Fashion Brands - Brand Fashioning

Brand Fashioning
What brand managers can learn from fashion designers
Michel A. Jansen
1
Fashion is not something
that exists in dresses only;
fashion is something in the air.
It’s the wind that blows
in the new fashion;
you feel it coming,
you smell it
… in the sky,
in the street;
fashion has to do with ideas,
the way we live,
what is happening.
Coco Chanel
2
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Gliwice, Jean Scheijen, Mark Pulley, Markus Biehal, Martin Boose, Myka H., Pierre-André Vullioud, Sanja Gjenero, Scol22 @ stock.xchng; Stephane Tougard, Paulpaladin, Joy
Prescott, Doctor_bass, Theodor38 @ dreamstime; Neil A. Armstrong @ grin.hq.nasa.
gov.
Copyright 2007: Brand Fashioning (www.brandfashioning.com)
ISBN 9789090226101
NUR 802
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T
ABLE OF CONTENTS
FOREWORD 8
INTRODUCTION 12
FASHION IS ABOUT IMAGINATION 30
FASHION IS ABOUT CREATIVITY 44
FASHION IS ABOUT ORIGINALITY 56
FASHION IS ABOUT ELEGANCE 66
FASHION IS ABOUT PRIVILEGES 76
FASHION IS ABOUT STATEMENTS 86
FASHION IS ABOUT REFLECTIONS 96
FASHION IS ABOUT DEDICATION 106
EIGHT RULES TO BECOME A FASHION BRAND 116
AFTERWORD 126
ABOUT MICHEL A. JANSEN 127
ACKNOWLEDGEMENT 129
REFERENCES 130
5
It is better to have enough ideas
for some of them to be wrong,
than to be always right
by having no ideas at all.
Edward de Bono
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7
F
OREWORD
“Inspiration comes when duty is done.” It is
a true quote, however too often ignored in
today’s fast moving world. Constantly we
teach ourselves to do the same things faster and better
than ever before and unfortunately we seldom ask ourselves whether what we do is still relevant and inspiring
for the purpose it is meant to be. As a result of this we
often neglect the chance to challenge our existing paradigms and to look for new, unexplored areas in order to
find new paths to grow. Every now and then we should
take some time for contemplation and reflection to seek
for new sources of inspiration that lead to fresh ideas and
new energy.
ion. Because if there is one industry that has understood
the concept of value creation it is the fabulous world of
fashion! In Brand Fashioning the ‘secrets’ of world’s best
marketing machine are uncovered.
Brand Fashioning is meant to challenge the existing paradigms on branding and to go beyond our current way
of thinking on how to build strong brands. It gives a new
and unexpected perspective on how to build meaningful brands by getting inspiration from the world of fash8
9
Strip away the gloss and glamour
and fashion is like any other
manufacturing industry.
For a new product,
be it a breakfast cereal
or a designer label
to be successful
it must provide something
that is not already there
– either that
or do it more cheaply.
Gianni Versace
10
11
I
sumer. We will discuss some factors that have a great impact on the diminished attractiveness of many brands.
NTRODUCTION
Having a strong brand is one of the most powerful
assets of a company. The brand functions as an effective and efficient link between the consumer’s
needs and the organization’s value proposition because
it represents the functional and emotional advantages of
the concept, which capitalize on the ambitions and aspiration of the consumer. The more successful the brand
is in doing this, the greater the chance that a meaningful relationship will develop. As long as the brand is able
to fulfill the ambitions and aspirations of the consumer,
the consumer will pay the brand back with loyalty, preference and the willingness to pay a higher price (= margin)! Developing a meaningful brand is therefore one of
the biggest challenges in today’s business.
At the same time it is true that currently the position of
many brands is under pressure. As a result of several developments brands have difficulties in delivering sufficient value and to stay the number one choice of the con12
Nowadays almost every market is threatened by the commodity trap. Due to worldwide overcapacity markets are
characterized by extreme competition. In order to survive many brands use low prices as their primary weapon
to fight the competition. However, by selling products at
very low prices you do not create loyalty but, instead, you
teach the consumer to become a bargain buyer.
As soon as propositions seem to be successful copy cats
enter the market and within no time introduce their version. It goes without saying that, most of the time, the
look‑a‑like is very similar to (if not the same as) the original. This is not surprising as they want to take their part
of the success as much as possible. Copying is, nevertheless, synonymous for closing the perceived gap between
the different offerings. And by reducing the perceived
difference the buying behavior of a consumer will be
less conscious as there is no reason to become involved
with the purchasing process; why worry if all things are
equal?
13
The enormous choice, hyper competition, product parity and low prices have lead to another development,
namely that brands have become increasingly accessible
to everybody. For a long time one of the strongest assets
of a brand was that it possessed a certain kind of intrinsic attractiveness. Brands were desirable as they were
not within reach of everybody. Today’s wealthy society
means that many brands are no longer strictly available
for the select few, but for everymen. It could be stated
that the law of scarcity was valid in branding. As a consequence of the developments described above also the
opposite is also true that the admiration for a particular
brand diminishes as soon as the number of people able
to afford that particular brand increases.
the existing propositions in the market and quickly start
to look for new ideas. It can be said that many brands
have great difficulties with responding in a proper way
to these constantly changing consumer needs as they are
insufficiently connected with the real needs, ambitions
and aspirations of their consumers. To stay successful
brands constantly have to introduce new propositions.
Therefore they must be able to respond adequately to
the changing developments in the market and have short
times to market.
Today’s wealthy society is characterized by a new paradox with regards to consumer buying behavior. On the
one hand we live in a world of over capacity with a limitless number of product choices with which consumers
can fulfill their needs, ambitions and aspirations, to the
point that many markets are seen as saturated. On the
other hand consumers become bored very quickly about
The fact that many people have become very quickly
bored when it comes to products leads to shorter product
life cycles. This implies that brands have to be developed
faster than ever before with new propositions which puts
a lot of pressure on the profitability and growth ratios of
the brand. Especially because the norm to evaluate the
performance of a newly launched product has been set
very high compared to a couple of years ago. A shorter
time to prove in combination with higher sales objective
means it’s currently almost unfeasible to successfully
launch new propositions.
14
15
As a result of all the trends and developments described
in the previous paragraphs it can be stated that margins
are eroding. Brands are forced to offer their products
at lower prices, to earn back their investments within
a shorter time period in a market that is characterized
by over capacity and by constantly evolving consumer
needs. Moreover, because of this situation many brand
managers become very uncertain and start to show risk
avoiding behavior as their shareholders expect immediate results. In other words, they choose the safe route,
they choose proven success (= copying successful competitors) instead of exploring new territories.
The developments presented above provide an overview
of the difficult reality many brands in many markets are
faced with! On purpose we speak of REALITY as there
is no way out! This is the situation brands have to deal
with; now and even more in the near future!
16
When you argue with reality, you lose but only 100% of the time.
