Jacquemus Brand Report

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Nicole Christou 19156694 Word count: 3,053

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TABLE OF CONTENTS:

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BRAND p.5 CONSUMER p.12 PRODUCT AND PRICE p.18 PLACE p.23 PROMOTION p.28 PEOPLE p.35 PROCESS p.38 CONCLUSION p.42 LIST OF FIGURES p.46 REFERENCES p.51 BIBLIOGRAPHY p.52 APPENDICES p.54 3

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“MY NAME IS SIMON PORTE JACQUEMUS, I LOVE BLUE AND WHITE, STRIPES, SUN, FRUIT, LIFE, POETRY, MARSEILLE, AND THE ’80S” (JACQUEMUS, 2017)

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BRAND

ISTOR

1990

Simon Porte Jacquemus was born in Salon De Provence, France. His birthplace and upbringing became his on going inspiration.

1999

Made his first skirt at 9 years old out of curtains, and learnt how to use materials on a budget.

2009

After a disappointing move to Paris, Simon created the namesake label when he was 19. As an ode to his late mother, the brand was memorialised to her name.

2011

At a young age, passion and hard work for the label were recognised by established creators Adrian Joffe and Rei Kawakubo. Struggling financially, Simon started working for Comme des Garçons.

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2012

During Paris fashion week, Simon showcased his first collection for Spring-Summer 2013.

2017

The brand’s iconic Le Chiquito bag is introduced. The unconventional and tiny structure of the bag created a talking point in the fashion industry.

2018

Debuting his first menswear collection, Jacquemus now brings storytelling to men.

2019

Jacquemus celebrates 10 years since the creation of the brand. The Spring-Summer 2020 collection was displayed in lavender fields in Valensole, his brightest collection to date.

ESSENCE

Jacquemus was created with the essence of the French outdoors in mind. Simon Porte Jacquemus, the man behind the brand, advocates himself as a self-taught storyteller.

With art, literature and French films at the forefront of his imagination, designing was a way of telling the stories that needed to be told. Being only 10 years old, the label has defined its own identity within the design industry. As a brand, it stands alone. Setting trends, fulfilling fantasies and creating that nostalgia for young millennials, through the art of design Jacquemus becomes a lifestyle, not just a brand.

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MISSION AND VALUES

“I WANT TO TELL STORIES. STORIES ABOUT WOMEN.”

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Jacquemus’ mission in it’s simplest is to tell stories. More specifically, stories with a feminine flair, stories accessorised with stripes of colour and nature. Unlike other luxury houses, Simon’s playful fantasies and designs are what differentiates the brand amongst the market.

(SSENSE, 2017)

Believing in naivety, eccentricity and minimalism, French culture drives stories of unconventional beauty and simplicity to all young women and now is being introduced to men. The beliefs come from Simon’s own story, being a naïve child, relying on minimalism due to lack of money and his energy to embed family and heart into everything.

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IDENTITY AND IMAGE The story behind the brand is a major part of its identity.

Simon explores his creativity through lessons he’s learnt and experiences he has already been through. It’s the Jacquemus name and history that unites the brand with its consumers emotionally; the logo itself communicates simplicity with the black typography. As an explorer looking for stories and adventures to share, the brand creates a yearnful paradise that looks at more than just fashion. The youthful and playful element to the brand is intended to charm the consumer with nostalgia, innocently playing to the consumer’s childhood or fond experiences. As innovators of the luxury level, it’s noticeable seeing their iconic designs trickle down into the mass market imitating trends first seen by Jacquemus. Like their iconic Le Chiquito bag, Jacquemus is known for being a bold and colourful brand the majority of the time. The array of colour is balanced out with Simon’s minimal yet eccentric designs, almost having a collection that attends to their consumer’s style desires.

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As a luxury innovator in the industry, the design of the brand’s garments ranks them higher on the market level. Having now ventured into women and menswear, Jacquemus’ designs have circulated the industry with the growing impact of digital and social media advertising, which has boosted since 2018.

Younger consumers are more likely to purchase designer fashion pieces due to social media or trend impacts says a Senior consumer analyst (Mintel, 2019).

