Journey Book Pt 1 (06)

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Olivia Buckley 1901813 Brand Management AD6606 Journey Book Pt.1 2

CONTENTS 4-5 : INTRODUCTION 6-7 : BRAND ME 8-9 : 360 10-11 : LUXURY MARKET 12-13 : CONSUMER 14-15 : 360 OUTCOME 16-19 : THE METAVERSE 20-27 : CHANEL 28-29 : CHANEL CONSUMER 30- 37: DOVER STREET MARKET 38-39 : DOVER STREET CONSUMER 40-41 : CONCLUSION & NEXT STEPS 42-43 : REFERENCES

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INTRODUCTION The aim of this book is to explain and analyse the journey I have taken throughout my work from Brand Me, 360 and beyond to reach my final FMP outcome. This is the first of a two part journey book that exhibits my choices and influences and the ideas I have taken from my 360 campaign that have informed my Final Major Project. The essence of this project from my 360 campaign is to repair the disconnect between Chanel and Gen Z consumers, creating a new emotional connection based on renewed experience informing long-lasting relationships between luxury brands and an evolving consumer.

Despite the changes that have incurred within my campaign I will outline in this book, these values have remained integral to the success of this concept.

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When starting this project, I reflected upon my

strong, stable, and aspirational brands. This

Brand Me module. This module allowed me

was something my own brand looked to

to gain a deeper understanding of what was

encompass, hence my brand sat within the

important to me, my personality, values, and

luxury market and was targeted at a

my aesthetic. Delving into my past and

younger consumer base of Generation Z.

understanding more about myself, I

Being brought up by the women in my family

discovered that I was influenced a lot by my

influenced my personal and brand values. My

upbringing and childhood, which meant I have

brand is independent, honest, strong and

many contrasting personality traits. After

feminine, it embraces heritage yet is

struggling initially to pin down my brand

determined to move forward in an energetic

identity due to my varying interests and traits,

and positive manner whilst protecting the past

my conclusion found that my brand was an

with a unique sensitivity. Having a love for

oxymoron. An oxymoron is defined as two

both marketing and communication respecting

contradictory terms that appear in conjunc-

both in equal manner, my brand transforms its

tion. When first being called an oxymoron, I

oxymoronic tendency into a positive, in that my

felt somewhat insulted however, after further

brand is far reaching and connected to

research and understanding of myself the term

consumers on numerous levels due to its

seemed to fit. Subsequently I created a brand

range of values. My brand embraces many

named Jai that encompassed my personal

different outlooks, bringing the bold loud na-

values and personality in one. Throughout

ture of traditional luxury and combining it

this project, I discovered that I had a love for

with a sensitive and honest nature to provide

brands within the luxury market, my turbulent

something new for a constantly evolving

upbringing presented itself in my respect for

consumer of Generation Z.

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BRAND ME

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360 OVERVIEW Taking these influences from my Brand Me forward into my 360 campaign, I looked to use the values of my brand and transform them into a concept to fulfil the future of the luxury market and Gen Z, bringing traditional brands in line with an untraditional consumer…solving an oxymoron within the industry.

Having discovered my love and respect of the luxury market and the values surrounding it in my Brand Me led me to research the gaps within this market level and its future.

Through this research, I found a disconnect between traditional luxury brands and the new Generation Z consumer.

It was this gap I formulated my campaign around, interrogating how I could pull together an extremely disloyal consumer with a waning understanding of what luxury is, with luxury brands who have little understanding of this new and important consumer base. In this I looked to redefine the boundaries of what luxury is for Gen Z, focussing on the consumer holistically providing them with a new experience.

Having been influenced by Chanel in my Brand Me, I therefore chose this as the facilitating brand for my campaign, I found Chanel have a stubborn attitude towards change and lack of understanding of whom their consumer could be in future, an issue I looked to solve. Overall, my 360 campaign focussed on redefining the relationship between luxury brands and Gen Z, creating a new emotional connection between both sides.

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“The change in how consumers define luxury and the new path to purchase is dramatically redefining the marketing strategy.

Luxury brands must be very agile and innovative in order to gain the favours of the new luxury consumer.”