Byron Katie
Everyone takes the limits of his own vision
for the limits of the world.
Arthur Schopenhauer
18
19
Changing the paradigm
Rather than trying to escape this difficult situation,
which is hardly impossible, the biggest challenge for every brand is to adapt to this situation in an adequate way
and to learn new routines and behavior that can help to
survive. In other words, brands have to find a new modus
vivendi to stay vital and relevant! This means that they
have to look for new sources of inspiration. And herein
lies a new challenge for many brand managers to change
their perspective as for many years their major source
of inspiration is the world of the fast moving consumer
goods (FMCG). In other words, the behavior of FMCG
brands is seen as the point of reference in the field branding.
FMCG brands were seen and used as a benchmark, since
they were also the first to discover and exploit the enormous potential of having strong brands. Furthermore
they have further developed the concept of branding
by experimenting with issues like brand stretching, endorsement branding and portfolio branding. In short,
FMCG brands, as pioneers in the field of branding, were
a lighthouse for many other brands and therefore a great
source of inspiration.
To a certain extent it can be stated that FMCG brands
deserved their image as brand leaders as their skills and
competencies were developed more far, when compared
to brands in other markets. Moreover, the FMCG market is, more than any other market, characterized by its
very strong market dynamics. It is not surprising that
We wonder however whether the ‘brand rules’ defined
by fast movers are still sufficient in order to conquer
the many problems brands nowadays have to deal with.
A close look at their market shows that many FMCG
brands have seriously lost ground. They start to loose
market share and their profit margins decrease as they
have difficulties with keeping up the strong positions
they once had. Since the dynamics in their markets become more intense FMCG brands also seem to suffer
from the same factors described above. And it is apparent that they themselves have severe difficulties coming
up with adequate answers to build valuable brands! The
20
21
question is “What’s next?”. Where do we get new inspiration from in order to build strong brands when FMCG
brands can no longer be seen as a role model? It means
that we have to change our view to other fields where we
can learn from. Therefore, we have asked ourselves one
simple question:
Creativity requires the courage
to let go of certainties.
Erich Fromm
What market can serve as an inspir‑
ing metaphor when it comes to find new
ways to create valuable brands?
In the end the answer seemed to be as simple as the question: the fabulous world of fashion, because if there is
one category that has understood very well the concept
of value creation it is the fashion industry! Furthermore,
it is not only that fashion brands are interesting because
they are able to ask (very) high prices for their products,
but it is also the dynamics that take place in this market
that make this category interesting to take a closer look
at.
22
23
More specifically, it is important to realize that the fashion industry is characterized by the same factors as described in the previous paragraphs. To mention some of
them. Fashion has to deal with extreme competition; the
number of fashion brands (labels, designers and houses)
is enormous. Fashion brands have to deal with discount
labels that copy the ideas of the big fashion brands and
offer them to the market at very low prices. Fashion has
to deal with the short time-to-market issue as every season, four times a year, these brands have to show a complete new collection to the eager audience. And fashion is
concerned with, like the name suggests, fashion… what
is hot today, may be not tomorrow. It goes without saying
that fashion brands perform under very high pressure as
the competition is very intense and their consumers have
very high requirements.
ing concepts and to stay admirable! Apparently fashion
brands are used to deal with extreme competition and
ever changing market circumstances. They seem to have
created a mechanism for coping with these difficult situations, because every time they come up with inspiring
and exciting propositions. The question is hence what
brand managers can learn from them in order build valuable brands themselves.
On an abstract level fashion brands have to deal with the
same dynamics like in any other market and maybe their
market circumstances are even worse! Fashion brands
are however still able to stay ahead of their commodity trap by constantly coming up with new and inspir24
25
To conclude, it seems that branding has entered a new
era, in which FMCG brands will no longer lead the
dance. From today, brand managers should start to look
at the fashion industry and try to understand how fashion
brands are able to seduce their consumer. In this book
we use the world of fashion and the way fashion brands
behave as a metaphor to get new inspiration and energy
to build valuable brands. In the next chapters you’ll find
observations on how fashion brands behave in order to
maintain their admirable status. We have clustered our
observations around eight dimensions which, we believe,
can be seen as the key success factors of fashion brands.
26
Reality leaves a lot to the imagination.
John Lennon
Anyone who has a vision comes across obstacles.
Stefano Pilati (YSL)
28
29
F
ASHION is aBOUT IMAGINATION
“How to build a strong market position?” that
is the primary question every brand has to
answer before entering the market. To answer this question brands should ask themselves many
other questions, like: What is the reason for being on the
market? What do consumers miss in the market at this
moment? What would consumers miss when this particular brand no longer exist? On what elements and characteristics is the desire for this particular brand based?
Brands must hence understand the deeper laying needs,
ambitions and aspirations of their consumers. All these
questions can be addressed by making a projection of
the future with having the brand promise in mind and
the meaning the brand should have for the target group.
Making a projection in this case is synonymous for using
your imagination, whereas imagination can be defined
as ‘the formation of a mental image of something that is
not perceived as real and is not present to the senses’.
30
A strong capability of fashion brands and designers is
their ability to form a mental image of their ideal world
in which the dynamics between fashion and its users are
explicated. Fashion brands hence create their own vision
or philosophy which forms the basis for their unique signature.
31
Vision is the art of seeing the invisible.
“
“When I think about fashion. I think about something intrinsic to my life. When
I think about style, I think of it as the only real luxury that anyone can afford
to indulge, with or without money. When I think about elegance, I think of how
one achieves it by only silencing loud trends. This is how I’ve always felt about
fashion, not just since my name and my labels became well known, but since the
day I began my career. I’ve always had a pragmatic approach, an instinct honed
by working from the outset in the world of industrial production and broad dis‑
tribution. The creativity I love is the one that invents credible fashion, clothes
that make the men and women who buy them look and feel better, not changing
drastically every season but evolving the way the culture does, capturing the cur‑
rent of what’s new. It’s a creativity that doesn’t stoop to the level of the ‘remake’,
the costume, the gratuitously peculiar or indecent.
The values that will endure to form the foundation of the new century’s fashion
“
Jonathan Swift
are ease, intimacy, expressiveness and above all, a space for interaction between
those who make fashion and those who wear it. And this is the concept of fashion
that has guided and continues to guide my life.”
Giorgio Armani
33
“
It was Coco Chanel who made thousands of women start to realize that
‘poor chic’ could be the answer to social snobbery. The Chanel look, with its
lines reduced to their simplest expression, shows that how clothes are worn
is much more important than what is worn; that a good line is worth more
than a pretty face; that well-dressed is not the same as dressy, and that the
acme of social cachet was to be proletarian. What has made her style last is
the fact that it is functional, which is in keeping with the pace of contemporary life. Youth, according to Chanel, should not have to declare itself, it
should be obvious all the time: in sitting down, getting into a car, walking
down the street, stretching out a leg or raising an arm. It was about ideals
rather than outfits, concepts rather than costumes.
