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Marketing Report

2019

by Olga Petrusewicz


Brand Analysis

2

fig. 1

Molly Goddard


Brand Analysis

Contents 4 12 20 26 30

Brand Analysis 3

Competitor Analysis

Customer Segmentation

Objectives

Strategy

34 36 38 40 48

Tactics

Actions

Control

Appendix

Bibliography

Molly Goddard


Brand Analysis

4

About Molly Molly Goddard is a relatively new designer actively present in the industry since 2014. Creating pieces for women, young maker already heavily established her personal style, which distinguishes herself from her competitors. Initially inspired by kids-wear, Molly’s garments are carefully crafted with lots of ruffles and frills in bright

Molly Goddard

colours. Young designer mastered the use of mesh fabrics, playing with volume and layering what is currently considered as her signature style (McAlpine, 2018). Her marketing strategies are currently minimal, basing heavily on the success of her catwalk shows, which are distinguishing her from

anyone on the British fashion scene, and her own image as a designer. Creating more visual content gives Molly Goddard opportunity to make a bigger mark as a luxury brand and reach wider audience of potential customers, who will be able to identify themselves with the brand’s aesthetics, style and values.


Brand Analysis

fig. 2

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Molly Goddard


Brand Analysis

6

fig. 3

Molly Goddard


Brand Analysis

Unique Selling Point

7

Molly Goddard balances on the border of creating ready to wear, everyday garments and conceptual couture designs. She has established herself and her personal style in the Fashion Industry and is recognized for er mesh fabrics. She reinvented the ordinary silhouette merging oversized with feminine and introducing

voluminous, colourful pieces as everyday items. She stresses the importance of comfort and proves that high fashion doesn’t always need to be reserved for special occasions (Hodin, 2018).

Molly Goddard


fig. 4

Brand Analysis

8

Molly Goddard’s space in Dover Street Market in London is striking out as soon as a customer enters the third floor of the store. Vivid shades of pink and red put together with piled up bags in the background create a very aesthetic space, which looks good on the amateur photos taken on smartphones and which can be easily posted on social media. Brand targets millenials as the main customer. That group of consumers is highly focused on being a part of a experience, which they can later on

Molly Goddard

share on social media. As on average around 81% of millenials would post a picture from a branded event (Kercher, 2017) creating a space, which photographs well surprises the buyer lies in Goddard’s best interest. Posting photos from her store on Instagram creates a buzz around her brand and attracts potential consumers to visit the store in order to become a part of the experience.


fig. 6

Brand Analysis

fig. 5

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Molly Goddard


Brand Analysis

S

Personal engagement of the designer. The brand is identified with Molly Goddard’s face.

Very original and distinctive style playing with colour, volume, ruffled and mesh dresses are statement pieces for Molly Goddard. Creating pieces for wide range of customer groups - lots of oversized garments, colour palette not restricted only to vivid colours. Slowly evolving designs which keep with the overall aesthetics. Big market in both Asia and the US.

O

Expanding market in Europe.

Investing in more engaging social media strategies to connect with the customers and reach more potential consumers. Collaborations with other fashion designers or artists. Further work with museums and galleries to showcase interactive exhibitions and shows. Opening brand’s own physical boutique.

Molly Goddard

Designing only womenswear range within the brand. Young brand without long history and customer loyalty. Not strongly environment oriented approach. Very unique style appealing to narrow audience. Lack of recognition outside of the fashion industry.

T

Loss of customers due to too similar collections season on season.

More competition - young designers entering the fashion industry with lower price range and similar approach. High street fashion replicating Molly Goddard designs and devaluing the name of the brand. Limited knowledge about the brand from people not connected to the industry.

table 1

10

W

High pricing of the garments.


Brand Analysis

fig. 7

11

Molly Goddard


Competitor Analysis

Simone Rocha

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Young British designer, CSM graduate and daughter of John Rocha known for her womenswear pieces also focused around empowering femininity with more Victorial romantic approach. Similarly to Molly Goddard, Simone follows a strong believe that ‘pretty’ can be interesting and inspiring (Hunt 2018).

Molly Goddard

Present on the fashion scene since 2012, debuting on London Fashion Week two years after finishing her MA at Central Saint Martins, Simone Rocha has a strong personal connection to her designs, just as Goddard. Both designers have been discovered by Dover Street Market and both focus strongly on manipulating with volume and print within their designs (Tindle, 2017). Rocha targets slightly older customer group than Goddard (around 30 to 40 years old), her pieces are more sophisticated and the colour palette is toned down, heavily based around white and black. However, for the last seasons she has been much

more experimental with shades, embellishments and print. Similarly to Goddard, Rocha does not produce her own visual imagery and base her social media around editorials created by other artists featured in fashion magazines. Her official website is also minimal having previews of her collections and is lacking lookbooks. As her targeted customers are not solely millenials the approach to her online image is not as vital for the brand as for Goddard. Even though, Rocha has been awarded British Designer of the Year in 2016 (McQuillan, 2016) she has less followers than Goddard on social media.


