The Trend Bible
French Connection Spring/Summer 2013
The Trend Bible
French Connection Spring/Summer 2013
Philippa Bryant, Emma Ojapah, Kathleen Rowson, Emily Cheng, Eli Todorova, Eddy Seoungjoon Jung FASH30058, Teamwork & Communication
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Contents Introduction Consumer Context Market Intelligence Marketing & Branding Product Recommendations Visual Merchandising Celebrity Endorsement Macro Trends Overview Trend Themes L’Émergence Earthwires Authentique Silent Luxe Conclusion
Fig.1 Weber. 2010. French Connection Spring Summer 2010 [Online]
Introduction This trend bible highlights key areas of significance in relation to the French Connection brand; providing a thorough understanding of the retailer and its position within the market. This knowledge will aid the development of a strategic design review for spring/summer 2013 menswear, ultimately producing trend themes which are commercially relevant to French Connection. Recommendations will be made on how French Connection can move forward with its branding and marketing of the trends identified. In order to gain a thorough understanding of the brand, market research was first gathered from secondary sources such as Mintel, and primary observation undertaken in stores across the UK and also in New York. To realize key trend themes, a macro trend analysis was undertaken which lead to theme development. This was informed through cross referenced information from several trend resources. Analysis of key macro trends lead to recommendations for the future strategy.
French Connection was founded in 1972 by Stephen Marks, who set out to create “well-designed, fashionable clothing that appealed to a broad market” (French Connection, 2011). Interestingly, the brand name came from the 1971 film ‘The French Connection’. The message which French Connection communicates today is that they are a “sexy” and “stylish” brand with “attitude”. Through being “bold, witty and intelligent”, they demonstrate how to give a brand personality (French Connection, 2011 a). Products are supposedly affordable in price, designled and high in quality. They claim that their clothes are “presented in a unique and innovative way” (French Connection, 2011), and that their strengths lie in balancing new and exciting ideas between their products and advertising. Striving to be original and distinctive, they attempt to push the boundaries of fashion by always making a statement. Stores currently exist in more than 40 countries worldwide.
Consumer Context The New Customer Profile: The French Connection customer profile has been unclear for some time, sending out mixed messages since the end of the FCUK campaign. The typical customer, as observed, is 18-25 with an outgoing lifestyle, few responsibilities and high disposable income. The new campaigns target a different customer to that which is actually shopping in the store. This man is aged 20-35 and has a more sophisticated style, however we recognize that there is an older customer that has known the brand since its inception and is still loyal. This customer will buy the more classic pieces moving forward, whilst the mainline collections are targeted to the younger style-aware customer which also buys classic pieces.
Shopping: He is slightly quirky and likes detail in his clothes. He buys his jeans from Diesel and when his budget allows, he buys statement pieces from luxury labels; buying into the lifestyle. He gets his current trend basics from Zara and generally he is interested in fashion and quality rather than obvious designer labels.
Home: As a young professional, he may live at home with his parents whilst saving for a house. Alternatively he lives in a city centre apartment; it is situated near to everything he needs for a social lifestyle at the centre of all the main attractions.
Products and Technology: He loves the convenience that technology brings and the innovation of apps created for his iPad and iPhone. He wants the convenience of technology at his request, not in an invasive, life consuming manner that some of his contemporaries may experience.
Holiday: He likes adventure and would prefer a holiday in Sardinia or the south of France as opposed to a club 18-30 holiday, as he is more interested in a quality experience. He would go back packing in the Andes or on family skiing holidays for a life experience.
Music: He listens to popular alternative music which is accessible yet edgy. The older customer likes classics such as Moby whilst younger customers prefer edgier sounds; for example, Age: 20-35+ music which combines elements of dub and R&B. This typifies Occupation: I.T. design or marketing, earning £18,000-£35,000. the young target customer as he doesn’t like being classified.
Fig. 3 Kim, A. 2011. Polyply [Online]
Fig. 2 Sims, J. 2011. For the male shopper. [Online]
Fig. 4 Fanpop. 2011. Kaiser Chief [Online]
Fig. 5 NewYork Market. 2012. Modern and Luxury rental apartments [Online]
Market Intelligence
Market Level and Position French Connection is a medium sized Public Limited Company. In terms of fashionability, even though French Connection argues that they have their own concept, they offer typical menswear styles. Alternatively, competitor brands such as COS and The Kooples offer design sensitive styles. French Connection’s menswear does incorporate trends, although in a limited sense since they have a wide target market. Garments feature on-trend prints, colours and details however their shapes are less experimental. Styles are safe and wearable, therefore not to exclude older cus-
tomers. French Connection’s prices sit within the lower end of the upper High Street. They bridge the gap between traditional High Street retailers such as Topman and mid-market brands like Ted Baker. Prices start at £25 for t-shirts and exit at £380 for a leather jacket. The majority of French Connection’s sales fall around the £50 price point. Market Health French Connection has decided to focus its efforts in the European and UK markets, since the brand has exit completely from Japan and has cut its U.S. stores from 23 to 6. This means that
brand awareness, sales and customer loyalty within Europe will be crucial for their success (MacDonald, 2010). Currently, clothing expenditure equates to over 4.5 % of total consumer expenditure in the UK (Keynote, 2011); Menswear accounting for almost 30% of the fashion market (Keynote, 2011). The proportion of men who are willing to spend more money on quality garments has increased from one in eight in 2010, to one in five in 2011. The shift towards quality suggests that customers want to buy more ‘investment pieces’ as opposed to throwaway fashion (Mintel, 2011). However this also means that fewer men are buying clothes on impulse and
they are also buying less; which exaggerates the importance of quality within ranges. There is more design focused fashion entering the lower end of the High Street and as a result, the middlemarket is ‘squeezed’; meaning it is vital for French Connection to reconsider its current position and competitors.
