Jesús del Pozo

How can a fashion brand survive its creator?

Jesús del Pozo

How can a fashion brand survive its creator?

Master in Corporate CommunicationFinal Assignment

Nerea EscribanoMartina Olivas

Marta Villanueva

“Only in the dictionary, the word success comes before the word work”.

Jesús del Pozo

Executive Summary 3

SECTION I External Analysis

4

Environmental Analysis Macro Environment (Pest Analysis) 5

Micro Environment (Porter Analysis) 9

Diagnosis of the Situation 10

SECTION II Internal Analysis

11

Jesús del Pozo: The Company Background 12

The Company Today 14

* Who is Josep Font? 17

SWOT Analysis 18

Diagnosis of the Situation 19

Analysis of Competitors Identifying Competitors 21

Comparison with Competitors 28

Positioning Map 32

SECTION III Brand Audit

34

Brand Territory Vision 36

Values 36

Brand Personality 36

Positioning 37

Brand Idea 37

Brand Essence 37

Verbal Territory 37

Visual Territory 38

Touchpoints 39

Target 43

SECTION IV New Brand Proposal

46

Brand Territory Vision 47

Values 47

Brand Personality 48

Positioning 48

Brand Idea 48

Brand Essence 48

Visual Territory 48

Verbal Territory 49

Touchpoints 49

Potential Customers 50

Buying Drivers 50

Target 51

Naming Proposal 53

Index

SECTION V Communication Plan

56

Considerations about the Plan Corporate Objectives 57

Corporate Message 57

Communication Strategies 58

Developing the Communication Plan External Audience Communication Objectives 58

Offline Actions 59

Online Actions 65

Internal Audience Communication Objectives 67

Actions 67

Timing

Budget

SECTION VI Visual Identity Proposal

71

Proposal 72

Aplications 74

Index

ANNEXES

Annex I New Competitors 76

Annex II Survey 85

Annex III KPI’s Measurement 91

Annex IV Press Release 96

Bibliography 99

Due to crisis caused by the death of the founder of the brand Jesús del Pozo, the fashion firm is facing a time of uncertainty.

The question is: How can a fashion brand survive its creator?

Providing an answer to this question is the aim of the Communication Plan we have developed.

Nowadays, the fashion business is being seriously da-maged by the worldwide economic crisis, the changes on the society’s consumption habits, the entrance of the emerging countries on the fashion market and the appearance of new tendencies such as, the low cost phenomenon.

If we add to this, the internal brand situation mentio-ned before and the financial crisis that the company is going through, we find out the perfect moment to develop all the necessary changes to convert Jesús del Pozo in a reference brand in people’s imaginary and in the Spanish fashion business.

According to the conclusion obtained from the en-vironmental analysis we consider that the firm needs to reposition itself to face the demand of the society in terms of shopping.

To achieve this objective we propose the brand to position itself as a more modern one in terms of style and also, to use the communication as a tool to spread the brand’s philosophy based on intangibles that convert the firm into a powerful one.

Our main goal is to generate a unique identity that differentiates the brand to its competitors in order to achieve loyalty to the brand.

The incorporation of the new creative director, Josep Font, means the opportunity to transmit all the changes. Jesús del Pozo starts its journey as a reno-vated brand, ‘Del Pozo’, with renewed energies and values but without loosing the essence of its origins: ’El Duende’.

Summing it up, the rebranding actions and the Communication Plan propo-sed will answer the question posed before:

How can a fashion brand survive its creator?

Not just surviving but also, increasing the company’s Prêt-à-Porter business line’s turnover by 20% and increase the presence in media by 30%.

Executive Summary

3

SECTION I

External Analysis

Environmental AnalysisIn order to establish an appropriate business strategy we must understand the position, potential and direc-tion of the Spanish textile business.

By studying the textile environment we will obtain data for the proper developing of the business plan that the company will follow.

It is necessary to identify all the elements that have a significant influence on the daily operations of the textile market.

For the correct study of the textile environment, it is indispensable to divide the analysis in two sections: macro- environment and microenvironment.

Macro Environment

Pest Analysis

In analyzing the macro-environment it is necessary to use the Pest Analysis. It is important to identify the factors that might affect the repositioning of the brand.

Pest analysis describes a framework of macro-envi-ronment factors: Political, Economical, Social and Tech-nological, which affect the structure of the business.

All the data presented in this analysis are enclosed in a time frame ranging from 2010 to 2012.

PoliticalChanges

EconomicalChanges

TechnologicalChanges

SocialChanges

PoliticalOpportunity

European Technology platform for the future of textiles and clothing.

This platform it is an initiative to improve the inno-vation, technology and competiveness in the textile industries of the European Union.

Technological Spanish Textile Platform.

By this platform, Spain keeps relations with the European Union policies in terms of technology and innovation related with the Spanish textile sector.

Politics

Economical

Economical crisis that affects the sector.

According to Kantar Worldpanel, the textile sector will have an average development of the three per cent during 2012. During the past 2011, a 27% of the Spanish shops had closed, most of them multi-brand stores.

External Analysis

5

Imports of materials.

There is a reduction of the turnover due to the foreign-made products that are introduced on the Spanish textile market, such as fabrics. The cost of the materials is less in other countries and most of the textile factories order the goods on foreign countries in order to reduce the production cost.

Importance on the exports.

According to the data assured by the Consejo Inter-textil Español, the fall of the demand in the last quar-ter of 2011 has slowed slightly due to the positive contribution of the exports to foreign markets (Asia and Latin America).

The exports in the first quarter of 2012 indicate a growth of 8.8% on the sector.

Due to the financial crisis in Spain is impossible to anticipate a short-term recovery in the Spanish tex-tile market, but thanks to the economical growth of emerging countries this sector can survive.

The principal buyer of Spain in terms of clothing is France and during the past five years it has cut its purchases in a 22%. This fact affects hardly the Spanish exportations.

Increasing the internationalization of the sector.

This tendency is a fact that will take place in time due to the economic crisis that is currently shaking Spain.

The companies are relocating the production process seeking to improve the benefits of their businesses, and they are also looking for improving the competi-tive advantages of the different territories around the

There is a textile restructuring towards to obtain a grea-ter competiveness.

Due to this fact, increasing the innovation and te-chnology in the production process is reducing the employment.

The Spanish textile industry is successfully adapting itself to new technologies that are changing the tradi-tional business model of the textile sector.

The independent shops are being hard hit by the crisis and most of them are forced to close because they cannot afford the maintenance. Customers are more interest on buying at department stores and this fact is very significant for the small business.

Decrease of the budget for the ACME (Asociación de Creadores de Moda)

Due to the economic crisis and the cuts on the state budget, the financial aids to the sector had been reduced. ACME receives grants from the Ministry of Culture to help financially its associates.

According to the annuals accounts of ACME, in 2011 the association received less grants than in 2010, the amount of money has been reduced in a 17’51% (from 1.602.000 euro to 1.321.500 euro in 2011).

Also, ACME receives money from the private sector through sponsorships and collaborations that have been reduced from 638.455,32 euro in 2010 to 345.688,03 euro in 2011.

External Analysis

Source: 2010 Year Ending Annual Accounts

6

The Asociación de Creadores de Moda de España (ACME) is a national professional asso-ciation that has reached 14 years of existence.

Today, has 44 members, spanish top fashion designers participating in key national and international gateways Madrid Fashion Week, New York, Paris or London.

The Association works primarily to defend the interests of creating fashion in Spain, offering tools to increase their competitiveness. ACME aims to promote Spanish fashion in its both economic and cultural facets.

It aims to promote and develop activities that will benefit the fashion design industry in its creative and commercial aspects, both inside and outside Spain.

Social

Changes on the consumption habits.

Due to the growing competition with excess supply and the preference for the low-cost products, the dominant tendency on the point of sales and the consumption habits of the society have evolved.

There are some factors that have influenced this fact: the media, social class, incorporation of women in the workplace and increase of the purchasing power of youths.