(Forbes, 2022) 10

LUXURY MARKET The luxury market is still going through a turbulent time in an ever changing landscape in regards to fashion. Brands must learn to adapt and remain agile as a new consumer steps forwards creating waves within the industry. Luxury is one of the most resilient industries continuing to see growth even after the pandemic. Luxury is defined as images within the minds of consumers that represent high quality, expense and a long lasting nature. There are believed to be 10 luxury brand values defined by Danziger which are: superior performance, craftsmanship, exclusivity, innovation, sense of place & time, sophistication & design aesthetic, creative expression, relevance, heritage, and responsibility. The definition of luxury is expected to continue to evolve in 2022 becoming even more diverse and contextual. “The change in how consumers define luxury and the new path to purchase is dramatically redefining the marketing strategy. Luxury brands must be very agile and innovative in order to gain the favours of the new luxury consumer.” (Forbes, 2022) Where luxury was once driven by logos, product and heritage, it is now driven by renewed sense of purpose and responsibility driven by consumer changes. For brands to remain relevant they must be consumer centric, Gen Z and millennials will make up 70% of the luxury market by 2025 driving 130% growth (Beauloye E. , 2022). However, to reach these figures, brands must understand and commit to the values of these consumers who search for value and experience driven lifestyles.

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CAMPAIGN CONSUMER Through this campaign I extensively researched into my consumer, Generation Z to understand how they will influence the future of the luxury market in this campaign. A consumer born between 1997 and 2012 (approx.) Generation Z have a broad range of values, wants and needs from brands unlike their predecessors, Millennials. A highly informed generation of 2.5 billion (Spitznagel, 2020) they value authenticity, transparency and honesty enforcing rapid change within the fashion industry. As a untrusting generation they are disloyal when it comes to buying, shopping a many different brands based on their values. A generation shaped by economic, social and political hardship they look for safety in an uncertain future. This is reflected in their want for community, inclusivity and sustainability placing brands in the spotlight and aligning with those fulfilling these desires. It is crucial for brands to meet these demands, as Gen Z’s direct and indirect spending powers has reached upwards of $143 billion over the last year (Raynor, 2021). Furthermore, Generation Z are ‘true digital natives’ (Francis, 2018) Hence as an omnichannel generation they look to build relationships with brand on multiple media platforms. I found that my campaign would only be successful if it focussed on this consumer in a holistic sense, as a disloyal generation, ensuring that brands provide for all their values would be pivotal to ensuring long lasting emotional connections and renewed loyal relationships with brands.

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360 OUTCOME My campaign was originally proposed to be communicated in a virtual realm, telling new stories of old brands for the future, using technology to facilitate this new connection between Gen Z and luxury brands such as Chanel. My campaign tapped into Chanel’s lower priced and more popular accessories market aimed at Gen Z, merging this with VR to provide a new experience for consumers to reconnect with the brand whilst modernising it at the same time. This in turn linked back to my brand me of solving an oxymoron in the industry taking traditional brands into untraditional digital landscapes.

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Having reflected on my 360 Campaign and consumer research, I expanded my knowl-

THE METAVERSE

edge on the future of the fashion industry and the future of the luxury market to review if my campaign was suitable for my consumer and a brand such as Chanel, a very traditional brand in an increasingly changing market. I came to a crossroads as to whether to expand upon my 360 campaign and push my campaign further into the Metaverse and use technology to create new experience. On the other hand I could change my initial ideas refraining from the huge step of placing a heritage brand into a virtual setting, yet maintaining the concept of my campaign looking for a new way to create a meaningful connection with Gen Z whilst providing them new experiences.

The conclusion of my 360 rested on the use of VR and the possibilities of the Metaverse

Metaverse as a vector for a new era of creativ-

reflecting on the opportunity’s technology

ity, inclusivity, community and diversity within

could provide for a brand such as Chanel.

fashion. The Institute of Digital Fashion fore-

I began by researching further into this as

casts the Metaverse will see the ‘death of the

a viable campaign. Fashion is in no doubt

superbrand,’ as we know it with many tradition-

moving quickly into more digital spaces, one

al brands relying heavily on their heritage, they

being the Metaverse. Not yet fully defined,

will not be able to compete with the commu-

the Metaverse is said to be a ‘convergence

nities being created online and will therefore

of our physical and digital lives.’ (Brandon,

miss out on this economy. This suggested that

2021) It does not define one specific type

stepping into the Metaverse may be a way

of technology but instead, how we as con-

for traditional brands to reengage with con-

sumers interact with technology in our daily

sumers, redefining their kinship. Furthermore,

lives. Fashion has been stepping further into

demand for fashion and luxury brands within

the Metaverse over the last few years, with

the Metaverse is expected to grow from cur-

brands such as Gucci, Balenciaga and Burb-

rent low levels and result in extra sales for the

erry creating games, collaborating with gam-

industry that could reach $50 billion by 2030,

ing giants such as Fortnite, increasing their

according to Morgan Stanley. (Reuters, 2021)

use of VR/AR, and producing virtual clothing.