“The designer fashion market is experiencing major changes as the sector embraces the shift towards shopping more online and the higher visibility from social media…They are also changing the way these brands promote themselves and where they advertise, with a bigger focus on content that embraces entertainment and authenticity.” – Tamara Sender (Mintel, 2019)

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POSITIONING

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CONSUMER

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THE INSTAGRAMER DEMOGRAPHIC SEGMENTATION: AGE: 24 GENDER: Female GENERATION: millennial OCCUPATION: Social media influencer MARITAL STATUS: In a relationship INCOME: Changes regularly due to career LIFE STAGE: Career driven GEOGRAPHIC SEGMENTATION: Lives in Manchester with her boyfriend.

ACORN CLASSIFICATION: The consumer identifies with Type 16 Metropolitan Professionals.

“Young professional people... converted flats... professional and managerial... good incomes... iPads, games consoles and portable media players... enjoy travel, music and film... social lifestyle...”

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SPENDING BEHAVIOURS: Influencers need to spend their money on brands they trust and are loyal to. With expensive buying habits, quality overrules price as investment pieces become more affluent to trends as well as timeless pieces.

FAVOURITE BRANDS: Acne Studios, Prada, Gucci In favour of designer brands more, these individuals require trust in their purchases knowing to them it’s more than just a trend. Although their style is determined by trends, the baseline of their purchases is for their style.

PSYCHOGRAPHIC TRAITS: A strong fashion personality. Often early adopter of trends or potentially innovators with their career being driven by aesthetic and new fashion finds.

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LIFESTYLE: Attending brand events, fashion shows, festivals, iced coffee and Netflix are all part of the lifestyle. Travelling takes up a large part of the year, not only for content creating but pleasure too. Photography, styling and aesthetic are vital elements of each day.

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THE INDIVIDUALIST DEMOGRAPHIC SEGMENTATION: AGE: 20 GENDER: Male GENERATION: Generation Z OCCUPATION: Model MARITAL STATUS: Single INCOME: Very little disposable income LIFE STAGE: exploring possibilities GEOGRAPHIC SEGMENTATION: Living in Paris with friends.

ACORN CLASSIFICATION: Type 17 Socialising young renters applies to this consumer.

“Converted flats... young singles and sharers... early stages of careers... switching financial products... share content, read blogs... out with friends... cinema or a club... living a young social lifestyle...”

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SPENDING BEHAVIOURS: With little spending freedom, saving up for investment and basic pieces that have longevity fits the consumer.

For Generation Z, designer items are desired more due to social media.

FAVOURITE BRANDS: Balenciaga, Nike, Comme des Garçons Exclusive items hold more of power over mass-market items. Quick adopters of trends mean this consumer is more likely to splurge into trend based items that hold a limited quality to them. Being an individual is key.

PSYCHOGRAPHIC TRAITS: Their style can go from one extreme to another but comfort and trendy styles are most important. Not afraid to inject colour into their lifestyle in any way.

LIFESTYLE: Soaking up the beauty of the city and enjoying nature is a frequent activity, as well as travelling to other picturesque locations, sometimes due to their job. They often a very chilled back approach to life.

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PRODUCT AND PRICE 18

PRICING From primary research, it is evident that price has a major impact on the purchasing process when it comes to designer items; for some, the object of desire does not depend on price.

JACQUEMUS DEPARTMENTS PRICE RANGE IN DOLLARS AS FOUND ON THE UK WEBSITE

Jacquemus commits to prestige pricing as their strategy. Higher prices account for their exclusivity and innovative nature of the products they offer. Jacquemus’ prestige strategy defines their place in the luxury market amongst competitors of the same pricing strategy. The luxury sector as a whole has a limited price range, meaning in order for Jacquemus to compete with similar brands, the price is a promise of high-quality products. For their target consumers, using prestige pricing makes products desirable; acts as something to aim towards and look forward to owning despite the normalising of purchasing designer fashion.

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PRESTIGE PRICE

AFFORDABLE

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− Strong brand identity and position in the industry − Accessories continue to drive trends forward − The namesake of its successful public group

ISABEL MARANT

PRADA

− Does not follow trends, makes their own − The classic French fashion house − Unconventional and timeless pieces

− Parisian chic lifestyle − Price point ranges are slightly more affordable − Strong European presence with stores in all cities

BOTTEGA VENETA

EXCLUSIVITY

MASS MARKET

CELINE

COMPETITIVE POINTS

− Innovators of shoes and accessories; often trickled into the mass market − Strong price points that hold exclusivity − The Italian born brand takes pride in its heritage

PRODUCTS

The Le Chiquito bag in all its sizes started a fashion product, product based on trends that would’ve died out. However, it’s slowing maturing into a classic and iconic product for the brand that remains and runs throughout all present and future collections having the bag be a major success. Other basic products include sweatshirts, t-shirts, socks and anything that has a timeless appeal.

