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INTERNATIONAL MARKETING
(B - INTERNATIONAL FASHION
MARKETING) 2019-2020
Professor Elena [email protected]
http://docenti.unimc.it/docenti/elena-cedrola
4 - PRODUCT AND PROCESS INNOVATION IN FASHION INDUSTRY: STYLE
28/04/2020 1PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING
Product innovations in the textiles
and clothing
Product innovation in the textile and clothing
sectors occurs at three levels, which
contribute to value creation:
• Materials
• Style
• Product development
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING228/04/2020
Italy: business development and arts
Business development:
-> small and medium entreprises, often
family run
-> located in industrial districts
Arts:
-> is the DNA of the latin culture
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 328/04/2020
What are industrial districts?
The first definition of industrial district was formulated by Alfred Marshall in the late nineteenth century: it is a concept based on a organizational pattern in which firms manufacturing certain products were geographically clustered.
According to Marshall, development of human capabilities and economic development are closely linked: the man is part of a social organism localized in a time and place unit. The "place" of living brings benefits to the person and to the development of his/her capabilities, thanks to his/her proximity to other people involved in the same job, and the know-how becomes a local common good of the place itself. (F. Sforzi, 2005)
The specificity of the Italian Industrial Districts (I.I.D.) consists in the fact that firms are at the same time highly competitive and cooperative.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 428/04/2020
The Italian Industrial Districts
The Italian economist Giacomo Becattini - among the firsts and
most loyal supporters of Marshall – defines the industrial district
as “a socio-territorial entity characterized by the active
coexistence of a community of people and industrial firms, in
a limited area which is geographically and historically
defined” (Becattini, 1989)
According to Becattini definition, the community of people shares
values behaviors, expectations and common languages while the
population of firms is configured as concentration of firms in a
geographically defined area.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 528/04/2020
The Biella district: specialization in wool (yarn,
fabric, ready to wear)
Main brands:Cerruti, Piacenza, Ermenegildo Zegna
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING
728/04/2020
I.I.D. Are characterized by:
• high production specialization
• high number of firms (in absence of a leading company)
• efficient system of information flow
• high skilled workers
• "face to face" relationship among stakeholders that facilitate
the diffusion of technological and organizational
improvements.
In the districts the balance between competition and collaboration
generates a condition of collective efficiency, and improves the
business results.
The Italian Industrial Districts
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 828/04/2020
1889 - Angelo Zegna -
starts a small textile
business
A FOUR GENERATION FAMILY BUSINESS
1910 - Ermenegildo Zegna launched the brand and founded
the Woolmill in Trivero.
His dream: create and produce the best fabrics in the world
The importance of selecting the best raw materials directly
from the markets of origin:
CONTROL OF RAW MATERIALS
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING1028/04/2020
FINEST RAW MATERIALS
1963
THE ERMENEGILDO ZEGNA WOOL TROPHIES
1980
2002Stephen
Walker
Graham Sutherland
Not Vital
Australia - Superfine wool
China - cashmere and silk
South Africa - mohair
Peru - Vicuna and Alpaca
1128/04/2020
Promotion of the brand
1937
ADVERTISING
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING1228/04/2020
1960’s Aldo and Angelo Zegna
• Vertical integration of the process
• Ready to wear men’s collection
• Internationalization of production and markets
Aldo Zegna
Angelo Zegna
UN AZIENDA FAMILIARE DA 4 GENERAZIONIA FOUR GENERATION FAMILY BUSINESS
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING1328/04/2020
1991 TURKEY
1991 MEXICO
1977
SWITZERLAND1910
ITALY
2003
CHINA
1973
SPAIN
INTERNATIONALIZATION OF PRODUCTION
