DOCSLIB.ORG

A Walk Through Luxury Land Johan Edberg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Walk Through Luxury Land Johan Edberg Degree of Master in Fashion Management The Swedish School of Textiles 2010-05-26 Report no. 2010.13.13 A walk through Luxury land Johan Edberg - an analysis of the identity and image of high level brands Visiting adress: Bryggaregatan 17 Postal adress: 501 90 Borås Website: www.textilhogskolan.se Abstract A walk through Luxury land - an analysis of the identity and image of high level brands This thesis is about how high level brands communicate their brands to the audience. The thesis consists of analyses of the identity and images of two luxury brands, Gucci and Burberry and two premium brands, Lacoste and Morris. The purpose is to clarify the identity of the brands, by carrying out analysis as well as interviews with key personnel. Furthermore there is an analysis of the advertisement images for the respective brands in order to clarify the brands images. Finally there is an analysis of the alleged conformity between identity and image and also a section about the luxury and premium brand differs, or rather not differ from each other in the identity-image connection. The methods used are Aakers identity system, to establish the respective brands identity. An image analysis with inspiration from Panfosky and leading semoticians are also used to scrutinize the advertising images from the Spring/Summer 2010 campaigns. The results show that there is indeed a good conformation among the brands when it comes to the identity-image connection. The brands identities are thorough and well articulated and the advertisement images are well executed with the identity well in mind which makes for that the campaigns are contributing in building a good brand image among the target audience. There are several areas where the premium brand advertising images congregate with the ones of the luxury brand. Key words: Luxury brands, Premium brands, fashion marketing, brand building, identity, image, image analysis, Gucci, Burberry, Lacoste, Morris Contents 1. Background ...................................................................................................................................... 1 1.1 Characteristics of a high level brand ............................................................................................. 2 1.2 Fashion magazines......................................................................................................................... 3 1.3 The brands and companies ........................................................................................................... 4 1.3.1 Gucci ....................................................................................................................................... 4 1.3.2 Burberry .................................................................................................................................. 5 1.3.3 Lacoste .................................................................................................................................... 6 1.3.4 Morris ..................................................................................................................................... 6 2. Purpose and research questions ..................................................................................................... 7 Research questions.......................................................................................................................... 8 3. Literature review ............................................................................................................................. 8 3.1 Brand building and identity in the high level segments ................................................................ 8 3.1.1 The functions of a brand ........................................................................................................ 8 3.1.2 The luxury fashion brand ........................................................................................................ 9 3.1.3 The luxury brand identity ..................................................................................................... 10 3.1.4 Aakers identity system ......................................................................................................... 11 3.1.5 Positioning of a luxury brand................................................................................................ 12 3.1.6 Brand equity ......................................................................................................................... 13 3.2 Marketing mix in the fashion industry ........................................................................................ 14 3.2.1 Marketing communication ................................................................................................... 14 3.2.2 The fashion marketing mix .................................................................................................. 15 3.2.3 Print advertising in fashion magazines ................................................................................ 16 4. Methods ........................................................................................................................................ 17 4.1 Image analysis ............................................................................................................................. 17 4.1.1 Panofsky’s iconological model and its followers .................................................................. 17 4.1.2 Denotation ............................................................................................................................ 17 4.1.3 Utilization ............................................................................................................................. 18 4.1.3 Shortcomings ........................................................................................................................ 18 4.2 Fieldwork Gucci and Burberry ..................................................................................................... 19 4.2.1 Fieldwork Lacoste and Morris .............................................................................................. 20 5. Results ........................................................................................................................................... 21 5.1 Gucci’s identity ............................................................................................................................ 21 5.2 Burberry’s identity ....................................................................................................................... 23 5.3 Lacoste’s identity ......................................................................................................................... 