Self Devised Report

T h e Playhouse c o .

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for the theatre nerds

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Act 1

• The Case for Theatre • Addressing the Model • The Similarity in Difference • Theatrical Offerings • With Great Power • Retail Moving Forward • The Big Idea 4

Act 2

• Who are we?

• Inside the Company • Setting the Scene • The Future • List of Illustrations • References • Bibliography 5

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Fig. 1

Act 1 7

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The Question

Is Fashion Overlooking the Potential of Musical Theatre in its Obsession with Brand Collaboration?

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I was looking for inspiration. I’m always looking for inspiration, “Sometimes inspiration is right there, but it’s a matter of just putting two odd worlds together” (Rihanna, 2017) Theatre is immersive, impactful and builds bonds that no other collective activity can. Theatre is a force, a machine that has been a part of human society for millennia. ‘Theatre is connecting, healing, imaginative, and intelligent.’ (Katie Broke, 2016) The fashion industry is a monumental driving force in popular culture. It has become the standard at which we define beauty, quality and talent, and constantly requires new innovation to feed the beast that it is. However, it can be argued that the industry’s retail and collaborative choices have become increasingly flat and lack said innovation. This report is looking to uncover musical theatre as a potential collaborative art form for the luxury fashion industry.

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1

SCENE

The Case for Theatre

One of the first questions asked about this topic is if musical theatre is a sector that should be taken seriously? And if even if it is, is it one that should be taken as seriously as music, television or cinema? How does a fashion brand collaborate with something that isn’t really considered a brand? Well the answer to that is that you may not be paying attention.

‘Since the creation of language, myths and stories were used as devices for learning and entertainment. Oral storytelling was extremely important when it comes to the development of theatre. The epic tales allowed people to elaborate on a certain myth, modify its elements and develop characters in various different ways to create new stories.’

(Oscar Waterworth, 2016) Theatre has been a prominent fraction of the entertainment industry, and along with music is the oldest form of social entertainment. Musical theatre however, finds its roots in the early 20th century. ‘Broadway was the popular entertainment. In a time without movies, television, or radio, the revue and variety show provided the popular music.’ (TES, 2013)

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Fig. 2

1920s Birth of the modern musical, as well as that of cinema; The narratives had previously been based on classic literature, however prohibition and the following creation of speakeasies, led to the rise of the flapper girl, which changed the narrative in theatre.

1940s The birth of T.V. call for the industry to find innovative ways to get people out of ther homes; Rodgers & Hammerstein’s ‘Oklahoma’ changes the game in theatre by using music to advance plot and character.

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1950s The golden age of Hollywood brings with it the birth of the movie musical; successful theatre productions would be re-made for the screen.

1980s This and the previous decade is where the music ‘gig’ and outdoor festival culture was born To compete, theatre productions begin using merchandising logos to create branding opportuinities.

2000s

1990s

A post Paris Hilton era and the rise of high fashion create a fashion forward caricature, that in forms the return of slapstick comedy to the stage, with productions being made based on popular Hollywood titles.

The decade of grunge, anti fashion, as well as ‘Paris Thin’ models in mass media clls for theatre productions to become less comedic and more of a tool of education about real life issues.

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Present Social media challenges the status quo and gives a voice and celebrity to anyone who goes viral. The reflection of this on the stage being original productions that reflect the current cultural zeitgeist, and challenge the traditional mould; starting to change attitudes about the theatre.

Musical Theatre is a force, it is a powerhouse. It is an immersive, live interaction between actors and the audience. It is a powerful communal experience for all those involved, creating bonds backstage between cast and crew as they work together to bring life to an empty stage, as well as bringing strangers together in the audience who must band together to experience the story. Musical theatre as an art form is multi layered in more than one way; Not only is it made of more than one artistic discipline - dance, music, acting, costume, set design - all which create a multi sensory experience for all persons involved, both on stage and in the audience, it can also be used as a function of both teaching - holding up a mirror to society by using political satire, historical depictions, etc and entertainment. ‘Broadway musicals, culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture and helped make New York City the cultural capital of the nation.’ (Shefter, 1993)

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50,000 tickets sold each day - 100,000 on Saturday matinees

$7.1 billion contributed The theatre industry made

to the US economy

the

same contribution to the NY economy as TV and film.

87,000 jobs directly

related to the theatre industry

Fig. 3

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80

%

of the 11.36 million people who attended the theatre in the 2016/17 season went to musicals

‘The theatre industry that dominates Midtown brought more than $12 billion into the city in 2016 alone. All that economic activity added up to more than $1 billion paid to city and state taxes, according to The Broadway League that represents theatre owners, general managers and producers in New York and around the country.’ (Otis, 2017) This, surprisingly, puts it in the same ballpark and the revenue generated by the city’s film and TV industry.

‘The musical theatre box offices rack in the most every year, with 50,000 tickets sold each day — 100,000 on Saturday matinees — for 364 days a year.’ (Otis, 2017) ‘An industry once composed of scrappy producers has become more corporate. The musicals and theatrical performances (plays) that were performed in the 2016/17 season at the 41 professional theatres [in New York] with more than 500 seats drew a total attendance of 13.27 million. The majority, 11.36 million or over 80 percent of the audience, attended musicals.’

(Statista, 2017) This, as compared to the 1.2 billion movie tickets sold in the same year does not seem like a large dent, however if you consider the price of any given broadway ticket is between 8 and 28 times that of a cinema ticket, it still stiff competition.

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This is a sector that understands licensing and brand expansion. When a production does well the payout is huge. “There’s all kinds of revenue streams — the music, the merchandising, spin-off movies and of course, the show will likely go on the road. The profits are huge and go on for years.” (Weiss, 2017)

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Record and streaming licensing Fig. 4

Fig. 5

Merchandise licensing

Fig. 6

Film and T.V. licensing 17

Grossed $157 million in 2017, which was up from the $100 million made in 2016 (its first season), currently making it the most successful show in broadway. Was also the the first original broadway cast album to be on the Billboard hot 100 list in the top 20, as well as number 1 hip hop album on the Apple Music charts.

With $8.1 billion in worldwide sales, it is currently the highest grossing title of any medium (including TV and film). Its 22 productions around the world have been seen by 75 million people and been translated in to over 20 languages.

Fig. 8

Fig. 7

Fig. 9

Fig. 10

Grossed $77.1 million in 2017, which was it’s fist season, earning more that $1 million a week for majority of that time. The show fills seats with an avreage of 98% capacity - this is with no brand recognition or Hollywood title.

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Since its opening, it has spent majority of its run at the top of the weekly sales, hitting its $1 billion mark in NYC alone in 12 and a half years, faster than any other production. The musical has been seen by 50 million people in 14 countries.

Musical theatre’s reach is world wide, with American musicals being produced and all over the world and being translated in to hundreds of different languages.

It is an incredible tourist driver; ‘Nearly 14 million people saw a show in 2016 — the majority, about 67% — from outside the tri-state area.

International tourists are a big part of that 67%, and they tend to see four or five shows a visit.’

(Otis,2017) The influx of tourists also affects every other industry in the area, from service and hospitality all the way to the fashion industry.

‘There are 87,000 jobs directly related to the theatre industry and that don’t even include all the ancillary work created by the theatre district’s constant hum — the shops, restaurants and businesses that cater to Broadway employees and theatregoers.’ (Otis, 2017) If for no other reason, consider the fact that the musical theatre industry has survived since its conception in the 1920s, against all other forms of live entertainment, as well as the birth of cinema and television respectively, to still be one of the most consistent profit making businesses.

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SCENE

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Addressing the Model

You may probably be wondering why this is a conversation that needs to be happening at all. Does the fashion collaboration model need addressing. And the answer to that would be an overwhelming ‘yes’.

