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Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

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Managing creativity in luxury fashion houses: raf simons at dior description.

The case investigates the role of creative directors in the luxury fashion industry. When in October 2015 Raf Simons quit Christian Dior, industry observers wondered why anyone would voluntarily walk away from such an esteemed fashion house, and who would replace him. Beneath the glamorous veneer, the luxury and fashion industry puts tremendous stress on creative directors. Some crack up (John Galliano), other commit suicide (Alexander McQueen), and many launch proprietary labels.

Case Description Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Strategic managment tools used in case study analysis of managing creativity in luxury fashion houses: raf simons at dior, step 1. problem identification in managing creativity in luxury fashion houses: raf simons at dior case study, step 2. external environment analysis - pestel / pest / step analysis of managing creativity in luxury fashion houses: raf simons at dior case study, step 3. industry specific / porter five forces analysis of managing creativity in luxury fashion houses: raf simons at dior case study, step 4. evaluating alternatives / swot analysis of managing creativity in luxury fashion houses: raf simons at dior case study, step 5. porter value chain analysis / vrio / vrin analysis managing creativity in luxury fashion houses: raf simons at dior case study, step 6. recommendations managing creativity in luxury fashion houses: raf simons at dior case study, step 7. basis of recommendations for managing creativity in luxury fashion houses: raf simons at dior case study, quality & on time delivery.

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Case Analysis of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior is a Harvard Business (HBR) Case Study on Leadership & Managing People , Texas Business School provides HBR case study assignment help for just $9. Texas Business School(TBS) case study solution is based on HBR Case Study Method framework, TBS expertise & global insights. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior is designed and drafted in a manner to allow the HBR case study reader to analyze a real-world problem by putting reader into the position of the decision maker. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study will help professionals, MBA, EMBA, and leaders to develop a broad and clear understanding of casecategory challenges. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior will also provide insight into areas such as – wordlist , strategy, leadership, sales and marketing, and negotiations.

Case Study Solutions Background Work

Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution is focused on solving the strategic and operational challenges the protagonist of the case is facing. The challenges involve – evaluation of strategic options, key role of Leadership & Managing People, leadership qualities of the protagonist, and dynamics of the external environment. The challenge in front of the protagonist, of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior, is to not only build a competitive position of the organization but also to sustain it over a period of time.

Strategic Management Tools Used in Case Study Solution

The Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution requires the MBA, EMBA, executive, professional to have a deep understanding of various strategic management tools such as SWOT Analysis, PESTEL Analysis / PEST Analysis / STEP Analysis, Porter Five Forces Analysis, Go To Market Strategy, BCG Matrix Analysis, Porter Value Chain Analysis, Ansoff Matrix Analysis, VRIO / VRIN and Marketing Mix Analysis.

Texas Business School Approach to Leadership & Managing People Solutions

In the Texas Business School, Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution – following strategic tools are used - SWOT Analysis, PESTEL Analysis / PEST Analysis / STEP Analysis, Porter Five Forces Analysis, Go To Market Strategy, BCG Matrix Analysis, Porter Value Chain Analysis, Ansoff Matrix Analysis, VRIO / VRIN and Marketing Mix Analysis. We have additionally used the concept of supply chain management and leadership framework to build a comprehensive case study solution for the case – Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Step 1 – Problem Identification of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior - Harvard Business School Case Study

The first step to solve HBR Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution is to identify the problem present in the case. The problem statement of the case is provided in the beginning of the case where the protagonist is contemplating various options in the face of numerous challenges that Fashion Simons is facing right now. Even though the problem statement is essentially – “Leadership & Managing People” challenge but it has impacted by others factors such as communication in the organization, uncertainty in the external environment, leadership in Fashion Simons, style of leadership and organization structure, marketing and sales, organizational behavior, strategy, internal politics, stakeholders priorities and more.

Step 2 – External Environment Analysis

Texas Business School approach of case study analysis – Conclusion, Reasons, Evidences - provides a framework to analyze every HBR case study. It requires conducting robust external environmental analysis to decipher evidences for the reasons presented in the Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior. The external environment analysis of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior will ensure that we are keeping a tab on the macro-environment factors that are directly and indirectly impacting the business of the firm.

What is PESTEL Analysis? Briefly Explained

PESTEL stands for political, economic, social, technological, environmental and legal factors that impact the external environment of firm in Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study. PESTEL analysis of " Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior" can help us understand why the organization is performing badly, what are the factors in the external environment that are impacting the performance of the organization, and how the organization can either manage or mitigate the impact of these external factors.

How to do PESTEL / PEST / STEP Analysis? What are the components of PESTEL Analysis?

As mentioned above PESTEL Analysis has six elements – political, economic, social, technological, environmental, and legal. All the six elements are explained in context with Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior macro-environment and how it impacts the businesses of the firm.

How to do PESTEL Analysis for Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

To do comprehensive PESTEL analysis of case study – Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior , we have researched numerous components under the six factors of PESTEL analysis.

Political Factors that Impact Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Political factors impact seven key decision making areas – economic environment, socio-cultural environment, rate of innovation & investment in research & development, environmental laws, legal requirements, and acceptance of new technologies.

Government policies have significant impact on the business environment of any country. The firm in “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” needs to navigate these policy decisions to create either an edge for itself or reduce the negative impact of the policy as far as possible.

Data safety laws – The countries in which Fashion Simons is operating, firms are required to store customer data within the premises of the country. Fashion Simons needs to restructure its IT policies to accommodate these changes. In the EU countries, firms are required to make special provision for privacy issues and other laws.

Competition Regulations – Numerous countries have strong competition laws both regarding the monopoly conditions and day to day fair business practices. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior has numerous instances where the competition regulations aspects can be scrutinized.

Import restrictions on products – Before entering the new market, Fashion Simons in case study Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior" should look into the import restrictions that may be present in the prospective market.

Export restrictions on products – Apart from direct product export restrictions in field of technology and agriculture, a number of countries also have capital controls. Fashion Simons in case study “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” should look into these export restrictions policies.

Foreign Direct Investment Policies – Government policies favors local companies over international policies, Fashion Simons in case study “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” should understand in minute details regarding the Foreign Direct Investment policies of the prospective market.

Corporate Taxes – The rate of taxes is often used by governments to lure foreign direct investments or increase domestic investment in a certain sector. Corporate taxation can be divided into two categories – taxes on profits and taxes on operations. Taxes on profits number is important for companies that already have a sustainable business model, while taxes on operations is far more significant for companies that are looking to set up new plants or operations.

Tariffs – Chekout how much tariffs the firm needs to pay in the “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” case study. The level of tariffs will determine the viability of the business model that the firm is contemplating. If the tariffs are high then it will be extremely difficult to compete with the local competitors. But if the tariffs are between 5-10% then Fashion Simons can compete against other competitors.

Research and Development Subsidies and Policies – Governments often provide tax breaks and other incentives for companies to innovate in various sectors of priority. Managers at Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study have to assess whether their business can benefit from such government assistance and subsidies.

Consumer protection – Different countries have different consumer protection laws. Managers need to clarify not only the consumer protection laws in advance but also legal implications if the firm fails to meet any of them.

Political System and Its Implications – Different political systems have different approach to free market and entrepreneurship. Managers need to assess these factors even before entering the market.

Freedom of Press is critical for fair trade and transparency. Countries where freedom of press is not prevalent there are high chances of both political and commercial corruption.

Corruption level – Fashion Simons needs to assess the level of corruptions both at the official level and at the market level, even before entering a new market. To tackle the menace of corruption – a firm should have a clear SOP that provides managers at each level what to do when they encounter instances of either systematic corruption or bureaucrats looking to take bribes from the firm.

Independence of judiciary – It is critical for fair business practices. If a country doesn’t have independent judiciary then there is no point entry into such a country for business.

Government attitude towards trade unions – Different political systems and government have different attitude towards trade unions and collective bargaining. The firm needs to assess – its comfort dealing with the unions and regulations regarding unions in a given market or industry. If both are on the same page then it makes sense to enter, otherwise it doesn’t.