24 5.4 Morris’ identity ............................................................................................................................ 26 5.5 Image analysis Gucci .................................................................................................................... 27 5.6 Image analysis Burberry .............................................................................................................. 30 5.7 Image analysis Lacoste ................................................................................................................ 32 5.8 Image analysis Morris .................................................................................................................. 34 6. Discussion ...................................................................................................................................... 36 6.1 Luxury identity ............................................................................................................................. 36 6.2 Luxury land and brand origin....................................................................................................... 37 6.3 Gucci ............................................................................................................................................ 38 6.4 Burberry ....................................................................................................................................... 39 6.5 Lacoste ......................................................................................................................................... 39 6.6 Morris .......................................................................................................................................... 40 6.7 Further research .......................................................................................................................... 40 References ............................................................................................................................................. 42 Appendix 1 ............................................................................................................................................. 44 Appendix 2 ............................................................................................................................................. 46 Appendix 3 ............................................................................................................................................. 47 1. Background The luxury brands of the world have in the recent decade risen to the brands of the hour. Luxury brand products are today found not only in the possession of the wealthy but also in the average homes from Los Angeles via Moscow to Tokyo, where 94 percent
Load more

Recommended publications
  • The Ethics of the International Display of Fashion in the Museum, 49 Case W
    Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A. Anna Wintour and Condé Nast: A broad museum interest for trustees and a semi-broad museum interest for sponsors .................164 B.
    [Show full text]
  • Isis Samuels Swaby CDMG 1111 Digital Media Foundations Professor Tanya Goetz December 20 2017 Study of Logos
    Isis Samuels Swaby CDMG 1111 Digital Media Foundations Professor Tanya Goetz December 20 2017 Study of Logos Guccio Gucci created ‘Gucci’ based on his love for leather goods in Florence, Italy in 1921. By 1933, he joined forces with his family to build the business into a larger company and worldwide brand. The designer of the logo of Gucci happened be one of Gucci’s three sons ​ named Aldo Gucci. He joined The House of Gucci in 1933. The logo symbolizes grandeur and authenticity and is seen worldwide. (Ebaqdesign 1) ‘GG’ Type facing in a flip reverse is the ​ Gucci Logo based on Guccio Gucci original namesake. However, it is slightly similar to designer fashion house, Chanel’s Double CC logo. For almost the duration of this time, Gucci has proudly displayed its double-G logo, working to make the emblem a symbol for high-end quality and a proud stamp of the company’s ​ approval. (Logomyway 1) Classic Gucci Ads show the luxury and versatility of the Gucci, ​ designer brand that captures the persona and illusion of design. The class GG Double Locking Type on a belt design, which is the classic logo for Gucci. The newest transitions of the logo has developed into emblem of a woman figure. Source: Logomyway.com ‘The Lady Lock is part of the collection released for Fall/Winter 2013. The signature ​ Gucci logo embossed cappuccio and lock are typically crafted in shiny metal and accompany a collection of handbags that have a rounded, minimalist shape.’ (Yoogi Closet 1) The typeface ​ ​ appears to be Times New Roman and in Uppercase.
    [Show full text]
  • Bachelor Thesis Conference, July 3Rd, 2014, Enschede, the Netherlands
    Engagement of E-marketing by Luxury Brands, including an Empirical Study. Author: Rachel van Munster University of Twente P.O. Box 217, 7500AE Enschede The Netherlands [email protected] ABSTRACT Luxury Brand Management in the Internet Age The purpose of this study is to highlight the reasons provided by academic literature and the successful stories of luxury brands with their actual use of internet as marketing strategy, such to inspire other low or non online active brands to engage the internet with all its possibilities and activities as well and thereby help solve the research problem: ‘How can luxury brands successfully engage the internet as marketing strategy?’ Luxury brands and the management of these brands are discussed in the background section, while the literature review elaborates on e-marketing and luxury brand management. Three key activities are introduced: interacting, storytelling and experience. After an in depth description of the current online activity and highlights of five luxury brands: Burberry, Chanel, Louis Vuitton, Gucci and Dolce & Gabbana, the outcome of the empirical study conducted among these luxury brands is described and discussed. The survey outcome corresponds with the possibilities described in the literature review and shows that the luxury brands questioned use a lot of the internet marketing tools provided, and although they can still learn from each other and the possibilities presented in the literature review to enhance their marketing strategy, the survey is also providing supporting evidence from the field of practice that the possibilities and activities the literature review describes are actually used by the luxury brands and therefore it is practically a given that the luxury brands that are low or not active online should also engage the internet as their marketing strategy.
