Fashion Exhibitions: a concept proposal for digitally immersive experiences - Annie Whittaker.
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Fashion
Exhibitions:
a concept
proposal
for digitally
immersive
experiences.
by
Annie
Whittaker.
1
7,494 words
Student number: 29858283
2 3
Executive
Summary.
T
his report investigates
how consumers view
and react to fashion
exhibition experiences.
Responses from primary and
secondary research found that
there is a greater need for the
incorporation of immersive
technology for luxury brand
storytelling. It is proven this
strengthens the ability to
effectively communicate the
exhibiting brand’s story and
increases brand equity by using The analysis finds that fashion exclusivity, leaving traditional sales during the Covid-19
Virtual Reality (VR) technology exhibitions are used as a more exhibition strategies in jeopardy pandemic, as well as the need to
(which currently, is relatively creative and expensive tactic until the pandemic’s end. continue brand narrative in the
untouched in the fashion of marketing as opposed to face of communication channel
industry) to the majority share traditional media campaigns. Following the critical analysis, disruptions.
of luxury consumers - digital This tactic increases cognitive is a discussion of a proposed
natives, Gen Z and Millenials. engagement by creating concept to address the issues of A compact brand audit follows
emotional connections with a lack of immersive experience for luxury brand Givenchy. The
The concept of fashion visitors through storytelling, and technology in fashion findings gathered that the brand
exhibitions is critically whilst emanating brand exhibitions. This concept sits well below competitors in
analysed within this research., authenticity. However, further proposes the integration of a terms of brand presence and
It observes that people visit analysis finds that visitors VR experience to communicate consumer engagement. The
these attractions for multiple aren’t as stimulated as they the exhibiting brand’s story in information gathered from
reasons; entertainment, would expect from a luxury a visually and experientially the audit is applied to the the
improvement of knowledge, brand experience. Immersive stimulating way to support the concept through visual aids and
and social interactions. Taken experiences and technology are physical exhibition in a way that the 7Ps marketing mix to give
from J. Dumazedier’s (1967) found to be lacking, and integral appeals to Gen Z and Millenials. a clearer example of how the
definition of leisure, this multi- to marketing efforts of globally In addition to supporting concept addresses the need for
faceted definition reveals the renowned luxury brands. the physical exhibition, the more immersive experiences in
key factors fashion exhibitions Moreover, the luxury industry proposed VR brand experience fashion exhibitions.
should take into consideration has found itself in deep waters as becomes available on-demand
to ensure consumer satisfaction. Covid-19 disrupts the economy for consumers at home, that
However, for brand’s exhibiting globally, threatening how luxury own VR headsets. This ideation
their archives, intentions aren’t brands communicate with their is further backed by evidence
simply to display artefacts. consumers whilst retaining of an increase in VR headset
4 5
Contents.
Introduction. 8
Methodology. 11
Critical analysis. 12
Concept and Discussion. 20
Image. 1
Why Luxury brands? 27
Brand Recommendation. 32
7 Ps Marketing Mix. 38
Conclusion. 40
6 7
Introduction.
‘let us remember how important it is to
F
ashion exhibitions have
been around for hundreds
reach new standards of craftsmanship,
of years. As early as
1900, Paris played host to the
Exposition Universalle, which
and the beauty of all the things we use
‘included a museum devoted to
reproduction historical fashion.’
in our daily lives’
(Clark, J. and De La Haye, A. and (King George VI)
Horsley, J. 2014). In earlier years,
dress was not esteemed worthy
of collection, and for museum
curators only ‘trimmings and
accessories were collected as acceptance among curators, to sustain a long-term relationship world, how brands can ‘harness
evidence of craft practice.’ ( be worthy of exhibiting. Since between brand and consumer truly human-first (rather than
Clark, J. and De La Haye, A. then, luxury designers and (Choi, H. et al, 2014). consumer-led) thinking to play
and Horsley, J. 2014). However, photographers have exhibited a meaningful role in people’s
in his speech in 1946 at the their archives globally, with Additionally, the Covid-19 lives’ (Hillier, L. and Gilliand,
opening of the Britain Can great success, such as; Fashion: pandemic caught many brands N. 2020), and actually utilise
Make It (BCMI) exhibition at the An Anthology by Cecil Beaton off guard. With the closure the extraordinary technology
Victoria and Albert museum in 1971; the Yves Saint Laurent of all non-essential stores, available to reach people
(V&A), King George VI said “let exhibition at the Metropolitan Econsultancy (2020) predicted everywhere, and engage in
us remember how important Museum of Art in New York that UK fashion retail alone will meaningful brand experiences.
it is to reach new standards of 1983 organised by Diana see a loss of £12.6bn in 2020,
craftsmanship, and the beauty Vreeland; Alexander McQueen’s despite a number of brands This report investigates
of all the things we use in Savage Beauty in 2011; Christian continuing to operate their how’s consumers engage in
our daily lives” (British Pathé, Dior: Designer of Dreams 2019; online platforms. With this exhibitions, and how the
2014). Displaying contemporary and Christian Louboutin: in mind, brands have found experience could be improved
fashion, as opposed to historical L’Exhibition[ist] 2020. themselves ill prepared and to become more immersive
artefacts, this exhibition was unable to connect with their utilising modern technology
the first of its kind for the The most recent exhibitions consumer above the noise to keep in line with luxury
V&A, and attracted a record mentioned above have been of the pandemic, and whilst consumer expectations, with
breaking 1.4 million visitors able to use the exhibition consumers have been confined the aim to communicate a
(Paul Holberton Publishing, space as an additional platform to their own homes. Should strong and interesting brand
2017). The success of BCMI to engage consumers out of this really be an issue brands narrative that will leave lasting
lays with an opportunity to a retail setting. Rather, the are having even in the face of memories and stronger
showcase to a war torn Britain, exhibition space allows a brand a pandemic in the 21st century, emotional impacts. Luxury
what to expect from industrial to showcase the house’s history what with all the innovative fashion brand Givenchy, will be
British design in the years to and it’s narrative, using emotion technology out there? Perhaps it used as an example toward the
follow, and ‘emphasised how to connect with consumers is possible that a fashion house end of the report to apply to the
intrinsic industrial design was rather than a transaction of yet to adopt an exhibition suggested concept and give a
to economic renewal.’ (V&A, goods for money. This enhances platform, could follow in clearer understanding of how
2020). BCMI helped pathe the consumer’s perceptions of the footsteps of BCMI, and and why this concept will work.
way for contemporary fashion’s brand authenticity helping to showcase to a post Covid-19
8 9
Methodology.