Competitor Analysis

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fig. 8

Molly Goddard


Competitor Analysis

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Molly Goddard fig. 9


Competitor Analysis

S

Daughter to a famous fashion designer John Rocha.

table 2

Strong, unique design aesthetic. Collaborations with other brands like Moncler.

W

Designing accessories alongside her womenswear range.

Relatively new brand on the market, present since 2010, without long history

Having her own boutiques in Europe and US.

Very sophisticated, occassionwear pieces.

The designer strongly involved in her own brand with personal approach to the design process.

Current website is hard to navigate.

Popular mainly within fashion industry and fashion enthusiasts.

No brand’s own online shop or direct link to it from the website. Not clearly determined customer group.

O

Further collaborations with artists and designers.

Implementing more editorial content on website and social media. Creating an official online store on the designer’s website. Stronger website design, which is easier to navigate.

T

Big competition from young British designers constantly appearing in the fashion industry.

Avoiding working on online presence means missing opportunity to attract younger consumers. Not determining the targeted group of customers links to unsuccessful marketing strategies.

Molly Goddard

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fig. 10

Competitor Analysis

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Molly Goddard


Competitor Analysis

Rodarte

for Natalie Portman in The Black Swan directed by Darren Aronovsky.

Rodarte is an American brand established in 2005 by two sisters in Los Angeles. The brand is focused on womenswear Ready-to-Wear collections, but the sisters have designed costumes for Het National Ballet in 2010 and later ballet dresses and other key garments

The overall feeling associated with the brand is the same kind of delicate and romantic as with Molly Goddard. Due to the age of the designers, Rodarte targets slightly older and more aware consumer (3040 years old), who above all appreciates arts and culture and engages with the artistic influences within their lines. The online image of the brand is very strong. Their Instagram is followed by

over 744k accounts, the posts include backstage pictures of the exhibitions and catwalks but there is a lot of editorial content produced by the brand itself. That creates an aligned aesthetics on the account and provides the consumer with a very strong visual language the brand’s operating with. The collaborative work of Rodarte sisters is very diverse. Their latest collaboration with Coach. They also worked with & Other Stories, Swarovski, Superga and recently created a range of dresses for Barbie dolls.

Molly Goddard

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Competitor Analysis

S

Very artistic approach to design due to designers’ higher education in the Arts.

Many collaborations with different brands. Working outside fashion industry - designing costumes and ballets.

W

Very high and exclusive pricing.

Not directly determined customer age group.

Various exhibitions.

Small knowledge about the designers leading the brand.

Strong online presence and aesthetics.

Limited knowledge about the brand in Europe.

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Distinctive style of the designs and catwalks. Both online and physical stores.

T

O

Designs becoming too commercial rather than conceptual, attracting wider audience, what stop Rodarte from being luxurious.

Bigger focus on environmental issues and policies concerning the brand. Producing more fashion films as a part of brand’s marketing campaign. Opening more stores in Europe and Asia.

Molly Goddard

table 3

More personal involvement from the designers, creating a better relationship with the customer.

Devaluation of the brand’s name due to collaborations with mass market labels.


Competitor Analysis

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Molly Goddard fig. 11


Consumer Segmentation

Customer Profile

is living in a large city in Europe, USA or Asia, as most of the stores are located in these areas.

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Looking at demographic segmentation, Molly Goddard’s customer is a women aged between 25 and 35 years old from Generation Y (Millenials). She is in prefamily stage of life, either single in partnership or newly married. Pricing of Goddard’s items indicates that the brand can be classified as a luxury label (£450 - £2000 per item), hence the customer will be middle class to upper class, working for at least a few years with a good income salary around £31,000 per year (Payscale,2018).

Molly Goddard

As the brand has quite unique and extravagant aesthetics the consumer is probably living in a city with population above 500,000 citizens, where the fashion trends and norms are more open and less socially restricted. As a new brand, Molly Goddard is now known mainly to fashion enthusiasts, trend followers and influencers, hence why the customer’s occupation or interests may lie in the creative industry. In terms of geographic segmentation, the customer

Having a creative background, Goddard balances on the line of couture and wearable pieces which may attract innovators and early adopters. However, as recently more of her designs have been repeatedly worn by Rihanna and her SS17 dress has been recently featured in the BBC show ‘Killing Eve’ the distribution may shift to early majority as more customers will become familiar with designer’s name. Looking at the lifestyle of the targeted customer,the group is most likely to live in a flat located in the city centre, what would be indicated by their average income and marital status. Molly Goddard as a designer is a strong part of


