The Global Marketplace by Tiffanie Marie

This report analyses two luxury, international fashion brands, discussing their positioning in the global marketplace followed by a case study. This report incorporates research, personal findings and explorations of the environment in which both brands operate. Methods of research include personal observations and shop report analysis of the Moschino flagship store located in London and department store Liberty for Bruta. Leading on from this follows a Wardrobe Analysis with a Moschino consumer. Final data analysis indicates that Moschinoâ&#x20AC;&#x2122;s social media advertising does not reflect their brand image in direct retail stores, however consumers are more brand conscious of their online presence. Bruta on the other hand have a small consumer base leading a more personal and direct system supporting their customer loyalty, although have limitation of innovative products and range.

EXECUTIVE SUMMARY 3

Contents Introduction ................................................................................................... 7 1.1 History of Moschino ............................................................................. 10 1.2 Brand Philosophy .................................................................................. 10 1.3 Brand Extensions .................................................................................. 10 1.4 History of Bruta .....................................................................................13 1.5 Brand Philosophy .................................................................................. 13 1.6 Brand Extensions .................................................................................. 13 2.1 Case Study .............................................................................................. 18 2.2 Brand Identity ........................................................................................ 19 2.3 Brand Positioning ................................................................................. 20 2.4 Primary Shop Analysis ................................................................... 21, 22 2.5 Brand Loyalty .........................................................................................25 3.1 Wardrobe Analysis .......................................................................... 26, 27 3.2 Pen Portrait ...................................................................................... 28, 29 3.3 PEST Analysis Moschino ..................................................................... 31 3.4 PEST Analysis Bruta ............................................................................. 32 3.4 The Marketing Environment .............................................................. 34 3.6 SWOT Analysis Moschino .................................................................. 35 3.7 SWOT Analysis Bruta .......................................................................... 36 3.8 Celebrity Endorsements ................................................................. 38, 39 Conclusion ................................................................................................... 41 Appendix ................................................................................................ 43, 53 Bibliography ........................................................................................... 54, 55

Introduction The aim of this report is to understand the global marketplace by investigating an emerging luxury lifestyle brand (Bruta) and comparing and contrasting with an established luxury lifestyle brand (Moschino). This first section will briefly describe the two companies structures, their history, brand identity and vision. The following part of the report moves on to their brand philosophy and values, alongside this will investigate the journeys of both brands in regards to their start up process and re-birth developments in addition to their brand extensions, global expansion and successes. In the section that follows, the report undertakes a case study that will incorporate the brands values within the marketing mix and their visual identities in regards to their online and in store experiences. The report will investigate the successes and potential problems of the two brands in question. Supporting evidence includes documentation of shop reports and an online analysis. (See Appendix 2, 4.3 and 4.4). Having discussed the internal situations of both companies, the report turns to qualitative research on consumer behaviours and emotional connections to the brands. Section three, includes the external audit which involves a Wardrobe Analysis on Moschino. By analysing the data in section two and three, we can recognise how both brands can learn from one another. The final section of this paper addresses their global expansion, within discussion of the uncontrollable, external environments, including the points made on the PESTEL model (See Appendix 3, 5.1 and 5.2) . The report will consider the potential expansions of the companies, along with undertaking a swot analysis to identify its internal strengths and weaknesses, as well as its external opportunities and threats. In addition to this, reflection of their marketing strategies and unique selling points will be discussed.

GOOD TASTE DOESNâ&#x20AC;&#x2122;T IT IS OUR TASTE. WE HAVE TO BE PROUD OF IT. - Franco Moschino

EXIST.

The Anarchist of Luxury Fashion 1.1 History of Moschino Known for making fashion fun! Italian couture label, Moschino, founded by Franco Moschino, was recognized for its bold burst onto fashion headlines with its rebellious, surrealist take on the fashion industry. ‘From its very beginnings in 1983, the Moschino label has been synonymous with utmost in freedom and creativity, always aiming to break free from the bonds of conventional fashion’ (Casadio, M. 2001). After Franco’s graduated at the Academy of Fine Arts in Milan, he found work in the fashion industry as a freelance illustrator, and later illustrated for Gianni Versace until 1977. Moschino founded his own company in 1983 called Moonshadow, the same year he launched Moschino Couture, then lines such as love Moschino, cheap and chic and Moschino jeans later came. Franco’s imagination was boundless and his creations for his collections were unusual. His enthusiasm for his visual puns and pop cultural style were endless and influenced pop stars such as Madonna and Tina Turner.

traditional fashion industry as we know it, for Franco Moschino, he considered the so called “fashion system” as arrogant, which consisted of highly obsessed fashionista’s who took fashion too seriously. Moschino focused on the creativity and the process of transforming what exists rather than being a follower of the endless cycle of trends. After Franco Moschino’s premature death in 1994, his former collaborative assistant, Rossella Jardini, became the Creative Director of the brand. From 2013, the brand had a huge injection of energy, when appointed new Creative Director, L.A designer, Jeremy Scott. The brands image elevated in regards to its recognition from consumers, bloggers and celebrity endorsements.

1.2 Brand Philosophy Since Scott adopted the brand as his own, each collection has become more absurd, creating dramatic pop cultural references and collaborations with cartoons!