    [Show full text]
  • The Ethics of the International Display of Fashion in the Museum, 49 Case W
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Case Western Reserve University School of Law Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A.
    [Show full text]
  • International Retail Marketing Dedication
    International Retail Marketing Dedication Michael, Sarah and Matthew Carter To Mrs Moore – thanks for fish suppers To Chloe International Retail Marketing A Case Study Approach Edited by Margaret Bruce, Christopher M. Moore and Grete Birtwistle AMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORD PARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYO Elsevier Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 200 Wheeler Road, Burlington, MA 01803 First published 2004 Copyright © 2004, Elsevier Ltd. All rights reserved No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (ϩ44) 1865 843830, fax: (ϩ44) 1865 853333, e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://www.elsevier.com), by selecting ‘Customer Support’ and then ‘Obtaining Permissions’ British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 7506 5748 0 For information on all Elsevier Butterworth-Heinemann publications visit our web site at http://books.elsevier.com Typeset by Charon Tec Pvt.
    [Show full text]
  • The Sky's the Limit
    WWD MADE IN CHINA TRADES UP FASHION’S OWNERSHIP SHUFFLE LADY GAGA’S NEW SHOE GUY FROM LARIAT TO LEGO, THE BALENCIAGA IMPACT THE SKY’S THE LIMIT HYPER LUXURY 0815.ACCESSORY.001.Cover;17.indd 1 8/9/11 5:51 PM Table of Contents FEATURES 36 LUXURY GETS HYPER As global economies reel with uncertainty, the world’s most stalwart purveyors of luxury view quality and distinction as more essential than ever. 48 THE BALENCIAGA FACTOR Nicolas Ghesquière has been one of fashion’s most infl uential voices for more than a decade, and his impact on accessories is undeniable. 54 HIGHER AND HIGHER Some jewelers are coping with skyrocketing gold prices by pushing the design envelope, while others are amping up their Midas touch. 60 SPRING IT ON Designers off er glimpses of what’s ahead for their spring 2012 collections. 64 5 THINGS TO KNOW ABOUT Clockwise from upper left: WATCHES RIGHT NOW Slane’s 18-karat gold bangles; Updated styles and colors, limited Buccellati’s 18-karat gold and editions and the latest technologies— diamond bracelet; Marco Bicego’s and it’s all being promoted in 18-karat gold necklace; Gurhan’s social media. 24-karat gold, 4-karat gold alloy and diamond bracelet; Verdura’s 18-karat gold bracelet. DEPARTMENTS 10 EDITOR’S LETTER 26 FASHION’S NEW SHOE STUD Noritaka Tatehana is Japan’s latest 12 WHAT’S SELLING NOW shoe star, courtesy of Lady Gaga. The latest red-hot merch at retail across the board. 28 SKINS CITY Exotic skins get technical, 16 BREADTH OF A SALESMAN and houses experiment with Five top shoe sellers reveal innovations.
