Fashion Means Business: Chanel Sustainable Range Plan

Chanel S/S 21 Range Plan Portfolio G ABRIELA F ERNANDES

In this portfolio, the urgent climate emergency is addressed in a sustainability focused range for Chanel’s Spring/Summer 2021 collection. Consequently, this innovative product range aims at improving Chanel’s sustainability approach and transparency, whilst driving growth, market share and attaining a new customer segment, while simultaneously battling the consequences of the Covid-19 pandemic.

1

RANGE DIRECTION

CUSTOMER ANALYSIS

PRODUCT CONCEPT AND DIRECTION

The brand’s target customer plays a crucial role in the development of the range (Clark, 2014). Although it is important to

“The fashion industry has now an inventory problem”

nurture loyal customers, the range’s focus on sustainability poses as

(Fernandez, 2020), as demand for clothing falls due to the pandemic,

an opportunity to target a new customer that demonstrates a greater

“retailers face being left with mountains of unsold spring and summer

interest in the topic, which contributes to an increased market share

stock” (Sutherland, 2020). To manage this unprecedented situation,

and drives growth by exploring a new brand positioning.

the S/S 21 range will be an upcycled version of unsold inventory, while still integrating new, innovative fabrics and designs.

According to McKinsey & BoF (2020), the “focus on

This will include features like removable and convertible

sustainability will be especially prominent for Gen-Z shoppers, whose

aspects of clothing as well as multiway product options, aimed at

concerns for the environment were already heightened pre-crisis”. In

extending the product’s wearability.

addition, these shoppers are digital natives (Francis & Hoefel, 2018), which enables Chanel to launch their improved website and online

In terms of trends, the larger part of the range will feature

purchases to a customer that is familiar with this channel.

versatile colours and patterns (neutral colours, nature related visual content), however a few pieces will showcase more unusual colours and patterns (tie dye, liquid patterns, bold colours) which is aimed at expanding Chanel’s portfolio and attracting a younger customer, or customers with a different approach to spending.

2

FABRIC SELECTION

COLOUR PALETTE

In order to generate material-led innovation, it is necessary to For the S/S 21 season, the colour palette will consist mostly of

keep in mind all aspects from sourcing to disposability (Fletcher and

two sides of the spectrum: “while natural hues will be key, we will also

Grose, 2012). Given the current situation, the upcycling of unsold

see the growing presence of technology influence colours with an

inventory will be a central part of the range, not only in a sustainable

artificial edge” (Boddy, 2019). While the collection is mainly focused

perspective but in a marketing perspective as well (Fernandez, 2020).

on neutrality, matching Chanel’s brand image, a few pieces will cater Due to Chanel’s luxurious, high quality standards, clothes are

to a more fun, daring customer, aiming at a younger demographic.

meant to last a long time in the customer’s wardrobe, and perhaps it Chanel’s best-selling neutrals will incorporate the range –

would not be viable to introduce a recycling program. Instead, the

white, black, beige tones – as well as yellows, greens and blues. These

best next alternative to a circular economy is the use of

colours are forecasted to be popular in S/S 21 (Boddy, 2020),

biodegradable fabrics made from plant and animal-based fibres

generating consumer interest, while simultaneously pushing Chanel

(Blackburn, 2005).

to develop its colour portfolio.

The key fabrics for S/S 21 will either be recycled from unsold inventory/production waste (cotton, wool, linen) or new innovative fabrics, such as Lyocell TencelÒ and Viscose EcoveroÒ. This is adequate for the range as it tackles the inventory issue while generating positive brand image. The introduction of the new fabrics

Figure 1 - Range Colour Palette

is also pertinent, as it fits with the concept and allows the company

(Ross, 2020; Boddy, 2019)

to evaluate how customers react.

3

RANGE STRUCTURE KEY SHAPES / SILHOUETTES

FASHIONABILITY MIX From the CompShop analysis, it was possible to deduct

For S/S 21, femininity mixed with practical pieces will be key

Chanel’s fashionability mix split from S/S 20.

(Perry, 2020; Ross, 2020). Relaxed silhouettes that also reflect a feminine side are not only forecasted, but they also fit perfectly with the customer. The integration of feminine details (ruffles, frills, ruched and wrapped details, puff sleeve) with easy to wear, comfortable pieces are therefore dictating the season.