1. The importance of the media in the society influen-ce in the consumer’s behaviour. The mass culture enhances the image of celebrities that become idols for the society.

Their fashion style and appearance are considered guidelines for the consumers whom try to define themselves in order of what they see.

This means that consumers buy their clothes accor-ding to what their idols do in order to feel closer to them.

2. The social class is other variable that determines the place where the consumer buys. People try to avoid shopping on places that have got a different image from its own status.

3.The incorporation of women in the workplace

4. The incorporation of women in the workplace has produced a change on the consumption, due to the women have got more economic possibilities to do their shopping

5. The increase of the purchasing power of youths.

The consumption of youths has become more abun-dant and sophisticated.

They invest big amounts of money on fashion becau-se they belong to a collective worried for their ap-pearance. So often, the youth has got a large budget without a vision of saving money.

They have preference for fashion brands and they do not care about paying more money for getting them because through the clothes they project their image.

The youth consider something as necessary whereas adults think about the same as a luxury.

Shopping is a voluntary activity that nowadays is part of the leisure of individuals. This activity can be consi-dered as a funny activity to entertain them, especially when they decided to renew their wardrobe.

“The price is becoming the most important driver before shopping.”

External Analysis

7

Different preferences for shopping.

According to the study made by the University of Ali-cante, Evolución y tendencias en producción y distri-bución commercial, the 69,5% of young women (18-25) prefer to do their shopping at a chain of clothing stores (Mango or Zara). Otherwise, the 32,5% of the senior women prefer to go to big departments sto-res (El Corte Inglés) in front of a minority of young women (5,8%).

The senior consumers are prepared to pay more for the clothes they buy because they appreciate the complementary services that the departments stores offer to them: parking, specialized sellers and for a wide range of products).

Young women based their election of shopping in es-tablishments of self-service with a wide range of low cost products. Senior women prefer to be very well treated and they do not mind paying for that.

Growth of the low-cost phenomenon.

The market research company, Kantar Wordpanel, assures that the crisis has changed the consumption habits among the Spanish society installing the low-cost phenomenon in Spain. Companies such as Shana and Primark are considerably increasing its profits.

This low-cost pandemic is being expanded in Spain and people are not ashamed of being clients of shops that offer products at very low price. During 2011, the low-cost phenomenon dragged 8 million of consumers, which means that two items of ten are bought in these low-cost shops.

There is a new tendency on the Spanish market: mixing designer clothes with others that had cost almost nothing.

As Kantar Wordpanel assures, the 40% of the Spanish consumers consider that the price is the most impor-tant driver before buying, and most of the population has acquired their clothes during the sales or under special promotions.

The fashion does not work among socioeconomic segments: consumers are able to change so quick from the

luxury to the “fast fashion”.

Technological

Differentiation on the production process.

The Spanish companies are adapting themselves to the competition that exits between different develo-ping countries such as China, Vietnam or India.

Because of the important competition that affects the business, the textile sector is suffering a change on its way of production due to the innovation and techno-logy that are being increased by the new technics of production.

Outsourcing of the production process.

Due to the new technologies facilitates the informa-tion exchange between different countries.

Growth of the online shopping.

This tendency is directly affecting the textile market because now there are no barriers between com-petitors and customers can buy goods from many different countries.

This fact means that the business is becoming more vertical, eliminating the intermediaries.

External Analysis

8

Micro Environment

Porter Analysis

It is also necessary to consider the use of the Porter’s five forces analysis methodology, together with the PEST analysis, in order to obtain a big picture of the situation of the textile sector.

PEST analysis is to identify the key strategic factors and the general environment and Porter’s five forces is essential to determine the agents of the competiti-ve environment of the Spanish textile companies.

Bargaining Power of Buyers (HIGH)

Nowadays, the supply in the fashion business is getting bigger due to the multinational chains. Also, thanks to the tendency of shopping online, consu-mers have got more possibilities of choice among their products and there are no barriers between countries; it is so common to buy to shops located in other continents.

Due to this fact, there is not necessary to buy at a physical shop and the intermediaries have disappea-red.

During the past years, the most prestigious Spanish designers have been dragged out to the Outlets to sell the stocks from other seasons. Consumers can buy designers clothes at a reasonable price.

Bargaining Power of Suppliers (LOW)

Due to possibilities of externalize the production to different countries such as India, China or Vietnam, when the relation between quality/price is not affor-dable for the company, they may choose that option.

Rivalry between competitors (HIGH)

The Spanish textile sector considers that its compe-titors are all the emerging countries that have low production costs.

The competition with the foreign countries has been intensified since 1986, when Spain entered into the European Union, changing from a business model based on the Spanish competition to a global rivalry between the companies.

The European Union has signed numerous trade agreements that benefit developing countries such as China or India. These agreements have caused the crash of the Spanish textile sector, making East Euro-pe and Asia its direct competitors due to their low production costs. To combat this situation, the Euro-pean Union and the Spanish government have adop-ted different mechanisms of increasing the innovation and technology in order to reposition the sector as a competitive, sustainable and global market.

Due to the competition between the European Union and the developing countries, there are coo-peration pacts between the European textile compa-nies to maintain its position on the market.Also, the number of designers associated to ACME has increased from 32 associates in 2008 to 44 in 2011. This fact means that the money received is divided among more affiliates.

External Analysis

9

Threat of New Entrants (LOW)

The economical crisis does not help the entry of new competitors. Actually, most of the Spanish designers are forced to adopt the franchises model to survive in the business.

Acquiring a franchise means to invest a big amount of money without having secure its success. This fact is significant for the investors and it stop them starting a new business. Also, the cost of having a corner at the big department stores such as El Corte Inglés means a big investment.

Other important fact is that too many fashion desig-ners have quit their participation at Mercedes Benz Fashion Week Madrid because they cannot afford the cost of launching a new campaign and the high price of producing the catwalks.

Threat of Substitute Products and Services (MEDIUM)

There is a wide range of substitutive products in the fashion market, such as other cheaper brands like ZARA or H&M. Due to the crisis, the society tends to cut their invest on fashion and prefer to expend their money in other things. Also it is very significant the fact that the consumption of designers clothes can be replaced for unbranded clothing.

Diagnosis of the Situation

After this analysis it is crystal clear that the fashion business is facing hard times due to the financial situation in Spain. As it is mentioned before, the emerging countries are assuming an important role in this business, making the Spanish sector to loose big amounts of money.

The consumption habits are changing due too many different factors and the appearance of new tendencies is shaking the fashion business.

Other significant element to take into account is that consumers are more sophisticated and cultivated and it is essential to have a good marketing strategy around the product in order to differentiate the brands among themselves.

To sum up, to survive in the Spanish fashion market it is indispensable to provide an addi-tional value to the clothing in order to obtain profits.

External Analysis

10

SECTION II

Internal Analysis

Jesús del Pozo: The Company

Background

It all started in 1974, when Jesús del Pozo opened his first atelier at Almirante Street, which would eventua-lly became the centre of trading activities as a symbol of vanguard in Madrid. The next year, La Transición Española began and was stressed by an underground movement known as La Movida. In this context, some designers and young artists meant to a turning point between the past and the upcoming democracy. Jesús del Pozo, as well as other Spanish artist and creators, was one of the driving forces behind this phenome-non.

From the beginning, when Jesús del Pozo decided to opened his first store, he also knew that he would have to be both a designer and a businessman. In 1974, he created his first company, allowing him to supervise his own production process. In 1981 he decided to concentrate all his energy on the creative process. This decision was the origin of the Jesús del Pozo S.A. The designer’s new company would be a disintegrated business, only concentrated on design, innovation and product development.

The 90’s were the scene of the development of various projects in hands of the designer in Madrid. Between 1992 and 1994, Jesús del Pozo entered the world of accessories with collections of lingerie, jewe-llery and scarves.

Jesus del Pozo is an organization whose purpose is to design collections that other companies commerciali-zed through a licensing agreement.