Within both departments of the brand, menswear and womenswear, there is a vast mix of products some even being unisex.

Fashion products include solely seasonal products. Oversized blazers and shirts with wild patterns and colours are perfect for seasonal style but will eventually stop growing at the next seasonal drop. On the other hand, these products have bold and unique elements to them, making them fashionable in the first place.

Shoes and accessories are the main fad products of the brand. The creativity of heels and hat sizes are innovative yet trend-focused as well as both quick to grow and decline.

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All product images Fig 19.

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PLACE 23

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BRAND WEBSITE Jacquemus.com is the only place where all the currently available products can be found. His passion for Instagram runs through the website visually, with an archive for runways, architecture, art and inspiration that embodies everything the brand identifies with.

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These images are cut out of the same screenshot Fig 22.

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Much like his packaging, this website is defined by Simon’s taste in design and sophistication. Other than the promotional images, there is little colour to the layout suited for competing in the luxury market. A section for Simon himself rewinds to the beginning, lists all his industry achievements and highlights turning points for the brand.

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With Jacquemus having a strong digital presence, the majority of places to find his products reside online. This widens the scope and reaches of the brand due to the fact it has no stand-alone stores as of yet. This may be due to the peak of Generation Z and millennials preferring online purchasing to in-store as discovered by Mintel (2019). In agreement, consumers would rather shop online or through wholesale retailers.

The limited purchasing places for the consumer would depend on Simon’s idea and passion for a digital brand. With no permanent physical stores, the only places to grasp onto Jacquemus items physically are through department store retailers or the rare pop-up experience store. Not big enough to be concessions, other stockists only stock an exclusive range of the collections.

A few examples out of 230 worldwide stockists available.

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ETAIL

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PROMOTION 28

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SOCIAL MEDIA

INSTAGRAM

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Having Simon run all of his social media platforms himself, he has full control over the contents that his consumers will see. Instagram takes the lead in terms of the brand’s digital promotion platforms. With the strongest presence of the Jacquemus branding, frequent updates explore the brand’s personality, values and inspiration to 2 million followers. Primarily, Instagram is Jacquemus’ biggest exploration of promotion. This also provides a legitimate shopping channel for the brand with consumers being able to purchase items straight from the post.

Other social medias the brand utilises are Twitter, Facebook and Youtube where each runway is showcased to their subscribers. The direction to focus more on Instagram prepares the brand for the future of the industry. With all of its users accessing the app more or less every day, Instagram becomes the place for brands to capture their consumers; Jacquemus takes full advantage of what the application can do. Social media is becoming an outlet for sharing style and influencing the purchasing process, something that Jacquemus does extremely well.

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INSTAGRAM STORIES

EMAIL NEWSLETTERS Providing this kind of promotion with their consumers helps the brand understand their target audience. With the focus of a digital approach to promotion, Jacquemus understands the tech-savvy consumer they are targeting. The option of subscribing to newsletters brings the consumer closer to the brand. Usually having to use their email to purchase online and apart of daily routines, newsletters act as reminders of the brand and reignite the evaluation and thinking process when it comes to decision making.

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The packaging for Jacquemus’ products is simply sophisticated. For a luxury brand in a saturated market, the packaging is a way to connect with consumers. When paying for expensive goods, packaging adds a special and considered touch to that item, something the consumer can look forward to opening. The off white and black colour scheme offsets the bold and usually colourful product boxed within. For a luxury brand with a high-quality price point, the Jacquemus packaging signifies the luxury experience and service associated with extravagant purchases.

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PACKAGING

PUBLIC RELATIONS

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For Jacquemus, public relations bring the brand into the limelight. Simon himself, over his time in the industry, has built a strong series of relationships with the most influential people in the business. His iconic and wild designs are hard to miss gowned on celebrities and influencers when making public appearances or editorial shoots. With high profile socialites like Kourtney Kardashian and performers like Dua Lipa and Justin Timberlake, Jacquemus is building a strong reputation in the public eye with people circulating the media constantly.