‘A study was done in 2010 on collaboration strategies of fashion companies and customer attitudes. In total, 173 cases were selected for analysis that clearly exhibited the benefits and outcomes of collaboration efforts and strategies between fashion companies and stakeholders.

Findings show that the overall results show that for both partners (collaborator and collaboratee) participating in collaboration, that the major benefits are reduction of costs and risks by sharing resource such as design power, image, costs, technology and targets, and creation of synergy. This result shows that collaboration plays an important role in giving life to products and designs, particularly in the fashion industry which seeks for creative and newness.’ (Chun and Niehm, 2010) However for an industry that seeks this so called creative newness, the collaborations seem to have gone rather stale. We see the same fashion to fashion collaborations over and over to the point where it has become too familiar; they are more of a flash-in-the-pan publicity stunt than a meaningful brand partnership.

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Fashion x Music Incorporates sound, movement, and celebrity

Fig. 11

Fashion for Music

Music for Fashion

The music industry uses the cool factor of a brand, or the event factor of fashion to push or promote a release.

The fashion industry uses a relevent or simply familiar celebrity from the music industry as the face of their brand, as well as showing merchandise on them during highly publicised music events, using their celebrity to build awareness.

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Fashion x Art

Incoorporates concept, narrative and shock value

Fig. 12

Art for Fashion

Fashion for Art A brand will feature an artists work on their merchandise or in thier marketing and promotional material to promote the specific works of said arist.

A brand will commission an artist to create work that will be featured on their merchnadise or is featured in their marketing or promotional material, to give the brand an air of cultural sophistication and awareness.

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Fashion x Film

Incoorporates story, duration and celebrity

Fig. 13

Fashion for film A brand or designer is commissioned to create the costumes for a film in order to align the film with the perception of the brand or designer.

Film for Fashion 23

A brand will use a specific and/or famous director to shoot the ad or fashion film so as to get the certain aesthetic that they want, as well as to attach a well known name to the film to attract viewers.

“Fashion has gone everywhere to find the benefits of each individual sector, where musical theatre offers them all at the same time.�

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Celebrity + Duration + Story Fig. 14

Sound + Movement + Shock Value + Narrative + Concept +

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‘The 2017 Holiday Retail Outlook Report also estimates that ‘65% of consumers are fed up with irrelevant brand communications.’ This means that a large percentage of potential consumers don’t feel like brands are engaging with them through relevant platforms. If there are consumers who feel as though a brand changing mediums or communication channels would convince them to buy from said brand, isn’t that worth taking advantage of? (TranslateMedia, 2017) ‘The luxury sector is facing an emerging audience with very different expectations. By 2025, Millennial and Gen-Z consumers will represent nearly half the audience for luxury goods. These generations aren’t going to find the luxury industry’s traditional business model to be very appealing.

Many of them will be net natives, who take digital access to brands for granted, and they absolutely expect everything to be available to them online. But they also have different values and expectations, which often clash with the ones luxury brands currently encapsulate.’ (TranslateMedia, 2017) ‘Millennials and generations that follow them have lived through very different times compared to baby boomers. This has shaped the values and expectations of the younger generation, meaning they respond very differently. They tend to value community, something that doesn’t always sit easily with luxury values such as exclusivity and aspiration.’

(TranslateMedia, 2017)

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‘Younger generations also tend to have expectations about how fashion and other types of brands are active on social issues.’ (TranslateMedia, 2017) Whilst we have seen more and more brands stand up and give their platforms to political issues, only recently have brands, especially in the luxury market, shared their recognition with other lesser known brands/sectors. ‘To be successful in collaboration efforts, results of the depth interviews in [the afore mentioned] study confirm that fashion companies should have a clear objective on why they are doing the collaboration.’(Chun and Niehm, 2010) When asked, 8 fashion communication students mentioned that brand collaborations, actually brand activity in general, “should have a purpose.” That brands that are well known “should use their power of being known, to collaborate with people who aren’t that known.” (see appendix 3.3) Now the death of theatre may not exactly be a ‘social issue’ that’s at the forefront of society, but that doesn’t take away form its importance in society. It still shows brands ‘using their power’ for the benefit of another sector that is not as well understood and is, arguablly, undervalued.

Fashion is the only sector where there are no rules on how to collaborate or who to collaborate with, so why does it feel like it has confined itself to the singular merrygo-round of collaboration partners? if the industry can find a way to capitalise on the millennial appetite for unusual collaborations, they may be able to see huge financial benefits.

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SCENE

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The Similarity in Difference

Looking at these industries on a superficial level, it is difficult to see how they could possibly overlap. The luxury fashion industry is considered to be elite and of high social standing, and musical theatre populist, and a mere tourist attraction. However, like most complex things, its not always what it seems. There are a number of parallels between the two that reveal them to be extremely well suited.

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They both are forms of artist expression, and forms of escapism; fashion is escapism in that it creates fantasy and illusion in both its sales and its marketing. The industry sells aspiration and shows us what we want to, look like, dress like and live like. It paints the idea that a product can be the solution to a problem and is a symbol of success.

‘Theatre allows us to be temporarily part of someone else’s world, be they fictional or fact. For the time that show is on, you don’t care. You embrace your self in the story being told on stage.’ (TES, 2017) Both are reflections of cultural zeitgeist; ‘Fashion is a reflection of what’s going on around us – politics, economics and culture. Trends are about tapping into a zeitgeist; they define a spirit or mood. Today’s most popular designers are good at reading this – Demna Gvasalia at Vetements and Balenciaga for example, has disrupted the mould with his dystopian, aggy streetwear, and [has] reflected a mood – an air of anti-establishment and disenchantment.’ (Alexander, 2017) Hamilton, a musical that burst on to the scene around the same time, is a hip hop production about an American founding father, of the same name, who helped lead the country in the revolutionary war and was the first secretary of treasury. The story about the success of an immigrant, touches on the current immigration issue by celebrating an immigrant’s contribution to the building of the nation. The story was told by a mostly non-white cast, shining a light on the talents of minorities as well as showing what America looks like now. It is also told in a medium [hip hop] that is so removed from the broadway scene that it challenges what broadway can sound like, and breaks the mould of preppy show tunes that have long been the norm, also giving a rather anti-establishment mood.

Both the runway and the stage, in their own way, are windows in to the culture of the moment.

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Fig. 15

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Both are cultural signifiers of elitism and success. Watching the original cast of a broadway production early in its run, is to musical theatre, what wearing the new luxury designs straight off the runway, is to fashion. Sitting in the stalls or dress circle of a theatre, ‘considered some of the best (and most expensive) seats in the [house]’ (Amer, 2016), can be considered akin to sitting in the front row of a fashion show. The same cultural cues of success are prevalent in both sectors and are signifiers of status and prestige in society.

The two industries also overlap geographically. Looking at a list of the cities in the world that are epicentres of fashion [New York, London, Paris] you will find that they are usually synonymous with theatre as well.

This art form, in relation to fashion and lifestyle might seem foreign, but in fact there are some familiar strains that fashion has interacted with before.

Theatre as a whole straddles multiple sectors the most obvious being music and dance, and reaches further in to fine art and set design. If we delve deeper, not taking these sectors at face value, dance becomes model choreography, set design becomes interiors and visual merchandising, and then we can start to see the missed opportunity that musical theatre is.

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“If we delve deeper, not taking these sectors at face value, dance becomes model choreography, set design becomes interiors and visual merchandising..�

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Crowd of people lined up in front of the CL20 shoe store to buy new Yeezy Boost 350 trainers in Warsaw, Poland, 2016

Fig. 16

Fig. 17

Crowd of people lined up in front of the Richard Rodgers Theatre to buy Hamillton tickets, 2016

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SCENE

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Theatrical Offerings

‘Inter - sector collaborations have become increasingly necessary as we hone more and more diverse creative skills, all that can be used to support communal projects. By sharing information, resources, activities, and capabilities we can achieve things together that we could never achieve alone.’ (Albrectsen, 2017) ‘Surrounding yourself with people unlike you.