Made
In
Zegna
Barcelona (1963)
Paris (1964)
London (1966)
OPENINGS OF TRADING COMPANIES
Munchen (1969)
New York (1975)
Tokyo (1977)1428/04/2020PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING
4TH GENERATION
• Different product lines
• Brand Extension
• Product customization
• Retail development
• Emerging Markets
• Ladies pret a porter: AGNONA1528/04/2020
• Italian style
• Contemporary
• Precious & exclusive materials
• Timeless elegance
• Luxury & quality
PRODUCT LINES
• Leisure time
• Sporty Elegance
• Technical performance
• High quality materials1628/04/2020
Made to Measure
Suits; Shirts; Ties; Shoes
4 weeks delivery in every
Zegna store around the
world
PRODUCT CUSTOMIZATION
BRAND EXTENSION
•Leathergoods
•Shoes
Licensing:
Fragrance
EyewearPROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING1828/04/2020
Research and innovation in Ermenegildo
Zegna
• Innovation is the development of new:
– products
– production processes
– business practices
– forms of organization
• Innovations can involve either incremental
or radical changes
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING2028/04/2020
Internationalization Strategy Success
Factors
• Product Excellence: Combination of Global
and Local Resources for Product Innovation
• International Brand Strategy: From Brand
Recognition to Brand Extension to Global Brand
Reputation
• Fully Integrated Supply Chain: Forward and
Backward Vertical Integration
• Family Values and Corporate Social
Responsibility
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 2228/04/2020
Global distribution of Zegna
by country
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING2328/04/2020
STRATEGIC LEVERS
CUSTOMERS
DATABASE
OPERATIONAL SUPPORTS
MARKETING
PLANNING
MARKETING
RESEARCH
MARKETING
INFORMATION
CUSTOMER
INTELLIGENCE
RETAIL
MARKETING
RECRUITMENT
TRAFFIC
CRMAFTER
SALE
SERVICES
LOYALTY
PROGRAMDELIGHTING RECOVER
UP-SELLING
CROSS
SELLING
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING2528/04/2020
PROFITABLE CUSTOMERS
You don’t need to loyalize every customer, but you
should choose the most profitable ones.
If you are able to segment your customers according to
their value, you are also able to increase your
“CUSTOMER RETENTION” rate.
WHAT IS THE VALUE OF EVERY CUSTOMER?
€ 300.000
This document is confidential and was prepared by Ermenegildo Zegna CRM Dpt. Only for the company internal use. It’s not possible to be relied on by any others parties without Ermenegildo
Zegna’s prior written consent
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING2728/04/2020
€ 680
€ 1.853
€ 3.780
0
1.000
2.000
3.000
4.000
1 Year 2 Years 3 Years
SPENDING THROUGH LOYALTY
The increase in three years spending is strongly influenced by
the increase in terms of number of years of purchase (loyalty)
SP
EN
DIN
G T
HR
OU
GH
LO
YA
LT
Y
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING2828/04/2020
CUSTOMER KNOWLEDGE
Frequency of purchase
IN THREE YEARS
1
2
3
4
5
>5
FREQUENCY
63%
17%
8%
4%
2%
6%
CUSTOMERS
The more a customer comes back, the more he spends
MORE FREQUENCY = MORE BUSINESS
SALES
22%
13%
9%
7%
6%
43%
AVERAGE
480 €
525 €
553 €
583 €
605 €
667 €
+ 9%
+ 15%
+ 21%
+ 26%
+ 39%
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING2928/04/2020
CUSTOMER KNOWLEDGE
Customers and sales
CUSTOMERS SALES100% 100%
TOP
HIGH
MEDIUM
LOW
SECONDARY
40%7%
25% 25%
58% 15%
10% 20%
40%of total sale are produced by 7% of customers
THESE ARE CUSTOMERS WE MUST TARGET
This document is confidential and was prepared by Ermenegildo Zegna CRM Dpt. Only for the company internal use. It’s not possible to be relied on by any others parties without Ermenegildo
Zegna’s prior written consent
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING3028/04/2020
RETAIL CUSTOMERS: CLUSTERIZATION
CLUSTER SALES ATTITUDE PROFILE
Brand
Connoisseur
Zegna collections (EZ, ZZ,
ZS), all categories
High spender,
loyal
Old and slightly more
foreign
Cheap but
Chic
Formal collections (EZ),
shirt and ties
Low spender,
not loyal
Young, domestic
and bargain seekers
Prudent
Dandy
Formal collection (EZ, CO),
sleeve unit
Medium high
spender
Bargain seekers,
European and old
Classy Detail
Seekers
Accessories, shoes and
sleeve unit of formal
collections (EZ, CO)
Medium
spender, not
loyal
Mainly young and
slightly more foreign
Gentleman
Ambassador
MTM formal collections