Consumer Segmentation

fig. 12 & 13

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her own brand. Appearing as very kind and positive she creates authenticity around her brand and makes her stand out from the competition. Her own style reflects her designs and currently big part of her promotion is based around giving interviews about her work but also about her personal life and journey. By talking about her personal input to the design and manufacturing process, she attracts people, who value authenticity within a brand. Putting on free shows (V&A) and organizing

interactive gallery exhibitions establish her as a creator with whom the customer can interact. Her and her brand’s ethos would appeal to people who want to support smaller, independent brands and designers, who are passionate about their craft rather than focusing solely on the profit. At the same time, with growing popularity of her designs, another group of consumers may be attracted by the hype surrounding the name. This could include young

women who follow social media and celebrities and aspire to recreate certain looks. However, the high price range would limit the mass market consumer from purchasing it. Customer buying from Molly Goddard is most likely to purchase one item rather than a whole outfit as majority of garments are very exceptional.

Molly Goddard


Consumer Segmentation

fig. 14

Louise Chen

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A young DJ from Paris, Louise Chen reinvents the clubbing scene in Europe. Louise broke out as a party promoter in 2012 and founded Girls Girls Girls all-female music collective in response to heavily male dominated groups (Gorton, 2014). Apart from being a DJ and party promoter, Chen writes about music in magazines such as I Heart Magazine or Snatch Magazine and hosts a monthly show on Nova Radio. Her career forces her to travel a lot and constantly meet new people from the music industry - DJs, record store owners or label managers.

In her spare time Louise visits her favourite coffee shop Telescope, shops at The Broken Arms - concept store but above all, she enjoys spending evenings in her favourite cocktail/ music bar L’EntrÊe des Artistes, which is her second home (Passerbuys, 2018). table 1

Molly Goddard


Consumer Segmentation

fig. 16 fig. 17

fig. 15

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fig. 19

fig. 18

Molly Goddard


fig. 20

Consumer Segmentation

24

Susie Lau Launching her blog in 2006, Susie Lau became an important figure in the fashion media. Having worked for Dazed & Confused as an editor lead her to eventually becoming full time blogger - known as Susie Bubble by her followers and freelancer working with brands like Louis Vuitton or Prada.

Molly Goddard

She is 33 year old and lives in her flat in North London in Seven Sisters with her partner and a new born baby, what has not stop her from continuing her busy lifestyle of a creative (Litchfield, 2017). Susie is always wearing vibrant colours and patterns, she is also a big fan of wearing a skirt over trousers, which is one of

the reasons she is often seen dressed in Molly Goddard. As a journalist her life is fast-paced, filled with travelling, constantly meeting and interviewing interesting people or attending shows and exhibitions she can write about. Susie describes her working day either as 12 hours spent on her computer editing, transcribing and writing or going to various events with her camera to find content she will publish (ID, 2016).


fig. 21

Consumer Segmentation

25

fig. 22

fig. 23

Molly Goddard


Objectives

The goal is to introduce more engaging marketing strategies for the brand such as editorials and videos promoting the collections in order to reach wider range of customers. Creating content, which will build up consumers interest before releasing a collection would aim to promote Molly Goddard as a luxury brand and engage directly with the customer.

Strategy

The actions will be executed basing on designer’s Instagram account, as it is a main platform to interact with brand’s enthusiasts. The posts will feature a part of the original editorials in order to increase the amount of website visitors. The full-length produced content will appear on the official website, which will be directly linked to the posts released on social media accounts.

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The success of implementing these strategies will be measured by looking into statistics on social media - potential increase of the amount of followers, number of clicks on the links directing to the official website will show if the consumer is interested in promotional content created by the brand.

Measureable

Molly Goddard

Looking into the age of new followers will allow the brand to determine if producing more online visual content is beneficial for the label if it creates a buzz around the brand among younger generations of users.


Objectives

Attainable

Producing more visual content is a next step to establish Goddard as a luxury brand. Her catwalks are always featured on the official website but producing more visually captivating lookbooks can affect the number of page visitors. The Instagram account has 159k followers at the moment and features a lot of editorial pieces, which are produced by other magazines and photographers, where

Molly Goddard’s garments are used as styling pieces. Producing first hand content takes the brand to another step forming more direct relationship with a potential consumer and placing it closer to its aspirational competitors. Investing more in the online marketing, which would follow the path of Goddard’s catwalk shows - be unpredictable and crossing the boundaries between luxury fashion and day to day life would be beneficial for the brand and achievable without compromising on its current reputation.