This suggests that brands are viewing the

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brands.

Due to this research, I concluded that placing

WHY NOT? However, it will take many years to establish which part, if any, of the Metaverse this income will stem from as the Metaverse itself is still in its infancy. From my research I found that 65% of Gen Z do not understand what the Metaverse is (Gen Z Designs, 2021).

Due to the rapid rate at which the ‘Metaverse’ is expanding this statistic suggests that the Metaverse does not resonate with Generation Z. Encompassing almost everything from social media, to gaming, to fashion, ‘the fundamentals of [the Metaverse] haven’t been built out.’ (Hughes, 2022) This unknown further supports the reasoning behind Gen Z’s disconnect with the Metaverse.

Moreover, ‘not all Gen Z’s are currently into the metaverse, at least not the shopping-heavy, brand-owned one marketers talk about.’

(Student, Beans, 2022) This suggests that despite the fact that many opinions view the Metaverse as fashions next phenomenon, its longevity and success in fashion is uncertain making it a somewhat risky enterprise for

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Chanel fully into the Metaverse would not be the right step. Despite the apparent opportunities of the Metaverse, the ‘Metaverse’ itself is not established, nor is it known when this may occur or its long-term impact.

Furthermore, my research has shown that the Metaverse is not well recognised by Generation Z, a key motive for this campaign looking to create a new connection between this generation and luxury brands.

Instead, traditional brands such as Chanel need a long-term solution and deeper understanding of the next consumer to prolong their relationship. Additionally, my campaign centred around experience, so, I decided that my campaign would not stray too far from Chanel’s traditional values and priority of instore experience. It isn’t enough to build online, TikTok and Snap campaigns marketing must go further to understand the attitudes, beliefs and behaviours of each audience and speak with authenticity to creativity. (Talbot, 2021) Therefore, my campaign will take inspiration from this and embrace the need for creating something more tactile, authentic and valuable for Gen Z to connect to.

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CHANEL An Intro To

Chanel is an iconic fashion house, created by Coco Chanel in 1910 and has developed into a global empire. Known for its timeless designs, classic accessories and established history, its values remain unshaken. Chanel’s designs stemmed from a need for comfort, practicality, and versatility, remaking clothing viewed as ‘masculine’ into designs that redefined women’s dressing for centuries to come.

Its founder Coco Chanel, became a style icon herself known for her sophisticated, perfectly put together outfits and iconic string of pearls. From humble beginnings starting as a milliner, she quickly became a household name, propelled by her style, No5 perfume and powerful legacy carried on through the strong leadership of Karl Lagerfeld, Chanel has maintained its prominence at the height of fashion.

Chanel’s branding has also maintained its identity, the monochrome colours and iconic Double C logo created in 1925 continues to be the biggest brand identifier ingrained into the brands DNA. Chanel’s strong brand identity is propagated by its brand values of, ‘elegance, luxury, exceedingly good quality, attention to detail and less is more approach.’ (Prospect, 2020) For every buyer, Chanel has a desirability and meaning providing the ‘total look for women,’ hence its top-of-the-mind status.

(Prospect, 2020)

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COCO

“ In order to be irreplaceable one must always be different “

COCO 25 (FIGURE 1)

(FIGURE 2)

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It is said that it is this desirability is the main factor that allows Chanel to refrain from selling online or in other stores. Despite this, it can be argued that the strategic reliance on exclusivity and luxury prowess is somewhat to the brands downfall. According to Chanel’s President Bruno Pavlovsky, e-commerce would deprive the final consumer of experience, “Today, e-commerce is a few clicks and products that are flat on a screen. Service is much more important.” It is this that is an important value to the Chanel brand, prioritising experience over all else.

However, Chanel’s refusal to sell anywhere but their own stores and scarcity tactics (Roberta, 2021) means there experience is not connecting to the younger consumers the brand will need to prolong its legacy. Despite its history, Chanel is losing touch with customers, a consumer drawn to newness and accessible brands Chanel’s current strategy of only selling in their stores seemingly dismisses Generation Z entirely, instead focussing on their present and dwindling consumer. The main storyline reinforced throughout the brand’s marketing is that of a liberated young woman, in line with its history. (Roberta, 2021) However, this youthful storyline is somewhat missing from the brand, as their lack of understanding around the Gen Z consumer can be seen through their current use of high class celebrities and millennial models who do not resonate with a newer younger consumer this is waning Chanel’s brand image rendering them somewhat irrelevant with Gen Z.

