Altagamma Digital Awards 2020: Gucci, Burberry, Prada
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Italian Luxury
Fondazione Altagamma SINCE 1992, ALTAGAMMA GATHERS HIGH-END ITALIAN CULTURAL AND CREATIVE COMPANIES, RECOGNIZED GLOBALLY AS AUTHENTIC AMBASSADORS OF ITALIAN STYLE. The Altagamma MEMBERS operate in multiple sectors ecosystem that is the most important accelerator among which fashion, design, jewellery, food, of Made in Italy products. hospitality, automotive, yachts, and wellness. Since 2017 the HEADQUARTERS of Fondazione The MISSION of Altagamma is to increase the Altagamma are located in Via Montenapoleone 9, competitiveness of the high-end industry, contributing in Milan, a city that has been for decades to Italy’s economic growth. a catalyst for the development of innovative enterprise throughout ltaly. Its VISION, as an ambassador to the world of the Italian lifestyle, is to be a creative and cultural Italian Luxury Total worldwide consumption of luxury goods: l.161 billion euro ALTAGAMMA BUSINESSES PLAY A LEADING ROLE Market share of Italian brands: 9% IN A MARKET SEGMENT THAT CONTINUES TO GROW ALL OVER THE WORLD. Source: Fondazione Altagamma / Bain&Company, 2017 202 59 24 10 38 11 63 7 PERSONAL DESIGN FOOD WINES LUXURY GOODS FURNITURE &BEVERAGE &LIQUORS (Billion Euros) (Billion Euros) (Billion Euros) (Billion Euros) Share of Italian Brands: 23% Share of Italian Brands: 30% Share of Italian Brands: 22% Share of Italian Brands: 9% 181 9 483 7 8 1 • Rest of the World Brands • Italian Brands HOSPITALITY CARS YACHTS (Billion Euros) (Billion Euros) (Billion Euros) Share of Italian Brands: 5% Share of Italian Brands: l % Share of Italian Brands: 9% STUDIES AND RESEARCH Altagamma is the global point of reference when it comes ∙ DIGITAL LUXURY EXPERIENCE: to understanding the luxury market. -
Final Thesis
AN EXAMINATION OF INDIVIDUAL DIFFERENCES IN ITALIAN AND AMERICAN FASHION CULTURES: PAST, PRESENT, AND PROJECTIONS FOR THE FUTURE BY: MARY LOUISE HOTZE TC 660H PLAN II HONORS PROGRAM THE UNIVERSITY OF TEXAS AT AUSTIN MAY 10, 2018 ______________________________ JESSICA CIARLA DEPARTMENT OF TEXTILES AND APPAREL SUPERVISING PROFESSOR ______________________________ ANTONELLA DEL FATTORE-OLSON DEPARTMENT OF FRENCH AND ITALIAN SECOND READER TABLE OF CONTENTS Abstract…………………………………………….…………………………………………….…………………………………… 3 Acknowledgements………………………………………….…………………………………………….…………..……….. 4 Introduction………………………………………….…………………………………………….…………………….…….…. 5 Part 1: History of Italian Fashion……...……...……..……...……...……...……...……...……...……...... 9 – 47 AnCiEnt Rome and thE HoLy Roman EmpirE…………………………………………………….……….…... 9 ThE MiddLE AgEs………………………………………….……………………………………………………….…….. 17 ThE REnaissanCE……………………………………….……………………………………………………………...… 24 NeoCLassism to RomantiCism……………………………………….…………………………………….……….. 32 FasCist to REpubLiCan Italy……………………………………….…………………………………….……………. 37 Part 2: History of American Fashion…………………………………………….……………………………… 48 – 76 ThE ColoniaL PEriod……………………………………….……………………………………………………………. 48 ThE IndustriaL PEriod……………………………………….……………………………………………………….…. 52 ThE CiviL War and Post-War PEriod……………………………………….……………………………………. 58 ThE EarLy 20th Century……………………………………….………………………………………………….……. 63 ThE Mid 20th Century……………………………………….…………………………………………………………. 67 ThE LatE 20th Century……………………………………….………………………………………………………… 72 Part 3: Discussion of Individual -
Table of Contents