Fashionabilities

S/S 20

S/S 21

Core

44%

45%

Fashion

31%

36%

High Fashion

25%

19%

To improve versatility, removable and adjustable pieces will FIGURE 2 - FASHIONABILITY MIX COMPARISON

also integrate the collection. Matching sets are also illustrative of this, as easy to style and “they can be worn separately, offering more

Chanel’s main consumer is perhaps more drawn to core,

reasons to buy” (Perry, 2020).

Chanel classic fashionabilities. The new segment, however, is more

The classic Chanel jacket is a crucial part of the collection, as

daring and will be more attracted to fashionable, unique pieces

it is a long-term best seller. There will be 2 options to this classic

(fashion and high fashion fashionabilities). Although each look will

piece: one destined to the loyal customer, and other to the younger

have a specific target in mind, to fulfil both customers’ expectations,

customer.

a mix of fashionabilities will incorporate each look, in order to offer something of interest to both customers.

4

To verify the authenticity and substantial change the company

SUSTAINABLE SOURCING APPROACH

is aiming at, the range will adhere to certification programs. The

CHANEL’S CURRENT SUSTAINABLE PRACTICES

target is acquiring 3 certificates, each addressing a specific aspect of improvement: Blue Sign, Cradle to Cradle and Global Recycle

Due to the lack of transparency the brand is currently

Standard. This will consequently have a positive impact on Chanel’s

displaying, it is unclear where Chanel stands in terms of sustainability.

position in the Fashion Revolution Transparency Index.

Despite Chanel claiming to be working towards a better future in terms of sustainability on its annual “Report to Society” – the only

Due to Chanel’s status in creating excellent, exclusive

official document where sustainability is addressed – there is no

products

substantial evidence to support that, which is corroborated in Fashion

manufactures in Europe only – Italy, France, Scotland (Chanel, no

Revolution’s Transparency Index. In particular, there is a lack of

date). This is favourable for the UK market, as shipping time, costs and

information regarding the sourcing of raw materials and suppliers,

environmental impact are lower than sourcing from more distant

which is a fundamental step in the supply chain.

countries (Rinaldi and Testa, 2015).

focusing

on

craftmanship,

the

brand

currently

RECOMMENDATIONS Consequently, the countries where garments are produced

Chanel needs improvement in several fronts, which is a

will remain the same. However, the factories chosen should follow

process to be developed over time. For the range, the focus will be

the certifications’ requirements and guidelines. The volume of the

on increasing Chanel’s transparency regarding the supply chain,

range is also low as to provide exclusivity.

particularly the early stages of the products (textile supply and production).

5

OVERVIEW OF THE RANGE

Classic Chanel Jacket

Core

Classic Chanel Jacket

Wrapped Top

Logo Wrapped T-Shirt

Fashion

Structured Mini Skirt

Flared Leg High Waist

Wide Leg Volume Trousers

High Fashion

Textured Shirt

Shorts

Convertible Jumpsuit

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Double Tailored Coat

Tie Dye Cape Dress

REFERENCES -

Blackburn, R. (2005) Microbial Processes in the Degradation of Fibres. Cambridge: Woodhead Publishing Limited.

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Boddy,

J.

(2019)

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21.

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at:

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Chanel (2018) Report to Society. Available at: http://services.chanel.com/i18n/fr_FR/pdf/Chanel_CSR_0305_Proof_180620_for_web.pdf (Accessed: 4/03/2020)

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Clark, J. (2014) Fashion Merchandising: Principles and Practice. Basingstoke: Palgrave.

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Edited (2020) Analysis: Colours . Available at: https://app.edited.com/#market/dashboard/382840/new?analysis_view=colors&brands=chanel%7Cdior&gender=women&in_stock=true&is _second_hand=false&list_style=image&order_by=found_desc&primary_pivot=default&secondary_pivot=none&show_numbers=counts&ver tical=apparel&view=analysis (Accessed: 17/04/2020)

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Edited (2020) Analysis: Patterns . Available at: https://app.edited.com/#market/dashboard/382840/new?analysis_view=patterns&brands=chanel%7Cdior&chart_labels=show&gender=wo men&in_stock=true&is_second_hand=false&list_style=image&order_by=found_desc&primary_pivot=default&scale=default&secondary_piv ot=none&show_numbers=counts&vertical=apparel&view=analysis (Accessed: 17/04/2020)

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Edited (2020) Coronavirus: The Power of Print. Available at: https://app.edited.com/#retail/article/women-retail-tw-print-cvs-270420 (Accessed: 23/04/2020)

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Fashion

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Index

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at:

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Fernandez, C. (2020) What To Do With All That Excess Inventory. Available at: https://www.businessoffashion.com/articles/professional/whatto-do-with-all-that-excess-inventory (Accessed: 24/05/2020)

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Fletcher, K. and Grose, L. (2012) Fashion and Sustainability: Design for Change. London: Laurence King Publishing Ltd.