    [Show full text]
  • Le Tout Paris
    WWD MILESTONES: COTY AT 100/SECTION II Women’sWWD Wear Daily • The Retailers’ FRIDAYDaily Newspaper • September 3, 2004 • $2.00 Beauty LeNEW YORK — TParisout Hilton, the media’s Paris favorite bad girl, just can’t stay out of the spotlight. Having starred in her own reality TV show and that infamous video, the hotel heiress is stepping into the world of fashion and beauty with a vengeance. No sooner had she launched a signature jewelry line on Amazon.com than she was talking of visions of a fashion empire, including jeans, sweatsuits, shoes and color cosmetics. In the meantime, she also found time to produce her own fragrance, pictured here and called — inevitably — Paris Hilton. For more, see story on page 6. Polet’s Debut for Gucci: CEO Lauds ‘Mini-Boom’ As Profits Climb 33% By Robert Murphy PARIS — Robert Polet has spent the last two months getting a crash course in luxury, Gucci style — and so far, the Dutchman likes what he sees. The former Unilever frozen-foods honcho on Thursday delivered an upbeat assessment of his new job as Gucci Group’s chief executive, praising its brands, business fundamentals and entrepreneurial spirit, but stopping short of providing a strategic plan. He isn’t expected to table that until December. “I’ve been around the world in 60 days,” said a relaxed and charismatic See PPR, Page14 The Economy in the Spotlight: August Comps/10 GOP Wrap-Up/12 PHOTO BY JOHN AQUINO, STYLED BY BRYN KENNY STYLED BY JOHN AQUINO, PHOTO BY 2 WWD, FRIDAY, SEPTEMBER 3, 2004 Esprit’s spacious store in the Flatiron district.
    [Show full text]
  • Il Segreto Di the House of Gucci
    mercoledì 31 marzo 2021 MF fashion III Interviste The house of Gucci Il segreto di «Ho pensato al libro come a un film», racconta a MFF Sara Gay Forden, autrice del volume da cui è tratta la pellicola di Ridley Scott con Lady Gaga. «In 100 anni, il brand ha saputo cadere e rialzarsi». Tommaso Palazzi e Stefano Roncato idley Scott lo sta anco- ta con una nuova vendo la trasformazione da aziende ra girando, ma House of edizione a ottobre, di famiglia a mega-brand. Gucci Gucci è già un evento in concomitanza in realtà era un po’ a parte in quel Rmediatico, con i set ita- con il lancio ame- periodo, perché era di Firenze, liani assediati dai paparazzi. Il film ricano del film. era più una casa di accessories, racconta l’omicidio di Maurizio Il volume sa- non di abbigliamento. In quel pe- Gucci (interpretato dall’attore rà probabilmente riodo c’era Versace, Armani, e Adam Driver), commissionato tradotto in italia- Dolce&Gabbana che si afferma- dall’ex moglie Patrizia Reggiani no da Garzanti, vano. Le sfilate erano alla fiera. E impersonata dalla superstar Lady mentre in Usa sa- poi con quel cambio di gestione di Gaga, che proprio sul set a Roma rà ripubblicato da Gucci, e con l’arrivo di Tom Ford ha festeggiato da poco il com- Harper Collins ha fatto il boom, con la sfilata al- pleanno. Scatenando un ritorno con una postfa- la Società del giardino. alla Dolce vita in versione social, zione dell’autrice Cosa pensa di Gucci oggi? le star di Hollywood postano su che compendia la The house of Gucci Ho scritto un’afterword sugli Instagram momenti dal set in co- storia di Gucci ne- Lady Gaga sul set, la cover di e Sara Gay Forden ultimi 20 anni.