A periodic pubblication from the Italian Trade Volume 12 Issue1 .it italian trade 1 Table of contents 22. CREDITS EDITORIALS 24. “Italy and Miami: a long lasting bond of friendship”: a message from Tomas Regalado, Mayor of the City of Miami 26. “The US Southeast, a thriving market for Italian companies”: a message from Gloria Bellelli, Consul General of Italy in Miami 28. “The United States of America, a strategic market for Italian food industry”: a message from Gian Domenico Auricchio, President of Assocamerestero 30. “25 years supporting Italy and its businesses”: a message from Gianluca Fontani, President of Italy-America Chamber of Commerce Southeast SPECIAL EDITORIAL CONTRIBUTIONS 32. “Andrea Bocelli, when simplicity makes you the greatest”, interview with Andrea Bocelli, Italian classical crossover tenor, recording artist, and singer-songwriter. 40. “Santo Versace, Style is the Man!”, interview with Santo Versace, President of Gianni Versace Spa 47. “Italians in Miami: a unique-of-its-kind community”, by Antonietta Di Pietro Italian Instructor in the Department of Modern Languages at Florida International University 53. “Italy and the US: a strong relationship” by Andrea Mancia e Simone Bressan, Journalists and Bloggers THE “MADE IN ITALY AMBASSADOR AWARD” WINNERS 58. “Buccellati, a matter of generations”, interview with Andrea Buccellati, President and Creative Director of Buccellati Spa 63. “The Made in Italy essence” interview with Dario Snaidero, CEO of Snaidero USA INTRODUCING “THE BEST OF ITALY GALA NIGHT” 69. “The Best of Italy Gala Night” Program THE PROTAGONISTS OF “THE BEST OF ITALY GALA NIGHT” 76. “Alfa Romeo, Return of a legend”, by Alfa Romeo 82. -
Italian Fashion & Innovation
Italian Fashion & Innovation Derek Pante Azmina Karimi Morgan Taylor Russell Taylor Introduction In Spring 2008, the Italia Design team researched the fashion industry in Italy, and discussed briefly how it fits into Italy’s overall innovation. The global public’s perception of Italy and Italian Design rests to some degree on the visibility and success of Fashion Design. The fashion and design industries account for a large percentage of Milan’s total economic output— as Milan goes economically, so goes Italy (Foot, 2001). Fashion Design clearly contributes to “brand Italia,” as well as to Italian culture generally. Yet, fashion is not our focus in this study: innovation and design is. Fashion’s goals are not the same as design. For one, fashion operates on “style,” design works on “language,” and style to a serious designer is usually the opposite of good design. Yet to ignore the area possibly creates a blind spot. With the resource this year of some students with great interest in this area it was decided that we should begin to investigate how fashion in Italy contributes to innovation, and how fashion in Milan and other centers in the North of Italy sustain “Creative Centers” where measurable agglomeration (a sign of innovation) occurs. Delving into Italian Fashion allowed us to rethink certain paradigms. For one, how we look at Florence as a design center. Florence has very little Industrial Design and, because of the city’s UNESCO World Heritage designation, has very little contemporary architectural culture. This reality became clear after four years of returning to the Renaissance city. -
First Proofs
FIRST PROOFS TO BE CITED AS: Lavanga, Mariangela (2018). The role of Pitti Uomo trade fair in the menswear fashion industry. In Reggie Blaszczyk and Ben Wubs (Eds.), The Fashion Forecasters: A Hidden History of Color and Trend Prediction (pp. 191-209). London: Bloomsbury Academic Publishing. 10 THE ROLE OF THE PITTI UOMO TRADE FAIR IN THE MENSWEAR FASHION INDUSTRY Mariangela Lavanga enswear no longer lives in the shadow of women’s wear. According to a recent article from the Business of Fashion website, the growth of menswear has outpaced Mthat of women’s wear since at last 2011.1 Until the 1970s, male fashion in Europe mainly focused on tailoring and smaller-scale production of ready-to-wear, or confection, producing shirts, and underwear. One exception was the famous menswear tailoring industry in Leeds, England, which clothed British working-class and middle-class men in stylish suits for a century until its demise in the late twentieth century. London’s Savile Row traditionally set the trends for the high end of the industry. Aer the 1970s, men’s ready-to- wear and men’s haute couture start to grow elsewhere in Europe. Trends and styles in menswear change much more slowly than in women’s fashion; however, the pace of those changes is increasing. One of the world’s most important players for menswear is the international fashion trade fair Pitti Uomo in Florence, Italy. Pitti Uomo was established in 1972 under the umbrella of the non-prot organization Centro di Firenze per la Moda Italiana (CFMI-Florentine Centre for the Italian Fashion), which today is the holding of Pitti Immagine (ocially born in 1988). -
