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COURREGES

STRATEGY

BRAND

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CONTENTS 4-5

BRAND VISION

6-9

COLLABORATIVE PARTNERS

10-11

BRAND VALUES

12-13

BRAND STORY

14-15

MARKET RESEARCH

16-17

TREND RESEARCH

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PRODUCT BASE

20-21

REPOSITIONING MAP

22-25

CHANNELS OF BRAND COMMUNICATION

26-27

TARGET CONSUMERS

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BRAND IDENTITY

30-31

COMMUNICATION STRATEGIES

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BIBLIOGRAPHY


BRAND VISION:

THE REVIVAL OF THE BRAND COURREGES 2020 As a brand we have created a way to revitalise Courreges for 2020. Andre Courreges main reason behind his designs were to make them functional, easy-to-wear products for women (Friedman, 2017). He wanted to set them free. Andre Courreges created a fun vibe for the youth, he designed luxury ready-to-wear collections and it’s recommended that this will be the main focus for the brands relaunch. At the forefront of this revival, we feel that Courreges product offering is too specific and the brand isn’t approachable, therefore we want to make it friendlier and more accessible. To successfully execute and retain the original brand essence, there will always be a Space Age/Futuristic connection as the brand will forever focus on future ideas and ideals. The brand was about ‘design not fashion’ (Shalev, 2011) originally Andre Courreges’ clothing was very architectural, so this will remain. Target Consumer Middle Eastern, offer one of the biggest market opportunities for the brand, therefore, the millennial females within the Middle East will be the main target consumer. To make the collections accessible to these consumers, we will adapt the designs so that they will be culturally appropriate for Middle Eastern consumers in the Gulf countries (Al-Naimi, 2017).

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COLLABORATIVE

PARTNERS: Kalen Hollomon, a collage artist x founding designer Ernesto Naranjo, a fashion architect designer. We believe that Ernesto will make his own mark on the brand while remaining the original brand codes making him suitable as the new creative director for Courreges 2020. We have chosen a young, fresh designer from Central Saint Martins who specialises in fashion womenswear, we believe they will connect with the millennial consumers the best. We have chosen a radical designer that is really going to differentiate and push the boundaries from what is already in the luxury market.

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COLLABORATIVE

PARTNERS: Kalen Hollomon is a collage artist who has previously ‘worked with Courreges, Prada and Vetements’ (Harding, 2014). Product Development As Courreges’ major success was in womenswear, we will initially focus on this product category and introduce a menswear collection further down the line as we want to remain inclusive. Advertisement Campaigns For our photography inspiration, we will use renowned fashion photographer, Juergen Teller, who uses casual settings and creates fun and approachable imagery, this is the essence we want to achieve for the revival. One of our collaborative partners, One of our collaborative partners, Ernesto Naranjo takes inspiration from architecture therefore he will take inspiration when designing our garments from Zaha Hadid, an Iraqi-British architect as they are incredibly futuristic and modern (Al Jazeera, 2017).

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BRAND

VALUES:

In 2020, the ‘biggest shift amongst industries is to act sustainable’ and we plan to include this in our new brand vision. ‘Ethical practices and sustainability’ will be the new drive for consumers as ‘33% of consumers are buying from brands who are being environmentally concerned’ (Craggs, 2017). A lot of brands aren’t taking a sustainable approach, for consumers to connect with a brand when ‘ethics are paramount’ to them, they need to prove this by ‘exposing the supply chain’ (Varga, 2017). We will move forward as an sustainable brand by using ecofriendly fabrics and being ethical through-out the process of manufacturing to build loyalty with our consumers. Another value at the heart of the brand is to be more approachable to our consumers, we will be more gender, ethnicity and culture aware in the hope that more customers will want to be a part of our brand. As a brand we want to be inclusive. We hope Middle-Easterners will be inspired by this collection, we will be culturally aware of what is appropriate for them but also that people wearing Courreges will want to move away from tradition and times are changing in the Middle East, so it will become more acceptable for them to wear what they desire. Futuristic designs are more structural so basing a selection of the products on architectural, geometric shapes is going to be more on trend as fashion and time moves forward.

