Gucci Per la Vita - Fashion Practices Concept Development by Vicky Shepherd

GUCCI

P E R L A V I TA

FASHION AND BUSINESS PRACTICES CONSUMER FACING IMPROVEMENTS TOWARDS A MORE CIRCULAR ECONOMY THROUGH WASTE REDUCTION VICKY SHEPHERD

“Circularity is not the exception to design and creation, but integrated as part of the process” Gucci Equilibrium, 2021

ontents 02

Proposal Aims Introduction The Problem Rationale for Change Ecosystem Analysis

Proposal Outline Footwear Consumer Needs Value Proposition

7 9 11 15 17

21 25 27 29

Business Transformation Diffusion of Innovation SWOT Consumer Segmentation Competitors

Business Model Conclusion Porter’s 5 Forces. References Appendices List of Illustrations Bibliography

45 47 49 51 53 56

33 35 37 39 41

1. 2. 3. 7

Examine the in surrounding co

Create a holistic towards a circula waste reduction

Propose a busines restoration servic second hand and

Prop

ndustry’s problems onsumer waste

approach to Gucci’s efforts ar economy surrounding

ss model for a Gucci shoe ce, to compete in the luxury restoration market

posal Aims 8

In this portfolio the issues behind textile waste and Gucci’s brand to consumer transparency, in accordance to a circular economy, will be explored. Through research and a marketing strategy, both the brand and its consumer will be encouraged to think more consciously by implementing a new service which reduces waste past the point of purchase. A 2019 study by the Environmental Research and Education Foundation (EREF) found that consumers throw away more clothing than they recycle in comparison to manufactures. Consumers recycle only 15% of used clothing whereas manufacturers recycle more than 75% of pre-use clothing (EREF, 2019). It was found that more often than not when a garment requires repair, Good on you ethical fshion platform will be useful before its useful life-cycle is over, consumers will discard it (YouGov, 2012; Birtwistle and Moore, 2007) rather than invest in retaining and extending the item’s lifetime. This portfolio will propose a time and cost-efficient alternative to eliminate the impact Gucci’s customers have on the fashion industry’s waste problem.

Introduction

In the 2021 Fashion Revolution Fashion Transparency Index Gucci’s final score came out as 56% for overall transparency (Fashion Revolution, 2021, p.35), meaning they are working towards some of the highest standards for public information disclosure amongst big fashion brands, with only twelve of the two hundred and fifty involved ranking above them. While this means they are putting a lot of effort into disclosing their ethical and environmental efforts it does not mean they are fully circular. Some of the many ways in which Gucci are working towards Circularity;

The first luxury brand u

‘Gucci-Up’ up-cycles a 27 tons

They partner with ‘I W mar

Achieved the Leade (L

The Problem

In 2020 more than 35% reducing the

‘Take Back’ program production

using Econyl®, created from regenerated yarn.

all leather offcuts from manufacturing creating of reusable scrap in three years.

Was a Sari’ to create embroidery for the Global rket from leftover materials

ership in Energy and Environmental Design LEED) certification in 2009

% of Gucci’s transportation is electric or hybrid, e company’s average CO2 emissions.

mme saved 90 tonnes of plastic by avoiding n of 1 million new packaging boxes.

...The Problem Many of their efforts are behind the scenes and not appreciated or known by consumers unless they were to look for them. Apart from plastic reduction in packaging and recycled and environmentally positive materials, many of Gucci’s efforts stop once the customer has completed their purchase. Continuing a transparent relationship between brand and consumer past purchase is not an unheard-of concept; Fashion Revolution launched their ‘Who Made My Clothes?’ Campaign in 2013 (Fashion Revolution, 2013) allowing consumers to contact brands directly via social media and ask to see the person and place in which their garments were made, this gave consumers full disclosure into the working conditions in which their favourite brands create their products. Allowing that relationship to continue encouraged brands to work towards more environmentally positive and ethical production lines. Although this portfolio does not focus on transparency in production it takes inspiration from the concept of this campaign, focussing on allowing consumers to keep up the relationship with the brand; creating a partnership in waste reduction.

