 2008, under Galliano and has since been seen within all of the Lady Dior handbag and smaller accessories advertising campaigns, symbolising the matured Dior consumer (with youthful eloquence), sharing the connotations of what Galliano wanted Lady Diana to represent when it was gifted to her whilst wearing pieces from the ready to wear collection.

Since the arrival of Raf Simons in 2012, there have been two new additions to the Dior Empire, along with the birth of two new Dior ‘it bags’. Jennifer Lawrence arrived in 2012, under the Be Dior umbrella.

She is seen in many ways of the brand and is captured as the overall face of Dior, her youth yet worldly accomplishments within her celebrity status embody what the brand wants their customer to visualise about themselves when they buy into the brand; excellence, elegance and luxury.

The latest ambassador to join the brand and honour a leather accessory under the direction of Raf Simons is Rihanna. Channelling the Diorama bag, from the Spring 2015 runway show, plays with clean architecture on a fashion-forward design. The emphasis around the beautiful architecture of the bag grew in the Pre-Fall Tokyo show in late 2014, and since has become appreciated by its classic beauty, timeless and clean qualities, ready to be carried by many for years to come.

Christian Dior’s advertising campaigns have embodied a mixture of history and modernity throughout the reign of Galliano and Simons. The advertising aspect consists of short videos (which are extended from the average 15 seconds) shown on social media channels in still and moving motion (still images displayed on either Twitter/ Facebook or Instagram; moving on either Google+, Facebook, Instagram).

Also, they still use traditional methods of advertising in publications like Vogue, Elle, Tatler, The Stylist and department stores, which they sell in like Harrods.

Recently, with the arrival of Raf Simons, the brand has produced their own magazine, which are exclusive to loyal clientele which include aspects of advertising as well as updating of new stores, products, events and leisure.

Target Audience Geographic Segmentation

In the United Kingdom, Christian Dior leather goods are distributed in their standalone boutiques and in two premium department stores, Harrods and Selfridges and have recently ventured in creating limited editions that remain exclusive to certain stores.

Demographic Segmentation

Leather goods are targeted to both males and females who are highly successful professional and or have a high income and falls in to the class A and almost B category of consumers. They also target consumers who enjoy the beauty or aspire to be part of a luxurious life style and therefore acquire status symbol goods to become associated with the extravagance and status.

Psychological Segmentation

There are two types of customers, those subjected by subcultural capital, an upbringing of fine artistry so when exposed to editorial spreads which captured certain references to historical art, the customer is able to identify with the story. There are also ‘status oriented’ customers who desire the brand for its complimentary characteristics, which support an energetic self-indulgent wealthy lifestyle Stakeholders: Internal:

External:

Employees | Manager |Owners |Dior Foundation Board Members Supplier’s |Society |Government| Creditors |Shareholders Customers/Consumers |Clientèle’s |Potential Consumers

Primary Research

A range of casual and primary research had been collected to understand and grasp a broad yet definitive understanding from a consumer’s (whether they buy from the brand physically or not, and whether they follow the brand within the online world or not) point of view of the brand.

Secondary Research

By going through existing information like industry reports, press coverage and other forms of audition has enabled an understanding of the brand globally in terms of financial performance as well as public opinion. This type of research had also aided an understanding of the brands position within the market as a whole as well as being compared to its competitors resulting a firm comprehension that would lead to identifying their weaknesses that could possibly turn into opportunities for a public relations campaign for my final major project.

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Contact page: Olivia-Zara Burgher Senior Press Officer -Christian Dior Campaign for Christian Dior leather goods - Dans L’atelier du Dior Number: 079 5693 4296 Email: oliviazara@christiandior.co.uk

References: Dior. (2010, October 10). About. Retrieved October 13, 2014, from Dior official Facebook: facebook.com/Dior/info?tab=page_info

https://www.

Dior. (Unknown, Unknown Unknown). Home -Fragrance and Beauty -Fragrance- Christian Dior, Couturier-Perfumer. Retrieved October 13, 2014, from Dior Official: http://www.dior.com/beauty/en_gb/fragrance-and-beauty/fragrance/ds- christian_dior_couturier_perfumer.html Dior. (Unknown, Unknown Unknown). The Story of Dior/ The New Look revolution. Retrieved October 13, 2014, from Dior Official website: http://www.dior.com/couture/en_gb/the-house-of-dior/the-storyof-dior/the-new-look- revolution lvmh. (Unknown, Unkown Unknown). Group Mission and Values, fine products, LVMH group companies. Retrieved November 10, 2014, from LVMH: http://www.lvmh.com/the-group/lvmh-group/groupmission-and-values Vogue. (2012, April 05). Christian Dior Timeline. Retrieved October 13, 2014, from Vogue.com: www.vogue.co.uk/person/christian-dior

http://

Zmunda, N. (2011, June 1). Behind the Campaign: Voss Breaks First Major Consumer Push. Retrieved November 16, 2014, from Ad Age : http://adage.com/article/news/campaign-voss-breaks-major-consumer-push/227862/

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