Thanks to an intense creative activity, the brand develops a great variety of fashion products (Catwalk Collections, Prêt-à-Porter, Bridal, Accessories, or Per-fume) or life style lines (crockery, homewear, furniture design or even interior decorating projects).

It was in 1996, when he began two of the most significant projects of Jesus del Pozo as a company: he presented his first bridal collection and his first Prêt-à-Porter collection for women.

His first collection of bridal gowns was introduced in late 1996 in the field of “Moda Barcelona”, making it one of the first designers to explore this universe. The interest generated by his proposals has became “Jesús del Pozo” a benchmark in this sector.

About his women Prêt-à-Porter collection, it became commercialized in the prestigious “El Corte Inglés”, in addition to in his store in Almirante street.

In 1998 presented his first collection of watches, while launching his first line of sunglasses and optical came two years later, in 2000.

In 1992, Jesús del Pozo made his entrance into the world of perfume with Duende, a feminine fragrance, fresh and attractive, that perfectly complements his fashion collections.

Two years later, in 1994, presented his first men’s fragrance, Quasar, which would follow, again, feminine fragrances: Esencia de Duende (1996) and Halloween (1997), which marks a milestone with its great suc-cess in international markets.

Internal Analysis

12

After these, Quasar Adventure (1999), On The (2001), On It (2001), J. del Pozo In Black (2005) and J. del Pozo In White (2007) came to the market. And then, two powerfully sensual fragrances: Halloween Kiss (2008) and Kiss Sexy Halloween (2009). Finally, in 2010 the company launched a perfume inspired Amber seduction through the senses.

In addition to presenting his ideas twice a year in their collections, Jesús del Pozo was interested in unusual projects coming from institutions and art centers.

Among his collaborations with institutions include: the uniforms of the Spanish Red Cross, RENFE Long Distance, FNAC stores and various Autonomous Regions in the World Expo in Seville in 1992. Years later, in 2005, works with a similar project designing uniforms for the staff of the Alhambra in Granada.

His passion for the performing arts has been fully in-volved in creating the costumes for theater, ballet, film and opera, working with directors such as José Carlos Plaza, Bob Wilson, Emilio Sagi and Fernando Trueba.

His most notable works in this area are the one for the Ballet inspired by Garcia Lorca produced by Aida Gomez and Jose Antonio Ruiz presented at the Granada Festival (1998), and costumes for the ballet “The Four Seasons” for the National Ballet of Cuba, directed by Alicia Alonso.

The project that marked him most was the creation of the 500 figurines of costumes for the “Carmen” by Bizet, opera produced by the Royal Theatre for the 98-99 season under the stage direction of Emilio Sagi.

In the late nineties, Jesús del Pozo becomes one of the greatest drivers of the creation of the Asociación de Creadores de Moda de España, which presides until December 2000.The work of this organization is focused on pro-moting the development of fashion in Spain with the intention to join forces in creating a platform to promote Spanish fashion nationally and internationally through agreements with the Administration.

Jesús del Pozo’s Foundation

Concerned with improving and professiona-lizing the fashion industry in Spain, Jesús del Pozo has decided to transmit the knowledge he has acquired as both a designer and a busi-nessman through a Foundation that bares his name.

Created in 2003, the Jesús del Pozo Foundation’s main objective is to promote and collaborate with educational programmes rela-ted with the worlds of design and fashion. This project seeks to improve the training received by young designers, or students from other related areas, such as pattern making, P.R. or fashion sector specific management. Much is done througn the foundation’s grant system that allows them to get work experience in their area of interest.

Internal Analysis

13

Perfumes y Diseño

Founded in 1989, the Spanish company Perfumes y Diseño is dedicated to the creation, development and distribution of selective perfumery Spanish firms as Jesus del Pozo, Roberto Verino and Tous. Its philosophy is to capture in each perfume the essence of fashion and jewelry collections that inspire both the quality of design and product exclusivity.

In 1992 launched the first Spanish Designer Perfume Jesus del Pozo, Duende, and in 1999 bought the license of Roberto Verino fragrance. In 2000, as the result of a joint venture with the jewelery brand Tous, Tous Perfume was born. In 2008, the supply of perfume Tous was extended with a makeup line that marked the first incursion of “Perfumes y Diseño” in this new product category.

The company history is linked to international hits like the fragrance of Jesus del Pozo Halloween, with successive versions and limited editions, ‘Mellow by Roberto Verino, or Tous in Heaven and Baby Tous, Tous. Precisely Tous fragrances accounted for 45% of the total turnover of the company in 2008.

Based in Madrid, today Perfumes y Diseño employs 130 people and their fragrances are distributed in 120 markets on five continents. The company has subsidiaries in Portugal and Dubai. With annual growth exceeding 40% since its inception, currently operates in four geographical areas: Americas, Europe, Middle East and Asia Pacific. It has subsidiaries in Portugal and Turkey, and its export rate reaches 61.8%. United States is its largest market, followed by Russia.

The company today

Since Jesús del Pozo passed away on Saturday, August 13, 2011, his creative and business legacy are still alive thanks to his brand, team and Jesús del Pozo’s Foun-dation.

After the death of the designer, Perfumes y Diseño S.A. (a company which both creates and commer-cialized perfumes in the national and international market) has acquired the 100% of the shares of the company Jesus del Pozo S.A. The new owners intend to make an investment of around five million euros to develop the new brand strategy.

The new strategy of Jesus del Pozo, driven by Perfu-mes y Diseño requires a creative, strong and dynamic direction, who can lead the ambitious repositioning of the firm and its international expansion.

For this purpose, Josep Font has been named new creative director of the firm.

Internal Analysis

14

Business Model

Jesús del Pozo base its business model on designing collections that other companies commercialized through a licensing agreement.

In Situ S.L. is the company that manages the brand’s Prêt-à-Porter collection through a licensing agree-ment. The alliance between the two companies is a successful example of the union between the desig-ner and company. In Situ S.L. manages the entire ac-tivity of Jesus del Pozo for over twelve years, except the Almirante Street store, owned by the designer.

The main lines of business of the company are Prêt-a-Porter collection, Wedding dresses and Perfumes. In addition, Jesús del Pozo’s team designs two collections a year, one for the Autumn / Winter season and one for Spring / Summer season, which are presented in the Mercedes-Benz Fashion Week Madrid.

The fashion line of Jesus del Pozo is sold in Spain at the Madrid own shop, in multi-brand outlets (bet-ween fifteen and thirty depending on the collection) and in nine “El Corte Ingles” stores, six in Madrid and the rest in Murcia, Seville and Valencia.

In Mexico it is present in five department stores “El Palacio de Hierro”. It sells also through the website of “El Corte Inglés”, only in Spain.

Business Lines and their contribution to revenues

6.77%

-- %

91.53%

1.69%

Prêt-à-Porter

Catwalk Wedding Dresses

Perfumes

Internal Analysis

15

Internationalization Strategy

Like most of the sector, the firm commitment has de-veloped an internationalization process to overcome the effects of the crisis.

The fashion division is focused in entering the U.S. market and Latin America: Colombia and Panamá. The firm has a showroom in New York, and wants that its entry coincides with the launch of their autumn-winter season collection.

Quoting Ainhoa Garcia, Managing Director of the brand, “United States is a strategic market and would be the great leap of internationalization. We want to play the trick of the evening gown, one of our streng-ths. There is a very high purchasing power in the U.S. and our clothes may fit better there than in Spain.”

In the last two years, and as a result of the current economic crisis, the company has incurred in losses, redu-cing its operating income in 2011 by 30.73% compared to 2009.

Regarding the evolution of each of the lines of business, both Prêt-à-Porter as Wedding Dresses have reduced their income in the last year by 32%, while perfumes fail to reduce revenues by 1.5%.