In 2020 it was estimated that 18.6 million tonnes of clothing ended up in landfill (The Vou, 2020) and Covid-19 saw the trend of fashion over consumption compared to usage continue its rise; a rise it’s been on since fast fashion was normalised (Figure 1). The Ellen Macarthur Foundation has estimated that if such continues, by 2050 there will be over 150 million tonnes of textile waste in landfill (Moigne, 2021). This portfolio tackles Gucci’s post purchase impact on textile waste, outlining to its customers how this encourages product retention and lengthens the useful life of a garment; building a longer lasting brand to consumer relationship, creating more steps towards a circular economy.

Rationale for

A big step the fashion industry is taking to tackle waste reduction is in the resale an they partnered with online resale brand The Real Real (The Real Real, 2020). The t within the fashion industry, every Gucci purchase made from the website meant a Real Real, 2020). The collaboration was a way for Gucci to voice its desire to elonga End of product life; Waste or Recycle

Consumption and Useful product life-cycle

Product Repair?

Recycle?

Gucci Up?

Textile reuse?

Logistics and Distribution

Financial control, buying and merchandising, Inventory etc. Cost and capabilities access, partnerships, networks, delivery systems

DELIVERY MECHANISMS

Market and consumer behaviour & dynamics, social media, press etc

Landfill?

Governance and compliance, trade policies, ethical codes etc.

Ci Soci

(Resa

r Change

nd restoration market. Up until 2020 this is something Gucci had not ventured into, temporary partnership saw the two brands coming together promoting circularity a tree was planted with the help of non- profit organisation, One Tree Planted (The ate the life of its products, a first step to tackling a reduction on consumer waste.

itizen Groups, NGOs, ial Activists, Influencers, Market actors

Legal standards, employment law, taxation, trade Agreements, insurance

NSTITUTIONS

ale and Restoration Market)

RESOURCES

GUCCI

Internet Capabilities; Social Media, Mobile communications, reviews Infrastructure; Production, Transportation, distribution systems etc. Market research, market Intelligence, data, competitor data

UPPLY CHAIN

Vertical Supply Chain

Production sources; type, location, customer efficiency, cost, ethics

Ecosystem Analysis Gucci has a vast ecosystem; it is one of the leading fashion brands in the current industry. Focussing on the restoration market we see many threats from third party brands and evolving consumer behaviours.

Supply Chain Threats

For Gucci to stay ahead of competitors and not succumb to new markets and trends it should follow the links found in this ecosystem. Responding to consumer opinions on the secondhand market as well as the need for increased product lifespans, Gucci should be able to challenge its impact on the industry’s textile waste problem by taking inspiration from competitor services, creating its own unique customer journey to extended product longevity and play towards conscious shopping.

Covid-19 meant a decrease in demand for fashion stock, this hit factories and manufacturers as many retailers cancelled refused pay for orders, these cancellations created unnecessary textile waste. Factories were unable to pay workers, Care International found that over one million workers were fired or suspended (Care, 2020). Many consumers chose to boycott brands until they paid up, arguing the brands could afford to pay but factories could not afford the loss. Gucci was not one of those brands, they continued to pay suppliers and partnered with Intesa San Paolo bank in Italy creating a loan scheme available to all suppliers. The loan allowed manufacturers help with all environmental, social and waste practices (Gucci Equilibrium, 2021). Textile manufacture is a big threat to the environment, it generates 6.7 per cent of global greenhouse gases, equivalent to 3.3 billion tons of CO2 (SOUK, 2020). The process of manufacture increases these figures; reducing production and encouraging resale or restoration would can help the industry to tackle its impact on emissions and waste. Consumers are open to such changes, regarding reuse and recycling as effective in improving the environment and decreasing textile waste (Bianchi and Birtwistle 2010).