    [Show full text]
  • GUCCI How to Save the Business
    GUCCI How to save the business Intermediate Level: • Listening: Gucci - company history • Pronunciation: /ch/ • Reading: Gucci – how to save the business • Grammar: Expressions of frequency • Functional Language: Common email mistakes • Cultural Awareness: Business dress etiquette • Role Play: New markets for luxury 1 www.ibeschool.com INTRODUCTION: Discuss these questions: What do you know about Gucci? Who are the target customers? LISTENING 1: A spokesperson talks about the history of Gucci. Listen and answer these questions. 1. Wh en w as Gu cci fo unde d? 2. How did Guccio Gucci promote brand identity? 3. Who took control of the company wh en Guccio Gucci died? 4. What problems did Gucci have? 5. How did Tom Ford save the company? PRONUNCIATION - /CH/ There are 3 common ways to pronounce /ch/ in English /ch/ as in cheese /sh/ as in champagne /k/ as in chemist. • CH is often pronounced /ch/. Words with this pronunciation usually have a Latin origin. Examples: cheap, check, charm. • CH words with a hard /k/ pronunciation often come from the Greek language. Many of these terms are scientific or technical in nature. Examples: chemist, chaos, technician. • The words where CH is pronounced with a soft /sh/ sound are French in origin e.g. chic, champagne, machete Exercise: Say these words and tick the correct pronunciation box WORD ch sh k WORD ch sh k Chemistry X Children Chicago Chalet Challenge Champagne Christ Character Chocolate Champion Chaos Chauffeur 2 www.ibeschool.com 3 www.ibeschool.com CULTURAL AWA RENESS POINT BUSINESS DRESS ETIQUETTE Business Dress etiquette in the UK • Men: Ties are important symbols of their school, army, university or club.
    [Show full text]
  • The Suit Gets Cute
    WESTERN WAY BLOOMINGDALE’S UNVEILS A FULL-LINE STORE IN GLENDALE, CALIF. PAGE 5 TAKING A TOUR BIGGER BASSO SIR PHILIP GREEN AND NORDSTROM EXECUTIVES CROSS THE DENNIS BASSO OPENS A 10,500-SQUARE-FOOT U.S. FOR TOPSHOP SHOPS-IN-SHOP IN NORDSTROM. PAGE 12 FLAGSHIP ON MADISON AVENUE. PAGE 5 JOINING THE LVMH STABLE Ghesquière Era Dawns at Vuitton By MILES SOCHA PARIS — Nicolas Ghesquière is expected to bring a WWD gust of experimental fashion — and that all-important buzz factor — to Louis Vuitton as the brand’s new ar- tistic director of women’s collections. TUESDAY, NOVEMBER 5, 2013 Q $3.00 Q WOMEN’S WEAR DAILY Confirming a widely expected hire, Vuitton said the designer — who catapulted Balenciaga to the forefront of the Paris fashion agenda — would show his first collection here next March. The appointment on Monday afternoon came al- most a year to the day that the Frenchman exited Balenciaga after a 15-year career, sparking a guessing game about where he might land. He had also con- ducted talks with Japanese retail giant Fast Retailing The Suit Ltd., parent of the Uniqlo chain, as reported. Vuitton said Ghesquière would bring “a modern, creative vision to the house’s women’s collections, building on the values of refinement, savoir faire and extreme quality.” He is the latest fortysomething fashion modern- Gets Cute ist tapped by luxury kingpin Bernard Arnault, who last year named Belgian Raf Simons to become Christian Dior’s sixth couturier, and who in recent Dial down the serious power suit — way years brought in British designer Phoebe Philo to MARTIN energize Céline.