The new take on Moschino conveys a playful attitude, seeking joy in its concepts and creating narratives which represents enjoyment The label began as a ready-to-wear, and the desire to express elegance leather and fashion accessories and beauty in both men and brand, which accompanied shoes, women. “Moschino was the first to luggage and perfume. Moschitransform the mania for designer no became famous for its origilabels into a creative and conscious nality and its innovation for its extension of personality” (Casacampaigns on raising awareness dio, M. 2001). on important social issues. The brand offers an alternative to the Even though the brand expresses

contemporary fashion elements, it has always stood apart from the other luxurious brands. Although many of the capsule collections and collaborate projects seem out of the majority of working class people’s price range, some of the smaller high-end accessories are much more attainable, targeting the younger generation. (See Appendix 1, 2.5 Pricing Strategies - 2.6 New Customer Market).

1.3 Brand Extensions Over the past 30 years the Moschino group has grown extensively. From 1966 several Moschino boutiques formed a global expansion, operating in Japan, Italy, London and New York. There are over 150 Moschino boutiques worldwide. By 2003 there were several openings of flagship stores which were based in Paris, Rue de Grenelle, and Moscow, Petrovsky Passazh. (Fashiongear.fibre2fashion.com, 2017). Since the additions of their sub brands, such as love Moschino (women’s and men’s diffusion line, previously known as Moschino Jeans from 1986 to 2008), Moschino Cheap and Chic (women’s secondary line, created in 1988), the company’s target market extensively expanded. Along with its multiple sub-brands, Moschino also opened a hotel, called Maison Moschino which launched in 2010.

Bringing Streetwear Vibes to Shirting... 1.4 History of Bruta

(Libertylondon.com, 2017).

Bridging the gap between art and fashion, emerging designer, Arthur Yates, founder of Bruta, launched his fashion and homeware label in 2015 with girlfriend and company director Phoebe Saatchi.

“When I started Bruta I really wanted the hand of the designer to be felt in every piece of embroidery and design,” he says. “The illustrative element in our designs is definitely a Bruta signature.”

After several years of supplying high street brands with fast fashion along with maintaining regular art shows to showcase his paintings and sculptures, Yates decided to create his very own fashion label that would bring those two worlds together.

1.5 Brand Philosophy

Yates took inspiration from the designs that were timeless rather than trend-focused, for example Savile Row tailors. The brands vision combines the concept of romance and elegance, taking British heritage and tradition and merging it with urban London In comparison to Moschino, Yates streetwear. ‘The label sets out to also came from a fine art backeschew cyclical trends and proground. With having no formal duce clothes that pertain to the fashion training behind him, Yates heritage of British art and design used his knowledge of art and inseason after season’. (Tindle, H. troduced a creative approach with- 2017). in his clothing line. His designs celebrate local crafts, bold colours 1.6 Brand Extensions and hand designed embroidery, all of which are produced single After the label launched in 2015, handedly by Yates. it wasn’t long before the brand got noticed. Its striking concept of Much like Moschino, Yates encombining two distinct elements joyed playing with the concept of of clothing and artefacts became what luxury fashion really is. Yates very popular. Bruta started with a did not take to trends not to forth small winter/fall 2015 collection coming styles, he much prefered that offered shirts and pottery designing what was meaningful to that was picked up by a handful of him, making each design an orig- boutiques — including H Loreninal piece of artwork. Yates states, zo in Los Angeles, Idea by Sosu “I enjoy fashion, and art, but I try in Tokyo and Celestine Eleven in not to take them too seriously” London. (Crisell, H. 2017).

“I enjoy fashion, and art, but I try not to take them too seriously” - Arthur Yates

2.1 Case Study (The Marketing Mix - Place)

Does the use of online and direct retail standards compete with how brands market and identify themselves through social media?

2.2 Brand Identity A brandâ&#x20AC;&#x2122;s identity is a crucial factor that needs to be consistently maintained throughout in order to engage and inspire. Social media and in store experiences are the two key factors that can affect consumer behaviour. It is extremely important that both Internet and direct sources reflect its brand im-

age in order to sustain its physical expectations and its clientele. A brandâ&#x20AC;&#x2122;s design, works alongside its marketing strategies, advertising, graphics and packaging in order to indicate a clear and consistent message.

2.3 Brand Positioning Social media platforms and other online sources, indicate that Moschino’s identity implies fun, cheap and a glamorized pop cultural style. It incorporates theatre, arts and humour. The brand is known for its surrealist, displays that has heads turning on the catwalk. Moschino’s unique selling points comes directly from its celebrity endorsements, taking the most novelty of items and turn them into something Katy Perry and Miley Cyrus would want to wear. (Cosmopolitan, 2017). Moschino has grown extensively and has become inspirational not only for its youthful consumers but also for other luxury brands including Anya Hindmarch, Balenciaga and Gosha Rubchinskiy, who have adapted this tongue-n-cheek style. (The Business of Fashion, 2017).

