Zainab Shah-Jehan | 26012833
Brand Audit
Business of Fashion II
CONTENTS 4 5 6 7 8 10 12 14 15 16 18 19 20 21 22 23
Brand History and Heritage Brand Philosophy Initial Product Offer Brand Timeline Visual Identity Brand Positioning Consumer Analysis Brand Onion 4 P’s Markets Porter’s 5 Forces Ansoff’s Matrix Pestel Swot Analysis Brand Challenges and Recommendations References
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Brand History and Heritage Jeanne Marie Charlotte Beckers began her career early on working under Maison Rouff, she mastered the art of dressmaking and climbed the ranks to eventually become in charge of the atelier. In 1891, she married Isidore Paquin, a businessman, and acquired her husbands’ couture house ‘Paquin Lalanne et Cie’ later renamed ‘Paquin’, where Paquin was head designer and the first woman in Paris to open a couture house. Before Paquin took over the business, the couture house began its journey as a sleepy menswear brand. Jeanne Paquin as head designer, transformed it into an opulent womenswear label, catering for movie stars to politicians, as well as the fashion forward women of town. Paquin’s eye for sumptuous tailoring and elegant finishes were renowned all over Paris and rivalled the highly successful couturier next door, The House of Worth. Paquin did not simply latch onto the trends of the time, but evolved them with simple alterations and flourishes that set her apart from the rest. The house was ‘known for its innovative and forward-looking collections’ and experimentation with straighter, ‘un-corseted’ silhouettes, (Dirix, E, 2016). A prime example of this is the hobble skirt, popularised by Paul Poiret, Paquin’s version consisted of hidden pleats, which unlike the hobble skirt, allowed for fluid movement. 4
Paquin’s aesthetic was very much exotic and feminine. She chose to work with soft pastel hues most of the time but also used black, at the time, associated with funerals and death, Paquin sought to diminish this stereotype by creating timeless dresses made of black velvet. Paquin was influenced heavily by the Belle Époque, Orientalism and Art Nouveau. Many of her dresses payed homage to these movements. Her success came from her ability to gauge the needs of her clientele. Paquin’s designs were never extreme or bizarre but always ‘simple and dignified’ (Troy, N, 2003), rooted in French tradition. The aim was to create lasting fashion that would complement the feminine form.
Brand
Philosophy “Fashion must constantly renew itself, without weakness or fear, even with audacity”, Jeanne Paquin. Jeanne Paquin understood what women of the time wanted to wear and she heavily apposed the restrictive garments that plagued fashion at the time of her existence. Her philosophy was to design clothes that were comfortable and she ‘opposed any trends toward confining clothing’, She expressed disdain for Poiret’s hobble skirt, designing her own version with pleats, allowing movement. (Kellogg, A.T, 2002). Paquin’s success was due to her ‘ability to modify the new fashions’, making them somewhat more practical and conventional. This practicality and sense of moderation was thought to be particularly “feminine”’ (Valerie, S, 1991).
“Fashion must
constantly renew itself, without weakness or fear, even with audacity
”
Jeanne Paquin
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Initial Product Offer Paquin was best known for ‘ballgowns and other sumptuous apparel’ (Stewart, M.L, 2008), but had an ‘extensive variety of designs to suit customers of all ages’. (Dirix, E, 2016). Paquin also had a sportswear department in her London shop along with a collection for outdoor wear, travel, sport, shopping, multi-purpose and practical clothing which showcased her versatility as a designer. The house also had a selection of perfume, hats and outerwear under its name. There were no menswear or children’s-wear from historical records. The house was also known for fur which her New York store specialised in. After the death of her husband, Paquin stopped designing and gave up her role to Madeleine Wallis, who designed the collections from the 1920s, specialising in fur. Fur trimmed coats were the only product to be offered. In 1954 the House of Worth and Paquin joined for economic survival during post-war Paris but closed two years later due to competition from Dior’s revolutionary designs as well as Pierre Cardin and Givenchy setting new grounds in the fashion world. Without their original owners, Worth-Paquin fell out of sync with the evolving nature of the market thus becoming obsolete to the consumer, forcing them to withdraw.