Economic Factors that Impact Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Social factors that impact managing creativity in luxury fashion houses: raf simons at dior, technological factors that impact managing creativity in luxury fashion houses: raf simons at dior, environmental factors that impact managing creativity in luxury fashion houses: raf simons at dior, legal factors that impact managing creativity in luxury fashion houses: raf simons at dior, step 3 – industry specific analysis, what is porter five forces analysis, step 4 – swot analysis / internal environment analysis, step 5 – porter value chain / vrio / vrin analysis, step 6 – evaluating alternatives & recommendations, step 7 – basis for recommendations, references :: managing creativity in luxury fashion houses: raf simons at dior case study solution.

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The rise of India’s biggest fashion house

By Sujata Assomull

During Donald Trump’s recent state visit to India, the US president’s daughter Ivanka displayed some fashion diplomacy: she wore a trouser and jacket ‘sherwani’ ensemble made from white handwoven Indian silk sourced in Murshidabad, West Bengal by the Indian designer Anita Dongre.

While the association with Ivanka Trump invites controversy, Anita Dongre has a diverse list of past clients who have worn her designs on official engagements, including former secretary of state and first lady Hillary Clinton as well as the Duchess of Cambridge, Kate Middleton. The only Indian fashion designer to have established a global retail presence, with a flagship store in New York, the House of Anita Dongre (HOAD) has become a homegrown success story for India’s fashion industry. “Anita Dongre was the only designer to understand the need for designer pret [or ready-to-wear] and diffusion wear in India, and really is a case study for other Indian designers,” says Indian designer Rahul Mishra.

Founded 20 years ago, HOAD revenues will pass Rs1000 Crore (about $130 million) in 2020, according to the company. This milestone positions HOAD at the top of India’s league of local fashion businesses, bringing in more revenue than competitors Sabyasachi Mukherjee and Tarun Tahiliani, according to industry analysts. 

Anita Dongre, Spring/Summer 2020.

By Christina Binkley

By José Criales-Unzueta

By Madeleine Schulz

HOAD now has five brands under its banner: AND, her first ready-to-wear label; Global Desi, a line of Indo-western boho clothing launched in 2007; her bespoke namesake bridal line launched in 2012; the jewellery brand Anita Dongre Pinkcity launched in 2013; and the sustainable fashion label, Grassroot, launched in 2015. Today, her retail network comprises almost 1,000 stores, including one in New York. The common thread unifying these brands is fuss-free design and details, like pockets added to the wedding lehenga, a hugely popular mix of traditional craft and textiles.

The brand has been bolstered by international support: in 2013, US private equity firm General Atlantic acquired a minority stake in HOAD, with a $20 million investment totalling roughly 23 per cent of the company. The deal marked General Atlantic’s first Indian fashion investment (the company also has an investment in New York brand Tory Burch) and served as a point of differentiation for HOAD, which was founded by Dongre, her brother Mukesh Sawlani and her sister Meena Sehra. Only a handful of Indian brands have attracted institutional capital. 

“These founders were thinking like global people, and this was hard to find among other comparable companies in India,” says Shantanu Rastogi, GA’s managing director.  

The queen of pret

 With a focus on affordable ready-to-wear and Western wear made for young Indian women, Dongre has earned recognition as “the queen of pret”. Her approach differed from other Indian designers, who concentrated instead on the lucrative Indian bridal market and the festive ready-to-wear market at designer multi-brand boutiques. 

“When we invested, we saw that there were more and more working women in India with disposable incomes who wanted to wear Western clothing yet loved their Indian sensibilities,” says Rastogi. 

That market also defined Dongre’s marketing and distribution strategies. In the early 2000s, when contemporaries such as Manish Arora were relying on the fashion week circuit to grow their businesses, Dongre sought out relationships with department stores with a wide retail network such as Westside, becoming the first Indian designer to be retailed under her own brand there. 

“Fashion week is not right for everyone,” says Fern Mallis, creator of New York Fashion Week and a long-time consultant to India’s Lakme Fashion Week. “It has to be the right time for a designer to take the leap to the runway. Anita stayed very focused on working to connect with her customers through her retail strategy.” Dongre’s pret label, AND, was among the first Indian designer labels to open a flagship store in a mall.  

The New York City Anita Dongre store.

“My drive to partner with a department store came from the fact I wanted to sell to the consumer,” says Dongre. “As a designer, my biggest learnings came from the consumer – what appealed to her and how her purchases were evolving. Department stores provide that large audience for me.” 

Acting fast

Fashion is a complicated business in a country of India’s size due to geographical differences and varying customer tastes. In the south of India, sleeveless clothes do not match local conservative mores of dress; in the north, winter wear is a standard in middle-class wardrobes. Dongre was quick to adapt her designs with her learnings. 

“It is very important to listen to the consumer and give them what they want. Being nimble, I think, is hygiene now in any business,” says Dongre. When Kate Middleton wore a tunic dress with a Jaipur-inspired print from Anita Dongre’s label in 2016, her company website overloaded with requests and crashed. Overnight, her operations team set production channels to satisfy the influx of orders without interfering with the regular retail schedule.

Local artisans that work with Anita Dongre.

That agility has helped her find success in markets outside India, too. Having always wanted to take the Indian textile and craft story global, she decided to open a store in New York, the only country HOAD has a bricks-and-mortar store outside of India today. The company initially opened with two New York stores, a bridal shop and Grassroot, HOAD’s sustainable fashion label. But customer response changed the brand’s strategy. “The consumer wanted both concepts under one roof,” says Dongre. The stores merged into one 4,500-square-foot flagship in May 2018.

Globalising Indian fashion

Between HOAD’s commitment to working with female artisans or its green 120,000-square-foot headquarters nestled in the hills of Navi Mumbai, harnessing the power of the earth has always been a key value of Dongre’s “Indian Modern” design philosophy.  

“I come from the Indian subcontinent where we have, for millennia, been extremely conscious of the earth and our community,” she says. These are the traditions of India that she wants to embed in her designs in India, and then take them global. 

This approach is taken across all of the company’s production lines. HOAD runs six village production units in Maharashtra, an area that has seen employment issues for women in some rural areas. As a part of this project, 200 unskilled workers were trained to join the HOAD workforce. 

With India having such a design heritage, GA believed that it was time for an India brand to go global. Rustagi is of the firm belief that HOAD, with a solid social media base (her Instagram account has over 1.4 million followers) and success dressing international dignitaries, is now positioned to take on the world through online retailing methods. 

“The next frontier is clearly bridging the gap between the online and offline experience,” says Dongre.

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More on this topic:

Reliance is launching an online luxury shopping portal in India

Millennials are transforming India’s $50 billion wedding industry

Riya Collective wants to be Rent the Runway for Indian wear

By Ezreen Benissan

By Elektra Kotsoni

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Case Studies: Teaching with Bloomsbury Fashion Central

Discover how the interdisciplinary content within Bloomsbury Fashion Central has directly supported academics and students across the visual arts, humanities, and social sciences.

Case study with Hanna Akalu, SOAS, University of London

Formerly london college of fashion, university of the arts london.

"Overall, using the case studies has been a brilliant experience, as it enhanced my knowledge and complemented my teaching style, (…) by encouraging myself and my students to be self-reflective, socially responsible, actively participate and critique knowledge, and develop a conscious voice."

Helping students to address topical and important real-life issues

The Bloomsbury fashion business case studies have been an invaluable digital resource for my teaching last year (as Associate Lecturer at London College of Fashion, UAL) allowing my BSc Psychology of Fashion undergraduates to critically appraise current fashion business problems and solutions in an engaging and innovative way. During my classes on the future of fashion, students would read, discuss, and attempt to skilfully address a wide range of business case studies on topical and important real-life issues, including ethics, sustainability, and diversity in fashion. They were then asked to apply strategic thinking to develop feasible solutions, based on research, knowledge, and creativity, to develop a more ethical and sustainable fashion industry.

Lively discussions and debates in the classroom

My students found the activities highly engaging as well as challenging at times, and these would often generate interesting and lively discussions and debates in the classroom. The case studies have been incredibly useful for students to enhance their critical analytical and problem-solving skills, as well as to encourage their creativity and their skills in thinking outside the box.

Exciting and well-written cases

There is also an abundance of exciting and well-written case studies to select from exploring ' How Lack of inclusivity lost Victoria's Secret its Lingerie Crown ', to Patagonia's ' Creative Sustainability Strategy ', and other complex issues around identity, cultural appropriation, green-washing, and transparency in fashion.