Molly Goddard

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Objectives

Relevant

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It is crucial to make Goddard more known outside the UK, where she is quite recognizable being a young, fresh designer. Interesting visual content is an important step in this process, which is easy to achieve using online social platforms. Establishing Molly Goddard as a luxury brand and promoting its values, with which the consumer can identify and hence become a part of the brand community can be effectively executed using moving image and photography.

Timing Increase of website visitors by 10% and increase of followers up to 180k on Instagram 6 months from releasing the fashion video on the social platforms and official web-page.

Molly Goddard


fig. 24


Strategy

fig. 25

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Molly Goddard


Strategy

Cost to Consumer

Buying into Molly Goddard the customers expect recognizable style for which the designer is acknowledged. They are willing to pay larger sums of money for a product, which will give them feeling of exclusivity. As hand-finished products, Molly Goddard’s customers pay for craft and originality of each attire. 31

Customers Needs

Molly Goddard is attracting consumers who enjoy originality and celebrate their individual style. It is vital for Goddard to preserve brand’s exclusivity as it aims to appeal to people who desire to be distinctive. Main group of buyers are the millenials, who heavily interact with the brands via online media and often buy into labels which share similar values. Engaging with the customers and providing them with visually captivating content with which they can relate is a next key step for Molly Goddard.

Molly Goddard


Strategy

Convenience

The targeted consumer has a fast-paced lifestyle and need to communicate with the brand quickly and efficiently. Adding purchase button to Instagram allow users to be instantly directed to the online store where they can purchase the garment they have found online. It will impact consumer’s knowledge about which product are branded as Molly Goddard and save time on scrolling through the online store web-pages to find the desired look.

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Communication

Molly Goddard

Molly Goddard’s shop displays are always on verge of looking like art exhibits, creating spaces which will sell more than just a polished product - a whole experience, is something she has been acknowledged for as a designer. The video is going to be displayed in the store attracting brand’s enthusiasts to visit the space and potentially photograph the exposition. Big impact on the campaign will be put on the social media, snippets of the film will be featured on the Instagram page and direct view full length video on the official website.


Strategy

33

fig. 26

A potential layout of the Dover Street Market space implementing the video promoting the designer.

Molly Goddard


Tactics

Tactics

34

Very important part of the whole process is a carefully planned Instagram page with posts lined up ahead. As it is currently a main platform for the designer on which the brand can easily reach to the customer, it is vital to have it visually appealing and engaging for the user.

Molly Goddard

More first hand editorial pieces must be posted on the page, rather than focusing it so heavily on the secondly sourced images, the collections are going to be advertised more using film and short clips to increase the interest and anticipation for the upcoming season. The Instagram page will not feature full length material nor all of the photography and the content will be linked to the designer’s website to which the user will be directed. This will increase the number of online visitors and engage them more.


Tactics

Molly Goddard Intagram account featuring photos and short social media edits of the video announcing the launch of the official full length video

fig. 27 & 28

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Molly Goddard


fig. 29 & 30

fig. 31

Preview of the social media edit version of the fashion video visualized on the laptop screen

Actions

The official website design for laptops and mobile devices

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Molly Goddard


Actions

Actions There will be a need for a brand manager responsible for the online image of the brand creating posts with captions and looking into most suitable times to release them. The brand will need to invest more in the online marketing and interpreting the statistics as well as in the crew who will produce the visual content. The equipment needed to create the video clips will need to be outsourced and the most of the crew employed as the brand hasn’t produced any moving image before and is new to the subject. The material will need to be created with a time gap for a potential mistakes, preferably at least 6 months in advance so it can be polished and started to be published online about 2 months before the collection is going to be officially released.

Molly Goddard

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Control

Control 38

The performance will be monitored by closely following the statistics on the online platforms the brand is focused on Instagram and YouTube, where the video will be released. The success and reach of certain posts will me measured and compared as well as potential increase of the number of followers. The statistics will show if the current strategy appeals to the brand’s customer base. As the aim is increasing interest in the main website and brand’s imagery - detail analysis of web-page visitors and the time spent on the platform needs to be checked to see if there is more viewers interested in the label after publishing more of the visual content on the online platforms.

Molly Goddard


Control

fig. 33

39

Molly Goddard


Brand Analysis

40

fig. 32

table 1

Molly Goddard


Brand Analysis

41

Molly Goddard


Appendix

Appendix

Simone Rocha

42

Molly Goddard

Social Media Chart

Molly Goddard

INSTAGRAM 159k followers - posts are posted every 2-4 days, the posts include her garments being featured in various magazines, backstage pictures from catwalks and merchandising shop expositions. FACEBOOK Barely used with just over a thousand followers. In total having 5 posts. YOUTUBE/VIMEO not used at all

INSTAGRAM 121k followers, - posted every 2-3 days, 3 posts in a row. The content includes backstage shots from the designer, her garments being featured in other magazines. FACEBOOK 27k followers, more posts than Molly however hasn’t been used since April 2018 YOUTUBE/VIMEO not used at all


Appendix

INSTAGRAM 744k followers - posting a few pictures a day, usually putting photos up everyday and constantly engaging with the followers using Instagram Stories. FACEBOOK Barely used with just over a thousand followers. In total having 5 posts.

