Poster information 800 words

THEORY SUPPORTING PRACTICE

MA fashion Management and Communication.

Introduction

“Design Thinking draws upon logic, imagination, intuition, and systematic reasoning, to explore possibilities of what could be, and to create desired outcomes that benefit the end user (the customer)”. (Naiman, L. Founder of Creativity at Work)

During this module we were introduced to a variety of research methodologies, which were split into four method labs. Each lab had a distinct approach to research, for instance on how to collect, organise, analyse and structure data. We as designers are expected to present new ways of thinking in our preferred practice using different methods of design.

This poster visually communicates each of the four sessions onto a pin board, which features a note taking and imagery. This theme represents me as a designer and how I use my workspace in order to gather research for my own design discipline.

Within these sessions we were accompanied with guest speakers and participated in group tasks, which involved numerous exercises to explore data in different ways.

Reflection and feedback has been discussed throughout each session along with a follow up in my conclusion.

Fact or fiction?

Secondary research

Secondary or desk-based, research uses resources already created by other people: books, films, the Internet, magazines, newspapers or other media. (Gaimster, 2011)

After learning the fundamentals of collecting, analysing and interpreting data of secondary research, our task was to work in small groups and research a topic on environment and energy. We had to collect existing and significant information, which later led into categorising our findings and organising them thematically. Once our ideas were structured we developed a supporting research question from our data.

In relation to my own practice, secondary research plays a huge part in my discipline. By analysing magazine articles and journals based on fashion related topics can provide useful information on designers, trends and global issues in the industries. Other online databases such as Mintel and WGSN are other useful tools used within my practice.

Working with materials

Practice-led research

The aim of this workshop was to engage with a range of materials and to translate our literature sources gathered in session one. This three-dimensional could transform from either a quote or a descriptive text sourced from the previous information we collected as a group.

The first workshop involved manipulated and folding card. We discussed the opportunities and limitations on working with the material. We were given different time scales to create the same thing over again.

The second workshop involved co-creating 3D models using clay. In groups of two we had to act as the maker and the observer. We took photographs of the outcomes for fieldwork observation.

As a visual creative, my discipline focuses on creating things by hands, communicating an illustration, collage or artefact, therefore I really enjoyed getting stuck into this task.

Observation in the field

Ethnography

“Ethnography is a research strategy that is used for gathering primary research data about the social world without interacting directly with people”. (Atkinson, P. 2017)

Participant observation is an observation that involves taking part in people's everyday lives and sharing their experiences in order to gather a deeper understanding of their situations. This is exemplified in the work undertaken by William White and Covert.

“Sensory ethnography is a research method which re-thinks ethnographic methods with attention to sensory perception, experience and categories”. (Sarah Pink).

In our activity we had to observe the city of Sheffield. Using the word texture, we had to record data in the format of photographs, audio and diagrams. From our findings, we had to communicate a 3D visual representing our journey, using all of the senses used within the task.

I am keen to use this method within my forth-coming projects. This type of research is a crucial way of gaining primary insight into the mind and behaviour of the consumer. Undertaking a wardrobe analysis or observing how people’s behaviours act towards a particular brand can create an essential tool for future developments can use this.

Playing with people

Design anthropology

“By Inviting people into our design processes they can start thinking and engaging in what you are doing”. (Classie, C. 2017)

The method to which research is carried out by interacting with people is called design anthropology. For our final group task, we were presented with a question in which we had to answer within itself by creating additional questions. In order to do this we formed a focus group to begin a break down to our original question: Why do people choose to study at postgraduate level?

In order to communicate with our other participants, as a group we had to plan and prepare a structure, considering time management, environment and teamwork. We had to communicate ethically and be open-minded in all situations. Although we were working with people, there were other research methods to consider such as observation, field notes and visual documentation.

From gathering our data, we analysed the similarities and differences with other group’s findings. Our overall feedback, led us to a final answer – to develop further skills and research into design in order to expand on the knowledge, which is needed to peruse the desired career path.

Reflection

Overall conclusion of module

From this module, I have gained a better understanding of the research methods. Although, more importantly, understanding what processes work best for me in my design discipline. I have learnt by collecting data, it is a great starting point which can indicate a significant influence within my work.

I have found secondary material to be my main protocol for research, however by using observational skills and anthropology within the method labs has allowed me to explore other ranges of research.  