Competitor Threats

Customer Threats

Consumers of wealth wear luxury brands to show their affluence (Han et al. 2010), second hand luxury and repair services are less costly avenues for consumers to show this. These markets are growing faster than the primary luxury market at 12 per cent growth per year versus 3 per cent per year (Luxe.digital, 2020). Chanel launched ‘Chanel et Moi’ in April 2021 a programme allowing restoration care facilities in each boutique available to all customers (Chanel, 2021). Hermes also offers repair, any product can be returned to a Hermes store at a oneoff charge for restoration averaging around $300 (Hermes, 2021). The Restory is one of the biggest luxury third party restoration services on the market, often partnering with high end brands to bring their customers product longevity. Some of the high-end partnerships The Restory has been part of include Gucci’s direct competitors such as Harvey Nichols, Farfetch and Manolo Blahnik. Since Covid-19 consumers have preferred ease in their shopping experience the physical side of having to travel to the stores for repair seems like an unnecessary step in the consumer journey. For Gucci to tackle this competitor market in the most efficient way it would need to take online third-party services head on, offering its consumers a restoration service that allows for ease of use and minimal effort from the consumer. Consumers are finding ways to get a better deal out of luxury, lower prices and longer lasting quality mean third-parties have the opportunity to undercut luxury brands unless they adapt to this new way of spending quickly.

In a 2021 Mintel report, focussing on Fashion Technology and innovation (figure 2), 2000 fashion consumers were asked about their clothing purchases in the last twelve months; it found that online avenues were three times as popular as instore shopping, alluding to the impact Covid-19 has had on the fashion industry (Lightspeed/ Mintel, 2021). This is a threat, high fashion shopping having a heavy reliance on in-store customer experience. If Gucci wants to keep up with third- party online competitors they need to understand the importance the online experience has with today’s consumer. Moving forward the online experience therefore needs to be as easy and as exclusive as in-store shopping experiences. Exploring the Mintel report further, it asked 1500 fashion consumers what they would like to see inside fashion stores (figure 3). 32% of participants voted for instore repair stations (Lightspeed/ Mintel, 2021), showing consumers are conscious of product longevity in 2021. It was found that customers prefer online retail in 2021 and many would feel the benefit of a repair service offered by their favourite brands, Gucci need to effectively react to this information. Competitors such as The Restory base their customer experience online, the customer journey is as easy as posting a product off for repair. If Gucci is to develop such a service it should be postal based to keep up with third party restoration services. “While this market threatens new product sales, it is simultaneously turning luxury goods into durables with an increasingly defined resell price, thus increasing their value” (D’Arpizio et al. 2014).

Proposal Outline As a reaction to the market research conducted the aim of this portfolio is to outline the implementation of a new service that will allow Gucci to offer restoration to its customers. The service, named Gucci Per La Vita, will be subscription based, allowing customers to opt in or out of the service fee at any time past the point of purchase. The aim of the service is to retain loyal customers and entice new consumers with the promise and ease of life long product quality. As part of

Their 2020 Runwa Operandi conducted asking 1500 women they have in their war of those asked would quality over quantit (Moda Operandi, 202 Gucci will come wit if needed, the custo product directly ba full restoration, playin want of long-lasting q

ay Report Moda d an online survey n about the clothes rdrobe, it found 73% d rather go for lasting ty of clothing items 20); this new service th the promise, that omer can post their ack to Gucci for a ng to the consumers quality.

“There’s not really places you can get repairs done... To be honest, it’s easier to replace it. I would repair more if it was easier and cheaper to do it.” (Focus group, Henninger, C. E. et al, 2017)

Implementing this service via a postal service will encourage Gucci’s consumers to forgo third-party restoration services or repurchase, increasing Gucci’s profit per customer alongside the authentic lifetime of the product. The consumer will be able to order and send their product for repair aswell as have an online consultation with the seamstress as to what work they require. The development of this service is driven by the need to reduce waste past purchase alongside changing consumer needs and sustainable shopping habits; putting this service into effect will not only minimise Gucci’s effect on landfill, but also encourage the reduction of over consumption and increase product retention. This service highlights and enhances Gucci’s continued efforts towards a circular economy showing the brand is conscious of its effects throughout the product’s life-cycle.