Rodate

VIMEO Over 100 followers, 10 videos of runway shows. YOUTUBE Over 2k subscribers, most of the videos are runway shows, backstage footage from catwalks and casting calls. Haven’t been used frequently for the last 4 years.

Pricing Rocha price range: 800£ - 2000£ Goddard price range: 450£ - 2000£ Rodarte price range: 2500£ - 11000£

Molly Goddard

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Appendix

Brand Onion PER

S O N A L I TY

AC

TIO NS

VALU ES Molly Goddard

BEHAVIOURS

44

A ND

E SS E N CE


Appendix

Actions and Behaviours

The brand is closely associated with the designer Molly Goddard, due to many interviews and talks she gives about her approach and inspiration for her collections.

Molly Goddard is a brand for people who celebrate their individuality and independence when it comes to expressing themselves. Its comfortable but not compromising on style and appearance, it’s bright, playful and positive.

Personality

45

It stands by authenticity and importance of craft. The brand is meant to fit everyone and not exclude any body shape or gender. It celebrates happiness and friendship.

Values

The essence of the brand is to celebrate femininity in its positive sense and empower women by girly colours and silhouettes. It transforms ordinary into extraordinary without losing comfort and freedom of movement.

Essence

Molly Goddard


Appendix

Brand Positioning Map high end

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minimal

Molly Goddard is still below her competitors when it comes to the exclusivity of the garments. Pricing of her garments places her next to Simone Rocha but due to the fact it is still a new label it still treats MiuMiu or Prada as aspirational competitors.

Molly Goddard

extravagant

mass market


Appendix

P

UK leaving European Union by 2020 impact import/export.

Imposed taxes on waste recycling in Europe.

E

Decline of value of British pound.

Increase in consumer confidence. Increasing inflation rate in US and Europe in the past 3 years.

S

More social awareness concerning waste and pollution in relation to fashion industry. Aging population.

Gender nutrality and gender rights issues still being high on the worldwide agenda.

table 4

Increasing amount of mental health problems connected to social media. Millenials willing to spend more money on luxurious goods.

E

Global warming and overproduction of CO2.

Global economic growth estimated to increase.

T

Rapid development of multimedia advertising.

Constantly chaning algorythms on different social media platforms. Virtual reality entering fashion industry. Overwhelming amount of brands appearing at the online market.

Increasing damage of the environment due to plastic waste. Decreasing water resources. Constant increase of interest in cruelty-free market.

L

Banning zero hours contracts.

Rising minimum wages.

Molly Goddard

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Bibliography

Bibliography Books Hameide, K.K. 2011, Fashion branding unraveled, Fairchild, New York. Hancock, I., Joseph 2016, Brand/story : cases and explorations in fashion branding, Second edn, Bloomsbury Publishing, New York. Posner, H. 2015, Marketing Fashion; Strategy, Branding and Promotion, Second edn, Laurence King Publishing, London.

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Websites Atkinson, L. (2018). Interview: Simone Rocha on family, fashion and her new collaboration with Moncler. [online] Thetimes.co.uk. Available at: https://www.thetimes. co.uk/article/interview-simone-rocha-on-family-fashion-and-her-new-collaboration-withmoncler-mfxrz8hvd [Accessed 27 Oct. 2018]. Alexander, E. (2013). When Barbie And The Spice Girls Met ASOS. [online] Vogue. co.uk. Available at: https://www.vogue.co.uk/gallery/asos-launches-molly-goddardcollection [Accessed 5 Oct. 2018]. Blanchard, T. (2016). Designer Molly Goddard: the frill seeker. [online] the Guardian. Available at: https://www.theguardian.com/fashion/2016/feb/21/designer-mollygoddard-the-frill-seeker-dover-street-market [Accessed 3 Sep. 2018]. Cook, G. (2018). How to Throw a Party Like a British Fashion Designer. [online] Nytimes.com. Available at: https://www.nytimes.com/2018/09/18/t-magazine/mollygoddard-london-fashion-week-dinner-party.html [Accessed 7 Oct. 2018]. Cortés, M. (2018). Rodarte’s Designers on Their Greatest Inspiration—Art. [online] Artsy. Available at: https://www.artsy.net/article/artsy-editorial-rodartes-kate-lauramulleavy-greatest-inspiration-art-11-11-18 [Accessed 5 Nov. 2018]. Davidson, E. (2018). Molly Goddard built a faux market for her LFW show. [online] Dazed. Available at: http://www.dazeddigital.com/fashion/article/41373/1/mollygoddard-market-london-fashion-week-spring-summer-2019 [Accessed 12 Oct. 2018]. de Pressigny, C. (2017). exclusive: the coach & rodarte collaboration is here. [online]