“It’s not been an ongoing trend in fashion, but it has been in art, and art and fashion are much more intermingled now.” - Tim Blanks. Moschino expanded as a company through several boutiques and accessible department stores around the world, both online and in store, the same with Bruta, including stockists such as Harvey Nichols, Selfridges and House of Fraser. After Jeremy Scott, elevated the impact of their social media

account, Instagram, the platform has become increasingly beneficial and attracting the target consumer through the use of new technology. Moschino have a subscription for their newsletters for those who want to see the new collections as well keeping informed of events and campaigns. Moschino’s revenue has increased since Scott pioneered a new way in which fashion is consumed, collaborating with brands such as McDonald’s, My Little Pony and Looney Tunes. (See Appendix 1, 2.2). According to Alice Casely-Hayford, profit also increased when introducing a more affordable range of products for younger consumers to buy into the brand, branching out towards a new clientele. (HUNGER TV, 2017). Introducing an advanced price range along with cartoon collaborations, are few of Moschino’s unique selling points, this has an advantage on the brand, yet a disadvantage on their competitors such as Italian brands, D&G and Versace who have not been able to secure this opportunity.

2.4 Primary Shop Analysis Aside from their colourful, expressive appearance through social media, from a recent in store experience and shop report analysis the evidence was disappointing. The London based, flagship store in Mayfair seemed to lack its tonguen-cheek persona along with its visual excitement of the brands image. Online Moschino appears quirky and fun with a considerable amount of celebrity engagement on Instagram. Their exaggerated prints and bold blocks of colour did not reflect in the atmosphere in store. In terms of luxury, it didnâ&#x20AC;&#x2122;t pursue that ultimate luxurious desire, especially after comparing with its competitors. (See Appendix 2, 4.3). Overall, Moschinoâ&#x20AC;&#x2122;s online social advertising was ineffective once compared to their direct in store experience. In terms of a marketing weakness, they fail to deliver their brand image and personality within a customerâ&#x20AC;&#x2122;s personal shopping experience.

With no stand alone store, Bruta is only located Online and in selected stores worldwide. Few stockists include Liberty London, Harvey Nichols, Present London and YBD. The Bruta concession in Liberty was on the third floor at the back of the menâ&#x20AC;&#x2122;s wear denim department. In comparison with Moschino, when observing Bruta, there was little to no expression of energy of its creative flair that it delivers from its online presence. In store, there was a very small selection of shirts, approximately 15 on a single rail.

(See Appendix 2, 4.4). For small businesses, it can be perceived as beneficial by getting themselves recognized through department stores, however stocking products in such a large space mixed with other manufactures goods can sometimes lack the care for both products and customer. With this in mind, this impersonal communication can potentially reflect badly on the brand itself.

2.5 Brand Loyalty According to Jesse James Garrett, customers are expensive to acquire; keeping them loyal allows you to amortize those costs. Loyal customers are often willing to pay premium prices. Loyal customers can be your most effective marketing weapons, evangelizing for your product on your behalf. (T.Lockwood, 2010. Pg 251) The type of consumer that buys into luxury, believe that they are buying into a lifelong investment piece; Yates, himself also states this when interviewed by Another magazine. â&#x20AC;&#x153;To buy a Bruta piece is to buy an example of wearable artâ&#x20AC;?. (Tindle, H. 2017). Consumers pay more for higher quality in its

products and services. Customer loyalty comes down to the crafted goods along with the commitment and quality that comes from its marketing strategies. According to Alayna Frankenberry, 59% of the traffic to luxury sites comes from mobile devices. (Frankenberry, A. 2017). From analysing both Moschino and Brutaâ&#x20AC;&#x2122;s onlines platforms, both introduce an easy navigation system, simplified layout and a consistency with its brand recognition. From observing both brands websites, they introduce an easy-touse online service, which allows consumers of many ages to make straight forward purchases which

begins to earn the trust of the customer. From their quick and easy online ordering experience and useful services can potentially invite consumers back to make future purchases. For luxury brands, reputation is key. When consumers buy a product, they buy into the lifestyle. It portrays a status and an identity. In order for these luxury brands to drive sales they must find a balance within their marketing strategies. Many luxury brands find this through their online platforms as this can be the most profitable access, thus why in store, both Moschino and Bruta lack on investing time in their retail sectors.

3.1 Wardrobe Analysis Nikk is a young, fearless individual who likes to takes risks, both in his everyday life and within his wardrobe. Nikk wears a mix of luxury and high street fashion, although mainly shops online. He enjoys pushing the boundaries of fashion and standing out from the crowd. His style projects a bold statement, and is unique and fashionable in his own way.

inspired by the brand, not only for his project but also for his physical appearance and style. He began buying into Moschino as he loved the use of colours and bold statement it portrayed.

By undertaking a wardrobe analysis on this luxury consumer, we get to understand the type of consumer Moschino attracts. From taking part in this participant observation, I got to experience a day in the life of the consumer. I was able to engage in their daily routine and be apart of their lifestyle.

Being a unique, edgy character himself, Nikk also loved to push the boundaries of fashion therefore choose to reflect his identity with this luxury brand. When asking Nikk if he brought into other luxury brands he hesitated and replied: “I feel that other brands lack their excitement and enthusiasm, they fail to express something fun, there all too serious. Moschino have that edge that no other luxury brand has really tried to compete with yet”.