Finding the people who can fill in your blind spots and help you with things you don’t know now.

This means embracing individuals you may have nothing in common with; thinkers who see the world differently than you do. ‘Gather the talents of those who can teach you and give you things that you cannot give yourself.’ (DeGraff, 2016)

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Fresh Thinking

Fashion + Non Fashion + Collaboration + Innovation + Kitsch +

Fig. 18

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‘Fashion collaboration today exits to facilitate the creation of something new, exciting and innovative - a third brand - specifically something that neither of the involved brands could have created successfully acting alone.’ (Cope and Maloney, 2016) It also opens up the industry; ‘Many high-end designers claim to have collaborated with mainstream brands as a way of making their brand more accessible to a greater number of consumers.’ (Cope and Maloney, 2016) Similarly, ‘collaborations provide concrete opportunities for raising brand awareness, reaching new market segments, penetrating new geographical territories, experimenting with category extensions, boosting appeal to younger generations and often, receiving much needed injections of cash.’ (Doran, 2012) Theatre, being a rich hybrid of music, dance, culture and brand, all of which fashion loves individually, has wide brand expansion, spanning from merchandise to TV and film, meaning it would subsequently double the coverage that any particular brand that collaborates has.

It would bring a new set of loyal fans that would not have otherwise engaged with the particular brand. Fashion is well aware of the power of fanatic, hype culture in its ability to drive sales, and theatre fans are arguably the most obsessive.

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Musical theatre, unlike fashion, has longevity. It is comprised of stories told and retold for years, often by a cast who may well be younger than the production they are in. ‘Theatre exists in a space that is impervious to trends and fashion.’ (Gritten, 2014) A space that doesn’t not need frivolous fads and publicity stunts to keep it in the hearts and minds of its community.

‘Another benefit for the fashion partner is the association with an internationally recognised brand and the challenge of being creative.’ (Cope and Maloney, 2016) Theatre is a singular experience; ‘no performance is identical to the next. It fully embodies what an experience is meant to be; unable to be explained.

It must be lived. An aspect of which [fashion] brands are constantly striving to create. The shows have become repetitive’ (Jensen, 2017), to the point where its almost like if you’ve seen one, you’ve seen them all. Some brands like Vetements, have even opted out of them all together for this very reason. If the fashion industry could take a page out of theatre’s book, and create a one of a kind, fresh experience for the consumer, the could mean major increases for brand engagement.

Lastly, a collaboration like this is would be innovative, timely and give the particular brand an edge over the others.

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“Fashion collaboration today exits to facilitate the creation of something new, exciting and innovative..�

- Cope & Maloney, 2016 40

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Fig. 19

SCENE

5

With Great Power

The theatre industry, though powerful and exciting, has it’s own short comings. ‘The use of theatre [may still be] prolific in artistic areas such as New York, the use of theatre is sadly dwindling due to advanced technology. With the introduction of internet and television, live performances are becoming obsolete. Nowadays, people would rather not take the one hour train ride to the concert hall and instead just open up Internet Explorer on their MacBook Pro’s and watch a movie or some pre-recorded show. The doctrine of human nature says that we do whatever which is more convenient to us, hence we have all these technological devices such as the television and computers.’ (Macaulay. cuny.edu, 2011)

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Having worked in theatre myself, I understand how difficult is to bring in an audience to see a production. Its all about leveraging family and friends and hoping they bring their friends as well. In my experience people usually find it difficult to understand the need for the theatrical experience, sometimes even after they’ve seen it. They would rather see a live musical performance, even if they aren’t familiar with the performer. Essentially, its the same thing as seeing live theatre, especially if you consider the amount of set design and storytelling that goes in to most live music performances.

So what makes one theatrical performance more appealing than the other?

The social perception and connotations. Connotations created by memories of school trips and family outings, and perpetuated by contemptrary tv drams depicting the industry as stuck up and unrelatable. Theatre lacks the ‘cool’ factor. ‘Why not give audiences something or someone — a Hollywood star, a famous fashion designer,— that they can latch onto?’

(Laneri, 2014) Keller (2003, p. 60) defines consumer-based brand equity as “the differential effect that brand knowledge has on consumer response to the marketing of that brand”. Related to the same concept, the luxury management author Okonkwo (2007) surmises that when the sum of all distinctive qualities of a brand results in its continuous demand and commitment by consumers, the brand has high-brand equity. Consumer-based brand equity is related to intangible assets of a brand such as brand knowledge, image, awareness and attitudes ((Oliveira-Castro et al., 2008) Alexander and Contreras, 2016) No industry has more influence on awareness and attitudes like the fashion industry. It is “one of the most powerful industries. [Just by the fact that it] has that reach. It can make all of us change our minds. All of a sudden we like a different colour? Why? All of a sudden we think a person is cool?

That a brand is nice? It has the power to affect the way we think, and even the way we behave.” (Kruse, 2017) If the theatre industry can tap in to this power, this influence, who’s to say it can’t change the face of the industry, and reinvent the way we think about theatre as a whole.

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Fig. 22

Fig. 21

The New York City Ballet Fashion Gala, for example, is an annual event that pairs new ballet choreographers with designers, for an event that showcases new works by said choreographers, with the dancers wearing bespoke costumes created by the designers. ‘Together, the creative couplings produce a new work that is often experimental in it’s costuming and choreography.’ (Sidell, 2017) ‘It is a brilliant intersection between the worlds of fashion and dance’ (Ward, 2017) that was started by Sarah Jessica Parker when she became a board member of the NYCB, in an effort to raise funds for the company, as well as “build an audience of next generation ticket buyers” (Parker, 2017) (see appendix 4.1)

Fig. 20

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The NYCB Gala this year featured designers like Virgil Abloh and Oscar De La Renta, each with a different audience, but have the reach and ‘cool factor’ to draw in their respective audiences, and make them pay attention. Virgirl Abloh’s audience, for example, is made up of a younger generation than is generally seen at the ballet, as well as an audience that is interested in streetwear and most probably hip hop culture. It’s an audience that arguably wouldn’t otherwise be interested in the NYCB, but with him as a point of reference, it creates a familiar face to work with, and it goes from being just ballet, to something Virgil worked on, and is therefore ‘cool’. In turn, the older generation that is more familiar with the ballet side of things, are now aware of a new designer or brand that they may not have known anything about.

New York City Ballet’s costume director, Marc Happel says the gala “In the biggest way, [has] brought a new audience into the ballet. A younger more fashion-forward audience. And with the variety we have at the gala — Thom Browne, Sarah Burton, Carolina Herrera — those are three very different worlds. So you bring in a sensibility from those three different worlds and the audiences that are interested in those three different worlds. The hope is that maybe they’ll become interested in ballet on its own and come back.” (Laneri, 2014) On top of that, “It functions as free advertising,” says Apollinaire Scherr, a dance critic at the Financial Times. “These publications may be writing about the gala because they’re interested in what Mary Katrantzou is doing, but if it introduces ballet to a new audience, then [the event] is a success.” (Laneri, 2014) If it worked for ballet, arguably even more of a niche art from, why not take use the same formula for musical theatre, who’s communal and collective spirit could also stand to impact the fashion industry for the better?

