Marketing

Recently, a woman in the midst of a career change came to see me. This former banker, who took time off to get married and have children, was on the verge of beginning a new life in the high-end fragrance business. Her launch product is a limited edition perfume called “Tiara” that will sell for $1,200 and features particularly glitzy packaging: nestling inside a white resin box is a glass vial shaped like a cupcake, “crowned” by a special silvery top studded with sapphire blue Swarovski ovals. The look was, she said, inspired by the late Princess Diana’s engagement ring, as now worn by the Duchess of Cambridge.

And so Apple is getting the final ingredient in the arsenal of a luxury brand: a fragrance. Admittedly, it wasn’t developed by the company itself; it was commissioned from a scent manufacturer called Air Aroma by an Australian art collective called Greatest Hits as part of a gallery installation, up this month. Still,  it pretty much confirms what we already knew about that brand: namely that it has transcended tech to become part of an individual’s socio-political identity — and hence open to artistic commentary.

Now, what’s Apple going to do about it?

After all, it may sound conceptual, but I think it has quite powerful real-world applications. Consumer products have been key parts of successful scents for years. And scent has been a key part of successful product marketing.

French goods group Hermes won the "meta-luxury" stamp of approval. Image by Getty

French goods group Hermes won the "meta-luxury" stamp of approval. Image by Getty

There’s a new entry in the ever-evolving luxury lexicon courtesy of the folks over at Interbrand: “meta-luxury.”

The term, coined to replace that old catch-all “luxury,” refers to “luxury
after luxury.” For those in search of a fuller (or more logical) explanation, two Interbrand directors, Manfredi Ricca and Rebecca Robins, have written an entire book elucidating the concept, called, not surprisingly, “Meta-luxury.” It’s not perfect, but I think it may come closer to rationalising the current situation than anything else I’ve seen thus far.

Effectively, Interbrand has noticed the same thing everyone else has: as luxury has proven one of the most resilient industries in the current downturn, there has been a rush to the high end, with everyone from coffee purveyors to detergent makers calling themselves “luxury.” Meanwhile, the stock market has its own definition — fashion, watches, jewellery and leathergoods — which does not include cars or champagne, categories most consumers consider luxury. Clearly, however, all these products and brands are not created equal, so there is an increasing need to create new categories in the space.

Carine Roitfeld attends Paris Fashion Week, March 2012. Image by Getty

Carine Roitfeld attends Paris Fashion Week, March 2012. Image by Getty

Ex-French Vogue editor Carine Roitfeld’s transformation into a brand is now complete. She has revealed her new magazine will be called….wait for it…CR. Due out next September to coincide with fashion week, it will feature her very own handwriting.

The name may confuse some who associate those initials with high-minded talk show host extraordinaire Charlie Rose, but probably not those in Ms Roitfeld’s core fashion constituency. Anyway, that’s not the point. The point is, while once upon a time if you were forced to leave one job, you looked around for another, but Ms Roitfeld offers an alternative career blueprint. The question is whether it will become the norm?

Time magazine has made its first foray into the world of best-dressed lists by releasing its own “All-Time 100 Fashion Icons” list, presumably in an effort to support its recently re-launched “Style and Design” issue.

The criteria, as stated, is “most influential”. This is fair enough, though vague: influential over who? The masses? The industry? International? The US? It’s unclear. The timeline begins in 1923, the year of the magazine’s birth. Again, fine. Fashion as we know it largely began then too (though it means Charles Frederick Worth is not on the list). It includes designers, brands, muses, photographers, models, editors and stylists — a good mix. The problem is in the seemingly random nature of the final choice.

The new Rizzoli book 'Stars in Dior'

The new Rizzoli book 'Stars in Dior'

Can fashion save publishing and can publishing save fashion? Such was my thinking as I lay jet-lagged last night after returning from that far wardrobe planet called the American desert, where I had a nice, blue-jean-and-bandanna week with some cowboys and was happily protected from rattlesnakes by Patagonia hiking boots. Good thing I had those.

Anyway, my late-night questions were sparked by news of a new coffee table book from Rizzoli entitled “Stars in Dior” with Dior ambassadoress Charlize Theron on the cover. Before you roll your eyes and say “big whoop,” know this: I think this is a lot more than a thinly disguised celeb-fashion-tome. In fact, I think it’s very revealing, both of a new publishing reality and a super-smart and subtle Dior strategy.