Ease of use and tailoring to students’ needs

Some particular favourite features of mine are the ease of use and range of case studies available (which are neatly organised into different sub-topics!) and detailed suggestions within each case study for potential classroom-based activities depending on your preference. The case studies are also helpfully organized into levels of expertise, ranging from 'introductory' 'intermediate' up to the more 'advanced' level of case studies, meaning that I was able to tailor the case studies according to my students' needs. I did this by starting the course using some of the more straightforward introductory case studies and as students demonstrated the ability to develop convincing solutions, well-rounded arguments, and to make, justify, and communicate their decisions, I then gradually introduced more complex case studies which generated more nuanced discussions and solutions.

Students taking on the roles of fashion business practitioners

It was also important to remind students that there is never any 'perfect solution', but the key is trying to work out which is the most feasible by considering the challenges each solution presents and the implications for the future. Depending on the dilemma presented, students might take on the role of a small business owner, CEO, marketing director, or consumer, and engage in brainstorming and developing solutions using a range of communication methods, such as in-class group presentations and designing individual press releases and social media campaigns.

Activities for teachers – flexibility in teaching styles

Another excellent feature of presenting a range of different activities for teachers is that it provides flexibility in teaching styles and the option to introduce different ways for students to present solutions in class. I also found it useful that there were different time-length activities that could be conducted over a 1-hour seminar or over the course of several lessons, keeping the activities interesting and engaging every week. Overall, using the case studies has been a brilliant experience, as it enhanced my knowledge and complemented my teaching style, (which draws on critical pedagogy) by encouraging myself and my students to be self-reflective and socially responsible, to actively participate and critique knowledge, and to develop a conscious voice.

Case Study with Nadya Wang, LASALLE College of the Arts, Singapore

Nadya oversees Cultural and Contextual Studies in Fashion in the BA (Hons) Fashion Design and Textiles and BA (Hons) Fashion Media and Industries programmes, where she lectures fashion history and theories, and teaches academic reading and writing. She also runs Creative Industries and Opportunities, which prepares all BA (Hons) Fashion students for work in the fashion industry.

Context of Use

At LASALLE College of the Arts, students take compulsory modules in Cultural and Contextual Studies in Fashion throughout their three years in the BA(Hons) Fashion Design Textiles and BA(Hons) Fashion Media and Industries programmes within the School of Fashion, which I oversee. These modules provide the historical background and theoretical framework for their work in the studio.

Over four semesters in the first two years, the students learn modern fashion history; appreciate fashion as both visual and material culture; explore identities expressed through dress, such as gender and religion; as well as analyse interdisciplinary approaches to fashion, including its connections with art, music, film and architecture. In their third and final year, the students write a dissertation under supervision.

Usefulness of Resources to Meet Challenges

There are a few challenges in teaching students to research and write about fashion in an academic context. Firstly, many students who decide to study fashion are not instinctively comfortable with research and academic writing. The reliable information available on Berg Fashion Library is provided in accessible language and at manageable lengths, and makes the endeavour less daunting and thus more attractive for them to stay on course. It is one of the first tools that the students are introduced to when they begin their studies.

In the first semester, when they learn to identify iconic garments, pioneering designers and cultural forces that have shaped fashion history, the Berg Fashion Library’s images, biographical articles and longer essays that contextualise fashion in particular time periods and specific societies have complemented lectures and tutorials, and given the students confidence to complete their assignments with the knowledge that the platform provides.

Secondly, students rely heavily on the internet for information to complete their assignments, and Berg Fashion Library allows them to find precisely what they require for their work in the School of Fashion quite quickly. The “search” and “advanced search” options are great for the students to quickly zoom into their research areas. The “browse” option has helped the students to explore further, especially when they are looking for their dissertation topics in the third year. And “related content” has allowed them to stumble onto more information that they would otherwise not have known about, and provided information that add value to their work.

The Berg Encyclopedia of World Dress and Fashion is a particularly incredible endeavour and resource. There is not much academic writing in the area of Southeast Asian fashion history, so Volume 4: South Asia and Southeast Asia , is particularly useful for the students, especially since the lecturers in the School of Fashion have been collectively pushing them to become more curious about their region to inform their work.

In the same vein, the other volumes are illuminating for students to understand what more could be researched and written about in Southeast Asia, and for them to draw parallels and distinctions between what is happening in fashion landscapes elsewhere and in their own region. Volume 10: Global Perspectives is particularly eye-opening for the students in this regard.

The exhibition archive is also very helpful to us at the School of Fashion at LASALLE as we have a significant curating component in our curriculum, with all Level 2 students from both programmes working together towards putting up an exhibition as their studio project. Extensive research needs to be carried out not only in terms of content matter, but the curation process too, and Berg Fashion Library is a one-stop shop for both.

In addition, with the modules’ emphasis on visual analysis, the images available through partnerships with museum archives such as the Victoria and Albert Museum in London and the Museum at Fashion Institute of Technology in New York means that the students are able to access detailed images directly and download them for use in their assignments, without having to look for them on multiple websites, helping them save time, and often leading to finds that they might have otherwise missed.

A service that Berg Fashion Library offers is providing citations from its articles in the required referencing style for the students’ assignments. This ensures that the citations are done well, which is welcome by both students and tutors.

Concluding Remarks

All in all, Berg Fashion Library is an excellent platform that continues to grow and improve to provide relevant and interesting information about historical and contemporary fashion to its users. It is equally useful for more targeted use and for encouraging exploration, and has proven to be an indispensable research tool for both lecturers and students in the School of Fashion at LASALLE College of the Arts. We are positive that we will continue to learn from it, and hopefully also contribute to it in the years to come.

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Louis Vuitton Case Study

Louis Vuitton is a French luxury fashion house founded in 1854. The brand has experienced significant growth and is now a global leader in the luxury goods industry. Key factors contributing to its growth include expansion into new markets, diversification of product offerings, a strong brand image, a digital presence, and collaborations with celebrities and influencers.

Explanation

Louis Vuitton is a luxury fashion house founded in 1854 in France. Over the years, the brand has experienced significant growth and has become a global leader in the luxury goods industry. Some key factors contributing to the brand's growth include

Expansion into new markets − Louis Vuitton has successfully expanded into new markets, particularly in Asia, where there is a growing demand for luxury goods.

Diversification of product offerings − Louis Vuitton has expanded its product offerings beyond just leather goods to include ready-to-wear clothing, shoes, jewelry, and other luxury products.

Strong brand image − Louis Vuitton has built a strong brand image and reputation, which has helped the company attract new customers and retain its existing ones.

Digital presence − Louis Vuitton has made significant investments in its digital presence, which has helped the brand reach a wider audience and drive sales.

Collaborations with celebrities and influencers − Louis Vuitton has successfully leveraged collaborations with celebrities and influencers to increase brand visibility and awareness.

Overall, Louis Vuitton's focus on expanding into new markets, diversifying its product offerings, building a strong brand image, investing in digital technologies, and leveraging collaborations with celebrities and influencers has been key to the brand's growth and success.

Business Model

The business model of Louis Vuitton is based on selling luxury products, including leather goods, ready-to-wear clothing, shoes, jewelry, and other accessories. The brand has a strong focus on quality and craftsmanship, and its products are marketed as luxury items with premium prices. Louis Vuitton operates its own retail stores as well as e-commerce platforms and department store partnerships to sell its products directly to consumers. The brand also collaborates with other luxury brands and designers to expand its product offerings and reach new audiences. Louis Vuitton also invests in marketing and advertising to build its brand image and reputation and maintain its position as a leader in the luxury goods industry. The business model of Louis Vuitton is built on several key points

Luxury product offerings − Louis Vuitton offers a range of luxury products, including leather goods, ready-to-wear clothing, shoes, jewelry, and other accessories.

Quality and craftsmanship − The brand places a strong emphasis on quality and craftsmanship, and its products are marketed as luxury items with premium prices.

Direct-to-consumer sales − Louis Vuitton operates its own retail stores as well as e-commerce platforms and department store partnerships to sell its products directly to consumers.

Collaborations − The brand collaborates with other luxury brands and designers to expand its product offerings and reach new audiences.

Marketing and advertising − Louis Vuitton invests in marketing and advertising to build its brand image and reputation and maintain its position as a leader in the luxury goods industry.