Market competition
ly slowed down in growth. The brand has reached maturity and needs exFrench Connection’s main competi- tending in order for it to compete with tors are Reiss and Ted Baker, as they are high growth competitors such as Reiss. both mid-market brands with a fashion focus for the younger man. According Success and Failures to Mintel, French Connection has the Since the launch of the controversial highest number of outlets across the UK FCUK campaign in 1997 (FashionGear, compared to Reiss and Ted Baker. Since 2011) the French Connection brand has 1995, there have been many store open- been subject to negative perceptions ings but equally many closures for both and associations (Marketing Week, French Connection and Ted Baker. By 2011), especially from the likes of MP’s closing under achieving stores this has and the church (Mills, 2010). However, allowed both companies to streamline their business into more profitable areas. As for Reiss, they have gradually opened stores across the UK; this has led them to a steady growth. French Connection, although successful in terms of relative sales, has dramaticalFig. 7 Devaintart. 2007. Devaintart [Online]
Fig. 6 Ted Baker, 2012. Ted Baker [Online]
this campaign was initially extremely successful in establishing the brand. Although, the FCUK slogan’s mass appeal meant that it was destined to be a shortlived success (Warde, L., 2011). Some may argue that the FCUK campaign damaged the brand; however, sales since the campaign ended have only increased (Mintel, 2011). Creative agency ‘Fallon’, appointed in 2010, was responsible for ‘The Man’ and ‘The Woman’ campaign. French Connection has withstood the recession, perhaps due to Fallon’s exceptional re-branding and advertising. Since then, French Connection has appointed agency ‘101’ in February 2011. 101 is “injecting a new theme of modernism” into the brand, with its introduction of the “I am…” campaign, f-commerce page and YouTique. “French Connection’s new and dramatically different ad campaign looks to be reflective of a full and frank repositioning away from its FCUK heritage.” (Brown, 2010)
The figures reflect this with revenue up 7% to £102.8m in the first six months since 101’s appointment (Fernandez, 2011). Although French Connection’s Marketing is a proven success, there still lies the issue of product. Quality is their USP on the High Street; however, young consumers have come to see the range as unfashionable. The brand needs to concentrate on building a complete range, which incorporates trends as well as quality; making it desirable on multiple levels (Barnett, 2011).
Directional Market Leaders Diffusion lines such as Armani Exchange are aspirational to French Connection; they have the luxury label and quality whilst remaining accessible to younger market segments. Armani Exchange is “aggressively expanding its vertical retail network in the United States and internationally in key markets such as the UK, Brazil, Argentina, Mexico, Korea, Japan and China” (Armani Exchange, 2011). They are industry leaders in terms of technology, with recent innovations such as the ‘A|X VIDEOMIX’, an “interactive video style application that allows users to create their own music video fashion show, share it with friends, and shop the looks” (Armani Exchange, 2011).
Fig. 8 Westergen, P. 2011. Shopmansons [Online]
Other notable influencers include; D&G, Boss Orange, Marc by Marc Jacobs and other diffusion lines. However, according to the Business of Fashion, Dolce & Gabbana are ending the “highly profitable” D&G diffusion line and introducing “significantly lower opening price pints” to their mainline.
New Competitors New competitors ‘The Kooples’ offer the customer “franco-british elegance made for urban living” (Hussonois, 2011). Essentially they are a mass market brand, which “wraps their operations in an image more akin to luxury fashion”. In Paris, they even have a store in the proximity of Dior, Gucci and Chanel. Their website also details collaborations with Savile Row, offering the cautious customer a sense of perceived quality and therefore tempting them to spend (Hussonois, 2011).
Their successful entry into the UK market has been supported through exceptional advertising. Adverts in magazines, on billboards, the tube and taxis and even on Eurostar boarding passes compensate for their lack of awareness. The company is currently valued at 250 million Euros (Business of Fashion, 2011). Another notable newcomer is COS, which is a part of the H&M group. Their aesthetic style is similar to that of The Kooples, offering quality tailored pieces. Both brands are of particular relevance to French Connection as they target the same segments; however their product offers are much more distinguished than French Connection.