“
Versace provided the perfect wardrobe for lovers of conspicuous consumption. Yes, the style was garish and yes, it was over-the-top, but when every
shop assistant and office tea boy was sporting a fake Rolex watch, Gianni’s
style was simply a step on from that. “He understood us better than we knew
ourselves. He understood the basic human need to show off. Through his work, he
made a unique statement which, in a phrase, was that bad taste is much cooler
than good taste if you push if far enough”, fashion historian Colin McDowell
wrote in the Sunday Times. “A Versace woman has no interest in being a lady.
She knows that babes have more fun”.
Gianni Versace
Coco Chanel
35
“
“
34
“
The Missoni style never contradicts its essential, multi-faceted modernity.
Although the womenswear collection has always been distinct from the
men’s, the Missonis work on a universal idea of clothing, suggesting that a
couple can have a single wardrobe, with no dividing lines, which is full of
“
“My clothes are born to dress living, moving bodies which require freedom and
comfort”, explains the designer, who considers the body to be ‘an absolute
value’. Ferré wants to create styles that envelop the body without restricting
it, but also to enhance it and sculpt it. “The body is there and can always be
seen, even when it is hidden and completely covered.”
ideas, of possible combinations both for him and for her.
Missoni
Gianfranco Ferre'
“My fashion is a lot about projecting a strong, unique character to the outside
world. Humor must be a natural part of clothing. It’s always the badly‑dressed
people who are the most interesting.”
“A woman has no need to be perfect or even beautiful to wear my dresses, the
dress will do all that for her.”
Cristobal Balenciaga
Jean Paul Gaultier
37
“
“
36
“
What was going on between Ralph Lauren and the American public was
a very subtle thing. What he gave them – through his clothes but pre-eminently in his advertising campaigns – was the big outlines of a life. They
weren’t fooled any more than he was. They knew that it was a make-believe
world. Do you think real life is like that? He gave them the perfection of
make-believe. And Americans wanted it. Ralph Lauren kept giving the
American people glimpses of a better world. It was a romantic vision, but
his fellow countrymen needed such a vision. They responded to the essential goodness of the Ralph Lauren world, based, as it seemed to be, on traditional values of rural America. As Ralph Lauren says: “There is a way of
living that has a certain grace and beauty … an appreciation of what has come
“
The Moschino label has been synonymous with the utmost in freedom and
creativity, always aiming to break free from the bonds of conventional fashion. With Moschino, each person is allowed to help themselves or, as the
British say, create their own ‘self‑made look’. In Franco Moschino’s own
words, “I am like a chef in the sense that I follow classical recipes that time itself
has invented.” This means choosing an item of clothing according to how
you feel, in the same way that you are guided by appetite when deciding
what to eat. As well as having seductive powers, clothes become objects to
be enjoyed in their own right, reflecting the wearer’s state of mind.
Franco Moschino
before … a depth and quality of experience that is lived and felt … this is the
quality of life that I believe in.”
“
38
39
“
Ralph Lauren
The examples show that fashion brands have their own
vision with regards to what fashion does or should do
for people and – vice versa – how these people approach
fashion. In other words, fashion brands have a deep understanding of the many types of interaction that take
place between fashion and consumers and intuitively
choose one – their own – view. It is Balenciaga who almost ignores the body and takes the dress as a starting
point, whereas Ferré considers the body to be ‘an absolute value’ in itself. Chanel states that how clothes are
worn is much more important than what is worn. It is
Armani who speaks of ‘silencing loud trends‘ whereas
Versace was famous for his breathless luxurious clothes.
And so on…
It is noteworthy to see that all fashion brands are right in
itself and the most important thing is to realize that they
believe in their philosophy and behave in accordance
with it. By living up to it they create their own signature
which provides them with a distinctive and therefore
recognizable market position.
40
Consciously or unconsciously we all strive
to make the kind of a world we like.
Oliver Wendell Holmes
The past is only
an excuse to experiment.
Gianni Versace
42
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F
ASHION IS ABOUT CREATIVITY
Having a clear vision is a vital starting point
to create a strong market position. The next
challenge is to make this vision tangible. In
other words, brands must ceaselessly translate their vision into concrete propositions which meet the changing
needs and desires of their consumers. This implies that
brands should keep on innovating in order to keep their
consumers interested and to stay ahead of the competition.
Being creative is an important asset of fashion designers
as every season they are challenged to present a completely new and inspiring collection. Being creative is
also a difficult task in an industry where you are always
striving to keep up, because there is always someone else
trying to take your place.
44
Make a better future
by developing elements from the past.
Goethe
“
The Missonis’ skill derives from the way they never recycle ideas. They have
carefully managed to avoid every kind of revival or reworking of their past.
For this reason, their collections always seem totally contemporary.
missoni
“
Versace was the first designer to use denim in a couture collection.
Gianni Versace
Jean Paul Gaultier introduced the bustier, which later on became his icon.
Moschino was the first to transform the mania for the designer labels into
a creative and conscious extensions of personality. In 1994 ‘Ecouture!’ is
launched; it is the first ecological collection designed in environmentally
friendly materials and dyes, under the ‘Nature Friendly Garment’ label.
Jean Paul Gaultier
Coco Chanel invented the little black dress.
Coco Chanel
Franco Moschino
47
“
“
46
“
“To invent materials, when it seems that everything has been explored, tested,
assimilated. When fashion finds itself face to face with the fear (or uncertainty?)
that ‘there is nothing new to discover’. I do not share this fear. My experience,
my determination to experiment with all the resources and qualities of materials
allow me to state that they can be invented constantly. For example, by strength‑
ening the most precious natural fibers, by applying treatments of high industrial
definition to traditional materials, by combining differences to put together their
qualities… but if I were asked what I would really like to have invented, I would
reply without hesitation: denim. The great fashion invention of our century, a
“
Ralph Lauren was the first in the field with life style advertising. From the
beginning, he was instinctively aware that label loyalty grows from identification not with a man alone but with a way of life. He realized that what
people wanted to have presented to them was a lifestyle. Ralph Lauren was,
therefore, the first person to introduce the whole life style concept, offering
not only dresses but a complete range of life style related products like furniture, household, etc.
Ralph Lauren
revolution, a symbol, a conquest of freedom. I didn’t invent denim, but I reinvent
it every season by creating a whole range of variations that include refined treat‑
The journey of Dolce & Gabbana to rediscover the south Italian roots of
ments and highly evocative materials.”
Domenico Dolce has a determinant impact on their work. For instance, in
1988 the inspiration for their collection came from Il Gattopardo, a master-
“
48
“
Gianfranco Ferre'
piece of Visconti that gives to the collection the ambiance of the old Sicily.
This is the nascence of a characteristic creative process: the touching and
energetic fusion of iconic images of the Italian cinema with a spirit of experimental modernity.