Nikk first heard of Moschino in 2015, when he researched the brand for his final year project at Norwich University of the Arts. His project was based on pop culture and cartoons, therefore Jeremy Scott had a huge influence on his design practice at this time. From then onwards Nikk was

Although Nikk loves to show off the label as he classed as “a walking branded stamp”, most of Nikk’s online purchases for Moschino were brought on either eBay or Amazon. Though he loves the brand, he struggles financially trying to keep up with the luxurious lifestyle it entails. Realistically the

brand is too expensive to afford, even with cheaper accessory lines. In regards to comparing and contrasting, I got Nikk to look at Bruta. He didn’t like the look of the brand or what they had to offer. He felt that Bruta was very different in respect to their brand image and visual content. “Every designer has the ability to create this, it’s not original. I don’t feel its luxury and I personally wouldn’t wear it”. He felt that the type of consumer to wear this brand would have a very boring personality and no aspiration to stand out from the crowd. In comparison with Moschino Nikk could see they were both very artist people and you could relate it to fine art, however their directions in which they took their artists knowledge were completely opposite to one another. (See Appendix 2, 4.6 for interview structure).

3.2 Pen Portrait

NIKK EDWARD STANLEY, 22 PARTIES IN COCO TANG FASHION ENTHUSIAST LIVES IN NOTTINGHAM DISPOSABLE INCOME POST HARDCORE ROCK EXPLORER THEME PARK FANATIC RISK TAKER NIGHT OWL PIZZA LOVER LOUD, COLOURFUL, EXPRESSIVE ALSO WEARS KENZO, & DOC MARTIN

3.3 PEST Analysis: Moschino

3.4 PEST Analysis: Bruta

3.5 The Marketing Environment With the economy becoming more competitive each and everyday, it is important for businesses to have the knowledge to adapt to their customers wants and needs along with identifying new business growth and opportunities. These luxury brands must strategically deliver to their target consumers by using two crucial marketing tools, which consists of internal and external factors, these two groups are what form the marketing environment. Further to this, the internal environment is company specific and includes business owners, manufacturers and materials. The external environment is broken down into two components: micro and macro. The micro environment is a controllable factor used within the business, whereas the macro factor is an uncontrollable source, therefore the business has to modify itself to its environment. All businesses, including Moschino and Bruta, need to produce a SWOT analysis in order to identify the internal and external factors that will affect the companyâ&#x20AC;&#x2122;s future performances. To separate the two, the internal factors look at the companyâ&#x20AC;&#x2122;s strengths and weaknesses, whereas the opportunities and threats of a business deal with the external factors.

For Moschino, their strengths include their dominant brand image and multiple price range of products, targeting a variety consumer base. Their weaknesses show an ineffective advertising structure, failing to generate the brands identity in their flagship store and department stores. In terms of their external factors, their opportunities could suggest renting their products to enable a further developed consumer base and to boost frequency among those that do purchase designer fashion, but may not often because of affordability. In regards to their threats, the rise on competitors are high as luxury brands such as Balenciaga are adopting the pop art trend, creating designer crocs and replicating other trademarked labels, such as the IKEA carrier bag.

3.6 SWOT Analysis: Moschino

Located in the capital city, Yates has an advantage on his business, as he is situated in London. Many up and coming designers who are located in London have the strengths and opportunities to grow and succeed. Yates has also strategically located the brand in several department stores worldwide which will increase the brands identity. By having a niche market, it can have setbacks in allowing a business to grow. Their selective target audience can limit their profit margin in the market. Bruta is restricted on their opportunity to grow because they have a small group of customers who buy the products. However being in a

small business does include some advantages, for instance, keeping the loyalty of the customer by meeting their needs and desires for a product.

within their designs for their shirts; as they are very simplistic and include hand drawn motifs, the brand would be very easy to replicate.

Bruta have the opportunity to expand their business and open their own store but choose not to as they like their small customer base and to personally contact them directly. Over the years Bruta have been involved in several collaborative projects, however rarely, if at all use celebrity endorsements to promote their brands image, whereas this is a strong, unique selling point for Moschinoâ&#x20AC;&#x2122;s advertising campaigns.

Their unique selling points cover their stockists and collaboration work. Concerning collaborations, Bruta developed their very own line of ale, titled Brew-ta, in keeping with its British sensibility. (H, Tindle, 2017).

An obvious threat for Bruta, is

In terms of designer collaborations, they worked alongside Soulland who has a similar vision to Bruta, producing a floral shirt capsule collection, which instantly declares luxury. (See Appendix 1, 3.4) Promotional Material).

3.7 SWOT Analysis: Bruta

Moschino lacked its youth and sense of humour after the death of Franco Moschino, although when Scott was appointed Creative Director in 2013, he re-injected the eighties influence with energy, and inspired people with his motto of â&#x20AC;&#x2DC;making fashion fun and not taking life too seriouslyâ&#x20AC;&#x2122;. (Widdicombe, L. 2017). Over the years, Moschino has influenced celebrities such as Katy Perry, Miley Cyrus and Rihanna, all of which became the forefront at his fashion runway shows and began a fan base and in hindsight endorsing the brands name. These celebrities who gravitate towards the label are known for their originality and self-expressiveness, therefore engage with the brand that breaks the boundaries of the traditional luxury fashion, reflecting their personality an influencing the youth of today through the use of social media. Moschino also use a unique character to represent the image of the brand, and to epitomize the characteristics of their brands value. (See Appendix 1, 2.4 and 2.10).