NEW!! Re-designed Poster for T.S.P

For my final poster design I decided to completely recreate a new visual concept. I went back back to the drawing board and looked back over the brief and highlighted the things that were most important. One thing that stuck out to me in particular was the area that said to focus on your design discipline.

Immediately I went to Pintrest in order to gather images for inspiration. By creating this concept board below I could clearly see the direction of which my poster was leading towards.  I was creating a visual workspace environment which had inspirational research boards stuck around the room. By producing this it made me think about my personal workspace at home and how I communicate and gather my research.

(All images in my mood board above are not my own. They are sourced from Pinterest.)

In order to portray my particular design specialism, I have created this layout below, it visually communicates a workspace for a creative, like myself. On the desk I have included some of my most useful and precious tools which I use regularly in order to collect my research. 

Each object that is listed on the table also reflects back to each of my design research methods that have been taught in the four method lab sessions. For example, the laptop directly links to fact or fiction as it is a tool which is used to collect data and gather secondary resources. The plant artefact which links back to session two where we had worked with materials and build clay models. The camera reflects observation in the filed and the phone and notepad are used as playful devices which can be used to record audio, film and draw. 

I am much more happier with this layout as I feel more connected with it on a personal level, as I feel it reflects me as a designer and how I work. I think the layout of the board could possibly be difficult for some people to read and to pin point where to begin when reading, however for me this structure defines who I am as a designer and it has helped me to understand my discipline from a creative angle.

Each session has also helped me to understand where I would use particular research methods and how I can approach them and organise my data. 

T.S.P Poster design ideas

MODULE AIM:

to extend your knowledge of design research methods so you may develop your research skills and apply them within your own design discipline for future practices. 

MODULE LEARNING OUTCOME:

1. identify, evaluate and apply research methods that are appropriate to your practice.

2. critically analyse current thinking in the nature and the professional role of design practice, and from this identify future issues and opportunities for your own practice.

3. to formulate and present to a professional standard ideas and outcomes appropriate to your own design discipline.

4. identify relationships between your design practice and other academic disciplines and professions and employ skills of critical judgment in evaluating the economically and culturally. 

Below I have drawn a diagram using a brief idea I had on how to layout my poster using all four of the research methods learnt in each session. From my thinking process I quickly sketched out an idea of how I could visually see my poster starting to develop:

From this quick sketch I later created a more detailed Illustration onto photoshop. The visual below is designed to communicate the elements from each method lab by using an actual physical research lab as my starting point, then drafting ideas off from this like a mind map using all four of the potential research methods I could use within my own design discipline. 

I want the poster to look creative but to also communicate my understandings of each method lab as visually as possible including visual imagery. 

Below I have attached another diagram with further exploration of designing my poster.

Attached below is one of my design outcomes for my final poster idea - designed on Photoshop.

The explanation of ideas behind the process and layout design for this poster:

BACKGROUND:

For the background I have used a fashion related mood board/design research image in order to portray how my design discipline would visually be communicated using research methods. I used this image because from my previous research as a fashion designer this is the types of methods I would use to visually communicate primary and secondary research data. I have used this as a background image to portray how I used to look at research from my past, so I have used this as a "background" from my background. I also lowered the opacity of this image quite significantly so that it wouldn't over power/distract the reader from the information of the research labs for this task. 

TEXT:

For the text I have used Arial. I wanted to use a font that was easy to read. I have including 4 different sizes of text, this is for the headers, subheads, body and quotations. I used white for the majority of the text on my poster and it was it easiest colour to see against the grey.

BOXES:

With the background being quite busy I decided to use grey boxes to bring the readers attention to the foreground focusing on the information attached on each of the method labs. 

COLOUR PALLET:

I have used quite neutral colour pallet for my poster design, simply because, along with all the research information, imagery and quotations I didn't want it to look to busy and un-readable.

LAYOUT:

Again, with the layout I have taken quite a simplistic approach, using the boxes to organise the text and imagery, simply to make it more readable and not look to sloppy. 

QUOTATIONS:

I have used relevant quotations, taken from videos, the provided resource reading list and my own findings. I have used each quote and placed it to where I believe it has most relevance linking it next to the research method I have discussed.