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Brand
Timeline 1869 - Jeanne Marie Charlotte is born.
1911 - An exhibition of Paquin’s designs are showcased at Turin. Named ‘The Paquin Pavilion’, decorated as a Greek temple. 1912 - Produced a collection of coats and skirts for sports, travel and shopping. Also tailored coats that were both practical and stylish. Spring 1913 - Paquin collaborates with Léon Bankst, artist, inspired by Russian Orientalism. 1913 - First female dressmaker to be awarded the Legion d’Honneur.
1936 - Jeanne Paquin dies.
1880s - Entered the couture business as an apprentice at Maison Rouff. 1891 - Marries businessman Isidore Paquin and acquires his couture house now named ‘Paquin’. 1907- The kimono sleeved coat is for sale at the couture house for the first time. 1912 - Opens London branch. The first couture house to set up branches outside Paris. - Opens subsidary in New York specialising in fur. 1913 - First day-to-evening dress designed by Paquin.
1917-1919 Paquin served as first female president of the Chambre Syndicale. 1954 - House of Worth and Paquin join forces for economic survival
1956 - House of Worth - Paquin closes
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Visual Identity The logo is an important part of the communication between business and consumer. It speaks of the brands heritage and personality in a visual format. Graphic designer, who designed logos for brands such as Marc Jacobs and Celine, Peter Miles, says, ‘Sometimes a strong logo has been in hiding and all that is required is editing and repair work’. (Ahmed, O, July 2017).
Original Logo
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New Logo
The new logo is a modern adaptation of the original logo. It incorporates a sophisticated handwritten element with Paquin’s signature red as a stripe. The decision to include the first name ‘Jeanne’ was made to consolidate the brand as a feminine label. This was inspired by Paul Smith’s logo which has a contemporary edge. The new logo is much more approachable than the original from the viewpoint of millennials and mature consumers alike.
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INTERNAL AUDIT Brand Positioning Brand positioning refers to the consumers perception of the brand and where it lies within the market. (Blythe, 2001). Paquin displayed utmost quality and prestige and sat alongside, quite literally, high performing couture house, Worth as well as Poiret, her biggest competitor. Paquin was named as one of the ‘Great Dressmakers of Paris’ in newspapers, indicating her presence in the luxury market. Customers who bought into Paquin, bought into quality and the variety that had to be offered and knowing that they will always have what they truly desire, something Paquin knew so well. ‘The unfailing tact of Mme Paquin in adapting the mode to the individual is a secret of the success of the house of which has long been the guiding genius’. (Rittenhouse, A, 1920s). Paquin was ‘the only couture house to build a free-standing pavilion at the Turin exposition, and Paquin thereby positioned herself as the most prominent representative of French haute couture on this highly visible international platform’. (Troy N.J, 2003).
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CUSTOMERS
DISTRIBUTING CHANNELS
Paquin attracted the most affluent customers at the time. They would usually be a person of importance; movie stars, politician’s wives, icons. There were however a wide product range with affordable price points.
Paquin had trade links around the world. She was one of the first couturiers to launch her brand internationally in New York, London and Buenos Aires.
STAKEHOLDER &
SUPPLIERS
PARTNER RELATIONSHIPS All materials would have been sourced locally from Paris. Paris at that time was a hub for luxurious, high quality materials that were supplied to all the couture houses.
Paquin had partnerships with the Ballet Russes and artists involved with the movement such as Léon Bakst. Paquin’s design philosophy was that fashion was ‘part of the broader cultural picture’ and she encouraged ‘collaboration and cross fertilisation between designers, artists, theatre designers and architects’.
COMPETITORS Her were
main Worth
competitors and Poiret.