    [Show full text]
  • UNIVERSITA' DEGLI STUDI DI PADOVA the Relationship Between
    UNIVERSITA’ DEGLI STUDI DI PADOVA DIPARTIMENTO DI SCIENZE ECONOMICHE E AZIENDALI “MARCO FANNO” CORSO DI LAUREA MAGISTRALE IN ECONOMIA INTERNAZIONALE LM-56 Classe delle lauree magistrali in SCIENZE DELL’ECONOMIA Tesi di laurea The relationship between Brand Identity and Ownership Status in the Luxury Industry: the Gucci Brand Case Relatore: Prof. Dal Santo Piergiorgio Laureanda: Pastore Alessandra 1150736 Anno Accademico 2017 – 2018 Il candidato dichiara che il presente lavoro è originale e non è già stato sottoposto, in tutto o in parte, per il conseguimento di un titolo accademico in altre Università italiane o straniere. Il candidato dichiara altresì che tutti i materiali utilizzati durante la preparazione dell’elaborato sono stati indicati nel testo e nella sezione “Riferimenti bibliografici” e che le eventuali citazioni testuali sono individuabili attraverso l’esplicito richiamo alla pubblicazione originale. _________________ Ringraziamenti A conclusione dei miei studi, mi sento di dover fare alcuni doverosi ringraziamenti. Innanzi tutto, vorrei ringraziare il professore Piergiorgio Dal Santo per avermi accettato come sua tesista, per avermi incoraggiato e spronato a dare il meglio di me stessa. La ringrazio per tutto l’aiuto e l’appoggio che ha saputo darmi. Vorrei ringraziare i miei genitori che mi hanno sempre sostenuto, non smettendo di credere in me e nelle mie capacità. Sarò sempre grata a loro per avermi teso una mano nei momenti di difficoltà e per avermi esortato a dare sempre il massimo di me stessa senza pretendere nulla. Non ce l’avrei mai fatta senza di voi! Inoltre, ringrazio mia sorella Cecilia per essere stata la famiglia di cui avevo bisogno nei momenti di difficoltà.
    [Show full text]
  • L'attivita' Di Retail Nel Settore Moda: Caso Gucci
    LUISS GUIDO CARLI di ROMA LIBERA UNIVERSITA’ INTERNAZIONALE DEGLI STUDI SOCIALI FACOLTA’ DI ECONOMIA CORSO DI LAUREA: MARKETING L’ATTIVITA’ DI RETAIL NEL SETTORE MODA: CASO GUCCI RELATORE: PROF. MATTEO GIULIANO CAROLI TESI TRIENNALE DI: FRANCESCA FERRARO MATRICOLA: 140921 ANNO ACCADEMICO: 2009/2010 INDICE INTRODUZIONE …………………….……………………………………….…....3 1. IL SETTORE DEL LUSSO ……………………………………………….…..4 1.1. Definire il lusso ………………………………………………….…….6 1.2. Lusso come marca ………………………………………………......7 1.3. Il brand conta più del “MADE IN”…………………………...…8 1.4. Piramide del lusso ………………………………..…………….…….8 1.5. Le cinque dimensioni legate al lusso ………………………….13 2. IL SETTORE MODA ………………………..………………………..…….…15 2.1. Cenni storici ed evoluzione ….………………………….……….16 2.2. Ciclicità di prodotto ………….……………………….…………….18 2.3. Marketing Mix: le Quattro P per il sistema moda .………20 3. L’ATTIVITA’ RETAIL ………..……………………………………………….24 3.1. Il retail al servizio della marca ……………….………….…....24 3.2. L’esperienza di marca nel punto vendita .………………....28 3.3. Politiche distributive nelle aziende del settore moda ….30 3.3.1. Canale diretto ………………………………………………….31 3.3.2. Canale indiretto ………………………………...…….……...33 1 3.3.3. Franchising ……………………………………..………….…..34 3.4. L’atmosfera del punto vendita ……………………….………...36 3.5. Visual Merchandising …………………………………………..….39 3.6. 10 Leggi per un retail eccellente …………………….………....46 4. CASO GUCCI ……………………………………………………………….…....50 4.1. Un po’ di storia ……………………………………………………..…50 4.1.1. Storia della collaborazione Gucci&Unicef ………..…51 4.1.2. Campagna Gucci a sostegno Unicef ……………………51 4.2. Direttore Creativo: Frida Giannini …………………….........61 4.2.1. Gucci eyeweb ………………………………………………..…63 4.2.2. Gucci masters …………………………………………….…...64 4.2.3. La New Jackie ………….………………………………………65 4.2.4. Sistema Competitivo del Settore moda …………..….67 4.3. Prodotti Gucci …………………….…………………………………..67 4.3.1.
    [Show full text]