T
he research conducted in
this report will be used
to form outcomes based
on predominantly secondary
methodologies, with some
primary methods where
possible.
The report contains evidence
of findings from academic
journals, video footage,
podcasts, books and ebooks,
as well as research and news
reports accessed through the
University of Southampton
library and outside sources.
The evidence gathered aims
to support the project aim to
create an experiential concept Amber Butchart. However, due statistics regarding consumer
that strengthens the exhibition to the outbreak of Covid-19 behaviours are used to support
experience whilst observing during the early stages of this conclusions about successful
consumer/visitor behaviour report being produced, the and/or non successful fashion
and technology adoption. gathering of primary research exhibitions. Likewise, data and
in this sense is severely limited, statistics from market research
In addition, the primary research and reaching the targeted reports are used to observe the
methods conducted are in the interviewees more challenging. adoption of certain technologies
Image. 2
form of questionnaires. The By the end of the completion amongst consumer groups,
respondents are those that have of this report, none of the whereby the results are used
visited fashion exhibitions, and potential interviewees had to support the final proposed
share their experiences through come forward to participate. outcome of this report.
a set of 10 questions. Responses Both questionnaire and
were gathered via multiple interview methods followed the The use of qualitative data
choice questions and written University of Southampton’s (collected from the primary
opinions so as to gain both ERGO processes, to ensure research conducted as well
qualitative and quantitive data. adherence to GDPR and health as trusted subject related
and safety measures for all literature) is used to form
Another desired method for parties involved. valuable arguments to ensure
the research was to conduct a well rounded conclusion,
interviews with industry Quantitive data and statistics are having considered critically, a
specialists from the V&A, Bath used to recognise any possible range of views and opinions on
Fashion Museum, and Aro sales growth and/or brand the subject matter. This data has
Archive, London, as well as adoption as a result of brands informed the direction of the
historian, author and presenter, exhibiting archives. Data and final proposed concept.
10 11
Critical
analysis.
T
he V&A has played host
to a number of fashion
exhibitions in its time,
and the success for both brand
and/or hosting museum has
‘Young people are
inspired fashion exhibitions
further afield. For example in increasingly finding solace
2018, the Met Museum in New
York held its ‘Heavenly Bodies’
exhibition, which set a record
in arts and culture’ Figure. 1. Adapted from Dumazedier’s Definition of Leisure. (Author’s own, 2020)
(LSN Global, 2019)
for the museum - boasting 1.6
million visitors - exceeding a
title held since 1978 (Pinnock. (#designerofdreams) on social offer visitors the ‘choice of Additionally, Dumazedier
O, 2019). Also, Chanel toured it’s media platform, Instagram. movement among stationary (1967) defines leisure as
Mademoiselle Privé exhibition Records as of January 2020 symbols’ (Annis, S. 1993), several functions; to rest; to
from London to Shanghai, indicate that over two thirds of perhaps the choice to visit amuse oneself; to add to ones
after stopping in Seoul and Instagram users were aged 34 an exhibition for leisure is knowledge or improve skills
Hong Kong between 2015 and or under (Statista, 2020). Thus, an unconscious decision to disinterestedly; or to increase
2018 (Nelson, C. 2019), with the giving an indication to the age ‘pull’ information - making the ones voluntary participation
London exhibition attracting range of visitors to fashion visit, unconsciously, for study. in the life of the community,
more than 50,000 visitors alone exhibitions such as Dior’s, Furthermore, as Kavanagh, G away from profession, family,
in its first two weeks (Porter, C. and suggesting how digital (2000) writes in Dream Spaces: and social obligations. Thus
2020), This demonstrates the engagement comes naturally Memory and the Museum, ‘Much suggesting that consumers’ visits
popularity of fashion related to the audience of fashion of what has been written about to museums and exhibitions are
exhibitions. exhibitions. the visit has been about learning entirely, somewhat selfish, with
and communication, and how the aim to immerse themselves
LSN Global (2019) report that In a survey conducted specifically best the museum space and its in something other than the
young people are increasingly for this report, 87.5% of facilities can be manipulated everyday normalities of life,
finding solace in arts and culture, respondents that have attended to improve this.’. Likewise, and to engage in an experience
and young Brits in particular are fashion exhibitions state their Anderson (1997) reports that, of which the personal meaning
twice as likely than older adults visits were for leisure, and 33% ‘education is intrinsic to the is found or created by the
to visit a museum or gallery. By visited for study purposes. This nature of museums.’, which individual and translated into
tapping into pop culture and suggests that people are seeking suggests that the main objective personal meaning (Annis, S.
advertising ‘instagrammable’ an experience that is non- of visiting a museum is for 1993).
exhibits (Bingham, G. 2019), obligatory. However, Deloitte educational purposes, and for
young people are more likely to (2014) reports that consumers fashion brands exhibiting their
seek out museum experiences. prefer to ‘pull’ information archives, it is important they are
Christian Dior’s ‘Designer of as opposed to having brands also providing educational and
Dreams’ exhibition in 2019 ‘pushing’ information. And informative information.