For the brand, public relations as a promotion method are minimal. The brand itself is still overshadowed in this way by luxury competitors in the same market level. High fashion profile events such as the Met gala are still yet to be achieved by Jacquemus, which would give the brand positive exposure as a luxury brand.

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“Jaquemus is not about nightlife and clubbing and things like that, it’s more about fruit and vegetables and rolling in the grass” - Simon Porte Jacquemus (Instagram, 2017) 34

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PEOPLE 35

EMPLOYEES Fig 43.

The Jacquemus brand is made up of 60 employees, which has grown over the years. Passing up further investors and staying loyal to his independence can be said the same for his employees who have been there from the beginning. Working with friends that turn into family continues to invest the family values into the brand’s identity.

Building his team up over time has allowed such an independent brand to understand an integral part of collaborating to succeed.

60 employees remains a small number for a luxury business that’s growing in reception. In his studio in Paris, Simon works closely with his team to ensure everything is in the essence of the brand’s DNA. With little formal training in the fashion industry, Jacquemus runs on self-taught methods and initiative, which he threads through his employees.

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“IF YOU WANT TO DO EVERYTHING SINCERELY, HOW CAN YOU LEAVE YOUR OWN BUILDING?” (THE CUT, 2019)

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PROCESS 38

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CUSTOMER SERVICES Fig 46.

The Jacquemus website holds any information a consumer would need. Essential to maintain customer loyalty, customer service can give the consumer a certain reputation of the band they have experienced themselves, either positive or negative. With 90% of consumers have purchased something of the luxury standard in their lives, high quality and profile brands ensure sophistication when in contact with their consumers. Providing a contact service for its consumers allows full awareness of what the consumer needs or desires. Social media also plays a role in customer services. The social identity of Jacquemus shows the consumer that when needed, the brand is significantly there to help.

“Which leads me to my third and final conclusion: The real problem isn’t that my tiny bag is too tiny. The problem is that my phone, the source of so many issues, is too big.” (Petrarca, 2019)

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DELIVERY AND RETURNS

With a small establishment of multi-channel retailing, the process of ordering online from Jacquemus.com ensures the true Jacquemus experience. A structured delivery system that works efficiently is essential for any online established brand. Often with delivery and returns services, consumers may feel wary to trust the system. Jacquemus especially, for consumers to purchase from the home of the products, an online brand that serves them well earns loyalty. Loyalty gives the brand confidence in many ways: fulfilling the consumer’s desires, confident growth in sales and the determination to ensure the customer is always satisfied.

A convenient and hopefully affordable delivery system provides the consumer with trust in the brand and adds to the evaluation of the purchasing process. Usually, if delivery or return is inconvenient then there is more a chance the consumer won’t give in to the purchase. Based in Paris, Jacquemus gives the consumer reasonable delivery costs considering the potential distance from the consumer.

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CONCLUSION 42

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WEAKNESSES

− Primarily being present online is used to his advantage. The larger scope of online retailers allows for attracting untouched consumers. − With no physical definition of stores, there is a lack of connection and experience for both the brand and the consumer.

− Develop the idea of pop-up stores into creating moments with consumers building up a reputation. − With the brand’s name still unknown to certain demographics, collaborating with fully established brands would generate exposure.

− The market is saturated. A lot of competitors within the same market level or not are competing with price and reputation. − The essence of the brand is not fit for all consumers. Trends and consumer tastes are temporary and known to change constantly.

− The consumer demographic is limited. − Not as established as other brands in the industry. Often the name is unheard of to the average person.

− Relationships with influencers and celebrities can bring editorial and campaign promotion methods or brand ambassadors.

THREATS

− Uses social media as a colourful and crucial element of the brand. Helpful for promotion and creating a strong personality.

OPPORTUNITIES

STRENGHTS

− Simon has unlimited control over everything which helps clarify his vision of the brand.

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− Social media could be a temporary advance, the question stands would the brand be functional without it?

For a brand like Jacquemus, that’s still relatively new to the market, the marketing mix highlights where the brand is strong and weak. Behind the scenes of the label remains very much limited. The small but trustworthy team behind the namesake business is yet to venture into new ways of building their reputation and ensuring consumer loyalty is reached. Today, there is a lack of consumer loyalty for most brands in the industry, making the marketing mix even more vital for business. Any brand in the luxury market level like Jacquemus needs consumer loyalty the most. Larger price ranges pinpoint a certain demographic of consumers, meaning brands depend on their loyalty.