(EZ, CO), sleeve unit
Very high
spender, loyal
Domestic, old, not
emerging countries
Head to Waist
Sophisticated
All collections, sleeve unit
(ZZ,EZ) and outerwear (ZS)
Medium high
spender
Asian
Casual
Elegance
Sportive: knitwear
outerwear and trouser
Low spender Mainly American
and Chinese
This document is confidential and was prepared by Ermenegildo Zegna CRM Dpt. Only for the company internal use. It’s not possible to be relied on by any others parties without Ermenegildo
Zegna’s prior written consent
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING3128/04/2020
A DESIRABLE “ROAD MAP”
1- Gentleman
Ambassador:
customers to be
delighted
2/3- Head to Waist
Sophisticated and Prudent
Dandy:
improve loyalty offering
other products (Retention /
Cross Selling)
4- Brand Connoisseurs:
improve spending (Repeat
Buy / Up Selling)
5/6/7- Casual Elegance,
Cheap but Chic, Classy
Detail Seekers:
customers to develop,
improving loyalty &
spending (Retention / Up -
Cross Selling)Loyalty (based on N° of Purchases Frequency)
S
p
e
n
d
i
n
g
- +
Hi
g
h
L
O
W
Head to Waist
Sophisticated
Gentleman
Ambassador
Classy Detail
Seekers
Brand
Connoisseurs
+
-
Cheap but Chic
Casual
Elegance
Prudent
Dandy
The arrow show us which of natural
migration should to be boosted
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING3228/04/2020
Research and innovation in Ermenegildo
Zegna
• Innovation is the development of new:
– products
– production processes
– business practices
– forms of organization
• Innovations can involve either incremental
or radical changes
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING3328/04/2020
Bottega VenetaBottega Veneta has created a new standard of luxury since its founding in Vicenza in 1966. Steeped in the traditions of Italy’s master leather craftsmen and long celebrated for its extraordinary leather goods, Bottega Veneta has recently emerged as one of the world’s premier luxury brands. The company’s famous motto, “When your own initials are enough,” expresses a philosophy of individuality and confidence that now applies to a range of products including women’s and men’s ready-to-wear, fine jewellery, furniture, and more.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING3428/04/2020
Bottega VenetaBottega Veneta has created a new standard of luxury since its founding in Vicenza in 1966. Steeped in the traditions of Italy’s master leather craftsmen and long celebrated for its extraordinary leather goods, Bottega Veneta has recently emerged as one of the world’s premier luxury brands. The company’s famous motto, “When your own initials are enough,” expresses a philosophy of individuality and confidence that now applies to a range of products including women’s and men’s ready-to-wear, fine jewellery, furniture, and more.
While Bottega Veneta continues to grow, the qualities that define it are unchanging: outstanding craftsmanship, innovative design, contemporary functionality and the highest quality materials. Also constant is Bottega Veneta’s commitment to its ateliers, where artisans of remarkable skill combine traditional mastery with breathtaking innovation. Indeed, there is an unusual and inspired collaboration between artisan and designer at the heart of Bottega Veneta’s approach to luxury, symbolised by the house’s signature intrecciato woven leather. In the summer of 2006, in recognition of the importance of artisanal craftsmanship and the fragility of this traditional way of life, Bottega Veneta opened a school to train and support future generations of leather artisans.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING3628/04/2020
The most recent chapter in Bottega Veneta’s history began in February
2001, when the company was acquired by KERING Luxury Group,
formerly known as Gucci Group.
Distribution of Bottega Veneta products is global, encompassing Europe,
Australia, Asia, North and South America, where wholesale distribution
in select speciality and department stores is complemented by a growing
number of Bottega Veneta-owned boutiques. These boutiques, designed
by Tomas Maier and meticulously constructed to Bottega Veneta’s
exacting standards, allow the customer to shop in complete luxury,
privacy, and comfort. They are, like the products they showcase, a
reflection of Bottega Veneta’s exceptional heritage and superlative
quality.