acquired over 12,200 hashtags since exhibitions in museums
12 13
‘Technology is a powerful tool
in influencing and changing
consumer behaviour’
(Claveria, K. 2019)
Figure. 2. Cognitive Response Model (Greenwald, A. 1968)
The Cognitive Response the case of a fashion exhibition, the visitor views the ‘theatrical advertisements perceived not necessarily be a consumer
Model ‘is designed to highlight a greater brand awareness. performance’, is down to how the brands to be of higher of the brand in question, as
cognitive reactions to they navigate the exhibition quality, believed the company the products may be financially
advertisements.’ (Swinyard. R, This framework is important - thus taking some pressure was smarter, offered a better unattainable. However, a visit to
W. & Smith. E, R. 1988). In this to observe when considering off the brand on the delivery proposition and was seen as see some of the brands most
case the ‘advertisement’ is the the aim of fashion exhibitions. of the ‘advertisement’. When more likely to develop valuable famous and oldest pieces, as
‘exhibition’. The framework Although the model was created considered as a marketing products in the future.’ (Dalén, well as the chance to ‘take home
identifies the processes an with advertising as the focus, strategy, fashion exhibitions are M. et al. 2010). Thus, exhibitions paraphernalia from the gallery’s
individual cognitively engages fashion exhibitions play a a more expensive, and creative seem to be a valuable strategy gift shop […] provides a small
in as a result to exposure of similar, if not, the same role. way to engage consumers than for luxury brands to retain their way in which people can feel
the advertisement/exhibition. However, rather than simply traditional means of marketing. status, yet communicate to they have access to the brand.’
As a fashion exhibition is also creating several mixed media One reason fashion exhibitions an audience greater than only (Adegeest, D. 2015).
considered a marketing strategy, campaigns to push in front tend to only be done by luxury those that can afford to shop the
like any marketing strategy, of the consumer about new brands, is to ensure their brand.
it’s bottom line is to lead to product, by exhibiting, brands higher status in the market. For
purchase intention. Ultimately, are inviting consumers - on example, museums play host to For brands marketing
the framework identifies that their own time - to, in essence, priceless artefacts and historical themselves through expertly
most cognitive responses a ‘theatrical performance’. works of art. Thus, fashion curated exhibitions, they are
happen during exposure to However, in the description of archives, when exhibited, play ‘opening themselves up to a new,
the advertisement/exhibition. this comparison by Sheldon the role of works of art and vast audience while maintaining
This means the stronger the Annis (1993), the role of the are no longer mere pieces of their aura of exclusivity by
advertisement/exhibition, the audience is reversed, whereby clothing. As an experiment by presenting their products as
more one is likely to cognitively it is in the audience’s control Dahlén, Rosengren and Törn high art,’ (Adegeest, D. 2015).
engage. Therefore, result in ‘to write his own script’ (Annis, (2009) found, consumers that This ‘new’ and ‘vast’ audience
purchase intention, or at least in S. 1993). This means that how were exposed to ‘more creative suggested, is those that might
14 15
‘Looking at people doing the looking is
often as interesting’
(Beanland, C. 2014)
Some might say that the In the aforementioned survey, of consumer spending during
traditional concept of museums when asked if there was 2020 [recorded pre-Covid-19]
and exhibitions are tired and anything they’d liked to have (Commbox, no date). Whilst
old fashioned. Beanland, C seen/lear nt/experienced this generation are considered
(2014) wrote in the Independent (that the exhibitions they had ‘digital natives’ whom naturally
Newspaper, that sometimes previously attended didn’t collect and cross-reference
‘looking at the people doing the have), the most common various sources of information
looking is often as interesting. changes referred to a more by integrating on and offline
Image. 3
There are excited kids, and interactive experience and experiences (Francis, T and
bored teenagers, nonplussed a greater incorporation of Hoefel, F. 2018), it is imperative
parents and not-fussed technology. ‘technology is a that exhibitions incorporate
couples.’. A point highlighting powerful tool in influencing and forms of digital communication
that those visitors who choose changing consumer behaviour.’ beyond just lighting and
(adults) to go to museums/ (Claveria, K. 2019). Therefore it sound technology for this vital
exhibitions, aren’t stimulated is important that brands ensure generation of consumers to
by their experience. Beanland, C that technology is paramount engage and thus, respond to the
(2014) continues, that due to the throughout most - if not all brand - perhaps in the form of
growing popularity to choose - marketing and consumer brand adoption.
experiences over material engagement strategies.
objects, means that museums
are presented with ‘prickly Brands that might be
dilemmas’ (Beanland, C. 2014) considering to execute an
if these experiences aren’t as exhibition, should also take
engaging as consumer’s would note that Gen Z are predicted
like. to represent approximately 46%
16 17‘Tokyo and Shanghai turned their fashion
week strategies to local digital platforms
with live-streamed runways and virtual
showrooms’
(Seward, M. 2020)
The Covid-19 pandemic poses consumers may begin to rethink cancelled. However, some
an endless list of threats to how they socialise and interact. countries were able to respond
the fashion industry, with quickly, and adapt strategies that
luxury fashion likely to suffer For brands with upcoming meant that the show could go
considerably. Reliant on longer exhibitions, for example, on. By utilising technology, both
lead times - to allow for any the Prada: Front and back Tokyo and Shanghai turned
craftsmanship involved and exhibition set to open at their fashion week strategies to
of course, luxury standard, London’s Design museum in local digital platforms, with live-
Image. 4
quality production - the luxury September 2020, could run streamed runways and virtual
sector is uniquely vulnerable the risk of experiencing an showrooms (Seward, M. 2020).