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BRAND STORY: Courreges aims to empower women. Courreges wants to free you from oppression and the constraints of normalcy. Courreges will offer you a new way of living, the freedom to express yourself and a life full of excitement. Courreges will blur the boundaries of gender, ethnicity and culture. WE ARE FREE WE ARE LIFE WE ARE COURREGES…

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MARKET RESEARCH:

Regarding the Middle Eastern countries, in the ‘Gulf countries the obsession is with brands and luxury accessories’ (Al-Naimi, 2017). In some districts, they try and make it look modern by wearing a robe but underneath they wear what they desire and can remove this if there are no men around (Al-Naimi, 2017). A lot of fashion houses are creating traditional wear that will appeal to Muslim women for example ‘Dolce & Gabannas’ Spring 2017 Abaya collection’ (Morgan, 2017), however our brand wants to go beyond this and not just produce traditional wear, they want to wear something that will make them feel luxurious yet cool. Courreges’ is already attracting Middle Eastern consumers so it would increase profits to launch a creative hub in Dubai and sell luxury goods to this market as it is at the forefront of Middle Eastern consumers desires. Our current store in Paris will remain there as this is where the brand first originated. We believe its important to feature pop-up stores in Dover Street Market, Harrods and Selfridges in London as these stores are very successful with Middle Eastern consumers (Gucci staff, 2017). We want to keep the exclusivity of the brand by having a limited number of stores but letting customers access it online, ‘buying online has become more popular than ever for millennials’ (Chen, 2016). By 2020, millennials ‘will have disposable income for luxury experiences’ (Rein, 2016), they no longer want throw away fashion so our products will be investment pieces that never go out of fashion. We have discovered that brand experience is more valuable to youths, it’s not about the products as such (Rein, 2016). As a brand we want to celebrate women in the campaigns so we are basing the revival around womenswear, in the future we will be selling menswear as men and woman in the Middle East shop together so it would bring in profit for Courreges to sell men and womenswear. The products can be adapted slightly, but wearable for both sexes as it is common for men to wear the same top half as the woman, especially if there are cultural relations (AlNaimi, 2017).

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TREND

RESEARCH

2020

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PRODUCT

BASE:

Our main product offering for the womenswear S/S 2020 will be accessories and garments designed by Ernesto Naranjo. We will be offering recreations of the original products like the Eskimo sunglasses and go-go boots, remaining the architectural, design element as it is ‘more of a house of design than fashion’ (Hyland, 2014). Relaunching the collection as a luxury ready-to-wear, consumers are willing to spend £800 on a jacket as these classic pieces will be an investment. There will be more traditional, modest collections in the future for older consumers to access the brand. We will also make the garments accessible for men by creating a more androgynous look that can be wearable by more cultures and accept modern ideals of men’s and womenswear blending. Branding was not as recognized as it is now as there wasn’t the technology to produce zines and look books until the mid-1970 (Luke, 2017), one of the product offerings will be a digital broadsheet which will have our printed campaigns in, work by Kalen Hollomon and photographed by Juergen Teller. We wanted big scale prints to relate to the public space that will be digital billboards around cities. In the gulf countries the obsession is with brands and luxury accessories (Al-Naimi, 2017). Gold jewellery in high karats is very popular in the Middle East, we can adapt some of the collection so this is a product offering including jewellery and perfume bottles (Al-Naimi, 2017). Middle Eastern women wear long black dresses when they are in public but when t hey are no men around they can take it off and wear less modest clothing underneath (Al-Naimi, 2017). We will be steering away from tradition and supporting them to move forward and empower women. It’s not what they wear on the outside, but what they can feel good in on the inside.