F O R

L I F E

Footwear

Gucci is a multi-faceted brand, known most famously for its maximalist designer clothing, bags and footwear; in the development of this new service its product range had to be considered as creating a restoration service that would fit the needs of all of Gucci’s products would need a big investment in time, money and labour. Implementing a trial restoration service focussed on one product area allows the brand to create a unique, well-developed service to give its customers the high standard quality of customer service they are used to. When developing the business model for this proposed strategy Gucci’s most popular products were considered for restoration; considering what consumers would take to third party restoration services narrowed the product ranges down to footwear and bags. With this information the footwear category was taken forward for development, being the product that would incur the most visible wear in its useful lifetime. Research conducted into consumer pattern behaviour around shoes found that sales across women’s, men’s and children’s footwear had decreased at an average of 7% since the start of Covid-19 (Figure 4. Mintel/ Lightspeed, 2020) but in a report by Moda Operandi it was found that the sale of wardrobe staples such as boots had risen (Moda Operandi, 2020) showing the needs of consumers shifting towards buying less, more durable footwear. This proposed strategy hopes to play into this by not only promoting Gucci’s existing highquality but showing customers how this service can elongate a shoe’s useful life and erase the need for repurchase.

Gucc with

Footwe sent to

ci’s footwear life-cycle hout ‘Gucci Per La Vita’

ear get recycled for materials or o landfill

Gucci’s footwear life -cycle with ‘Gucci Per La Vita’

Footwear’s life is lenghtned through restoration and repair services, the consumer is able to keep their Gucci footwear for life

Consumer Needs Consumer decision process

Case study - Sustainable luxury consumer

Stage 1 – Problem Recognition The need for longevity in clothing items. A conscious shopper sees that normal buying habits don’t align with sustainability and circularity.

Stage 2 – Information Search The consumer looks at second hand clothing, charity shops and restoration to fix this problem. As a luxury consumer they have more tailored needs looking towards second hand or longlasting luxury. This service needs to stand out, offering the best value in this category.

Stage 3 – Evaluating Solutions The consumer decides on restoration, the question here will be do they use a third-party service or continue with Gucci’s restoration scheme. Gucci’s service offer will need to give more to the customer than competitors – authentic restoration, an easy customer journey, simple pricing strategy.

Stage 4 – Purchase Phase To ensure Gucci doesn’t lose the customer at this stage the purchase and restoration journey needs to be easy and smooth. The service will be postal based; the consumers can pay, order, and send their footwear off from home. This model comes from the shift in consumer behaviour since Covid-19 which saw online services being preferred.

Stage 5 – Post Purchase Phase Reviews can help to influence future customers starting their decision process. A review portal can be something to develop further after the initial launch.

Co st

The proposed strategy promises to bring consumers an easy to use service that requires minimal effort to meet their needs of long lasting products.

Custo

Value Proposition Building this strategy around a postal service eliminates the consumer’s need to go in store, meaning in store repair facilities are not needed. Instead the postal service will link the products back down the vertical supply chain to the manufacturer, where consultation and restoration can be integrated with their services. Each repair can then be packaged and sent back presented as a new item.

Capab

Consumer Segmentation

omer

Finance

Re v

bilities

Implementing this new service encourages Gucci’s consumers to retain their products and return direct to Gucci when in need, overlooking third party services, thus increasing Gucci’s profit per customer

Value Proposition 30

A core transformation for Gucci will shift the way they operate with the post purchase life of their products in mind. The change is driven by the shift in the Luxury fashion market influenced by consumer needs for more accountability and sustainability in the brands they shop from. As a reaction to this Gucci is driven to create more longevity and sustainable efficiency past purchase. Hard capabilities are needed for this strategic change as it involves the implementation of a new service. This change is driven by;

Rising customer expectations – Customers expect brands to keep up to date with sustainability and climate trends, with second hand growing Gucci may face losing out to the conscious shopper

Efficiency - Gucci needs to react to competitors such as The Restory and The Real Real who offer their customer an easy consumer journey, getting new or restored products sent from their doorstep and being delivered back to their doorstep.