Dolce & Gabbana
49
“
Versace was one of the most innovative fashion designers. He invented the
Supermodel. There were models before Versace, even famous ones. Still,
their fame was largely by association. They had to date a famous man, preferably a rock star. It was Versace who gave catwalk queens fame in their
own right. When Versace came on the scene, catwalk models were a distinct breed. In the way that actors are often divided into those who ‘tread
the boards’ (stick to the stage) and those who prefer to perform in front of a
camera, models either did magazine or runway work. They rarely did both.
Magazine or ‘editorial’ girls were regarded as too fat to look good on a catwalk. Runway models are expected to have a skeletal frame that belies the
consumption of a square meal in the recent or even distant past. What Ver-
Fashion designers are known for their infinite creativity.
They seem to be full of energy and inspiration and are
able to surprise their consumers – and their competitors
– every season with a new and unexpected collection. To
stimulate their creativity fashion designers make – consciously and unconsciously – use of many different kinds
of stimuli. By experimenting for instance with different
kinds of materials, techniques and/or colors. Sometimes
they even go so far that they break the conventions in
their market. Like Versace did by being the first designer
who used denim in an haute couture collection.
sace did was to break down the barrier that existed between editorial and
runway. He took the hottest magazine models and put them on his catwalk.
“
Maybe some of them didn’t walk too well, but their faces were pure magic in
the long lenses. And this was the point. Versace wanted to sell clothes, but
not necessarily those on the catwalk. As he built his empire, he had watches, bags and tea cups to sell. All that he needed was publicity and, of course,
the Supermodels delivered it. Traditional catwalk models might have been
able to show clothes off to best advantage, but they were ingénues when it
came to flirting with a camera.
Gianni Versace
50
It can be stated that fashion designers are constantly exploring and challenging the boundaries of their playing
field which implicitly means that they are willing to take
calculated risks. They have to because the competition
forces them to come up with something new that was
not yet invented before. The next collection is therefore
always the most important collection. Notwithstanding this does not mean that it is not allowed to look to
the past. Often the past is for many designers even an inspiring source of inspiration to develop new collections.
51
Like Dolce & Gabbana for example, who on a regular basis make use of Italian movies like La Dolce Vita, La baia
di Napoli and Il Gattopardo. In other words, the past is
in many cases a rich source of inspiration for new ideas
which are translated in their collections. And by doing
so they stay relevant to their consumers.
52
It is not enough that a man has clearness of vision,
and reliance on sincerity,
he must also have the art of expression,
or he will remain obscure.
George H. Lewes
Imitation is committing suicide.
Karl Lagerfeld
54
55
F
ASHION IS about ORIGINALITY
For fashion designers it is important to keep
innovating and to stay relevant to their consumers. By doing so it is pivotal for them to
be different from the competition and to stay recognizable to their consumers. This brings us to the concept of
originality; the quality of being new and original and not
derived from something else. Originality therefore is to
create something unique as it is the opposite of imitation which is all about copying something that is already
there.
Fashion designers stay true to themselves and their vision and although they get inspired by other designers
they always give their own touch to their collections. By
doing this they build their own signature.
56
Don’ t be afraid to go out on a limb.
That’s where the fruit is.
H. Jackson Browne
“
Giorgio Armani is recognized as one of the most influential and iconic designers of the twentieth and twenty-first centuries. He has been universally
credited with both radically changing the rules of contemporary fashion
and creating a timeless vision of modern dress. By removing excess ornament and translating traditional sportswear looks into business and evening
wear. Armani has developed the contemporary casual style that defines the
modern wardrobe.
“
The silhouette created by Balenciaga set a new trend. It expressed a radically
different relationship between the body and garment, the fluid lines of the
latter reposing always on fundamental classicism from which he never deviated throughout his life, combining elegance and comfort in a perfect harmony of proportions. Through the magic of his cutting, the designer could
even permit himself (to the great delight of his clients) to correct any slight
imperfections in the human figure beneath … the ‘Balenciaga miracle’, as it
was to be dubbed by his great friend Hubert de Givenchy.
Giorgio Armani
Cristobal Balenciaga
Miuccia Prada has developed a unique style that skillfully mixes intellectual purity and eccentric elegance, futuristic minimalism and multicultural
What Ralph Lauren set out to do and achieved with resounding success was
inspiration. “I follow my instinct; and even if I question whether what I am do‑
to design clothes that enabled men and women who were not deeply inter-
ing makes perfect sense to me or others, in reality the important thing is that I
thoroughly believe in it.”
“
ested in fashion but who wished their clothes to reflect the elegance and sophistication of their lives to stand next to the fashionably dressed hold their
58
“
Miuccia Prada
own, and even, perhaps, make the super‑fashionable seem slightly ridiculous. As he says, “My woman can walk into a fashionable gathering in Paris
just wearing a simple cashmere twin set, pearls, perfectly cut flannel pants, and
loafers, and make the other look insignificant.”
Ralph Lauren
59
“
Tai and Rosita Missoni are something of a rarity in the international fashion world. They have elevated the status of knitwear to an art form, making
garments that are impossible to imitate. They rediscovered machinery that
had traditionally been used to make shawls, employing it instead to produce jackets and overcoats, and eventually whole prêt-a-porter collections.
Working in wools, silks, cottons, linens and viscose they now use spacedyed yarns and computerized looms to create the bold patterns and cleverly
blended colors that characterize the Missoni look. According to the Missoni philosophy, the new signifies venturing into the unknown, reinventing
“
Paco Rabanne made his haute couture debut. He overturned the common
belief that clothes had to use thread and fabric, and shocked many with his
use of new materials like plastic as fabric.
Paco Rabanne
oneself, having total freedom to grow and to change. “We invent fashion,
but also knitwear. Maintaining the powerful and instantly recognizable image that we have created for Missoni, when there is no real competition on
the market, calls for constant attention and updating. From a commercial
“
never inflating the value of our product.
Missoni
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61
“
point of view, too, everything is based on a delicate balancing act, aimed at
Fashion designers owe their strong and unique market
position to the fact that they stay original and by doing
so they stay recognizable to their consumers. They have
a very strong belief in their vision and behave in accordance with it. This means that they develop their own direction for which they once became famous and it forms
the basis for their distinctive if not unique position in the
market. As a reward for this authentic behavior consumers show their loyalty as they feel attracted by the genuine brand.
62
True originality consists not in a new manner,
but in a new vision.
Edith Wharton
Wearing the right thing,
having the right look and trying to fit in
is all part of the lifestyle.
Unknown
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65
F
ASHION IS ABOUT ELEGANCE
The previous chapters show how fashion
brands create an unique market position by
sharing an inspiring vision with their consumers and by keeping this philosophy vital through the
perpetual introduction of new propositions. By doing
so fashion designers present a complete lifestyle that fits
with the values, attitudes and behavior of their clients.
