Journey Book Pt 2 - Brand Collaboration Book (07)

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CONTENTS 4-5 : INTRODUCTION 6-7 : FMP STATEMENT 8-9 :THE PURPOSE & WHY 10-11 : GUCCI X NORTH FACE 12-15 : PREVIOUS DSM COLLABORATIONS 16-17 : CONSUMER 18-19 : COLLABORATION IDENTITY 20-21 : WHY STREETWEAR? 22-23 : ADDRESSING SUSTAINABILITY 24-25: INITIAL OUTCOMES 26-33: DESIGNER & COLLABORATION RESEARCH 34-43 : NEXT STEPS - STYLING & SHOOT PREPARATION 44-45: NARRATIVE 46-47: TIM WALKER 48-55: TEST SHOOT 56-63: FINAL SHOOT 64-69: BRANDING 70-75: CAMPAIGNS 76-77: CONCLUSION

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INTRODUCTION

PART TWO

This is the second part of my journey book. The aim of this book is to explain and analyse the journey I have taken in developing my understanding of my final campaign. This includes researching what would make my campaign successful, how it would look visually as well as my final promotion.

I conducted much research explaining each of my choices to ensure this campaign would meet my concept as well as be meaningful and well received to my audience. My campaign is called Coco Street Market and looks to fill the gap determined in my 360, drawing on my learning and knowledge from the past two years of University I have been able to develop and grow my campaign from conception to completion ensuring my campaign values and brand identities are present throughout.

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FMP STATEMENT The intention of this campaign is to develop a strategy to allow brands to create a new emotional connection with Gen Z, using the philosophy of Dover Street Market to inform a new brand experience and in turn community for brands who wish to maintain their heritage, authenticity and status, using Chanel as a test for this. My FMP will look to use a multifaceted approach to marry Chanel into the DSM Collective creating a campaign that is an alternative to solely marketing online.

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PURPOSE This FMP will draw on and expand upon my 360 campaign values and conclusion to interrogate how high end luxury brands can be accepted by Generation Z by being a part of the Dover Street Collective. This collaboration will act as a steppingstone for luxury brands to start to build a renewed relationship with Generation Z informing emotional attachments that provide loyalty and a future proofed connection. This strategy will create a symbiotic relationship between Chanel and DSM, each gaining something from this campaign. Chanel the opportunity to renew their brand identity whilst maintaining their values and heritage giving the brand a new meaning to Gen Z consumers. On the other hand, DSM will gain another high-end brand drawing a younger Generation Z into their store to find the beautiful chaos inside.

This fusion will also ensure a new experience for Gen Z allowing them to gain a new understanding of high-end luxury brands, subsequently securing their future. My concept will look to solve the oxymoron of how Chanel can transform its traditions and be curated to fit seamlessly into a DSM space, storytelling Chanel’s heritage in a new way fit for the future.

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WHY A COLLAB? I believe that a collaboration will be the most beneficial outcome to my campaign as it has been proven that collaborations allow brands to work together to reach a new consumer they previously haven’t focussed on. Collaborations are important for brands as they enable reach to a new audience. More crucially for fashion brands, collaborations unlock the ability to deliver a collection that is outside of their typical design, in a refreshing and different style. (Coleman, 2020) Collaborations are also usually short-term occurrences that promote exclusivity – a value ingrained within Chanel.

Fashion collaborations are a recent phenomenon, with many brands veering away from the principle for many years to maintain their own status and identity.

However, this outlook has changed over the years, “it says everything about how fashion has changed, designers now realise they can feed off each other’s talent and creativity.’ (Burke, 2022) It is this that makes collaborations both exciting and successful to brands on a number of levels.

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GUCCI X NORTH FACE One of the most successful collaborations recently was the Gucci x The North Face capsule collaboration in 2020/2021. This collab revived Gucci’s cultural relevancy with the younger consumer of The North Face, celebrating the outdoors, the collaboration was announced via TikTok, promoted at Generation Z from the start. The collaboration portrayed both brands as relatable, free spirited and sustainably aware, connecting to an increasingly sensitive consumer. The #thenorthfacexgucci gained over 8.6m views on TikTok, which shows the popularity among stylish Gen-Z TikTok stars and celebrities. There is no question this promotion had a huge driving force in reaching younger audiences. (Coleman, 2020) The success of this collaboration meant that Gucci was able to tap into this consumer’s consciousness embedding the Gucci name as a trustworthy and relevant brand for the future. This maintains Gucci’s legacy as when this Generation have a larger disposable income, they are likely to purchase a brand they already know and have built a previous relationship with.