2011 2010 2009

Prêt-à-Porter 87,575.85 128,045.13 155,207.28

Wedding Dresses 21,893.96 32,011.28 38,801.82

Perfumes 1,183,711.26 1,200,417.19 1,672,970.26

Operating Income 1,293,181.07 1,360,473.60 1,866,979.36

Operating Expenses -1,565,717.16 -1,618,771.76 -1,759,098.06

Operating Result -272,536.09 -258,298.16 107,881.30

Financial Result -6,557.46 -3,828.94 -11,011.55

Result Before Taxes -279,093.55 -262,127.10 96,869.75

Taxes 13,334.88

Net Profit (or loss) -265,758.67 -262,127.10 96,869.75

Financial Situation

Internal Analysis

Source: 2011 and 2010 Year Ending Annual Accounts

16

Josep Font is a designer from Barcelona distinguis-hed since his beginning for developing a clothing that inspires poetry, talent, femininity, which evokes fairy tales and music box dolls, everything under a cloak of extreme delicacy which led him to win, in the 2000s, several national awards in addition to the L’Oréal Paris of Pasarela Cibeles.

Designers claim that he combines successfully the English romanticism of the 18th century with the avant-garde in the clothes. The magic, the romanti-cism, the mystery and the wealth of materials are attributes constant in all this designer collections.

Among some of his most famous collaborations are the Moët & Chandon bottle ‘Esprit du siècle’ as designer of the century, his participation in the ‘Runaway Swarovski Rocks’ event in the Victoria & Albert Museum of London. He even was chosen to design the Lancome Hypnose perfume ‘ box of dreams’.

The President of the camera French of the Haute Couture Paris, Didier Gumbrach, invited him to parade in January 2008 between great houses of fashion like Chanel or Dior. While the parade of John Galliano costed three million euros, Font had to juggle to present a worthy show of the haute couture fashion for 150,000 euros.

Josep Font opened three stores in Spain, in Barcelo-na, Madrid and Bilbao, and later, in Paris. He has got a lot of international recognition such as in Japan, France or United Kingdom.Two years ago he splited with the firm that bears his name due to problems with his former partner, lawyer Carmen Ayats, owner of Gabriela S. L., the company that acquired the rights of Josep Font which is why since then the designer can not use his name.

On March 12, 2012, Josep Font was chosen new creative director of Jesús del Pozo. The designer will be responsible for the collections of the Brand and he will present the first catwalk collection in September of this year 2012 at the Mercedes-Benz Fashion Week.

Who is Josep Font?

Internal Analysis

17

SWOT Analysis

Before facing any strategic decision, it is essential to diagnose the situation in which Jesús del Pozo coexist. The SWOT analysis will help us raise the actions that should be implemented to take advantage of the opportu-nities identified in order to be prepared against possible threats and become aware of the weaknesses and strengths of the company.

Strengths Weaknesses

Reputation of the brand.

Consolidated perfume business that generates 1.183.711,26 euro.

Incorporation of Josep Font, a consecrated Spanish designer with an important background and inter-national presence.

Financial Situation of the company.

Devaluation of the brand in terms of sales (109.468,81 euro in prèt a porter and bridal).

Death of the icon and creator of the brand: Jesús del Pozo. This situation can create confusion among the customers.

Jesús del Pozo belongs to the 1st generation of Spanish designers whom are not well positioned on the imaginary of the people. The 2nd generation of the Spanish designers are located in a best position on people’s mind. (According to the data obtained of the survey)

Old fashioned visual identity not in line with the repositioning strategy.

Opportunities Threats

International Markets such as Asia, Latin America and USA.

Shop online.

Position the brand as a renovated one focus on a new target.

Enhance the brand Jesus del Pozo as a clothing company, not just based on the perfume business.

Thanks to the renovation, the brand will be close to the 2nd generation of Spanish designers whom are better positioned in the imaginary of the people.

The economic crisis that is shaking Spain means less purchasing.

New tendencies on the consumption habits such as Low-Cost Companies.

Increase of the number of associated designers to ACME from 32 designers in 2008 to 44 in 2011. Because of this, the revenues that the association receives have to be divided between more associa-tes.

Internal Analysis

18

SWOTAnalysis

Competitive Advantage

We have identified as a competitive advantage the strength of its business line of perfumes.

Income earned in royalties allow the company to keep the other lines of business.

This is a competitive advantage that has been developing since the nineties, and while other designers also have a line of fragrances, per-fumes of Jesus del Pozo are sold in 120 coun-tries and perfumes like “Duende” and “Ha-lloween” has become top of sales.

Diagnosis of the Situation

The image of Jesús del Pozo has been devaluated due to the appearance of the 2nd generation of Spanish designers whom have been more creative and with more media presence.

Jesús del Pozo has been dragged out from its original position on the fashion business because of the new trends on consumption habits based on the low-cost phenomenon.

Jesús del Pozo has to reinvent the brand taking advantage of the incorporation of Josep Font who has a youn-ger style with an international recognition.

Thanks to this, the internalization of the brand is going to be spread easier.

Internal Analysis

19

Analysis of Competitors

According to “Cómo iniciar y administrar una empresa de moda” written by the economists Mercedes Carde-nal and Elena Salcedo, it is possible to make a classification of the different companies of the fashion industry, focussing on the Spanish market.

Large Multinational Chains Spanish Designer’s Chains

International Brands

Haute Couture

Spanish Established Designers

Prestigious Brands

Fashion Industry

Jesús del Pozo, Devota & Lomba, Roberto Verino, Amaya Arzuaga, Javier Larraínzar, Ángel Schlesser, Juanjo Oliva, Duyos, David Delfín, Francis Montesinos, Ana Locking, Sita Murt, Ágatha Ruíz de la Prada, Custo Barcelona.

1st Generation:Jesús del Pozo, Roberto Verino, Javier Larraínzar, Ángel Schlesser, Francis Montesinos, Sita Murt, Ágatha Ruíz de la Prada.

2nd Generation: Devota & Lomba, Juanjo Oliva, Duyos, David Delfín and Ana Locking.

Internal Analysis

20

Identifying Competitors

Taking into account all the data presented on the external analysis of the textile sector, the 32% of the Spanish senior women (35-55 years old) prefer to do their fashion shopping at the department stores such as El Corte Inglés.

Because of this, we consider that the main competi-tors of Jesús del Pozo are the 1st generation of the Spanish established designers and the International brands, having both corners on El Corte Inglés. We do not consider as competence the 2nd generation of Spanish designers because they belong to other era of design and on consumers mind they are positioned as modern brands with different values to Jesús del Pozo.

For the analysis of the competitors we are going to study the 1st generation Spanish designers and the International brands mentioned before. This election is made taking into account these guidelines: style and age of the customers.

In order to analyze the competitors of Jesús del Pozo it is essential to clarify which 1st generation Spanish designers have a corner on El Corte Inglés, which are Sita Murt, Ángel Schlesser and Roberto Verino.

For the analysis of the International brands compe-titors we based the selection between the different designers on similar price and style. Because of this we have chosen Georges Rech and Carolina Herrera, and we have also included Devota & Lomba as he is between the first and second genreation of Spanish designers.

Direct Competitors

Designers with corners at

National International

Roberto Verino

Angel Schlesser

Sita Murt

Devota & Lomba

Carolina Herrera

Georges Rech

Internal Analysis

21

Roberto Verino

Born in Verín, a town in the Spanish province of Ou-rense, Roberto Verino has been involved in the fas-hion world from a very early age, as his family owned a leather business. He studied Fine Arts in Paris, and on his return to Spain took over the family business, where he began to design his first creations. In 1982 he designed his first ready to wear collection under the name of Roberto Verino.

The following year he opened his first store in Paris, in the heart of the Saint Germain district, and took part in the Paris Womenswear Show, the Milan Fas-hion Show and the International Linen Fair in Monte-carlo.

From 1984 he took part in Madrid’s Cibeles Fashion Show, where he has consolidated his career thanks in particular to the quality of the fabrics he works with. In 1988 he launched his product line aimed at the younger segment of the market Erre uve dos.