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CHANEL CONSUMER The Chanel consumer currently identifies as a stylish, intellectual woman, and one of middle to high class with a high disposable income. Chanel consumers are of a varied age due to the range of products the brand sells therefore the consumer is said to be approx. 20-80 years old (Industries, 2022). However, the more dominant consumer is said to be young Boomers or Gen Xer’s who enjoy a comfortable life of luxury and the independence this brings. They have a love for and uninterrupted understanding of luxury brands, valuing their status and history. This consumer wants to identify with the traditional Chanel values of elegance, class and simplicity whilst feeling part of an exclusive community. Chanel’s consumer knows what to expect and almost relies upon this safety and consistency within the brand – a reliance which is perhaps holding the brand back. They spritz the No5 Perfume in the morning to enjoy the scent of a confident women, before applying their Chanel makeup wanting to feel youthful yet classical in their look. The timelessness of Chanel’s clothing and luxury status means that few items are bought by this consumer, but they are worn again and again to many events, a drastically different outlook on clothing to the younger generations who follow a throw away culture. This consumer is also very trusting of the Chanel brand, enhancing the brands value and overall power. The distinguished CC logo creates a sensation and ability for consumers to connect and relate to the brand, trusting the name, price, and quality attributing to their overall loyal view of the brand. (Prospect, 2020) Despite this being the present consumer profile, the fact that this consumer is of an older age means they will soon lose much of their extensive disposable income, consequently they will have to give up such expensive luxuries. Hence Chanel will need to be open to newer, younger consumers to fill this widening economic and social gap.

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An Intro To DOVER STREET MARKET For this campaign I feel it is imperative to maintain a brands heritage, values and identity as this is what underpins its authenticity- an important value for Gen Z. After more research into Chanel’s values, the current climate, metaverse and analysis of my first 360 concept I realised my campaign needed to something more, that would bring Chanel in line with a new consumer that was not just online but that provided new experiences in line with Gen Z’s values with a high significance.

This is where my decision to bring Dover Street Market into this campaign started. Given that Chanel is sceptical about selling and marketing online, I wanted to explore opportunities that would allow brands to interact with consumers in new ways that were not solely online but still provided the upmost experiences wanted by both brand and consumer. Researching into brands not currently marketing much online such as Bottega Venetta and Lush and their interpretation of building deeper and renewed brand-consumer relationships by taking online communication out of the equation, I was inspired most by the philosophy of Dover Street Market.

Dover Street Market is a multi-level concept store based in London and other locations around the world. Its founders Rei Kawakubo and Adrian Joffe are passionate about DSM being a curated space of ‘beautiful chaos’ following an intellectual philosophy focussing on brand identity and creative freedom. (Hypebeast, 2022) The store places a range of brands and market levels that are seemingly opposite together, allowing consumers to see them interact perfectly and purposefully.

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DISCOVER BEAUTIFUL CHAOS

Known as a ‘department store for quirky people’

the brands and pieces within Dover

(Manoff, 2018) Dover Street Market has an

Street alongside the range of

incomparable global reach that brings together the

commercial and conceptual styles

extraordinary in uniquely crafted installations. DSM’s

and price points from CDG perfumes

creative visual merchandising is reborn bi-annually

to Supreme t-shirts to Gucci gowns

creating a new authenticity and excitement for consum-

act as a draw to a range of

ers to enjoy. ‘Without creation there is no progress,’

consumers.

(Joffe, 2020) taking inspiration from the DNA of Comme Des Garcons, Dover Street Market encompasses change within everything it does, ensuring the forward movement and subsequent engagement of the store.

Despite the current concerns over the future of brick and mortar stores, Dover Street maintains its authority and appeal. The synergy between brands within DSM simply cannot be felt online or in other department stores. Moreover, its success has allowed the brand to open multiple stores around the world from New York to Tokyo and Beijing. The balanced composition of

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“WITHOUT CREATION THERE IS NO PROGRESS” ADRIAN JOFFE

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(FIGURE 3)

A TRIP TO DOVER STREET

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As part of my research, I conducted a visit to Dover Street Market in London, to gain a first hand feel of the store and how it was laid out.