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SCENE

6

Retail Moving Forward

‘In a year punctuated by a record-breaking number of bankruptcies and store closures, selling products is no longer “good enough.” In 2018, it’s vital that retailers educate shoppers on the value they deliver beyond their wares, helping to build an emotional connection and that vital sense of community today’s consumers crave.’ (Smith, 2017) This translates to consumers wanting more our of the retail experience. ‘With commerce on the rise, it is up to brick-and-mortar establishments to create a brand story in store via the visual merchandising and store design to provide any incentive for a potential consumer to actually leave their house. A bag is a bag and a shoe is a shoe unless you build up a world around it. So the display is key because it allows you to create that ever so ephemeral thing called style.’ (Tan, 2016) Its all about the human expereince that can’t be recreated virtually or retold.

‘These strategies are already demonstrated by early adopters, like Story’s thematic retail concept store and Snowe’s magazine. In narrating brand ethos, there’s a greater opportunity to spark conversations and affiliate shoppers.’ (Smith, 2017)

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Traditional store formats may be on the decline, but innovative stores — ones that offer great shopping experiences — will continue to emerge.

(Vend, 2017) Industry data supports this. According to the National Retail Federation, data from the IHL Group shows “a net increase in store openings of over 4,000 in 2017. In fact, for each company closing a store, 2.7 companies are opening stores.” (Vend, 2017) It’s a similar story in the UK, where data from the British Independent Retailers Association shows that more shops were opened than were closed in the first quarter of 2017. This was an increase of 414 shops in the first three months of 2017, compared to a net increase of just 4 shops for the same period the previous year. (Vend, 2017)

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CASE STUDY 1: STORY ‘Story is built on the concept of treating retail as media, curating its merchandise every month, like a magazine would with content, and getting a brand to sponsor it. For Rachel Shechtman, founder of Story, the future of retail lies in experience, community, differentiation and mass customisation.’

(Shearman, 2014) The main thing that is special about this store is that not only does it change themes every month, it also completely changes the design of the space, so the consumer doesn’t just know that the theme has changed, they can see it, and this in turn changes their entire experience of the space. It also means they would theoretically want to keep coming back every time the collaboration and theme change. (see appendix 4.2) The points taken forward to creating the big idea is the important of giving a fresh experience to the consumer, and the excitement that changing a retail space and collaborators regularly can give. Showing that “we are barely scratching the surface, and while bricks-and-mortar is often referred to as dying, I think it will only give way to a new frontier with endless and untapped potential, light years beyond looking at sales per square foot,” she [Shechtman] says.

(Shearman, 2014)

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Fig. 23

Fig.25

Fig. 24

Fig. 26

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CASE STUDY 2: STYLENANDA PINK HOTEL ‘Pink Hotel is a hotel-themed “everything pink” flagship store opened by Korea’s popular online shopping fashion brand, Stylenanda. Just like any other hotel, Pink Hotel’s first floor is the hotel lobby. Each floor is decorated with different concepts such as spa, rooms, laundry, and pool, and based on the concept of the floor, it displays a wide variety of Stylenanda made cosmetics, women’s clothing, swimwear and miscellaneous goods.’ (TimeOut, 2017) This store takes the hotel theme and interprets it literally, creating a unique, immersive experience. Its shareable, and yet you have to experience it in person making it a destination rather than just a place to buy clothing. The cafe and rooftop area create as secondary reason for customers to go in. It invites people to play and stay rather than than just grab and go. The consumer is able to experience the brand in a different capacity other than being pandered to to buy merchandise. (see appendix 4.3) The points taken forward to creating the big idea is the fact that now, the retail space is ‘no longer simply a place to display product, fixtures are becoming an integral part of retailers’ brand stories.’ (Kaufman, 2017) It also shows the importance to having more than one lane of communication with the consumer that doesn’t simply coax the consumer to buy product.

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Fig. 29

Fig. 27

Fig. 30

Fig. 28

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SCENE

7

The Big Idea

The previous chapters in this report have touched on a series of points and examples, who’s purpose is to underpin the idea that as an untapped collaborative art form, musical theatre has the potential to reinvigorate a fashion brand through collective collaboration.

This means that if a fashion brand were to enter in to a collaboration with a musical theatre company, the outcome, whatever that may be, would be beneficial to both parties; for theatre it could potentially catapult it in to the stratosphere that the fashion industry resides in, drawing new audiences and creating a new lens for the industry to be seen in. For fashion, it opens up a whole new industry to positively exploit and a whole new audience to speak to, as well as potentially bring back an artistically free atmosphere through creative collaboration.

Based on primary and secondary research findings, it would seem that there is a gap in the fashion collaboration model, an unexplored facet of art and experience that fashion is yet to indulge in. This, combined with research that supports an appetite for a unique retail experience led to the idea to provide a retail environment for luxury fashion brands and theatre productions to collaborate, by creating a concept store that challenges the idea of what a retail space could look like. It would aim to reiterate the fact that retail outlets [shouldn’t] aim just to sell; ‘they’re also designed to build the brand.’ (Wong, 2014) This idea would be interesting to brands looking to find new avenues to showcase their garments and products, as well as create new retail experiences for their customers.

Theatre companies looking to draw new audiences in, PR companies, production teams and freelancers could also all be potential beneficiaries or clients. The idea of sectors overlapping has become more exciting in recent years, so why can’t theatre be a part of that? Both the theatre and luxury fashion industries have been relatively stagnant, with both experts in the field and consumers calling for something new. Given the success of previous, seemly unlikely, collaborations within the arts, I feel as though this could be a solution, or at least the beginnings of one.

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“To provide a retail environment for luxury fashion brands and theatre productions to collaborate, by creating a concept store that challenges the idea of what a retail space could look like..”

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Fig. 31

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ACT 2 55

SCENE

1

Who are we?

What:

A concept store called The Playhouse Company (TPC), who’s space combines the theatrical set design of a broadway production and the apparel of a luxury fashion label. It speaks to contemporary youth who have multifaceted interests in the worlds of music, theatre and fashion. The first suggested pairing is luxury streetwear brand Supreme and hip hop theatre production Hamilton

Who:

Males and females between the ages of 17 and 30

When:

Would launch in June, in time with Immigrant Heritage Month in the US

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Why:

For the brand to explore a new, innovative collaboration partner, challenge what a retail space could look like, as well as enhance the brand’s overall customer retail experience. It would also give a potential new theatre audience a familiar name to latch on to, and create a social space for current theatre fans to converge.

Where:

New York City, as it his the home of both the participating brand and theatre production.

How:

The store would be designed to mimic the stage of the participating broadway production, while holding a mix of limited edition production merchandise designed by the participating luxury brand, as well as other relevant ready to wear collections the brand chooses to include. The store would also have: an indoor cafe, that would provide food, drinks and a small magazine stand with theatre related publications, a small box office that would sell tickets to the up coming shows of the participating production, as well as a rooftop lounge area that doubles as a venue for theatre related events. The main retail space would change it’s design every 6 months, as a new collaboration pairing moves in.

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USP 1. Unique collaboration that has never been seen before

2. New experiential retail experience.

3. Creates the incentive to ‘play and stay’

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Vision To create a space that offers a fresh take on the retail experience through creative collaboration

Promise To champion the musical theatre industry and the individual with multifaceted interests

Values Creating opportunities for a new model of fashion collaborations

Personality Open and approachable, Forward thinking, Innovative

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Aims • To create a space for fashion and musical theatre to collaborate.

• Challenge the perception of musical theatre and encourage more people to get interested in the sector.

Objectives •

Create a new retail experience through the concept store •

Host events and carry publications that celebrate the musical theatre sector

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Message •

Creating a new retail experience through creative collaboration •

Play and stay

Tone of Voice • •

B2B: Authoritative, Wise

B2C: Approachable, Counter-culture

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high street native She is a creative mind with a strong aesthetic, made up of warm neutral tones and the occasional pinstripe. In fact, aesthetic is the driving force behind everything she does, including what accounts she followed on Instagram; its all about the overall feed. She lives on Instagram, carefully curating every post so nothing’s out of line. She herself is an influencer, she loves to share her experiences, her recipes and her beauty tips, which in turn has given her quite the following. She loves a good cocktail and an even better glass of wine, and no where is this better sourced than at a rooftop bar or hole-in-the-wall restaurant.