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Kinsella, F. (2015). molly goddard goes back to the drawing board at dsm. [online] I-d. Available at: https://i-d.vice.com/en_uk/article/evnmgz/molly-goddard-goes-back-tothe-drawing-board-at-dsm [Accessed 3 Oct. 2018]. Krohn, E. (2016). LFW SS16: Molly Goddard. [online] The Glass Magazine. Available at: http://www.theglassmagazine.com/lfw-ss16-molly-goddard/ [Accessed 3 Oct. 2018]. Lau, S. (2016). How Learning Not to Care Changed This Style Blogger’s Life. [online] Vogue. Available at: https://www.vogue.com/article/blogger-susie-lau-personal-stylelearning-not-to-care-miss-peregrines [Accessed 11 Nov. 2018]. Litchfield, S. (n.d.). SUSIE LAU. [online] NINE IN THE MIRROR. Available at: https:// www.nineinthemirror.com/interviews/susie-lau/ [Accessed 11 Nov. 2018]. McAlpine, S. (2018). The Making Of Molly Goddard: The Designer On How She Built Her Fashion Brand. [online] ELLE. Available at: https://www.elle.com/uk/fashion/ a20485367/the-making-of-molly-goddard/ [Accessed 7 Oct. 2018].

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McQuillan, D. (2016). Simone Rocha wins designer of the year at British fashion awards. [online] The Irish Times. Available at: https://www.irishtimes.com/ life-and-style/fashion/simone-rocha-wins-designer-of-the-year-at-british-fashionawards-1.2895035 [Accessed 11 Nov. 2018]. Milligan, L. (2017). Spotlight on Molly Goddard. [online] Matches Fashion. Available at: https://www.matchesfashion.com/womens/the-style-report/2018/03/the-springstyle-issue/spotlight-on-new-designer-molly-goddard-ss18 [Accessed 20 Oct. 2018]. Milligan, L. (n.d.). The Interview with Simone Rocha. [online] Matches Fashion. Available at: https://www.matchesfashion.com/womens/the-style-report/2018/04/thepioneers-issue/the-interview-simone-rocha-ss18 [Accessed 12 Nov. 2018]. NET-A-PORTER. (2018). 7 golden style rules Molly Goddard swears by. [online] Available at: https://www.net-a-porter.com/gb/en/porter/article-e0743b5c6b5a824c/ fashion/art-of-style/molly-goddard [Accessed 21 Oct. 2018]. Payscale.com (2018). London, England: London City Salary | PayScale. [online] Payscale.com. Available at: https://www.payscale.com/research/UK/Location=LondonEngland%3a-London/Salary/by_Degree [Accessed 11 Nov. 2018]. Passerbuys. (2018). Meet Louise Chen. [online] Available at: http://www.passerbuys. com/paris/louise-chen [Accessed 11 Nov. 2018]. Petty, F. (2018). you will always find molly goddard in the kitchen at parties. [online] I-d. Available at: https://i-d.vice.com/en_uk/article/3k7p8y/molly-goddard-autumnwinter-18 [Accessed 2 Sep. 2018]. Phelps, N. (2018). The Future of the Fashion Show: Susie Lau. [online] Vogue. Available at: https://www.vogue.com/article/future-of-fashion-shows-susie-lau [Accessed 15 Nov. 2018].