I found there to be a unique journey around the store, with each floor taking on a different experience. There are no men’s or women’s departments, instead consumers interact with the clothing in a holistic manner. A concrete jungle, the eclectic fittings and sparse sculptural installations, create a distinctly anti-luxury feel, yet the space is filled with luxury brands. The huge white balls in the windows distort the view inside hence drawing in the imagination of consumers. Comparing my experience of Dover Street to other more commercial department stores such as Selfridges on oxford Street, Dover Street has a much more artistic and freer feel. In comparison to the repetitive Selfridges layout, Dover Street enhances a brands identity within a different setting instead of the setting dictating how a brands identity should be shown. It is this that makes Dover Street unique formulating a new community of like-minded individuals that are devoted to the store, creativity and discovering newness.

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DOVER STREET CONSUMER The DSM consumer is somewhat varied.

On one hand is those of intellect, often early adopters, they have a deep understanding of the brands within the store, visiting regularly to explore the new exhibitions.

They wander around the store, soaking up the details and passing through each brands space, knowing instinctively which brands presence they are in. This consumer places huge importance on looking ‘fashionable,’ they are middle class Millennials with a higher disposable income to afford the high-priced luxury items on offer. Living in metropolitan areas or tourists visiting from other fashion capitals they enjoy not only the creative uniqueness of the store but spend time soaking up the experience enjoying the cakes at Rose Bakery before completing their purchase.

On the other hand, are those consumers who visit for the lower end brands and items specifically, for example the Streetwear brands and CDG Play items such as Converse and T-Shirts. The ‘drops’ and exclusivity of these brands draws in this consumer and hence leads them to view other brands within the store expanding their knowledge of new and exciting brands. These consumers are likely to be young Millennials and Gen Z, lower classed with less disposable income but have an intense knowledge of the community and specifics of streetwear connecting with its background and history. They purchase instead in a savvy manner picking pieces that are higher priced yet meaningful to them, giving exclusivity new meaning. They have a strong tribal culture using logos and street culture to express who they are. Both consumers have an intellectual knowledge and understanding of fashion and what it can represent and portray about them, suggesting the nature and perception of Dover Street itself.

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CONCLUSION The values of Dover Street such as storytelling, curation, decommercialization and producing the unexpected are values that aligned with those of both Chanel and Generation Z. Dover Street is best known for its experience, its flourishing nature as a brick and mortar store explains the importance that ‘emotional branding is related to consumer experience. No longer are consumers focusing on product specifics; they seek experiences from brands. In experiencing a brand, whether it is a product, service, or a retail store, consumers do not just look for quality or low prices; they want to gain emotional rewards from enticing store atmosphere, superb customer service, and entertaining experiences.’ (Youn-Kyung, 2019) It is the values of Dover Street Market and its philosophy of experience and brand support that is well placed within my campaign.

Therefore, I concluded a collaboration between Chanel and Dover Street Market would inform my campaign for my FMP. My campaign will maintain the conclusions of my 360 campaign fixing the gap between Chanel and a new consumer creating a new emotional connection between both parties and creating a new experience for consumers, however I will now be using Dover Street Market to facilitate this renewed relationship. I feel this is the best outcome, due to my further research into the future of the metaverse, it became clear that this was not the right path for my campaign as it did not resonate fully with Gen Z nor was it a stable or long lasting proposition for a brand such as Chanel. This campaign will now create a new connection and experience in a new way other than via digital means. My campaign will maintain my personal brand values determined from brand me, as it looks to solve an oxymoron within the industry of bringing traditional luxury brands into untraditional landscapes in a unique, forward thinking and open minded way.

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NEXT STEPS My next steps were to create a deeper campaign for this collaboration that balance both brands, their values and aesthetics allowing each to gain from this collaboration whilst maintaining a focus on Generation Z throughout using a multi-faceted approach to promotion it would therefore follow a holistic outlook to reconnect. I will ensure that my outcome upholds both brands and is instantly recognisable yet different and exciting. My outcome will focus upon both in-store experience and a social media campaign, despite this being a concept based on bringing new experience in real life via a brick and mortar store, it is important not to overlook social media as an important marketing tool especially to the digitally native Generation Z consumer. My campaign story will be told visually to gain the attention of consumers allowing them to understand the purpose of this collaboration, in turn building a future-proofed relationship.