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CONSUMER ANALYSIS Target Consumer Millennials make up a substantial proportion of the market and are increasingly investing in luxury goods. However, it is important to not disregard the silver economy, or ‘midorexia’, a consumer group of ‘middle aged, older consumers who act younger than their years’. (Euromonitor, 2017).
The 60+ age group will account for 60% of consumption growth in Western Europe and Northeast Asia, (BoF, 2016). That is a large segment of the consumer base which needs to be addressed.
Historical Consumer Paquin’s original consumer would have been elite members of society, politician’s wives, movie stars, opera singers but also had ranges that middle classes could afford. She ‘offered an extensive variety of designs to suit customers of all ages’ (Dirix, E, 2016). Consumer loyalty and trust was built over time and Paquin maintained this through keeping in contact with her customers via sending lists of fashion needs helping her customers keep up to date with the latest fashion trends.
Potential Consumer The consumer that will be targeted for the re-launch of Paquin is China, an emerging market. China’s market share in luxury fashion is steadily growing, in 2015 China’s global share in luxury goods was over 20%. (Atsmon, Y, 2011).
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AMERICAN CONSUMER PROFILE (Developed Market)
Name: Chriselle Goldberg Demographic: Lower Upper Class Occupation: Junior Executive at Goldman Sachs Age: 32 Income: $80K+ Shopping Habits: Purchases unique, bold pieces that expresses her personality and stands out. Does not worry about price and opts for the highest quality. Likely to shop at department stores as well as boutiques but prefers stores like Barneys where all her favourite brands are under one roof. Lifestyle: Active lifestyle; goes for a run every morning before work and enjoys freshly brewed coffee from her expensive espresso machine. Attends corporate meetings and spends a lot of time at work. Weekends are spent relaxing and catching up with friends or throwing cocktail parties. Goes shopping once a month, spending at least $800.
CHINESE CONSUMER PROFILE (Emerging Market)
Name: Fang Yimin aka Li Becky Demographic: Lower Upper Class Occupation: Journalist turned Fashion blogger Age: 29 Income: ÂŁ60,000 - ÂŁ80,000 Shopping Habits: Well informed about current trends and highly selective about shopping for new pieces. Very technology centred and likely to be influenced by fashion editorials/ campaigns on social media. Appreciates creative, engaging retail spaces when it comes to purchasing high quality luxury items. Lifestyle: Environmentally conscious and cares for sustainably sourced products. Exercises regularly for wellbeing and fitness. Enjoys travelling to trendy hotspots and regularly updates social media accounts and blog. Hobbies: Socialising, reading fashion magazines, catching up on TV dramas, going for long hikes in picturesque locations, spending time with family.
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W
Brand Onion H TT A H
O TD C DU RO P E
OR T H ES F
Up-to-date with trends
Provides long lasting, practical wear
Enters exclusive Paquin club
Timelessly beautiful
ER HOW THE PR DO UC E CONSUM
TW
Hand crafted/ Artisanal
DB
ED
ES
CR
IB
FACTS + SYMBOLS Collaborative Spirit
Inventive Profitable
Practical Evolving design
CORE
Intelligent
Elegant
Respectable
Confident
Ambitious
Sophisticated
Exotic
Purposeful
Creative
Established Relevant and on trend
BRAND PERSONALITY
Confident
Comfortable
Adaptable
Passionate
Assured
Graceful
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Powerful
Successful TH E
Superior quality
First female couturiére in Paris
Subdued
Charming
HO W
ED
Contemporary
Oppulent womens’ ball gowns
Professional
OUL
Chic
BRA W ND M KES A M AKES WEARER LOOK HOW THE BRAND
F ER R EA
EEL
4 P’s PRODUCT
PRICE
PLACE
The main product offering after Paquin stepped down as head designer were coats. Paquin’s signature was the Cocoon coat and fur trimmed coats and this is what distinguished the brand in the market. The coat captured ‘the kimono-like cocoon shape that allowed luxurious drapery and decoration while maintaining a very narrow silhouette’. (Wallace, C, 1986).