Decrease third part competitor Increase in profits

u (C

conscious shoppers

Growth of second hand/ restoration market

Drivers for Change

Ease of consumer journey from competitors Increases Gucci’s circularity Strategic

re-direction

Lack of business growth – Restoration service The Restory boasted a business growth of three times what it was in 2020 (I News, 2021) meaning consumers are showing their need for long lasting quality in a product, if Gucci does not meet this service, it will face losing this profit sector to third party restoration.

The change will be brought about by the new restoration service proposed, meant to adapt to the needs of the consumer and help Gucci re-enter the ever-growing luxury second hand market.

Business Transformati 33

End of Product’s useful life Consumer)

Improved Circularity

Core ransformaiton

Val u

Profit

m Distribution

Product Design/ restoration

Transformation

tion

Outcomes + Benefits

Lengthen the brand to consumer relationship past purchase

Customer Satisfaction

o Ec

Product’s useful life-cycle

res

New Service

Cultu

u rc

Business model

Remove need for third part services

Enters Gucci into a new market

Circular business model

INNOVATION

Innovators

CHANNELS OF

COMMUNICATION

- Growth in the up-cycling trend - Textile waste issues - Manufacture emissions - Recycled materials for manufacture

Early Adapters

- Charity and Vintag Shops

- Restoration services - Social Media and trends made Vintage clothing popular

Diffusion of I 35

TIME Majority

SOCIAL SYSTEMS Lagards

- Second hand stores slowly become popular - Seen as behind the social climate or uncool if you don’t support sustainable fashion choices -Environmental benefits are more widely known

EXTERNAL - Common practice among consumers INTERNAL - More retailers taking on restoration and Second hand; More competition

Innovation 36

S The business model continues the brand to consumer relationship past the point of purchase; the monthly fee increasing profit per customer. encourages product retention and repair when a product reaches the end of its life-cycle enhancing Gucci’s efforts towards a reduction of waste and over consumption. Integration of servicing, the business plan cuts out the need for third party restoration services creating more footfall and a wider consumer base for Gucci. New season products become more exclusive and desirable.

Threatens a reduction in re-purchase from Gucci, once a customer has a pair of shoes they may not feel the need to buy again People could be more likely to buy second hand at a lower price rather than a full priced item with the opportunity to repair. Increased time and costs in manufacture and repair – adds work to the manufacturer, meaning more wage and resources costs Postal transportation adds to Gucci’s emissions impact, however 35% of Gucci’s transportation is Electric or Hybrid (Gucci Equilibrium, 2021).

O T

The opportunity to market to a wider audience; this is a new exciting service, to entice new and old customers. In store repair workshop experiences could be used to promote the service launch. Greater value proposition; this service shows Gucci are actually being more sustainable not green-washing. If the service takes off well there is the opportunity to offer restoration of all product categories, further meeting consumer needs. A broader consumer range comes with this new service; it opens the brand up to a more sustainable market as well as those that feel luxury may be an out of reach cost.

Fear of devaluation; High fashion brands don’t usually venture into this market due to the exclusivity of their products, however previous research in this study showed luxury second hand and restoration have increased the exclusivity of main stream luxury (D’Arpizio et al. 2014). Third party restoration companies might offer cheaper alternatives. However, using Hermes as an example, they will not repair or restore anything that has previously been touched by a third party restoration service. Going direct means consumers are getting guaranteed quality and fully certified Gucci materials.

Demographic Gender – Any, Gucci footwear is popular with all genders and sustainable shopping has no gender Age – Consists of Baby boomer, Gen X, Gen Y, Millennials – Gen Z would potentially be too young to afford constant Gucci purchases Income – Higher income classes due to the price point of Gucci products, hower lower income consumers might be tempted by the offer of luxury with garunteed lifelong quality. Geographical - Luxury retail consumers, mixed with second hand shoppers. Location based around big city’s, this is where money lives

Consumer S 39

Consumer innovativeness

Consumers are more likely to be early majority or late majority rather than innovators or early adapters, this is due to the age demographic of the ideal consumer being older. Gen Z are the generation who are the most socially aware, however the ideal consumer is sustainable hence why they would be part of the early majority.