IMAGES:

The majority of the images used have been taken from myself. I wanted to personally document each session and include it next to each body of work to show the assigned tasks visually as well as verbally. I have also attached images that were shown to me in each session of what I thought communicated best to me. 

PROS

• The design layout is structured well and is easy to read
• The graphics tech design 
• Decorative but straight to the point
• Includes imagery and text to indicate visual and verbal communications of each session
• Use of relevant quotation

CONS

• Lacks a clear understanding of the method lab sessions - refer back to start point
• Still looks busy - background distracts
• Could be more colourful - Bold 

Structuring and Writing the Report

BLUE: What and who I am referring to. (+ Titles and questions)

PURPLE: highlighted as key points I have made.

RED: my own writing - from research and sources (referenced).

GREEN: Quotations.

ORANGE: Not yet written or researched in full.

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Possible Titles -

• Research analysis of Moschino and Bruta in the luxury international marketplace
• Analysis and case studies of Moschino and Bruta in the global fashion marketplace

Subheadings -

MA fashion management and communication

International marketing and brand management

Tiffany Fishleigh

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Executive summary - goes at the front of your report but it is the last thing you write as it's to summarise all of your report.

Aim:

The aim of this report is to critically analyse and explore two contemporary fashion brands, both emerging (Bruta) and established (Moschino). In order to understand these brands better, I look at the emerging and contemporary marketing approaches and brand management in the luxury global marketplace.

Research Methods:

Primary research: using primary research (qualitative and quantitative) methods to observe Bruta’s wholesale department stores and comparing and contrasting with Moschino’s flagship store in London. Using the research method - ethnography by taking part in a participant observation and creating a wardrobe analysis.

Secondary research:  sourced from websites, journals and books.

Findings: through my research methods i have discovered…

Key recommendation:

Keywords: Bruta, Moschino, luxury, fashion, brand, global marketplace

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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).

Firstly, in this report I will introduce, in brief, the two companies structures, following their identity, vision and their product ranges and services. Brand philosophy and values will follow throughout the report along with investigating the journeys of both brands in regards to their history and present day developments including their global expansion and successes. Secondly, I will underpin the contemporary, luxury fashion industry and critically analyse how both brands can learn from one another, learning about their approaches to marketing, their customers and their unique selling points.

Thirdly, both brands will be analysed using ethnography and anthropology. I will observe the consumers through participating in quantitative and qualitative research in order to understand their behaviour and emotional connections to the brands. I will uncover research by by using the marketing mix within my case study and show a participation observation in a wardrobe analysis with a Moschino fan, alongside this I will also include an interview with Bruta on their marketing strategies using sections from the marketing mix in order to compare and contrast both companies.

Finally, I will discuss the uncontrollable, external environments, including certain points made on the PESTEL model, these essential tools are used within companies in order to succeed and grow.

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Unisex clothing becomes more mainstream







The Aeffe Group is Moschino's online distributor.







the Luxury Fashion Brand in the Global Economic Crisis: A Case Study of Aeffe Group

1. Company overview/introduction

• History
• Brand philosophy/identity
• Brand values
• Product offer
• Brand extensions

MOSCHINO

The Anarchist of Luxury Fashion.

Good taste doesn't exist. It is our taste. We have to be proud of it. - Franco Moschino

Brief history.

Italian couture label, Moschino, founded by Franco Moschino, was known for making 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’. (Mariuccua Casadio, pg.5).

This established luxury fashion brand very quickly became famous for its originality and its innovation for its campaigns on raising awareness on important social issues. After Franco Moschino's premature death, Rossella Jardini, his former collaborative assistant, became the creative director of the brand from 1994, then later in 2013, LA designer Jeremy Scott took over the brand and is current creative director.

The Brands Philosophy, Values - focus

The company offers an alternative to the traditional fashion industry as we know it, for Franco Moschino he viewed the so called “fashion system” as arrogant, which consisted of highly fashion-obsessed people who take fashion too seriously. Moschino is more focused on the creativity and the process of transforming what exists rather than being a follower of the endless cycle of trends. Each collection conveys a playful approach, seeking joy in its concepts and creating a narrative which represents enjoyment and the desire to express elegance and beauty in both women and men. “Even though the label expresses contemporary fashion elements, Moschino has always stood apart from the other luxurious brands which gives it its own personality of fashion today”.

http://fashiongear.fibre2fashion.com/brand-story/moschino/brand-philosophy-values-inspirations.asp

From 1983 to present, the company has always maintained its brand image through its visual merchandising, nostalgic themes and its innovative runway shows. The label knows exactly how to deliver to their customers expectations and how to keep up with the contemporary market without having to change their brand perception.