PRICE STRUCTURE Ready-to-wear will remain a past statement Andre made about designer s copying his looks, it makes it more accessible to my targeted consumers being readyto-wear and not couture, for example entry level products, scarves, sunglasses, bags they can afford, this will be consumers starting to buy into the brand. Readyto-wear, millennials will either save up for a product or they will have money.

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REPOSITIO

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ONING MAP:

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CHANNELS OF BRAND

COMMUNICATION: Media The website will drive purchases, the most important platform for Courreges as the brand is all about being digital. This is an easy platform for this consumer group, they will use ‘digital devices to purchase goods and research before purchasing’ (Thapha, 2017). This is why we want to make Courreges more well-known as a brand and create cool, obscure products that millennials will want to wear. Our advertising campaigns will feature in magazines such as Hunger and AnOther, we believe this will be the best way for our consumers to discover Courreges and that our campaigns will fit well in these ‘high fashion and culture magazines’ (AnOther Magazine, 2017).

Architecture The location of the relaunch will take place in the two hubs where Courreges will be most successful, Paris and Dubai. Regarding the suppliers and supply chain logistics, we will also be building a factory for the store in the Middle East, as well as running the current one in Pau, this will maintain our ethical outlook by minimizing transport costs. The brand culture in 2020 will be taking advantage of ‘automation with creation of a workplace’ making it a more diverse process, this also fits in with our new brand ethics of being environmentally aware (Maxwell & Stott, 2017) There will be one of Andres’ cars that he designed, parked outside of the store as we want to create the experience before consumers enter the store, and familiarising them with his other design inventions. The look and feel in the store will have a futuristic vibe with a lot of digital screens, this will feature campaigns and film, there will be original designs such as the go-go boots on display so customers can really connect to the heritage.

Packaging For our digital broadsheet with our campaigns and best images, we have found a way to produce recyclable packaging to address our new element to the brand. It will be very personal to the brand and features our main campaign, cut outs of the logo, traditional prints and our new brand narrative. For the product packaging we will use 100% biodegradable bags that are personalised to create that luxury feeling for our consumers, including Persian prints for the Middle Eastern store. We will make editions for France and the Middle east, for the prototype packaging we used thick card but in industry it will be produced out of thinner, more eco-friendly resources.

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FUNCTION The clothes have to remain functional like Andre originally intended, the designs will be out there and unusual to what already exists but will allow women to be free. We have produced a collection that will be suitable for both millennial and Middle Eastern consumers, as these products are going to be completely out there, the customers buying these will want to express themselves. We will have one Zeitgeist that will be a radical, individual that will appeal to all of our consumers.

Response time We will not be using the see-now buy-now process as it loses the exclusivity and value of buying into the brand. This gives the impression of high-street wear that is fast fashion which we want to move away from. We want consumers to invest in the products and the wait for the response time will make the customer appreciate the product. Luxury readyto-wear collection will be available in stores.

Personal interactions The exclusivity and how inviting luxury brands are can depend on if they have their store doors open. Currently the brand is keeping it very ‘one-to-one based with clients and the doors are closed’ (O’Connor, 2017), however from observations we don’t want consumers to feel unwelcome so from 2020 onwards we will have the doors open. From our research in Paris, we will have music playing within and outside of the store, we believe this will enhance customer experience and entice them in. This will allow them to acknowledge a bit about the brand before they enter, we noticed more people showed interest towards Hermes in Paris due to this add on (O’Connor, 2017). Currently the staff wear Courreges clothes, for the relaunch the staff will be dressed in original, inspired-Courreges outfits (O’Connor, 2017) Even though there isn’t a Gucci consumer sale, there are perks and benefits for the staff like sales that they can choose from, this would be available for our brands staff as its important to us for them to be valued when they are working with our brand.

