Global Fashion Brands: Style, Luxury and History (Editorial)

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G L O B A L FA S H I O N B R A N D S

Hancock II | Muratovski | Manlow | Peirson-Smith

style, luxury & history

Fashion branding is more than just advertising. It has been defined as the cumulative image approach targeting customers with products, advertising and promotions organized around a coherent image. It helps to encourage the purchase and the repurchase of consumer goods from the same company. While historically, fashion branding has primarily focused on consumption and purchasing decisions, recent scholarship now challenges old methods suggesting that branding is a process that needs to be analysed from a stylistic, luxury and historical pop cultural view using critical, ethnographic, individualistic, or interpretive meth-ods. In this book authors explore the meaning behind fashion branding in the context of the contested power relations underpinning the production, marketing and consumption of style

and fashion as part of our global culture.

Joseph H. Hancock, II, Ph.D. is an Associate Pro-fessor at Drexel University in the Department of Fashion, Product, Design & Merchandising. He has a twenty-year retailing background having worked for Gap Corporation, Limited Inc., and Target Corporation. He is a noted expert in the area of fashion branding as a form of storytelling.

Gjoko Muratovski, Ph.D. has over twenty years of professional and academic experience spanning from Europe and Asia, to the USA and Australia. He is currently the Head of the Communication Design Department at the Auckland University of Technology (New Zealand) and a Chairman at the agIdeas International Design Week (Australia).

Veronica Manlow, Ph.D. is Assistant Professor of Business at Brooklyn College in the School of Business. Her research specialization is organi-zational structure, culture, leadership and the creative process of fashion design and branding. Current work involves branding and the role of fashion, ranging from mass to luxury, in the global economy.

Anne Peirson-Smith, Ph.D. is an Assistant Profes-sor in the Department of English, City University of Hong Kong teaching fashion communication, public relations, advertising and popular culture. She also has a professional background in public relations and branding for a range of global clients. She is coauthor of Public Relations in Asia Pacific: Communicating Across Cultures (Wiley 2009).

intellect | www.intellectbooks.com

EDITED BY

Joseph H. Hancock, II Gjoko Muratovski Veronica Manlow Anne Peirson-Smith

G L O B A LFA S H I O NB R A N D S

style, luxury & history

Global Fashion BrandsStyle, Luxury & History

Edited by Joseph H. Hancock, II Gjoko Muratovski Veronica Manlow Anne Peirson-Smith

intellect Bristol, UK / Chicago, USA

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First published in the UK in 2014 byIntellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2014 byIntellect, The University of Chicago Press, 1427 E. 60th Street,Chicago, IL 60637, USA

Copyright © 2014 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or byany means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from theBritish Library.

Copy-editing: MPS TechnologiesCover design: Stephanie SarlosProduction manager: Bethan BallTypesetting: Contentra Technologies

ISBN: 978-1-78320-357-4

Printed and bound by Hobbs, UK

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Contents

Foreword ix

Introduction xi

Part I

From the Editors 1

Rebranding American men’s heritage fashions through the use of visual merchandising, symbolic props and masculine iconic memes historically found in popular culture 3Kevin Matthews, Joseph H. Hancock, II and Zhaohui Gu

Producing and consuming American mythologies: Branding in mass market fashion firms 23D. J. Huppatz and Veronica Manlow

Co-branding strategies for luxury fashion brands: Missoni for Target 41Edwina Luck, Gjoko Muratovski and Lauren Hedley

Comme on down and Choos your shoes: A study of consumer responses to the use of guest fashion designers by H&M as a co-branded fashion marketing strategy 57Anne Peirson-Smith

Part II

Brands, Style and Mass Market 83

ModCloth: A case study in co-creative branding strategies 85Kendra Lapolla

Juicy (contradiction) couture: The Starburst Prom Gown and female teens’ appropriation and emotional branding of a candy label 103Tara Chittenden

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It’s all inside: J.C. Penney and ‘cut ‘n’ paste’ as branding practice 119Myles Ethan Lascity

Effortless consumption: The ‘Anthropologie’ of a brand-focused online shopping community 135Lauren Downing Peters and Anya Kurennaya

Visible status: Couture and designer abayas 153Christina Lindholm

Part III

Brands in the Luxury Market 165

Managing an iconic old luxury brand in a new luxury economy: Hermès handbags in the US market 167Tasha L. Lewis and Brittany Haas