No, the sun has not gone to my head.

The news that Kraft, makers of the Oreo so inexplicably beloved by my children, had decided to re-christen its snack food group “Mondelēz International” when it separates the segment from its US supermarket business. This got me thinking about names and the point or power therein.

Boxes of Oreo cookies. Image by Getty

Boxes of Oreo cookies. Image by Getty

My first reaction upon reading the word “Mondelēz” was to make a face, roll my eyes and think “ridiculous.” What’s with that accent (it makes a long eee)? It is pretentious and fake. No one will remember it. No one will know how to pronounce it. No one will care that it is a hybrid of Latin words that mean “delicious world.” This is clearly a case of a company over-thinking itself.

Yet who am I to talk?

Don’t know about you, but it seems to me the economics of fashion are becoming increasingly abstract — and I’m not talking about the highly subjective concept of “brand value” (yes, I know there are equations to convert this into numbers, but boiled down to its essence it’s in the eye of the beholder, no?). I’m talking about celebrity endorsement investment, and a new concept I discovered last week: retail endorsement investment.

Let me explain.

Like the celebrity ambassador, retail endorsement investment says that if a very special store selects you to be on its racks, it is so meaningful in marketing terms that said store doesn’t need to pay for what it buys. Or, as the young brand who revealed this new strategy (and who shall remain anonymous) told me vis-à-vis one store that was considering stocking their product: “we’ve heard they never pay you for what they order, but that’s ok! Everyone checks out who they stock, so to be there is worth it. It’s like advertising, but actually cheaper.”

Normally, of course, a store places an order for some stock, a designer produces the order, and then the designer is paid on delivery (some lucky designers get half up front). This isn’t ideal, financially-speaking, since the designer has to front their costs, but it isn’t loss-making either.

CEOs say the darnedest things. Recently I was chatting with Frederic Torloting, the new co-owner of Courreges, as we examined their first collection of re-issued dresses from the archives in new materials and slightly new proportions, when he mentioned that he believed all these people buying up old houses and relaunching them thought about the product in the wrong way.

“This isn’t a dress,” he said, pointing at a – well, it looked like a dress to me. Albeit one with very cool clear vinyl circles inserted at various points along the side. I raised my eyebrows. “It’s a design object,” he said. “And it needs to be marketed as such.”

Frederic Torloting

Frederic Torloting (photo by Vanessa Friedman)

I wouldn’t have paid much attention to the comment, except Mr Torloting and his business partner Jacques Bungert are actually the ex-chairmen of advertising agency Young & Rubicam in France. As far as I know, it’s the first time the head of a major ad agency has made the jump to CEO of a fashion brand.

Maybe it was the logical next step after all the consumer product execs trading up. Louis Vuitton’s new CEO comes from Danone; PPR’s ex-head of luxury came from Unilever.

Anyway, they were effectively head-hunted by Andre Courreges’ wife, Coqueline, who was rumoured to have been entertaining offers from all the big fashion players to buy the brand, but who apparently though they would do a better job. I wonder if it could herald a new approach to luxury.

At the moment they have relaunched the brand in about 25 select boutiques around the world, and online. They say they have no plans for a show. It will be interesting to see how this admen-move-to-the-brand experiment works out.

Most fashion houses are understandably cagey about who they are dressing for the Oscars, the most lucrative red carpet marketing event of the year, which takes place this Sunday in Los Angeles. However, as I’ve been making the rounds of the Milan shows, some bits and bobs of information have come leaking out. The fear, of course, in spilling the beans is that in the end you are proved wrong (see post on Adele at the Grammys). The dressing game isn’t over until the celebrity actually exits the limo, but a few designers were willing to go on the record.

Material World

with Vanessa Friedman

About this blog About Vanessa Blog guide
Vanessa Friedman's blog deals with the fashion/luxury industry from both a corporate and consumer point of view, as well as the subject of dress.



Vanessa FriedmanVanessa has been the FT’s fashion editor since 2003, and is based in New York, though she lived in London for 12 years.
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