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TARGET MIDDLE EASTERN

CONSUMERS

Our two target consumer groups are the Middle East and millennials. Our reasons to execute in the Middle East are that modest wear is becoming ‘more prominent and consumer lifestyles are always evolving’, some of the top luxury brands have tapped into this and have realised ‘Muslim women are into their fashion just like any other woman’ (Yotka, 2016) so offering traditional wear like the ‘hijab in their collections’ will gain their custom. ‘According to the Global Islamic Economy report, the modest wear market alone is forecast to be worth $327 billion by 2020’ (The State of Fashion, 2017). Due to there being ‘a lot of money in the Gulf countries, they have a high sense of fashion and brand’ (Al-Naimi, 2017), this is one of the reasons we are looking to target this emerging consumer group as they want to buy fashionable goods and can spend the money on these. Also, these ‘countries have fashion districts where big brands are wanting to make it a more creative hub and make profit’, as we go into our new phase we believe it will be beneficial for us to be in this creative district as this market development is expanding. We have realised there is a market for our brand that is luxury but approachable. These consumers are now more aware and highly knowledgeable, this therefore increases demand for brands to produce and appeal more to the needs and desires of the consumers (Thapha, 2017). We want to move away from stereotypes and tradition, our brand is aimed at ‘real’ people who want to express themselves and we want to give you the freedom to be yourself.

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MILLENNIALS The brand heritage was to aim at millennials so we have to remain this, aiming at the silver consumer group would not be a part of Andre’s ethos, even though we hope other demographics will want to experience our brand. Courreges youthful ethos has to remain in the brand as he wanted to create ‘something fun and practical for this target audience but also remain affordable’ (V&A, 2017). Study shows that the millennial generation are entering their prime in terms of spending power (Chen, 2016). Andre Courreges broke the barriers and blended these into one, the ‘traditional division between haute couture, sportswear and functional clothing’ (Shalev, 2011). ‘Younger demographic are dominating the scale of the world’s wealthiest, says Bulgari CEO Christophe Babin’ (Chen, 2016). A survey conducted by Outnet.com this July shows that on ‘social media, personal growth, [sense of] belonging and experiences are the key drivers of joy’ (Chen, 2016).

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BRAND

IDENTITY

For the relaunch of the brand Courreges in 2020, it will remain key brand elements being Space Age and futurism. The environment will be the new element that is brought to the brand, Andre Courreges used new materials so it’s important for the brand to retain this tradition and Ernesto is experienced working with fabrics and elements that matter to the brand. Millennials relate and are passionate about the environment so as one of our main demographic groups this will be a major selling point for them. Courreges new emerging market will target the Middle Eastern consumer; they want fashionable, luxury goods. By using inspiration of architecture and patterns in their countries, this will relate to their culture and by adapting the collection so they are culturally acceptable. We have decided to not use a celebrity endorsement, but a stand out model, who is real and radical that will relate to our consumers.

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COMMUNICATION

STRATEGIES ONLINE TOUCHPOINTS Mintel stated that ‘40% of global shoppers prefer to purchase clothes online and 51% prefer in store’ (Pwc, 2017) so these will both be important platforms for our emerging market. Technology is one of the driving forces for millennials now (Berset-Price, 2017) this is an element that Courreges has to his advantage with it being part of the brands essence, we will start to provide features online as this is a ‘major platform for interaction’ (Arthur, 2016). Use virtual mirrors, the world needs to be at a faster pace with consumers being more internet based. Also, this will also benefit Middle Eastern consumers as in some cultures they are not allowed to get undressed so we will adapt to suit all target consumer needs. Currently Courreges has 360 rotation feature of the outfits, we will keep this to enhance the customer experience on the website. For my brand to be more engaging with the millennial consumer who are social media driven, it would benefit to ‘interact and include hashtags’ (Newbold, 2017). Instagram will reach out to both of our target groups, ‘40% of millennial women said that Instagram is the best way for brands to reach them’ (Richards, 2017). Research shows that in Egypt, Lebanon, Saudi Arabia, Tunisia and United Arab Emirates ‘visual platforms are increasing significantly’, this will allow our Middle Eastern consumers to interact with the brand on social media (Radcliffe, 2017). Luxury brands are targeting millennial consumers using ‘digital platforms, product diversity and creative storytelling’ (Chen, 2016).