The brand awareness collaborations generate is extremely important, the open opportunities for brands within collaborations are endless. The increased media coverage spreads a brands identity to new demographics, renewing the brand image or changing a brands positioning in one effective manner.

(Figure 1)

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(Figure 2)

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HOW WILL IT BE SUCCESSFUL? Despite Chanel having never collaborated before, perhaps to maintain their luxury status, identity and high price points a collaboration with DSM would allow them to protect their legacy further whilst renewing their relevancy, visibility and perception into a brand for the youth. Both brands share similarities that would allow this collaboration to be successful.

Both create simple and minimalistic products that encompass their heritage in an instantly recognisable manner, they both have traditional views of fashion believing in experience as highly important to consumers and brand image and finally they are both looking to future proof themselves by connecting with younger consumers. A fashion collaboration is about a dialogue between the brands, their legacies and the core values that define them. The intersection, ‘as the point where established concepts meet, connect, clash and combine, where remarkable innovations are created and new, groundbreaking ideas emerge.’ (La Garza, 2022) This campaign’s intention is to use this research and ideology to produce a unique collaboration allowing the brands involved to receive the recognition and relationship they need with new generations.

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Having understood the purpose of this campaign and the reasonings behind this decision, my next steps were to understand what Chanel would have to look like to be accepted and invited into Dover Street Market. I researche into previous collaborations within Dover Street as well as the current brands within the store in depth as well as conducted a visit to the store itself. Within Dover Street there are a range of luxury brands from Gucci to Molly Goddard to Margiela, however alongside these traditionally luxury brands are many streetwear brands such as Supreme, Palace and Stussy. It may seem odd that a concept store holds an increasing number of streetwear brands, however, streetwear stems from its exclusivity and a community feeling, something DSM is also known for. These similar values suggest why the collaboration is well matched. Furthermore, the increased number of streetwear brands most likely represents a move to increase the stores appeal to a younger consumer base. The hype surrounding these brands is well established with younger Gen Z consumers drawn towards purpose and the community feeling attached with streetwear (Hope, 2017).

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A number of Dover Street Collaborations have also been with streetwear brands such as Nike, Palace and Stussy. Dover Street is extremely successful at curating a selection of noteworthy brands to collaborate with always infusing their own brand into each collection no matter who the collaborator.

DSM COLLABORATIONS

(Babcock, 2014) One of these successful collaborations was ‘Monochromarket’ celebrating DSM’s 15th anniversary approx. 60 brands from Gucci and Burberry to Craig Green, Stussy, and Bape reimagined icons past, present and future in monochrome creating exclusive items for the collection sold at Dover Street Market. This was a successful campaign as it allowed DSM to be the collaboration leader, allowing brands to put their creative visions to the DSM brand whilst maintaining Dover Streets core image and celebration of this.

Furthermore, one of the largest collaborations within Dover Street was that with Nike. There have now been a few versions of this collaboration however, each time the collaboration revived Nike classics with subtleties taking centre stage and bringing something unique to consumers, in this collab DSM was a facilitator to the collaboration with Nike’s image leading, however, the exclusivity of the drops boosted DSM’s notability and visibility hugely showing its success for both parties.

The blend of intellectual luxury brands and streetwear brands within the Dover Street brand is something I want to take forward as inspiration for this collaboration. To ensure that Chanel will not only blend successfully into the Dover Street space but also appeal to the broad consumer base within the store and wider community I will look to use this influence in my campaign.

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CONSUMER PROFILE For this campaign I will look to intertwine both the DSM and Chanel consumers as well as the pivotal Gen Z consumer in this campaign for optimal reach.

I will focus on the aforementioned younger streetwear consumer from Dover Street and look to introduce this younger consumer to the Chanel brand.

The streetwear consumer has similar values to a current Chanel consumer in that they believe in belonging to an exclusive community and have an indepth knowledge of the pieces they are buying. However, they choose to align their connections to brands that focus on them specifically, a key difference.

Streetwear allows consumers to create their identity around clothing whilst being part of a community as opposed to a Chanel consumer using clothing to define them as an individual.

The Gen Z consumer for this collaboration is aged 18-24 and evaluates brands on their values, personality, and meaningful philosophies, (Laughlin, 2021) searching for unique experiences and pining after real physical connections with brands, they view consumption as access rather than possession allowing an expression of identity. (Hope, 2017) They now have enough disposable income to afford luxury brands that match their values. This consumer spends most of their day online, but this has further pushed a craving for in person interactions and community that they simply cannot gain online. Hence they look to meet new people and discover new experiences, the consumer for this collaboration will come together in a space apricated by all, curious and excited about the opportunity of owning an exclusive piece of Chanel and DSM history they will visit the store to experience the unexpected. The hype surrounding this collaboration will resonate with a new tribe of consumers that is looking for something new and stimulating, giving them new understanding of what experience can be when not online as well as a view of traditional luxury in a new light.