(McKinsey & Co, 2020). With exceptionally low visitor count
the outbreak having caused for a number of reasons. Unless
countries to go into lockdown, the exhibition has an element of
all leisure activities outside of interaction that can be employed
homes were forced to come to outside of the exhibition itself,
a halt. Museum visits being one. consumers may be wary to
The 27% increase in healthcare engage in leisure activities in
products (Rigby, C. 2020) since public spaces so soon after the
the outbreak of the pandemic, pandemic’s lockdown.
suggests the importance
consumers now place on their Additionally, with Covid-19
health and wellbeing. And with interrupting the fashion
the evidence of the Covid-19 world’s calendar, some of the
outbreak has given on how most important events around
easily viruses can spread, the world found themselves
18 19Concept and
discussion. Audience
B
ased on the research and
information attained in
the critical analysis section
of this report, it is clear that the
‘Brands are realising that
adoption of more advanced
technology is necessary for
they must reconsider how Message Media
Figure. 3 The Cornerstones of Good Marketing
the typical fashion exhibition
strategy to have a more lasting
and impactful affect on the
they connect with their Communications, (Dahlen, Lange & Smith. 2010)
consumer. With a plethora
of technologies available to
customers’
consumers, such as Virtual (LSN Global, 2020)
Reality headsets, Artificial
Intelligence robots, Smart
Speakers, and Augmented
Reality devices, technology has innovative, luxury fashion consumer behaviour during The cornerstones of good In the questionnaire created
become a natural part of most brands have neglected to take the pandemic. Suggesting marketing communications for this report, participants
households’ daily routine and complete advantage of these that luxury consumers are (Figure. 3) is a useful tool to were asked if the fashion
method of communication. digital means to reach and tightening their purse strings observe when considering exhibition/s they had visited
For example, it has been attract current and potential during challenging times, with a marketing strategies in today’s altered their perception of the
predicted that VR headset new audiences. global recession a certainty that climate, which more recently brand. Just over half of the
shipments will increase ‘seems likely to rival or exceed has been exposed to copious responses to the questionnaire,
from 12.5 million in 2020, to Evidently, communication that of any recession in the amounts of change, with the stated that it had. However,
36.7million by 2023 (Statista, channels have increased, but last 150 years.’ (Rogoff, K. 2020). foreseeable future potentially many responses across the
2019) while the global market the relationship between them Thus, indicating that, like other seeing more changes to come. questionnaire also stated that
for AI grew 154% in 2019 has become more complex companies, all brands of the The consumers of today participants would have liked
(Statista, 2020). Additionally, (LSN Global. 2020). Particularly LVMH group need alternative are surrounded by a media- more tangible and interactive
in the UK alone 5.8 million during outbreak of Covid-19, methods to connect with their saturated, information obsessed features. Highlighted earlier in
households were reported to ‘brands are realising that they consumer (evident with Dior), world with technology at its this report, participants would
have a smart speaker as of the must reconsider how they than to rely on the obvious core, changing the way we read, have liked to have seen more
end of June 2019 (Kinsella, B. connect with their customers, ‘product for cash’ transaction. see and process communication utilisation of technology in
2019). Meanwhile, AR users are and fundamentally alter their By doing so, they will retain messages (Dahlen, M. Et al, fashion exhibitions. Thus,
predicted to increase from 1.73 perception of them.’ (LSN and gain consumer loyalty, and 2010). As a result, brands this report will propose the
billion in 2020, to 2.4 billion in Global. 2020). For example, though Covid-19 might have must communicate messages integration of Virtual Reality
2023 (Statista, 2020). Therefore, luxury fashion conglomerate, sparked a decline in consumer compelling enough to really technology, within a fashion
with this level of technology LVMH, recorded a 14% drop spending, consumers may be engage their audiences (Dahlen, exhibition strategy.
set as a household standard for in revenues for the first more likely to return to the ir M. Et al, 2010), and to effectively
most, it is unusual that globally quarter in 2020 (Gault, B. favourite brands when they can solidify their brand narrative to
respected, and supposedly 2020) as a result of a shift in afford to do so. seem relevant and interesting.
20 21Why VR?
A lready present within
fashion retail to a small
degree, VR has many
‘Generation Z account
Figure. 4. The Shift from Web 1.0 to Web 3.0 (Batat, W. 2019)
benefits that the fashion
industry can really use to for $143 billion dollars
of consumer spending’
its advantage. For example,
engaging consumers without a
financial transaction involved; it (Davis, D. M. 2020)
can be used to educate; omits the
need to travel and can be used
from the comfort of consumers’
homes; a Virtual Reality
platform offers a ‘free’ expanse experiment by Schneider, lessens the perception of the Beat, 2020). The recent increase Figure. 4 Shows how digital
of unlimited ‘phygital’ space to D, E. Ph.D, on the affects of object being simply a lifeless in demand is also demonstrated luxury has evolved from its initial
use a platform to communicate/ cognitive engagement when artefact, intangible and guarded by the knock-on effect of ‘static’ state. Each of the stages
promote; and is an immersive using VR found that there was a behind a glass screen. In fact, hardware selling out. Polygon display the changes in digital
technology, of which appeals to ‘significant amount of positive as historian, Valerie Cumming reports that the Oculus Quest (at marketing reflecting technology
the digital natives, Generation Z, engagement that is stimulating explains, ‘Garments should be time of writing) can be found trends and changes in digital
whom account for $143billion and exciting’ from participants. seen in movements on a human on the grey market for 36% marketing strategies. Web 3.0
dollars of consumer spending However, when returned to a body, not frozen on a display more than the standard retail encourages luxury businesses
(Davis, D. M. 2020). Moreover, regular learning environment figure.’ (Cumming, V. 2004), thus price (Kuchera, B. 2020). to utilise these marketing tools
when considering integrating without the immersive injecting life in to the pieces, to create interactive, sensory,
VR technology within a fashion technology, excitement dropped with the opportunity to trigger Batat, W. (2019), also describes and immersive digital strategies
exhibition/museum context, it and participants felt a sense an emotional connection with its (one of many definitions) luxury (Batat, W. 2019). Additionally,
can ‘provide solutions to issues of disappointment toward viewer. The latter is important, as ‘not an essential quality of Web 3.0 suggests a sense of
of [physical] space limitation, the learning environment as ‘emotionally connected product, service, or lifestyle, ‘storytelling’ (particularly when
of the considerable exhibitions (Schneider, D, E. 2019). Thus customers, engage with your but rather an experience.’, she considering the ‘emotional
cost and of curator’s concerns suggesting the level of elevation brand, and they provide more goes on to discuss that it is a needs’ factor) to create an
regarding the fragility of some to a consumer’s experience value to your brand over time.’ combination of ‘a symbolic experiential digital marketing
museum artefacts.’ (Styliani, S when attending a fashion (SMA marketing, 2018). meaning, subconscious strategy. Therefor, this tool
et al. 2009). exhibition that utilises the VR processes, and nonverbal cues clearly highlights what should
technology. Furthermore, the outbreak of resulting from consumption be considered to ensure an up-
Furthermore, the integration Covid-19 saw the Oculus Rift and characterised by fantasies, to-date luxury digital marketing
of VR within an exhibition By giving visitors the chance sell out in quarter 1 of 2020, feelings, and fun.’, similar to strategy that the audience will
strategy, could impact a to view the fashions on display illustrating a larger market Dumazedier’s definition of connect with.