“COS, Collection Of Style, is for men and women who want high end design and good quality at an affordable price. Since our launch in 2007, COS has opened over 40 stores across Europe, each one placed in a carefully considered location with a design concept that preserves buildings’ original features whilst creating a modern gallery space for our collection.” (COS, 2011) Fig. 9 Onesourcetalent. 2011. One source talent [Online]
Marketing & Branding The future French Connection brand should integrate key aspects of the macro trends discussed, in order to adapt to changing customer lifestyles and ideologies. A separate male/female marketing approach would be appropriate to target specific customers. Key themes such as ‘trading-up’, technology and sustainability would be particularly relevant to the French Connection consumer with it being a mid-market retailer. The overall branding will reflect French Connection’s historical identity, and gradually fade out the ‘FCUK’ slogan. Although French Connection is a highstreet retailer, they were originally an independent boutique offering ‘chic’ French style (Denton, [Interview], 10/01/12). They should implement this style and quality through premium French inspired branding. As the brands name and style was originally
based on 70’s cinema, this should also be incorporated into the brand image. The new branding should be consistent through labels, shopping bags, signage and promotional material such as emails and leaflets. The tagline ‘… since 1972’ will emphasize authenticity. Clothing should also be marketed as ‘long-life’, quality product, which is sustainability ‘must’ for 2012 onwards (WGSN, 2012 [online] 09/01/12).
Events In-store and location events will create excitement for the French Connection man, thus creating desire to participate in the ‘bricks & mortar’ shopping experience. Exclusive secret event tickets could be offered to all customers who spend over £100 in-store. Such ac-
tivities will create ‘hype’ and promote ‘word of mouth’ communication. These will be bi-annual activities with a long build-up. Events will be seasonal, such as outdoor film festivals in summer, linking to the brands heritage. Secret event tickets will link to an exclusive Facebook group though a QR code and feature important updates. A play on modern cinematic classics such as “The first rule of Fight Club is: You do not talk about Fight Club” (IMDb, 2012 d [online] 17/01/12), could be used to appeal to a broad range of male consumer. Pop-up events, such as French Connection’s 2010 ‘Charity Frock Swap’ (Company, 2012 [online] 12/01/12), will alternatively promote an ethical awareness. This concept could be adapted to fit key trends, such as repair and customization workshops with proceeds going to charities (WGSN, 2012 [online] 09/01/12).
Establish a men’s blog to avoid alienating the male shopper. A key feature will be street style, which offers simple style guidance to a fashion conscious consumer Advertising When filming promotional material such as Youtique videos, French Connection could integrate exclusivity and excitement through hiring film directors for a cinematic edge; for example David Fincher, known best for films ‘Seven’, ‘Fight Club’ and ‘Girl with the Dragon Tattoo’ (IMDb, 2012 e [online] 17/01/12). Technology French Connection currently holds a strong position in terms of retail technology, with an established f-commerce page and ‘Youtique’. Their blog ‘Electrique’ and Google+ account however, is female focused and the @ FC_Man Twitter feed is not engaging. To further develop a well-rounded digital strategy, they should consider implementing the following;
Establish a Google+ account for men Update the @FC_Man Twitter feed with more interactive and engaging content to gain more followers. Currently @FC_Man has approximately 1,500 followers compared to around 28,000 @TopmanUK Creatively utilize new platforms such as Instagram and Viddy for campaigns and competitions. Customers could use Viddy to enter short-film competitions, linking to the cinematic heritage Utilize technology in-store through use of iPads such as at Westfield, Stratford Topman Social photo mirror concept to be trialed in larger stores; customers have a photo of their outfit taken by the changing room mirror which is uploaded straight to Facebook, e.g. Diesel’s Facebook photo mirror (Social Commerce Today, 2012 [online] 22/01/12).
Product Recommendations A gradual move away from the ‘FCUK’ image toward a more tasteful one, will appeal to the new target customer who is sophisticated, stylish and mature. This could be implemented through introducing non-clothing product such as cookery books, vintage films and music. Even with strong marketing, French Connection’s brand lifecycle could be threatened if product does not meet customer expectations; clothes need to be desirable. As observed, there is little product differentiation between French Connection and the typical high street retailer such as Topman; however French Connection’s prices are significantly higher. As a mid-market retailer, they need to differentiate themselves as much as possible through attention to detail to avoid being too close in com-
petition with the high street. Otherwise, high street prices will divert customers, which is more likely as the middle-market narrows. The following proposals will aid French Connection in repositioning product as being great value for money. Range Breadth Offer a broader range of styles which includes more fashionable shapes, which is important as they target relatively young and stylish men. For example, even though they have slim-fit trousers, they are not narrow enough which drives style-conscious customers to more fashionable competitors. Of course, some regular fit trousers are essential to cater to various tastes; however there is no doubt that by ex-
cluding key fashion shapes they are alienating the younger consumer. This therefore affects their reputation as being fashionable and implies loss of sales from younger segments. Mix & Match Products French Connection tends to polarize the men’s wear into either smart or casual. This creates a range which doesn’t clearly coordinate and demonstrates an irregular brand image. In January 2012 for example, French Connection had only one style of casual jacket; therefore it is suggested that they introduce more smart-casual bridge items. Fig. 10 French Connection [2010]
Fig. 12 Blogspot. 2011. Phillip Lim men’swear [Online]
Statement Pieces The weakest area of menswear is that it is too ‘safe’ in terms of style detail, fabrics, and fits across the entire range. The proposal is to create small lines of ‘statement’ pieces; for example, a suit jacket crafted from unique materials in a key trend colour. These limited pieces would be a part of each collection and would create excitement and publicity. Collaboration Designer collaboration is a highly effective promotional method for fashion retailers. This strategy is already being utilized by many high street retailers, such as Versace for Fig. 11 French Connection [2010] Man
H&M. Fashion retailers are now making collaborations a regular feature and in order to compete with the high street, French Connection should consider this. Co-founder of creative team ‘The Assembly’, Trevor Hardy, argued that the biggest benefit of collaborations is that partnering with niche, high-end fashion labels gives mainstream brands access to a higher-value audience, which French Connection are striving toward. In turn, partnering with bigger, more mainstream brands enables fashion labels to ‘leapfrog’ their way to a more ubiquitous appeal with the backing of big-brand money. Thus, by proposing collaboration, French Connection’s products are renewed for a wider market appeal.
