DOCSLIB.ORG

Exploring Innovative Commerce As a Design Strategy for Brand Creation and Implementation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exploring Innovative Commerce As a Design Strategy for Brand Creation and Implementation Consumerism in the Digital Age: Exploring Innovative Commerce as a Design Strategy for Brand Creation and Implementation A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts By Vanessa O. Okojie December, 2018 Thesis written by Vanessa O. Okojie B.A., Cleveland State University, 2016 M.F.A., Kent State University, 2018 Approved by ______________________________________________________________________________ Jessica Barness, M.F.A., Advisor, Professor, School of Visual Communication Design ______________________________________________________________________________ David Robins, Ph.D., Acting Director, School of Visual Communication Design _____________________________________________________________________________ Amy Reynolds, Ph.D., Dean, College of Communication and Information TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………………….............v ACKNOWLEDGEMENTS……….……………………………………………………………………..vi CHAPTER I: INTRODUCTION………………………………………………………………...………1 CHAPTER II: RESEARCH METHODOLOGY………………………………………………………. 3 Assumptions…………………………………………………………………………………………… 3 Methodology…………………………………………………………………………………………… 3 CHAPTER III: DEFINITION OF BRAND…………………………………………………………….. 4 Introduction……………………………………………………………………………………………. 5 The Paradigm Shift……………………………………………………………………………...……... 6 Brand Differentiation and Brand Relevance……………………………………………….………….. 6 CHAPTER IV: CULTURAL INNOVATION…………………………………………………………...7 Introduction……………………………………………………………………………………………. 8 “Blue Oceans” and Value Innovation………………………………………………………………….. 9 Cultural Expressions………………………………………………………………………………..… 13 Main Principles of Cultural Innovation…………………………………….………………………… 18 Cultural Innovation in Practice – The Nike Pro Hijab Case Study…………………………………... 21 Introduction…………………………………………………………………………………………... 25 Evolution of Social Commerce………………………………………………………………………..28 CHAPTER VI: INNOVATIVE COMMERCE: A NEW MODEL…………………………………... 43 Introduction…………………………………………………………………………………………... 43 Brand Analysis: Fashion Nova……………………………………………………………………….. 45 Brand Analysis: Fenty Beauty………………………………………………………………………... 49 Brand Analysis: Away Luggage……………………………………………………………………… 52 Brand Analysis: Dollar Shave Club…………………………………………………………………...54 iii CHAPTER VII: EVALUATION & INSIGHTS………………………………………………………. 57 Insights Gained From User Testing…………………………………………………………………... 57 CHAPTER VIII: IMPLICATIONS & CONCLUSIONS…………………………………………….. 59 APPENDICES…………………………………………………………………………………………… 62 Selected electronic survey results…………………………………………………………………….. 63 Innovative commerce brand analyses………………………………………………………………… 67 Innovative commerce presentation methods…………………………………………………………. 70 References………………………………………………………………………………………………... 73 iv LIST OF FIGURES Figure 1. The new brand model........................................................................................................................6 2. Blue Ocean Innovation Type 1: Technological Innovation............................................................10 3. Blue Ocean Innovation Type 1: Netflix’s Disruptive Innovation...................................................11 4. Blue Ocean Innovation Type 2: Mix & Match Innovation ............................................................12 5. Blue Ocean Innovation Type 2: Cirque du Soleil Mix & Match Innovation..................................12 6. Starbucks’ Cultural Innovation.......................................................................................................15 7. Nike’s Cultural Innovation.............................................................................................................17 8. Nikes Cultural Innovation: Nike Pro Hijab....................................................................................22 9. Mix & Match Innovation: Nike Pro Hijab......................................................................................23 10. Components of social commerce....................................................................................................29 11. A model for social commerce ....................................................................................................30 12. Social media measurement areas....................................................................................................38 13. A Model of Innovative Commerce.................................................................................................43 13.1. A Model of Innovative Commerce; create and build......................................................................45 13.2. A Model of Innovative Commerce; market and sell.......................................................................47 v ACKNOWLEDGEMENTS I want to thank my parents for their unconditional