Molly Goddard


Bibliography

Rigg, N. (2016). Surveying the Contents of Susie Bubble’s Handbag. [online] AnOther. Available at: http://www.anothermag.com/fashion-beauty/9065/surveying-thecontents-of-susie-bubbles-handbag [Accessed 12 Nov. 2018]. Roche, D. (n.d.). Who is Simone Rocha, the baroquely romantic Irish designer?. [online] Numéro Magazine. Available at: https://www.numero.com/en/fashion/interviewsimone-rocha-london-fashion-week-fall-winter-2016-2017 [Accessed 12 Nov. 2018]. Salter, S. (2015). molly goddard’s sandwiches, showers and summer softness for spring/ summer 16. [online] I-d. Available at: https://i-d.vice.com/en_uk/article/a3gym8/mollygoddards-sandwiches-showers-and-summer-softness-for-springsummer-16 [Accessed 7 Oct. 2018]. Stansfield, T. (2016). Molly Goddard is inviting you to embroider her dresses. [online] Dazed. Available at: http://www.dazeddigital.com/fashion/article/33575/1/mollygoddard-is-inviting-you-to-embroider-her-dresses [Accessed 3 Oct. 2018]. Storm, R. (2016). Molly Goddard Gives Us More. [online] ssense. Available at: https:// www.ssense.com/en-us/editorial/fashion/molly-goddard-gives-us-more [Accessed 5 Oct. 2018]. Sutherland, E., Brown, H., Hounslea, T., Sutherland, E. and Brown, H. (2018). Molly Goddard, designer. [online] Drapers. Available at: https://www.drapersonline.com/ home/drapers-next-gen/molly-goddard-designer/7028199.article [Accessed 5 Oct. 2018]. Tindle, H. (2017). A Preview of Simone Rocha’s Newest Creative Collaboration. [online] AnOther. Available at: http://www.anothermag.com/fashion-beauty/9527/a-previewof-simone-rochas-newest-creative-collaboration [Accessed 20 Oct. 2018]. Tsui, D. (2017). “Designer Molly Goddard Threw a Sparkly, Champagne-Filled Party.” [online]. The Cut. Available at: http://link.galegroup.com/apps/doc/A504852044/ ITOF?u=aib&sid=ITOF&xid=618a8bd1. Accessed 20 Nov. 2018. Weinstock, T. (2016). molly goddard on embroidery, giant hanging dresses, wrestlers and world peace. [online] I-d. Available at: https://i-d.vice.com/en_uk/article/9kb5dd/ molly-goddard-on-embroidery-giant-hanging-dresses-wrestlers-and-world-peace [Accessed 5 Oct. 2018]. Whitfield, Z. (2015). On Schedule: Molly Goddard. [online] Clash Magazine. Available at: https://www.clashmusic.com/fashion/on-schedule-molly-goddard [Accessed 22 Oct. 2018]. Woo, K. (2014). The childhood inspirations behind Rodarte. [online] Dazed. Available at: http://www.dazeddigital.com/fashion/article/21122/1/the-childhood-inspirationsbehind-rodarte [Accessed 5 Nov. 2018].

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Bibliography

Yotka, S. (2018). Killing Eve Is the Most Fashionable Show on TV. [online] Vogue. Available at: https://www.vogue.com/article/killing-eve-is-the-most-fashionable-showon-tv [Accessed 11 Nov. 2018].

List of Figures Figure 1: Cartwright, G. (2017). Molly Goddard 2017 Catwalk. [online]. Available from: https://www.popsugar.co.uk/fashion/Molly-Goddard-SpringSummer-2018-44030422 [Accessed 15 Oct 2018]. Figure 2: Bailey, L. (n.d.). Molly Goddard Portrait. [online]. Available from: http:// selfservicemagazine.com/now-142/ [Accessed on 15 Oct 2018]. Figure 3: Stoker, J. (2016). Spring 2016 Ready to Wear. [online]. Available from: https://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/molly-goddard/ slideshow/collection [Accessed on 14 Oct 2018]. Figure 4: Petrusewicz, O. (2018). Molly Goddard space in Dover Street Market London. [In possession of the author].

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Figure 5: Petrusewicz, O. (2018). Molly Goddard space in Dover Street Market London. [In possession of the author]. Figure 6: Petrusewicz, O. (2018). Molly Goddard space in Dover Street Market London. [In possession of the author]. Figure 7: Goddard, M. (2017). Molly Goddard SS18. [online]. Available from: https:// peepthat.co.uk/platform/article/molly-goddard [Accessed on 30 Oct 2018]. Figure 8: Atkinson, L. (2018). Simone Rocha at The Times. [online]. Available from: https://www.thetimes.co.uk/article/interview-simone-rocha-on-family-fashion-and-hernew-collaboration-with-moncler-mfxrz8hvd [Accessed on 30 Oct 2018]. Figure 9: Hallen, N. (2017). Backstage shot of Simone Rocha 2017 Show. [online]. Available from: https://models.com/oftheminute/?p=88446 [Accessed on 2 Nov 2018]. Figure 10: Lloyd-Evans, J. (2017}. Rodarte 2018 Collection. [online]. Available from: https://www.vogue.com/article/haute-couture-fall-2017-ronald-van-der-kemp-rdvkpreview [Accessed on 2 Nov 2018]. Figure 11: Ritch, D. (2018). Cupid's Got a Gun. [online]. Available from: https://www. wonderlandmagazine.com/2018/10/23/cupids-got-a-gun-fashion-editorial/ [Accessed on 3 Nov 2018]. Figure 12: Lund, A. (2018). Instagram Picture. [online]. Available from: https://www. instagram.com/p/BpxI6Kpn9Gf/[Accessed on 3 Nov 2018]. Figure 13: Nikoltchev, A. (2018). Instagram Picture. [online]. Available from: https:// www.instagram.com/p/BocnZw6Fumf/ [Accessed on 3 Nov 2018].

