NO. 1 SMALL ISSUE WINTER 2017

ELEGANCE, POWER, FEMININITY, INDIVIDUALITY E VALUATIN G DI G OR BRAND £5.00 CZK 155.00

2017-5FH503 FASHION MARKETING AND BRANDING Arik Nepo dress from the Fall-Winter 1948 Haute Couture collection Ailée line Vogue Paris, october 1948 © Arik Nepo / Vogue Paris DIORwinter 2017

small issue

Executive Summary This report summarises the story about a brand whose founder was a creative individual, who made his dream come true. This man was Christian Dior. This report evaluates brand’s history and heritage as well as the brand’s values and assets associated with it. In addition, brand consumers and with it connected brand positioning and communication channels will be analysed.

On cover page is MissDior short evening embroided with flowers, Spring-Summer 1949 Haute-Couture collection, Trompe-l’oeil line. Photograph by Patrick Demarchelier.

03 DIOR CONTENTS

EXECUTIVE SUMMARY 03

CONTENTS 04

METHODOLOGY 06

BRAND DEFINITION 07

BRAND HERITAGE 08

BRAND VALUES 12

BRAND ASSETS 15

Ready-to-wear Fall/Winter 2017-2018 Dior Vogue Paris DIOR 04 CONTENTS

BRAND IDENTITY 16

BRAND CONSUMERS 18

BRAND POSITIONING 22

BRAND COMMUNICATION MIX 24

BIBLIOGRAPHY 32

CONCLUSION AND RECOMMENDATIONS 34

05 DIOR

Methodology Birmingham to trip research on a observation from collated was Primaryprimary research and research. secondaryusing report has been compiled This the primary research Whereas employees. with conversations from and stores, competitors’ as well as in Selfridges Nichols Harvey and stores Dior visiting of a factual understanding. more me gave research secondary contrastingly, products, and layouts store of the impression a first have to me enabled social and media. websites samples, brochures, books, magazines, from collated was Secondary research

DIOR 06 Brand Definition Hameide (2011, p60) states, the brand is an old concept which as result of the similarity in mass-produced products that flooded the markets after the Industrial Revolution became a differentiating and competing for necessity in modern times.

www.cosmopolitan-jp.com 07 DIOR From Dior Christian to John Galliano Picture from 60Years Dior: of Style: Collection MuseeCollection Dior Christian Sketch by Berard Christian DIOR 08 DIOR Granville

BRAND HERITAGE Henri Cartier-Bresson, having Alla model May the dress © Henri Cartier-Bresson / Magnum Photos fittedbefore the fashion show, 1953

The real story began on 12th February 1947 on Montaigne Avenue where Christian Dior launched his first The Corolle collection and created the fundamentals of this luxury brand. Since then his world has never been the same and neither was the way of perceiving the feminine look of the time when he won back the place Parisian couture had lost during the World War II. (Pochna, 1996) and created a huge platform to build on. Malcolm Barnard (1996) indicates the purpose behind Dior’s de- signs was to emphasise change or discontinui- ty and also agree with Ted Polhemus’ and Lynn Procters’ opinion (Polhemus and Procter, 1978) on how the New look of 1947 started a revolution of many different new looks.

With regards to brand architecture, Christian Designed, retailed crafts are presented on fash- Dior S.A. is a holding company founded by ion shows and sold worldwide through more Christian Dior on 16 December 1946 in France than 194 boutique stores (Hoovers, 2017) and (Senft, 2011). It is formed into two main divi- online stores. After Christian Dior’s death on sions: LVMH Group which operates through 24 th October 1957, appointed artistic director Fashion & Leather Goods, Wines & Spirits, position went to Yves Saint Lauren, followed by Watches & Jewelry and Perfumes & Cosmetics; Marc Robac in 1960, Gianfranco Ferré in 1989, and Christian Dior Couture (Forbes, 2017), controversial John Galliano in 1996 (Chen- owned by Chairman and CEO of LVMH Ber- oune, 2007), Bill Gaytten in 2011, nard Arnault (Duvaud, 2017, p3). The brand in 2012 and since 2016 the Creative Director is focuses on women’s wear and accessories, Maria Grazia Chiuri (Chiuri, 2017). men’s wear through Dior Homme, children’s wear in Baby Dior, fragrance, footwear, skin- care and colours in Dior Makeup (Dior, 2017).