Innovation − Louis Vuitton consistently strives to innovate and stay ahead of trends in the luxury goods industry, whether it be in product design, manufacturing processes, or distribution channels.

Marketing Strategy

Louis Vuitton's marketing strategy is centered around building and maintaining a strong brand image and reputation as a luxury fashion house. Some key elements of the brand's marketing strategy include

High-end advertising campaigns − Louis Vuitton creates high-end advertising campaigns that feature famous models, celebrities, and influencers to promote its products and increase brand visibility.

Experiential marketing − Louis Vuitton uses experiential marketing techniques to engage customers and create a strong emotional connection with the brand. For example, the brand might host pop-up events, product launches, and other special experiences that allow customers to interact with the brand and its products

Influencer marketing − Louis Vuitton leverages collaborations with influencers to reach a wider audience and drive sales. These collaborations often involve the influencer promoting Louis Vuitton products on social media and other digital platforms.

Premium retail experiences − Louis Vuitton creates premium retail experiences in its own stores and in partnerships with department stores. This helps the brand maintain its luxury image and provide a high-end shopping experience for its customers.

Digital presence − Louis Vuitton has invested in building a strong digital presence, which includes a comprehensive e-commerce platform and active social media accounts. The brand uses these channels to reach a wider audience, promote products, and drive sales.

Overall, Louis Vuitton's marketing strategy is focused on building and maintaining a strong brand image and reputation as a luxury fashion house and engaging customers through high-end advertising campaigns, experiential marketing, influencer marketing, premium retail experiences, and a strong digital presence.

Swot Analysis

A SWOT (Strengths, Weaknesses, Opportunities, and Threats) analysis is a tool used to evaluate a company's internal and external factors that may affect its performance. The SWOT analysis of Louis Vuitton is as follows

Opportunities

Expansion into new markets, particularly in Asia

Expansion into new product categories

Expansion of e-commerce operations

Collaboration with other luxury brand

It includes

Increased competition in the luxury goods industry

Economic and political instability in key markets

counterfeit and knock-off products

Changing consumer preferences and attitudes towards luxury goods

By understanding the strengths, weaknesses, opportunities, and threats facing Louis Vuitton, the company can make informed decisions about how to continue growing and maintaining its position as a leader in the luxury goods industry.

Secret to Its Success

The secret to Louis Vuitton's success can be attributed to a number of factors, including

Focus on quality and craftsmanship − Louis Vuitton places a strong emphasis on quality and craftsmanship, and its products are marketed as luxury items with premium prices. This focus on quality has helped the brand build a strong reputation and maintain its position as a leader in the luxury goods industry.

Consistent innovation − Louis Vuitton consistently strives to innovate and stay ahead of trends in the luxury goods industry, whether it be in product design, manufacturing processes, or distribution channels. This helps the brand remain relevant and attract new customers.

Strong brand image − Louis Vuitton has built a strong brand image and reputation, which has helped the company attract new customers and retain its existing ones. The brand is associated with luxury, quality, and craftsmanship, and these positive associations have been key to its success.

Expansion into new markets − Louis Vuitton has successfully expanded into new markets, particularly in Asia, where there is a growing demand for luxury goods. This has helped the brand reach new audiences and drive growth.

Diversification of product offerings − Louis Vuitton has expanded its product offerings beyond just leather goods to include ready-to-wear clothing, shoes, jewelry, and other luxury products. This diversification has helped the brand reach a wider audience and increase its overall sales.

Marketing and advertising − Louis Vuitton invests heavily in marketing and advertising to build its brand image and reputation and maintain its position as a leader in the luxury goods industry.

Overall, Louis Vuitton's success can be attributed to its focus on quality and craftsmanship, consistent innovation, strong brand image, expansion into new markets, diversification of product offerings, and investment in marketing and advertising.

In conclusion, Louis Vuitton is a luxury fashion house with a strong brand image and reputation. Over the years, the company has built its success on the foundation of quality and craftsmanship, innovation, diversification of product offerings, and investment in marketing and advertising. With a focus on expanding into new markets and product categories, as well as leveraging its strong digital presence, Louis Vuitton is well positioned for continued growth in the future.

However, the company faces significant challenges, including increased competition, changing consumer preferences, and economic and political instability. By carefully navigating these challenges through smart business decisions and a commitment to its core values, Louis Vuitton is poised to maintain its position as a leader in the luxury goods industry for years to come.

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Fashion House Case Solution & Answer

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Fashion House Case Solution

Fashion house (FH) is a well-known German fashion company having a history dating back to 19 th century. Years later the company in 1901, established its first store in Cologne. Soon after the years of hard work and because of their revolutionary ideas the company owned up to 46 stores having a turnover of 1.7 billion deutsch marks in 2001. The company’s structure was dominated mainly by manufacturers brand and purchased designers.  However, 1/3 rd of the products contained private labels that were designed in-house.

In 2005, the company was purchased by International Trading Company (ITC). ITC itself was the products of various mergers and acquisition like FH. FH was acquired by ITC with an aim of expanding the department store and overall business particularly in the high price segments. As FH had established strong position which was known for its quality was an optimal fit for expanding the fashion portfolio of ITC.

Soon after the acquisition, the sales of Fashion House started declining and the company was not less than a mess. The major reason that extremely affected the sales of Fashion House was the significant influence of the parent company over the decision and strategy implemented by fashion house due to which the autonomy was majorly lost. ITC tried to create synergies between FH and ITC’s departmental stores. Marketing and purchasing decisions were also centralised which majorly affected the range of products being offered by the company. A major reduction in the headcount due to internal reorganization affected the morale of employees and made them demotivated and unconcerned regarding the sales of the company which eventually started declining.

In addition to this, the other major driver for the decline in the sales was the lack of communication on a comprehensive level with FH regarding the internal reorganization which created a gap between the parent company and the Fashion House. As most of the information received by FH was through media rather than the parent company itself. Furthermore the CEO of Fashion House was not in favour of bringing any kind of change in the strategies and the positioning of the company which restricted the growth of the company and resulted in further decline in sales.

Moreover, in addition to the above drivers, the increased competition and competitive prices offered by the large and vertically integrated companies, mainly because of the outsourcing of their production function highly affected the demand of Fashion House products and eventually led to the decline in sales as it was not able to compete with its competitors whose strategies were specifically based on attractive prices, flexibility and outsourcing of production. Providing them with a huge market share while affecting the sales of the company.

The option that should be pursued by Fashion House is the replacement of the CEO as it will not only help in reducing the restrictions of changes in the company on a broader level but it will also help in delivering a positive message to the market. Furthermore the employing of a CEO with strong leadership skill and sound knowledge and expertise will help the company in achieving a successful transformation by effectively communicating the need for the desired restructuring which would help in building a team of dedicated employees by getting personally involved. This will also motivate the employees and will benefit the company by restoring the confidence of the employees that was previously lost.

The company instead of further reducing the headcounts should focus more on the methods that can assist the company in increase the buying of the customers from the stores. Currently the company is not in a position to further reduce its headcount as previous reduction didn’t help much in achieving the define goal on the other hand it brought a lot of negative publicity and adversely to FH which affected its targeted sales as well as the employees’ morale. Therefore in order to revive the motivation of the employees and to make their staff proud employees, the company should thrive for regaining the trust of the employees……………

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Luxury Fashion House Unifies Global Operations with SAP S/4HANA ® for Fashion

This global luxury fashion company is a leading designer and retailer of fashion accessories. It has three well-known brands which they sell through:

• Retail outlets
• Flagship stores
• Concession shops
• Department stores
• eCommerce websites

Locations include 55 countries on five continents, including Europe, Asia, and North America.

They focus on growth through acquisitions, so a core, central platform was integral.

The company wanted one SAP platform for a global, customer-first, intelligent enterprise experience. The goal was to standardize processes using SAP S/4HANA for fashion and vertical business in manufacturing, supply chain logistics, and finance.