Narratives of Italian Craftsmanship and the Luxury Fashion Industry: Representations of Italianicity in Discourses of Production
This is a repository copy of Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136104/ Version: Accepted Version Book Section: Dallabona, A orcid.org/0000-0002-1051-9389 (2014) Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. In: Hancock II, JH, Muratovski, G, Manlow, V and Peirson-Smith, A, (eds.) Global Fashion Brands: Style, Luxury and History. Intellect , Bristol, UK , pp. 215-228. ISBN 9781783203574 © 2014 Intellect Ltd. This is an author produced version of a paper published in Global Fashion Brands: Style, Luxury and History. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Alice Dallabona University of Leeds Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production ABSTRACT In the last few years many luxury fashion labels like Gucci have emphasized, in their communication, the various types of craftsmanship involved in the creation of their pieces as a mean of providing history and additional value to their products. -
A Discussion of a Luxury Apparel Brand Strategy in an Emerging Market: Conceptual Model with Network Perspectives
A Discussion of a Luxury Apparel Brand Strategy in an Emerging Market: Conceptual Model with Network Perspectives Rachaya Kaolawanich1, Hiroko Oe1, Yasuyuki Yamaoka2, Chih Yuan Chang1 1Bournemouth University, UK 2The Open University of Japan [email protected] Abstract Keywords luxury brand; apparel; Vietnam, This study explores the Burberry apparel brand’s position and its network perspective strategic behaviour seeking new customers in the new market. This exploratory research pays particular attention to business potential and opportunities in an emerging market, Vietnam. To evaluate Burberry’s strategies and the potential, the collaborative network relationships are discussed in details, that is followed by the discussion of the key themes for Burberry to consider in the Vietnamese market, where Burberry has recently begun expanding its businesses. The outcome of the study suggests that the Western luxury brand apparel needs to understand the targeted markets’ systems and consumer behaviour, from there it is inevitable to design strategic plan how to engage the stakeholders in the ubiquitous supply chain relationships. In the end, a conceptual model with network perspectives is proposed: The model will be an analytical framework with key agenda items for the luxury brand which aims to enter the new market, and also the research limitations and further research opportunities are discussed. I. Introduction 1.1 Burberry as the Royal Brand from the UK Burberry is one of the UK’s premier fashion apparel brands, founded in 1856 and currently taking steps towards becoming a global luxury fashion brand. It sells 'British' style and is well-known for its traditional, iconic trench coats, which are a symbol of the brand. -
Company Profile