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IDENTITY After creating my concept and an understanding of the consumer for this campaign, I knew this campaign needed to be communicated with intent and purpose as the Dover Street methodology shows, bringing together the creative lens’ of Chanel and Dover Street. This collaboration will see both brands as equals, each bringing something new to the other. Utilising Dover Streets increasing range of streetwear brands in store will provide a youthful aesthetic to this collaboration. Moreover, this campaign will look to re-tell Chanel’s values in a new and exciting way to regain a consumer who has fallen out of touch with the brand. Chanel’s core values on which Coco founded her empire were liberation, practicality, functionality, and redefining fashion. It is these values this campaign hopes to retell to a younger consumer using a streetwear lens to do so.

Hence, this collaboration will be recognised by its street style edge, pushing Chanel creatively and allowing it to fit seamlessly in a Dover Street install. The collaboration will be identifiable by its relatability to the youth, unique curation, and ability to bring together the identities of both brands involved in a cohesive manner.

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WHY STREETWEAR? Streetwear despite being hard to define,

Parallels can be drawn between today’s

has helped to boost global sales of luxury

streetwear culture changes and the impact

goods by 5% in 2021. (Beauloye, 2022) A

on culture and social change Chanel had in

constantly changing sector streetwear rose

her time. Chanel’s defining of style reflected

as an expression of wider cultural, social and

the social change of her time leaving restrict-

economic shifts. Propelled by brands and

ed corsets behind she gave functionality and

designers such as Off-White, Virgil Abloh

practicality a new meaning using the ‘street

and Demna Gvasalia streetwear has taken

styles’ of working class men to recreate the

over the luxury market. However, before its

definition of femininity. This can be compared

dominance in luxury, streetwear brands were

to how streetwear has redefined what

those built for those who are different and

‘luxury’ is over the past few years. Luxury

have a statement against normality. This

brands have slowly tailored their offerings to

philosophy underpins many street brands’

include ‘streetwear’ items understanding this

identities something Gen Z respect, under-

is where the youth can be found, while

stand and trust in. Streetwear is built for the

interpretations of the style are wide and

youth allowing them to express themselves

diverse, the original codes of streetwear still

and identities through fashion, hence its

persist, and they are the driving force behind

popularity within Gen Z. Its exclusivity is

the larger market.

contingent on knowledge creating a deeper foundation in brand-consumer relationships,

Therefore, for this campaign to draw a

the consequent hype culture created from

new emotional connection to Gen Z, it will

this exclusivity in turn builds new

seek to use the philosophy of streetwear to

communities of people who share common

build relationships with the youth. A take on

interests. Streetwear stems from cultural

streetwear from Chanel will show the

phenomena’s such as skate culture, 90s hip

understanding of what is important to this

hop, increasing urbanisation, want for

generation, giving them the excitement and

community and comfort dressing and

authenticity, they crave from creating an

represents more than clothing but a lifestyle.

exclusive collaboration such as this.

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70% of consumers said they bought no more than a quarter of their items through resale, meaning a third of consumers are buying at least a third of their streetwear items exclusively through the resale market.

(Hypebeast, 2022)

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(Figure 3)

ADDRESSING A further reason for choosing streetwear as an

hand shopping in the last couple of years. (United,

undertone to this collaboration is its sustainable

2020) Due to the exclusivity and limited availability

enterprise. Sustainability is a huge topic for gen-

of streetwear drops, the re-sale market for these

eration Z, with most willing to spend 10% more on

types of collaborations is astounding. For luxury

sustainable items. (Petro, 2021) The fashion

and streetwear brands alike, maintaining limited

industry is the second largest polluter in the world

supply is a crucial component of the drops model

with 56 million tonnes of clothing bought each year

because it rewards customers who are willing to

and 30% of this currently ending up in landfill which

put in extra effort for new items and feeds a

has disastrous consequences on the planet.

growing resale market. (Hypebeast, STREETWEAR

(Beall, 2020) Gen Z are particularly knowledgeable

IMPACT REPORT - 004, 2022) Exclusive items

when it comes to sustainability this dictates their

from brands such as Yeezy, Supreme, Balencia-

spending habits creating more conscious

ga and Off-White have all been resold for as much

consumerism. Hence, it is important that this

as 144% more than their original price. (Sawyer,

collaboration addresses sustainability, even in a

2019) The resale market allows streetwear to have

subtle manner. Currently Chanel’s environmen-

some sense of sustainability, similar to

tal rating is ‘not good enough.’ The brand has set

luxury brands consumers are unlikely to throw away

targets to reduce greenhouse emissions by 50%

these pieces casually as they would fast fashion as

by 2030 however evidence towards this is lacking.

they carry too much meaning and quality.