Philip Lim X French Connection Phillip Lim is renowned for his superior menswear; from the cut to the colour palette, his designs encapsulate style. With his global reputation combined with the affordability of French Connection, this collaboration would almost guarantee success. The collection would be highly desirable, wearable, and most importantly affordable, whilst pushing the boundaries of what the customer would usually choose.
Visual French Connection’s visual merchandising conveys an inconsistent image in comparison to their marketing. Over the years, the store has moved away from its boutique origins toward a ‘mass retail’ aesthetic. It now features bright lighting, frosted glass, standard fittings and flooring which eliminates any sense of ‘bespoke’ retail. In particular, French connection should consider store environments in accordance with the trade-up; bringing consumers the sophistication and style they desire. This is implemented through looking at directional market leaders and designers for inspiration. A simple change to design-led materials and fixtures will transform stores to mirror their quality. Mulberry, Bond St. reveals a very clean, luxury aesthetic through use of concrete flooring and sharp oak display stands. The store is very spacious which evokes an
up-market atmosphere. By integrating such features, French Connection adds interest and also rises above high street competitors. A high level of customer service is expected; which strives to match that provided by designer boutiques thus giving the customer a feeling of respect and maturity. The new male customer seeks respite through use of design-led sofas and seating, as seen at COS. By gradually removing the cold and steely fittings in place of more natural materials, the customer will feel more relaxed. The atmosphere will be comfortable, through use of pale earthy colours and soft lighting. Ted Baker utilizes memorable props and puns in window displays to draw the customer in-store. French Connection needs to make their windows more appealing by reflecting the playful nature of their campaigns.
Reclaimed TV’s as props add interest; clips of the French Connection film referencing the brand’s heritage. Furthermore, store re-positioning has been a successful strategy for retailers like Urban Outfitters, who were the first to move their store to lower 5th Avenue in New York. Retailers such as Ted Baker, who are French Connection’s competitors, have since followed suit (Retail Design Collective [conference], 07/12/11). To stay ahead of competitors, French Connection should implement strategic positioning to locate themselves in up-coming areas. Urban Outfitters’ presence on lower 5th has since rejuvenated the area and benefitted residents, demonstrating social awareness which is a key retail trend. This strategy would boost French Connection’s reputation as a desirable retailer, but would need support from a stronger product offer in order for it to work.
Merchandising
Fig. 13 Chew, L. 2010. Dezeen [Online]
Fig. 13 Planarama, 2012. Planarama [Online]
Celebrity Endorsement French Connection Womenswear has previously experienced positive celebrity endorsements; however the same is not true for Menswear. Male celebrity endorsement would be beneficial in focusing the customer profile. These particular actors would be ideal ambassadors for French Connection as they have starred in a number of independent movies and are young, up and coming actors. The type of movies that they have featured in are quirky, indie films that would appeal to the customer. Alex Pettyfor is particularly interesting as he has a reputation as a ‘lovable rogue’; a suitable character for the French Connection male.
Fig. 14 Fanpop. 2012. Emile Hirsch [Online]
Emile Hirsch 1985 Known for: Into the Wild
Alex Pettyfer 1990 Known for: I Am Number Four
“I think I’ve always been half out of my shell and half in. Sometimes I can be extremely wild and sometimes I can be extremely shy. It just depends on the day”
He revealed to a magazine that he has a tattoo above his crotch that reads thank you. “In case I forget to say it,” he explained while winking
(IMDb, 2012 [online], 21/01/12).
(IMDb, 2012 c [online], 21/01/12). Fig. 15 Fanpop. 2012. Alex Pettyfer [Online]
Macro Trends Overview Significant macro trends, which will form the basis of further research, include instability in terms of the environment and society. Japanese disasters and UK riots will result in the need for global comfort and ‘togetherness’ in order to emerge from more austere times. The further development of technology and its impact on everyday life will be a global consideration. As consumers seek comfort and retreat by going ‘back to nature’, they still require social connection through technology and find ways of harmonious integration. The anti-capitalist movement and financial crisis will continue to influence consumers’ lifestyles as they seek
more authentic, trustworthy brands and products. This results in a need for a proven track-record through authentic storytelling and heritage. Finally, as the unequal distribution of wealth widens further, consumers strive for aspirational products and an attainable luxury. Retailers ‘trade-up’ in order to meet demands, thus narrowing the middle-market. Slick styles are more relaxed, functional and wearable for everyone; offering equality. These ideologies will influence global societies including the French Connection man and should therefore be taken into consideration in the formation of clothing ranges.