Consumer Materialism

They are materialistic, Gucci is a very maximalist brand, the consumers follow suit, they like to have their wealth close to them and have it last.

Fixated Consumption Behaviour

The consumer does not fit into this category, this consumer would follow trends and go to great lengths to acquire and show off these products. Gucci’s ideal consumer likes the quality luxury brings but would rather have a product for life than follow trends.

egmentation 40

Competitors

Competitors include, Third party services, The Restory, and low end third party competitors such as The Handbag Clinic. Brands such as Hermes and Chanel also pose a threat in offering their customers a similar service to ‘Gucci Per la Vita’. They each have similar objectives in the need to secure and retain loyal customers; third party services have to compete against the authenticity of the brands, doing so by offering lower price points and easy postal services, big name brands, such as Hermes, have to defend their customers against these low prices by highlighting the luxury of their services and products to consumers. Gucci Per la Vita hopes to underpin main third party competitors with its subscription pricing strategy and ease of customer journey via a competing postal service; these combined should ensure consumers refrain from venturing towards third partys and retain as much profit per customer for Gucci, in consideration that competitors don’t counteract with new pricing strategies.

Third Party R

High Price

X Authentic Repair

Repair

Low Price

B u siness Mod Conclusion

Mo Fo

Key Partners

Manufacturers are the key partners for this service; their relationship with Gucci will gro the needs of each consumers restoration

Key Activities

The implementation of a new postal service is needed to ensure customers can return their goods for repair. Alongside this the subscription fee needs to implemented and marketed to consumers.

Value Proposition

A proposed reduction in consumer repurchases and textile waste; conscious consumers fulfil their need for long lasting quality and a reduction in their environmental impact

Cost Structure

To ensure Gucci’s manufacturers agree to this new service a new pricing agreement will need to be laid out between the brand and the manufacture including this extra work cost; this will be a continuous cost for Gucci. The subscription service will need developing, it is proposed via a website portal; this would be a one-off cost for the brand later.

Custo

The im elonga tionshi autono Unlike service er use, consul from h

del

oving orward

Key Resources and Channels

Manufacturers are the most important resource of this proposal, if Gucci cannot get their manufacturers to agree to this extra work the proposal will have to be reworked entirely. A new online subscription channel is required for customers to be able to access the service, this is something that needs developing later.

ow as they fulfil

omer Relationships

mplementation of this service ates the brand to consumer relaip while allowing the consumer omy with how they proceed. traditional Gucci facilities this e will be based around custom, all aspects including product ltation being completed online, home, by the customer.

Customer Segments

A proposed reduction in consumer repurchases and textile waste; conscious consumers fulfil their need for long lasting quality and a reduction in their environmental impact

Competition in

Rivalry in the luxury restoratio restoration via an online sub from a consumer perspec effective strategy in comp Threat services, as this offer of substitute authenticity in A threat here is the conscious consumer that would forgo authenticity for price, if the same service can still be provided by competitors this will always be in the hands of the consumer, development of more exclusivity may be needed to combat this in the long run.

Power of Customers

Evalu Port Five F

The consumer demographic of this service is a small percentage of Gucci’s overall consumer, smaller numbers have a higher power to influence change or risk losing all consumers. A review database will need to be developed, with this the consumers have the power to voice a need for change, this threatens the chances of new consumers to the service.

n the Industry

on industry is low. By offering bscription, it means less effort ctive, this should be and peting with third party Power of rs ease alongside Supplier n the repairs. This model would need the agreement of Gucci’s manufacturers to take on this extra work, they have the upper hand, threatening Gucci’s profit margin. However, restoration will mean the need for more textiles, so on the other hand Gucci could barter a lower price for a bigger stock of textile manufacture.

uating ter’s Forces

Threat of New Entrants

There is a threat of new third-party competitors successfully entering the market, as mentioned in this proposal thirds party services are able to charge customers less for the same service due to the materials they use.