(Rauturier, 2022)

Whether they keep them to themselves or sell them on to another enthusiast to appreciate the

Looking to address overconsumption, the

clothes are kept out of landfill therefore protecting

increasing popularity of resale platforms such as

the planet. By adding exclusivity and desire to this

Depop and charity shops is transforming how

collaboration, this collaboration should maintain its

consumers choose to shop. Gen Z are the largest

sustainability with those who missed out on the

second-hand shoppers with 45% growth in second

collection looking to second hand purchases to become part of the community.

SUSTAINABILITY 23

INITIAL OUTCOMES To portray this narrative, I decided to conduct a photoshoot to express what the collaboration would look like. This outcome would allow my campaign to be expressed visually and give the opportunity to create a strong marketing campaign to be promoted via social media, a pop up inside Dover Street as well as look books. These methods would allow a multi-faceted and holistic overview to promotion, promotion online would inspire curiosity within a digitally native consumer that would be fulfilled by a trip instore to experience the collaboration first hand and take aways such as a look book would provide a keepsake and memory of a unique concept. Having created a clear guideline and message of this collaboration I explored the identifiers and themes of the two brands involved using the 10x10 method to visually outline each brand.

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DESIGNER RESEARCH To further enhance my visual communication, I researched into luxury brands and other collaborations to understand how they had been communicated and to gain inspiration from this.

The first collaboration I looked at was the Moncler Genius Collections. These collections allowed collaborators to transform Moncler with their own interpretations, whilst maintaining the Moncler brand identity. The craftmanship and thoughtful designs of the collections are what makes it so interesting, each looking to recreate their brand in an over-sized volume previously unseen. Designers such as Craig Green, Alyx, Matthew Williams and Simone Rocha were all able to give their unique take on the themes of volume, lightness, craftmanship and protection that are all synonymous with Moncler. This fact that the designers were able to maintain Moncler’s brand whilst blending their own DNA into it is what makes this collaboration so interesting. I wanted to take inspiration from this ensuring that the key themes and identifiers of both brands were upheld in my visuals.

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MONCLER GENIUS

(Figure 4)

(Figure 5)

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SUPREME X LOUIS VUITTON A second collaboration I looked at was Supreme x Louis Vuitton. It consisted of hats, keychains, wallets, co-branded coats and denim jackets, T-shirts, hoodies, bags, and sneakers perfectly blending the characteristics of both brands. The collab sought to “create customer excitement” in a “world where everyone wants the new, new, new.” (Kim Jones, 2017) The Supreme x LV drop felt like a sign of the times, of an era where luxury is defined by logos and status and extreme exclusivity. (Bobb, 2019) The collaboration became a ‘reference point in fashion history of how two masters of branding have come together to create a collection to satisfy such a diverse group of customers.’ (Karel, 2021) This collaboration was one of the first for a luxury fashion brand, setting an everlasting tone for the top luxury brands and streetwear brands alike. The simplistic nature of this collaboration was also to its success, the range of items and differing price points, with simple logo designs and prints made it instantly recognisable, accessible and desired by many. This is something I would like to take inspiration from, understanding that there must still be a commercial and balanced take on this collaboration to appeal as wearable and desirable to consumers.

(Figure 6)

(Figure 7)

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(Figure 8) (Figure 9)

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CHANEL X PHARRELL I also looked at Chanel’s collaboration with Pharrell in 2019. It is well known that Chanel does not collaborate, perhaps another of its downfalls. However, their only ‘collaboration’ was with Pharrell in 2019. “The urban collection highlighted Pharrell William’s long-term relationship with the house.” (Chanel, 2019) The unisex capsule collection was available only in Seoul and comprised of a vibrant street art aesthetic with the iconic CC logo reimagined into graffiti style motifs. Despite the fact that this collection seemingly symbolised Chanel’s step into the streetwear market, this collection was relatively poor and was not widely received. I originally wondered if this undermined my campaign due to its use of streetwear, however the Pharrell campaign did not target the youth, of whom streetwear defines much of their personality furthermore, the collection could have done more to maintain the distinctly Chanel aesthetic. I believe that my FMP project will be able to create a more meaningful and attractive step towards the younger generations, with a more powerful collaboration with DSM for Chanel. The styling of this collection will ensure the traditions of Chanel are not lost as they were in this capsule.

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COMME DES GARCONS Despite the fact that this is a collaboration between Dover Street and Chanel in the fact that it is using Dover Streets methodology on in-store experience to create a new connection with consumers, some of the design inspiration will come from Comme Des Garcons.