love and support, for allowing me to pursue my passion for art; through design. I want to appreciate my mom who is my unrelenting cheerleader and therapist, who gives freely and listens lovingly without expecting anything in return, I do not know where I would be without her. I want to thank my dad who supported me my entire life. He worked so hard for his family, but he left this mortal plane too soon, and I wish he were here to see this. Thank you to Sarah Rutherford and Jenn Visocky-O'Grady who encouraged me to apply to the VCD master's program at Kent State University, I will forever be grateful to them. Thank you to Jessica Barness for pushing me to think critically and explore new ideas throughout my thesis research and my time in the VCD program and also for her kindness, empathy, and friendship during a hard time in my life when I lost my dad. Thank you to Ken Visocky-O'Grady and Gretchen Rinnert for being on my committee and making my thesis defense a pleasant experience. Thank you to all my peers in the VCD master’s program and to my friends Lisa Cook and Natalie Snodgrass for being part of my support system in graduate school, hanging out and going through our projects together made my days easier. And finally thank you to me, Vanessa Okojie, for not wallowing in self-pity and for finding a way to persevere in the face of adversity. Thank you for not giving up on your plan to graduate in the fall of 2018, thank you for keeping your promise to your parents and to yourself, thank you for pushing through the hard days and getting your work done in spite of everything that happened. Thank you for earning your master's degree. Your dad would be so proud of you. vi 1 CHAPTER I: INTRODUCTION Being an avid participant in the culture of social media and remaining an active member in that community over the last few years, I began to notice that the social media landscape was shifting from a community of individuals who often shared superficial content, to a domain where the shared content was becoming transactional. Several individuals and companies have begun to conduct business via social media. Take Instagram for example: multiple retail companies have set up 'Instagram shops' to sell and market their goods to consumers. Some are more effective at doing this than others, and this could be as a result of factors such as the appeal of the product, and the quality and design of the product. Design plays a crucial role in social media for a business because a visually strong brand accurately describes the personality of a company. Effective design creates a professional first impression with customers. It affords brand recognition by connecting a target audience with a company and their products/services. Consumers assess the visual appearance of a brand online within an instant of encountering it, more than any heavily text-based content. The most successful brands tapped into something that was missing in their market category, and this thesis seeks to understand how they did that, if there is a formula for doing so, and if the said formula can be workable and attainable. Social and physical shopping have begun to interconnect in considerable ways within the last few years and now more than ever, consumers are demanding greater symbiosis between the two experiences. Currently, the first leg of the shopper’s journey often begins with social media as an engine for product discovery and research. Products being shared and validated on platforms such as Facebook and Instagram are increasingly attracting consumers, and these platforms help justify a purchase. 2 The objective of this thesis is to find out how to create culturally resonant brands and market them on social media successfully. A holistic design strategy is needed from brand inception, to brand communication and product release. The goal of any suitable design strategy is to use design thinking to merge business and creative objectives in a meaningful way that communicates design as more than just an aesthetic practice. This thesis proposes innovative commerce—the intersection between cultural innovation and social commerce—as a model for doing so. Businesses succeed when they break through in culture because the potential to connect with specific groups of consumers can represent a significant opportunity. It is clear that the digital experience is evolving, and brands that want to stay ahead of the curve need to know how best to employ this evolving digital experience. 3 CHAPTER II: RESEARCH METHODOLOGY Assumptions The research process began with a list of assumptions on consumer attitudes regarding social media and business transactions
Load more

Recommended publications
  • Robyn Rihanna Fenty and Others -V- Arcadia Group Brands Limited And