Paquin’s marketing sense was astute, she kept the prices at ‘a modest level than their competitors’, a marketing tactic known as market penetration. (Polan, B, 2009).
Located on Rue de la Paix, the French equivalent of Bond street, was the Paquin couture house. Deliberately next to the most powerful couturier in town, House of Worth. This shows the positioning of Paquin in the market as a highly successful and prestigious couture house. She also opened a store in London in 1896 and a furrier on Fifth Avenue, New York.
Quality plays a key role in luxury purchasing. Wealthy Chinese are top spenders in luxury and are more likely to spend more for quality. 93% buy luxury for their premium quality, 90% like to buy luxury hand made goods and 89% avoid luxury products that do not respect ecological sustainability. (McCarthy, K et al, 2017). According to Daxue Consulting, 48% of young Chinese consumers said they ‘always pay for the most expensive and best product within their price range’ (Sherman, L, 2017).
PROMOTION
Paquin was a pioneer in marketing at her time and she used innovative ways to promote her collection. She would dress her models in the garments and send them to horse riding shows to parade her designs to a Deloitte report states that the larger audience. In this way she intangible quality and how successfully exposed her brand to products make consumers feel is the public in a direct manner. This an important aspect. Over half the created excitement and therefore consumers surveyed for Deloitte a curiosity leading to purchase. said they buy for the status that comes packaged with the product To promote the brand to Chinese and this is no longer about ‘what consumers, an important I have’ but more ‘who I am’. It platform is WeChat. The social is the idea and lifestyle they are media app is an all rounded consuming which is important to service which integrates social them. (McCarthy, K et al, 2017). media, search and shopping.
For the relaunch of Paquin in an emerging market such as China, a flagship store will be an important touchpoint. 60% of luxury purchases in emerging markets occur in a physical store, followed by 23% online on a computer and 17% online from a mobile device. Even if online shopping is increasingly the mode of choice, brick and mortar stores still hold value to the consumer because of the one-to-one, physicality that shops provide i.e ability to feel the clothes, experience the shop environment, aura of the brand and engage with instore interactive technology. Shopping habits are shifting from consumerism to experiential.
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MARKETS Europe The Eurozone economy has been on a decline due to weak investments and unemployment has been high. In the UK Brexit has left a cloud of uncertainty and luxury spending has slowed in response to the weaker pound and luxury prices rising by 10-15% (Deloitte, 2017). However, the influx of tourists from the Middle East, China, the US and Russia are driving the UK luxury goods market with the UK being the most affordable place to shop due to the weakened pound. On the other hand, frequent terrorism has deterred some of this tourism. For this reason, Europe may not be a successful location for the launch of Paquin.
United States The luxury market has seen a slowdown in the U.S due to reduced tourism, especially from China. Despite the high value of the dollar, consumers are cutting down on spending due to the uncertainty of the government and what new policies are in store. The high dollar value means lower costs for imported products thereby boosting consumer buying power. However, the future of luxury spending in the U.S is predicted to decline due to predictable changes in policies regarding import prices. (McCarthy, K et al, 2017). 16
China The Chinese market for luxury goods looks promising even as the economy slows, the middleclass demographic expands and disposable income increases, more Chinese consumers are looking to invest in luxury brands to show off their status. As one of the top emerging markets for luxury fashion, China’s spending in this market is increasing, with 70% of those surveyed from emerging markets said their inclination to spend on luxury products has increased in the last five years.
According to statistics from Dauxe Consulting, fashion sales in China are expected to triple its current amount by 2020, rising to over $200 billion from $60 billion in 2010. (Dauxe Consulting, 2017). Contrasting evidence suggests luxury goods sales have seen a decline by 2.4% in 2015. (McCarthy, K et al, 2017)
South Korea According to report by Deloitte on global luxury powers, South Korea ‘continues to be the most popular luxury shopping destination in Asia’. (McCarthy, K et al, 2017). Despite the country’s economic slowdown and weak growth sales compared to that of neighbours Japan and China, the Korean market’s ‘intangible assets’ is what is ‘boosting its value above any tangible number found on a financial spreadsheet’. (Young, R, 2015). It is about the ‘Brand Korea’, the intersecting industries of fashion, music, entertainment and celebrity that combine to make a ‘cool’ hotspot.
