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In 2015, demena gvasalia, the designer of vetements, served as the creative director of Balenciaga. In the same year, ye cooperated with Adidas to launch Adidas yeezy series; In 2018, Kim Jones became the art director of Dior men’s wear. In the same year, off white designer Virgil abloh became the first black art director in charge of LV men’s wear; In 2020, Matthew M. Williams became the creative director of Givenchy. Recently, Nigo announced that it had joined Kenzo as the creative director. It seems that fashion designers and opinion leaders who have mastered the voice of fashion and strong social media influence have taken over the Creative Department of old luxury brands or large sports brands, which was unimaginable six years ago and unprecedented in history. Although they have no matching resume before, it doesn’t mean they can’t. the rules of the fashion industry are quietly broken. It is worth noting that this situation rarely occurs in enterprises such as China, Japan and South Korea, and there are many reasons worth pondering. I don’t know what will happen in the future?
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In 2017, the cooperation between supreme and LV detonated the whole market, and then the brand alliance and cross-border cooperation swept the world, covering dozens of industries from high-end to low-cost, from clothing to beauty, sports, luggage, and even food, beverage, 3C, automobile and so on. According to incomplete statistics, more than 130000 co branded products were released worldwide in 2019 alone. With the unprecedented outbreak in the past three years, joint cooperation has become a magic weapon for brands to compete for traffic dividends and please young customers, and has entered the “normalization”. However, the quality of cooperation is uneven, and problems such as simple and rough logo cooperation and eye-catching gimmick cooperation are also exposed. The market is overheated and almost played badly. Although the marginal effect of joint cooperation is decreasing and the effect is getting worse and worse, consumers’ demand for joint products is not less and their enthusiasm is not reduced. Demand leads to supply, which also means that in the future, low-quality joint cooperation will be ignored, gradually withdraw from the market, and high-quality joint cooperation will be more sought after. The era of joint cooperation is far from over. On the contrary, it is just the beginning of the curtain, and the highlights are still ahead.
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The past three years have also been a period of concentrated outbreak of China’s new consumer brands. From our perspective, these emerging new consumer brands have the following commonalities: they have the characteristics of “appearance design, quality function and cost performance”; Accurately grasp the pain points and differentiation of consumers and accurately reflect them on their own products; Brand narrative is fresh and breakthrough, which meets the psychological needs of consumers in different circles. To some extent, the founders of these new consumer brands in different industries seem to be using the fashion industry to drastically transform their fields, or make bold innovations in their fields, and introduce the common practices and characteristics of the fashion industry, in order to achieve the “new” purpose of “new brand”. Isn’t this evidence of the title “all industries are fashion industries in the future” we chose in the preface of the first global fashion IP white paper three years ago? Many years ago, it was said that “all consumer goods industries are worth doing again”. Does this “new” need to rely partly on the power of fashion design?
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For most Chinese traditional “old” brands, the subject of brand rejuvenation and brand reconstruction still has a long way to go. In addition to Li Ning of China, Except for a few brands such as Bosideng, which have achieved phased success (this phased success is almost impossible to replicate again), the vast majority of “old” brands that claim to be younger and reshaped, especially those in the clothing and sports industries Brands, whether Chinese brands or foreign brands, are still struggling to find direction and break through the siege. In addition to the consensus on embracing young people without exception, they also face the challenges of strong inertial forces such as mechanism, culture, team and organization, which seems to have entered a dead cycle. “The successful experience of the past is becoming an obstacle to future development.”. This can really be learned more intelligently from century old stores such as LV, Dior and Balenciaga, from brands such as UNIQLO, Nike and moncler, and even from some new consumer brands, such as how to innovate, how to refresh and reshape brands, how to link new generations of consumers, how to make products, how to retain, develop and replace talents, and how to cooperate with creative teams. But back to the basics, we still have to do a good job of the product first.
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Since 2018, through the “national tide”, The trend of “domestic goods” surged up (through “China day of New York Fashion Week”, “China Li Ning”, ” Ningbo Peacebird Fashion Co.Ltd(603877) “, “old godmother”, “big white rabbit”, ” Tsingtao Brewery Company Limited(600600) ” and “Phoenix Bicycle” And other projects, in which we are also deeply involved), time-honored brands have brushed their faces and increased brand exposure. The problem facing the future is still the continuous innovation and marketing of its core products. In the long run, domestic goods and national tide focus on “goods” and “tide”, not “country”. It is temporary for consumers to pay for their feelings. They can do it occasionally. It is unsustainable in the long run. In terms of the essence of enterprise operation, it is still necessary to strive to let consumers pay for “goods” and “tide”. Time-honored brands + new design may be an effective way to do a good job in products and experience, which is the fundamental way. In addition, the biggest advantage of time-honored brands lies in their long history, high popularity and good reputation. How to give full play to these advantages? In addition to the products of their main business, through brand extension, with the help of global design, channels and supply chain capabilities, they create new products and categories that are in line with social development and lifestyle evolution, which are refreshing and willing to buy, This requires greater innovation at a higher level.