Molly Goddard


Bibliography

Figure 14: Tondu, M. (2014). Parisian DJ Louise Chen talks about her love of the game. [online]. Available from: http://www.dazeddigital.com/artsandculture/article/20612/1/ parisian-dj-louise-chen-talks-about-her-love-of-the-game [Accessed on 14 Nov 2018]. Figure 15: Kohl, F. (2018). Prada x Another Magazine. [online]. Available from: https:// www.instagram.com/p/BoeygWmh7cM/ [Accessed on 14 Nov 2018]. Figure 16: Galaxy Eyes. (n.d.) Girls Girls Girls Poster. [online]. Available from: https:// www.drawdeck.com/marketplace/girls-girls-girls [Accessed on 14 Nov 2018]. Figure 17: Chen, L. (2018). Party Polaroid. [online]. Available from: https://www. facebook.com/louisechenanigans/ [Accessed on 15 Nov 2018]. Figure 18: hirache, E. (2013). Best Bars in Montmare. [online]. Available from: https:// www.timeout.com/paris/en/bars-pubs/au-clair-de-lune [Accessed on 18 Nov 2018]. Figure 19: Frenette, J. (2016). Rainy Day In Paris, Telescope Coffee. [online]. Available from: http://www.dezjeff.com/blog/rainy-day-paris-coffee-telescope [Accesed on 18 Nov 2018]. Figure 20: Tyrell, T. (2016). Susie Bubble Handbag. [online]. Available from: http:// www.anothermag.com/fashion-beauty/9065/surveying-the-contents-of-susie-bubbleshandbag [Accessed on 15 Nov 2018]. Figure 21: Tyrell, T. (2016). Susie Bubble Handbag. [online]. Available from: http:// www.anothermag.com/fashion-beauty/9065/surveying-the-contents-of-susie-bubbleshandbag [Accessed on 15 Nov 2018]. Figure 22: Paris All About (2016). The Broken Arms Store. [online]. Available from: http://parisallabout.com/2016/04/broken-arm-coffee-paris/ [Accessed on 15 Nov 2018]. Figure 23: V&A. (n.d.) Friday Event at V&A. [online]. Available from: https://www. countryandtownhouse.co.uk/event/friday-late-at-the-va-a-vote-for-whom/ [Accessed on 15 Nov 2018]. Figure 24: Lekiewicz, I. (2018). London Calling, Vogue Poland. [online]. Available from: https://www.anneofcarversville.com/editorials/2018/9/19/ina-lekiewicz-eyes-piapriewe-in-london-calling-for-vogue-poland-september-2018 [Accessed on 15 Nov 2018]. Figure 25: Walker, T. (2018). Image for Petty. [online]. Available from: https://www. refinery29.com/en-gb/molly-goddard-tim-walker-patty [Accessed on 15 Nov 2018]. Figure 26: Petrusewicz, O. (2018). Dover Street Market Layout Mockup. [In possession of the author]. Figure 27: Petrusewicz, O. (2018). Molly Goddard's Instagram Page Layout Mockup. [In possession of the author].

Molly Goddard

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Bibliography

Figure 28: Petrusewicz, O. (2018). Molly Goddard's Instagram Page Layout Mockup. [In possession of the author]. Figure 29: Petrusewicz, O. (2018). Website Mockup for Laptop. [In possession of the author]. Figure 30: Petrusewicz, O. (2018). Website Mockup for Smartphone. [In possession of the author]. Figure 31: Petrusewicz, O. (2018). Website Video Mockup for Laptop. [In possession of the author]. Figure 32: Petrusewicz, O. (2018). Molly Goddard Campaign Picture. [In possession of the author]. Figure 33: Chiang, V. (2018). Lucy Hale for W Magazine. [online]. Available from: https://www.wmagazine.com/story/lucy-hale-life-sentence-truth-or-dare-movie [Accessed on 15 Nov 2018].

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List of Tables Table 1. Petrusewicz, O. (2018). SWOT Analysis for Molly Goddard. [In possession of the author]. Table 2. Petrusewicz, O. (2018). SWOT Analysis for Simone Rocha. [In possession of the author]. Table 3. Petrusewicz, O. (2018). SWOT Analysis for Rodarte. [In possession of the author]. Table 4. Petrusewicz, O. (2018). PESTEL Analysis . [In possession of the author].

Molly Goddard


Profile for olgapetrusewicz

Molly Goddard Marketing Report  

A digital marketing report for Molly Goddard created for academic purposes at Arts University Bournemouth. by Olga Petrusewicz

Molly Goddard Marketing Report  

A digital marketing report for Molly Goddard created for academic purposes at Arts University Bournemouth. by Olga Petrusewicz

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