The high street is her runway, as she struts her stuff through Zara, H&M and Missguided, making her economical choices look like she broke the bank.

Streetwear is her new winter love, keeping her warm, fuzzy and very ontrend. She loves the theatre, as it invigorates and excites her, playing on her imagination and childlike wonder. Travel plans are her vice as she craves the experience of a new culture, but ultimately, the hustle and bustle of a big city is where she feels most at home.

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Fashion and Lifestyle + Influencer + Theatre goer 21 + Univeristy student + Foodie + Warm Neutrals + Florals + High Street + Travel + Fig. 32

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A Day in the Life

7:30am

•

Catches the bus to university.

•

Listens to a playlist that ususally includes her favorite band Haiyatus Kaiyote.

•

Alarm goes off at 6:30am but she hits snooze until 7:30.

•

Has a quick shower, gets dressed and then sits down to breakfast, whilst scrolling through Instagram.

Fig. 33

1:00pm

•

Plans to eat a healthy lunch but ends up getting a Starbucks panini with her friends.

•

Makes a note to eat healthy the next day.

9:30am •

Goes to her Economics lecture and seminar afterward.

•

Stays in her building for a while to work on assignments and check messages.

9:00am

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3:00pm 11:30pm

• •

•

Walks home with some friends.

•

Badgers her friends to take pictures of her on the way.

7:30pm

Does some work in her room for a while.

•

Washes dishes, cleans up and then gets ready for bed.

•

Watches a few episodes of her current favorite show on netflix whilst scrolling through Instagram.

•

Sets alarm and then goes to sleep.

Edits pictures and answers emails and messages.

•

Invites her friends over for a night in with food and wine.

•

Has a good catch up and gossip. Posts the evening on her story. Posts the picture from her walk home.

4:00pm 65

woke hypebeast He is a headstrong, passionate individual, high on caffeine and awareness about social injustice, who’s dark, muted tones and old school hip hop playlist make him seem unapproachable to the untrained eye. He is opinionated and vocal about social justice issues that he feels aren’t being addressed, as he thinks that everyone that has a voice should use it. Caffeine keeps him going most of the time due to his frequent late nights, however chain coffee shops make him angry, so to stick it to the ‘man’, artisanal cafes are his social centres. He isn’t always chatty, so Twitter’s 140 character limit suits him just fine, and is his main social media outlet.

He is a focused shopper, going in knowing exactly what he wants as he has planned and saved for a while. He craves the limited edition collectible and is always on the look out for the latest drop, with Supreme, Thrasher and Nike being his go to. He hates online shopping because it makes him feel like he’s in the matrix, and not really making an informed decision. The human experience of going to a store makes him cringe but at least he didn’t take the blue pill.

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Alternative + Individual

24 + Photographer + Caffeine Connoisseur + Creative + Activist + Hip Hop + Streetwear + Fig. 34

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A Day in the Life

Fig. 35

8:00am

2:00pm

•

Wakes up and has a quick shower before picking something out to wear.

•

Has his usual oatmeal and coffee breakfast whilst checking his Twitter timeline.

•

9:30am •

•

Catches the bus to work. Reads a vintage Steinbeck novel whilst listening to the new J. Cole album.

Gets his middle of the day caffeine fix at a cafe near his studio.

Edits pictures and updates his online portfolio.

10:00am •

Gets to work at the studio and makes his portrait appointment.

•

Spends the rest of the morning developing pictures in the dark room.

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•

Goes in to buy the hoodie and trainers he has been saving for.

•

Ends up browsing for a while and looking at the old-school music collection instore.

4:00pm 12:30am

6:00pm •

Unwinds with a night cap and his Steinbeck.

•

Works on political commentary blog.

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•

Goes to bed but spends hours on scrolling through his Twitter retweeting posts from his friends.

•

Finds new photography equipment to add to his cart.

High Street Native Woke Hypebeast

Innovators

Early Early Adopters Majority

Late Majority

Fig. 36

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Laggards

“There are always critics that don’t understand that young people can be into Bob Dylan but also into the Wu-Tang Clan and Coltrane and Social Distortion. Young people — and skaters — are very, very openminded . . . to music, to art, to many things - (Jebbia, 2017) 71

WHY HAMILTON? ‘Hamilton is currently the most sought after ticket in the musical theatre world. In the Thanksgiving week that ended on November 26th 2017, it smashed its own record, taking more than $3.4 million across eight performances – nearly 10% of Broadway’s total gross on what is traditionally a record-breaking week on the Great White Way.’ (The Stage, 2017) This sung and rapped through musical about one of the American founding fathers, Alexander Hamilton, not only celebrates the founding of it’s home country, but also the plight of the immigrant in America, shown not only in the fact that the story is about the immigrant founding father that changed the course of history, but also with its extremely diverse cast, most of whom are first generation Americans with immigrants parents. This cultural relevance of the show makes partnering with them timely and in tune with the current social and political zeitgeist.

From a logistical point of view, the Hamilton stage definitely offers a lot to work with as a retail space. The design of the stage makes it possible to repurpose it for retail, yet is theatrical enough to keep the broadway experience in-store, which is the main selling point of the space.

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History + Diverse + Innovative

Fig. 37

Narrative + Celebrity + Revolutionary war aesthetic + Hip Hop + 73

Skate + Streetwear +

Youthful personality + Urban inspired + Hype driven

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Fig. 38

WHY SUPREME? The brand’s cult turned phenom success story is aligned with that of Hamilton’s, with only a few having any knowledge of them at first, and then having that few grow in to an international audience. It is still, however, an unexpected move for the brand, which will inevitably make it a talking point, and means it could garner attention just by merely existing. Streetwear is, of course, indisputably associated with hip-hop (Cochrane, 2017), meaning they also overlap in their hip hop and counter culture roots.

‘These days, streetwear is big business. On a “drop day”, the traffic on the Supreme site can increase by as much as 16,800%’. (Cochrane, 2017) On top of that, everything they make is limited edition, meaning whatever would be in stock in the store would only be available at the store, which would in turn be incentive for the non-theatre fans to come to the store. I also feel the minimalist, boxy feel to the brand would compliment the, maximalist essence of musical theatre.

Partnering with a streetwear company also makes more sense as the sector is a mixing of worlds in itself. ‘Streetwear is what is worn on the street … sneakers with a dress, a hoody, it’s mixing genres’ (Abloh, 2017). Especially now when the genre has gone from counter culture to mainstream, and has been adopted by luxury fashion brands, it can be considered very ‘on brand’ to push the boundaries of who can collaborate with who, and introduce a whole new world to streetwear.

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• Youth/Urban tone of voice • Enthusiasts seek a place to be themsleves - usually misunderstood.

• Loyal fanbase

Hamilton

• Essence of the success of the underdog • Part of NYC culture • Gritty • Edgy • Push boundaries within its field • Influenced by hiphop culture • Brand story rooted in being counter culture

Fig. 39

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Supreme

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Fig. 40

2

Inside the Company

SCENE

Retail Space

Street to stage + Flat colours v Complex colours +

Eroded textures + Modern materials

Fig. 41

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The Rooftop

Street v class + Romantic v gritty + Theatre aesthetic + Boho

Fig. 43

The Cafe

Fig. 42

Vintage theatre + Artisanal v gritty + Aged textures + Modern lighting 79

Brand Identity Shape The square shape used is to represent the space given by the company for participating brands and productions to play and explore their horizons.