Integrate the entire user experience by using a robust consumer database and analytical tools

Build a strong data infrastructure for faster integration of acquisitions and quicker access to shared information

Gain an omnichannel, customer-centric model to increase profitability, market products, and grow sales

Challenges:

• Lack of scalability: Current systems couldn’t scale in high-growth categories like footwear and outerwear
• Cost and time consumption: High costs and long timelines of mergers and acquisitions, including high-cost control models due to inconsistent configuration globally
• Lack of standardization: Customized solution had limited ability to simplify and reengineer processes
• Inconsistent processes: Employees in different locations were doing the same tasks differently with different tools

SAP S/4HANA Business Case

Powering Global Growth

SAP S/4HANA provided a future-proof platform accommodating the company’s planned growth. With SAP S/4HANA, the company can streamline data, improve customer centricity, and speed up innovation.

Data Transformation

SAP S/4HANA helped transform the company’s data and improve analytics and collaboration.

Omnichannel Experiences

SAP S/4HANA provided a real-time platform to deliver experiences designed to keep current customers, get new customers, and recover past customers.

SAP S/4HANA Fashion Project Strategy

Rizing worked with the client to design, build, and implement SAP S/4HANA for Fashion and Vertical Business in all locations. The implementation was multiphased. The pillars of the project included:

Accelerated the timeline by implementing retail and wholesale processes using default functionality, accelerators, and the attune Fashion Suite™

Single ERP Instance

Single SAP S/4HANA instance standardizes processes for all brands and locations

Develop Internal Talent

Built a center of excellence to manage the process and solution effectively

Faster Delivery of Core Processes

Faster implementation by delivering core capabilities (buy & sell products) at go live, followed by a phased deployment of advanced capabilities

Engage Stakeholders Through the Project Lifecycle

Embedded process engineers, change agents, and end users from design and delivery to adoption

SAP S/4HANA Fashion Solution Highlights

• One solution for core business processes
• Rizing delivered the supply chain capabilities in a multi-partner engagement
• Single SAP S/4HANA instance with POS and SAP CAR integration for greater visibility, productivity, and efficiency
• Adopted global industry standards and a robust foundation for faster integration of acquisitions
• Single tenant private cloud hosting for S/4HANA for compliant data security, greater infrastructure capacity, and cost flexibility

SAP S/4HANA Fashion Benefits

Robust Foundation for Real-time Processes

Inventory checks, in-store pickup for online purchases, and product reservations by sales associates

Cross-Channel Inventory Management

Visibility of channel-specific inventory for cross-channel inventory consumption

Omnichannel Model

Simplified cross-company transactions to support omnichannel and other distribution processes

Reduced Costs

Eliminated excess system and labor costs

Real-time Platform

Replaced seven ERP systems with one global platform to streamline processes and data across the company

Standardized Back-Office Operations

Integrated POS helps maintain common back-office operations

Sign up for an SAP S/4HANA Assessment

Learn how S/4HANA forms the digital core for your entire business.

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Architecture + Fashion: A study of the connection between both worlds

Abstract The social need for expression in this new age especially in the field of architecture has seen some recent development; although architecture and fashion seem to be independent of one other, architecture deals with the constructed environment while fashion is the motivating factor behind the dress making business . It has been discovered that fashion is a robust way of expressing one’s culture and identity. A study of the connection between fashion and architecture would be investigated in this research thereby a number of points would be drawn out linking both fashion and architecture together in this post-modern era. This research will create new ways for this method in design. Through the study on deconstruction of modern architecture it is important to test its dominant effect over modern-day architecture. An argument would be established from the research based onto what extent the relationship between fashion and architecture has affected each other and in what kind of pathways has the effects benefitted the users Studying precedent literatures on topics of modernism, a number of views would be looked into and a case study analysis would be carried out to finalise the methodology. Architecture and fashion developments would be studied and compared with modern day architecture so as to suggest areas for commendation of this proposed method of design.

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Baher Ismail farahat

Baher Ismail Farahat Beirut Arab University – Beirut – Lebanon ABSTRACT This research describes the nature of the relationship between fashion and architectural design. The most logical relationship is that both fashion and architecture provides a shelter for people in different social dimensions. Both fields passed through several era were design transits from the complexity to the modernity and simplicity of design. On the other hand, there are many similarities in materials characteristics although both fields use totally different martial on different scale. In addition, there are many examples that show the effect of one field on the other one. Many architects are inspired by a garment to design a building and it is the same in the other way round. So this study explores if these two fields have any effect on each other. so how these effects are reflected at the end.

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Ruzica Stevkovska Stojanovska

This paper describes and state the relationship between architecture and fashion, as both disciplines respond to the culture and environment of individuals and societies. Very often fashion designers were inspired by architecture, but also architects were inspired from the fashion creations. Very often, designers in their fashion pieces reflect the architectural constructions. The aim of this work is architecture, an art that, like fashion, is the fruit of creativity. More precise, the architecture is used as inspiration for creating two fashion models. The basic construction of a dress is used and then with use of modeling, the pattern pieces are created. With these models women's fashion is bring closer to and shows the connection with architecture. At the end we get the conclusion that both, the fashion and architecture, in the past and in the future, remain two arts that are connected through creativity, inspiration, technology and human imagination.

Iyadunni Dada

PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND (SAHANZ) VOLUME 37

Sanja Rodeš

The paper investigates the collaboration between Office for Metropolitan Architecture (OMA) and fashion brand Prada on a number of projects dating from the beginning of the twenty-first century to the present moment. More precisely, it examines the relationship between one of the most influential architectural firms (and one of the most influential architects – Rem Koolhaas) with fashion industry, consumption, branding and image making. The paper argues that the collaboration between OMA and Prada, evidences the relevance of the growing relationship between architecture, fashion branding and consumption. The collaboration between OMA and Prada can be argued as prolific, as it resulted with lasting collaboration, multiple retail spaces – so called Prada ‘epicentres’– a number of publications, and more. Koolhaas has done an extensive research on shopping at Harvard School of Design, which resulted with publication Project on the City II: The Harvard Design School Guide to Shopping (2001), and this research was further brought into his collaboration with Prada. Considering that AMO (a research and design studio of OMA) was involved with the designs of Prada catwalks, Prada lookbook, website and more, AMO and OMA can also be considered to be the image givers to Prada in the twenty-first century.The paper aims to critically interrogate the intersections of fashion, branding, consumption, image and architecture as evidenced in this particular collaboration, also evoking the historical intersections between architecture, image and fashion. Aiming to also briefly trace the development of relationships between architecture, image and fashion from modernism to present moment, the paper argues that these relationships can be productive for architectural discipline. It sees these relationships as both more complex and more relevant than acknowledged by architectural discourses, and aims to extend the considerations of their relationships.

Civil Engineering Journal (CivileJournal.org)

Throughout history, fashion and architecture have repeated each other in terms of form and appearance. It seems quite natural that they share not only their initial function, which is to provide shelter and protect human; but also show skills in creating space and volume beyond the two-dimensional plates and materials. In recent years, the relationship between clothing design and architecture has become more significant. Computer tools and software have changed the borders of designing each one. Buildings are more fluid and clothes are more architectural. The architectural alphabet in fashion from one hand, and on the other hand the fashion ideas and methods used in architecture as well as experiencing similar themes in both domains are among the features of these arts. The exploitation of such common points among the two areas challenges the conventional ideas and pre-defined concepts of design, putting forward new solutions and experiences for designers. In this research, some of these common ideas have been studied and how these ideas are linked within both of these domains. The method of this research is descriptive and analytical; and data are collected from documents and research materials including books, articles, photos and electronic resources. This research seeks the common ideas in architecture and fashion and their mutual interaction with each other and provides some examples in both arts. The results of this research show that architecture has an effective role in shaping fashion and the attitude to the clothing design.