09 DIOR To celebrate 70 years of this exceptional brand, from 5th of July 2017 to 7th of January 2018, The Musée des Arts Décoratifs is running a chronological themed exhibition.

DIOR 10 dior.com

11 DIOR BRAND VALUES

The products of the brand can change, develop, this message from the brand and its unique or be replaced, but the initial brands are sup- selling point (USP) and emotional selling posed to outlive these products and the reason, point (ESP) techniques, therefore further in- why the brands succeed are due to their val- formation will be added in the Brand Position- ues; they represent what the brand means to its ing section (Hameide, 2011) consumers (Hameide, 2011). Sustainability should be mentioned as a brand Dior’s values would be elegance, power, fem- value as well because it has an enormous effect, ininity and individuality coming out of bold not just on employees but on the planet as well. new looks represented in an excellent quality Regarding to several online resources, in Dior’s of products. For consumers to decide whether case, sustainability is something that is sadly, to buy a Chanel or Dior bag, there are many as in many other luxury brands, not well man- attributes that shape the product, therefore the aged. By launching LIFE 2020 in 2016 Group consumer’s decision. Besides the tangible fea- LVMH stepped forward by setting four joint tures, such as quality and appearance, price, objectives for the Maisons for upcoming years distribution and added status symbols which to follow and fulfilling their historical com- can make the consumer feel cooler, more ele- mitment which is to protect natural resources. gant, stylish, smarter or sexier with the prod- name these objectives in his uct, are also important. Consumers are getting Message to the LVMH Environmental Report.

Picture on the following pageis from Dior: 60 Years of Style: From Chris- tian Dior to John Galliano LVMH logo from .com

DIOR 12 First objective states “the Maisons will be required to improve the environmental performance of all their “ products,” second is “to ensure the implementation of the highest standards throughout the procurement chains,” which encourages Maisons to use precious and raw materials for products manufacturing. Third is“ keeping with the overall objective of limiting global warming to a maximum of 2°C, namely reducing the CO2 emissions relating to our energy consumption by 25%,“ therefore marking COP21 Paris and assigning a price to its greenhouse gas emissions. Lastly fourth is „to continue improving each Maison’s environmental perfor- mance,“ supporting its long lasting heritage (Duvaud, 2017, p3). “

13 DIOR ELEGANCE POWER FEMININITY INDIVIDUALITY ELEGANCEELEGANCE POWER POWER FEMININITY FEMININITY INDIVIDUALITY INDIVIDUALITY

Marlene Dietrich in Stage Fright photo © Everett Collection Source: Vogue.it CD logo from dior.com

DIOR 14 ELEGANCE POWER FEMININITY INDIVIDUALITY ELEGANCEELEGANCE POWER POWER FEMININITY FEMININITY INDIVIDUALITY INDIVIDUALITY BRAND ASSETSBRAND Brand assets mean everything that is instantly recognised as a certain brand’s legacy. For in- stance, let’s take two letters ‘CC’, reversed and linked together. Every fashion person cannot think of anything else but Chanel and its fa- mous logo. These little things are important even for Dior to stand out between its compet- itors. Amongst those competing with the Dior brand are Chanel, Gucci, Céline, Prada, Louis Vuitton, Yves Saint Laurent, Balenciaga, Her- més, Choé and others. Therefore, what is instantly recognised as Dior? Iconic black and white silhouette, the Dior bag in Jennifer Lawrence’s embrace, playful colours from Dior’s makeup on Bella Hadid’s face or jumping of the pier in Miss Dior Fragrance advert? Throughout the years, the Dior has been associated with many names and many faces. To name some, in 1950 Marlene Dietrich wore Dior in Alfred Hitch- cock film Stage Fight (Senft, 2011). Known for destroying boundaries between Chanel and Dior by frequently wearing both brands with- out hesitation was Marylin Monroe. and Jennifer Lawrence are famous for starring in Dior’s bag campaigns. , Robert Pattinson, Jamie Dornan or Johnny Depp has been known for promoting Dior’s fragrances. Presently, Bella Hadid repre- sents Dior Makeup, walks Dior’s fashion Shows and wears Dior’s gowns on various occasions. Thereby, with her playful, open and positive mindset could be understood as an ideal ex- ample for customers.