COMPANY PROFILE JUNE 2015 INFO FILES • The Prada Group • Creativity and manufacturing • Raw materials • Logistics • Distribution • Licences and Joint Ventures • Prada Group figures June 2015 www.pradagroup.com 1 “Careful observation of and curiosity about the world, society, and culture are at the core of Prada’s creativity and modernity. This pursuit has pushed Prada beyond the physical limitations of boutiques and showrooms, provoked an interaction with different and seemingly distant worlds, and introduced a new way to create a natural, almost fashionless fashion.” Miuccia Prada and Patrizio Bertelli June 2015 www.pradagroup.com 2 THE PRADA GROUP Prada was founded in 1913 by Mario Prada, Miuccia Prada’s grandfather, in Milan. Located in the prestigious Galleria Vittorio Emanuele II, Prada was an exclusive, stylish store selling luggage, accessories and luxury goods, in fine materials and of sophisticated workmanship. The Milan store quickly became a firm favourite with the aristocracy and the most sophisticated members of the European elite. In 1919 Prada received the warrant of “Official Supplier of the Italian Royal Household”, and since then has been entitled to display the royal Savoy coat of arms and figure-of-eight knots alongside the company logo. Miuccia Prada and Patrizio Bertelli started working together in the late 70’s, laying the foundations of the international expansion that was to come. Patrizio Bertelli broke new ground in the luxury goods sector, introducing a new business model in which he kept direct, internal control over all processes, applying uncompromised quality criteria across the entire production cycle. Miuccia Prada’s creative talent and avant-garde approach attracted the attention of the global fashion industry, while her ability to look at the world from an unconventional vantage point allowed her not only to anticipate, but quite often, to set new trends. -
Prada Pdf, Epub, Ebook
PRADA PDF, EPUB, EBOOK Miuccia Prada,Patrizio Bertelli | 704 pages | 01 Feb 2010 | FONDAZIONE PRADA | 9788887029444 | English | Madrid, Italy Prada PDF Book In , the high fashion brand Miu Miu , named after Miuccia's nickname, launched. Purple 1. Prada launched its women's ready-to-wear collection in , and the designs came to be known for their dropped waistlines and narrow belts. Size - A purse is a smaller version of a handbag that you may wish to use for carrying extra cards, money, small photos, or other items. Dior Fine Jewelry. The purchase gained Prada a foothold in Germany, and months later Jil Sander resigned as chairwoman of her namesake company. Funding Universe states that "At the very least, Prada had a voice as one of Gucci's largest shareholders a 10 percent holding would be required for the right to request a seat on the board and would stand to profit tidily should anyone try to take over Gucci. Retrieved July 21, Best Offer. In , after 6 years of restoration Prada opened an events space in a historic residence in the Rong Zhai district of Shanghai, China. The logo for the label was not as obvious a design element as those on bags from other prominent luxury brands such as Louis Vuitton. More refinements More refinements Archived from the original on May 21, Jewelry 1. On December 14, , Prada was forced to pull a new range of accessories and displays from its stores following complaints that they featured " blackface imagery. Retrieved June 2, Yellow 3. Retrieved May 23, Archived from the original on April 20, Delivery Options see all. -
Italian Style: Fashion Since 1945
ITALIAN STYLE: FASHION SINCE 1945 FEBRUARY 7 – MAY 3, 2015 1219 SW PARK AVENUE, PORTLAND, OREGON 97205 503-226-2811 portlandartmuseum.org ITALIAN STYLE: FASHION SINCE 1945 FEBRUARY 7 – MAY 3, 2015 ABOUT THE EXHIBITION WHEN This major exhibition will be a glamorous, comprehensive look February 7 – May 3, 2015 at Italian Fashion from the end of the Second World War to the present day. The story is explored through the key individuals and WHERE Portland Art Museum organizations that have contributed to Italy’s reputation for quality and 1219 SW Park Avenue style. The exhibition will include both women’s fashion and menswear, Portland, OR 97205-2430 highlighting the exceptional techniques, materials, and expertise for which Italy has become renowned. ORGANIZER Organized by the Victoria and Albert Museum, London, Italian Style: Fashion Since 1945 will examine Italy’s dramatic transition and curated by Sonnet Stanfill, Curator of 20th Century