Brand extensions:

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 even opened a hotel, called Maison Moschino which launched in 2010.

What are they doing now in order to remain fresh and innovate?

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BRUTA

• Brief history.
• Brand philosophy/identity
• Brand values

“I enjoy fashion, and art, but I try not to take them too seriously” (Yates, Liberty London).

Bridging the gap between art and fashion, emerging designer, Arthur Yates, who is the founder of Bruta, launched his young fashion and homeware label in 2015 with partner and company director Phoebe Saatchi. 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. Similar to Moschino, Yates also came from a fine art background. With having no formal fashion training behind him, Yates used his knowledge of art and introduced a creative approach within his clothing line. His designs celebrate local crafts, bold colours and hand designed embroidery, all of which are produced single handedly by Yates.

Much like Moschino, Yates enjoyed playing with the concept of what luxury fashion really is. He didn't take to trends or forth coming styles, he much prefered designing what was meaningful to him, making each design an original piece of artwork.  He states, “I enjoy fashion, and art, but I try not to take them too seriously” (Yates, Liberty London).

“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.”

Vision:

This emerging brand is not like your typical high street fashion label. Yates took inspiration from the designs that were timeless rather than trend-focused.With his vision he wanted to combine the concept of romance and elegance, taking British heritage and tradition and merging it with urban London streetwear. ‘The label sets out to eschew cyclical trends and produce clothes that pertain to the heritage of British art and design season after season’ (Hannah Tindle, Another magazine, October 24, 2017).

Product offer:

The London-based line’s central focus consists of loose fitted, non formal shirting with a unisex approach, using cotton poplin and viscose, each incorporating embroidered or hand - painted designs in stitched motifs and prints. Along with his innovative shirting follows Yates own homeware handpainted designs, with the artwork infused onto ceramic milk urns that he sources around farms in the UK.

Global expansion:

After its launch in 2015, it did not take long to get noticed. Its striking concept of using two distinct elements became very popular. Bruta started with a small winter/fall 2015 collection that offered shirts and pottery that was picked up by a handful of boutiques — including H Lorenzo in Los Angeles, Idea by Sosu in Tokyo and Celestine Eleven in London. (HATTIE CRISELL JAN. 11, 2016).

https://www.nytimes.com/2016/01/11/t-magazine/fashion/bruta-fashion-homewares-arthur-yates.html

Brand extensions: collaborations

In an interview with Clash, Yates says, “I'm looking at extending the range and exploring new ways to manufacture the collection in the UK. I want to produce as much as possible locally and it’s an aspect of the label that excites me at the moment”. http://clashmusic.com/fashion/bruta-begins-aw15

Expansion:

https://hypebeast.com/2017/10/soulland-bruta-capsule

https://hypebeast.com/2017/10/stone-island-a-cold-wall-soulland-release-info

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MOSCHINO

Internal audit

• Brand value - the marketing mix (7p’s) CASE STUDY
• Financial positioning (historical/current/expected growth)
• Visual identity - creator, logos, fonts, typography, colours, motifs.

Understanding the marketing strategies of both companies by visually analysing and exploring the elements used in the marketing mix and comparing and contrasting the two.

CASE STUDY:

How do these companies use their marketing strategies in relation to the elements used in the marketing mix?

MOSCHINO

Products

Quality, image, branding, features, use, customers

Technology, design, branding, packaging, value, quality, price strategies -

The Italian fashion label consists of ready-to-wear, leather and fashion accessories accompanied with shoes, luggage and perfume, all of which have an iconic, pop cultural and cartoon reference, which juxtaposes with good quality, well made, luxurious fabrics.

Moschino logo design is simple, pure bold letters with full name of brand, a color is changing depending of needs- gold, black, red- and there’s often a heart that appears on perfume pack, bags shape design or clothes print. Through their branding their trying to tell us to be fashionable, but never fashion victim. Fashion is funny, and we all should have a good time. https://www.brandingmag.com/2011/09/18/moschino/

People

By observing the company's clientele, it targets a diverse range of consumers that visually have a sense of humour and plenty of cash. (how do they dress?  Photograph examples)

From a recent participant observation I was able to engage in a wardrobe analysis on one individual, Moschino's super fans.