user’s cognitive engagement whilst on a human body (though share of VR headset ownership leisure mentioned earlier.
to the brand’s advantage. An virtually, not physically), than before this period (Venture
22 23What are the
risks?
I
n a post Covid world, people’s
hygiene habits will no doubt
have altered, therefore
‘New hygiene
posing potential threat to the
use of VR headsets within the practices and habits
exhibition environment. New
hygiene practices and habits
may alter physical attendance to
may alter physical
public spaces such as museums,
or even policies on visitor attendance to public
numbers, thus threatening
spaces’
Image. 5
exhibition reach. Thus creating
obstacles for marketers when
planning interactive digital
experiences.
Additionally, the application of Unless the target audience
digital media to luxury brands already has a VR headset
allows anybody to access the at home, cannot get to the
brand, which in turn, can lessen physical exhibition or would
a brand’s sense of exclusiveness like to enjoy the VR experience
associated with luxury (Batat, W. once the exhibition is over,
2019). Moreover, if the quality consumers may be reluctant to
of the virtual experience invest in a VR headset to access
isn’t of the highest standard the experience from home.
and is prone to glitches and Particularly the non luxury
malfunctioning, the consumer consumers or aspirational
will disengage quickly, and this consumers with lower income
will leave a negative perception who might still want to interact
of the brand with the consumer. with the brand.
24 25Why luxury
brands?
L
uxury brands are
becoming more averse to
spending a huge sum of
money on social media platforms
for marketing (Mondalek,
A. 2020). The engagement
potential for these platforms is
limited, and perhaps not great
an experience enough that
luxury consumers would expect
from brands they have high
expectations of, stemming from
their heritage and reputations as
well as quality goods that often
costs thousands. In March 2020, advertisements (Mondalek, A. to luxury brands for reasons
Hermes had made an attempt 2020). Though the outbreak of such as potential brand dilution
to engage it’s Twitter account’s Covid-19 is an extraordinary and weakened appeal to luxury
80,000 followers by asking circumstance, it has identified consumers. The luxury sector,
them to like one of its tweets to opportunities for marketing now more than ever, must
receive a link to a live steam of a that otherwise might have been adopt more innovative ways to
Paris fashion show, but only 452 ignored. Particularly in the case achieve strong brand presence
Image. 6
followers did this (Mondalek, of luxury brands, it is important in the eyes of it’s consumers,
A. 2020), demonstrating the that brand narrative is always and particularly after a set back
poor level of engagement this able to continue and that brand such as the Covid-19 pandemic,
method receives. presence is always as strong as prove they are key players worth
is possible by penetrating all investing in.
Additionally, with the outbreak possible communication and
of Covid-19, some traditional engagement channels available One brand that has evidenced
media marketing methods have at the hands of the consumer. this continuing narrative is
seen a drastically lower return Mentioned earlier in the report, Dior. Throughout the outbreak
for investment. For example, the LVMH group are proof of the virus, the brand’s social
a billboard in New York would of what damage the disaster media channels displayed less
have been seen by hundreds has inflicted on the luxury content promoting clothing
of thousands of people in a sector. Whilst non-luxury and accessories, and increased
week before the outbreak, and brands might attract consumer content to support the brand
cost roughly $20,000 a month, attention through discounting narrative and storytelling,
but during the outbreak, and promotions to encourage whereby Dior product is not the
only a handful of people are online spending, these strategies main focus, but the history and
exposed to these types of aren’t considered when it comes brand essence, through fashion
26 27‘85% of the global luxury spend
comes from Millennials and Gen Z
consumers’
(Woodworth, S. 2020)
film, interviews, snippets of around from as early as 1995 digital natives that have been
historical footage and images (Widyarto, S. and Latif, M. S. A., raised with computers and the
to name a few examples. In 2007), most notably providing internet (Molla, R. 2019), they’re
addition, the fashion house Google Maps with its ‘street likely to be less enthusiastic
released a virtual tour of its view’ facility. Covid-19 saw a about ordinary digital
‘Christian Dior: Designer of myriad of brands adopting this marketing methods. Therefore,
Dreams’ exhibition that was technology in a bid to retain their luxury brands must be ahead
staged at the Musée des Arts presence among consumers, of the game and think outside
Décoratifs in Paris (Harper’s but in a world where the likes of the box for more creative
Bazaar UK, 2020), onto its of AI, and smart speakers are ways to keep these generations
Youtube channel. These a household norm, it seems engaged. Another brand leading
simple, yet strategic moves are pitiful to see enormous brands the way for a multifaceted
essential for a brand to remain like Dior adopting a technology brand experience is Gucci. The
on consumers’ radars and older than the smart phone. Gucci Garden in Florence, Italy,
remain interesting. Discussing houses a permanent exhibition
marketing communications, Moreover, social media space, restaurant, concept store
Figure. 5 Adaptation of the Brand Positioning Map (Posner, H. 2015) Dahlén et al (2010, p. 5) write, marketing is no longer an and gift shop. This concept
’It is now vital for overarching, innovative and exciting strategy as a whole feeds each of the
ongoing brand narratives to be enough to engage consumers, functions from Dumazedier’s
built and maintained in order to as Hermes have already proved. definition of leisure; to rest
involve consumers and reinforce Luxe Digital report that 85% using the restaurant facility;
the brand’s ‘story’ in all brand of the global luxury spend to amuse oneself through
encounters.’. However, the comes from Millennials and indulging in shopping; to add
virtual environment technology Gen Z consumers (Woodworth, to ones knowledge or improve
is nothing new, and has been S. 2020), and while Gen Z are skills through the museum
28 29• 550 stores INSTAGRAM=40.4m (followers)
• Shows during Fashion Week FACEBOOK=19.1m
• Gucci Garden YOUTUBE=538k
GUCCI •
•
Gucci ArtLab
No Space, Just A Place.