As Dover Street Market is a key component of the Comme Des Garcons brand and sells much CDG stock in store, it takes much influence from here, hence it was important for me to understand Comme as a brand and how I can take inspiration from this. Comme Des Garcons, meaning ‘like boys’ is a Japanese label renowned for its Avant Garde and anti-fashion aesthetic, love of the colour black and imaginative designs created by Rei Kawakubo. Kawakubo has drastically changed the outlook of fashion, challenging traditions with radical references, unseen proportions, abstract techniques, and innovative style. Focussed on androgynous styles CDG creates works of art rather than fashion, the alternative silhouettes and deconstructive styles have become synonymous with the brand and is something I want to encompass within my own styling. Comme Des Garcons itself carries street like levels of scarcity, however, to oppose this the brand also has several sub brands. One of the most well known is the Play brand signified by its iconic heart logo and more commercial style this brand allows consumers a taste of the Comme Brand without the price tag. I want to take inspiration from CDG’s use of volume, play on proportion and conceptual nature, putting Chanel into DSM is an unusual occurrence and this could be mirrored through my styling taking a more conceptual unexpected look. Moreover, taking a inspiration from the play brand could add a more commercial inspiration to this collaboration creating a playful nature to Chanel that would invite consumers.

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(Figure 10)

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MOVING FORWARD

STYLING & SHOOTS

To move forward with how my outcome would look, using my prior research I created a number of digital croquis to understand how I could express my narrative of this collaboration through my styling. (Shown in separate book) Before embarking on my styling I researched into the key Chanel and Dover Street identifiers to ensure both brands maintained their personal brand image within the collaboration. From these croquis I discovered a monochrome theme running through my looks alongside a theme of deconstruction and reconstruction of Chanel identifiers such as tweed blazers and pearls styled in a new way over the layering streetwear as a base for my designs I found these croquis very helpful in expanding my visual outcome in a digital manner being able to mock up and trial different ways of expressing this collaboration.

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STYLING TESTS I then took these developments forward and undertook many styling tests on a mannequin and model prior to my shoot. (shown in styling book) This allowed me to develop my styling and understand what worked well and what needed changing.

The clothing I had accumulated was a mixture of my own blazers, hoodies and leggings, second hand blazers from the charity shop, my nana’s pearls and my mum’s vintage Chanel bag. I found styling particularly difficult when it came to replicating my croquis as I wanted to ensure both brands were represented within my looks. Eventually after many tests I was able to develop a clear understanding of my styling. The combination of clashing textures from structured blazers and softer hoodies, differing volumes, shapes, and experimenting with wearing clothing in an opposite way to how it was intended were the main factors in my styling.

After this, I realised that I had an unintentional split in my styling between a more conceptual style and a more commercial style. This allowed me to show both brands as the lead in this collaboration. After speaking to industry mentor Christopher Shannon, he suggested I should develop both sides to express a holistic overview of this collaboration. Therefore, I decided to shoot both styles to see which portrayed the collaboration best.

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SHOOT PREP In preparation for my shoot, I created a number of mood boards to outline my ideas such as hair and make-up, poses and photography I hoped to capture. I researched into locations deciding that a studio shoot would be most beneficial as it gave me options to edit my imagery in a digital sense post-production. I also created a shoot brief document that outlined my final decisions and references to encapsulate what I wanted my final outcome to look like. This gave my shoot clear structure and underpinned my ideas, this document was very helpful during my shoots and I found that it would be helpful if I had to collaborate with anyone for example make up as their brief would already be laid out. The looks for this shoot needed to encapsulate the essence of this campaign, being strong, recognisable, and new, something I portrayed in my mood boards.

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STORYTELLING Storytelling and curation are key to this campaign as they are with both brands within this project. Storytelling is an important tool in engaging Generation Z with storytelling stemming from a brands heritage it shows a key value of authenticity to consumers. ‘Creative directors are now telling stories and building universes around a product,’ (Lau, 2020) This suggests that to curate experience there must be a story told that consumers resonate with. Therefore, I knew my shoot would need to encompass a strong narrative that consumers can resonate with and engage with as a more socially aware consumer with a want for experience more is needed to draw them in. I wanted to evoke feelings of power, strength, freedom, escapism and community within my shoot so it was important that my imagery portrayed these emotions in order for consumers to connect to the brands involved giving them as fresh perspective of luxury.

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NARRATIVE Transformed traditions serve the future. Storytelling to a new community of consumers, this campaign aims to encapsulate the essence of a creative collaboration between Chanel and Dover Street Market. Understanding the current disconnect between Gen Z consumers and Chanel this concept looks to use the ideology of DSM/Comme Des Garcons to create a strong campaign enforcing a new emotional relationship with traditional brands.