On the page opposite, the larger the element of the marketing mix, the more important and more considered it is for Jacquemus. Still learning the ropes and right directions to take his brand, it is clear that Simon imports a few of the marketing mix he believes is most important. A strong brand, thoughtful promotion methods, the innovation and design of products and playing to the right consumer makes up the brand’s most successful and significant areas. With room for growth, Jacquemus is only looking up. Over 10 years of establishment, Jacquemus has already created a boost of publicity that placed his brand in the public eye and it is promising that the brand will continue to innovate the current and next generations.

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PROMOTION

PLACE PEOPLE

PROCESS

BRAND

PRODUCT

PRICE

CONSUMER 45

List of Figures

Fig 1. Jacquemus (2019) Summer in Paris Available at: https://www.instagram.com [Accessed 8th April 2020] Fig 2. Time Magazine (2019) Good things in small packages Available at: https://time.com [Accessed 14th April 2020] Fig 3. Jacquemus (2019) Field of lavender Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 4. Jacquemus (2020) Tulum treehouse Availbale at: https://www.instagram.com [Accessed 8th April 2020] Fig 5. Jacquemus (2019) New drop Available at: https://www.instagram.com [Accessed 8th April 2020] Fig 6. Jacquemus (2020) Off Available at: https://www.instagram.com [Accessed 8th April 2020] Fig 7. Jacquemus (2020) My mother Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 8. Le Pluard, B (2013) La Grande Motte Available at: https://www.jacquemus.com/archive/ [Accessed 12th April 2020] Fig 9. Jacquemus (2020) Home Available at: https://www.instagram.com [Accessed 15th April 2020] Fig 10. Jacquemus (2019) Summer 2019 Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 11. Lurachi, D (2018) Fall and Winter 2018/19 Available at: https://www.designscene.net [Accessed 14th April 2020]

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Fig 12. Jacquemus (2018) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 13. Jacquemus (2019) La collectionneuse Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 14. Roddy, L (2020) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 16th April 2020] Fig 15. Hall, J (2019) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 16th April 2020] Fig 16. Jacquemus (2019) Your next winter look Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 17. Joslin, E (2020) Cute Available at: https://www.instagram.com [Accessed 16th April 2020] Fig 18. Chmielewska, M (2018) Product life cycle Available at: https://partners.livechatinc.com [Accessed 18th April 2020] Fig 19. Jacquemus (2019) Product Images Available at: https://www.jacquemus.com [Accessed 18th April 2020] Fig 20. The Impression (2020) Backstage 2020 Available at: https://theimpression.com [Accessed 10th April 2020] Fig 21. Jacquemus (2019) Summer mood Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 22. Jacquemus (2020) Website homepage screenshot Available at: https://www.jacquemus.com [Accessed 18th April 2020] Fig 23. Jacquemus (2020) Website homepage screenshot Available at: https://www.jacquemus.com [Accessed 18th April 2020]

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Fig 24. Net-a-Porter (2020) Logo Screenshot Available at: https://www.net-a-porter.com/gb/en/ [Accessed 18th April 2020] Fig 25. Farfetch (2020) Logo Screenshot Available at: https://www.farfetch.com [Accessed 18th April 2020] Fig 26. Selfridges (2020) Logo Screenshot Available at: https://www.selfridges.com/GB/en/ [Accessed 18th April 2020] Fig 27. Harvey Nichols (2020) Logo Screenshot Available at: https://www.harveynichols.com [Accessed 18th April 2020] Fig 28. Vogue (2020) Fall 2020 Ready-to-wear Available at: https://www.vogue.com/fashion-shows [Accessed 10th April 2020] Fig 29. Vogue (2020) Fall 2020 Ready-to-wear Available at: https://www.vogue.com/fashion-shows [Accessed 10th April 2020] Fig 30. Vogue (2020) Fall 2020 Ready-to-wear Available at: https://www.vogue.com/fashion-shows [Accessed 10th April 2020] Fig 31. Jacquemus (2020) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 32. Jacquemus (2020) Instagram profile screenshot Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 33. Jacquemus (2020) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 34. Jacquemus (2020) Instagram story screenshot Available at: https://www.instagram.com [Accessed 15th April 2020] Fig 35. Jacquemus (2020) Website Newsletter service Available at: https://www.jacquemus.com [Accessed 18th April 2020]