    Neutral Citation Number: [2015] EWCA Civ 3 Case No: A3/2013/2087 & A3/2013/2955 IN THE COURT OF APPEAL (CIVIL DIVISION) ON APPEAL FROM THE HIGH COURT OF JUSTICE CHANCERY DIVISION INTELLECTUAL PROPERTY The Hon Mr Justice Birss [2013] EWHC 2310 (Ch) Royal Courts of Justice Strand, London, WC2A 2LL Date: 22/01/2015 Before: LORD JUSTICE RICHARDS LORD JUSTICE KITCHIN and LORD JUSTICE UNDERHILL - - - - - - - - - - - - - - - - - - - - - Between: (1) Robyn Rihanna Fenty Claimants/ (2) Roraj Trade LLC Respond- (3) Combermere Entertainment Properties, LLC ents - and - (1) Arcadia Group Brands Limited Defendants/ (2) Topshop/Topman Limited Appellants - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Martin Howe QC and Andrew Norris (instructed by Reed Smith) for the Claimants/Respondents Geoffrey Hobbs QC and Hugo Cuddigan (instructed by Mishcon de Reya) for the Defendants/Appellants Hearing dates: 18/19 November 2014 - - - - - - - - - - - - - - - - - - - - - Approved Judgment Judgment Approved by the court for handing down. Fenty & Ors v Arcadia & Anr Lord Justice Kitchin: Introduction 1. These proceedings concern a complaint by Rihanna, the world famous pop star, about the sale of fashion garments bearing her image. 2. The appellants (collectively “Topshop”) own and operate the well known Topshop retail fashion stores. In 2012 Topshop began to sell in its stores and through its website a fashion t-shirt displaying a clearly recognisable image of Rihanna. The image was derived from a photograph of Rihanna which was taken when she was on a video shoot for a single from her “Talk That Talk” album. Rihanna is looking directly at the camera with her hair tied above her head with a headscarf. It is, as the judge thought, a striking image and similar images had been used by Rihanna in connection with the Talk That Talk album.
    [Show full text]
  • P29 Layout 1
    Established 1961 29 Lifestyle Gossip Monday, May 7, 2018 Kelly Rowland’s Taylor Schilling West ‘made Rihanna beauty tips skincare secrets doesn’t ‘mess’ with for feeling your best cappuccinos’ when ihanna learnt to contour when she “gained her body weight”. The 30-year-old R&B superstar launched her own makeup line Fenty Beauty, which caters aylor Schilling doesn’t want to change her body R he interned at Fendi for all skin tones, last year and the range became an shape to conform with Hollywood’s ideal of instant sell-out with her millions of fans snapping up the Tbeauty. The 33-year-old actress ‘Orange Is the products. The ‘Work’ singer confessed to learning how to New Black’ star admits actresses are under pressure to define and shape her face with her beauty products after look a certain way but she avoids following diet and fit- she put on a few pounds and her Match Stix Skinsticks in ness “trends” because she believes her body shouldn’t the shade Mocha is her product of choice to use on her be “messed with”. Rather than punish herself in the “fat days”. Appearing in a makeup tutorial for the Vogue gym, Taylor would rather spend her free time reading a YouTube channel, she shared: “It’s very important to good book. Speaking to Glamour.com, she said: “I try contour your face for your face, not the way you see on to not mess with my body, which often means, at times, every YouTube tutorial. Because everyone has a different not going on any kind of prescribed plan or following shape.
    [Show full text]
  • Advertisitng Project
    Beauty for All Agency 2 Table of Contents ➢ Team Profile…………………….p. 3 - 4 ➢ Marketing Review……………....p. 5 - 6 ➢ Situation Analysis………………p. 7 - 8 ➢ Surveys………………………….p. 9 - 13 ➢ Research Foundation……………p. 14 ➢ Proposed Target Consumer……. p. 15 - 16 ➢ Advertising Objectives………... p. 17 - 18 ➢ Creative Rationale……………...p. 19 ➢ Budget…………………………..p. 20 ➢ Media Plan & Schedule………...p. 21 - 25 ➢ Advertising……………………..p. 26 - 30 ➢ References……………………...p. 31 3 Team Account Executive- Ratha Alborati Ratha is majoring in marketing management and sales. She has been attending New York City College of Technology for about three years. She will be graduating with a bachelor degree from City Tech then applying to a different school for her masters. As an Account Executive my responsibility is to make sure of the overall management of the advertising campaign and completion of the project. Graphic artist- Kaila Cruz Kaila is majoring in fashion marketing at New York City College of Technology. She will be graduating with her bachelors degree then transferring to FIT. She has been attending New York City College for about 2 years. As a graphic artist Kaila is responsible for creating all of technology such as storyboards, layouts, sales promotional pieces and etc. Market Researcher- Minji Kim Kim is majoring in Business and Skills of Fashion at New York City College of Technology. After graduating from City Tech in 2019, she will keep studying for a master degree. As a market researcher, she was responsible for selecting the target market and analyzing the market. She also searched information for budget plan. 4 Media Planner-Liana Rodriguez. Rodriguez is a Student At NYC College of Technology studying Business and Technology of Fashion.