Communicating brand image through fashion designers’ homes, flagship stores and ready-to-wear collections 179Osmud Rahman and Lauren Petroff

Leveraging designer creativity for impact in luxury brand management: An in-depth case study of designers in the Louis Vuitton Möet Hennessy (LVMH) brand portfolio 199RayeCarol Cavender and Doris H. Kincade

Narratives of Italian craftsmanship and the luxury fashion industry: Representations of Italianicity in discourses of production 215Alice Dallabona

Part IV

Brands in Historical Context 229

Do contemporary luxury brands adhere to historical paradigms of luxury? 231Shaun Borstrock

The ‘age of enchantment’, the ‘age of anxiety’: Fashion symbols and brand persona 249Linda Matheson

Louis XIV, ‘Le marketing, c’est moi’ 279Ellen Anders

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Foreword

Allen SAbinSondean, Antoinette westphal College of Media Arts & design drexel University

When I began my career in the film and television industry in 1973, brand-ing was something you did to cattle. In the parlance of the times, the profes-sions were known as: publicity, advertising and public relations. By the mid-1980s, the media were beginning to transform, and marketing became the word du jour encompassing all three disciplines. But branding and brand identity are something altogether different. Whether it’s a fashion design label like Burberry or Chanel, a performer like Beyoncé or Lady Gaga, a media giant like Disney, or sports teams like Manchester United or the New York Yankees, a truly global brand resonates on a far deeper level. You only need to hear the name Chanel to know that it represents the highest level of design, unique in its vision and produced to the highest standards of quality. In the minds of consumers – successful brands like Chanel exist as shorthand – transmitting a whole array of brand attributes that cast a favourable glow over entire prod-uct lines as with Chanel and their perfume, cosmetics, haute couture and ready-to-wear lines. In sports the world over, Manchester United is known as an international powerhouse, the best of the best, year-in year-out, regard-less of which star is in this year’s lineup or even whether they’ve won the most important tournaments. Branding is the story and identity that comes to exist in people’s minds, and successful companies are beyond vigilant in their efforts to build stories that reinforce brand identities.

Those who are most successful in branding understand that every aspect of their operations – their products and packaging, their stores, their ecommerce and social media efforts, their advertising and associations with celebrities – all must be consistent with the brand image. In successful branding, the whole is greater than the sum of its parts, but there are downsides too. When a compa-ny’s actions appear to be departures from accepted core values, whether through products that depart too radically from expectations or are of lesser quality, or are superseded by new technologies, they run the risk of alienating consumers from every aspect of their business. Consider the rapid rise and

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Allen Sabinson

precipitous fall of mobile phone makers Nokia and Blackberry’s Research in Motion, the decline of Dell as smart phones and tablets decimated the demand for personal computers, or how Gap has struggled to regain market share in the face of new competition and poorly received product lines. Then there’s the impact of scandal, be they the inappropriate public statements of a CEO, a credit card breach, or an association with third world manufacturers with little regard for their workers’ safety and well-being. Any misstep can cause a brand to suffer and in today’s globalized, connected worlds, brands must be continually focused on protecting their brand identity while being mindful of consumers quest for the next big thing, which can easily turn today’s hot brand into yesterday’s news.

Drexel University’s Westphal College of Media Arts & Design is very proud of Dr. Joseph H. Hancock II, whose research addresses branding, national and international trends, and cultural influences. In the classroom and through his publications, he is a major contributor to our nationally ranked Department of Fashion Design/Design & Merchandising and Product Design. I would also like to thank and acknowledge his highly esteemed colleagues Gjoko Muratovski, Auckland University of Techonology, Veronica Manlow, Brooklyn College, and Dr. Anne Peirson-Smith from the City University of Hong Kong, all of whom are known for their global reputations in the areas of fashion, design and branding scholarship, as well as consulting. Without them this book, with its diverse array of topics addressing style, luxury and history, would not have been possible.

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IntroductIon

Joseph h. hancock, II GJoko MuratovskIdrexel university Aukland university of technology

veronIca Manlow anne peIrson-sMIthBrooklyn college city university of Hong Kong

Global fashion brands: style,

luxury and history

Fashion, style, dress and appearance in the broadest sense are universal, and as such have transcended time and space. The German sociologist George Simmel (1954) defined fashion as a form of both segregation and social equal-ization that is in constant flux. He argued, fashion was a product of social demand and acting as a reflection of a class-driven society where needs for differentiation and imitation are high. In his seminal work, ‘Fashion’, he suggests the well-to-do initiate fashion in order to define themselves as the upper social class and to segregate themselves from others. While the mass populace may try to imitate them to reduce the distinctions between the classes, as soon as it becomes apparent that styles of the wealthy are becom-ing common, those with financial means abandon current fashion styles and replace them with a newer ones. Thus, the elites are able to keep up their appearances of class distinction somewhat out of reach from the masses.