15 DIOR BRAND IDENTITY

“The process of creating a brand identity is about developing a personality reinforced by a set

of attributes and visual symbols such as shape, a colour, a logo, a package and so on.” (Hameide, 2011, p134,135)

Speaking of developing a brand personality, tion for Dior; Fragrance Miss Dior was named every brand needs a story, the story that makes after his sister Catherine as well as a spring- people buy into the brand and come back for time Dress in 1949 (Muller et al, 2013, p17). more and also, how the story is delivered to the Brand identity also connects to the brand audience by incredible content makers usual- name; and choosing Christian Dior’s name as ly by campaigns, commercials. Whether it is a brand name was simply genius at the time, Gucci Cruise 2018 Campaign: Roman Rhapso- because anyone could conclude its origin from dy introduced as a series of imposing portraits a French name and therefore concluded asso- “of real people in real places” (Gucci, 2017) or ciation with a French heritage and luxury. By Balenciaga SS17 Collection Campaign reveal- simplifying the name from Christian Dior to ing relationship between couture and fetish- Dior didn’t change these appeals but quite the ism (Stansfield, 2017), they will make you feel reverse. It is now easier to pronounce thus in- emotions, remember old memories and relate ternationally reachable by different cultures to certain situations; but most importantly, and different markets as it was before. Besides they will cajole you to make a resolute or sub- Dior’s name, Dior uses the discernible iconic, conscious decision whether you do or not like simple, and monochromatic “CD” as logo; in- what you are being presented. When Christian spired by Dior’s most iconic outfit, the black Dior brought his iconic “New look” to still re- and white Bar suit, featuring Christian Dior’s covering post war society there was no assur- initials in black colour on a white background ance of a success. and has changed only slightly through the time, Nevertheless, working women loved the idea mainly for advertisement purposes (Hameide, of power and elegance being united to empow- 2011, p60,61). er and inspire. Yet, women were the inspira-

DIOR 16 BRAND IDENTITY

“The process of creating a brand identity is about developing a personality reinforced by a set of attributes and visual symbols such as shape, a colour, a logo, a package and so on.” (Hameide, 2011, p134,135)

Photo: Irving Penn Fashion Photography

17 DIOR Photo: https://www.gq.com/story/asap-rocky-gq-style-cover-story BRAND CONSUMER

The decision of buying a luxury brand product is usually more emotional than rational and a customer might over economic returns appre- ciate the aesthetics. Store layout and atmos- phere, sophistication or image, the little things that play an important role in customers’ deci- sion, can also succeed over the value for mon- ey. Hameide (2011, p118) claims that luxury brands’ consumers are wealthy, sophisticated and rather confident in making fashion deci- sions and creating their own personal styles by mixing brands instead of “going for a one- brand look”. When defining a consumer posi- tion, gender, age, education, income, and so-

dior.com cial status, have to be taken in account. While anybody would assume that Dior’s consumer