    [Show full text]
  • Savage X Fenty, Rihanna's Disruptive Lingerie Brand, Secures $115 Million in Series B Funding Led by L Catterton's Growth Fu
    SAVAGE X FENTY, RIHANNA’S DISRUPTIVE LINGERIE BRAND, SECURES $115 MILLION IN SERIES B FUNDING LED BY L CATTERTON’S GROWTH FUND Investment Round Will Accelerate Next Phase of Growth and Expansion into Retail EL SEGUNDO, Calif., Feb. 10, 2021 – Savage X Fenty (the “Company”) today announced that it has completed a $115 million Series B fundraising round to support the Company’s rapid growth and upcoming expansion into retail. The heavily oversubscribed round was led by the Growth Fund of L Catterton, the largest global consumer-focused private equity firm, with significant participation from existing investors such as Marcy Venture Partners and Avenir, along with a number of new investors, including Sunley House Capital, Advent International’s crossover fund. Savage X Fenty was launched in 2018 by Rihanna to celebrate fearless individuality and broaden the definition of what is beautiful. The Series B financing follows an exceptional year for Savage X Fenty in which it experienced explosive revenue growth of over 200 percent, while increasing its active VIP member base by over 150 percent. With the Series B funding, the Company plans to further invest behind customer acquisition and expand into retail. “Lingerie is about celebrating your body and that’s what Savage is all about,” explained Rihanna. “Savage to me is such a powerful word. It’s about being confident, in charge, and taking ownership of our choices. This brand is a home, a hub and a safe space for everyone – regardless of shape, size, ethnicity, gender identity or sexual orientation. It is a representation of all and a validation that everyone is beautiful no matter what.” “As we continue to grow the brand at a remarkable pace, it is imperative that we move forward with partners who not only have a deep understanding of our business and customer base, but share our ambitious vision for Savage X Fenty and have the operational know-how to work with us to achieve it,” said Natalie Guzman and Christiane Pendarvis, Co-Presidents of Savage X Fenty.
    [Show full text]
  • Press Release 2021 LVMH Prize for Young Fashion Designers: 8Th Edition Call for Applications
    Press release 2021 LVMH Prize For Young Fashion Designers: 8th edition Call for applications Paris, 11th January 2021 The applications for the 8th edition of the LVMH Prize will open starting Monday 11th January 2021. They must be submitted exclusively on the Prize website: www.lvmhprize.com. Applications will close on Sunday 28th February 2021. It should be noted that, as a result of the health crisis that has imposed certain restrictions, the semi-final will this year, as an exception, take the form of a digital forum, to be held from Tuesday 6th April until Sunday 11th April 2021. This forum will enable each of our international Experts to discover and select on line the competing designers. Driven by a “passion for creativity”, LVMH launched the Prize in 2013. This patronage embodies the commitment of the Group and its Houses in favour of young designers. It is open to designers under 40 who have produced at least two collections of womenswear or menswear, or two genderless collections. Moreover, the Prize is international. It is open to designers from all over the world. The winner of the LVMH Prize for Young Fashion Designers enjoys a tailored mentorship and receives a 300,000-euro endowment. The LVMH teams mentor the winners in many fields, such as sustainable development, communication, copyright and corporate legal aspects, as well as marketing and the financial management of a brand. The winner of the Karl Lagerfeld / Special Jury Prize receives a 150,000-euro allocation and also enjoys a one-year mentorship. Furthermore, on the occasion of each edition, the Prize distinguishes three young fashion school graduates.