PRIMARY RESEARCH:

• Consumers view of the brand
• Target consumers                         

wardrobe analysis/case study

Interview with nikk -

Describe your fashionable style in a single paragraph.

How did you hear about Moschino?

What is it you particularly like about Moschino? Brand image?

Why did you start to buy into Moschino?

What was the online ordering process like? In store staff contact experience?

From your first purchase, did you find yourself continually buying into the brand? If so why? If not why? (too expensive, a lot of upkeep and money, or for the statement, to show off you have money?)

What other label would you compare it with?

Who would you say they compete with?

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

What is your signature Moschino piece and why?

Price

Value base, cost plus, payment methods, listing

The particular style of Moschino says ‘throwaway’, however it isn't cheap. The price category varies between £30 - £2,000. From online and in store observations the less expensive items starts with the accessories such as the i-phone covers, belts and fragrances leading onto the more expensive capsule collections. After the arrival of Jeremy Scott, the brands target consumer completely altered, ranging from 40-45 year olds, now targeting ages of 18+ due to its more affordable line of accessories and t-shirts.

Place

Where trades are, Retail, wholesale, online, internet

Moschino's headquarters is based in Milan, Italy.

Where do moschino trade?

Global expansion

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 now over 150 Moschino boutiques worldwide in a number of locations. By 2003 there were several openings of flagship stores which were based in Paris, Rue de Grenelle, and Moscow, Petrovsky Passazh. (Moschino Brand History | Background of Franco Moschino the Italian Fashion Designer) (Fashiongear.fibre2fashion.com)

Wholesales/Stockists:

• Selfridges
• Farfetch
• Flannels
• Zee & Co.

Include personal point of view and back it up with sources.

Promotion

Competitors, celebrity endorsements, joint ventures, advertising/campaigns

Brand representation/ advertising/campaigns

The brand has elevated in contemporary design with its current themes specialising in pop cultural references and bold social statements, thus gaining great popularity and consumption from celebrity endorsements.  

Talk about moschino's campaigns.

CELEBRITY ENDORSEMENTS

Since Scott pulled the brand back in 2013, celebrities such as Katy Perry, Miley Cyrus and Rihanna all gravitate towards the label because of the bold statement. The clothes are to represent people being very expressive, forward and fully free, which is very empowering. Fig.1 portrays a visual example of the type of celebrities that are influenced by Moschino. ‘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 behavior of celebrities they admire, to build and communicate their own identity’. (CHIOSA ANA RALUCA, 2012).

Create a diagram of moschino's competitors

THE MASCOT.

Most designer brands usually has something or someone to represent the brand, kind of like a mascot. Usually designer brands use a model or an actress to epitomize the characteristics of a brands value. Moschino however use a cartoon character which is Olive from Popeye. Everything the brand does suits her personality and her style. https://www.styl.sh/articles/809-the-story-behind-moschino 13:49 27/09/17. By Lori on Apr 04 2015

The cartoon represents joy and playfulness. It makes it fun and engaging for consumers, it keeps them curious and wanting more.

Competitors:

Armani Exchange

Versace

Dolce and Gabbana

Miu Miu

http://www.mbaskool.com/brandguide/lifestyle-and-retail/2904-moschino.html

Physical environment

Experience of brand, product packaging, online experience,

This is not a moschino toy

Process

Design features, customers core focus, services

Using household cleaning objects as designs for  fragrances

The creators say: “The concept for this fragrance was to juxtapose the most mundane and commonplace of all products, the household cleaner, with something so precious - the juice of a luxury brand’s fragrance.

"Taking the iconography of a bottle that has no aspirational value and using it as the inspiration for a vessel to contain something so luxurious and haute couture, creates the ultimate dichotomy of high and low.” http://www.mirror.co.uk/3am/style/3am-fashion-celebrity-beauty/moschinos-strangest-perfume-ever-fresh-6777153 11:47 04/10/17

CASE STUDY PRIMARY RESEARCH:

• Visual identity - creator, logos, symbols, fonts, typography, colours, materials, motifs.
• London - Shop report - labels, store, layout, display, visual merchandising, clientele, price, fabrics, logo, etc.
• Pen portrait profile - representing the customer in a mood board

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BRUTA

The marketing mix - 7p’s - Brand value

Products

Quality, image, branding, features, use, customers

Technology, design, branding, packaging, value, quality, price 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.