Fig. 16 Foiret, C. 2012. Trendland [Online].jpg
L’Émergence
L’Émergence With UK riots, Japanese earthquakes and ash clouds intruding into people’s lives over the past year, people are becoming more conscious and aware of their effect on the world. Realizing the consequences of a mob mentality, which devastated many cities across the UK in summer 2011, the population start to rebuild the stable society which they crave. The power which formed these mobs is translated into an all more respectful and optimistic society that wants to rebuild, together. Rebuilding was also a prominent activity in Japan after the tsunami in early 2011. Society has been knocked down to the bare minimum exposing basic materials to which rebuild from. Clothing is simplified to “essential reduction”; raw materials and construction are exposed projecting an unfinished and imperfect aesthetic. From the rub-
ble and ashes, scorched and singed materials are reinvented for a second life. New patterns arise in the form of bleeding colour and ombré scarring (Stylesight, 2012 [online], 06/01/12). Rebuilding on a global scale will emerge: BRIC economies will be particularly influential, with their increasing power and ability to help affected countries. We have exhausted our own resources, and need to look to new horizons to build a new globally synchronized world. As we “dust ourselves off ” in the aftermath of the storm, we find ourselves inspired by the decay and destruction around us in an all more positive and optimistic light (Stylesight, 2012 [online], 06/01/12). This mood translates into a trend which is altogether more socially and environmentally conscious.
Couples, friends and family start shopping in the same place, for social security and moral support. As a result, styles become synchronized such as at The Kooples. Comptoir des Cotonniers reflects a ‘mother & daughter’ shopping experience, with styles which are extremely versatile, enough for a wide range of ages to wear. Having a best friend to shop with, and even match in terms of clothing, becomes increasingly fashionable; like a uniform of friendship (The Trend Boutique, 2011 [online], 06/01/12). Social awareness and giving back to the community is translated through store location and environment also. Social conscious is not just a trend, but a lifestyle which must become integral to a brands strategy (Retail Design Collective [conference] 07/12/11).
Essence “Dazed Digital: Tell me a bit about the faded camouflage and Prince of Wales checked suits... Mihara Yasuhiro: Well, messages don’t have to be slogans, they can be other things as well. The camouflage suit, for example, might have a military image, but for me it represents all the soldiers in Japan helping out after the earthquake. So for me it’s a message of hope and helping others” (Hellqvist, 2011, Miharayasuhiro Menswear S/S12 [online], 23/01/12).
Fig. 17 Sagoli, D. 2011. National geographic [Online]
Fig. 20 Style. 2011. Miharayasuhiro [Online] Fig. 18 Foiret, C. 2012. Rooftop lights [Online]
Fig. 19 Bark, J. 2011. Dazed & Confused, Issue Novemeber 2011
Fig. 21 Judd, A. 2011. Tumblr [Online]
On the street
Fig. 22 Philip, K. 2011. Loobook [Online]
Fig. 23 WGSN. 2012. Formal Wear [Online]
Fig. 24 Style. 2011. Rick Owens [Online]
Fig. 25 Style. 2011. 3.1 Philip Lim [Online]
Fig. 26 Style. 2011. Nicholas K [Online]
On the runway
L’Émergence Colour
Fabric&Print
Summer black Charcoal tones Muted greys Powdery blue pastels Faded yellow Nude pink Parchment whites
Ghostly chiffon Space dyed & ‘neppy’ yarns Tweeds & herringbones are brushed and abraded Ombré dyed Monastic, crisp, starched cotton Sandy, grainy pixels Visible brush Strokes
Styling Hidden functionality Monastic rope belts- as seen at Nicholas K SS12 Soft bondage and exposed stitching Black pilgrimage sandals Patched and overlaid fabrics
Fig. 27 Ann Demeulemeester, 2012. Luisaviaroma. [Online]
Visual Shapes Minimal silhouette Luxe drapery with monastic references Modest & covered Pleats
Key Designers Rick Owens Anna Smit Phillip Lim Miharayasuhiro
Fig. 28 Emergence 2012. Seoungjoon Jung [illustration]
Fig. 29 Stellaboolovesyou, 2012. Tumblr [Online].jpg
EARTHWIRES
Earthwires The concept of this theme is a clean, calm lifestyle. ‘Earthwires’ represents modern environmental harmony: respecting the environment whilst still being connected to society through modern technology. The trend originates from technological overexposure and a new found desire to go “off grid”. People want to re-connect with nature and nomadic lifestyles in a modern way (Stylesight, 2012 a [online], 06/01/12). The idea of escaping to remote locations for mental reflection whilst embracing nature, becomes a psychological ‘need’. Ironically, we still
require indispensable contact with so- ideologies emphasize sustainability, ciety through connection to devices self sufficiency and energy efficiency. such as Smartphone’s and tablet PC’s. This macro trend relates to the French This theme implies thinking rather Connection customer as he has a defithan consuming and a desire for ‘be- nite interest in technology, already havspoke’. Craftsmanship is celebrated; ing, or aspiring to own, new products hand-made items become more desir- such as iPads and Smartphones. Evenable than mass produced ‘throw-away’ tually, due to his busy, professional lifeitems. Craftsmanship has become the style, he will want to escape the stresses new ‘luxury’. The idea of functional, and strains of the modern world. He comfortable elegance is becoming more will discover harmony through reattractive to the consumer. ‘Earth- connecting to nature whilst considerwires’ signifies an emotional attach- ing how technology integrates into his ment to products and clothing. New lifestyle in an non-intrusive manner.