    [Show full text]
  • 2020 ANNUAL REPORT Passionate About Creativity
    2020 ANNUAL REPORT Passionate about creativity Passionate about creativity THE LVMH SPIRIT Louis Vuitton and Moët Hennessy merged in 1987, creating the LVMH Group. From the outset, Bernard Arnault gave the Group a clear vision: to become the world leader in luxury, with a philosophy summed up in its motto, “Passionate about creativity”. Today, the LVMH Group comprises 75 exceptional Maisons, each of which creates products that embody unique craftsmanship, carefully preserved heritage and resolute modernity. Through their creations, the Maisons are the ambassadors of a refined, contemporary art de vivre. LVMH nurtures a family spirit underpinned by an unwavering long-term corporate vision. The Group’s vocation is to ensure the development of each of its Maisons while respecting their identity and their autonomy, by providing all the resources they need to design, produce and distribute their creations through carefully selected channels. Our Group and Maisons put heart and soul into everything they do. Our core identity is based on the fundamental values that run through our entire Group and are shared by all of us. These values drive our Maisons’ performance and ensure their longevity, while keeping them attuned to the spirit of the times and connected to society. Since its inception, the Group has made sustainable development one of its strategic priorities. Today, this policy provides a powerful response to the issues of corporate ethical responsibility in general, as well as the role a group like LVMH should play within French society and internationally. Our philosophy: Passionate about creativity THE VALUES OF A DEEPLY COMMITTED GROUP Being creative and innovative Creativity and innovation are part of LVMH’s DNA; throughout the years, they have been the keys to our Maisons’ success and the basis of their solid reputations.
    [Show full text]
  • LVMH Files Countersuit Against Tiffany the Conditions to Close the Acquisition Are Not Met
    LVMH files countersuit against Tiffany The conditions to close the acquisition are not met September 29th, 2020 LVMH filed yesterday its countersuit against Tiffany in Delaware Chancery Court. LVMH continues to have full confidence in its position that the conditions necessary to close the acquisition of Tiffany have not been met and that the spurious arguments put forward by Tiffany are completely unfounded. LVMH’s filing details the Company’s position on these matters and, among other things, outlines: • A Material Adverse Effect has occurred. The notable absence of a pandemic carveout in the definition of a Material Adverse Effect in the Tiffany Merger Agreement is clear. It was common before COVID-19 for transactions to contain a pandemic carveout. In the course of the negotiation, Tiffany sought and received carveouts for highly specific events, such as “cyberattacks”, the “Yellow Vest” movement and the “Hong-Kong Protests”. Yet Tiffany did not obtain a carveout for public health crises or pandemics. In contrast, hundreds of other merger agreements executed in the decade preceding the Merger Agreement contained express pandemic or epidemic carveouts. The pandemic, whose effects are devastating and lasting on Tiffany, has irrefutably caused a Material Adverse Effect. This clause alone would be enough to prevent the closing, but there are other arguments included below that reinforce LVMH’s position. • Tiffany breached its covenants to operate in the Ordinary Course of Business and to preserve its business organizations substantially intact. Tiffany’s mismanagement of its business constitutes a blatant breach of its obligation to operate in the ordinary course. For instance, Tiffany paid the highest possible dividends while the company was burning cash and reporting losses.
    [Show full text]
  • LVMH 2017 Annual Report
    2017 ANNUAL REPORT Passionate about creativity Passionate about creativity W H O W E A R E A creative universe of men and women passionate about their profession and driven by the desire to innovate and achieve. A globally unrivalled group of powerfully evocative brands and great names that are synonymous with the history of luxury. A natural alliance between art and craftsmanship, dominated by creativity, virtuosity and quality. A remarkable economic success story with more than 145,000 employees worldwide and global leadership in the manufacture and distribution of luxury goods. A global vision dedicated to serving the needs of every customer. The successful marriage of cultures grounded in tradition and elegance with the most advanced product presentation, industrial organization and management techniques. A singular mix of talent, daring and thoroughness in the quest for excellence. A unique enterprise that stands out in its sector. Our philosophy: passionate about creativity LVMH VALUES INNOVATION AND CREATIVITY Because our future success will come from the desire that our new products elicit while respecting the roots of our Maisons. EXCELLENCE OF PRODUCTS AND SERVICE Because we embody what is most noble and quality-endowed in the artisan world. ENTREPRENEURSHIP Because this is the key to our ability to react and our motivation to manage our businesses as startups. 2 • 3 Selecting leather at Berluti. THE LVMH GROUP 06 Chairman’s message 12 Responsible initiatives in 2017 16 Interview with the Group Managing Director 18 Governance and Organization 20 Our Maisons and business groups 22 Performance and responsibility 24 Key fi gures and strategy 26 Talent 32 Environment 38 Responsible partnerships 40 Corporate sponsorship BUSINESS GROUP INSIGHTS 46 Wines & Spirits 56 Fashion & Leather Goods 66 Perfumes & Cosmetics 76 Watches & Jewelry 86 Selective Retailing 96 LVMH STORIES PERFORMANCE MEASURES 130 Stock market performance measures 132 Financial performance measures 134 Non-fi nancial performance measures 4 • 5 LVMH 2017 .