3.8 Celebrity Endorsements

Conclusion To conclude, we learn that both brands have numerous comparisons, some of which include how the current designers explore art to influence their collections, creating individual pieces, rather than trend focused. Although both brands lead individual paths when representing their brands image, both directors are influenced by fine art and history. From observing Moschino, we have learnt that their online platforms are one of their marketing strengths. After Scott became creative director, the label had uplifted and became relevant again, conveying the excitement that once was from the nineteen-eighties. However with comparing the online image to theyâ&#x20AC;&#x2122;re direct in store experience did not reflect the companyâ&#x20AC;&#x2122;s brand identity, lacking its youthful kick and innovation. We also learn that the companyâ&#x20AC;&#x2122;s unique selling points stem from their frequent communication portrayed on social media and the huge impact that is supported from the a-list cult following of celebrity endorsements exposing their brand image, amongst this Scott also introduced a new pricing strategy for a line of prod-

ucts that could be accessible by a younger target audience, helping increase profits for their parent company group, Aeffe and expanding their clientele. Bruta, on the other hand work closely with their products and target their consumers directly online which works well by upholding their brand and customer loyalty, although due to the small market size, the disadvantages of this can be difficult for the company to grow and earn a high profit. From the shop report analysis, we learn that Bruta, along with Moschino, also struggle to reflect and maintain the same online experience as what is portrayed in store. Bruta have several stockists located around the world, which can be perceived as beneficial to getting themselves recognized, however stocking products in large department stores can have a lower profit margin and unlike their online system, in store, they lack the communication and control of their products and care for their customers. In addition, this can lead to impersonal communications, which means less care, reflecting badly on the brand.

Appendix Appendix 1: Internal audit 1.1) The Marketing Mix Data Diagram - Moschino 1.2) The Marketing Mix Data Diagram - Bruta 2.0) Moschino: The Marketing Mix: Products, Price, Promotion and People. Products: 2.1) Brand Image 2.2) Product Expansion 2.3) Branding 2.4) The Mascot Price: 2.5) Pricing Strategies 2.6) New Customer Market 2.7) Online Platform 2.8) Moschino: Brand Competitive Analysis on Price. Promotion: 2.9) Brand Representation 2.10) Celebrity Endorsements

Price: 3.2) Pricing Strategies Place: 3.3) Global Expansion Promotion: 3.4) Promotional Material People 3.5) Customer Profile Appendix 2: Case Study Research 4.1) Case Study Questions 4.2) Brand Identity Prism 4.3) Shop Report Analysis Moschino 4.4) Online Analysis Bruta 4.5) Bruta Interview Questions 4.6) Moschino Wardrobe Analysis with Nikk Stanley Appendix 3: External audit

People: 2.12) Influencing New Consumers 2.13) Customer Profile

5.1 PEST Analysis on Moschino

3.0) Bruta: The Marketing Mix: Products, Price, Place and People.

5.3 SWOT Analysis Diagram for Moschino

Products: 3.1) Brand Image

5.4 SWOT Analysis Diagram for Bruta

5.2 PEST Analysis on Bruta

Appendix 1: Internal audit 1.1) The Marketing Mix Data Diagram Moschino

1.2) The Marketing Mix Data Diagram - Bruta

2.0) Moschino: The Marketing Mix: Products, Price, Promotion and People.

items that are available to buy as soon as they hit the catwalk. (HUNGER TV, 2017).

Products:

The excitement has translated into profits for Aeffe, Moschino’s parent company: in the past year, sales are up twenty per cent. (Widdicombe, L. 2017). Thanks to L.A. designer, Scott, Moschino has not only boosted in profit but targets a more youthful clientele as it features a more affordable range of products, from cosmetics, fragrances and popular accessories such as iPhone cases.

2.1) Brand image Italian fashion label, Moschino, began as a ready-to-wear, leather and fashion accessories brand, which accompanied shoes, luggage and perfume. From 2013, the brand had a huge injection of energy, when appointed new Creative Director, Jeremy Scott. The brands image elevated in regards to its recognition from consumers, bloggers and celebrity endorsements. Moschino signifies high fashion; nevertheless it is visibly clear that it differs from other Italian luxury brands. Like Warhol and other Pop artists of the twentieth century, Scott is drawn to American consumer culture. His favourite device is not the silhouette but what he calls the “icon.” (Widdicombe, L. 2017). The brands image captivates tongue-in-cheek, iconic pop cultural references and interprets nostalgic cartoon themes from the 80s and 90s. 2.2) Product expansion According to Alice Casely-Hayford, since being appointed creative director at Moschino at the end of 2013, the irreverent designer has dramatically boosted sales for the Italian fashion house as well as pioneering a new way in which fashion is consumed, with

Moschino’s playful twist on luxury branding has become a revolution exploring new ways in which fashion is consumed, juxtaposing with good quality, luxurious fabrics and unusual shapes. 2.3) Branding Aside from Moschino’s innovative products, the logo itself has a much more simplistic design appeal. It clearly states the name of the brand in bold letters and is predominantly black, however this can change depending on the particular product varying from other colours such as gold and red. There are often heart shapes that appear on certain products including bags, perfume packs and clothing prints along with the logo to distinguish the sub brands Cheap and Chic and Love Moschino. (Radovic, K. 2017). 2.4) The Mascot Most designer brands will include

someone to represents their products and brand image; this usual considers an iconic figure such as a model or an actress is used to epitomize the characteristics of a brands value. Moschino’s ‘Moschino girl’ is promoted by the goofy cartoon character Olive, girl from Popeye the sailor man. Olive is their mascot that represents the brands fragrances of Cheap and Chic. Everything the brand says in regards to playfulness, presentation and colour pallet all suit to her joyful persona and style. By imitating this traditional, iconic figure, intuitively it becomes a more fun and engaging way of perceiving a particular brand as it includes graphic shapes and bright colours. Other luxury brands such as Versace and Gucci tend to focus on highlighting a richer and more classic style. However for Moschino, including this joyful, childhood memory directly connects with the consumer’s behaviour creating a sense of keeping them curious and wanting more. (Styl.sh, 2017).