•
•
Gucci Osteria, cooking channel
Various fashion films, interviews
Eterotopia exhibition, Seoul • Gucci Avatars for Genies app
• Gucci App (multifunctional)
• Spotify, podcasts
• 460 stores INSTAGRAM=38.2m
LOUIS •
•
Shows during Fashion Week
Louis Vuitton X exhibition
FACEBOOK=23.5m
YOUTUBE=426k
VUITTON
• City Guides, informative series
• Various interviews/mini series
• Louis Vuitton App (multifunctional)
• 310 stores INSTAGRAM=39.9m
‘Costume and fashion are the
• Shows during Fashion Week FACEBOOK=22.6m
• Mademoiselle Privé exhibition YOUTUBE=1.59m
CHANEL tour •
•
Campaigns
Inside Chanel, informative series
most easily appreciated of
• Beauty Talks, interviews
• Podcasts
• Chanel App (multifunctional)
• 210 stores INSTAGRAM=31m
museum objects’
• Shows during Fashion Week FACEBOOK=17m
• Christian Dior: Designer of YOUTUBE=684k
DIOR •
Dreams exhibition tour
Miss Dior & Rouge Dior in Tokyo
•
•
•
Dior Mag
Campaigns
Mini Documentaries
(Ginsburg, M. 1973) • Dior App (limited function)
• DIOR TALKS, Spotify
• 634 stores INSTAGRAM=23.5m
• Shows during Fashion week FACEBOOK=6.8m
PRADA • Prada Mode pop-up club, Miami,
Paris, London, Hong Kong
YOUTUBE=161k
• Campaigns
• Various fashion films
• Spotify
• 20 stores INSTAGRAM=14.2m
GIVENCHY • Shows during fashion week FACEBOOK=2.7m
YOUTUBE=64.1k
• Campaigns
• 116 stores INSTAGRAM=13.8m
FACEBOOK=2.9m
space; and to participate in longer stands to be criticised surprising names appearing as • Shows during Fashion Week
YOUTUBE=49.7k
a community environment since ‘visitor queues stretch out the laggards. Figure. 6 displays VALENTINO •
•
Campaigns
Animal Crossing collaboration
that collectively, the whole the door; although expensive some points explaining each • Valentino App (multifunctional)
• Spotify
experience offers. Having all to mount, they are positive to brand’s position on the BPM. • 340 stores INSTAGRAM=10.1m
of these facilities under one the bottom line through their The physical presence column • Shows during fashion Week FACEBOOK=3.2m
YOUTUBE=117k
roof gives added value to each popularity and marketing takes into consideration any HERMES •
•
Campaigns
Various fashion films, music
individual facility, with most opportunities.’ (Petrov, J. 2019). physical events the brand may playlists, podcasts and
documentaries.
credit to the museum. Having Therefore, it is important that have executed within the last • 121 stores INSTAGRAM=11.9m
the brand’s history showcased luxury brands continue to use five years, whilst the digital RALPH • Shows during Fashion Week FACEBOOK=9.2m
YOUTUBE=91.7k
conveniently above a boutique this platform to open the brand presence notes social media
LAUREN
• Campaigns
• Various fashion films
instantly ‘welcomes’ consumers up to all consumers and to followers and digital activities. • RLToday App (news)
to indulge in their need for be able to communicate their •
•
115 stores
Shows during Fashion Week
INSTAGRAM=11.2m
FACEBOOK=1.7m
authenticity and justify why stories whilst retaining an air of YOUTUBE=49k
they should buy in to the brand. exclusivity. BALENCIAGA •
•
Campaigns
LOOP, music and visual series
• Balenciaga in Black App (exhibition
app via Paris Museés, limited
While fashion exhibitions are The brand positioning map • 16 stores
function)
INSTAGRAM=10.6m
certainly not a new or innovative (Figure. 5) demonstrates some • Shows during Fashion Week FACEBOOK=873k
concept, their popularity has of the most well-known luxury BALMAIN YOUTUBE=49.2k
• Campaigns
continued to demonstrate that brands in the world, and how • 190 stores
• Balmain App (multifunctional)
INSTAGRAM=7.9m
‘costume and fashion are the they are positioned against each • Shows during Fashion Week FACEBOOK=3m
most easily appreciated of other based on brand presence YSL • Museé Yves Saint Laurent,
Marrakech
YOUTUBE:97.9k
• Campaigns
museum objects’ (Ginsburg, and consumer engagement. • SELF, Fashion film series
M. 1973). Julia Petrov points As previously highlighted,
Figure. 6 Table of competitor presence and engagement (Author’s own, 2020)
out that the place of fashion Dior and Gucci are among
exhibitions in museums no the front runners, with some
30 31Brand
recommendation.