He continued with his international expansion policy, taking part in fashion events held in Germany and Japan. In 1992 he opened his first store in Madrid, and from then on began to introduce a range of new product lines: accessories, fragrances and swimwear.

In 1998 he co-founded the Association of Spanish Fashion Designers with Jesús del Pozo, Antonio Per-nas, Angel Schlesser and Modesto Lomba , presenting his collections independently at the Casa del Reloj Cultural Centre and a mansion situated at 18, Eduar-do Dato Street. In 1999, together with Jesús del Pozo and Antonio Pernas, he travelled with the President of the Spanish Government on a trade mission to promote the quality and design of Spanish fashion and footwear on the Russian market.

2002 marked his return to the Cibeles Fashion Show where he presented his Autumn-Winter 2002-03 collection. Today the firm has a total of 56 stores and 47 Roberto Verino boutiques in El Corte Inglés department stores.

Internal Analysis

22

Angel Schlesser

Ángel Schlesser began his career in fashion working with the designer Juan Rufete in his workshop. A year later he designed his first menswear collection for the Autumn-Winter 1984-85 season.

This designer is a regular at the Cibeles Fashion Show, where he has presented his womenswear collections every year since 1988, except for a brief period when he formed part of a breakaway group of designers. At the 1997 edition of Cibeles he received the award for creativity. In 1991 he received the Golden T from Telva magazine for Best New Designer. In 1996 he opened his first store in Madrid, which was followed by further stores in Bilbao, Valencia, Santander, Seville and Granada.

Ángel Schlesser has worked actively with professio-nals and institutions belonging to various sectors of the fashion industry. In the year 2000 he was com-missioned to design and produce two sets for the Anniversary of the opening ceremony of the XXV Olympic Games in Barcelona. He has also designed the costumes for several full-length feature films, including Hazlo por mí (by Ángel Fernández Santos) and Más que amor frenesí (by Albacete y Menkes).

In 1999 he launched his first women’s fragrance and toiletries range, which he called Ángel Schlesser. It was followed by the version for men in 2001. His first collection of accessories (shoes, bags and belts) was presented in the year 2000. That same year he also designed and produced the uniforms for the hostesses at Santander City Council’s Department of Tourism.

Ángel Schlesser first appeared on the international scene in 1998, when he took part in a fashion show of Spanish designs in Tel Aviv. In July 2001 he accom-panied the President of the Spanish Government, José María Aznar, on his visit to Mexico, presenting his collection at a fashion show sponsored by the Spa-nish Foreign Trade Institute (ICEX).

Internal Analysis

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Sita Murt

Born in Igualada (Barcelona), Sita Murt comes from a family with a long tradition in the textiles industry in Noia, which has been a major centre for knitwear production for many decades. Her studies at the Sarrià School of Textile Design, directed by Ramón Folch, have had a major influence on both her designs and her experience of life.

Sita Murt joined the family business run by her hus-band, Antonio Esteve Enrich, as its designer. When he died in 1984, she was left at the helm and began to combine her creative and business skills. Her training in textile design and her extensive experience in the sector, together with a keen intuition for market needs, have taken the brand forward and expanded its radius of action. In 2008, it diversified into acces-sories.

Currently, it is Sita Murt’s children who run the company, leaving their mother to devote her energies to her great passion in life: researching knitwear and designing striking, up-to-the-minute collections.

The brand has its own shops in Barcelona, Bilbao, Madrid, Palma de Mallorca, Reus, Girona, Manresa and Sant Cugat, and outlet stores in La Roca and Igualada. Abroad, its collections are sold at multi-brand retai-lers in Canada, USA, Chile, Morocco, Portugal, Ireland, UK, France, Austria, Italy, Netherlands, Switzerland, Sweden, Poland, Russia, Israel, Lebanon, Bahrain, Saudi Arabia, China, Japan and Australia.

Since 1989, Sita Murt has been a regular, first at the Gaudí show in Barcelona, and then at Pasarela Cibe-les in Madrid. The company also takes part in major international fairs, like Bread & Butter Barcelona, Premium (Berlin), Gallery (Copenhagen), Coterie (New York) and Modefabriek, Who’s Next and Paris sur Mode (Paris).

Internal Analysis

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Devota & Lomba

Luis Devota and Modesto Lomba began their career in fashion in Vitoria in 1986, where they presented their first three collections. In 1988 they presented their 1988-89 autumn-winter which won the Ama al diseño joven award for young designers.

Since then they have gone from success to success, achieving public and critical acclaim, and winning major awards including the Cristóbal Balenciaga prize for young creators in 1989 and the Pasarela Madrid award for the best women’s collection of 1991. In addition to their collections, they have created war-drobes for films and the theatre, such as the one they designed for Mediterránia, performed by the Spanish National Ballet and choreographed by Nacho Duato.

Since the mid-1990s, following the death of Luis Devota, Modesto Lomba took charge of the firm, extending the product line to include bridalwear. In 1995 the firm presented its first bridal collection at the Novia España Fair and over the last several editions has also become a regular at Cibeles Madrid Brides. Other lines include jewellery, bed linen and homewear. In 1999, the designer opened his first standalone in Madrid and was appointed president of ACME, the Spanish Fashion Designers’ Association, which has taken him to diverse exhibitions in New York, Tokyo, Beijing and Istanbul.

In addition to being a regular at Cibeles Madrid Fashion Week, Modesto Lomba has also presented collections on international catwalks such as the Fas-hion Weeks in Moscow (2005), Belgrade (2005) and Zagreb (2008).

Devota&Lomba silhouettes reflect Modesto Lomba’s training as an architect and a penchant for decons-truction. His colour palette prefers grey, black and metallic shades, with bright splashes colour in the detail.

Internal Analysis

25

Georges Rech

When asked once to sum up his style philosophy, French ready-to-wear designer Georges Rech replied with a single word, “Balance.” His fashion house aimed to create a synthesis of ideas, designing not for any one woman or type of person, but for an ever-chan-ging, contemporary ideal.

His simple, relaxed, well-made, and affordable coats, suits, dresses, and separates projected an easy-going accessibility, without compromising on creativity or style, and his name became synonymous with casual chic. As Rech put it early in his career, “Sportswear corresponds to the way people live. I don’t like to shut a woman up in fabric.”

The company was bought out in 1989 by Courtaulds Textiles of London, and Georges Rech relinquished his personal interest in the house. Since then Da-niele Jagot, who worked for the company for over 20 years, took over designing the Georges Rech top-range label, while Fumihiko Harada designed the Synonyme line. By the mid-1990s the label had little flash and sales were far from robust, in part due to a depressed market. The brand made a comeback in 1996 when designer clothing sales rallied in Europe and stayed in the black for several years, prompting expansion.

The Georges Rech name became more prevalent in France, with 40 stores in the country (more than a dozen new outlets opened in 1998 alone), the same year parent company Courtauld bought Claremont Garments to augment its apparel division.

Internal Analysis

26

Carolina Herrera

Herrera was born in Caracas, Venezuela, a daughter of Guillermo Pacanins Acevedo, an air-force officer who later became Governor of Caracas, and his wife, the former María Cristina Niño Passios. Based in New York City since 1980, throughout the 1970s and 1980s she was named one of the best dressed wo-men in the world. Her clients have included Jacqueli-ne Kennedy Onassis and Renee Zellweger.

Carolina Herrera is a recipient of The International Center in New York’s Award of Excellence as well as Spain’s Gold Medal for Merit in the Fine Arts, which was presented to her in 2002 by King Juan Carlos I. She also was awarded the Gold Medal of the Queen Sofía Spanish Institute in 1997.

There are six Carolina Herrera flagship boutiques in the world. They are in New York, Dallas, Los Angeles, Bal Harbor, Las Vegas and Caracas (as of October 12, 2011).

Carolina Herrera reached an agreement with Puig in the 1980s in New York to create and market all her fragances. Years later, in 1995, Carolina Herrera fashion business area also joined Puig.