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Francis,

T.

and

Hoefel,

F.

(2018)

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Gen”:

Generation

Z

and

its

implications

for

companies.

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McKinsey&Company and The Business of Fashion (2020); The State of Fashion 2020 Coronavirus Update. Available at: https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/its%20time%20to%20rewire%20the%20fashion%20system %20state%20of%20fashion%20coronavirus%20update/the-state-of-fashion-2020-coronavirus-update-vf.ashx (Accessed: 19/03/2020)

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Ross,

A.

(2019)

Women’s

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S/S

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GameScape.

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Skliarova, J. et Palmer, H. (2019) Women’s Textiles Style Trend Concepts S/S 21: GameScape. Available at: https://www-wgsncom.arts.idm.oclc.org/content/board_viewer/#/84081/page/13

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Sutherland, E. (2020) What Can Retailers Do With Their Spring 20 Stock Mountain?. Avaliable at: https://www-drapersonlinecom.arts.idm.oclc.org/business-operations/what-can-retailers-do-with-their-spring-20-stockmountain/7040300.article?search=https%3a%2f%2fwww.drapersonline.com%2fsearcharticles%3fqsearch%3d1%26keywords%3dinventory (Accessed: 24/05/2020)

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(2020);

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Graphics

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WGSN (2019) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84323/page/10

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WGSN (2019) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84081/page/11

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WGSN (2020) Coronavirus: Luxury Strategies. Available at: https://www-wgsn-com.arts.idm.oclc.org/insight/article/87034 (Accessed: 27/04/2020)

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WGSN Original CADs/Flats/Prints and Graphics •

Look 1 -

soft_bucket (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/87420/page/6

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soft_tote (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/87420/page/4

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STAYCATION_DESIGN_CAPSULE_S.S_21e_1_copie

(no

date)

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/content/board_viewer/#/86845/page/7 -

Watkins,

H.

(2020)

Textural_Painterly_Stripe.

com.arts.idm.oclc.org/content/board_viewer/#/86674/page/6 •

Look 2

9

Available

at:

https://www-wgsn-

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chain_strap_mini (no date). Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84801/page/6

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cut_and_sew_S.S_21_3 (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/85549/page/8

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Outerwear_A.W_20_21_X9_6

(no

date)

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/library/results/1a36270f0ab5852249a8991cb2ae5ee0 -

STAYCATION_DESIGN_CAPSULE_S.S_21_3_copie

(no

date)

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/content/board_viewer/#/86845/page/8 -

the_semi_rimless_cat_eye

(no

date).

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/content/board_viewer/#/84746/page/9 -

Watkins,

H.

(2020)

Textural_geo_22.

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/content/board_viewer/#/86674/page/5 •

Look 3 -

Lyne-Watt,

K.

(no

date)

Blotched_Blooms_floral_painterly_naive_print.

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/content/board_viewer/#/85637/page/3 -

marian_shirt_X1_copie

(no

date)

Available

at:

https://www-wgsn-

com.arts.idm.oclc.org/library/results/d054adafb1bb37c46be977ededdca356 -

Outerwear_A.W_20_21_X9_6

(no

date)

Available

at:

https://www-wgsn-

at:

https://www-wgsn-

com.arts.idm.oclc.org/library/results/1a36270f0ab5852249a8991cb2ae5ee0 -

SS21_Structured_Mini_Skirt

(no

date).

Available

com.arts.idm.oclc.org/content/board_viewer/#/85505/page/3 -

the_ruffle_scrunchie (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84454/page/10

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•

•

Look 4 -

S.S_21_Dresses_3 (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/85410/page/9

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the_hexagonal_frame (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84746/page/8

Look 5 -

10.volumetrouser (no date). Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/85572/page/8

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Cut_and_sew_S.S_21_7 (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/85549/page/6

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Lizzy_Outerwear_1 (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/85366/page/6

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the_extended_rectangle (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84746/page/7

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trapezoid (no date) Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/84801/page/3

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