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TIM WALKER To inform how I could implement storytelling into my styling and photography for this shoot I researched into the work of Tim Walker who perfectly transports the viewer to a new world. His art of storytelling is unchallenged with his surreal approach meaning his imagery tells multiple stories in one. He experiments with colour, proportion and inanimate objects that may seem displaced yet come together and make perfect sense. He promotes much escapism within his work working with many fashion magazines such as Vogue and Love magazine. His surrealist style is captured within the Louis Vuitton F/W20 collection, the short film and subsequent imagery draws on camera distortion and trickery to emphasise Virgil Abloh’s vision of youth. The juxtaposition of a well-established brand and a surreal/conceptual way of communicating curated a collection of unconventional yet alluring imagery. This ideology is something I feel would also work well in this campaign drawing on the traditional brand of Chanel and expressing it in a conceptual Dover Street light taking inspiration from Tim Walker.

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TEST SHOOT 49

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I did a first test shoot with my model, Katie, going into this shoot my main objective was to test out how my more conceptual styling would translate from a mannequin to a person. I kept her hair scraped back yet not perfect and make up natural. My set was a ‘box’ representing the curation within DSM I had made from screens and white fabric so my model had an idea of the placement of her hands that I could photoshop out later to make the imagery more flawless. Taking inspiration from Tim Walker I used different camera angles to create more conceptual imagery. This shoot had a more exaggerated tone running through it taking inspiration from CDG making something over the top yet refined in its essence. My test shoot allowed me to test out 2 different styling options I had created on my mannequin. I was also able to test out poses and angles to determine how my imagery could be more engaging.

After editing and reflecting on this shoot and speaking to my lecturer we decided that the images portrayed my narrative perfectly and encompassed a more conceptual perspective of this collaboration, she then suggested that I use the images towards my final campaign. Given the conceptual style of my images I knew I wanted to do a second/final shoot not only to gain more imagery as I had originally planned but to test my more commercial style that would perhaps be more targeted at Gen Z’s hype culture.

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My second/final shoot had a more commercial style for the Chanel side of this collab-

FINAL SHOOT

oration. Setting up the studio with my brief to hand, I used my sister as a model as she was the perfect age to represent the Gen Z consumer moreover, I knew I would be able to direct and communicate with her well about my vision. Taking inspiration from the fashion collaborations I had researched I made the looks more wearable and included more Chanel identifiers that were worn in new ways to still portray the DSM influence. Using Chanel blazers as a skirt and adding pearls as chains and a bucket hat to define the streetwear focus I feel this imagery encompassed the more commercial and ‘skater’ like aesthetic I was hoping for. I wanted to take Chanel identifiers and transform them I believe that smudging the red lipstick gave a strong indication that this was a new and different Chanel. Overall, I was very happy with my final images from this shoot, I feel that I encapsulated my brief and narrative well. I was happy that I was able to express this campaign in both a conceptual

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and commercial manner with equal strength.

I feel this makes my campaign expansive and enables consumers to interact with it in a holistic sense.

From these shoots, I had achieved my desired imagery and had shown my campaign in a holistic manner for my consumer whilst maintaining my luxury market level and identities of both brands. After my shoots, I edited and developed my imagery in a digital sense giving my campaign opportunity to expand enhancing the underlying messages running throughout it. I ensured my pictures had a natural and cool toned feel to represent an outdoor and street aesthetic despite the shoots being in the studio. I feel my post-editing allowed my imagery to develop greatly and this is where I became happier with my imagery and felt as though I was pushing my outcome further.

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BRANDING When it came to branding this collaboration, I created two different logos and campaign concepts for this, ensuring that my main concept was always at the forefront. The fact that my imagery allowed me to acknowledge both sides of this collaboration from commercial to conceptual has informed my final branding of this campaign. The collaboration name is ‘Coco Street Market.’ The youthful take on Chanel as ‘Coco’ brings a new connection to the consumer giving a clear name and understanding of what the collaboration is. Both logos incorporate parts of existing logos from DSM and Chanel brought together in a cohesive manner. The simplistic logos emulate the fact that both brands will be stripped back to their core values, placing the focus on this. The logos incorporate a black and white colour scheme seen in both brands current branding with a pop of red in the commercial logo linking to Chanel’s iconic red lip and CDG Play logo creating a more playful look. Having identified the colour black in my 10 x 10 interrogation as a signifier of both brands I knew it was extremely important to have this as the main recognisable colour in the campaign. The black colour scheme emulates feelings of power, sophistication and mystery balanced with the playful red showing energy and passion suggesting this collaboration is not too serious (a trait sometimes associated with Chanel) and instead is youthful and progressive. The fonts running throughout this branding are Chanel’s ‘Couture font,’ DSM’s ‘ Helvetica Neue’ font and Arial Bold as a middle ground of both these fonts bringing a bold stance to this campaign. I feel this branding is engaging, recognisable and purposeful for the two brands involved and collaboration as whole.