from post-war devastation to a burgeoning industry facilitated by the and Contemporary Fashion at the V&A. landmark “Sala Bianca” catwalk shows held in Florence in the 1950s, propelling Italian fashion onto the world stage. HOST CURATOR Brian Ferriso During the 1950s and ‘60s several high-profile Hollywood films were The Marilyn H. and Robert B. Pamplin Jr. Director shot on location in Italy, which had an enormous impact on fashion as stars like Audrey Hepburn and Elizabeth Taylor became style HOURS ambassadors for Italian fashion, fueling a keen international appetite Tuesdays, Wednesdays, Saturdays and Sundays: 10 a.m.–5 p.m. for luxurious clothing made in Italy. Thursdays and Fridays: 10 a.m.–8 p.m. -
The 100 Most Renowned Luxury Brands and Their Presence in Europe's Metropolitan Centres
Glitter and glamour shining brightly The 100 most renowned luxury brands and their presence in Europe’s metropolitan centres Advance • Luxury shopping streets Europe • July 2011 2 Worldwide luxury market has emerged stronger from the financial crisis The global market for luxury goods has emerged from the financial uses images of diligent craftsmen and companies seek to add crafts crisis significantly faster than expected. The likes of Burberry, Gucci firms with long traditions to their portfolios. At the same time, the Group, Hermès, LVMH, Polo Ralph Lauren, Prada and Richemont east-bound shift of manufacturing activities, which was in full swing have recently reported double-digit sales growth or even record an- before the financial crisis, has slowed down significantly. nual sales, which has also reflected favourably on their share prices. Companies’ own store networks have played a significant role in all Rising requirements in the areas of marketing and logistics these success stories, with their retail operations typically growing March saw the launch of Mr Porter, the new men’s fashion portal of ahead of their other divisions. Most recently business has mainly Net-a-Porter, the world’s leading e-commerce seller of luxury goods. been driven by Asia. With the exception of Japan, this is where the Yoox most recently reported a continuing rise in its sales figures. All luxury brands have recorded the highest growth rates. In particular major luxury labels have considerably expanded the online shopping luxury fashion makers have greatly benefited from the booming Chi- offerings on their websites and feature them prominently in their nese market. -
Altagamma Retail Evolution
ALTAGAMMA RETAIL EVOLUTION January 22nd 2015, Milan Luca Solca, Managing Director, Global Luxury Goods Exane BNP Paribas Luca Solca Paola Bertini Hui Fan +44 (0) 20 3430 8503 +44 (0) 20 7039 9521 +44 (0) 20 3430 8507 [email protected] [email protected] [email protected] Value Creation and Luxury Goods 1. Improving ROIC and producing superior TSR go hand in hand ROIC improvement (2013-02, % ppts) vs. TSR (2002-13, %) 700% Burberry 600% R² = 72% Inditex 500% Richemont 400% Hermes Swatch H&M 300% LVMH TSR (2002-2013, %) 200% Luxottica Kingfisher 100% M&S Kering 0% (10%) (5%) 0% 5% 10% 15% 20% 25% ROCE (incl. Gross Goodwill) improvement (2002-2013, % points) Exane BNP Paribas 2 Value Creation and Luxury Goods 2. Luxury goods companies have turned into retailers Sales Split – Retail / Wholesale (%) LVMH Kering - Luxury Hermès Burberry Prada Richemont Swatch Luxottica Hugo Boss Tod's Ferragamo Moncler Cucinelli Retail FY 12 64% 68% 82% 71% 81% 54% 19% 61% 47% 60% 65% 51% 28% FY 13 65% 68% 82% 70% 84% 55% 21% 59% 54% 64% 64% 57% 36% FY 14E 64% 70% 83% 71% 85% 58% 24% 58% 58% 64% 64% 61% 41% FY 15E 64% 71% 85% 73% 85% 59% 25% 57% 60% 65% 65% 64% 43% Wholesale + Licensing FY 12 36% 32% 18% 29% 19% 46% 82% 39% 53% 40% 35% 49% 72% FY 13 35% 32% 18% 30% 16% 45% 79% 41% 46% 36% 36% 43% 64% FY 14E 36% 31% 17% 29% 15% 42% 76% 42% 42% 36% 36% 39% 59% FY 15E 36% 30% 15% 27% 15% 41% 75% 43% 40% 35% 35% 36% 57% Exane BNP Paribas 3 Value Creation and Luxury Goods 3.