Bottega Veneta
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING3728/04/2020
The Arts: the DNA of the latin culture
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING3828/04/2020
The Arts: the DNA of the latin culture
Michelangelo Buonarroti
Raffaello Sanzio
Leonardo da Vinci
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING4028/04/2020
Scholars in diverse fields such as anthropology, sociology, business history, and consumer behavior have documented that consumers are increasingly purchasing goods not only for their practical functions but also for the meanings associated with these products.
As such, many high-end designers and luxury brands are devoted to creating meaningful associations with their products.
Many companies in the fashion industry are increasingly developing close relationships with the art world in effort to associate values and meanings of art with their own products and brands. Businesses related to the luxury fashion sector often seek to transform their products to resemble artwork to address the issue of commodification resulting from high production.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
Innovation in style and design
4128/04/2020
Founded in 1978 in Milan, Gianni Versace SpA is one of the
leading international fashion design houses and a symbol of
Italian luxury world-wide. It designs, manufactures, distributes
and retails fashion and lifestyle products including haute
couture, prèt-à-porter, accessories, jewellery, watches,
eyewear, fragrances, and home furnishings all bearing the
distinctive Medusa logo.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
Versace, the genius of fashion and arts
4228/04/2020
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
Versace, the genius of fashion and artsBorn in in Reggio di Calabria in
Southern Italy, part of the
Greek colony once known as
Magna Graecia or Great
Greece, Versace has always
been linked to the traditions of
his homeland, including its
classical and Hellenistic
culture, and has maintained a
constant interest in classical
sculpture and the ancient
iconography. Hellenic heritage
and mythology were among
Versace’s strongest
inspirations in his work.
4328/04/2020
Versace, the genius of fashion and arts
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
4428/04/2020
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
Versace, the genius of
fashion and arts
4528/04/2020
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
Dolce and Gabbana
Domenico Dolce and Stefano Gabbana have made a trademark of their surnames which is known throughout the world, easily recognizable thanks to its glamour and great versatility.Established in 1985, Dolce&Gabbana is one of the leading international groups in the fashion and luxury goods sector. The founders, Domenico Dolce and Stefano Gabbana, have always been the creative and stylistic source of all the brand's activities as well as the drivers behind the development strategies based on balanced growth on a global scale and focus on the core business.
4628/04/2020
The last Dolce & Gabbana fashion show
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING
4728/04/2020
From the
catholic
religion:
Mother Mary
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 5028/04/2020
From Italian
literature: the
Leopard
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING
The Leopard (Italian: Il Gattopardo) is a novel by Giuseppe Tomasi di Lampedusa that chronicles the changes in Sicilian life and society during the Risorgimento (1821-1943). Published in 1958 it became the top-selling novel in Italian history and is considered one of the most important novels in modern Italian literature.
5128/04/2020
Monreale Cathedral
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
It was built from 1174 to 1185. It was commissioned by William II (1154-89), the Norman ruler of Sicily, who wished to demonstrate the magnificence of his kingdom
5328/04/2020
Dolce and Gabbana – Monreale Cathedral Sicily Autumn
Winter 2013
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING5428/04/2020
The Valley of the Temples is an archaeological is one of
the most outstanding examples of Greater Greece art
and architecture, and is one of the main attractions of
Sicily as well as a national monument of Italy.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
The Agrigento Temples
5528/04/2020
Dolce and Gabbana Spring Summer 2014
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING5628/04/2020
Dolce e Gabbana new store concept(uniqueness – local artistic heritage – experience)
Dolce e Gabbana store in Milan
28/04/2020PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING58
Dolce e Gabbana store in Venice
Dolce e
Gabbana new
store concept(uniqueness – local
artistic heritage –
experience)
28/04/2020PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING59
Luxury relationship with the art world is due to the necessity of
ensuring an artificial rarity in consumers' (observers)
perception.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 6228/04/2020
Relationshiop between Arts and Business:
literature reviewThe Art and Business relationship is a strong strategy used by companies in order
to increase the value of their image (Dell’era, 2010; Hoeken, 2005; Kawashima, 2012;
Kottasz, Bennett, Savani, & Ali‐Choudhury, 2008; Pappu & Cornwell, 2014; Preece, 2010)
and to create a positive relationship for potential consumers or real customers in
communities where the company resides (Brennan, Binney, & Brady, 2012; Hetsroni &
Tukachinsky, 2005; McNicholas, 2004; Moir & Taffler, 2004).