    [Show full text]
  • How Can High-End Makeup Brands Suit the Generation Z' Sense of Beauty?
    How can high-end makeup brands suit the Generation Z’ sense of beauty? Bachelor Project submitted for the degree of Bachelor of Science HES in International Business Management by Trina BERISHA Bachelor Project Advisor: Dr. Timothy CONNERTON Geneva, 23 August 2019 Haute école de gestion de Genève (HEG-GE) International Business Management Declaration This Bachelor Project is submitted as part of the final examination requirements of the Haute école de gestion de Genève, for the Bachelor of Science HES-SO in International Business Management. The student accepts the terms of the confidentiality agreement if one has been signed. The use of any conclusions or recommendations made in the Bachelor Project, with no prejudice to their value, engages neither the responsibility of the author, nor the adviser to the Bachelor Project, nor the jury members nor the HEG. “I attest that I have personally authored this work without using any sources other than those cited in the bibliography. Furthermore, I have sent the final version of this document for analysis by the plagiarism detection software stipulated by the school and by my adviser”. How can high-end makeup brands suit to Generation Z’ sense of beauty? Trina BERISHA i Executive Summary The Bachelor Project explores the beauty industry, analyses the major makeup brands on the market and studies the Generation Z as a consumer. High-end makeup brands are facing gaps in reaching the Generation Z, and since it is about to become the biggest global consumer, there is a need to understand and suit this generation’s sense of beauty.
    [Show full text]
  • Philip Martin Gallery 2712 S. La Cienega Blvd., Los Angeles, CA
    Philip Martin Gallery 2712 S. La Cienega Blvd., Los Angeles, CA 90034 philipmartingallery.com 310 559 0100 Philip Martin Gallery Rihanna is ready. First she moved our interview from Thursday to Wednesday. Then from evening to afternoon. When I get word of this latest change, on a slick and humid August day in Los Angeles, I have just enough time to shower and get to the Hotel Bel-Air. Waiting for Rihanna is practically a journalistic genre all its own. That the Barbadian superstar is now running ahead of schedule seems evidence of her new life as global fashion mogul. Only three and a half years have passed since she presented her first Fenty x Puma collection at New York Fashion Week, a vision of gothleisure delivered to a clamoring world (“if the Addams Family went to the gym” was how she put it). At the time, design was something she was trying on; over the following year, Puma’s profits rose by 92 percent. Since then the 31-year-old has done nothing less than upend the beauty and lingerie industries. In 2017 Fenty Beauty introduced 40 shades of foundation in a business where a dozen was the norm—making a reported $100 million in the first 40 days and nearly $600 million in the first year. Dior, CoverGirl, and Revlon quickly followed, establishing a 40-shade standard now known as “the Fenty effect.” (Rihanna upped the ante again this summer with a hydrating foundation in 50 shades, writing on Instagram, “When the foundation takeova ain’t ova!”) In 2018 she unveiled Savage X Fenty, an intimates line available in many sizes and shades of “nude.” (The brand just secured a reported $50 million in new funding.) Now Rihanna is reimagining fashion at the highest levels.