Essence Fig. 32 Tumblr. 2011 Plants [Online]
Fig. 30 Tumblr. 2011. Nature [Online]
Fig. 34 Stylesight. 2011. Nutopia [Online]
Fig. 31 Lauren. 2012. Nest Rest [Online]
Fig.33 Tumblr. 2011 One [Online]
Fig. 35 Theworldsours, 2011. Flickr [Online]
Fig. 37 Red Bag, Own photograph 2011
Fig. 39 Daily movement. 2011. Tumblr [Online]
Fig. 36 Grout, L. 2012. Tumblr [Online]
Fig. 38 Cool blue shoes, Own photograph 2011
On the street
Fig. 40 Slr, E. 2011. Shaun Samson [Online]
Fig. 41 Style. 2011. Ami Runway [Online]
Fig. 42 Vlamous. 2011. Henrik Vibskov [Online]
On the runway
Earthwires Colour
Fabric&Print
Earthen rock tones Faded greens and sunset yellows Cream and olive combinations Brightly tanned leather Soft rosewood
Hand-made wovens Recycled fabrics Uneven eco-conscious dyeing New blends of natural fibres Imperfect leathers Botanical studies Intricate line drawings Paisley Patterns Geometric 70’s vibe
Styling Vibrant pumpkin accessories Hippy accessories evoke a vintage vibe
Fig. 43 House of Fraser. 2012. Scarf [Online]
Visual Shapes Simple Casual Nouveau Bohemian Functional Traveler
Key Designers Shaun Samson Henrik Vibskov Ami
Fig. 44 Earthwires 2012. Seoungjoon Jung [illustration]
Fig. 45 Beyond-Oddities. 2009. Deviantart [Online]
AUTHENTIQUE
Authentique On September 17, 2011, thousands of people gathered in New York to express their dissatisfaction with capitalism, unequal wealth distribution and large corporations’ immoral actions. The movement is better known as ‘Occupy Wall Street’ and it did not take long before it had spread to cities around the globe. On October 15, 2011, the campaigning began in London with protesters camping in three different locations across the city. This anti-capitalist movement shows a social trend, which is very likely to influence the French Connection man. He perceives himself as being edgy, different and is also intelligent and outspoken; all of which would make him more likely to question the current state of capitalism and democracy. He is likely to show an interest in the movement and support its principles. Like the Occupy Wall Street movement, this social trend is not a violent or rebellious one. It is a peaceful reflection of what is ‘wrong’ in society; considering societal healing, appreciating what is good or what used to be good, going back to the real values of humanity to
find authenticity within a capitalist world. concentrate on updating menswear classics, such as the trench coat, and also on In the long-term, the customer will come portraying a level of sophistication assoto question capitalist societies. His disap- ciated with French fashion; through unproval and feeling of social injustice would derstated clean lines and attention to delead to desire for more ethical brands with tail. Furthermore, the fact that the brand’s social values, which offer transparency. name originates from the 1971 movie The French Connection customer will be could come to its advantage, as the cuslonging for products which are ‘authen- tomer’s quest for authenticity and nostaltic’, giving him meaning and honesty. He gia sparks an interest in the retailer’s past. will appreciate knowing how a product The future consumer is inspired by vincame to be and also the brand’s herit- tage objects as well as retro art and movies. age. The customer will look for a level of craftsmanship and clothes which bring A continuation of this trend can be obthe feeling of tradition and aithenticity. served in the movie ‘On the Road’, based There will be a shift away from global to- on Jack Kerouac’s classic novel. The movwards local products, which have a ‘story’. ie is scheduled for release in 2012 and will further strengthen the anti-capitalist soFrench Connection could re-establish its cial trend. The novel is considered quintestarget customer by focusing on its his- sential for the post-war ‘Beat’ movement tory, being one of the first truly interna- in America and expresses deep dissatisfactional brands. As the company started as tion with capitalism, a quest for freedom a British brand with French head designer and spiritual growth. The novel itself is an Nicole Farhi, the brand should reconnect authentic account of the zeitgeist and valwith its French roots, offering its custom- ues of this generation, which are very close ers an authentic European feel. Within to the anti-capitalist ideologies of today. this trend, French Connection should
Essence
Fig. 47 Tutlecine. 2012. Borsalino [Online]