Fashion designers have started to offer their clients an
entire wardrobe which makes it easier for them to dress
themselves in accordance with the occasion. In other
words, fashion designers have adopted the concept of elegance – a refined quality of gracefulness and good taste
– as they are aware of the fact that the way you are supposed to present yourself is always implicitly related to
the situation. Showing ‘good taste’ therefore is only possible if you are dressed in harmony with the dress code
of that particular event.
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The pearl is the queen of gems
and the gem of queens.
Unknown
“
Ralph Lauren offers a wide range of labels which focus on different consumer needs. Among them are the labels Polo Sport, Ralph, Polo Golf, RLX,
Polo Jeans CO, Ralph Lauren Paint, Ralph Lauren (black label and purple
label) and Lauren. All these labels have their own set of associations that fit
smoothly with the overall philosophy of the Ralph Lauren brand.
“
Trussardi is a vision that proceeds through history and the present with the
same relaxed elegance, to discover new passages and exchanges between
cultures and languages, to create unexpected connections between apparently distant universes. The Trussardi world is in fact a perfect synthesis: a
window on the future and memory of the past, elegance that is Made in Italy but also exotic seduction. The Trussardi world embraces all the aspects of
Ralph Lauren
daily life, to express itself through fashion, the home, leisure and the whole
of the city. The Trussardi universe: a style of life and a life with style.
Trussardi Collection uomo e donna, Trussardi Jeans, Trussardi Sport, Trussardi Pelletteria, Trussardi Baby, Trussardi Occhiali, Trussardi Foulards,
Trussardi Cravatte, Trussardi Intimo, Trussardi Home, Trussardi Light
Her and Trussardi Light Him. il Trussardi Alla Scala Café, Tru Trussardi.
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“
“
68
Nicola Trussardi
“
BOSS, Our core brand BOSS, with an extensive women’s collection and
three independent men’s collections, offers fashion for every occasion to
quality-conscious men and women. The values of the BOSS core brand: internationalism, perfection and success.
“
Dolce & Gabbana, Dolce & Gabbana Ophtalmic, Dolce & Gabbana Sunglasses, Dolce & Gabbana Perfumes, Dolce & Gabbana Crocodile Custom
Made Line, D&G, D&G Junior, D&G Ophtalmic, D&G Sunglasses, D&G
Underwear, D&G Jewels, D&G Time.
BOSS Black: Assurance is provided by BOSS Black with a collection that
consistently offers the right outfit. [...] BOSS Black, with a focus on youthful design and high-quality workmanship, links sophisticated elegance with
value for money.
BOSS Orange: Trends are set by the sporty BOSS Orange line with its
men’s collection for individualists.
Dolce & Gabbana
BOSS Green: Function is addressed by the BOSS Green collection for the
modern, active man. Technically optimized sportswear and sporty daily
wear is combined with functional fabrics in stylish multi-functional clothing of the highest standard for dynamic outdoor and the latest leisure activities.
“
BOSS Red: Avantgarde is the word for the trendy HUGO collection for
men and women. The cut emphasizes the body, fabrics are innovatively
combined and the look is unconventional. This is fashion for individualists
who want to make a statement with their outfit.
Hugo Boss
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“
BOSS Woman: Versatility is the keynote of our BOSS Woman collection.
The cosmopolitan and self-confident BOSS Woman customer can express
her very personal style with an outfit of outstanding quality in perfect taste.
The collection offers feminine tailoring, excellent fit, high-quality materials, refined details and unobtrusive elegance.
As the examples on the previous pages show fashion
designers are able to identify the many different needs
of their clients. By offering a range of labels and propositions they try to meet these various needs. In other
words, they diversify their vision into different directions. By doing so, they adapt to the specific needs their
consumers have at particular moments, while in the
same time they spread the risks of their carefully built up
business. A business that – as the example of Ralph Lauren shows – exceeds the clothing business. They offer a
whole lifestyle concept including cosmetics, eyewear,
watches, jewelry and even a complete home collection.
Fashion designers, therefore, capitalize on the full potential of their brand.
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Treat a man as he is, he will remain so.
Treat a man the way he can be and ought to be,
and he will become as he can be and should be.
Goethe
Dreams are necessary to life.
Anais Nin
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75
F
ASHION IS ABOUT PRIVILEGES
My role is that of a seducer.
John Galliano
Commoditization is one of the biggest
threats in many markets. Brands become increasingly accessible to the whole population
and consequently they start to lose their appeal. And by
loosing their attractiveness they also start to suffer from
decreasing loyalty, preference and profit margins. Hence,
for brands it is important, if not crucial, to build into
their proposition a certain extent of desirability in order
to protect this status. In other words, they have to create a construction with which the brand stays admirable
even though many people still have access to it. Fashion
brands have anticipated on this by developing a hierarchy in their assortment in order to stay admirable. At the
top of this product pyramid there is the haute couture
collection. These are the most expensive and exclusive
– one of a kind – items and are genuinely desirable. Ideally this collection has an aura of luxury that will rub off
on the so-called prêt-a-porter collection with which the
brand can transfer from premium to mass market.
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“
Versace once explained it as an effort to construct the ‘Versace world’.
[...] At the pinnacle of the Versace product pyramid is Atelier, the haute
couture line, which was launched in 1989. Atelier produces exclusive one
off creations. For mere mortals, next down in the pyramid are the ready to
wear main lines that are shown in Milan. The main line Versace is more
affordable. Moving a little cheaper, we reach the Versace diffusion lines –
Versus, Istante, Versace Jeans Couture, Signature, Versace Sport, Versa-
tile and Versace Classic V2. at the bottom of the pyramid there are all the
add ons – jewelry (real and costumes), perfumes, bags, belts, shoes, ties,
scarves, gloves, hats, sunglasses and cosmetics. All of these are duplicated
“
The clothes that are presented at the fashion shows are often exaggerations
of a theme. Some designers such as John Galliano (Christian Dior) go to
great lengths to present extravagant looks that no one in their right mind
would wear on the street. These collections are part marketing (to grab media and consumer interest in a designer line) and part artistic expression.
By the time they reach the stores, most looks are edited by buyers to be salable (hemlines dropped an inch or two, elements of the original look are
put onto more understand pieces, etc.).
John Galliano
at different price points and marketed as separate collections. Organizing
these goods into separate collections has the benefit of extending the product line, and therefore the sales potential, while not tarnishing the image
“
the clothing ranges is the Versace ‘Home Signatures’ collection. This encompasses everything from china, glass, quilts, and cushions, vases, picture
frames, lamps and tiles to furnishing fabrics, beds, tables, and bath linen.
Gianni Versace
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“
of the items at the top end of the Versace range. Running in tandem with
“
Ralph Lauren has his famous polo player logo stamped across everything
from velvet evening jackets to pillowcases. The standard line offered by
designers for this rampant cashing in on their name is that it makes their
goods available to a wider range of people. Out of the goodness of the fashion maestro’s heart even the most impoverished consumer can sample the
luxury of owning a famous label. However, the democratizing of fashion is
also a pretty good excuse for making a lot of money.