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REFERENCES: Beauloye, E. (2022). Luxe Digital. Retrieved from The Future of Luxury: 7 Trends To Stay Ahead in 2022: https://luxe.digital/business/digital-luxury-trends/luxury-future-trends/ Brandon, G. (2021). Fashion Is Moving Into the Metaverse — Here’s What to Expect. Retrieved from Rolling Stone: https://www.rollingstone.com/culture-council/articles/fashion-ismoving-into-the-metaverse-heres-what-to-expect-1274264/ Forbes. (2022). WHAT MAKES A LUXURY BRAND? Retrieved from That Agency: https:// blog.thatagency.com/luxury-brand-identity Francis, T. (2018). ‘True Gen’: Generation Z and its implications for companies. Retrieved from McKinsey: https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies Gen Z Designs. (2021, November). Does Gen Z know what the “metaverse” is? Retrieved from Gen Z Designs: https://theloopgenz.substack.com/p/does-gen-z-know-what-themetaverse?s=r Hughes, S. (2022, January). THE IODF ON THE FUTURE OF FASHION: THE DEATH OF THE SUPERBRAND, & AN OPPORTUNITY FOR DIVERSITY. Retrieved from Culted: https://culted.com/the-iodf-on-the-future-of-fashion/ Hypebeast. (2022). Hypebeast. Retrieved from Dover Street Market: https://hypebeast. com/tags/dover-street-market Industries, 4. (2022). Chanel Target Market – Audience & Demographic Segmentation. Retrieved from 440 Industries: https://440industries.com/chanel-target-market-audience-demographic-segmentation/ Joffe, A. (2020, November). Dover Street Market: Built Upon Beautiful Chaos. Retrieved from Business Of Fashion: https://www.businessoffashion.com/articles/workplace-talent/ dover-street-market-built-upon-beautiful-chaos/ Manoff, J. (2018, February). FASHION ‘It’s a department store for quirky people’: Inside Dover Street Market’s off-kilter retail strategy . Retrieved from Glossy: https://www.glossy. co/fashion/its-a-department-store-for-quirky-people-inside-dover-street-markets-off-kilterretail-strategy/ Prospect, R. (2020). Chanel’s Brand Identity and Personality. Retrieved from Research Prospect : https://www.researchprospect.com/chanels-brand-identity-and-personality/ Raynor, L. (2021). Gen Z And The Future Of Spend: What We Know About This Generation, The Pandemic And How They Pay. Retrieved from Forbes: https://www.forbes.com/ sites/forbesbusinesscouncil/2021/01/21/gen-z-and-the-future-of-spend-what-we-knowabout-this-generation-the-pandemic-and-how-they-pay/?sh=567fd54721eb

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Reuters. (2021, November). Metaverse: A $50 Billion Revenue Opportunity for Luxury.

Retrieved from Business Of Fashion: https://www.businessoffashion.com/news/technology/ metaverse-a-50-billion-revenue-opportunity-for-luxury/ Roberta, V. (2021). Chanel Marketing Strategy. Retrieved from Strategy Story: https://thestrategystory.com/2021/04/03/chanel-marketing-strategy/ Spitznagel, E. (2020). Generation Z is bigger than millennials — and they’re out to change the world. Retrieved from NYPost: https://nypost.com/2020/01/25/generation-z-is-biggerthan-millennials-and-theyre-out-to-change-the-world/ Student, Beans. (2022, March). Does Gen Z actually care about the metaverse? . Retrieved from Student Beans : https://partner.studentbeans.com/blog/retail-insights/ gen-z-metaverse/#:~:text=This%20lack%20of%20blanket%20awareness,2021%20following%20the%20Meta%20rebrand.

Talbot, P. (2021). Best Practices For Marketing To Gen-Z. Retrieved from Forbes: https:// www.forbes.com/sites/paultalbot/2021/03/23/best-practices-for-marketing-to-genz/?sh=563e2e7a4319 Youn-Kyung, K. (2019). Emotional branding speaks to consumers’ heart: the case of fashion brands. Retrieved from Fashionandtextiles: https://fashionandtextiles.springeropen. com/articles/10.1186/s40691-018-0164-y

IMAGE FIGURES: Figure 1- Coco Chanel- Retrieved from - https://www.vogue.com/article/cocochanel-birthday-beauty-famous-quotes-rules-no-5-perfume-lipstick-face-karl-lagerfeld Figure 2 - Chanel Spring 2019 - Retrieved from - https://www.marieclaire.com/fashion/g26405749/chanel-most-iconic-runway-looks/ Figure 3- Rei Kawakubo - Retrieved from - https://www.newyorker.com/magazine/2005/07/04/the-misfit

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