Bianchi, C.,& Birtwistle, G. (2010). Sell, give away or donate: An exploratory study of fashion clothing disposal behaviour in two countries. The International Review of Retail, Distribution and Consumer Research, 20(3): 353–368. Birtwistle, G. & Moore, C. M. (2007). Fashion Clothing – Where Does it all End Up? International Journal of Retail & Distribution Management, 35(3), 210–216.

References

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Henninger, C. E. et al. (eds) (2017) Sustainability in fashion: a cradle to upcycle approach. Cham, Switzerland: Palgrave Macmillan. doi: 10.1007/9783-319-51253-2. inews.co.uk. 2021. Fashion repair service The Restory aims to bring aftercare to luxury fashion. [online] Available at: <https://inews.co.uk/inews-lifestyle/ money/small-business/30-second-interview-fashion-restoration-platform-the-restory-unveils-official-partnership-manolo-blahnik-1195617> Le Moigne, R., 2021. Waste watchers. [online] Ellenmacarthurfoundation.org. Available at: <https://ellenmacarthurfoundation.org/articles/ waste-watchers> Moda Operandi, 2020. The Runway Report. [online] Moda Operandi. Available at: <https://www.modaoperandi.com/editorial/runway-report-fw20> Shout Out UK. 2018. The Impact Of Textile Manufacturing On The Environment - Shout Out UK. [online] Available at: https://www.shoutoutuk. org/2018/11/13/the-impact-of-textile-manufacturing-on-the-environment/. The RealReal. 2020. The RealReal and Gucci Launch Circular Economy Partnership | The RealReal. [online] Available at: <https://investor.therealreal. com/news-releases/news-release-details/realreal-and-gucci-launch-circular-economy-partnership> Yougov.co.uk. (2012). YouGov. [online] Available at: <https://yougov. co.uk/news/2012/06/27/bored-yourclothes/>

Appendices

^ Figure 1. Euromonitor International, 2016. Apparel and Footwear in 2016. [online] Available at: <https://www.euromonitor.com/apparel-and-footwear-in2016-trends-developments-and-prospects/report> v Figure 2. Mintel. Lightspeed, 2021. Fashion Technology and Innovation. [online] Mintel. Lightspeed. Available at: <https://reports-mintel.com.mmu.idm. oclc.org/display/1088041/?fromSearch=%3Ffreetext%3Dfashion%2520repair>

^ Figure 3. Mintel. Lightspeed, 2021. Fashion Technology and Innovation. [online] Mintel. Lightspeed. Available at: <https://reports-mintel.com.mmu.idm. oclc.org/display/1088041/?fromSearch=%3Ffreetext%3Dfashion%2520repair> v Figure 4. Mintel. Lightspeed, 2021. Fashion Accessories UK. [online] Mintel. Lightspeed. Available at: <https://reports-mintel-com.mmu.idm.oclc.org/display/999612/?fromSearch=%3Ffreetext%3Dfashion%2520repair>