The reason Ralph Lauren concentrates on women’s collection, in addition
“
Armani Collezioni, Emporio Armani, Armani Casa, Armani Jeans, Armani
Junior, Armani Libri, Armani Eyewear, Armani Jewelry, Armani Watches,
Armani Books, Armani Privé, Giorgio Armani, Armani Exchange.
Giorgio Armani
to Purple Label, is easily understood since these collections are the most
fashion forward and inspire all other lines. Because the collection is viewed
by the world’s press at Ralph Lauren’s fashion show, it is the thing that
pre‑eminently affects his status – and possibly sales for the next six months,
“
signers, remarkably faithful. It would have to be a very uninspired collection for her to look elsewhere.
Ralph Lauren
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“
although the Lauren customer is, like the supporters of most other top de-
Fashion designers offer a lifestyle that fits with the values
and attitude of their clients. To keep this lifestyle admirable fashion designers are able to sell ‘the ultimate dream’
with their haute couture collection as the tangible representation of this dream. These ‘one of a kind’ dresses are
the most desirable and precious items of the collection
as they are not within reach for everybody. Their exclusivity makes them both enviable and an inspiration for
many people. For the majority of consumers for whom
the haute couture collection is out of reach there are the
prêt-a-porter collection and the many accessories – like
watches, sunglasses, jewelries, handbags, etc. – that fulfill
the aspiration to buy a piece of the designer’s lifestyle.
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It is the awareness of unfulfilled desires
which gives a nation the feeling
that it has a mission and a destiny.
Eric Hoffer
Style makes sense only if it is your own.
Gianni Versace
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F
ASHION IS ABOUt STATEMENTS
For many years in America, wearing Paris
fashion ensured that others would recognize
the wearer’s status as a cultivated and wealthy
person, perhaps able to travel to Paris, certainly able to
afford the best her own locality could provide, be it local
cultural life or the best dressmaker in town.
Although nowadays these travel barriers no longer exist. The essence of the story nevertheless is still the same.
People use fashion to show the world who they are or aspire to be. Fashion evidently has for its users a very expressive dimension and is for its wearers a way in itself to
become attractive.
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We don’ t see things as they are,
we see them as we are.
Anaïs Nin
“
Seduction and passion are eternal desires, the very essence of femininity.
Women today can live and make decisions independently, following their
own choices. In some way, they adapt fashion to their own needs and they
no longer need to make constant use of guile, disguise and artifice. Seduction is a knowing game. Women can choose the most sumptuous evening
dress with precious embroidery and decoration. But also a simple blouse in
white organza, luminous and swishing, a leather jacket, see‑through dungarees…
“
“Status fashion isn’t what’s in today and out tomorrow … the new status sym‑
bols are all about permanence and durability … fashion needs to unburden
women of fuss, feathers, and fanfare … the world is full of women who aren’t
clothes crazy but they’re sure as hell interested in style – especially their own.”
Ralph Lauren
My style has really developed through rejecting everything I learned in
There are thousands of ways and instruments to convey the modern desire
haute couture. Everyone can wear my clothes but not everybody wants to
for seduction. A detail can be sufficient, a piece of jewelry – from a reassur-
because they don’t conform or protect you.
many primitive bracelets encircling the wrist. Or a color – red, black, pure
Jean Paul Gaultier
white – or the preciousness of a material – a cashmere shawl, a taffeta stole
“
– or, maybe the endlessly varying sheen of velvet. Seduction can also be a
sublime bustier under a jacket with a masculine cut. Seduction, maybe, is a
glance, an understanding beyond words with the object of desire.
Gianfranco Ferre'
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“
ing, bourgeois pearl necklace to an imaginative and openly fake bijou, or
myth that needs nailing. There aren’t many American size fourteens hanging in a Versace boutique. The woman who can afford Versace clothes can
also afford a personal trainer, liposuction and sashimi for breakfast, lunch
and tea, but his garments always look best on someone who has a few
curves.
Gianni Versace
“
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“
It was the audacity with which she used herself as the model for her own
creations that allowed Chanel from the thirties onwards to impose her ideas on fashion. “I invented sportswear for myself,” as she would later say. “I set
the fashion for the very reason that I was the first twentieth-century woman.”
Coco Chanel
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“
“
The idea that Versace designed only for an ideal of womanhood is another
Fashion designers have a good understanding of the motives of the consumer and their deeper laying ambitions
and aspirations that must be fulfilled. They understand
very well what their clients want to communicate. By satisfying this need to show‑off fashion designers help their
clients to become desirable themselves.
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The deepest craving of human nature
is the need to be appreciated.
William James
Fashion is very much an indication
of our current culture and lifestyle.
It is also a reflection of what is foremost
on the public’s mind.
Unknown
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95
F
ASHION IS ABOUt REFLECTIONS
The future has a way of arriving unannounced.
George Will
Fashion changes continuously, sometimes
even without us noticing it. We often think
of fashion as a force to be honored and
obeyed, but it is just the opposite. Fashion is the customization of our wardrobe to match our lifestyle.
Fashion designers keep their eyes on popular culture, and design clothing that responds to our current
needs and tastes. What we do and what we care about
is evidenced in what we wear. For instance, the fact
that comfort is not just considered, but embraced, as
a major feature in today’s fashions is illustrative of the
impact our hectic lifestyles have made on the way we
dress. The humanizing of the workplace instigated by
dotcom companies run by younger, less conservative
executives spawned casual Fridays and, more recently,
the evolution of an entirely casual workplace. In other
words, fashion designers are very well able to read the
‘sign of the times’ and anticipate on the trends and developments they observe.
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“
Thanks to her innate sense that it was important to ‘be absolutely at one
with her own time.’ Bit by bit, this fearless genius stripped women of their
corsets and feathers, bobbed their hair as well as their skirts, put them in
bathing suits, and sent them out to get tanned in the sun. she introduced
slacks, dark-toed sling pumps, the ‘little black dress’, quilted handbags, and
the braid-trimmed, brass-buttoned two-piece suit that became her trademark.
“
Dior’s first collection was heralded as the “New Look”, which determined
the direction of fashion for the 1950s. The “New Look” was a nostalgic and
elegant style, characterized by rounded shoulders, a high and emphasized
bust, a tiny, cinched waist, a longish and bouffant skirt, gloves, a hat, and
high-heeled shoes. To make a “New Look” dress required dozens of meter
of fabric. For women, who had been forced to dress in a simple and austere
manner during the Occupation, this luxurious use of material was confirmation of the fact that the war really was over.
Coco Chanel
With the war just ended, the time was ripe for a fashion revolution. The
skimpy, masculine clothes that wartime had brought were anathema
to Dior. He yearned for women to recover their femininity, and for their
clothes to reflect the charm and elegance that he remembered in his moth-
wartime fashions, embraced Dior’s “New Look”.