But fashion has evolved since the early twentieth century and is constantly changing amongst all consumer groups. It is a driving force that utilizes the latest technologies and encompasses ever more sectors of society. It is at once material culture and transitory, inhabiting the realm of concepts and images and

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linked to production and industry. The socio-economic shifts that occurred were exemplified post-World War II through the marketing efforts behind rapidly mass-produced, mass-communicated fashion garments that allowed for a shift in financially urban working class and style-driven youth from the 1960s, to become the fashion leaders of global trends (Peirson-Smith and Hancock 2013: 166).

From haute couture across ready-to-wear global fashion production and commodities required a uniqueness to gain the almighty consumer dollar and success in the apparel industry. Fashion branding is the process that brought all this together. As Joseph Hancock states, ‘Fashion branding is the process by whereby designers, manufacturers, merchandisers, buyers, strategists, creative directors, retailers and those responsible for selling fashion create campaigns and give fashion garments a unique identity’ (2009: 6). It involves the cast of cultural intermediaries across the spectrum of fashion practices whose work transcends the product and communicates a consistent brand story in the inter-ests of ‘creating a clear vision and strategy for a company’ (Hancock 2009: 7). Having a specific target market in mind, while exhibiting variations in clothing collections, the power of mass fashion brands provide continuity by popular appeal, and through branding sometimes even create a perceived national identity of a country. For example, globally recognized fashion brands such as Ralph Lauren, Tommy Hilfiger, American Apparel are a reflection of American life both real and imagined, and have been a persuasive force in shaping the international perceptions of the American lifestyle (Manlow 2011).

Yet even today, fashion branding is still often misrepresented as being only about the logo, the brand name, and the tangible design aspects of the brand created and communicated in a linear way as often the ‘message-weary, sophisticated consumer tunes out all of these superficial aspects of the brand architecture’ (Devereux and Peirson-Smith 2009: 66). The intangible aspects and the emotional attachments of the consumer to the brand in terms of its recognizable identity or personality is the most compelling in developing the all-powerful ‘mindshare’ (Devereux and Person-Smith 2009: 66). The chap-ters presented in the four sections of this work capture fashion brands as they exist today, underscoring their most important dimensions and indeed their power as a means to move fashion and continue its evolutionary processes.

I. FroM the edItors: Mass FashIon brands

The first section of the book concentrates on mass market brands and the adoption and implementation of various branding strategies to assure their survival in competitive and often saturated markets. In ‘Rebranding American men’s heritage fashion through the use of visual merchandising, symbolic props and masculine iconic memes historically found in popular culture’, Kevin Matthews, Joseph H. Hancock, II and Zhaohui Gu employ a critical interpretation of how culturally influenced thematic props and icons from the rebel to the jock, historically reflective of America culture, are used to promote and sell men’s mass fashion brands. As a consequence, they observe that this popular culture inspired merchandising as a successful and iconic fashion branding practice has had a significant impact on street style and everyday menswear.

Next, D. J. Huppatz and Veronica Manlow turn their attention to North American mass market brands such as Ralph Lauren and Gap and American Apparel in ‘Producing and consuming American mythologies: Branding in mass market fashion firms’, which actively create hyper-real representations

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of a mythic American nation and lifestyle that global consumers aspire to be part of. The chapter examines the emergence, development and the inherent differences in brand strategies amongst the companies residing in this middle market segment across four decades.

Taking a different angle in Chapter 3, ‘Co-branding strategies for luxury fashion brands: Missoni for Target’, Edwina Luck, Gjoko Muratovski and Lauren Hedley use a case study approach to assess the collaborative relation-ship between Italian luxury knitwear company Missoni and North American retail company, Target. This is a co-branding story with mixed benefits for the partners involved following the frenetic pre-launch media hype and over-whelming consumer response. Whilst the collection was a huge commercial success, significantly raising consumer awareness of, and demand for, Missoni, the risks of an uncontrolled or confused brand image for both parties provides a cautionary tale for luxury brands involved in this marketing strategy.