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CAMPAIGN I wanted to approach this campaign on multiple communication platforms to make sure it was inclusive for my consumer and promoted a wider community feeling and emotional connection. I decided to market my campaign in store at Dover Street creating a visual installation as well as online via social media platforms such as Instagram and TikTok and finally in a look book to sell within Dover Street. Having gained my imagery, I knew I needed to produce a campaign that best represented the two shoots. I therefore decided to split my imagery into two final brand look books, one promoting the more commercialised side of this campaign and the other a conceptual take on this campaign that consumers can choose between. This linked back to my brand me of my personality being split firmly in the middle of more commercial marketing and visual communication so splitting these books represented my personal brand in this campaign too. In these books I have gone into more detail of what each campaign would entail from products to prices, store layout mock-ups to guerrilla marketing.

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SOCIAL MEDIA

CAMPAIGN 72

Despite this concept being about finding ways for brands to connect with consumers in ways other than solely online, social media is a huge factor in Generation Z’s lives. I felt it would be dismissive not to understand the importance of these platforms in promotion especially after the rise of digitalisation in the wake of the pandemic. Therefore, I created a targeted Instagram campaign that encompassed this collaboration in a way that resonated with consumers and grabbed their attention. Both Dover Street and Chanel use Instagram as their main platform to connect with consumers moreover, it is the platform most used by the target Gen Z audience. This platform will provide the opportunity to communicate thoroughly the key messages within this campaign creating a further community feeling online. Using my shoot imagery and videos to create static grid posts, stories and reels I encapsulated my concept within this campaign to make it easily accessible to consumers.

An example of the campaign posts and reel will be posted on my Instagram page to suggest how the campaign would look on Chanel and Dover Streets own social channels. (livvyjai_fmc) Furthermore, using the video content and reels I also created a mock up of a smaller TikTok campaign to again align Chanel and Dover Street with the targeted Gen Z consumer. Even though Chanel is well known for its fashion films and longer videos that story tell its collections, Gen Z have an extremely short attention span and so interact better with short form video content. Therefore, short but impactful videos posted on TikTok adds a relatable element to this collaboration, reaching consumers where they are and making a luxury brand such as Chanel seem more in touch and understanding of younger consumers.

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DOVER STREET This campaign will also be marketed within Dover Street with a bespoke installation created to promote this collaboration. This pop up will encourage consumers to enter Dover Street and engage with the collaboration in real life, giving them an unmatched experience and memory that they wouldn’t have in a purely digital interaction. This side of the campaign will allow DSM to shine and gain most from this encouraging new consumer bases to enter and discover more about the purpose of Dover Street and what it has to offer. This installation will give a multi-sensory approach to this campaign giving consumers the experience they crave, the crowds drawn will allow consumers with similar interests to interact and build the community and relationship with each other and the brands.

CAMPAIGN

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CONCLUSION In conclusion, I feel I have been able to successfully create, develop and visually express a campaign that shows a creative and innovative collaboration between Chanel and Dover Street Market targeted at Generation Z. Giving a holistic and multi-sensory approach to my outcome, I have been able to fulfil my concept of curating a new emotional connection between luxury brands and younger consumers ensuring their longevity, loyalty and renewed relationship.

Understanding both a conceptual and commercial representation of this concept I have been able to meet the standards of Generation Z, providing them with something stimulating, exciting and authentic that does not take away from either brands values in this collaboration. I feel I have been able to solve this oxymoron of placing traditional and luxury brands in a new place to engage with a younger audience using themes of streetwear, experience and innovation to do so. I have been able to show range of skills throughout this project from extensive research to photoshoot planning and creating and social campaign building that I can take into industry. I think that my concept will give new meaning to what luxury can be perceived as and gives luxury brands and understanding of how to connect to Generation Z consumers ultimately filling the gap in the market found within my 360 research. Reflecting on my outcome, I feel I have been able to push my abilities, overcome challenges and understand how I can put into practice all I have learnt throughout my degree and I am proud of my outcome.

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REFERENCES: Babcock, G. (2014). 10 Reasons Why Dover Street Market Is the Best Fashion Boutique on Earth.