In 2008, Carolina Herrera launched a lifestyle brand called CH Carolina Herrera. In that year, the company opened four stores at The Galleria in Houston, Texas, Americana Manhasset, in Manhasset, New York, The Forum Shops at Caesars in Las Vegas, Nevada, and The Village of Merrick Park in Coral Gables, Florida. Currently, there are also boutiques in Boca Raton, Costa Mesa, Dallas, San Diego, and Scottsdale.

Internal Analysis

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Catwalks

Not at International Shows

Comparison with competitors

After presenting the biography of the competitors we have identified and have done a deeeper analysis consi-dering different attributes:

1. Catwalks: It is important to take into account in which national or international catwalks the designers present their collections.

2. Shops:Where are located, and the type of shop, if they are franchises, own shops, a space in a multibrand retailer and also if they have presnece in outlets.

3. Perfumes: Due to the importance that this business line has for Jesús del Pozo’s results.

4. International presence and strategy: We have to know if these designers are also our competitors in our internationalization process and which strategy are going to develop in the next years.

5. Price: This is a key attribute in order to analyze the competitors and develop a pricing strategy.

6. Target: The brand’s strategy is going to be develop according to the target that the differents brands are focused.

Internal Analysis

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PerfumesYES NO

Shops

Own ShopsOutlets

FranchisesECI Corners

Own ShopsECI Corners

Outlets: Las Rozas Village & La Roca

Own ShopsECI Corners

Outlets

Own ShopECI Castellana Corner ACME

Multibrand retailers

BoutiquesECI Corners

Outlet: Las Rozas Village

Own ShopECI Corner

Multi-brand retailersOutlets: Las Rozas Village & Factory

San Sebastián de los Reyes

ECI CornerFranchises

Outlet: Las Rozas Village

Internal Analysis

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InternationalPresence

Dubai

Multi-brand retailers in Canada, USA, Chile, Morocco, Portugal, Ireland, UK, France, Austria, Italy, Netherlands, Switzerland, Sweden, Poland, Russia, Israel, Lebanon, Bahrain, Saudi Arabia, China, Japan and Australia.

ACME AgreementMexico, Palacio de Hierro

ACME AgreementMexico, Palacio de Hierro

France, Switzerland, Ukraine, Portugal, Luxembourg, Austria, Germany, Belgium, Great Britain

Australia, Canada, United States, Japan

ACME AgreementMexico, Palacio de Hierro

Worldwide

Price(reference: Dress)

200-300€

170-250€

90-300€200-500€

300-600€

180-300€300-600€

Internal Analysis

30

Strategy

Price &Quality

InternationalizationLatin America

(not found)

Internationalization:Latin AMerica & Japan

Low Cost Business Line

InternationalizationUS/Latin AMerica

(not found)

(not found)

Target

Urban/Professional men & women

High-medium purchasing power women

Urban & Professional women

Ultra femenine women

Professional, femenine women

Sensual, sophisticated and elegant women

French Stylish Women

Internal Analysis

31

Positioning Map

A positioning map is a graphical device to study and analyze the positions or perception of each of a group of competing products in respect of two specific product characteristic.

It identifies the brands which are the closest competitors of the company’s product and the strength and weaknesses of the company’s in respect of its competitors. It cal also help company to identify market seg-ments with specific product requirements where new products may be launched by the company.

At first, we have draw up a positioning map with the different fashion companies identified in the first section about competitors.

Price (-)

Price (+)

Low Cost Haute Couture

Spanish Established Designers

For this positioning map, we have considered in the differents axis the production method (low cost or haute couture) and the price of the brand’s products.

After this first classification, we are going to expressed the situation of the competitors identified in the qua-drant where Jesús del Pozo is positioned.

Internal Analysis

32

For this positioning map we have considered the style of the clothing (modern or classic) and their target.

Young

Adult

Modern Classic

Internal Analysis

33

SECTION III

Brand Audit

Brand Territory

After describing Jesús del Pozo’s background and cu-rrent business situation and analyzing its competitors we are going to progress in our brand audit descri-bing the brand’s territory.

A brand’s vision and values give a sense of the future and define the beliefs of the organization. They are connected to a way of thinking and behaving. Howe-ver, although they are primarily internal, they impact on the way the organization presents itself externally.

In addition to vision and values, the brand should also be defined in terms of its personality and positioning. The values indicate what people believe, but per-sonality defines how the organization conveys itself. Obviously these two concepts should not be divor-ced from each other. Although it can be dangerous to use the analogy of individual personalities, it is useful to try to discuss the organization in the same way we might talk about a person.

In addition to vision and values, the brand should also be defined in terms of its personality and positioning. The values indicate what people believe, but per-sonality defines how the organization conveys itself. Obviously these two concepts should not be divor-ced from each other. Although it can be dangerous to use the analogy of individual personalities, it is useful to try to discuss the organization in the same way we might talk about a person.

The purpose of defining a positioning is that every brand has to compete for a consumer’s mindspace and therefore it is valuable to position the brand relative to its key competitors from a consumer perspective.

Vision

A snapshot of the future

Values

A belief system, a way of working and communicating

Personality

Informs all communications and consumer perceptions

Positioning

A summary of the brand in relation to competitors in a consumer’s mind.

Internal

External

“The Onion”

Brand Audit

35

Vision

Jesús del Pozo said:

“For me, elegance is more discreet, more sensual, more internal and personal,” and that “it is essential the coherence, harmony and functionality. Fashion should make life easier. “

“To seek, discover and glorify beauty”

Values

In terms of values that govern the philosophy of the brand, we can differentiate between functional values that describe more objective characteristics of the brand. Aspirational values, however, are those we want the customers associate to the brand.

Functional Aspirational

ComfortSimplicity

Careful designQuality of materials

Timeless designs

Uniqueness of the design and identityIdentification with a model of independent women

FemininityDesigns draw a single confident woman

Brand Personality

The brand personality matches with the adjectives that could define the “ Jesus del Pozo woman” sober, discreet and elegant.

Brand Audit

36

Positioning

The brand idea could be defined as a captivating expression of the needs and wants that it best satis-fies…that simultaneously conveys the brand’s ultima-te purpose or commitment.

Brand essence is a way of articulating the emotional connection and lasting impression that defines the qualities, personality and uniqueness of a brand.

“The beauty without artifice”

“Pure design with DUENDE”

This way, his stylish, simple and unostentatious desig-ns have reflected the brand idea and met the needs of the target wearing an independent and self-confi-dent woman.

It underlines the importance of the design, while adding the expression that makes the brand unique: DUENDE.

If something “has duende” is that is special, genuine, charismatic, and magical.

Verbal Territory

Jesús del Pozo, like the rest of fashion brands do not have a claim or slogan, so the tone here is not parsable.

However, we can analyze the tone used in its relationship with the media through the press releases, which are written in a very correct and formal tone without concessions to a more modern and closer tone.

This line of communication can be moved to the texts of its website and the treatment dispensed to custo-mers in stores.

This polite and formal tone changes to a closer one in the profiles that the company has in social networks like Facebook and Twitter, where for example, they publish the Spotify music list that they are listening in the atelier.

Brand Idea

Brand Essence

Brand Audit

37

The logo was created in the following way, in the words of the designer:

“I had a yellow and black jersey with an arrow, I was very fond of it and I thought that it was the inspiration for the first logo, which has nothing to do with the present, to begin the arrow is down and the J and P are rounded, more art-noveau. It was made by a graphic designer who can not remember his name and the final logo was made by Juan Gatti, which is much more geometric, square, and with the arrow up “

The typeface used by the brand’s logo is a type of writing with serif.

However, for other areas of communication as the web page and the press releases, the brand uses a more modern and simple typography.

One of the highlights of the work of Jesus del Pozo is the particular vision he had about colors, in the words of his Atelier responsible:

“He had a very special retina”

His designs move around neutral colors, sand, green, grey and black. This range of colors is also re-flected in the various elements of communication: stationery, shops and web page design.