Fig. 49 IMDb. 2005. The French Connection Film [Online]
Fig. 46 London, M. 2011. Visualnews [Online] Fig. 48 Shaw, A. 2011. Le samouri [Online]
“Products rooted in a specific era are likely to be viewed as authentic […] All that matters is for the link to a specific period to be established and to appear credible” (Bridger and Lewis, 2000, p.41)
Fig. 50 Robert. 2011. Tumblr [Online]
On the street
Fig. 51 Sophisticated mature man, 2012 [Own photograph]
Fig. 52 Tumblr 2011, French man [Online]
Fig. 53 Style, 2012, Lacroix [Online]
Fig. 54 Style, 2011, Lanvin [Online]
Fig. 55 Vlamos, Y. 2011. Yves Saint Laurent [Online]
On the runway
Authentique Colour
Fabric&Print
Sandstone Midnight noir Royal blue Formal grey Burnt red Rusted orange Updated pastels
Gabardine High quality cotton Fine light wool Tweed Understated/ hidden print Classic pin stripes
Styling Attention to detail; hidden prints and colours Long trench coat belts, which can be tied in a knot Decorative stitches Chic and sophisticated look Dark-rimmed glasses Shirt collars, jacket lapels, silk ties and pocket squares
Fig. 56 Dusica86. 2011. Nerdy Glasses [Online]
Visual Shapes Updated classics Clean lines and attention to details Slim- fitting clothes High armholes; sculpted waist High-waisted, flat-fronted trousers
Key Designers Yves Saint Laurent Pierre Cardin
Fig. 57 Authentique 2012. Seoungjoon Jung [illustration]
Fig. 58 IONclad, 2007. Flickr [Online].jpg
SILENT LUXE
Silent Luxe This trend shows resurgence in the desire for luxury. Having endured a recession and period of austerity, a wave of optimism is growing as the nations focus on a more positive and desirable future. There has been substantial focus on austerity and the return of a ‘make do and mend’ society. However, this trend encapsulates the movement toward a new, attainable luxury. Silent Luxe is a key trend for the French Connection consumer as he has been affected by the recession, job cuts and high levels of unemployment. The BBC noted that “the recession is causing a spike in interest in setting up small
businesses” (Furlong, 2009, Recession sparks new business ideas [online], 23/01/12), showing new initiative, professionalism and determination not to allow circumstances to direct ones future. This suggests that there is still a desire to engage in consumer activity and higher quality lifestyles, despite national financial crisis (JingDaily, 2011 [online], 23/01/12). This trend ironically suggests that the desire for luxury in fact stems from the financial hardship itself. The French Connection customer has an adventurous personality, potentially being the individual who would attempt a self-employed lifestyle if it means attaining the luxuries he is
so ambitious to acquire. This references ‘new money’ replacing ‘old money’ and shows the paradigm shift toward luxury in the East. Attitudes, and therefore shapes, are more relaxed as regular consumers dress-up to match the style of professionals in a new, wearable way. Another key element to this trend is that luxury is an exponentially growing market in the East. Historically, desire for luxury has been associated with the West. This trend shows that the forerunners of this luxury are the East and no longer the West. There will be elements in fashion which suggest a connection to the East.
Essence Fig. 59 Admin. 2010. Pearls [Online]
Fig. 60 Flickr. 2010. Flower [Online] Fig. 62 Struck in customs. 2009. Temple [Online]
Fig. 61 Style Sight. 2011. Noveau Riche
Fig. 63 Makeupforall. 2010. New Lady Dior and Miss Dior Cherie [Online]
Fig. ginger guy.jpg
Fig. 64 The sartorialist. 2012. [Online]
Fig. 65 The sartorialist. 2012. On the street [Online]
On the street
Fig. 66 The sartorialist. 2012. Street [Online]
Fig. 67 Vlamos, Y. 2011. Hermes runway [Online]
Fig. 68 Vlamos, Y. 2011. Comme des Garcons [Online]
Fig. 69 Vlamos Y. 2011. Hermes [Online]
On the runway
Silent Luxe Colour
Fabric&Print
Luxurious and vibrant pastel pinks Softer beiges and creams Metallic gold and silver
Cottons and linen Super fine Wool Modern blends Cashmere blends
Styling Quite simple aesthetic with unmistakable quality High quality Leather bags Expensive but discrete watch Ultra chic shoes Male grooming products
Fig. 70 Ehrlich, J. 2011. Patek Philippe reference 5970 [Online]
Visual Shapes Relaxed tailoring. Loose fit jackets teamed with slim fit trousers. Cropped trouser, very modern. Luxurious fabrics in less formal shapes