List of Images

David Gomez, 2017. Chapter 2, David Gomez for Gucci. [image] Available at: <https://davidgomezmaestre.com/> Gartner, n.d. Branding and Value proposition. [online] Available at: <https:// www.gartner.com/en/marketing/insights/branding-value-proposition> Gucci, 1997. Customer Segments, Tom Ford Gucci 1997. [image] Available at: <https://www.vogue.fr/vogue-hommes/fashion/diaporama/the-besttom-ford-gucci-campaigns/25910> Gucci, 2016. Consumer needs, Petra Collins for Gucci. [image] Available at: <https://www.dazeddigital.com/fashion/article/30028/1/photographer-petra-collins-models-for-gucci> Gucci, 2017. Chapter 1, Gucci Bloom Campaign. [image] Available at: <https://www.gucci.com/us/en/st/stories/article-category-beauty/article/ pre-fall-2017-bloom-fragrance-adv-shoppable> Gucci, 2018. Aims, Alessandro Michele Campaign. [image] Available at: <https://www.nytimes.com/2018/10/15/t-magazine/alessandro-michele-gucci-interview.html> Gucci, 2019. Competitors, Gucci Guilty 2019 campaign. [image] Available at: <https://www.gucci.com/uk/en_gb/st/stories/article-category-beauty/ article/cruise-2019-forever-guilty-campaign-shoppable> Gucci, 2019. Contents page, Gucci Stories Ad Campaign. [image] Available at: <https://www.gucci.com/uk/en_gb/st/stories/advertising-campaign> Gucci, 2020. Chapter 3, Gucci Mane is the face of Gucci Cruise 2020. [image] Available at: <https://www.gucci.com/uk/en_gb/st/stories/advertising-campaign/article/cruise-2020-campaign-shoppable> Gucci, 2020. The Problem, Gucci x The North Face. [image] Available at: <https://www.gucci.com/us/en/st/capsule/the-north-face-gucci> Gucci, 2021. Ecosystem, Gucci for The Room Magazine. [image] Available at: <https://www.vogue.com/article/staple-items-loafers-madeline-fass> Gucci, 2021. Footwear, Gucci Stories Ad Campaign. [image] Available at: <https://www.gucci.com/uk/en_gb/st/stories/advertising-campaign>

Gucci, 2021. The Problem, Gucci Off the Grid Campaign. [image] Available at: <https://www.gucci.com/us/en/st/capsule/circular-line-off-the-grid> Gucci, 2021. Chapter 4, Gucci party campaign 2021. [image] Available at: <https://www.gucci.com/uk/en_gb/st/stories/advertising-campaign/article/gift-giving-2020-shoppable> Gucci, 2021. Consumer segmentation, Gucci 2021 Eyewear campaign. [image] Available at: <https://www.gucci.com/uk/en_gb/ca/women/accessories-for-women/eyewear-for-women-c-women-accessories-sunglasses> Gucci, n.d. Cost Structure, Gucci Velvet Snake slippers. [image] Available at: <https://www.gucci.com/uk/en_gb/> Gucci, n.d. SWOT, Gucci Campaign for leather sneakers. [image] Available at: <https://www.gucci.com/uk/en_gb/pr/women/shoes-for-women/sneakers-for-women/womens-screener-leather-sneaker-p-5704420YI209582> Gucci, n.d. Proposal, Gucci pearl mule. [image] Available at: <https://www. gucci.com/uk/en_gb/st/stories/advertising-campaign?gclsrc=aw.ds&gclid=Cj0KCQjww4OMBhCUARIsAILndv7G6_798tZwmTZbBBOlMgN9WV-ym4hZcTIfxy67FzOMgRu6S3TsHLQaAi2sEALw_wcB&gclsrc=aw.ds> Hermes. 2021. [online] Available at: <https://www.hermes.com/uk/en/ maintenance-repair/> Luchford, G., 2021. Value Proposition, Gucci Pre Fall 2016. [image] Available at: <https://www.artpartner.com/artists/film-print/glen-luchford/> Porter, n.d. Porter’s five forces. [online] Available at: <https://www.investopedia.com/terms/p/porter.asp> Rogers, E., n.d. Diffusion of Innovation Framework Sobierajski, L., 2021. Porters 5 forces, Gucci Acqua Di Fiori. [image] Available at: <https://letasobierajski.com/Gucci-Acqua-Di-Fiori> Vogue, 2017. Diffusion of Innovation, Gucci Spring 2017. [image] Available at: <https://www.vogue.com/fashion-shows/spring-2017-ready-towear/gucci>

List of Images

Vogue, 2018. Front Cover, Gucci Pre Fall 2018. [image] Available at: <https://www.vogue.com/fashion-shows/pre-fall-2018/gucci> Vogue, 2018. Quote Page, Gucci Pre Fall 2018. [image] Available at: <https://www.vogue.com/fashion-shows/pre-fall-2018/gucci/slideshow/ collection#1> Vogue, 2020. Introduction, Gucci Spring 2020 RTW. [image] Available at: <https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/ gucci/slideshow/details#1>

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