OFFLINE TOUCHPOINTS We believe using digital billboards will help brand recognition especially in the Gulf market as they are very wealthy and its one of the most effective ways to reach out (IstiZada, n.d.). E-commerce will be a key online and offline touchpoint as brands are engaging with consumers through virtual reality and will increase sales (The State of Fashion, 2017). This will enhance the shopping experience for Middle Eastern consumers who are not allowed to get undressed when they are shopping, this will also help them connect with the brand as they are considering their consumers and making their experience in the store at ease. By making the brand available in the Middle East they will benefit as they will have access to the products, this will be profit efficient as they are an emerging market who want luxury goods in their district and currently they have to ‘travel to buy goods as they are not available in the domestic market’ (Deloitte, 2017). The benefit of pop-up stores is that currently a lot of Middle Eastern consumers travel to buy their goods and visit high-end department stores (O’Connor, 2017), consumers will have high disposable incomes and as we will be interactive and welcoming with them, this will initially attract them to the brand. This leads to brand extension by allowing it to ‘build awareness and are interactive with customers’ (Vong, 2016).

Public space ‘Jean Nouvel’s completed Louvre Abu Dhabi which is an art museum that is spanned by a huge geometric-patterned dome’ (Mairs, 2017). The space is very minimalistic and works with the style of the brand, this would be a great place to execute the catwalks as it is a new architectural building it will be a popular, tourist area to visit.

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CONCLUSION We hope to achieve a more approachable, accessible brand in 2020 to our consumer groups. by being a susainable brand we hope consumers will be inspired by this and want to be a part of the brand, along with us being more gender, ethnicity and culture aware. we hope to bring back the roots of courreges that we value and consumers can be a part of what courreges once was.