This chapter looks at applying this strategy to the brand Givenchy, who are positioned low against
both axis of the BPM. The following is a brief brand audit that highlights key aspects of the brand
in order to give a clearer idea of how this strategy would benefit Givenchy, and also to demonstrate
as an example when the 7Ps process is applied later on. However, this strategy would not only apply
to the brands lower on the BPM axis. The front runners in the higher axis may find themselves
gradually appearing lower down on the map as the world emerges through the Covid-19 pandemic
and subsequent recession, due to the disruption’s unexpected affect on the global economy, and in-
turn ill prepared marketing departments.
F
rench fashion house V. 2018). It is this collection of the wedding gown for Meghan
Image. 7
Givenchy, was created muses that helped the brand Markle. The royal wedding was
in 1952 by Hubert de harness its reputation globally. watched by 1.9 billion people
Givenchy. The brand has a vast (The Economic Times, 2018),
history behind it, from creating After 40 years of his career, subsequently raising brand
the ‘sack sillhouette’ alongside Hubert de Givenchy has exposure (LVMH, 2018).
Cristobal Balenciaga in 1957 been succeeded by a number
(Encyclopaedia Britannica, of fashions greatest talents Furthermore, following the
2020), to creating the wedding (Givenchy, 2020). John Galliano, appointment of Clare Waight
dress for the Duchess of Sussex Alexander McQueen, Julien Keller as artistic director 2017
in 2018. MacDonald, Riccardo Tisci and (whom, after three years
Clare Waight Keller have each with brand, announced her
Hubert de Givenchy was held the reigns to lead the brand departure), the brand reported
Image. 9
Image. 8
famously known for his close to become what it is today. that the boost of it’s success
friendship with actress, Audrey by the end of 2018 was due to
Hepburn. It was Givenchy who The last decade has seen Waight Keller’s first collections
was responsible for a number of a number of memorable (LVMH, 2018). Additionally,
Hepburn’s iconic outfits in films moments for the brand. Such Givenchy opened its first ever
such as Sabrina and Breakfast at as Kim Kardashian’s wedding UK store in Mayfair, London
Tiffany’s. After only his second to Kanye west in 2014 whereby in 2018 (Geoghegan, J. 2018).
year in business, Givenchy had Kardashian’s Haute Couture However, a long time coming,
caught the eye of the budding wedding gown was designed this move has increased the the
actress whom went on to be by Riccardo Tisci, (then) artistic brand’s stand alone boutique
described as a huge star and an director for Givenchy. The portfolio to a modest total of 7,
icon (Wilson, B. 2015). From then wedding was reportedly seen by with the opening of the London
on, the designer had acquired 10.5 million viewers. A few years boutique following stores
a portfolio of famous clients, later, the brand again gained a in Paris, Nice, Milan, Rome,
such as Ingrid Bergman, Jackie lot of media attention globally Saint Petersburg and Baku
Kennedy, Grace Kelly and Maria in 2018, as a result of being the (Santamaria, B. 2018).
Callas to name a few (Horwell, chosen fashion house to design
32 33Figure. 7 Adapted - Kapferer’s Prism of Identity (Kapferer, J. N. 1986)
Figure. 8 Adapted - SWOT Analysis (Humphrey, A. nd)
The aforementioned points are explains, the high-earning of consumers. Thus indicating to roots” (Fernandez, C. 2018),
vital pieces of history that the luxury consumers are digitally that the demand for Givenchy and with the depth of history
brand should utilise further engaged, and as the millennial is similar to that of the not-so- behind the brand, it is clear that
to engage with consumers luxury consumer cohort popular, and is something the there is plenty of opportunity
that, more than ever, want increases, digital marketing ‘is brand should aim to improve to engage in a heritage-related
authenticity and are factors an essential tool in the luxury rapidly. ‘re-birthing’ strategy, through a
that are ‘capable of bypassing brand armoury.’. clear brand narrative and more
the defensive barriers built Chief Executive for Givenchy, interactive communications via
by consumers’ and can ‘speak Moreover, Mario Ortelli, Senior Philippe Fortunato says he technology.
directly to their emotions’ Research Analyst of Luxury plans to ‘grow Givenchy to the
(Bologna Business School, nd) Goods at Sanford C.Bernstein scale of Dior’s fashion business, Figure. 6 explores the brand’s
by storytelling using the brand’s says that “More fashionable with revenue in excess of €2 identity through multiple
heritage. customers are looking at Gucci, billion.’ (Fernandez, C. 2018). facets. Using this gives a better
Balenciaga, and Dior, and legacy The CEO also goes on to say that indication of how Givenchy as
Reports estimate that Givenchy customers are looking at Louis the company is aware that it has a brand is perceived externally
generates over €400 million Vuitton and Fendi.” (Fernandez, one of the youngest clientele (by consumers), versus the
per year (Fernandez, C. 2020). C. 2018). In addition to the latter bases for a luxury couture internal, integral components
However, John Guy, Analyst at statement, a Drapers article on house (namely, millennials) of the brand itself. The ‘culture’
Main First Bank AG, describes the the List Index’s most sought (Fernandez, C. 2018). However, segment of this framework
brand as being “a bit of a sleeper after brands for 2019 reports that based on the brand’s current is most important to consider
at the moment,” (Fernandez, C. Givenchy ranked 14th (Imms, K. positioning against its more when executing this concept,
2018). He goes on to explain 2019), just one place above Dolce successful competitors, it is as the culture of the brand is
that the brand is “under- and Gabbana - who’s brand was evident that the brand may paramount to communicating
indexed and under-penetrated famously tarnished in 2018 due have some way to go. Fortunato the brand story to consumers.
in digital,” (Fernandez, C. 2018). to a racism scandal, and still also says that his strategy for
But as a report by Deloitte (2015) hasn’t gained back the trust the company is about a “return
34 35Image. 10 Image. 11
Image. 10 is a visualisation of the proposed concept. The VR HUD display shows Audrey Hepburn in Image. 11 is a visualisation of how the HUD will look once the tour is available to take via the VR
the 1954 film, Sabrina, wearing a Givenchy design. The visual, when in action will appear as though experience. Viewers will be able to approach certain items with the option to read any accompanying
the viewer is on set for a period of time to see the creations in action. To the left of the screen are text that would be displayed at the exhibition via plaque. The scale of the VR room views will be
subtitles of an audio, which is optional, giving information on the looks. The right of the screen are smaller so as to cater for VR users with limited space, and will be able to walk around the exhibition
further interactive options (not limited to) that can be selected via hand held controllers. in a smaller capacity.