Font The font chosen is a sans serif bold called ‘Din Condensed’. I used it in caps to give a clean professional aesthetic to the logo that would appeal to the brands and productions that would be held in the space.

Colours The colours used are black and white. TPC is meant to be a blank canvas for two brands to collaborate and the colours reflect this. The simplicity of monochrome doesn’t draw attention to itself, whilst at the same time being timeless and malleable enough to fit with any brand pairing that the company hosts.

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IF lo sig If lo sig If lo as it lo as is lo sig it lo as is lo sig it lo as is lo sig yo fo is lo sig it

Fig. 44

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T h e Playhouse c o .

81

SCENE

3

Setting the Scene

The general route to consumer will mostly be focused on promoting the collaboration that will be featured in the space, rather than the design company’s involvement in the creating of the space. The Playhouse Company (TPC) is an unknown entity, who’s consumer is not really the public, but rather other brands and theatre productions that would be interested in collaborations.

The campaign will be based around the concept of what ‘cool’ is and what it can be. It takes courage to be cool, because to be cool you must stand out, you must be innovative and you must be the odd one out. This is what the entire concept store is based around, innovation and the courage to do something new. The #couragetobecool will be used throughout the social media campaign right up until the launch. This was chosen as it is essentially what both brands did; Supreme had the couraage to stay true to their skate roots and made an alternative, misunderstood culture cool and mainstream. The Hamilton production had the courage to break barriers in the theatre scene, bringing diversity and incorporating hip hop to the great white way. This is the narrative that the collaboration is built on; that of two courageous brands who redifened what ‘cool’ is in their respective fields, coming together to further trancend that very definition.

The following plan is will be focused on bringing the public to the store and creating a consumer base off the back of the reputations of the participating brands.

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“Two courageous brands who redifened what ‘cool’ is in their respective fields, coming together to further trancend that very definition.”

83

Diffusion of Adoption Knowledge Print ads Social Media campaign

Persuasion Instagram campaign Outdoor interactive campaign Influencers

Decision Website Launch Influencers

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Confirmation Sharing their experience Brand extension to other collaborations

Implementation Website Store experience

85

Communication Timeline Social Media Marketing:

April

Promotional images on the Supreme and Hamilton feeds

Print:

Outdoor Marketing:

Promotional images on the Hamilton playbill, as well as on the street

Hamilton game shown on large interactive screens

Decmeber

Website Launch:

Promotional imagery and gamified call to action.

February 86

January Changeover:

New brand collaboration moves in to The Playhouse Company

Launch Event:

Relevant press and influencers attend a launch event held in the retail and secondary spaces.

June

The New York Musical Festival

July

The rooftop lounge hosts its first theatre related event.

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Before Social media The decision to use social media as a medium of promotion was based on the consumers experessing this to be their primary source of information. Additionally, ‘the benefits of social media marketing include the fact that its immediacy and two way communication mean the brand can quickly guage consumer response’ (Cope and Maloney, 2016), making it a great space to test the idea with consumer before too much investment goes in to the idea.

The first bits of content would be rather subtle and will not overtly advertise the collaboration, but rather just show each brand in the other one’s environment.

Supreme’s instagram account generally releases short clips of skaters doing tricks in certain parts of the city, The initial teaser videos would include skaters performing tricks outside the Richard Rodgers theatre (where Hamilton is performed). This could give audiences an idea of what the brand looks like next to the production in a way they are used to seeing the brand portrayed. The background music will be from the Hamilton Mixtape album, as it is the more contemporary version of the soundtrack, and would be more palatable for the Supreme consumer, with artists they recognise.

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Fig. 45

On the production’s front, their account generally consists of rehearsal videos and American history trivia. To promote the collaboration, the rehearsal videos will consist of the actors wearing Supreme merchandise and shot in the same 90s camera quality as the Supreme videos are shot.

Instagram stories will then begin to be used, with short videos showing the collaboration imagery shown in 3 second clips or boomerangs. The concept around the promotional imagery is the idea of having components of an image that don’t fit together in actual fact but somehow work in the photograph. This would be to symbolise the proposed relationship between fashion and musical theatre. The videos will show a glitched merging of the two components of the promotional image (one Supreme piece of merchandise juxtaposed against an old painting of a revolutionary war figure that is cited in the production) in different mocked up scenarios, from playbills to billboards. These would posted along with the #couragetobecool. This would go along with the printed playbills released in the theatre, as well as the outdoor poster bombs.

Fig. 46

The purpose of the social media campaign would be to raise awareness and create a conversation about the cryptic imagery posted by the brands, and get people talking about what it could be. It would also be to direct the consumer to the TPC website to find out more information about the retail space and the collaboration.

89

Print Print ads featuring teaser imagery of the collaboration will the be released. The concept around the printed promotional imagery would be the same as the social media imagery. The first showing would be at the theatre; The playbill for the production will be outfitted with the same promotional imagery as the Supreme social media. It will feature a on old painting of Alexander Hamilton juxtaposed against a Supreme x Rimowe suitcase. The idea is to be disruptive and garner attention. The reason behind using the playbill is that it is a medium that every person going in to see the show will see, meaning maximum awareness. The playbills are also usually kept even after the show is seen as a keepsake and souvenir to show that they were in fact in the audience; Using this as an awareness tool means that people who go see the show will have a piece of the promotion with them long after the initial moment they saw it, and will be constantly reminded of it as they are reminded of their theatre experience.

90

Fig. 47

The posters put up by Supreme would have the same concept of imagery.

They would use the usual Supreme style of ‘poster bombing’ graffiti filled walls, as well as 24hr bodegas where their target consumers regularly go in to.

Fig. 48

The purpose of the print campaign would mainly be to raise awareness, but it would also serve to direct the consumer to the brand’s social media platforms, and continue the conversation about what the posters could potentially mean.

Fig. 49

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Website Launch The TPC website launch will be a kind of soft opening to the store. The landing page will mostly feature information about the company, rolling banners showing the different promotional imagery for the collaboration with the phrase “Cool is..” before showing the juxtaposed paintings with the Supreme merchandise, as well as other imagery of the Hamilton logo with the Supreme logo “exploding” on to it. The drop-down menu will also lead people to play a promotional trivia game. An illustrated version of the retail space with hidden Supreme logos and merchandise with come up. Similar to a ‘Where’s Wally’ illustration in a magazine, participants will have to see if they can find the Supreme merchandise. They will then be asked to come to the store and see if they can find the same merchandise they found online by posing the question “Do you have the courage to be cool?” Whatever they find in store that matches their online find will be available to them at a discounted price.

The website launch will be following the social media launch, and will be continuing the same campaign as the participating brands, as previously mentioned will be rolling out. TPC will have an Instagram, Twitter and Youtube page that, along with the website, will showcase the collaboration promotional imagery and gifs, behind - the - scenes footage of the store build, as well as live streaming and vlogging the the launch event.

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Fig. 50

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Fig. 51

Outdoor Marketing Campaign An outdoor interactive campaign was chosen for the final leg of the communication before the launch as was cited by the consumer as something they would engage if they saw it on the street. This leg of the marketing would be the last to be released as it is not only the one that needs the most time to set up, but also the one that includes the consumer directly and brings them in on exactly what will be happening. It would consist of interactive screens fitted on to lamp posts, bus stop shelters, as well as outside the Richard Rodgers theatre, that would have the same trivia questions from the website, about the show, so as to integrate the campaign from online to outdoor. The screen would invite participants to see how well they know Hamilton by tapping the screen as instructed. They would then see if they know trivia about the production. If they get them all right, a QR code will come up, which they would scan to see what rewards they can claim in-store. Five winning participants will also be chosen at random to attend the launch event, with two tickets each.