Jesús del Pozo states that the arrow represents something accurate, a certain direction, a sort of a symbol of perfection and precision.

In design the symbols are not used by chance. The choice of an arrow represents the idea of projection, and at the same time, entering a new market. This sym-bol was perfect to consolidate a long career.

Visual Territory

Logotype Typeface Colors

Brand Audit

38

What is a touchpoint?

A touchpoint is a place, artefact or interface where a person experiences a brand.

“Touchpoint: any place where people come in contact with a brand, including product use, packaging, adver-tising, editorial, movies, store, environments, company employees, and casual conversation”

MARTY NEUMEIER in “The Dictionary of Brand”

Catwalk

Media Presence

Pointsof

Sale

Website

SocialNetworks

Points of Sale

Jesus del Pozo has four types of point of sales: own shop, multi-brand stores, corners in “El Corte Ingles” and outlets as “Las Rozas Village” and Factory of San Sebastian de los Reyes.

In the own store is where the brand identity is reflected more strongly. A sober decoration, like the brand’s designs, according to the colors described in the section about visual brand territory. In the store itself is where it gets more personalized attention to clients, making the purchasing process in a unique experience.

The own store is located in Calle Almirante No. 9 1º left, not at street level, which can be a downside to the touchpoint

In multi-brand retailer’s stores the brand directly coexists with other brands and can lead to problems of integrity and consistency of the brand identity.

The corners of “El Corte Ingles” allow the designer to create a space in line with the visual identity of the brand, but the customer service must be supervised, because almost always the staff is hired by “El Corte Inglés” and they are not trained in the brand’s philo-sophy.

Finally, the outlets can also create a conflict with the identity of the brand, associated with a lower price, and giving a worst care of his image.

It is therefore necessary that the store is designed to reflect the values of the brand, even when prices are lower.

In the case of outlets owned by the firm, in “Las Ro-zas Village” as it is a more exclusive outlet, the brand identity is well protected.

This does not happen in the Factory, which is cu-rrently in liquidation.

Touchpoints

Brand Audit

Jesús del Pozo own shop atAlmirante street

39

Catwalk

The main touchpoint for both customers and the media is the presentation of the collections spring / summer and autumn / winter in the Mercedes Benz Fashion Week Madrid.

The staging is a perfect reflection of the brand’s philosophy: sobriety and simplicity, only appearing on the cat-walk models and giving all the attention to clothes’ designs.

The brand do not use any type of set design, or perform any sort of show, like David Delfín when hei ntrodu-ced a musical parade of Alaska and Mario Vaquerizo with Bimba Bosé.

Also underline that in the catwalk presentation of the collection spring / summer 2012, having died Jesús del Pozo, the logo of the brand did not appear on the catwalk.

Website

The page layout also follows the principles of simpli-city and sobriety that characterize the brand. It makes use of gray scale, while the typeface is more modern than the one used in the logotype.

Social Networks

The brand is present in social networks with profiles in Twitter and Facebook. In them, the whole tone is closer and more informal, publishing for example, photos taken by the own employees.

Jesús del Pozo’s Facebook Profile

Brand Audit

40

The sobriety of Jesus del Pozo’s Catwalks versus...

Other designers’ staging

David Delfín Ana Locking Ion Fiz

Andrés SardáRoberto Verino

Francis Montesinos

Brand Audit

41

Media Presence

The media presence in recent months has been limited to news about the death of Jesús del Pozo (which was covered both by specialized and ge-neralistic press) and the new status of the brand: the company’s acquisition by Perfume and Design, appointment of Josep Font as the new creative direc-tor, and so on. The news about the company’s new situation were also covered by economic press.

The tone of the news is given by the wording that uses the company in its press releases, maintaining the formal language.

Articles about the brand are also published in specia-lized magazines, like Yo Dona, Elle, Vogue....

As Jesús del Pozo was one of the most prestigious designers from Spain, interviews and TV reports were made about his work.

Elle December/11Dress by Jesús del Pozo

Vogue November/11Gala González appears with

Jesús del Pozo’s dress

TV Report “Los oficios de la cultura”

Generalistic & Economic Press

Specialized Media

Brand Audit

42

Target

Medium-high economic and social class women (>40 years old)

Carmen Posadas

Ana Botella Veronica Forqué

Ángeles González-Sinde

Her Majesty Infanta Cristina

Ana BelénCarmen Alborch

Duchess of Fernandina

Brand Audit

43

Brand Reputation

Drivers for Buying Decision

Purchase drivers can vary depending on socioeconomic status of the target, but we can identify as the main ones the price and the quality.

According to the profile of Jesús del Pozo’s current customers the drivers for their purchasing decision would be: Who has produced these clothes?, What material is it made of?, How unique is the product?

In conclusion to the brand audit we can say that Jesus del Pozo is a reference in the Spanish fashion design and a pioneer in the development of fashion in Spain, staying true to the principles of haute couture.

In the survey conducted as part of our research (see ANNEX II) Jesus del Pozo ranks fifth (out of 23 desig-ners) in the “top of mind” of respondents, behind David Delfín, Amaya Arzuaga, Custo Barcelona and Adolfo Dominguez.

As for the attributes associated with the brand, the best valuation is given (minimum 1/maximun 5) to quality (3.76), elegance (3.58) and sobriety and classicism (3.51). The attributes with the most negative valuation trans-gressive nature of the design (2.06), modernity (2.36) and innovation (2.55).

Quality

Elegance

Sobriety & Classicism

Transgression

Modernity

Innovation

Brand Audit

44

Conclusions

As a result of this brand audit we can conclude that nowadays the fashion market is polarized between luxury and low cost. Because of this, intermediate brands (where Jesús del Pozo is currently positioned) have no future unless they know how to reinvent themselves.

This is the reason why we propose to reposition Jesús del Pozo as a brand that coexists on the imagi-nary of the society as a firm that can be differentia-ted to its competitors for all the emotions that can generate.

This is why we propose a renovation of the image and the entire brand, keeping the essence of Jesús del Pozo and selling to the customers not just fashion or perfumes, we want to spread a philosophy of life based on the transmission of passion for what you believe in.

It is obvious the good quality of fabrics used on Jesús del Pozo designs, but in this market it is essential to sell intangibles that convert a brand into a powerful one. The most important thing is to generate a halo of emotions related with the buying of the products making women feel special and unique, pursuing the loyalty to the brand.

How can we make this possible?

All the brands born with a successful life calling, and success arrives when customers buy and are loyal to the firm, creating a relationship based on trust with the brand. A good product is not enough, either a good logo, or even an excellent communication cam-paign. We have to build and communicate stories that mean something to the consumer connecting with the collective unconscious of society.

Where do we want to position the new brand?

Our proposal is to locate the new brand as a more modern one without loosing the elegance and the essence of Jesús del Pozo. The new target of the firm is going to be younger and passionate in their lives and professional careers.

Because of this repositioning of the brand, we have found out that the firm is going to have other com-petitors that we have analized (ANNEX 1) in order to know in what ground we move on.

Young

Adult

Modern Classic

Brand Audit

45

SECTION IV

New Brand Proposal

Brand Territory

In this section we are going to develop for the new brand we are proposing the same aspects we have analyze in Jesús del Pozo’s brand audit.

Brand’s Pyramid of Benefits

Vision

Dress a very feminine woman in clothes that dazzle, giving way to stronger shapes and colors, with a younger and more passionate style.

Values

The new brand will maintain certain values innate to Jesús del Pozo’s philosophy, while others will be the result of the nature of rebranding.

Also, there are two types of values that will govern the new philosophy of the brand.

Functional

ImpecableDressmaking Timelessness

Modernism Delicazy

All these values will create an emotional brand, establishing and maintaining a relationship with consumer’s mind and hearts.