DIOR 18 http://fashioncow.com/2015/10/mert-alas-marcus-piggott-celebrate-youth-in-vogue-italia-october-2015/ dior.com BRAND CONSUMER

must be rich, the reality might be different. The trum, the customer is Rakim Mayers, known as Frequency of purchases “categorize customers A$AP Rocky; The face of Dior Homme FW17. into two levels: Regular luxury buyer and Oc- Rakim is 29-years-old successful American casional luxury buyer” (Hameide, 2011, p118); rapper and actor who lives his dream, smokes therefore, luxury brand consumer could be weed and despite wearing Streetwear or Raf almost anyone and because of Dior’s expand- Simons, follows the rule: “Wear what suits ing range of products, the consumer spectrum you and not what’s trendy...” (Welch, 2017). variates even more. It is no surprise, that Dior He is playful, spontaneous and smart; he is has its own core base of customers who has not afraid to bring up taboo topics, does not followed its consistently great ideas through- live in stereotypes and somewhat represents out the years; shared the same values and were Millennial’s generation. By choosing Rocky as happy to be part of the Dior’s family. But the the representative, Dior manages to target and conventional over-40-years-old-woman-or- successfully engage extensive age spectrum of man is not the only Dior’s customer, nor the consumer. only customer Dior is trying to target. There- fore, approaching the male consumer spec-

19 DIOR To summarize it, men’s and women’s customer profile for the brand Dior describes smart, cre- ative individual, with good income or great saving abilities who lives in the city or on the out- skirts; someone who likes to explore his or her boundaries, goes to clubs at night and visit art galleries in day; someone strong-minded who sets up goals but is not afraid to be spontaneous.

Pictures on this double page: https://cz.pinterest.com/pin/528821181238114288/, http://brittanysbookrambles.tumblr.com/, http://blog.date4sports.com/, https://inspiration.detail.de/british-museum-courtyard-in--107406.html?lang=en, https://www.pinterest.jp/pin/326722147941537058/, https:// forallwomankind.com/posters/for-all-womankind-illustration-poster, https://models.com/work/vogue-italia-youth-1/437418, chanel.com, http://dizajnsvakidan.com/impresivne-old-school-skate-fotografije/ Pictures on this double page: https://cz.pinterest.com/pin/528821181238114288/, http://brittanysbookrambles.tumblr.com/, http://blog.date4sports.com/, https://inspiration.detail.de/british-museum-courtyard-in-london-107406.html?lang=en, https://www.pinterest.jp/pin/326722147941537058/, https:// forallwomankind.com/posters/for-all-womankind-illustration-poster, https://models.com/work/vogue-italia-youth-1/437418, chanel.com, http://dizajnsvakidan.com/impresivne-old-school-skate-fotografije/ BRAND POSITIONING DIOR 22 DIOR Dior: 60YearsDior: of Style: From Christian Picture on following the pageis from Dior to John Galliano “Today, a luxury brand is one that consistently delivers a unique emotional value and possesses the capacity of creating a lifestyle experience through a strong identity, a high level of creativity, and closely controlled quality, quantity, and distribution, all of which justifies asking for a premium price. ”

30 avenue Montaigne Photo by Patrick Demarchelier dior.com

Brand positioning is how the brand is strate- are higher and allows the customer to be more gically positioned in a current market. How complex; and supports Dior’s USP. people see the brand, as well as how the brand Moving onto ESP, Hameide (2011) adding to wants to be seen (Jobber, 2010), therefore it the USP description, says “Today, a luxury goes closely hand-in- hand with brand con- brand is one that consistently delivers a unique sumers’. For brand positioning are important emotional value and possesses the capacity of Unique and Emotional Selling points which creating a lifestyle experience through a strong allow the brand to define itself in business identity, a high level of creativity, and closely matter as well as to play a little game with con- controlled quality, quantity, and distribution, sumers’ minds and win them over to buy into all of which justifies asking for a premium the brand and to behold its importance. price. ” Positively, Dior carries a huge baggage Dior is positioned in the market as a lifestyle filled half with emotional influence, including luxury brand, usually associated with adjec- elegance, decency, originality and strength, tives such as expensive, trendy, creative, exclu- and half with its inherited values and appre- sive, high quality and so on ciation. Dior differentiate from its competi- (Hameide, 2011). Nonetheless, thanks to its tors by its history, name, logo, designs and by ready to wear segment, the chances of selling everything that Dior is.