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Fig 36. Mija, M (2019) The straw hat Available at: http://www.mijaflatau.com [Accessed 8th April 2020] Fig 37. Sanders, C (2020) Newbie Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 38. Sanders, C (2020) Green love Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 39. Jacquemus (2020) Sunburn T-shirt Available at: https://www.instagram.com [Accessed 15th April 2020] Fig 40. Lipa, D (2020) Grown Available at: https://www.instagram.com [Accessed 8th April 2020] Fig 41. Jenner, K (2020) Besties in Jacquemus Available at: https://www.instagram.com [Accessed 8th April 2020] Fig 42. Roche, D (2020) Catching up with Simon Porte Jacquemus Available at: https://www.numero.com/en [Accessed 15th April 2020] Fig 43. The Cut (2019) Life in the sunshine Available at: https://www.thecut.com [Accessed 18th April 2020] Fig 44. Jacquemus (2019) Golden hour Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 45. Jacquemus (2018) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 46. Jacquemus (2020) Customer service contact screenshot Available at: https://www.jacquemus.com [Accessed 18th April 2020]

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Fig 47. Jacquemus (2020) Customer support screenshot Available at: https://www.jacquemus.com [Accessed 18th April 2020] Fig 48. Jacquemus (2019) Instagram feed screenshot Available at: https://www.instagram.com [Accessed 10th April 2020] Fig 49. Leclercq, P (2020) Chiquitos line Available at: https://www.instagram.com [Accessed 21 April 2020] Fig 50. Leclercq, P (2020) Navy stripe shirt Available at: https://www.instagram.com [Accessed 21 April 2020]

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References

Baram, C (2020) Fashion accessories UK Available at: https://reports.mintel.com [Accessed 10th April 2020] Khayyer, J (2017) Home alone with Jacquemus Available at: https://www.ssense.com/en-us [Accessed 5th April 2020] McFarland, J (2018) The designer report: Jacquemus Available at: https://www.matchesfashion.com/womens [Accessed 8th April 2020] Petrarca, E (2019) Simon Porte Jacquemus isn’t just the man behind the tiny bag Available at: https://www.thecut.com [Accessed 18th April 2020] Petrarca, E (2019) My year of carrying the tiny bag Available at: https://www.thecut.com [Accessed 18th April 2020] Sender, T (2019) Designer fashion UK Available at: https://reports.mintel.com [Accessed 10th April 2020] Yaeger, L (2018) How Jacquemus Is Taking The Fashion World By Storm Available at: https://www.vogue.com [Accessed 8th April 2020]

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Bibliography

Adegeest, D (2018) Retailers out of sinc with customer loyalty Available at: https://fashionunited.uk [Accessed 5th April 2020] Arnett, G (2020) Data analysis shows Jacquemus as fashion’s top breakout brand Available at https://www.voguebusiness.com [Accessed 15th April 2020] British Fashion Council (2019) Direct-to-Consumer: A new model for British fashion Available at: https://www.britishfashioncouncil.co.uk [Accessed 10th April 2020] Chitrakorn, K (2019) What fashion can learn from 2019’s top marketing moments Available at: https://www.voguebusiness.com [Accessed 15th April 2020] Dover, S (2019) Purchasing journey for fashion Available at: https://reports.mintel.com [Accessed 10th April 2020] Fashion United (2020) How to stay in touch with your customer via email marketing Available at: https://fashionunited.uk [Accessed 8th April 2020] Hawkins, A (2019) Generation Z stores Available at: https://www.lsnglobal.com [Accessed 10th April 2020] Highsnobiety (2018) The profile: Jacquemus Available at: https://www.highsnobiety.com [Accessed 5th April 2020] Hobbs, J (2019) Jacquemus’ 10th anniversary show is what Instagram was made for Available at: https://www.voguebusiness. com [Accessed 8th April 2020]

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Scrullion, C (2020) Buyers’ briefing S/S accessories Available at: https://www.wgsn.com/fashion [Accessed 5th April 2020] WGSN (2015) 10 Ways retailers can service the Gen Z consumer Available at: https://www.wgsn.com/fashion [Accessed 5th April 2020]

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Pricing ranges personally gathered and put into this table. Sourced from Jacquemus.com

APPENDICES Primary Research from Instagram Polls

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Brand survey: https://www.surveymonkey.com/results/ SM-GR5NYJTX7/

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