    [Show full text]
  • Reduction of the Liquidity Contract with ODDO BHF SCA
    Reduction of the liquidity contract with ODDO BHF SCA Paris, May 20th, 2020 On May 19th, 2020, in accordance with article 4.6 of AMF decision n° 2018-01 dated July 2nd 2018, LVMH reduced the cash amount allocated to the liquidity contract entered into with ODDO BHF SCA by 278,000 euros in order to bring the total amount allocated to this contract down below the €50 million threshold referred to in the AMF decision for “very liquid shares” (as defined in paragraph 3.a of article 4 of the decision). Following this operation, on May 19th, 2020, the following assets appeared on the liquidity account: • 47,000 shares • 32,675,439.73 euros in cash LVMH LVMH Moët Hennessy Louis Vuitton is represented in Wines and Spirits by a portfolio of brands that includes Moët & Chandon, Dom Pérignon, Veuve Clicquot Ponsardin, Krug, Ruinart, Mercier, Château d’Yquem, Domaine du Clos des Lambrays, Château Cheval Blanc, Colgin Cellars, Hennessy, Glenmorangie, Ardbeg, Belvedere, Woodinville, Volcán de Mi Tierra, Chandon, Cloudy Bay, Terrazas de los Andes, Cheval des Andes, Cape Mentelle, Newton, Bodega Numanthia and Ao Yun. Its Fashion and Leather Goods division includes Louis Vuitton, Christian Dior Couture, Celine, Loewe, Kenzo, Givenchy, Pink Shirtmaker, Fendi, Emilio Pucci, Marc Jacobs, Berluti, Nicholas Kirkwood, Loro Piana, RIMOWA, Patou and Fenty. LVMH is present in the Perfumes and Cosmetics sector with Parfums Christian Dior, Guerlain, Parfums Givenchy, Kenzo Parfums, Perfumes Loewe, Benefit Cosmetics, Make Up For Ever, Acqua di Parma, Fresh, Fenty Beauty by Rihanna and Maison Francis Kurkdjian. LVMH's Watches and Jewelry division comprises Bvlgari, TAG Heuer, Chaumet, Dior Watches, Zenith, Fred and Hublot.
    [Show full text]
  • Wvb Dossier Report Lvmh Moet Hennessy - Louis Vuitton Se
    WVB DOSSIER REPORT LVMH MOET HENNESSY - LOUIS VUITTON SE LVMH MOET HENNESSY - LOUIS VUITTON SE Generated On 22 Dec 2020 COMPANY PROFILE BUSINESS SALES BREAKDOWN WVB Number FRA000090103 Date 31-DEC-18 31-DEC-19 ISIN Number ARDEUT111929, FR0000121014, US5024412075 Currency EUR ('000) EUR ('000) Status ACTIVE [ PUBLIC ] FASHION AND LEATHER GOODS 18,455,000 22,237,000 SELECTIVE DISTRIBUTION 13,646,000 14,791,000 Country of Incorporation FRENCH REPUBLIC (FRANCE) PERFUMS AND COSMETICS 6,092,000 6,835,000 Industry Classification WINE,BRANDY & BRANDY SPIRITS (2084) WINE & SPIRITS 5,143,000 5,576,000 Address 22 AVENUE MONTAIGNE, PARIS, PARIS WATCHES & JEWELRY 4,123,000 4,405,000 Tel +33 144132222 OTHER AND HOLDINGS 714,000 1,214,000 Fax +33 144132223 ELIMINATIONS -1,347,000 -1,388,000 Website www.lvmh.fr Principal Activities The Company is a France-based luxury goods company. It owns a portfolio of luxury brands and GEOGRAPHIC SALES BREAKDOWN its business activities are divided into five segments: Wines and Spirits, Fashion and Leather Date 31-DEC-18 31-DEC-19 Goods, Perfumes and Cosmetics, Watches and Jewelry and Selective Retailing. Currency EUR ('000) EUR ('000) ASIE (HORS JAPON) 13,723,000 16,189,000 DIRECTORS/EXECUTIVES ÉTATS-UNIS 11,207,000 12,613,000 EUROPE (HORS FRANCE) 8,731,000 10,203,000 Chairman YVES-THIBAULT DE SILGUY AUTRES PAYS 5,323,000 6,062,000 Chairman BERNARD ARNAULT FRANCE 4,491,000 4,725,000 Chief Executive Officer BERNARD ARNAULT JAPON 3,351,000 3,878,000 Chief Financial Officer JEAN-JACQUES GUIONY Secretary MARC ANTOINE
    [Show full text]