Furthermore, Korean trends and celebrity culture heavily influences the Chinese market and is what is ‘driving the high-end global market’ says editor-in-chief of Korean GQ Magazine, Lee Choong-Keol. In other words, reaching out to Korean mainstream culture i.e popular Korean drama actors, K-pop stars and entertainment legends, are key entry points into the Chinese market. The two are intrinsically linked. ‘“Global brands are working with us more and more, developing exclusive items targeted for refined Korean consumers, as a way to tap into the wider Asian fashion market,” says Chung Hwa-Kyung, the vice president of Shinsegae’s Boon The Shop’, (Young, R, 2015). 17
Threat of New Substitutes
Porter’s 5 Forces Rivalry Amongst Existing Competitors
Supplier Power
Paquin constantly changed her product offering and often her designs were influenced by the changing artistic movements of the time. Because of this, the chances her product would be substituted by a rival couture house was low as she was constantly updating and creating new and exciting designs.
Paquin main rival in the industry was Paul Poiret. His out of the ordinary designs was always a cause of contest for Paquin. After the relaunch of Paquin, the main competitors would inevitably be luxury fashion power houses such as Chanel, Louis Vuitton, Gucci etc but also from niche, trendy emerging luxury brands that have unique offerings. Paquin must retain its identity whilst also showing the consumer that it is keeping up with the trends.
Supplier power during 1900s would have been high as there would have been a set number of suppliers for raw materials used by all businesses thus their power to choose who to supply to is high. In the case of Paquin, her speciality was fur and lace.
Threat of New Entrants
Consumer Buying Power
The threat of new entrants would have been low due to Paquin’s domineering presence in the market. Due to the fact Paquin had a loyal customer base and the prestige of the brand would be unrivalled by new couturiers. In contrast, post-relaunch, Paquin’s presence in the market is not dominant therefore more effort is needed to expose the brand and attract target consumers to buy into the brand identity and offering.
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Regarding the relaunch, as the world becomes more populated and natural resources deplete, there will be a huge drive for recycled, renewable materials. Companies that are making innovative new materials for clothing such as fabric made from recycled coffee grinds (SCafe™) or proteins from sour milk (Qmilch™), will have a lot of power as demand for environmentally conscious With such volume of couturiers manufacturing increases. offering similar levels of luxurious garments in Paris, the consumer of the time had the ability to choose where to purchase the latest fashion. Paquin, kept prices modest in comparison to their competitors, forcing the consumer to spend their money at Paquin. This marketing tact resulted in reduced consumer power. The consumer buying power post launch will be high due to the saturated luxury fashion market. For Paquin as a business to control this, they must offer a unique experience to attract the consumer.
Ansoff Matrix
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Pestel POLITICAL
SOCIAL
The onset of World War II had major effects on the success of Paquin as a couture house. The damage to infrastructure lead to supply problems as well as low agricultural production which would have impacted the business directly. Due to the damage done to Europe, businesses like PaquinWorth suffered. Paris was no longer the fashion capital and the attention shifted to America.
Paquin’s Jewish heritage was a cause for concern in society prior to World War 2. Her establishment in French couture was threatened by ‘conservative and nationalist condemnation of modernism’ (Troy, N, 2003). This tension was prior to Hitler’s persecution of Jewish minorities in Germany.