-> Companies can pursue this strategy by sponsorships, philanthropy, creating
special foundations
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING6328/04/2020
Relationshiop between Arts and Business:
literature reviewThe Art and Business relationship is a strong strategy used by companies in order to increase the value of their image (Dell’era, 2010; Hoeken, 2005; Kawashima, 2012; Kottasz, Bennett, Savani, & Ali‐Choudhury, 2008; Pappu & Cornwell, 2014; Preece, 2010) and to create a positive relationship for potential consumers or real customers in communities where the company resides (Brennan, Binney, & Brady, 2012; Hetsroni & Tukachinsky, 2005; McNicholas, 2004; Moir & Taffler, 2004).
-> Companies can pursue this strategy by sponsorships, philanthropy, creating special foundations
Art infusion
Art is associated with an increase in creativity and imagination (Dewey, 2005). The concept of art infusion is a specific kind of spillover effect able to pass luxury perceptions from the arts onto the product (Hagtvedt & Patrick, 2008a, 2008b)
Artification
The concept explains why art has the ability to infuse value of exclusivity and prestige not only to the product, but also at a brand level. Artification roughly defines a transformative process of non-art into art (Heinich & Shapiro, 2012; Shapiro & Heinich, 2012).
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING6528/04/2020
From art infusion to artification: literature review
American scholar Ellen Dissanayake was the first to use artification in 1992 to describe the transformation of an ordinary object into an artwork (through the use of colors, design or lines) (Dissanayake, 2009).
Then, later, artification was elaborated upon with different meanings by two groups of Finnish and French scholars.
Finnish scholars described situations in which an object outside the art world is turned into something resembling art, or is influenced by artistic practices recognized as ‘art-like’ forms (Bonsdorff, 2012; Erjavec, 2012; Naukkarinen, 2012; Naukkarinen & Saito, 2012; Shiner, 2012; Scrivener & Zeng, 2012; Shapiro, 2004; Shapiro & Heinich, 2012a; 2012b).
For French scholars the process of artification lead to the creation of objects of art recognized as such by observers (Shapiro & Heinich, 2012a; 2012b; Kapferer, 2014; Jouffroy, 2015; Lascault, 2015; Dufrenne, 2015).
-> Our point of view is more in line with the French conceptual framework: luxury brands do not limit themselves to infuse art into their products but aspire to turn them into recognized artworks. This transforms them from actors using arts for their proposal, to real art creator institutions.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING6628/04/2020
Art in Global Stores is a special line of action based on a
decentralized collection concept. It consists in a series of
commissions for works by artists of international standing, inspired
by the Zegna Group spirit and philosophy and specifically conceived
to be housed in Ermenegildo Zegna stores around the world.
Ermenegildo Zegna and the arts
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 6728/04/2020
Louis Vuitton
Established in 1854, Louis Vuitton has now reached its fifth
generation;
In June 1987, a USD 4 billion merger was effected between Louis
Vuitton and Moët-Hennessy, which allowed Louis Vuitton to expand
its investments in the luxury business while saving Moët-Hennessy
from the threat of takeover;
Since 1989 the 46.6% of LVMH's shares are owned by Arnault
family group, with Bernard Arnault C.E.O. of the Group.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING7028/04/2020
Louis Vuitton
Bernard Arnault
‘Support for the arts and culture figures at the very heart of our
business model. Right from the creation of our Group, I made it
clear that this is a strategic priority for our development. This
commitment embodies the values our Houses all share – savoir-faire,
excellence and creativity – and anchors them in their artistic, cultural
and social environement.’ (LVMH website, 2015).