36 377 Ps
Marketing
Mix.
Adapted from the 7 Ps of Booms and Bitner (Booms, B, H & Bitner, M, J. 1981)
T
he 7Ps marketing mix assists in structuring the concept, and
the opportunity to explain clearly, each facet of the strategy,
and consider what is required to execute. Following the concept
discussion and brand recommendation, this tool summarises the concept
PROMOTION:
with Givenchy as an example.
The VR experience will educate users further on the brand and its history. It will echo the brand
narrative and emphasise the brand essence.
PLACE:
The VR experience will be accessible at the physical exhibition and for those that own VR headsets.
PRODUCT:
The suggested museum for the exhibition is the Musée des Arts Decoratifs in Paris, as a nod to the
A Virtual Reality environment with extended interactive exhibition platform.
brands French heritage. Should the exhibition prove successful (such as Dior’s Designer of Dreams
Users will be able to step onto the set of an Audrey Hepburn film of which Hubert de Givenchy
exhibition), the Givenchy exhibition will be reviewed to exhibit at other relevant museums across
designed the costumes. For example, the tennis court scene in Sabrina of which Hepburn wears a
the world such as London’s V&A. This way, the brand will reach a much wider audience and ensure
Givenchy evening gown, or the infamous opening scene in New York outside Breakfast at Tiffany’s
engagement on a much larger scale.
whereby Hepburn is sporting the iconic black Givenchy floor length dress. Further to seeing the
gowns in action, users will also have the opportunity to listen to how the dresses were constructed, PROCESS:
and the inspiration behind them. Alternatively, users will be able to experience the moment the The product is available to use by two processes. 1) Within the physical exhibition will be a room
Duke and Duchess of Sussex exited St. George’s chapel following their royal wedding, and see the designed for the VR experience that will hold several VR headsets. Located toward the end of the
infamous wedding dress worn by Megan Markle, designed by Claire Waight Keller (then, Artistic exhibits, thus giving users final and impactful memories associated to the brand. 2) The process
Director for the house), and again, learn about the designing process and creation of the gown. to use from home requires the users to download the Givenchy VR experience to their home VR
Additionally, when the exhibition has ended, visitors and those who purchase the Givenchy VR device. Users can then engage in using the VR experience in the same way as it would be used at the
experience, will be able to take a virtual tour through the exhibition in 3D. Information plaques from exhibition itself.
each exhibit will be available via a voice recording (available in multiple languages) whilst giving a
360 degree view of the exhibit. PHYSICAL EVIDENCE:
Equipment needed for this concept would be computers with the appropriate software to create the
PRICE: digital element. More importantly, the VR headset is needed to communicate the service, both at the
The VR experience will be available after paying entry to the physical exhibition. Alternatively, physical exhibition, and the home VR experience.
for customers not intending to visit the physical exhibition, can pay the same fee as entry to the The physical space for the experience within the exhibition, will follow on from physical exhibits.
exhibition, for the VR experience to access from home via VR headset. Those purchasing the VR It is a separate space designed specifically for the use of the VR headsets, with no furniture and few
experience to access via home, will also be able to tour the exhibition virtually once the exhibition obstructions for a safer and more effective virtual environment.
has ended. This way, customers receive the same content either physically or virtually, for the same
price. PEOPLE:
The exhibition cost will be similar to that of the aforementioned Dior exhibition (£20-24/€23-27), The people involved in the creation and implementation of the VR experience will be vast. Required
however with a slight increase (approx £25-30/€27-34) due to the added VR experience to contribute will be 3D artists, 3D animators, developers, product owner/s, and testers. For implementation into the
to covering the costs of the people required. exhibition, this would require electricians, exhibition designer/s, and/or exhibition coordinator/s.
38 39Conclusion.
T
his report set out to
explore the effectiveness
of fashion exhibitions,
and how consumers respond to
them, and to observe how the
experience could be improved.
Research found that visitors of
past exhibitions wanted to see
more technology and have a
more immersive experience,
and that cognitive engagement
is stronger with the use of
immersive technology
experiences. Thus suggesting
the combination of immersive
technology, specifically VR,
within a fashion exhibition also allows consumers that own concept addresses the need for
environment should work in VR headsets, to access an immersive technology within
perfect symbiosis, as a result of immersive brand story the fashion exhibition setting
consumers engaging in an experience, as well as a virtual (with opportunity for other
interesting and exciting brand reality tour of the exhibition possibilities), aimed at the
experience leading to positive itself, in turn solving the issue majority consumer share for
brand perception, and potential the aforementioned pandemic luxury fashion.
Image. 12
brand adoption. This strategy, burdened the luxury industry
offers consumers to experience with, allowing consumers in the
an immersive brand story that future to access exhibitions and
would create more cognitive connect with brands even if
engagement and emotional they cannot attend physically.
connections than just the
exhibition itself with the Furthermore, this concept can
brand’s archives displayed be utilised further in the luxury
alongside plaques with text. In fashion industry for similar
addition, as Covid-19 disrupted reasons, and more. It can be
the economy on a global scale used to create virtual fashion
in 2020, the luxury fashion shows and showrooms during
industry found itself at a loss fashion week, solving issues
with immersive and innovative such as excessive travel across
ways to communicate with the world which contributes to
consumers, and to continue climate change - an issue the
brand narrative through industry is one of the biggest
turbulent times. The concept contributors of. Finally, this
40 41Styliani, S. (2009) ‘Virtual museums, a survey and some issues for consideration.’, Journal of Cul-
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