Dior
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“
“
98
er’s Edwardian gowns. Despite the protests, women, tired of the austerity of
“
Versace realized before anyone else that the meritocratic society of the
1990s needed to be mirrored by our clothing – and that is what he gave
us, in colors and patterns that made most designers faint clean away at the
boldness of it all.
“
Moschino fashion shows are like a mirror, forcing us to acknowledge the
reflection of the world around us, a world we cannot escape. And yet the
awareness of our limitations and stupidity does not offend us, but instead
gives us an unexpected feeling of strength and self.
Franco Moschino
“
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101
“
Gianni Versace
Fashion designers are connected. They are savvy when it
comes to understanding the zeitgeist and the, sometimes
slight, changes that constantly take place in the society,
as a whole, and their market in particular. In addition to
this, they are very well able to adjust their collections to
the needs and desires of the consumers. Fashion is hence
a reflection of the time we live in. It is noteworthy that
fashion designers are very good at anticipating on coming trends, as they have to develop their new collections
about six months in advance. The large adaptiveness
to changing circumstances proves the flexibility of the
mind of every great fashion designer.
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In the fields of observation
chance favors only the prepared mind.
Louis Pasteur
Getting ahead in a difficult profession
requires avid faith in yourself.
That is why some people
with mediocre talent,
but with great inner drive,
go much further than people
with vastly superior talent.
Sofia Loren
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F
ASHION IS ABOuT DEDICATION
When you discover your mission,
you will feel its demand.
It will fill you with enthusiasm
The fashion industry is characterized by severe competition and a critical group of consumers which every season acts like a judge
when the fashion designer presents his new collection.
It is therefore evident that fashion designers work under strong pressure as they are only ‘as good as their last
piece of work’. As always, get to the top is often easier
than to stay at the top!
One of the reasons that many fashion designers are able
to stay at the top for many years – and even decades –
is because of their attitude. It is their passion, perfection
and perseverance that provides them with an exceptional
high energy level to fulfill their lifework.
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and a burning desire to get to work on it.
W. Clement Stone
“
Ralph Lauren believes that beauty, style and harmony enhance life. But his
philosophy is that the pleasures come only to those who strive for them.
The work ethic is important to Ralph Lauren. He sees it as a crucial to man’s
need to aspire, to prove and to improve himself. It is an effective equation
for all its simplicity: “If you work hard and are lucky, you can have what you
“
I am blessed or cursed, depending on how you look at it, with an incurably
restless spirit and the ability to work hard.
Salvatore Ferragamo
“You shouldn’t talk about ‘doing a good’ job because that should be considered
aspire to, and enjoy it because it is earned.”
“In sports as in life, the only person you are competing against is yourself. The
other guy – or the other team – is only there to help you get the best out of your‑
as something normal”
Giorgio Armani
self.”
Ralph Lauren
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“
“
108
great couturier Balenciaga, whose genius has proved over the years to be utterly timeless. One of the most creative designers of his era, he lived for his
work, devoting his entire career to the quest for a perfect elegance, which
combined with simplicity and mastery of technique with a sometimes eccentric and abstract daring. He is a fascinating testimony to both the austerity and the exuberant baroque of the Spanish style.
Cristobal Balenciaga
“
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“
Tai and Rosita Missoni remain the point of reference. Their passion for the
applied arts, which goes beyond art for art’s sake, has been passed on in its
imaginative and creative entirety to their children, now enthusiastic accomplices in an unrivalled project, in a way of working that bears no resemblance whatsoever to the traditional manufacture of yarns and knitwear.
Missoni
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“
“
Jean Cocteau said that ‘fashion dies young.’ The exception to this rule is the
Although the fashion industry appeals to be very attractive and being a successful fashion designer can finally
result in living in a world of extreme luxury, it is important to put this view in the right perspective. This usually
comes at a price. It takes a whole lifetime to become a
desirable fashion label and to build up a successful business. The relentless pursuit is therefore an important
characteristic of fashion designers. They do not give up
easily, if at all, as they have a strong belief in what they
stand for and what they develop. Many times this drive is
reinforced by the enormous passion that designers have
when it comes to fashion. They love their work and live
for it! Consequently, many fashion designers are perfectionists as their ambition is to create – at least once in a
lifetime – their perfect dress!
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Nothing great was ever achieved
without enthusiasm.
Ralph Waldo Emerson
Fashion is for fashion brands
It’s hard to be cool if you don’ t follow these rules
Fashion is for fashion brands
Get out there now and break the rules.
Unknown
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E
IGHT RULES TO BECOME A
FASHION BRAND
helps to create a powerful, attractive and strong brand
with which one can build a meaningful relationship with
the consumer.
In this book we have explored the world of
fashion and its designers. During this journey
it becomes clear that the behavior of fashion designers is
exemplifying for the way one should cope with extreme
competition and a critical audience with constantly
changing needs, desires and aspirations.
Evidently, fashion designers are capable to develop a
strong market position under severe circumstances.
Therefore, for many brand managers these fashion designers can be used as an inspiring metaphor for brand
managers to build strong brands themselves as they have
to act in – to a certain extent – similar market situations.
The previous chapters have guided us through the primary dimensions which we believe form the basis of the
success of fashion brands. Therefore we see them as the
8 rules to become a fashion brand. Applying these rules
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1
Be Imaginative
Building a strong brand starts with building a
strong vision of the market. It entails creating
your own world in which you explicate the –
unique and distinctive – relationship between how users
approach your products and the way you want to satisfy
these needs, ambitions and aspirations. A good appreciation of the interaction forms the basis for a strong philosophy that ultimately becomes the signature of the
brand.
2
Be Creative
A constant flow of innovative propositions
is the strongest way to make the philosophy of the brand tangible. This requires an
open mind and the willingness to experiment with many
different kinds of elements, like movies, books, fabrics,
techniques and cultures, in order to break existing con118
ventions and paradigms. This can only be reached when
one is willing to take a bit more risk to stand out the
crowd.
3
Be Original
It is crucial to be recognizable in a full market. The only way to achieve this is to stay
true to yourself and to use your own philosophy as a starting point to innovate. Brands have to
challenge themselves to keep their originality as this
provides them with an unique and distinctive market
position. Furthermore, it will contribute to a deepening
of the relationship with the consumer. The latter will appreciate the brand’s authentic behavior and will see it as
proof that the brand wants to build a genuine relationship with them.
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4
Be Elegant
The assortment of a brand often consists of
a broad range of products. To offer choice
is an important aspect of creating value as
nowadays consumers want to be treated as individuals
and they want to have the opportunity to use products
which fit with the occasion. It is, therefore, insufficient to
use a ‘one size fits all’ approach if different user moments
can be distinguished. This also provides the chance to be
relevant for the consumer on many more occasions.