23 DIOR BRAND CO MMUNICA TIONS MIX BRAND CO MMUNICA TIONS MIX Dior’s makeup branch in Selfridges, Birmingham on the floor with its competitors IN STORE EXPERIENCE

Brand Communications Mix Fill (2006, p14) states that “Marketing com- Selfridges had a running theme with the rest munication mix consists of a set of tools (dis- of the shops located on the same floor. Clean, ciplines) that can be used in various combi- smart and sophisticated cabinets and tables nations and different degrees of intensity in filled with Dior’s makeup and fragrances, all order to communicate with a target audience.” positioned next to the Chanel branch. Dior’s To simplify, as any artist communicates with branch in the Harvey Nichols was very similar his or her audience, brands need to communi- to the previous one with gloomier lighting and cate with their consumers as well and there are sunglasses stand. Shop assistants were most- many ways from adverts in magazines, videos ly pleasant, professional and able to hand out on the internet to brand apps. The first to occur leaflets, brochures and samples. is in store experience, the store layout in the DIOR 26 Brochure given by a shop assistant

Dior’s competitor Chanel in Selfridges

27 DIOR ADVERTISING Speaking of advertising, Dior Homme SS17 promote products aimed for 40-to-50-year-old campaign with beautiful visuals photographed consumers (Saltzman, 2017). by Willy Vanderperre celebrating icons such as Boy George, Rami Malek or previously men- Dior represents itself and new collections on tioned A$AP Rocky (Stansfield, 2017) has suc- worldwide propagated Fashion Weeks, attend- ceeded amongst the audience and critiques. ed and followed by millions of fashion enthu- Further, Dior has its own Dior Mag magazine siasts and critiques. Dior has is also regularly as well as Dior TV, keeping up with latest Di- worn on Red carpet by many famous celeb- or’s news. Those are put up on Dior’s website rities including Jennifer Lawrence, Kirsten accessible online (Dior, 2017). Along with Dunst and Felicity Jones. Referring to Dior’s four page in i-D magazine, citation celebrating Direct Marketing, customers can visit the Di- love on billboard for Miss Dior fragrance on or’s website, create an account and sign up for Melrose Avenue in L.A. (Morgan, 2017), book daily news, new collections and items from about Dior’s makeup and colour development Dior sent by email. Dior has records of cus- (Stafford, 2016) or earlier mentioned exhibi- tomers’ orders and therefore can reward them tion falls under Dior’s strategically controlled for their loyalty (Dior, 2017). advertisements. An example of possible bad Dior’s Packaging is handled by L.O.V.E., judgement is Dior’s choice for the new An- collaborative artistic studio whose clients are, ti-aging line starring 25-year-old Cara Delevi- besides Dior, luxury brands such as Giorgio gne, who is way too young to Armani, Valentino and Prada (L.O.V.E. 2017).

DIOR 28 Picture: https://jasoninhollywood.blogspot.co.uk/2017/09/beauty-fragrance-and-fashion-billboards.html Rami Malek for the Dior Homme SS17 Campaign, dior.com SOCIAL MEDIA