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 7128/04/2020
Louis VuittonMarc Jacobs
The relationship between Art & Business strengthens during the
1990s especially due to the volounty of the creative director Marc
Jacobs, also via the ready-to-wear and not handmade collection
introduced for the first time in 1997 .
A lover of contemporary art and Pop art, in particular, Marc Jacobs
invited some of the most outstanding artists to join forces with Louis
Vuitton through a variety of forms: designing showcases, art
installations for retail, and exhibitions at the sales points.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 7228/04/2020
Louis Vuitton
Timeline Shows Louis Vuitton Visual Artistic Collaborations
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 7328/04/2020
Louis Vuitton as Art agent
Support for artists and art fairs through sponsorship and
philantropic activities;
Support in discovering and diffusing new artists, facilitating
the meeting between art buyers and artists;
Support for art through the creation of corporate foundation;
Art exhibitions at business retail locations
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING 7428/04/2020
Support for artists and art fairs through sponsorship
and philantropic activities
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 7528/04/2020
Support in discovering and diffusing new artists, facilitating the
meeting between art buyers and artists
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 7628/04/2020
Support for art through the creation of corporate foundation
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING7728/04/2020
Art exhibitions at business retail locations
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 7828/04/2020
Louis Vuitton as Art creator: Marc Jacobs
and Yayoi Kusama
PROF. ELENA CEDROLA – INTERNATIONAL FASHION
MARKETING
Yayoi Kusama (草間彌生 or 弥生, Kusama Yayoi, bornMarch 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, soft sculpture, performance art, and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition, and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced her contemporaries such as Andy Warhol, Claes Oldenburg, and George Segal and exhibited works alongside the likes of them.
7928/04/2020
Mytification of the fashion brand's creative director
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 8028/04/2020
Collaboration with artists, from the creation of the collection to
communication activities. Possibility of Co-branding
PROF. ELENA CEDROLA – INTERNATIONAL
FASHION MARKETING8128/04/2020
Transformation of business outlets, more and more similar to
exhibition spaces
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
8228/04/2020
Exhibition of its own creations in institutional axhibition Spaces
such as great museums and art galleries
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
8428/04/2020
Research model, case studied, methodology
and panel
Research model
In order to observe if a strategy based on the visual arts is recognized and accepted by consumers we used the Customer-based Brand Equity tool (CbBE) to test the artification effect on brand equity from a consumer’s perspective.
-> awareness is a fundamental component of brand equity
-> brand image is formed by associations that connect the consumer to the brand
Associations can be managed internally (use of marketing) or borrowed by external entities through a transfer operation(country of origin, distribution channels, testimonials, others) (Keller, 1993; Pappu, Quester & Cooksey, 2006)
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 8528/04/2020
Dimension (Pappu et al.
2006)
Measure
1. Brand awareness
(Aaker, 1991)
Unaided recall
Aided recall
Asked for the name of the brand (Product category is mentioned)
Which of the brands are you aware of? (names of the brands provided)
Which of the following brands have you used before? (Brand recognition,
based on aided recall; names of the brands were provided)
2. Brands associations
Brand personality
(Aaker, 1997)
Organisational
associations
(Aaker, 1991, 1996)
Sincerity
Excitement
Competence
Sophistication
Ruggedness
Like the company which makes brand X
Feel proud to own products from the company which makes brand X
Trust the company which makes brand X
3. Perceived quality (Aaker,
1991; Yoo et al., 2000)
Brand X is of very good quality
Brand X is reliable
Brand X has excellent features
Brand X is durable
Brand X offers consistent quality
4. Brand loyalty (Yoo et al.,
2000; Yoo and Donthu,
2001)
Brand X would be my preferred choice
I consider myself loyal to brand X
Brand X would be my first choice
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
Measures of consumer-based brand equity
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Hypotesis• H1 – Consumers’ awareness remains strong when
the brand is ‘artified’
• H2a – Consumers’ free associations to the brand are connected to the artworld when the brand is ‘artified’ (e.g. consumers indicate words as art, contemporary art or the name of the artist)
• H2b – Consumers’ evaluation of the brand image points to stronger positive associations when the brand is ‘artified’.