On a related theme, Anne Peirson-Smith analyses H&M’s well established co-branding partnerships with a range of luxury brands in ‘Comme on down and Choos your shoes: A study of consumer responses to the use of guest fashion designers by H&M as a co-branded fashion marketing strategy’. The chapter analyses the sustained validity of these symbiotic ‘massclusive’ rela-tionships that borrow interest from each other as high-end and high-street brands cohabit in the interests of establishing brand visibility and credibility amongst aspirational global consumers turning them from customers into ‘lustomers’. Using ethnographic evidence from in-depth consumer interviews, the chapter questions whether in view of changing economic conditions and evolving consumer needs there is evidence of increasing consumer agency, cynicism and saturation with regard to this co-branding strategy despite the media hype and apparent commercial success.

II. Brands, style and InnovatIon

In section two the spotlight is placed on emerging and innovative trends in fashion branding from social media engagement, ‘trashion’ and cultural re-appropriation. Kendra Lapolla’s chapter, ‘ModCloth: A case study in co-creative branding strategies’ uses observational research methods to analyse the co-branding strategies of North American vintage retailer,

Joseph H. Hancock, II Gjoko Muratovski Veronica Manlow Anne Peirson-Smith

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ModCloth, to encourage consumer involvement. The trend from product to customer centred engagement with the brand is examined across the company’s e-commerce website and interaction with it online customer community highlighting the importance of transactional dialogue when co-creating and sustaining brand.

Following on from this in Chapter 6, ‘Juicy (contradiction) couture: The Starburst Prom Gown and female teens’ appropriation and emotional brand-ing of a candy label’, Tara Chittenden tracks the fascinating ‘trashion’ DIY phenomenon of the prom gown made from Starburst candy wrappers. This often involves hundreds of hours of folding and weaving by the teen wearer’s family and friends. The Starburst gown is analysed as a cultural text shedding light on female teen identity and its interface with and affective expression through crossover branding practices.

The beleaguered, mid-range American department store J. C. Penney is the subject of Chapter 7 ‘It’s all inside: J. C. Penney and ‘cut ‘n’ paste’ as branding practice’ for author Myles Ethan Lascity. The chapter details the 2012 rebranding strategy for the store under its former CEO applying the cut ‘n’ paste concept to the store-within-a-store approach that can be identified either as an innovative branding departure or as a weak market position. The author concludes that the resulting brand identity for the store resulted from a combination of these two interpretations in the public domain.

Next, the online followers of multi-channel lifestyle brand are under the spotlight in, ‘Anthropologie’ effortless consumption: The ‘Anthropologie’ of a brand-focused online shopping community’, by Lauren Downing Peters, and Anya Kurennaya. Taking a close investigation of the online posts made by the Effortless Anthropologie blogging community, the chapter contends that this is a coherent, like-minded community bonded by trust and loyalty that retailers and marketers ignore at their peril.

Concluding this section, ‘Visible status: Couture and designer abayas’ Christina Lindholm details how the abaya – the all-covering black outer robe typically worn by observant Muslim women in the Arabian Gulf – is being adapted into a more fashion conscious garment. This trend being adopted by Muslims and non-Muslims alike is being reworked by couturiers and designers into garments with an aesthetic appeal that still remains within the boundaries of cultural acceptability.

III. brands In the luxury Market

The subject of this section is the evolving role of luxury brands across time, space and place and the importance of heritage and authenticity in these brand narratives. In this regard, Tasha Lewis and Brittany Haas in their chapter ‘Managing an iconic old luxury brand in a new luxury economy: Hermès handbags in the US market’, examine the operations of the French family-owned heritage brand Hermès founded in 1837. World renowned for its quality leather luxury goods, and in particular the covetable Birkin ‘it’ bag, the chapter highlights how Hermès faces the challenges of maintaining control over, and ensuring the quality of its distribution practices across the United States market, in addition to jockeying for position across the luxury brand market with its competitors.

Following on from this focus on luxury branding, the influence of the appearance of a designer’s home, flagship store and fashion collection on consumer perceptions towards a designer’s brand is the focus of Osmund

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Rahman’s chapter on ‘Communicating brand image through fashion designers’ homes, flagship stores and ready-to-wear collections’. Using in-depth ethno-graphic interviews, the findings from this exploratory investigation highlight the importance of the designer’s home to their overall persona and design aesthetic representing a new factor influencing the fashion brand that has only recently begun to reach the attention of the broader public. This unique study tested the degree to which the consumer perception of a brand concept is influenced by the way in which the designer’s collection and their personal domestic interiors are used as a communication strategy to engage with consumers in order to promote and reinforce the brand image.