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Fig. 52

During Launch Leading up to the launch, the event would be promoted on social media, via instagram and twitter. All invited celebrity guests and influencers, as well as the official accounts of the participating brands and TPC will post about the event, with influencers and celebrities encouraged to post images of their invites and the press packages received.

The launch of the store would take place in June, in line with Immigrant Heritage Month, as the participating production is based around celebrating the diaspora in the country. It will also be during the summer which would encourage use of the rooftop lounge, which is the most important secondary feature to push.

The event would be themed around ‘Ham4Ham’; ‘What started as just a fun way for the Hamilton cast to entertain the crowds of people waiting outside the Richard Rodgers Theatre to enter the ‘Ham4Ham’ ticket lottery, turned into a remarkable platform to celebrate the talent and community of Broadway with fans worldwide.’ (Miranda, 2018) The event ended, to a lot of Hamilton fans’ dismay, but during its run it became a kind of tradition every week to go outside the theatre for an hour and watch the cast perform renditions of songs as well as celebrate broadway as a whole.

TPC would revive this event once more as the theme for the store opening, where the current Hamilton cast, along with the original broadway cast would come together to do one more showcase.

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Fig. 53

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It would be a large store opening event featuring celebrity guests and influencers, as well as the 5 winners of the outdoor interactive campaign. The event will showcase the retail space, and rooftop lounge. Guests will be invited to experience the space, and even purchase any merchandise if they so desire. The guests would be encouraged to take photographs in front of a mock wall with the TPC logo as well as the collaboration promotion imagery that would be used for the event. Guests would also be invited to vlog and/or live stream the event on their respective devices. This would show their respective audiences the event experience, and potentially incentivise coming to the space thereafter to see where it all took place.

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Store Experience After the launch the store would be open to the public. The retail space and the cafe will be open from 10am to 8pm daily, where the rooftop lounge would close at midnight.

The store experience would be immersive in every way; The signs directing the customers would use theatre jargon like “stage left/right” to to give the customer a fully integrated experience.

The cafe will take on an artisanal atmosphere with old theatre chairs being used for the seating, as well as broadway themed food and beverages. There would also be theatre related publications and the participating brand’s zine (in this case Supreme) available to read on the magazine stand. The cafe is also where the box office would be. The box office will sell tickets to the participating theatre production’s show, (in this case Hamilton) and would be at regular box office prices. The space would be able to be accessed from walking in to the left ‘backstage wings’ of the main retail space.

The roof top lounge would be outfitted with moveable diner seating as well as smaller tables dotted around with the same old theatre chairs as the cafe.

The mobility of the seating would be so that occasional theatre related events could be held and set up as desired. The lounge would have a bar that would serve drinks to customers, making it a potential watering hole for theatre enthusiasts, hypebeasts and creatives to converge.

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Fig. 54

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The Cafe

Ground Floor

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The Rooftop

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Fig. 58

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Fig. 59

Moving through the Space

Walk in to the store and explore the merchandise and the set.

Fig. 61

After you find what you like, tak a right and walk through the stage door.

Fig. 60

Come in to the cafe and either grab a bite and relax or buy a ticket to see Hamilton in our in-house box office.

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If there isn’t any room downstairs, run upstairs to the first floor space to see if there’s any free seats.

Fig. 63

Fig. 62

Take the elevator up to the rooftop for a few after wokr drinks with friends.

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After Share the Experience Those who visit the space will be encouraged to share their experience on social media.

The TPC social media accounts will also continue to post content about the space and any upcoming events, using the #couragetobecool. To encourage people to use that hashtag, followers that post content with them doing anything that requires the courage to be cool and use the hashtag will be featured on the TPC, Hamilton and Supreme social media accounts through reposts and retweets.

Success will be measured through location tag engagements, social media followers and website visits.

Fig. 64

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Fig. 65

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New York Musical Festival Weekend ‘New York Musical Festival is the largest annual musical theatre festival in America. Each summer the Festival presents productions, concerts, readings and special events in the heart of New York City’s Theatre District.’ (Nymf.org, 2018) ‘NYMF is musical theatre’s answer to the independent film movement, combining a grassroots festival model with a technical framework geared specifically to musicals.

Located in the heart of the world’s largest theatre district - midtown Manhattan, the Festival provides or subsidizes all the key components needed to realize a show, from theatre’s and technical equipment to marketing, industry and audience outreach, giving independent artists and emerging producers resources and opportunities they couldn’t otherwise access or afford, and giving rise to dozens of new works each summer.’ (Nymf.org, 2018) ‘The Festival provides theatre lovers and industry scouts the opportunity to sample an unprecedented array of work, take risks on new artists, and to see some of the hottest musical theater talent tackling new roles in an intimate, affordable setting. Representing the diversity of the art form, the Festival’s shows range from the serious to the ridiculous, from conventional musical comedies to avant-garde works, from operetta to punk rock, and everything in between.’ (Nymf.org, 2018) TPC would host a part of this event on the rooftop lounge a month after the launch event.

It would run the weekend after the festival actually begins, and would run only for that weekend. The event would include readings and concerts throughout the weekend. There will also be a small concession of limited edition Supreme x Hamilton merchandise available at the event. The merchandise sold at the event will not be availabe on the main retail space, so as to create incentive for attendees to cop a few. The event will be publicised on social media through the Supreme and NYMF websites, Instagram and Twitter accounts, the TPC social media accounts, as well as the TPC website. Tickets would be available online via the TPC website, as well as in the TPC cafe box office. Success would be measured by number of tickets sold, as well as the number of limited edition merchandise sold. It would also be measured by the increase in traffic to the TPC website.

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Fig. 66

Fig. 68

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Fig. 69

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Turnover At the end of the 6 month period of the Hamilton x Supreme collaboration, the store would change over collaboration pairings. The next pairing wold be luxury fashion brand Gucci and long running musical, Wicked. The promotion for that will begin on social media 2 months before the end of the Hamilton x Supreme period, and go right up until the new pairing moves in. During the turnover period, the cafe and rooftop lounge will still be open and will showcase promotional images for the Gucci x Wicked pairing.

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• Definitive brands of their fields • Classic status • Veterans of their fields • Maximalist • Dramatic • Timeless narrative

Fig. 70

• Large demographic of fans

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SCENE

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The Future 1 year • The TPC website becomes a platform for non - actor theatre professionals make contacts and find commission opportunities in the fashion industry.

• Rooftop lounge becomes regular venue for theatre relates events and performances

6 months • The retail and secondary spaces become a hub for theatre enthusiasts and other multifaceted youth to meet and hang out.

• The retail space collaboration rotates to a new pairing.

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10 years • TPC is the leader in innovative retail environment creation with stores worldwide. • Attitudes toward musical theatre as a sector are changed and it once again becomes a staple in society entertainment.

5 years • The TPC space becomes a regular platform for brands to explore retail collaborations, with another store opening in London, and later Johannesburg.

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Conclusion Through it all, the goal of The Playhouse Company, is to not only explore the boundaries of the retail environment, but challenge the notion of what is normal. Normal retail spaces, normal retail experiences, normal collaborations; they are all subject to change and innovation. Musical theatre has been a force for change and innovation from the risquĂŠ dancers shining a light on the flapper girls lifestyle in the 1920s, to the hip hop revolution story about a revolution, musical theatre manages to break barriers and bring people together in a moment of shared escapism. By combining theatre and fashion The Playhouse Company aims to be a beacon in retail innovation, as well as to have the courage to challenge the way the theatre industry is viewed and maybe even create a path for those unaware of its magic.

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Fig. 71

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121

Illustrations

Fig.11: Macharia, N. Fashion X Music (2018) [image] Fig.12: Macharia, N. Fashion X Art (2018) [image]

Fig.1: Conti, B. Moonlight (2014). [image].