Turning to the list, from 2019 to 2021, a total of 60 fashion IPS have been on the fashion IP 100 list for three consecutive years, and 40 are constantly changing, indicating that “success” needs accumulation and how fierce the competition is. Among the fashion IPS on this year’s list, 20 are designer brand fashion IPS founded after 2010, which shows the industry’s dependence on new forces, talents and efforts. This year, there were 57 fashion IPS from France, Germany, China, South Korea, Japan and other Eurasian countries, accounting for nearly 60%, surpassing the leading British and American countries in 2019 and 2020 for the first time. Over the past three years, the number of designer and artist fashion IPS has increased steadily, while the number of star directors and opinion leaders has decreased year by year. It can be seen that talent and diligence are indispensable. In addition to Yu wenle, Liu Wen and clot, other Chinese designers / artists generally rank low. They still need to work harder and make more efforts in social media influence and business appeal. We always believe that the positive significance of fashion IP for future business empowerment is a key link in the “fashion design +” model, which is also the motivation for us to follow market changes for a long time, pay attention to industry development and publish fashion IP 100 and global fashion IP white paper every year.
After five years of “fashion design +” work, many people still have misunderstandings about it. “Fashion design +”, not brand design, not a tool to enhance the “beauty” of the brand; It is not a marketing means, nor is it a tool to win attention and earn traffic through cross-border joint branding. “Fashion design +” is to build a trinity system of product power, brand power and channel power with customer value as the center and aesthetic design as the guide. It not only designs new products and develops new series through cooperation with fashion IP, but also helps enterprises in different industries to realize product upgrading, brand upgrading, marketing upgrading and channel upgrading under the background of China’s consumption upgrading. Designer cooperation, joint cooperation and IP authorization cooperation are all cooperation areas of “fashion design +”, For example, LV cooperates through Brand Co branding (Louis Vuitton x supreme), designer Cooperation (off white designer Virgil abloh is invited as the artistic director of men’s wear) and IP authorization (Louis Vuitton x NBA / hero League) and other ways to quickly change the original deep-rooted brand image, establish links with young groups, and realize the rejuvenation of brand transformation. Such cases are more prominent in recent years: adidas yeezy, Nike, UNIQLO, Dior men’s wear, Balenciaga, moncler, etc. “fashion design +” This system can ensure that every project of designer cooperation, Brand Co branding cooperation and IP authorization cooperation can achieve greater success probability and ROI, whether in the design and development of new products and new series, or in the dimensions of content creation, image shooting, communication and promotion, traffic acquisition and sales transformation.
The essence of “fashion design +” is to make good products through the power of fashion IP and design, which is the starting point. Through good products, establish deep links and recognition with consumers, and then build a “five good” brand system. That is: good products, good image, good content, good publicity, good channels, and finally achieve good sales transformation and re purchase. This set of methodology of Shanghai Stock Exchange is applicable not only to joint cooperation and cooperation with external designers, but also to the work of internal designers within the enterprise; It is not only applicable to the traditional “big brands” that have developed in the market for more than ten or even decades, but also applicable to cutting-edge consumer brands. In particular, with the development of the times, “fashion design +” has been well practiced and applied in the development of new consumer brands and D2c brands outside China. For example, blue bolt,% arabica and seesaw in the coffee industry; 3ce, the glossier and huaxizi in the beauty industry; Perfume perfume industry Byredo and summer. Warbyparker and gentle monster in the glasses industry; Like tea in the tea industry; Fauvism in home life industry; Dyson and Xiaomi in the consumer electronics industry; Inside and outside the clothing industry, jiaonei, ubras and so on, all of them take fashion design as the starting point. In the originally competitive Red Sea market, they have created three high products and stores with “appearance, quality and cost performance”, presenting completely different product concepts, design features, functional features, brand image and narrative methods from traditional brands to interact with users, Community operation mode. We believe that with the intensification of competition, generation Z is increasingly pursuing quality and personality, “fashion design +” will penetrate into more industries and help iterative upgrading to make good products and become a good brand.