As any modern brand, Dior must keep up with has the biggest artistic appeal; Dior Makeup is social media. Dior’s Facebook page, has been celebrating last year’s release of the Dior: The liked by over 16 million people (@Dior, 2017) Art of Color book. This book, which lured a and is linked by photographs, videos, and gen- lot of publicity, honours Dior’s Makeup vision- eral content with other social media. Dior’s aries - Serge Lutens, Tyen and Peter Philips Twitter has over 8.17 million of followers through exceptional, colourful arranged fash- (@Dior, 2017) and Instagram, running ac- ion photographs, and interviews (Stafford, count for each Dior’s section with links to their 2016). Each Instagram keeps posting relevant websites mentioned in bios, has gained over 20 content, in order to gain more followers and million followers all together. Main Instagram potential customers. Dior has many inspira- domain Dior Official, Dior Makeup (@dior- tional Makeup videos, Campaigns and Fashion makeup, 2017), Dior Homme and Baby Dior Shows’ recordings with audience interviews on (@babydior_official, 2017) show pictures from YouTube. One of the newest uploaded videos Dior’s events, photoshoots, new or trending is The Great Outdoors promoting Cruise 2018 products as well as celebrities Collection, captured by Cass Bird for the Dior (@Dior, 2017). Each site looks slightly different Magazine. Story sets in wild desert fields star- and follows different theme. Men representing ring Graze Hartzel and Ruth Bell who is gay, Dior Homme Official, where Artistic Director which sends very positive message to the audi- is Kris Van Assche (@diorhomme, 2017), ence (Dior, 2017). https://www.youtube.com/channel/UC6xD-jKli-_qIYXDTsNv4dw

DIOR 30 https://www.instagram.com/diorhomme/

dior.com

31 DIOR BIBLIOGRAPHY

1. Barnard, M. (1996) Fashion as communication. London, Routledge. 2. Chenoune, F. (2007) Dior: 60 Years of Style: From Christian Dior to John Galliano. London, Thames & Hudson. 3. Chiuri, M. S. (2017) interviewed by Scarlett Conlon for Vogue Daily, 4 July. Available at: http://www. vogue.co.uk/article/maria-grazia-chiuri-christian-dior-artistic-director-70-anniversary-interview (Accessed: 20 November 2017) 4. Dior, C. (1956) Christian Dior et moi. Librairie Amiot, Dumont. 5. Dior (2017) Dior. Dior, https://www.dior.com/couture/account/login [Accessed 3 December 2017] 6. Dior (2017) Dior. Dior, https://www.dior.com/home/en_gb [Accessed 24 November 2017] 7. Dior (2017) Dior Mag. Dior, https://www.dior.com/diormag/en_hk/ [Accessed 24 November 2017] 8. Dior (2017) Dior Mag: The Great Outdoors. Dior. 20 November [online] https://www.dior.com/diormag/ en_hk/article/the-great-outdoors-the-video [Accessed 24 November 2017] 9. Dior (2017) Dior TV. Dior, https://www.dior.com/diortv/en_gb [Accessed 24 November 2017] 10. Dior (2017) Exhibition. Dior, https://www.dior.com/couture/en_gb/the-house-of-dior/exhibitions/chris- tian-dior-couturier-du-reve [Accessed 20 November 2017] 11. Duvaud, É. (2017) LVMH: Environmental report 2016. 22, avenue Montaigne, LVHM. [online] https://r. lvmh-static.com/uploads/2017/04/lvmh_rapport-environment_2016en.pdf (Accessed 21 November 2017). 12. Fill, C. and Jamieson, B. (2006) Marketing communications. London, Edinburgh Business School. 13. Forbes (2017) #189 Christian Dior. The World’s Biggest Public Companies, May [online] https://www. forbes.com/companies/christian-dior/ (Accessed 3 December 2017) 14. Gucci (2017) ‘Roman Rhapsody’, Gucci, https://www.gucci.com/us/en/st/stories/advertising-campaign/ article/cruise-2018 [Accessed 24 November 2017] 15. Hameide, Kaled K. (2011) Fashion branding unraveled. New York, Fairchild. 16. Hoovers (2017) CHRISTIAN DIOR: Company Information. Dun & Bradstreet, Inc. 2017 [online] http:// www.hoovers.com/company-information/cs/company-profile.christian_dior.296dff7505c01778.html (Accessed 3 December 2017). 17. L.O.V.E. (2017) Clients. L.O.V.E., [online] http://www.agencylove.com/about-us/ (Accessed 3 December 2017). 18. Morgan, J. (2017) ‚Beauty, fragrance and fashion billboards filling L.A.’s September 2017 skies...‘ 29 November 2017 [online], https://jasoninhollywood.blogspot.co.uk/2017/09/beauty-fragrance-and-fashion-bill- boards.html (Accessed 21 November 2017). 19. Muller, F. et al (2013) Dior impressions: the inspiration and influence of impressionism at the House of Dior. New York, Rizzoli International Publications, Inc. 20. Pochna, M. (1996) Dior. London, Thames and Hudson Ltd. 21. Polhemus, T. and Procter, L. (1978) Fashion and Anti-fashion: An Anthropology of Clothing and Adorn- ment. London, Pandora. 22. Saltzman, S. (2017) ‘DIOR TAPS 25-YEAR-OLD CARA DELEVIGNE FOR ITS NEWE ANTI-AGING LINE‘. Fashionista. 14 November [online], https://fashionista.com/2017/10/cara-delevingne-dior-anti-aging-cam- paign (Accessed 24 October 2017). 23. Senft, A. (2011) History of Dior. Fashion History, 7 February [online] http://www.fashionintime.org/his- tory-of-dior/ (Accessed 3 December 2017). 24. Stafford, J. (2016) Dior: The Art of Color. New York, Rizzoli International Publications, Inc. 25. Stansfield, T. (2017) ‘See Harley Weir’s fetishistic campaign for Balenciaga’. Dazed, 14 November [online], http://www.dazeddigital.com/fashion/article/34254/1/see-harley-weir-s-fetishistic-campaign-for-balenciaga (Ac- cessed 21 November 2017).