By investing in a bruta piece, you are investing in a timeless piece of art.

http://www.anothermag.com/fashion-beauty/10297/the-british-fashion-brand-creating-wearable-pieces-of-art

People

Brutas customer reflects on the youth, caught between the old western era before the technological revolution and they can fully appreciate art for what it is. Their sense of style is not trend focused, it is individual and meaningful to their personality. This customer is not shy of money and will spend well on good quality, hand made garments.

Their main target audience are often remote and individualistic. It indulges into fashion absurdities of art, culture and humanity. Their aim is to target a youthful generation with a sense of diversity and creativity. A statement from yates reads:

“My idea of luxury is to be inclusive and democratic. With Bruta we try and make clothes at an affordable price to allow our youthful customer to indulge in our world!”

From observation:

Price

Value base, cost plus, payment methods, listing

Place

Retail, wholesale, online, internet

After just 18 months into his projects, Yates attracted a number of influential wholesale stockists. From  branching out into simple yet high-quality outerwear, menswear and womenswear, it’s current stockists are Liberty London, Harvey Nichols and Present London with prices ranging from £3 for T-shirt to £65 for shirts. Now, three years on, Bruta remains true to its roots and currently stocks in the UK, Japan and China. The label has held its own life drawing art classes and launched a range of ceramic pots to accompany its shirting designs. In recent months, Bruta has created its very own line of ale, called Brew-ta, in keeping with its British theme.

From observing Brutas online status, the brand remains an outsider to the modernised world of fashion. However their online presence is engaging and captivates visual elements such as art directed photographs and videography. It holds a very obsolescent, classical film characteristic and composes a narrative in its concepts, perhaps its unpopularity is due to the unmodernised style and only targets a selective consumers. Along with its main website, Bruta has several social media platforms such as Instagram and Facebook, however their platforms identity appears dim in regards to their following. Their instagram currently holds 5,671 followers with a number of 50 - 200 likes for each post. Again with their Facebook home page, only 419 people like the account, which seems to indicate a lack of marketing and promotion. Although, despite the muted online platforms; because Bruta have several stockists in department stores around the world, the brand will more likely get more recognition and popularity this way which indicates a unique selling point.

Promotion

Competitors, celebrity endorsements, joint ventures, advertising/campaigns

Physical environment

Experience of brand, product packaging, online experience,

Process

Design features, customers core focus, services

CASE STUDY  PRIMARY RESEARCH:

• Visual identity - creator, logos, symbols, fonts, typography, colours, materials, motifs.
• London - Shop report - labels, store, layout, display, visual merchandising, clientele, price, fabrics, logo, etc.
• Pen portrait profile - representing the customer in a mood board

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    4. Strategy - external audit

• Macro environment (PESTEL) political/legal,
• economic, ecological/ physical,
• social/cultural and
• technological
• Target consumers
• Growth strategy
• Consumers view of the brand
• Global expansion

MOSCHINO

https://www.theguardian.com/fashion/2014/jul/13/moschino-glorifying-mcdonalds-logo-fashion

https://www.theguardian.com/music/2015/aug/06/katy-perry-met-ball-moschino-dress-copyright-infringement-lawsuit

http://www.cpp-luxury.com/moschino-a-positive-future-outlook/

The 2008 recession.

• Macro environment (PESTEL) political/legal,
• economic, ecological/ physical,
• social/cultural and
• Technological

Could  put the pestle info into a form of a diagram so it doesn't add to the word count.

Political:

It wasn’t until early 2009 that the online boutique and website were launched (Moschino.com). The opening of the virtual store was an important decision for Moschino especially during the current economic recession. In the past few years, online sales, although somewhat affected by the economy, have exponentially grown. (Mintel) The online store also acts as another outlet for Moschino to communicate the company’s desired brand image to their customers and other shoppers who may not live near a Moschino store.

• http://services.library.drexel.edu/static_files/dsmr/noucas.pdf

Despite the recession, online shopping remains popular, especially in households whose income is $100K or more a year (Mintel).

Economical and recession.