5
Be Admirable
with scarcity and thus even more attractive. It is important to build in some selectiveness when it comes to the
accessibility of the brand in order to keep it admirable.
6
Be Aspiring
The buying behavior of a consumer is a reflection of the person he aspires to be. People
buy products that fit with their ideal self. It
is a way to show themselves and their environment who
they ideally want to be or how they want to be perceived.
Understanding these deeper – sometimes unconscious
– drives and motives of people that determine to a large
extent the buying behavior, makes it easier for brands to
help consumers to express themselves.
Selling a brand is to a certain extent selling
a dream. A dream which consumers aspire
to and buying a specific brand helps them
to make this happen. It is not always possible to make
dreams come true which makes them even more desirable. They are difficult to attain which is synonymous
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7
Be Evolutionary
Remaining inspired is a challenge that asks
for continuous renewal of the brand. By being capable of observing what is going on in
the context and to understand relevant drivers of change
brands enable themselves to anticipate this and come up
with new and inspiring propositions that fit with the actual needs, ambitions and aspirations of the consumer.
Being connected, therefore, keeps the brand vital and
forms one of the pillars of the brand construction.
8
Be Committed
job as a lifework and put all his efforts, passion and perfectionism into it to make clear to his buyers that he is
willing to build a genuine relationship.
To conclude
The previous paragraphs show the many different dimensions that together serve as the foundation to build valuable brands. They are meant to provide brand managers
with a set of criteria that can help them to understand
on what dimensions the brand is doing well or should
improve. However, to evaluate the performance of the
brand on these criteria it is evident that there can be only
one source that determines the score: the consumer!
Building an enduring relationship with the
consumer is a strong asset of a brand. To
keep this relationship with the consumer
worthwhile the brand must ceaselessly invest in it. Obviously, this demands from the brand owner complete
dedication toward the brand. He should approach his
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123
Everyone in the fashion industry,
from big designers to celebrities,
can try to influence the desired direction.
However, in the end it
is the consumer who decides
what’s hot and what not…
A
FTERWORD
Brand Fashioning started as a project to
explore new sources of inspiration in order
to further develop the field of branding. By
using the fashion industry as a metaphor we have tried to
provide brand managers with new, inspiring and surprising ideas to create valuable brands themselves. As this
branding approach is the primary focus of the book it
goes without saying that this book was not at all meant to
make an extensive analysis of the fashion industry when
it comes to facts and figures like annual turnovers, profit
margins and mergers & acquisitions. For anyone who is
also interested in this kind of information we gladly refer
to Mark Tungate’s book Fashion Brands; Branding Style
from Armani to Zara.
A
BOUT MICHEL A. JANSEN
Michel A. Jansen (1972) studied business
administration at Radboud University,
Nijmegen, the Netherlands. During his
studies, he specialised in brand theory, with his Master’s
thesis focussing on Endorsement Branding. Since then,
Jansen has gained wide experience and broad expertise
as a brand consultant. Since 2005, he has been a Senior
Brand Strategy Consultant at HIGHvalue. During these
years, he worked together with numerous national and
international clients in diverse markets (FMCG, finance,
leisure, retail, industrial, philanthropic, etc.) on highly
varied issues including identity development, portfolio
branding, extension issues, out-of-home branding, etc.
These clients operated in both the business-to-consumer
market as well as the business-to-business market.
In addition to his consulting work, Jansen regularly appears as a guest lecturer at several national and international universities, including Erasmus University of
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127
Rotterdam, the Academy of Management in Groningen,
Radboud University in Nijmegen and the Stockholm
School of Economics in Russia. He is also the author of
several books (including Strategic Endorsement Branding,
Team Up to Grow, Brand Alliances, and Brand Prototyp‑
ing) and of various articles about branding.
If you would like to contact Michel A. Jansen about this
book, you can reach him via email at:
michel@brandfashioning.com.
A
CKNOWLEDGEMENT
This book made frequent use of inspiring
examples, quotes and illustrations to clarify the content. In doing this, we have attempted to use the utmost care. The examples used are
made up of generally available information about the
brand in question.
In using quotes, the correct source was cited whenever
possible. In some cases, this was regrettably not possible.
The quotes were derived from the books or websites of
the fashion brands mentioned (see references) or cited
from www.wisdomquotes.com.
An attempt was made to approach all those owning the
rights to the illustrations used. Where this was not possible, we offer our sincere apologies and ask those who feel
they may own the rights to contact us.
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129
R
EFERENCES
The quotes of the fashion brands mentioned
in Brand Fashioning were derived from the
sources cited below.
Giorgio Armani
Essere Armani; una biografia. Renata Molho (2006). Baldini Castoldi Dalai editore. Milan
(Italy).
Hugo Boss
http://www.hugoboss.com
Jean Paul Gaultier
Jean Paul Gaultier. Colin McDowell (2000). Cassell Paperbacks. London (UK).
Missoni
Coco Chanel
Chanel. François Baudot (1996). Universe / Vendome Publishing. New York (USA).
Missoni. Samuele Mazza, Thames and Hudson (1997). Thames and Hudson. London
(UK).
Cristobal Balenciaga
Miuccia Prada
Balenciaga. Marie‑Andrée. (2005). Assouline. New York (USA).
Icons of Fashion; The 20 th Century. Prestel Verlag(2005). Munich (Germany).
dior
Nicola Trussardi
Classic fashions of Christian Dior. Tom Tierney (1995). Dover Publications Inc. New York
(USA).
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Paco Rabanne
20 Years Dolce & Gabbana. Sarah Mower (2005). 5 Continents Editions. Milan (Italy).
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Franco Moschino
Ralph Lauren
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Gianfranco Ferre'
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Gianni Versace
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Other literature
Fashion; From the 18th to the 20 th century. Icons (2004), Taschen – The Kyoto Costume
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Fashion as communication. Malcolm Barnard (2nd edition, 2002). Routledge. London
(UK).
Fashion Brands; Branding Style from Armani to Zara. Mark Tungate (2005). Kogan Page,
London (UK).
Glamour. Rosa, J., Postrel, V., Patton, P., Steele, V. and Keffer, R. (2004). Yale University
Press. San Francisco (USA).
Louis Vuitton Japan; The Building of Luxury. Kyojiro Hata (2004). Assouline. New York
(USA).
Moda; Il secolo degli stilisti 1900 – 1999. Charlotte Seeling (2000). Könemann Verslagsgesellschaft mbH, Milan (Italy).
United Colors; The Benetton Campaigns. Salvemini, Lorella Pagnucco (2002). Scriptum
Editions. London (UK).
Versace. Mariuccia Casadio (1998). Thames and Hudson. London (UK).
Vivienne Westwood. Claire Wilcox (2004). V&A Publications. London (UK).
X ANNI DI KAOS! Mauro Foroni (1996). Edizioni Lybra Immagine. Milan (Italy).
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