TECHNOLOGICAL Since all Paquin’s clothes were made by hand using highly skilled workers and specialised techniques, the way in which they will be manufactured in 2020 will need to be considered. Due to the quality and prestige the brand holds, the process will not be 100% automated but will be made by skilled dressmakers who are paid fair wages which constitutes to a product of high standards. It is about preserving craftsmanship; which couture houses today still do. But that does not equate to not embracing technological innovation. Soon, it is possible that Maison Paquin could use fabrics that are interactive to the wearer. An article by Racked suggests this is entirely plausible, “I think in the next three years, you will see garments with technology built in. It will almost be the norm,” (Cuen, L, 2017). 20
ENVIRONMENTAL The use of fur in Paquin products poses an environmental concern. ‘Millennials consistently identify sustainability as a key factor in purchasing patterns’ with over 65% of consumers in the emerging market actively seeking out sustainable fashion. (BoF, 2016). The use of animal fur is unethical and cruel with animal rights groups PETA routinely exposing the ‘mistreatment and inhuman methods of execution’ used by fur farms. To many animal furs appear more environmentally friendly than synthetic fur as it is renewable therefore sustainable, but the processes involved, such as preservation and dyeing produce a substantial amount of environmentally harmful waste as synthetic fur production. (Farley, J, 2015). Despite furs reputation, its popularity has not diminished. According to Business of Fashion, the market for faux fur is expanding, in the US the faux fur market has grown 2% from 2012 to 2016. (Ahmed, O, 2017). This is a result of celebrities, like Rihanna, sporting the fur look, creating the need and want for furry fashion.
ECONOMICAL The Chinese economy is forecasted to grow by 2020, overtaking the US. This consolidates the Chinese market as a good choice for relaunching Paquin. (McRae, H, September 2016).
LEGAL
Paquin’s designs were heavily imitated by the American marketplace which Paquin described as ‘a commercial phenomenon’ which would affect her possibilities for expansion. (Troy, N, 2003). This lead to To make synthetic fur a less polluting copyright law reformations and process, using recycled plastics law suits filed for which Paquin would be a sustainable alternative. won and was reimbursed.
SWOT ANALYSIS Strengths • Highly exposed brand thanks to excellent marketing strategies: parading models on tour to major U.S cities, sending models to races or the opera, sending lists of fashion needs to each of her clients to help keep them up to date with fashion trends, held an entire exhibition at Paris. • Paquin’s designs appeals to a broad consumer group thanks to the simplicity and classic designs. Wide product range also widens consumer group which means more customers can buy into the brand. • Chinese luxury consumers of the future will be open to new brands entering the market due to the shift away from traditional heritage brands like Louis Vuitton and Gucci to contemporary, trendy brands like Celine and Commes des Garcon. The consumer is knowledgeable and selective with the fashion they are buying meaning Paquin has a higher chance of attracting this evolving consumer. “Our research found that 39 percent of wealthy Chinese think the logo is no longer the priority,” Dr. Zhou said. “Niche high-end brands as well as bespoke products, as a result, are becoming new drivers of luxury consumption.’ (Horton, C, April 2016).
Weaknesses • There is currently no brand awareness, so this means Paquin must build the trust of the consumer through educating them on their history and their identity as a luxury fashion brand. • Paquin’s brand message of ‘feminine, chic luxury’ can become diluted against top players in the market such as Celine, Chanel, Stella McCartney etc.
Opportunities • Currently, the main product offer is outerwear, focussing on Paquin’s signature coat. Womenswear will be a secondary product offering, which will consist of elegant formal occasion wear, dresses, suits etc. In the future the brand can offer accessories, beauty and lifestyle products to diversify the range.
Threats
• Niche luxury fashion brands are becoming popular and this could compete with Paquin in the market. To combat this Paquin has to offer a strong USP and attractive marketing strategies including the consumer experience to pull the customer.
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BRAND CHALLENGES • The material used for Paquin’s coats will be made from recycled coffee beans which is a rare for fashion and finding a supplier that can provide this can be a challenge. The brand also faces uncharted territory with regards to raw materials supply, if recycled coffee beans or milk proteins are used in production. • Paquin may face difficulty with reviving the brand essence in a market that potentially has forgotten the brand DNA. The message must be clearly portrayed to the consumer that Paquin is a heritage brand not a fresh start-up brand.