DIOR 32 26. Stansfield, T. (2017) ‘Boy George and A$AP Rocky team up with Dior Homme.’ Dazed, 10 January [online], http://www.dazeddigital.com/fashion/article/34257/1/boy-george-and-asap-rocky-team-up-with-dior- homme (Accessed 3 December 2017). The Great Outdoors: The Video (2017) YouTube video, added by Chris- tian Dior [online], https://www.youtube.com/watch?v=AchesBwnseo (Accessed 21 November 2017). 28. @babydior_official (2017) Baby Dior official, https://www.instagram.com/babydior_official/ (Accessed 29 November 2017) 29. @diorhomme (2017) Dior Homme Official, https://www.instagram.com/diorhomme/ (Accessed 29 -No vember 2017) 30. @Dior (2017) Dior, https://twitter.com/Dior?lang=eng (Accessed 29 November 2017) 31. @Dior (2017) Dior, https://www.facebook.com/Dior/ (Accessed 29 November 2017) 32. @Dior (2017) Dior Official, https://www.instagram.com/dior/ (Accessed 29 November 2017) 33. @diormakeup (2017) Dior Makeup, https://www.instagram.com/diormakeup/ (Accessed 29 November 2017) 34. Welch, W. (2017) A$AP Rocky Talks New Album, Underr Armour Deal, and His Deep Love of Flowers. GQ Style, 23 October 2017 [online] https://www.gq.com/story/asap-rocky-gq-style-cover-story (Accessed 3 De- cember 2017).

33 DIOR Conclusion and recommendations This report spoke about brand Dior, looked at its history and heritage, identity, assets and consumer, evaluated its values, brand positioning and communication channels. Dior, considered as successful luxury brand, should operate more sus- tainable and use its power to encourage other brands to do so as well. Moreover, I would recommend collaboration with small independent brands, which would give Dior positive publicity while helping new designers to break out.

DIOR 34 Author: Martina Monsportova 1st edidion Published at University of Derby December 2017 For the 20117-5FH503 Fashion Marketing and Branding Module

On the back page Maria Grazia Chiuri http://www.thisisglamorous.com/2017/02/dior-est-une-femme-maria-grazia-chiuri-at-dior/

35 DIOR