Giovanni Marini

Italian Style: on Law, Architecture and Design “Made in Italy” Giovanni Marini, Università degli Studi di Perugia Italian design, including interior design, urban design, fashion design and architectural design is recognized as being worldwide trendsetter. Italy today still exerts a vast influence worldwide. There were different trends in the 20s: a classical and a new one (“Rationalist”). After WWII, Italy had a true avant-guard moment. “When intellectuals lost their battle in 1948 and with it any chance to change land law and re-organize society, architects turned their attention to the object, the object conveyed meaning and showed direction.” In the 60s and 70s, Italian interior design reached its pinnacle (“Bel Design and Linea Italiana”). In MoMA New York, Emilio Ambasz organized an exhibit Italy, The New Domestic Landscape Achievements and Problems of Italian Design. In 1968, it developed an interesting trend (“radical design”) which opposed to the product design and mainstream “buon gusto.” The MoMA exhibit was also the end of Italian polycentric design, which focuses mainly on furniture (Italian) design. Modern interior design has changed the meaning of style and elegance, and many interior designers use Italian or Italian-inspired style in their work. The essay will analyze the birth and developments of the Italian style and its relationship to architectural trends in the globalization process, and with the ongoing transformation of capitalism and economic system. Fashion Made in Italy: Tradition, Protection and a Look into a Sustainable Future Barbara Pozzo, Università degli Studi dell’Insubria, Como The essay focuses on fashion and will cover five distinct areas. First, the measures that the Italian government has launched in recent years to protect “traditional Italian brands.” Second, the various initiatives of certification and labeling in order to protect “made in Italy” fashion products. Third, the “made in Italy” label and the enormous problem of counterfeiting. Fourth, the use of Blockchain as a strategy for the protection of “made in Italy” products. Fifth, how sustainability is, or should become, a part of the “made in Italy” paradigm. Culturally Identifiable Fashion: what role for GI’s? Janewa Osei-Tutu, Florida International University College of Law Geographical indications (GI’s) are a specialized form of intellectual property right. A GI is used when some quality, characteristic, or reputation of a good is attributable to its geographic origin. To the extent that geographic location and culture overlap, GI’s could be described as a form of cultural protection. Italy, which is known for both its food and fashion, has GI’s for a range of items, such as extra virgin olive oils, pastas, and wines. But, what is the role of GI’s when it comes to other aspects of culture, such as fashion? For example, the famous Italian designer, Valentino, received both praise and criticism for footwear modeled on royal sandals from Ghana. To what extent can GI’s be used as a form of cultural protection that extends beyond food and wines to protect culturally identifiable fashion items

Athina Koniari

International Journal of Fashion Studies

Agata Zborowska

One of the most important phenomena in fashion, which practically forced the researchers to rethink their former language, is deconstruction. Appearing almost in parallel with deconstruction in architecture it uncovered previously unseen fissure in the discourse used in constructing the object of research. Deconstruction is usually described as one of the many fast-changing trends in fashion, but fashion scholars rarely pay attention to the sources or consequences of this trend. This study constitutes an attempt to develop such a historical and theoretical take on deconstruction in fashion, to analyse its descriptions and conceptualizations. For this purpose, the author reconstructs the sources of this phenomenon in fashion, with particular attention being paid to two fashion houses: Maison Martin Margiela and Comme des Garcons. To situate deconstruction in a broader context, the article refers to this term in the philosophy as well as the architecture and the graphic design. The last part of the article is devoted to alternative theoretical perspectives – the conceptions of Michel de Certeau and John Fiske – which are used to look again at deconstruction in the context of youth subcultures and its importance in the contemporary fashion system.

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Table of Contents:

Launching a secondary line, exclusive manufacturing rights for prada leather goods, adapting and thriving in an evolving fashion market, maintaining control over labels by going public, challenging conventional notions of beauty, fondazione prada: a hub for contemporary art exhibitions, addressing diversity and inclusion in the fashion industry, expansion into emerging markets: prada’s bold moves, nurturing young talent across industries, what did miuccia prada study, why is miuccia prada so important, what is miuccia prada’s inspiration, what is a fun fact about miuccia prada, the prada-bertelli partnership: a powerhouse duo.

Journey back to the year 1978, a time of remarkable change and growth in fashion.

Miuccia Prada, the granddaughter of Prada’s founder, teamed up with Patrizio Bertelli to expand the brand beyond its original leather goods offerings. Together, they embarked on an ambitious journey that would change the fashion industry forever.

So, what did this dynamic duo achieve?

Inspired by her own nickname, Miuccia introduced Miu Miu – a secondary line that caters to younger fashion enthusiasts seeking luxury products at more accessible price points. Miuccia’s move to launch Miu Miu enabled Prada to expand its consumer base while maintaining the brand’s quality and exclusivity.

Bertelli’s expertise in manufacturing led to exclusive rights for producing all things Prada leather. This partnership proved fruitful as it allowed them both creative freedom and quality control over their products. The result? Prada became synonymous with luxury leather goods, and their reputation for quality and craftsmanship only grew stronger.

But that’s not all. The Prada-Bertelli partnership also invested over $120 million into major stores worldwide, solidifying their position as a global fashion powerhouse.

What’s truly remarkable about this partnership, however, is that they managed to maintain their personal relationship throughout their professional endeavors. Despite their different backgrounds – Miuccia was a former member of the Italian Communist Party, while Bertelli studied political science – they shared a common vision for the brand and worked tirelessly to make it a reality.

The Prada-Bertelli partnership is a testament to the power of collaboration and innovation in the fashion industry. Their legacy continues to inspire and influence designers and fashion enthusiasts around the world.

Organizational Culture and Going Public: The Prada Way

Let’s talk about the secret sauce behind Prada’s success.

Their organizational culture has allowed them to adapt and thrive in an ever-changing fashion market without compromising their core values or design philosophy.

So, how did they do it?

Innovation is key when navigating a rapidly changing industry like fashion. Miuccia Prada, the creative force behind the brand, has always been ahead of her time. She pushes boundaries with unconventional designs that challenge traditional notions of beauty while still remaining desirable enough for luxury consumers.

To keep up with demand and expand globally, going public was a strategic move for this Italian powerhouse brand. The Miuccia Prada case study details how Prada’s IPO allowed them to maintain control over their labels and grow their presence in emerging markets like China.

A remarkable organizational culture, original designs and astute business decisions have allowed Prada to remain a formidable presence in the fashion industry.

Want to learn more about Miuccia Prada’s journey? Dive into this Vogue interview for an insightful look at her life and career.

Unexpected Inspirations Behind Collections

Let’s talk about Miuccia Prada’s creative process. You might be surprised to learn that her inspirations often come from unconventional sources, making her collections truly unique and groundbreaking. Curious? Let me explain:

Miuccia Prada, the founder of Miuccia Prada and Miu Miu, is known for her unconventional approach to fashion. Miuccia Prada’s creative ideas come from a range of sources, such as her studies in political science and experience being part of the Italian Communist Party.

Prada’s collections often challenge conventional notions of beauty, incorporating unexpected materials and designs. For example, her Fondazione Prada in Milan features a gold leaf-covered exterior and a bar made entirely of whale bones.

So, what can we learn from Miuccia Prada’s approach? Don’t be afraid to think outside the box when it comes to finding inspiration for your own creative projects – you never know where a seemingly unrelated idea might lead.

Artistic Endeavors Beyond Fashion Design

Did you know she founded Fondazione Prada , an institution dedicated to contemporary art exhibitions?

That’s right.

This creative powerhouse doesn’t limit herself to just designing clothes and accessories.

• Collaborating with renowned artists:

Miuccia has teamed up with artists like Carsten Holler and Theaster Gates during Art Basel Miami events, showcasing her passion for creativity in various forms.

• Innovative materials:

Remember when industrial nylon became a luxury material back in the ’80s? You can thank Miuccia for that pioneering move.

This avant-garde designer is always pushing boundaries, both within and beyond fashion circles.

Let’s delve into the importance of diversity and inclusion in the fashion industry, shall we?

In an industry where representation matters, Miuccia Prada, the founder of Miuccia Prada and Fondazione Prada, is no stranger to pushing boundaries beyond just design aesthetics.

Enter Ava Duvernay – a prominent figure who had discussions with Prada’s team on the need for more diverse representation both in front of and behind the scenes.

Incorporating a variety of perspectives is essential for Prada to stay current in today’s dynamic world.

• Fashion Factoid: Miuccia was one of the first designers to cast black models such as Naomi Campbell back in 1994 – challenging traditional beauty standards even then. (source)

Ready for more? Dive into this Vogue article on diversity in fashion here.

Miuccia Prada’s commitment to pushing boundaries goes beyond design; it encompasses creating an inclusive space within the industry itself. She was a member of the Italian Communist Party and holds a Ph.D. in political science. Her partnership with Met Patrizio Bertelli, CEO of Prada, has been instrumental in the brand’s success.

Let’s talk about adaptability.