RECOMMENDATIONS • The target market for the re-launch of Paquin will be China, the fastest growing market for luxury fashion. According to research carried out it has the highest potential for success due to the developing economy and well-educated, fashion savvy consumers. • Visual identity of Paquin should be repositioned to align with luxury houses such as Chanel and Celine. The traditional aspects of the brand need a modern update. • Brand touchpoints will include a flagship store and online presence especially on WeChat, China’s number one, multifaceted app. • The main product offer will be outerwear specifically cocoon coats. This is a continuation from where the brand left off in 1956. • Collaborative partner for 2020 will be Léon Bakst, a painter that Paquin has collaborated with in the past. The point of this is to reconnect with the brands heritage and identity and to reinforce the brand. Paquin herself was a supporter of collaborating with artists.
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References Troy, Nancy. (2003) Couture Valerie, S. (1991) Women of Culture: A Study in Modern Art Fashion: Twentieth Century and Fashion. Massachusetts Designers. Rizzoli, New York. Institute of Technology. Polan, B. (2009) The Great Kellogg, A.T. (2002) In an Fashion Designers. Berg Influential Fashion: An Publishers, New York. Encyclopaedia of 19th and 20th Century Fashion Designers and Ahmed, O, (July 2017). As Retailers who Transformed Branding Evolves. What’s a Logo Dress. Greenwood Press Worth? Retrieved from: https:// Westport, Connecticut www.businessoffashion.com/ Stewart, M.L. (2008). articles/intelligence/as-brandingDressing Modern French evolves-whats-a-logo-worth Women: Marketing Haute Business of Fashion (2016) Couture 1919-1939. The John The State of Fashion. Hopkins University Press. McKinsey & Company. Wallace, C. (1986) Dance: A Very Atsmon, Y. (2011). Tapping Social History. The Metropolitan China’s luxury goods market. Museum of Art, New York. Retrieved from: https://www. mckinsey.com/businessRittenhouse, A. (1920s). f u n c t i o n s / m a r k e t i n g - a n d Extract about Paquin. s a l e s / o u r - i n s i g h t s / t a p p i n g Vogue. Retrieved from: chinas-luxury-goods-market
Vintage Style. Yale University Press Horton, C. (April 2016) When It Comes To Luxury, China Still Leads. Retrieved from: https://www.nytimes. com/2016/04/05/fashion/ china-luxury-goods-retail.html McRae, H. (September 2016) With China set to be world’s largest economy by 2020, what use is the G20 summit? Retrieved from: http://www. independent.co.uk/voices/withchina-set-to-be-worlds-largesteconomy-by-2020-what-use-isthe-g20-summit-a7223846.html
Farley, J (2015) Sustainable McCarthy, K et al. (2017) Fashion: Past, Present and Global Powers of Luxury Future. Bloomsbury, London. Goods 2017. The new luxury consumer. Deloitte Global. Ahmed, O. (October 2017) Will Millennials Boost the Fur Young, R. (April 2015) South Trade? Retrieved from: https:// Korea Climbing the Ranks of w w w . b u s i n e s s o f f a s h i o n . Asia’s ‘A League’. Retrieved from: com/articles/intelligence/will- https://www.businessoffashion. millennials-boost-the-fur-trade c o m / a r t i c l e s / m a r k e t - g p s / south-korea-climbing-theCuen, L. (May 2017) In the Future, r a n k s - o f - a s i a s - a - l e a g u e Clothes Will Listen to Our Bodies. Retrieved from: https://www. Big Think. (August, 6, 2012). racked.com/2017/5/18/15556382/ How to Win Over the Chinese s m a r t - c l o t h e s - t e c h Consumer. Retrieved from: https://www.youtube.com/ watch?v=tcmr4gvVyAc Sherman, L. (2017) Issue 10: Generation Next. Page Dirix, E. (2016) Dressing the 22. Business of Fashion. Decades: Twentieth Century 23
Zainab Shah-Jehan | 26012833
Business of Fashion II