Fig. 13: Macharia, N. Fashion X Film (2018) [image]

Fig. 2 : Macharia, N. Timeline of Musical Theatre (2018) [image]

Fig.14: Macharia, N. Lion King Musical (2018) [image]

Fig. 3: Macharia, N. Infographic (2018) [image]

Fig.15 Macharia, N. Theatrical Cities (2018) [image] Available at: http:// http://www.ditgestion. es/situacion-estados-unidos/ [Accessed 27 Mar. 2018]

Fig. 4: Macharia, N. Recording and Streaming Licensing (2018) [image] Fig. 5: Macharia, N. Merchandise Licensing (2018) [image]

Fig.16: Daily Mail (2016). [image] Available at: http://www.dailymail.co.uk/news/article-3967856/ Sneaker-fans-crazy-Yeezy-Boost-troubled-starKanye-West-shoppers-line-hours-latest-version220-shoes.html [Accessed 19 Mar. 2018]

Fig. 6: Macharia, N. Film and T.V. Licensing (2018) [image] Fig. 7: Deadline (2015). [image] Available at: http://deadline.com/2015/03/hamilton-musicalsaturday-night-fever-1201385431/ [Accessed 5 Feb. 2018].

Fig. 17: McBride, W. (2015). [image] Available at: https://waltermcbride.photoshelter.com/image/ I0000GBwegVcEaxM [Accessed 18 Mar. 2018].

Fig. 8: The Smith Centre (2017). [image] Available at: https://www.thesmithcenter.com/event/ dearevanhansen/ [Accessed 5 Mar. 2018].

Fig.18 Macharia, N. Fashion X Non – Fashion Collaborations (2018) [image] Fig.19 Zyphon, Z. (2017). Du Grande Theatre. [image] Available at: http://zophiezyphon.com/ project/du-grand-theatre-2017/ [Accessed 29 Apr. 2018].

Fig. 9: Anon, (n.d.). [image] Available at: https:// www.lastminute.com/entertainment/theatre/thelion-king-broadway [Accessed 5 Feb. 2018].

Fig.10: Your Broadway Genuis (2017). [image] Available at: http://yourbroadwaygenius.com/ wicked-now-offering-stadium-side-orchestraspecial/ [Accessed 5 Mar. 2018].

Fig. 20: Vanity Fair (2018). [image] Available at: http://celebrityinsider.org/sarah-jessica-parkerofficially-nixes-sex-and-the-city-3-103719/ [Accessed 5 May 2018].

122

Fig. 21: Kolnik, P. (2017). The Wind Still Brings. [image] Available at: https://www. villagevoice.com/2017/10/02/new-york-city-balletchoreographers-pair-movement-with-fashion/ [Accessed 12 Jan. 2018].

Fig. 22: GRIOT (2017). [image] Available at: http:// griotmag.com/it/virgil-abloh-new-york-city-balletoff-white-nike/ [Accessed 11 Mar. 2018].

Fig. 23: STORY (n.d.). [image] Available at: https://thisisstory.com [Accessed 22 Feb. 2018].

Fig.24: STORY (n.d.). [image] Available at: https:// thisisstory.com [Accessed 22 Feb. 2018].

Fig. 25: STORY (n.d.). [image] Available at: https://thisisstory.com [Accessed 22 Feb. 2018].

Fig. 26: STORY (n.d.). [image] Available at: https://thisisstory.com [Accessed 22 Feb. 2018].

Fig. 27: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 28: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 29: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 30: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 28: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 29: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 30: Stylenanda (2017). [image] Available at: https://www.instagram.com/stylenanda_korea/ [Accessed 22 Feb. 2018].

Fig. 31: Supermercat Studios (2017). Dip Dip Pass. [image] Available at: https://www. instagram.com/p/BYp_JBhlRgl/?takenby=supermercatstudio [Accessed 30 Apr. 2018].

Fig. 32: Macharia, N. Consumer Profile 1 (2018) [image] Fig.33: Macharia, N. Day in the Life 1 (2018) [Image] Fig. 34: Macharia, N. Consumer Profile 2 (2018) [image] Fig. 35: Macharia, N. Day in the Life 2 (2018) [image] Fig.36: Rodger’s Diffusion of Innovation (1962) [image] Available at: http:// sphweb.bumc.bu.edu/otlt/MPH-Modules/ SB/BehavioralChangeTheories/ BehavioralChangeTheories4.html [Accessed 1 Mar. 2018]

123

Fig. 37: Macharia, N. Hamilton (2018) [image]

Fig. 51: Macharia, N. Outdoor Marketing -1 (2018) [image]

Fig.38: Macharia, N. Supreme (2018) [image]

Fig. 52: Macharia, N. Outdoor Marketing – 2 (2018) [image]

Fig. 39: Macharia, N. Venn Diagram (2018) [image] Fig. 40: Macharia, N. Signs (2018) [image]

Fig. 53: Bull, J. and Macharia, N. Launch Visualsation (2018) [image]

Fig. 41: Macharia, N. The Playhouse Company Retail Space Moodboard (2018) [image]

Fig. 54: Bull, J. and Macharia, N. Retail Space – 1 Visualisation (2018) [image]

Fig.42: Macharia, N. The Playhouse Company Rooftop Lounge Moodboard (2018) [image]

Fig. 55: Bull, J. and Macharia, N. Retail Space – 2 Visualisation (2018) [image]

Fig. 43: Macharia, N. The Playhouse Company Cafe Moodboard (2018) [image]

Fig. 56: Bull, J. and Macharia, N. Café – Ground Floor Visualisation (2018) [image]

Fig. 44: Macharia, N. The Playhouse Company Logo (2018) [image]

Fig. 57: Bull, J. and Macharia, N. Café – 1st Floor Visualisation (2018) [image]

Fig. 45: Macharia, N. Social Media-1(2018) [image]

Fig. 58: Bull, J. and Macharia, N. Rooftop Lounge Visualisation (2018) [image]

Fig. 46: Macharia, N. Social Media -2 (2018) [image]

Fig. 59: Bull, J. and Macharia, N. Retail Space – 1 Visualisation (2018) [image]

Fig. 47: Macharia, N. Playbill (2018) [image]

Fig. 60: Bull, J. and Macharia, N. Retail Space – 2 Visualisation (2018) [image]

Fig. 48: Macharia, N. Photo Bombing - Bodega (2018 [image]

Fig. 61: Bull, J. and Macharia, N. Café – Ground Floor Visualisation (2018) [image]

Fig. 49: Macharia, N. Photo Bombing - Street Wall (2018) [image]

Fig. 62: Bull, J. and Macharia, N. Café – 1st Floor Visualisation (2018) [image]

Fig. 50: Macharia, N. The Playhouse Company Website (2018) [image]

Fig. 63: Bull, J. and Macharia, N. Rooftop Lounge Visualisation (2018) [image] 124

Fig. 64: Macharia, N. Social (2018) [image] Fig. 65: Macharia, N. Loyalty Loop (2018) [image] Fig. 66: New York Musical Festival (2017). [image] Available at: http://www.nymf.org/ programs/festival/ [Accessed 13 Apr. 2018].

Fig. 67: New York Musical Festival (2017). [image] Available at: http://www.nymf.org/ programs/festival/ [Accessed 13 Apr. 2018].

Fig. 68: New York Musical Festival (2017). [image] Available at: http://www.nymf.org/ programs/festival/ [Accessed 13 Apr. 2018].

Fig. 69: New York Musical Festival (2017). [image] Available at: http://www.nymf.org/ programs/festival/ [Accessed 13 Apr. 2018].

Fig. 70: Macharia, N. Gucci X Wicked (2018) [image] Fig. 71: Macharia, N. No More Rules (2018) [image] Fig. 72: Macharia, N. The Playhouse Company Logo (2018) [image]

125

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