Prada has not only made waves with its designs but also through its strategic expansion into emerging markets like Russia and India, which were often overlooked by other luxury fashion houses. This bold move allowed the brand to reach new audiences while staying ahead of the competition.

Russia and India:

The decision to enter these markets was a calculated risk that paid off handsomely for Prada. With an increasing number of affluent consumers in both countries, there was a growing demand for high-end luxury products – perfect for Miuccia Prada’s innovative creations.

Acquiring a High-End Footwear Company:

To further strengthen their presence in these regions, Prada acquired Church’s Shoes – a renowned British footwear company known for its exceptional craftsmanship. This acquisition enabled them to maintain local production while benefiting from increased productivity levels. Learn more about this strategic partnership here.

• Maintaining Local Production: By acquiring Church’s Shoes, Prada ensured that they could continue producing high-quality footwear locally without compromising on quality or design integrity.
• Innovative Collaboration: The partnership between two iconic brands opened up opportunities for creative collaborations that pushed boundaries within the industry.

In conclusion, Miuccia Prada’s ability to adapt and evolve her brand is evident not just through her designs but also through strategic expansion into emerging markets. By taking calculated risks and forging innovative partnerships, Prada continues to push the boundaries of fashion while maintaining its status as a global luxury powerhouse.

Miuccia Prada is not just a fashion icon; she’s also an advocate for nurturing young talent in various fields. Her dedication to fostering creativity goes beyond the realm of fashion design, as evidenced by her collaboration with renowned architect Rem Koolhaas .

This partnership led to the creation of Fondazione Prada – a cultural mini-village that combines repurposed distillery spaces and newly designed buildings. The unique venue hosts contemporary art exhibitions, pushing boundaries and inspiring up-and-coming artists worldwide.

But Miuccia’s passion doesn’t stop there. She dreams of opening a school dedicated specifically to training aspiring movie directors someday soon too.

• Fostering creativity: Collaboration with Rem Koolhaas on Fondazione Prada project showcases Miuccia’s commitment to nurturing young talent across industries.
• Dreaming big: Opening a film director training school is another example of how she wants to inspire future generations in different creative fields.

In today’s world where artistic expression can be stifled or limited, it’s refreshing to see influential figures like Miuccia championing new talents and ideas within various industries.

FAQs in Relation to Miuccia Prada Case Study

She also trained as a mime artist at Teatro Piccolo and performed for five years before joining her family’s luxury fashion business.

Miuccia Prada is one of the most influential designers in the fashion industry. As head designer and co-CEO of Prada Group, she has transformed the brand into an international powerhouse known for its innovative designs, unconventional materials, and artistic collaborations.

Miuccia Prada draws inspiration from various sources such as art, history, politics, and everyday life. Her collections often challenge conventional norms by combining contrasting elements like modernity with tradition or high-fashion with utilitarianism. This unique approach to design has made her stand out in the competitive world of fashion.

A lesser-known fact about Miuccia Prada is that she was once part of Italy’s Communist Party during her university days. Despite coming from a wealthy background, she engaged in activism and even sold handbags on street corners to raise funds for party activities.

Overall, the Miuccia Prada Case Study highlights the brand’s ability to adapt and thrive in an ever-changing fashion market. From launching a secondary line to expanding into emerging markets, Prada has maintained its position as a leader in the industry.

Prada’s commitment to nurturing young talent across industries through collaborations with renowned artists and architects is evident in their Fondazione Prada exhibitions. Additionally, their efforts towards addressing diversity and inclusion within the fashion industry are commendable.

In conclusion, Miuccia Prada’s innovative approach to design and business strategy has led to continued success for her eponymous brand.

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Fashion Design Management: Case Study

Updated for the 2024 admissions cycle.

How do you transform an idea into a successful fashion brand, and how do you define “success”? Fashion Design Management merges creativity, business savvy, and ethics to realize the potential of fashion products and ensure they reach the right consumers.

In the College of Human Ecology, students approach all areas of study by centering the health and well-being of people and communities. In Fashion Design Management, this means thinking about the needs and desires of consumers as well as the impact of fashion products, production, and promotion on the environment, garment workers, and society more generally. How do you learn about your consumer (i.e., “target market”) and then align your branding, communications, product lines, manufacturing, marketing, and retailing with their preferences?

The Fashion Design Management Case Study will provide an opportunity for you to answer some of these questions and showcase your creativity, analytic skills, and understanding of fashion design management. The written statements, though separate from the Case Study, will also offer a space to share your experience, background, and perspective on fashion design management.

The  Fashion Design Management Case Study  is required of all first-year and transfer applicants interested in this option of the Fashion Design Management option of the Fashion Design & Management major*.  This submission will be considered along with your required application materials (Common Application, transcripts, etc). Fashion Design Management applicants who do not submit the  Case Study  will not be considered. 

*Applicants interested in the Fashion Design option must follow separate fashion design portfolio guidelines .

Submitting your  Fashion Design Management Case Study  All Fashion Design Management Case Study components must be submitted via  SlideRoom . Mailed materials will not be accepted, reviewed, or returned.

Deadlines Your  Fashion Design Management Case Study  must be submitted to SlideRoom by the application  deadline  that corresponds with your application status. Late submissions will not be considered.

Fashion Design Management Case Study  Components The Fashion Design Management Case Study  consists of the following (2) required components and (1) optional component (see below). Applicants must complete and submit the (2) required components.

• Required — Written Statements
• Required — Case Study
• Optional — Your own creative work

All work must be original and produced by the applicant,  WITH NO ASSISTANCE FROM CONSULTANTS, ARTIFICIAL INTELLIGENCE, ETC.  Any images or graphics that are not the work of the applicant must be properly cited (for example, a mood board of collaged images from a magazine must include attributions to the source). Submissions found to have significant similarity to work posted on the internet or from other sources will not be accepted.

Fashion design management case study instructions (2024).

Tell us more about yourself and your interest in Fashion Design Management by responding to each question/prompt below. Submit (1 – 2) pages with your responses to SlideRoom.

• Students in the College of Human Ecology approach the study of human health and well-being by considering many different scholarly perspectives, including human development, nutrition, psychology, history, economics, design, and the social and material sciences, among others. What interests you about studying Fashion Design Management in this kind of interdisciplinary educational context? (Maximum: 150 words)
• Please describe any fashion and/or business related experiences (including jobs, courses, internships, and volunteer work) in which you have participated. Share more about the creative, as well as the business, financial, and management aspects of these positions. (Maximum: 100 words)
• What do you believe is the greatest challenge facing the fashion industry today? What solutions would you recommend from the perspective of fashion design management? (Maximum: 150 words)
• Of all the places, people, and media platforms where fashion is seen, which has most informed and influenced you and why? (Maximum: 100 words)

The Fashion Design Management Case Study allows you to present your perspective on the business side of fashion and the management of design.

Prompt: Create a new fashion brand or expand/revamp an existing brand for an underserved or niche consumer. Develop a cohesive presentation of your work that you would pitch to an investor (in the case of a new fashion brand) or to upper-level management (in the case of an existing brand). Respond to each portion of the Case Study as outlined below.

• Brand identity and target market. Develop a brand identity and describe the target customer for your brand. Indicate what research and resources you used to select and understand this consumer group. Describe how your proposed brand would meet the needs and preferences of this customer. Develop a brand identity that clearly and cohesively communicates the mission, values, and personality of your brand through both visuals and written word. Submit (1 – 2) page to SlideRoom.
• Product line. Create or curate three looks that would be worn by the target customer and indicate the product category or categories that are part of the brand. For example, a brand might specialize in footwear, accessories, or a particular category of apparel, like swimwear, sleepwear, activewear, etc., whereas other brands might manufacture across a range of different product categories.  To illustrate the consumer looks, you may provide original sketches, take photos of models you have styled, or use existing images from other sources, such as catalogs, magazines, or the internet. Be sure to identify your original work and accurately credit the work that you sourced. For each look, indicate how it exemplifies your brand identity. Submit (1) page per look (maximum 3 pages) to SlideRoom.
• Brand promotion. Consider how you would advertise this new brand to your target customers. Explain why your promotional strategy will effectively reach your customers and what will make you stand out from other competing fashion brands. Think outside the box for a unique approach. You could provide a sample advertisement, social media post, or promotional video. Submit (1 – 2) pages to SlideRoom.
• Production, distribution, and retailing . Share production and/or sourcing choices you might make for the product line(s).  Identify and describe the distribution channel(s) the brand will use to reach consumers. Provide a general overview of the anticipated financial, environmental, and social considerations affecting your choices. Submit (1 – 2) pages to SlideRoom.