Key Designers Raf Simons Gucci Billy Reed
Fig. 71 Silent Luxe. 2012. Seoungjoon Jung [illustration]
F
Fig. 72 Adsoftheworld. 2010. Do not dress like a child [Online]
Conclusion Through strategic review of French Connection’s current market position and the future effect of macro trends, the suggested trend and brand themes will prolong the brand lifecycle in accordance with competitors and aspirational brands. Environmental and social disaster requires retailers to portray a higher moral consciousness and to consider sustainable brand redevelopment. Technology at last becomes balanced with nature, as modern lifestyles demand calmness; translating into a need for technologically synchronized environments and fashion. The quest for authenticity leaves French Connection re-evaluating its marketing and branding fore mostly, whilst the recession implies a need for ‘new’, ‘silent’ luxury and for French Connection to ‘trade-up’. Overall, the future French Connection brand should become more sophisticated and stylish to appeal to the target customer. 4,809 Words
List of Illustrations Fig.1 Weber. 2010. French Connection Spring Summer 2010 [Online] Fig. 2 Sims, J. 2011. For the male shopper. [Online] Fig. 3 Kim, A. 2011. Polyply [Online] Fig. 4 Fanpop. 2011. Kaiser Chief [Online] Fig. 5 NewYork Market. 2012. Modern and Luxury rental apartments [Online] Fig. 6 Ted Baker, 2012. Ted Baker [Online] Fig. 7 Devaintart. 2007. Devaintart [Online] Fig. 8 Westergen, P. 2011. Shopmansons [Online] Fig. 9 Onesourcetalent. 2011. One source talent [Online] Fig. 10 French Connection [2010] Fig. 11 French Connection [2010] Man Fig. 12 Blogspot. 2011. Phillip Lim men’swear [Online] Fig. 13 Planarama, 2012. Planarama [Online] Fig. 14 Fanpop. 2012. Emile Hirsch [Online] Fig. 15 Fanpop. 2012. Alex Pettyfer [Online] Fig. 16 Foiret, C. 2012. Trendland [Online] Fig. 17 Sagoli, D. 2011. National geographic [Online] Fig. 18 Foiret, C. 2012. Rooftop lights [Online] Fig. 19 Bark, J. 2011. Dazed & Confused, Issue Novemeber 2011 Fig. 20 Style. 2011. Miharayasuhiro [Online] Fig. 21 Judd, A. 2011. Tumblr [Online] Fig. 22 Philip, K. 2011. Loobook [Online] Fig. 23 WGSN. 2012. Formal Wear [Online] Fig. 24 Style. 2011. Rick Owens [Online]
Fig. 25 Style. 2011. 3.1 Philip Lim [Online] Fig. 26 Style. 2011. Nicholas K [Online] Fig. 27 Ann Demeulemeester, 2012. Luisaviaroma. [Online] Fig. 28 Emergence 2012. Seoungjoon Jung [illustration] Fig. 29 Stellaboolovesyou, 2012. Tumblr [Online].jpg Fig. 30 Tumblr. 2011. Nature [Online] Fig. 31 Lauren. 2012. Nest Rest [Online] Fig. 32 Tumblr. 2011 Plants [Online] Fig.33 Tumblr. 2011 One [Online] Fig. 34 Stylesight. 2011. Nutopia [Online] Fig. 35Theworldsours, 2011. Flickr [Online] Fig. 36 Grout, L. 2012. Tumblr [Online] Fig. 37 Red Bag, Own photograph 2011 Fig. 38 Cool blue shoes, Own photograph 2011 Fig. 39 Daily movement. 2011. Tumblr [Online] Fig. 40 Slr, E. 2011. Shaun Samson [Online] Fig. 41 Style. 2011. Ami Runway [Online] Fig. 42 Vlamous. 2011. Henrik Vibskov [Online] Fig. 43 House of Fraser. 2012. Scarf [Online] Fig. 44 Earthwires 2012. Seoungjoon Jung [illustration] Fig. 45 Beyond-Oddities. 2009. Deviantart [Online] Fig. 46 London, M. 2011. Visualnews [Online] Fig. 47 Tutlecine. 2012. Borsalino [Online] Fig. 48 Shaw, A. 2011. Le samouri [Online] Fig. 49 IMDb. 2005. The French Connection Film [Online] Fig. 50 Robert. 2011. Tumblr [Online]
Fig. 51 Sophisticated mature man, 2012 [Own photograph] Fig. 52 Tumblr 2011, French man [Online] Fig. 53 Style, 2012, Lacroix [Online] Fig. 54 Style, 2011, Lanvin [Online] Fig. 55 Vlamos, Y. 2011. Yves Saint Laurent [Online] Fig. 56 Dusica86. 2011. Nerdy Glasses [Online] Fig. 57 Authentique 2012. Seoungjoon Jung [illustration] Fig. 58 IONclad, 2007. Flickr [Online].jpg Fig. 59 Admin. 2010. Pearls [Online] Fig. 60 Flickr. 2010. Flower [Online] Fig. 61 Style Sight. 2011. Noveau Riche Fig. 62 Struck in customs. 2009. Temple [Online] Fig. 63 Makeupforall. 2010. New Lady Dior and Miss Dior Cherie [Online] Fig. 64 The sartorialist. 2012. [Online] Fig. 65 The sartorialist. 2012. On the street [Online] Fig. 66 The sartorialist. 2012. Street [Online] Fig. 67 Vlamos, Y. 2011. Hermes runway [Online] Fig. 68 Vlamos, Y. 2011. Comme des Garcons [Online] Fig. 69 Vlamos Y. 2011. Hermes [Online] Fig. 70 Ehrlich, J. 2011. Patek Philippe reference 5970 [Online] Fig. 71 Silent Luxe. 2012. Seoungjoon Jung [illustration]
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