Price: 2.5) Pricing Strategies From looking at the marketing perspective on luxury brands, it appears that it could become increasingly challenging for designer labels in regards to their financial circumstances with the density falling on the consumers in the UK. One in two consumers (53%) have not bought designer fashion in the last three years. (Academic.mintel. com, 2017). Due to high price demands on luxury products, consumers are buying less, which initially is affecting the demand of sales in high-end fashion. 2.6) New Customer Market Moschino is a great example as a luxury brand, in regards to how they have adapted themselves to a wider pricing scale to reach out and target a new consumer base. After the arrival of Jeremy Scott, the brands target consumer altered from 40-45 year olds, now targeting ages of 18 onwards, crafting entry-level products, and making them more feasible for the younger generation who want to buy into designer brands. Although Moschino have made themselves more accessible to a younger audience, many of their products remain at high value i.e. Boutique Moschino and their Capsule Collections, to keep their significance of their brand image and to also target other consumer types. Many designers still fear that by decreasing costs on products could lead to eroding brand

image and therefore make little or no adjustments. 2.7) Online Platform Moschino products imply ‘throwaway’ which is instigated on their Cardboard Couture, AW17 Recycled Collection, however they’re clothes are not cheap. Online on their website, the price category for Moschino outerwear for both women’s and men’s range, varies between £400 - £3,000. The price comparison between the accessories featured in the S/S18 My Little Pony capsule collection varies from as little as £40 for an IPhone case to an extensive £1,500 for the matching bag. Their more reasonable products are their gift sets, which range from £40 to £200.

Promotion: 2.9) Brand Representation The brand has elevated in contemporary design with its current themes specialising in pop culture and bold social statements, thus gaining great popularity and consumption from celebrity endorsements. Jeremy launched his first Moschino fall 2014 debut runway collection with a witty bang based on ‘fast fashion’ campaign which played on McDonald’s. The tenpiece inspired capsule collection was released the following day after the show and was available for purchase in Moschino boutiques and on their personal online store. 2.10) Celebrity Endorsements After the death of Franco Moschino in 1994, the brand lacked its youth and sense of humour. However, when Scott took role as Creative Director in 2013, he re-injected the eighties influence of fun, influencING celebrities such as Katy Perry and Miley Cyrus.

2.8) Moschino: Brand competitive analysis on price.

‘Brands often use celebrities to get impact, because they are seen by the public as credible source of information about product or company. People aspire to the values and lifestyles of celebrities. Consumers selectively integrate perceived values and behaviour of celebrities they admire, to build and communicate their own identity’. (Chiosa Ana Raluca, 2012).

People:

Products:

Place:

2.11) Influencing New Consumers The excitement of the transition of Moschino has also influenced thousands of consumers that has elevated into higher profits for Aeffe, Moschino’s parent company. Ken Downing, the fashion director at Neiman Marcus, states, “The ability to take a brand that had such deep roots in an eighties sensibility and bring back the humour, the extravagance of production, and take the tongue-in-cheek chic of the brand and reinvent it for a new customer has been nothing short of brilliant.” (Widdicombe, L. 2017).

3.1) Brand Image Established, London-based luxury label, Bruta, consists of loose fitted, non-formal, unisex shirting made from cotton poplin and viscose. Each shirt design incorporates an embroidered or hand painted design in stitched motifs and prints. Along with the shirts follows Yates own home ware collection which features hand painted, ceramic milk urns sourced around farms in the UK.

3.3) Global Expansion After just 18 months into his projects, Yates attracted a number of influential wholesale stockists, including Liberty London, Harvey Nichols and Present London. From branching out into simple yet high-quality outerwear, menswear and women’s wear, three years on; Bruta has formed a global expansion with stockists in the UK, Japan and China.

2.12) Customer Profile Moschino appeals to a diverse range of consumers, both the mature more sophisticated and the youthful, rebellious generation who want to elevate fashion boundaries. The brand targets those with money and use the product statement to reflect their identity. For the younger consumers the brand uses accessories as a focal point, Moschino market their fragrances, belts and iPhone cases as low as £50, to influence their consumers to buy into the brand and to hook them onto the more expensive products to visually develop their sense of style. 3.0) Bruta: The Marketing Mix: Products, Price, Place, Promotion and People.

Price: 3.2) Pricing Strategies Despite an emphasis on homegrown production and craft, the price points assigned to Bruta’s pieces are very reasonable. At the top-end, a shirt will set you back £160, and a substantial wool and cashmere overcoat hits £450 maximum. Considering what you might normally fork out for a garment decorated with hand-drawn detailing, it isn’t a huge amount. To buy a Bruta piece is to buy an example of wearable art. (Tindle, H. 2017). Bruta’s price range starts at luxury designer prices, varying from £160 for your regular shirt to a topend £450 for a wool or cashmere overcoat. According to Yates, by investing into one of his pieces, makes the consumer invest in a piece of wearable, timeless art, as its personal and no two shirts are ever the same.