Submit up to three (3) additional images of your original creative work for consideration. Submissions can include photos, videos, and blog posts, as well as garments or accessories you have made.

Submit optional creative work (maximum of 3 pages) to SlideRoom.

• Think about the mission of the College of Human Ecology — Improving lives by exploring and shaping connections to the natural, social, and built environment — and consider developing a brand that articulates with this commitment to health and well-being in some way.      
• To start your research, you may want to create a list of potential brands you think would be interesting for this challenge. Visit their websites and look for “Company Information” or “About Us” information to learn more about their background and customer. 
• Explore the media platforms you use to learn about fashion and think about consumers who may be underrepresented in these spaces. How will you address both the needs and the desires of an overlooked consumer group?
• Consider identifying a target consumer who is different from you in some way and use the Case Study as an opportunity to research and learn about the needs of this consumer group. You may conduct research in the library, talk with people who identify in this consumer category, search for research reports, read journal articles, and find magazines or social media accounts targeted to this group, among many other research approaches.
• Visit a store in your area to look more closely at the merchandise and to talk to store employees.
• Be sure that if you use images, media, or styling looks with garments you did not create, that you indicate the sources owned/created by others.

Frequently Asked Questions

The fashion industry and fashion design management bridge creative and business components. The Case Study is intended to give prospective Fashion Design Management students a platform to highlight their business acumen, creativity, and consideration of social and cultural contexts. We are interested in understanding how you perceive fashion around you and the innovations, improvements, and interventions you might bring to the industry.

By creating a brand and detailing the products, consumers, branding, promotion, production, and distribution, your Case Study will show us a bit more about your perspective on fashion and your hopes for the future of the industry.

To start your research, you may create a list of potential retailers you think would be interesting for this challenge. Visit their websites and look for “Company Information” or “About Us” information to learn more about their background and customer. You can also see if there is a store in your area and take a visit to look more closely at the merchandise and talk to store employees.

Resources for images can come from print catalogs, fair use image databases, or you may take your own photographs. Be sure to appropriately credit images and photos if you use those owned by someone else.

The written statement portion of the Case Study allows you to describe your work experience. If you have visuals (images or designs) that resulted from your work experience, you can add this as your “Optional Creative Work” in SlideRoom.

Email us if you have additional questions about the design supplement.

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Fashion House Harvard Case Solution & Analysis

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Fashion House Case Study Solution

Significantly, the key methods, technique or level to achieve turnaround is to change the management, thereby developing a problem solving strategy, which can done by revisiting the strategic approach. The company should negotiate with the land orders regarding restructuring contributions. Also, the company should keep focusing on re-employment and employees retention in order to address the emerging issues within the company. By turning efforts to the retention of customers rather than customer acquisition would reap more financial benefits to the company, also it would be cost efficient mean of boosting company’s performance and sales. The reward and compensation would motivate employees to work collaboratively and actively to achieve the common targets of company. If the business operation are backed by the skilled and committed employees, the company would definitely succeed in forthcoming years . The company should disregard weaker links and retains those employees who are crucial for the business. The company should opt for the external funding such as leasing, taking loan from banks.

In addition to this, the company should restructure its finance, because without solving the core issue, all the efforts would have a high possibility to fail miserably. Restructuring under the current ownership and management can be done by incorporating the strategic and operational oriented decisions such as creating the change climate, rewarding and recognizing the positive behaviour, sustaining and implementing change, enabling actions from employees as well as celebrating the short and long term wins. The company should expand and build the truly differentiated capabilities which are handful of the capabilities that would allow the company to drive its value in highly competitive market arena . Also, the company should obtain the relevant personal in numerous professional fields including law firm, asset appraisal firm, accounting firm and agent in order to make investigation on the authenticity, asset ownership and the completeness of the actual operations capacity and statement data, thereby fair evaluation. All in all, the company should modernize marketing efforts, use efficient time strategies, narrow its focus, and reduce cost with outsourcing, which in turn would allow the company to improve the financial performance. (Appendix 2)

In terms of the implementation of the stated option, the company’s first priority will be to replace the CEO as it is one the major hurdle that has restricted the growth of the company. In such state where the profit margins of the company are rapidly declining with each passing year and the morale of the employees are struggling leading to unachievable sales targets. The employment of an experienced CEO who should not only be is skilful but also be possessing the quality of an effective leadership has become a necessity for the success of the turnaround project.

Apart from this, in order to create better relationship with the employees and the parent company, the company will provide a platform through which the communication could easily flow between the two companies. As the lack of communication has limited the process of restructuring. Through effective communication the company will be able to better communicate the necessary steps required to be taken by the company in order to revive its brand in the minds of the consumers. Because as per the survey conducted by FH, it was revealed that brand has lost its identity due to which customers find it difficult to differentiate the brand from other manufacturer brands.

The closing of shops that are not more than a burden and are affecting the profitability of company due to low profit generation, is essential in order to reduce the operational cost of the business as these shops closing will allow the company to focus more on the targeted groups that will eventually enhance the company’s profile and in distinguishing different targets group.

The implementation of the above actions is prioritized by mutual consent of the upper level management and the employees, so that the restructuring process can be effectively implemented without any objections raised by the concerned parties.

Initially the action that will be taken by the company to begin the restructuring process, will be communication of the plan to the concerned parties in order to gain the approval and to make them feel as an important part of the organization. This will gain the trust of the employees as they will be aware of the decisions, the organization is planning to take as a part of the reorganization strategy and in preserving the image of FH. (Appendix 2)

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Case Study | Selling Luxury to the 1%

• Tamison O'Connor

Key insights

• The top 2 percent of luxury customers drive 40 percent of luxury sales, according to Bain.
• Engaging and retaining these very important clients (VICs) will remain critical to brands that want to continue to flourish amid the broader market slowdown. Doing so, however, is only becoming more challenging, as competition for their attention intensifies.
• Carefully executed strategies that fuse elevation, emotion and experience will foster greater loyalty among this consumer cohort and increase their spending in the long term.

Since the world emerged from 2020′s coronavirus lockdowns, spending on luxury goods has gone into overdrive. This spelled good news for high-end brands, which experienced explosive growth fuelled by stimulus packages, deferred student loan schemes and fewer opportunities to spend money on experiences.

But during 2023, aspirational consumers hit by the rising cost of living finally sobered up. As growth of the broader luxury market slows, attracting the top 1 percent of earners , whose well-padded budgets are more insulated from global uncertainty, will be key to driving sales. Already, courting “VICs” — very important clients — has become a strategic focus for brands. However, engaging this consumer cohort is only becoming more challenging, as competition for their attention intensifies. The dynamic is pushing retailers and megabrands to implement more sophisticated, differentiated strategies to foster relationships.

This case study will examine strategies adopted by Gucci , Mytheresa and Tiffany & Co. that are designed to build closer relationships with top clients, foster greater loyalty and increase their spending in the long term.

Gucci opened its first by-appointment store exclusively for servicing the brand’s most important clients in Los Angeles, dubbed “Gucci Salon.” Here, the brand’s most exclusive product ranges are on display, while each appointment is carefully tailored to the needs and desires of each customer. The brand has replicated the concept with dedicated private floors at flagship stores in London and Tokyo.

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Mytheresa ratcheted up its calendar of elaborate events (often hosted in collaboration with its clients’ favourite brands) offering exclusive access that money alone can’t facilitate: from intimate dinners at designers’ private residences to starry, insider-only shows and parties.

Meanwhile, Tiffany & Co. has rapidly expanded its ultra-exclusive high-jewellery division , with a particular emphasis on personalisation. This includes sourcing unrivalled gemstones and inviting clients to commission bespoke pieces from chief artistic officer Nathalie Verdeille at its newly renovated experiential flagship in New York .

These strategies offer valuable lessons on how cultivating personal relationships and crafting memorable experiences for shoppers can foster an emotional connection to brands, helping them to stand out among competitors and build loyalty among luxury’s most sought-after customers.

Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders’ documentation guaranteeing BoF’s complete editorial independence.

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