In their chapter, ‘Leveraging designer creativity for impact in luxury brand management: An in-depth case study of designers in the LVMH brand portfolio’, Raye Carol Cavender and Doris H. Kincade offer a business/producer case study focus on luxury goods company LVMH’s competitive brand management strat-egies in an increasingly saturated luxury goods market. The winning formula for a premier luxury brand such as LVMH involves the coming together of an innovative creative director with farsighted management who value creativity at the core of the brand ethos. This strategic pairing of designer creativity and directive brand management, the chapter, suggests is a benchmark for sustained success to withstand the rigours of a highly competitive marketplace.

Bringing this section to a close, in the chapter entitled, ‘Narratives of Italian craftsmanship and the luxury fashion industry: Representations of Italianicity in discourses of production’, Alice Dallabona addresses how luxury Italian fashion labels embody Barthian representations of national identity or ‘Italaianicity’ as a way of adding value and cultural capital to their garments. Using a series of case studies, the chapter examines the discourses of Italian fashion production centred on authenticity and craftsmanship that are also often appropriated by non-Italian brands to enhance the status of an interna-tional brand by association. The chapter argues that this hybridization of the ‘made in Italy’ narrative from any source has a positive effect on the Italian fashion system and its resulting brands.

Iv. brands In theIr hIstorIcal contexts

The next section looks at the evolution of fashion branding though a historical lens. Given that many of the luxury brands predominating in the market today originated in the seventeenth and eighteenth centuries, Shaun Borstrock in, ‘Do contemporary luxury brands adhere to historical paradigms of luxury?’ addresses the origins of the concept of luxury brand heritage and its unique contribution to current luxury brands. Stripping away contemporary brand and marketing practices that tend to rely on the rhetoric of heritage and exclusivity to engage with the consumer, the chapter highlights the authentic historic roots of luxury brands. The chapter explains how this originated in skilful craftsmanship forming an indelible part of the brand story for many contemporary luxury brands.

Going further back in time, the quest for an appropriate brand persona (BP) for contemporary fashion brands is located in mythical Sumerian goddess Inanna in Linda Matheson’s chapter, ‘The “age of enchantment”, the “age of anxiety”: Fashion symbols and brand persona’. Using social theory as a framework for analysis, Matheson proposes that in the current age of uncertainty modern brand icons and their impossibly glamorous associations, often heightening personal concerns and widespread anxiety, may not be

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as effective in tapping into the consumer psyche. Alternative narratives and symbolic associations with more postmodern attributes represented by Inanna such as unpredictability, fragmentation and heterogeneity may be offer more relatable realities for the globalized fashion consumer.

Finally, the evolution of modern branding and visual merchandising to determine the unique qualities of goods is traced back to the seventeenth century reign of Louis XIV, King of France by Ellen Anders. In ‘Louis XIV: Le marketing, c’est moi’ the focus is on a highly productive reign of a king who created a brand for his royal house comparable to contemporary market-ing practices across the fashion industry. Within the context of an ‘Age of Discovery’ the king expanded this approach as a way of systematizing the import and export trade and the methods of production and consumption across a range of industries, including textiles. The echoes with present day commercial activities are carefully drawn revealing striking similarities in mercantile and fashion branding practices both old and new.

reFerences

Devereux, Mary and Peirson-Smith, Anne (2009), Public Relations in Asia-Pacific: Communicating Effectively Across Cultures, London and Singapore: John Wiley & Sons.

Hancock, Joseph (2009), Brand/Story: Ralph, Vera, Johnny, Billy and Other Adventures in Fashion Branding, New York: Fairchild Books.

Manlow, Veronica (2011), ‘Creating an American mythology: A compari-son of branding strategies in three fashion firms’, Fashion Practice, 3: 1, pp. 85–110.

Peirson-Smith, Anne and Hancock, Joseph H. II (2013), ‘Editorial’, Fashion Practice, 5: 3, pp. 165–70.

Simmel, George (1954), ‘Fashion’, The American Journal of Sociology, 62: 6, pp. 541–58.

Joseph H. Hancock, II, Gjoko Muratovski, Veronica Manlow and Anne Peirson-Smith have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors of this work in the format that was submitted to Intellect Ltd.

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Global Fashion Brands: Style, Luxury and History (Editorial)

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