Promotion: 3.4) Promotional Material Bruta have a direct mailing system on their website, they also advertise themselves mainly through instagram, which feature collaborations, new projects and art. The label has held its very own life drawing art classes and launched a range of ceramic pots to accompany its shirting designs and to reach out to more consumers. In collaborations, Bruta has created its very own line of ale, called Brew-ta, in keeping with its traditional British theme. They have also collaborated with other designers such as Soulland who are a Danish brand and have similarities with Bruta in regards to vision. People: 3.5) Customer Profile In reflection to Bruta and their targeted audience, assuming that their consumers are not trend focused. In regards to the brands image, their consumer reflection

would appear distant from fashion forward technologies, though express themselves through art with their individualistic characteristics, similar to Moschino, by avoiding fashion trends and being expressive in a unique way. Bruta’s consumers indulge into fashion absurdities of art, culture and heritage. The label aims towards the youthful generation, which have a sense of diversity and creativity. According to Yates, his idea of luxury is to be inclusive and democratic. With Bruta they try and make clothes at an affordable price to allow our youthful customer to indulge in our world. (Metalmagazine.eu, 2017). Bruta’s consumers indulge into fashion absurdities of art, culture and heritage. The label aims towards the youthful generation, which have a sense of diversity and creativity. Their target consumer avoids trend focused fashions and instead express themselves individually in a unique way. Appendix 2: Case Study Research 4.1) Case Study Questions

keting mix for both brands and created charts that explore the use of each of the p’s I have chosen. From the research I compared and contrasted them with one another and focused on their strengths, weaknesses and what opportunities they may have along with possible threats they may face in the future.

4.2) Brand Identity Prisms

From my findings I produced a variety of questions relating to the P’s of the Marketing Mix. Here I have attached some examples: Products - Will the limitation of innovative product expansion affect the company’s clientele and reduce profit inflation? Price - How are their competitors competing on a distribution perspective, in regards to their price margins? Promotion - How can the influence of celebrity endorsements impact on the company’s growth? Place - Does the use of online and direct retail standards compete well with how both brands market themselves through their use of social media?

In order to build my case study I have been looking into the 7 p’s of People - How do luxury fashion the Marketing Mix. By researchcompanies keep their consumers ing both primary and secondary buying into their brand? sources I have been able to gain a more in depth understanding on both Moschino and Bruta, finding out about their variety of products, pricing range, tactical promotions, their consumers and their in store and online marketing strategies. I gathered my data on the mar-

4.3) Shop Report Analysis - Moschino The flagship store based in London, Mayfair was very minimalistic and featured few of the capsule collections. It felt very bare and limited with simplistic VM features of set rails displaying several collections along with with matching accessories on short plinths.

potential threat for the company and might determine a marketing issue.

Bruta’s website reveals very modern in the sense that it is bold and ‘straight to the point’. It captivates visual elements such as art directed photographs and videography. It portrays a very obsolescent, classical film characteristic which reflects through to the themes that focus on heritage. Liberty is a great store locator for this particular brand as its exterior visuals represent age, classic and Victorian which connects the heritage to Bruta’s theme on their British garments.

I visited the store one month before Christmas and it was on cyber Monday. During this time of year all retailers compete with one another and pay close attention to detail and creativity in order to deliver the best shop window display in order to engage and invite customers to shop in store. However Moschino was disengaging and had nothing exciting to offer, except for its free hand out magazines. The direct in store observation of both flagship store and concessional stores, seemed to lack the brands image and philosophy when compared to their visuals on social media and their runway shows. From research online I was really excited to go and see the store, however the use of creativity and innovation was invisible. It was quite disappointing to see the lack of enthusiasm in the store and also with the customer service experience. The in store experience failed on its great expectations compared to its online media platforms, lacking on the marketing section and the expectation what some consumers may have. This could act as a

democratic. With Bruta we try and make clothes at an affordable price to allow our youthful customer to indulge in our world!” (Metalmagazine.eu, 2017).

4.4) Online Analysis - Bruta From research alone, the brand appears quite remote and an outsider to the modern world of fashion. In contrast with Moschino, although being different in terms of their luxury image, the brand is current and forward thinking with technology. Bruta’s target audience are often remote and individualistic, much like how the brand reflects its identity. It indulges into fashion absurdities of art, culture and humanity. Their aim is to target today’s youth with a sense of diversity and creativity. According to Yates, “My idea of luxury is to be inclusive and

Along with its main website, Bruta has several social media platforms such as Instagram and Facebook. From looking at Bruta’s Instagram account from October 2017, their followers were currently 5,671. From December 2017 they currently have 6,172 followers. From this immediate increase reveals that they are still expanding their business. 4.5) Bruta Interview Questions Young British designer, Arthur Yates, founder of the London-based line, Bruta, launched back in 2015, selling both luxurious, unisex clothing and home ware products. Here Bruta speaks to us about its vision, marketing strategies and future possibilities within the company.