Retrieved from Complex: https://www.complex.com/style/2014/09/10-reasons-why-dover-streetmarket-is-best-shop-on-earth/ Beall, A. (2020). Why clothes are so hard to recycle. Retrieved from BBC: https://www.bbc.com/ future/article/20200710-why-clothes-are-so-hard-to-recycle Beauloye. (2022). When Streetwear And Social Media Hype Win Over Luxury Fashion. Retrieved from Luxe Digital: https://luxe.digital/business/digital-luxury-reports/when-streetwear-and-social-media-hype-win-over-luxury-fashion/#:~:text=According%20to%20a%20recent%20 study,263%20billion%20(%24309%20billion).

Burke, R. (2022). Why luxury brands no longer shun collaborations. Retrieved from Financial Times : https://www.ft.com/content/792cc000-028b-42df-acbe-324a20b4ec45 Coleman, A. (2020). Why there are more fashion brand collaborations than ever right now. Retrieved from Verb Brands: https://verbbrands.com/news/insight/why-there-are-more-fashionbrand-collaborations-than-ever-right-now/#:~:text=Why%20do%20fashion%20brands%20collaborate,a%20refreshing%20and%20different%20style.

Hope, A. (2017). How are streetwear brands targeting today’s youth? Retrieved from Dalziel&Pow: https://www.dalziel-pow.com/news/brands-targeting-youth Hypebeast. (2022). STREETWEAR IMPACT REPORT - 004. Retrieved from Hypebeast: https:// strategyand.hypebeast.com/streetwear-report-retail-resale-drops La Garza, F. (2022). Fashion Collabs: Are They Still Relevant for Brand Awareness? Retrieved from Elle Business: https://elle.education/business/fashion-collabs-are-they-still-relevant-for-brandawareness/ Lau. (2020). BoF and Disney on The Power of Storytelling in Fashion. Retrieved from BOF: https:// www.businessoffashion.com/articles/luxury/business-of-fashion-and-disney-on-the-power-of-storytelling/ Laughlin, S. (2021). Generations Pt. 1: Gen Z. Retrieved from Metric Theory: https://metrictheory. com/blog/marketing-to-generations-pt-1-gen-z/ Petro. (2021). Gen Z Is Emerging As The Sustainability Generation. Retrieved from Forbes: https:// www.forbes.com/sites/gregpetro/2021/04/30/gen-z-is-emerging-as-the-sustainability-generation/?sh=73120e088699 Rauturier, S. (2022). How ethical is Chanel? Retrieved from Goodonyou: https://goodonyou.eco/ how-ethical-is-chanel/ Sawyer, J. (2019). THEREALREAL’S RESALE REPORT SHOWS HOW POPULAR AFTERMAR KET STREETWEAR HAS BECOME. Retrieved from Highs Nobiety: https://www.highsnobiety. com/p/luxury-streetwear-resale-report-2019/ United, F. (2020). Green Story: The rise of resale culture. Retrieved from Fashion United: https:// fashionunited.com/news/fashion/green-story-the-rise-of-resale-culture/2020051333539

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IMAGE REFERENCES: Figure 1- Gucci x North Face - Retrieved from - https://www.vogue.co.uk/fashion/gallery/guccinorth-face-vogue-editors-styling-tricks Figure 2- Gucci x North Face - Retrieved from - https://www.vogue.co.uk/fashion/gallery/guccinorth-face-vogue-editors-styling-tricks Figure 3 - Supreme Logo Image - Retrieved from - https://fashionista.com/2017/08/reselling-resale-streetwear-clothes-guide Figure 4 - Moncler Genius, Craig Green 2019 - Retrieved from - https://www.gq.com/story/ craig-green-moncler-interview Figure 5 -Moncler Genius, Simone Rocha 2020 - Retrieved from- https://www.refinery29.com/engb/simone-rocha-moncler-genius Figure 6 - Louis Vuitton x Supreme 2019 - Retrieved from - https://www.gq.com/gallery/supreme-louis-vuitton-full-collection-keepall-jacket-sneakers Figure 7 - Louis Vuitton x Supreme 2019 - Retrieved from - https://www.gq.com/gallery/supreme-louis-vuitton-full-collection-keepall-jacket-sneakers Figure 8 - Chanel x Pharrell 2019 - Retrieved from - https://hypebeast.com/2019/3/chanel-pharrell-collaboration-2019-release-date Figure 9 - Chanel x Pharrell 2019 - Retrieved from - https://hypebeast.com/2019/3/chanel-pharrell-collaboration-2019-release-date Figure 10 - CDG Play - Retrieved from - https://www.woodwood.com/en/editorials/comme-des-garcons-play

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Olivia Buckley 1901813 Brand Management AD6606 Journey Book Pt.2 - Brand Development Book 80