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BIBLIOGRAPHY WEBSITES Friedman, V. (2016). André Courrèges, Fashion Designer Who Redefined Couture, Dies at 92. Nytimes.com. Retrieved 30 December 2017, from https://www.nytimes.com/2016/01/09/business/andre-courreges-fashion-designer-who-redefined-couture-dies-at-92.html Shalev,S. The once and future designer. (2011). haaretz.com. Retrieved 18 December 2017, from https://www. haaretz.com/israel-news/the-once-and-future-designer-1.400519 Zaha Hadid: The only woman who won the Royal Gold Medal. (2017). Aljazeera.com. Retrieved 30 December 2017, from http://www.aljazeera.com/news/2017/05/zaha-hadid-woman-reshaped-modern-architecture-170530200456379.html Harding. C. Kalen Hollomon: cut out king of New York. (2014). Dazed. Retrieved 30 December 2017, from http:// www.dazeddigital.com/artsandculture/article/20187/1/kalen-hollomon-cut-out-king-of-new-york Morgan, P. (2017). Dolce & Gabbana Mix It Up with Spring Abayas and Luxury Sneakers. Vogue Arabia. Retrieved 30 December 2017, from https://en.vogue.me/fashion/dolce-and-gabbana-spring-2017-abaya-collection/ Chen.V. (2016). Style Magazine. Retrieved 30 December 2017, from http://www.scmp.com/magazines/style/fashion-beauty/article/2050739/luxury-brands-are-targeting-millennial-consumers, Rein, G.(2016). Think Tank: Why Millennials Are the Future of Luxury. WWD. Retrieved 30 December 2017, from http://wwd.com/fashion-news/designer-luxury/millennials-luxury-spending-10417737/ Hyland, V. (2014). A Legendary French Fashion House Returns. The Cut. Retrieved 30 December 2017, from https://www.thecut.com/2014/10/legendary-french-fashion-house-returns.html AnOther Magazine | Fashion & Culture | AnOther. (2017). Anothermag.com. Retrieved 30 December 2017, from http://www.anothermag.com/ Maxwell, P., & Stott, R. (2017). Brand Culture 2020. Brand Culture 2020 | LS:N Global. Retrieved 30 December 2017, from https://www.lsnglobal.com/big-ideas/article/21793/brand-culture-2020 yotka, S. (2016). Dolce & Gabbana’s Embellished Hijabs and Abayas Are Great News for Muslim Women—When Will Other Brands Follow Suit?. Vogue. Retrieved 30 December 2017, from https://www.vogue.com/article/ dolce-gabbana-hijab-abaya-collection V&A · An introduction to 1960s fashion. (2017). Victoria and Albert Museum. Retrieved 31 December 2017, from https://www.vam.ac.uk/articles/an-introduction-to-1960s-fashion Total Retail: How do consumers shop. (2017). PwC. Retrieved 31 December 2017, from https://www.pwc.com/gx/ en/industries/retail-consumer/total-retail/total-retail-categories.html Berset-Price, V. (2017). From Pop Culture to Global Culture: How Millennials and Technology Are Influencing Our World. HuffPost. Retrieved 31 December 2017, from https://www.huffingtonpost.com/valerie-bersetprice/ from-pop-culture-to-globa_b_8765928.html Arthur, R. (2016). Forbes Welcome. Forbes.com. Retrieved 31 December 2017, from https://www.forbes.com/ sites/rachelarthur/2016/12/19/8-tech-trends-that-will-shape-the-future-of-fashion-and-luxury-retail-in2017/#7f41719f7615 Newbold, A. (2017). How Science Fiction Became 2017’s Most Imaginative Trend. Vogue.co.uk. Retrieved 31 December 2017, from http://www.vogue.co.uk/gallery/science-fiction-sci-fi-film-fashion-trend-analysis Richards, K. (2017). 40% of Millennial Women Say Instagram Is the Best Way for Brands to Reach Them, Per Bustle. Adweek.com. Retrieved 31 December 2017, from http://www.adweek.com/brand-marketing/40-of-millennial-women-say-instagram-is-the-best-way-for-brands-to-reach-them-per-bustle/ Radcliffe, D. (2017). How the Middle East uses social media: 5 key trends. Ijnet.org. Retrieved 31 December 2017, from https://ijnet.org/en/blog/how-middle-east-uses-social-media-5-key-trends Middle East Billboard Advertising & Outdoor Ads | IstiZada. IstiZada. Retrieved 31 December 2017, from http://istizada.com/middle-east-billboard-ads/ Vong, K. (2016). 6 Benefits of Pop-Up Shops - TREND HUNTER PRO. Trendreports.com. Retrieved 31 December 2017, from http://www.trendreports.com/article/benefits-of-popup-shops Mairs, J. (2017). Jean Nouvel's Louvre Abu Dhabi features a huge patterned dome. Dezeen. Retrieved 31 December 2017, from https://www.dezeen.com/2017/11/07/jean-nouvel-louvre-abu-dhabi-art-museum-united-arab-emirates/ Craggs, H. (2017). Big Ideas A/W 19/20: Colour. WGSN | Creating Tomorrow | Trend Forecasting & Analytics. Retrieved 31 December 2017, from https://www.wgsn.com/en/ Varga, C. (2017). Big Ideas A/W 19/20: Active. WGSN | Creating Tomorrow | Trend Forecasting & Analytics. Retrieved 31 December 2017, from https://www.wgsn.com/en/

Reports Page 12, 14.The State of Fashion (2017) Page 5. Deloitte. (2017).

Primary Research Usama Al-Naimi (2017) Fashion in the Middle East Ben (2017) Emerging markets lecture

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