4.5) Bruta Interview Questions Young British designer, Arthur Yates, founder of the London-based line, Bruta, launched back in 2015, selling both luxurious, unisex clothing and home ware products. Here Bruta speaks to us about its vision, marketing strategies and future possibilities within the company. Email content:

Hello, My name is Tiffany Fishleigh and I am an MA Fashion Management and Communication student at Sheffield Hallam. I wrote to you previously on Instagram in regards to answering a couple of questions for me in order to help me with the case study in my report. This report is based on the global marketplace, my case study compares an emerging international fashion brand with an established fashion brand. I have chosen to look at both Moschino and yourself. In order to conduct my research on accurate background knowledge and marketing strategies of your brand I have included some questions that are attached to this email. Any information you provide me with will be displayed in a physical copy of a magazine stylised report, on my personal blog and on Issuu as this is our university submission format in order to get graded, no other social media will be involved in the release of this interview and it will not be published globally. If there are any

questions you would rather not answer then feel free to skip past them.

Do you have any input in the way your products are visually presented in department stores?

In return, I can send you a copy for the final report and also I am more than happy to illustrate some of your photographed collections, as I specialise in illustration and do this a lot in my spare time. See my Instagram profile - SkinnyLilax for my portfolio.

Does Bruta hold many events to attract consumers? If so how hands on are you with the organization of the events?

I Hope to hear back from you soon, and look forward to reading your responses!

How important is it to have a presence in physical stores/department stores?

Thank you. _____________________

What has kept you so motivated throughout your business?

Interview With Bruta Questions:

With your products being stocked in popular department stores around London, has this helped with recognition of the brand?

Why did you choose the name, Bruta? What has Brutaâ&#x20AC;&#x2122;s greatest achievement been so far? In todayâ&#x20AC;&#x2122;s digital age, has the use of social media created a more impactful marketing strategy for your company? Obviously your art and style of work is very important to you, but what is the future vision for Bruta? Where do you see the company in 5 years time? What would you consider to be your unique selling points of your brand?

Would you consider celebrity endorsements to be important to Brutaâ&#x20AC;&#x2122;s client?

Would you ever consider expanding and open your own retail store? Could you briefly describe your typical customer in terms of their profile? What is in store for the future of Bruta? Finally, What advice would you give to young creatives looking to create their own business in the fashion industry?

Why do you choose to sell across both platforms, i.e. online and department stores?

4.6) Moschino Wardrobe Analysis with Nikk Stanley Describe your fashionable style in three words. Edgy, unique and intriguing How did you hear about Moschino? In my third year at university, for my project, I wanted to create a collection that was so outrageous and unexpected. When researching designers for inspiration, Jeremy Scott’s Mcdonald’s collection was the first thing that drawn my attention. From then onwards I have been a huge Moschino fan and from then I began buying into the brand.

style.

Who would you say they compete with?

What was the online ordering process like?

Some big house names and other Italian luxury brands.

To be quite honest with you, I have never ordered from Moschino online, although they have cheaper things which appear more affordable, it still wasn’t enough for me to be able to keep buying into the brand, which are my intentions. Therefore all of my Moschino products have been bought either off Ebay or Amazon.

Does the brand reflect on you and your style/ personality? If so why?

From your first purchase, did you find yourself continually buying into the brand? If so why? If not why?

Although I have quite a few What is it you particularly like moschino pieces now, and it’s about Moschino? the statement I like to make, I wouldn’t say I continually buy I love their whole image and what into the brand, just because I feel they say as a brand. Have fun, who that there is so much up keep and cares, don’t take life so seriously all you have to be on a pretty decent the time. Their online social media wage. I would love to have a whole platforms are so engaging and wardrobe just on Moschino, but great to follow. I love their use of right now that’s not something I pop art, bold colours and prints. can achieve. Why did you start to buy into Moschino?

What other label would you compare it with?

I started to buy into Moschino because they seem exciting, and really fit in with today’s youth. I find most other designer brands don’t do this. Moschino instinctively felt like it was my brand the way it likes to be different from others and to really stand out. I buy into the more colourful, bold branded stamp to express my identity and

Do you know, I can’t really think of anybody in terms of their actual style. I mean possibly kenzo for their colour pallet and also maybe Dover street market, they seem to push the boundaries with the way they make the garments and also how they visually present themselves.

Yes, 100%. I have always liked to stand out. Since discovering Moschino this has just helped me even more with my identity, to show who I am. What is your signature Moschino piece and why? The Mcdonald’s knitted jumper, this was one of the first pieces I noticed when doing my research. This collection on fast fashion instantly made me fall in love with the brand. I love how the clothes are designed to make you walk around in other food packaging, rubbish or fast food brands, it’s hilarious and it’s fashion. Deal with it. If we turn to Bruta now, what would you say you like or dislike about the brand? Straight up, dislike from me. Mainly because it’s not something I would wear. It’s far to plain, and it’s been done by everybody. So what it’s a shirt? There is nothing fun or exciting being delivered, it seems like there is only one area they can work in and it’s a very basic area. Can you see any comparisons to Moschino?

In regards to their artistic backgrounds, they have both gone in completely opposite directions for their inspiration. However, they both take inspiration from the past as Moschino uses old cartoons and pop culture where Bruta uses old english heritage. I feel that the english heritage for Bruta limits their design ideas, maybe they need to expand and look at other heritages? Moschino, on the other hand, use pop culture, a worldwide movement that is still being manipulated today.

5.2 PEST Analysis on Bruta

5.3 SWOT Analysis Diagram for Moschino

5.4 SWOT Analysis Diagram for Bruta

Appendix 3: External audit: 5.1 PEST Analysis on Moschino

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