It was clever, it was heartfelt, it hit a contemporary nerve which made it eminently fashionable and perhaps, in some small way, it fuelled the questioning which, along with recession, consumer overload and the environmental problems, led to the sobriety of the Nineties.

This season every Moschino garment is sold with a letter from him. It is a manifesto and reads: 'all human, racial, religious, and last but not least, environmental values have been destroyed'. He goes on to announce that environmental concern is 'the only true and honest Fashion Trend' and cites ways in which his production processes have taken this into account. http://www.independent.co.uk/news/people/obituary-franco-moschino-1450166.html

The Aeffe Group company develops, produces and distributes goods, operating worldwide since 1999. The Group’s business is focused on the luxury fashion goods sector and is active in the design, production and distribution of a wide range of products. The Group’s business is divided, based on the various product lines and brands it sells, into two segments: prêt-à porter and footwear and leather goods.The Group's constant focus is on the qualities of uniqueness and exclusivity, its own collections both under its own-label brands, including Moschino.

After the financial slump of the global economic crisis, Aeffe promoted its core brands such as Alberta Ferretti and Moschino which more contribute to the Group’s revenues each offering of new products and accessories is always driven by a marketing and commercial strategy aimed at assuring good results aligned with the Group’s expectations and above all Aeffe pays much attention to the possible impact that the launching of a new product/line could produce on the company’s brand image. For this reason, the innovation activity goes often hand in hand with the creation of new brands (i.e. Love Moschino, PHILOsophy) which are able to evoke the traditional values of the company’s brands and also to connote

the specific attributes of the new product/line.

Looks at the global economic crises.

https://www.researchgate.net/publication/271926950_Role_of_Brand_Management_of_the_Luxury_Fashion_Brand_in_the_Global_Economic_Crisis_A_Case_Study_of_Aeffe_Group

Social:

Social media campaigns - going against the fashion industry's expectations

technological:

New technologies - Live streaming runway show - Moschino has teamed up with modern tech company, Livit, for their Spring/Summer 2017 menswear collection and their Resort 2017 womenswear collection.

http://www.thelovemagazine.co.uk/posts/6618/future-of-fashion-moschino-goes-virtual-for-2017

People

Who is a Moschino man?

“This can be anyone really who doesn’t take themselves too seriously, someone who enjoys art and fashion and those who are part of the new generation of the fashion obsessed”. (create a pen profile to represent this) https://www.mainlinemenswear.co.uk/blog/2015/introduction-to-moschino

The shiny, reinvented label targeting a younger customer, that's described as leading "a busy working and personal life." They are not as fashion addicted and irony remains key to Boutique Moschino (cheap and chic). Reflecting Franco and his customer’s motto: I am what I am."

https://www.bustle.com/articles/86178-moschinos-cheap-chic-label-has-now-been-renamed-as-boutique-moschino

CUSTOMER PROFILE.

Moschino’s customer appeals to the youthful generation who are rebellious and resentful and want to elevate the boundaries of fashion. Its to target those with money and are wanting to use that to gain attention by buying these OTT outfits/fragrances/accessories. Moschino's real money maker comes from its accessories. By selling fragrances and phone cases between the price category of £30 - £100 young people begin to buy into the brand and then continue to hook you onto the more expensive items.

“I'm a populist. I'm the people's designer... It's important that there are price points that allow people in who maybe don't have the ability to have higher-ticket items - but they can still have something very emblematic of the collection”. - Jeremy Scott

Ethics

Growth strategy

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BRUTA

4. Strategy - external audit

• Macro environment (PESTEL) political/legal,
• economic, ecological/ physical,
• social/cultural and
• technological
• Target consumers
• Growth strategy
• Consumers view of the brand
• CSR/ethics
• Celebrity endorsements
• Global expansion
• Retail life cycle

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   5. Evaluation

• SWOT
• Recommendations
• Expansion

MOSCHINO

SWOT analysis

STRENGTHS - simple and versatile, individualistic designs, variety of lines to appeal to a broader range of customers, multiple price points - for different choices of style and qualities.

WEAKNESS

Insufficient advertisements. Few found in magazines. Insufficient focus on the asian market.

OPPORTUNITIES

Association with celebrities. Targeting young and mature consumers. International expansion.

THREATS

Overseas location development might hinder growth of the company. accessibility/expansion of brand image/awareness