• H3 – Consumers’ evaluation of Quality increases when the brand is ‘artified’.
• H4 – Consumers’ Loyalty to the brand increases when the brand is ‘artified’.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 8728/04/2020
The research on Louis Vuitton Fashion Brand:
methodology and panel
• Between-subjects randomized experiment (with art versus without art).
• Insead-Sorbonne Behavioural Lab panel: 3550 people assigned randomly to one of the two experimental conditions (the first group was called ‘artified group’, the second was called ‘control group’). Young French (blackbone of luxury future market – Aiello, Donvito, 2006) contacted via internet
• Questionnaire: divided in 4 blocks of questions based on images
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING8828/04/2020
Images in the questionnaire: blocks for ‘artified’ and control groups
Images shown to the control group
Images shown to the artified group (artification though
the collaboration of artist Yayoi Kusama):
:
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 8928/04/2020
Main results of the research
Respondents: 880
– Artified group: 412 (72% F – 28% M)
– Control group: 413 (73% F – 27% M)
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING
AGE ‘ARTIFIED’ ‘CONTROL’ AGE ‘ARTIFIED’ ‘CONTROL’
18 years 24 33 26 years 18 20
19 years 44 42 27 years 12 10
20 years 65 56 28 years 9 12
21 years 68 55 29 years 9 4
22 years 51 51 30 years 7 5
23 years 41 40 31 years 6 0
24 years 29 43 32 years 4 2
25 years 23 23 Not Declared 2 0
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Variable analyzed, statistical methods and experiment
resultsHYPOTHESES VARIABLE ANALYZED STATISTICAL METHODS RESULTS
H1 - Consumers’ awareness remain strong
when the brand is ‘artified’. Aided brand recall Frequency distribution Confirmed
H2a - Consumers’ free associations to the
brand (are connected to the art word)
when the brand is ‘artified’ (e.g. the word
art, contemporary art or the name of the
artist).
Free associations to
the brand;
Frequency distribution Not Confirmed
H2b - Consumers’ evaluation of the brand
image gives back stronger positive
associations when the brand is ‘artified’.
Generic Associations;
Organizational
Associations;
Brand Personality.
Analysis of Variance (ANOVA)
Multivariate analysis of Variance
(MANOVA)
Partially
confirmed
H3 - Consumers’ evaluation of quality
increases when the brand is ‘artified’.
Perceived Quality Analysis of Variance (ANOVA)
Multivariate analysis of Variance
(MANOVA)
Not confirmed
H4 – Consumers’ loyalty to the brand
increases when the brand is ‘artified’.
Brand Loyalty Analysis of Variance (ANOVA)
Multivariate analysis of Variance
(MANOVA)
Not confirmed
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Main results of the research
• Awareness (multiple choice and open-
ended questions)
– the difference between the two groups is not
significant (88% AG – 85% CG recognized the
logo)
– The artification was not perceived
spontaneously (10 persons mentionned the
word arts, 2 Yayoi Kusama)
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 9228/04/2020
Managerial implications
• The artification effect is visible especially at the level of brand image and brand personality (from the consumer point of view)
• While the art-oriented public recognizes artisticcollaborations, the larger public does not. New design and novelty are perceived in a generic way.
• “-> Our point of view is more in line with the French conceptual framework: luxury brands do not limit themselves to infuse art into their products but aspire to turn them into recognized artworks. This transforms them from actors using arts for their proposal, to real art creator institutions”.
• In this direction fashion brands are in the first steps.
PROF. ELENA CEDROLA – INTERNATIONAL FASHION MARKETING 9328/04/2020
References for your study1. Jin B. - Cedrola E. Product innovation in the global fashion industry Palgrave Macmillan, New York, 2018 – Chapter 1
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2. Jin B. - Cedrola E. Fashion Brand Internationalization, Palgrave Macmillan, New York, 2016 – Chapter 2
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3. Masè S. – Cedrola E. Fashion Branding and Communication, Palgrave Macmillan, New York, 2017 – Chapter 6
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