Aspirational

Feminity

Singularity Contemporary

New Brand Proposal

47

Brand Personality

Dress a very feminine woman in clothes that dazzle, leading to stronger forms and colors, with a younger and more passionate style.

These qualities give life to the new brand.

Positioning

‘A more poetic beauty’.

This phrase summarizes the vision and values that the new brand wants to convey and mean. A world of poetry, dream and feminity moved in every decision.

Visual Territory

Logotype

The new brand logo must be up-to-date, with clea-ner lines but also reminiscences to this ethereal and magical world we are going to build around the brand.

The brand is going to be unique, is going to have DUENDE, and the logotype has to represent it.

In addition, we have to go for the use of initials that facilitate the use of the brand in other non-Spanish speaking countries.

The logo must be powerful, strong and youthful without losing the attributes that characterize the brand as femininity and it has to establish complicity between the brand and the model of women we have as target.

Typeface

As the logotype, the typeface is one of the elements of the brand’s visual identity.

According to the values established with the rebran-ding we are going to eliminate the typeface used in the old logotype, and we will look for a cleaner font, a sans seriff one.

Colors

One of the most distinctive elements of the work of Jesus del Pozo was his use of color principally in a neutral and sober colors.

This range of colors was also the predominant in their communication elements.However, with the entry of Josep Font there is a commitment with more passionate colors like red or purple, which transmit energy and strength characte-ristic of the woman he headed.

The brand essence is maintained; a pure design with ‘Duende’ is also the spirit of the new brand. It under-lines the importance of the design, while adding the expression that makes the brand unique: DUENDE. If something “has duende” is that is special, genuine, charismatic, and magical.

New Brand Proposal

48

Brand Idea

Brand Essence

Verbal Territory

The tone should be consistent with the new and younger brand image but never forgetting our spirit, our ‘duende’.

The communication is characterized by the use of a less neutral tone, closer, more fresh and young.

These features will be reflected in all our touchpoints, emphasizing the use of this tone in social networks.

Touchpoints

The touchpoints will be adapted to the new brand identity, in line with the image that the brand wants to transmit.

Store

It is located in the Calle Almirante, 9. 1 ° left. As we mentioned earlier is not located at a glance, which can have a negative impact on sales. Many people can pass through the area and not knowing that the store is there, and therefore losing potential customers.

For this reason, we consider a good option to in the near future is consider relocating the shop to another more visible area, major step of passers-by and visible at full view.

We are going to renew the sober style that charac-terized Jesus del Pozo by a contemporary, minimalist style that highlight the clothes.

A space in which the clothes come alive, give a fra-mework where they appreciate and understand the collections and all the work that enclose. This store format is characterized by the minimalist designed in white and translucent, and corners to highlight the clothing and accessories.

Catwalk

introducing some kind of differentiating element, either with a more elaborate scenery, in emblematic places, with presence of celebrities or actions during the parade.

Presence in media

We want to be more present in specialized written media such as in Vogue or Elle. We will also carry out a communication more active and closer in social networks.

Website

Minimalist and with a very clear structure. Corporate colours and fonts will be used. It will be given more importance to the link to social networks.

Suggestion for a new store

New Brand Proposal

49

Potential customers

Professional, young and independent women. They belong to the upper middle class of 30 to 45 years looking for a sober, modern, feminine style and uni-que, but at the same time, comfortable dress, do not feel disguised but quite the opposite, if same safe.

Prescribers: Marta Etura and Juana Acosta. These wo-men symbolize the spirit of the brand and the image that you want to transmit.

Purchase drivers

The main drivers of purchase of the new brand will change respecting the original brand, as the new profile is younger women, more marked about the trends and current consumption habits.

The main key drive is the celebrities or bloggers who use our designs in the media.

New Brand Proposal

50

X- Ray of Spanish Women Between 30-40 years old

New Brand’s Target

The new target that ‘Del Pozo’ focuses are 30-45 years, of upper-middle-class, professional women who live in urban areas.

According to a studio of The Cocktail Analysis based on an online survey to 900 Spanish women.

The X-ray of the woman who is the target of ‘Del Pozo’ is the following:

Professional woman who feels safe and confident in her, she knows herself, is emotionally and physically independent, she is concerned, assumes and keeps her commitments and her aspirations for the future.

A woman that looks for quality, the exclusive and the different. The 67% of those surveyed said that she has become more demanding: a good wine, a rare beer, a combined with class...

Experimentation, the motivation to learn new and different things is another feature influencing daily life, especially in the interest of women to invest their time and their money on quality of life, beauty and fashion.

They seek to create a personal and different style, in-creasingly buy less in chains and look for more special and unknown shops.

She lives with...

Her education level is...

She worksfor...

Her leisure activities are...

New Brand Proposal

Source: Glamour magazine

Source: Glamour magazine

Source: Glamour magazine

51

The fashion world is set up at this time as an element that configures and defines the women, in which factors such as satisfaction and differentiation are fundamental aspects:

72% said that: “from time to time I like give me a little whim and buy me some expensive fashion article than usual”.

Also, 48%:

“Sometimes I love to buy brand/designer clothes that make more personal my style”.

FASHION: The element that makes you different

Research, Inspiration

Social networks, blogs, magazines

76% 72% 65%

Shopping

Both online & offline

Participation

Dresses according to tendencies

Social Networks

97% uses daily

32% uses daily

Fashionist 34% Street-styler 42%

Follower 23%

SELF-PERCEPTION (+)

SELF-PERCEPTION (-)

HED

ON

IST

RAT

ION

ALI

ZAT

INGExcellent perception about herself

Gives high importance to her image and personal care

She is living a professional succesfull moment

Good perception about herselfShe is less worried about fashion issues than

the Fashionist profile.She is focuses on wearing like bloggers

Her economic situation is poorerThe amount of money she expenses in fashion

and beauty is more limited, and she mainly consumes low cost fashion

New Brand Proposal

52

Naming

The name of the brand is the main element that con-tributes to position the brand, transmit its philosophy and DNA, as well as its personality and visual and graphic identity. Probably is the element most recog-nizable and with more connection to the customer.Fashion is one of the industries where naming is more significant thanks to the important role in the search for differentiation in an increasingly globalized environment.

The legal protection of a brand is especially impor-tant in the fashion business in order to be prepared against any copies and fake products.

Jesús del Pozo

We have rejected this name because we consider that once the creator has passed away there is no point to have its name on the brand. It can be confu-sing for the customers.

Jesús del Pozo by Font

(Also Jesús del Pozo by Josep Font)

These two possibilities of naming have been dismis-sed because we want to give prominence to the fashion brand, not to the new designer. It is a risk to have the name of Josep Font in the brand because in the future maybe he quits the company and it will be necessary to change the naming again.

We consider that is important to provide stability to the brand and changing the name of the firm depen-ding on the creative director does not help to raise this objective.

JdP

The use of the initials could be useful to entry in non-spanish speaking countries, but it completely eliminates the reference to the former designer.

Del Pozo

After analyzing other cases of naming in the fashion business, we have found out that once the creator of the firm has passed away its surname remains permanent in order to maintain its legacy. The ob-jective of this is to avoid confusions among the cus-tomers and to establish the brand in the imaginary of the society and also provide sensation of stability.

The entrance of new directive creators is kind a cy-cle, because they are not permanent on the fashion firms, and due to this fact is necessary to establish the brand with consistency, regardless of the desig-ner that works in that moment for the brand.

A common practice in fashion is to use the name and surname of the creator of the firm as the brand.

Since Jesús del Pozo passed away, it is necessary to rethink about the naming of its company. During the process of naming we have made some suggestions for the new brand:

New Brand Proposal

53

From Cristobal Balenciaga to “Balenciaga”

Since 1978, the brand that Cristóbal Balenciaga laun-ched in 1919 has passed through various hands since the death of Balenciaga in 1972.

Today belongs to the Gucci group, and since 1997 its creative director is Nicolas Ghesquière. As it has happened in other fashion houses who also lost its original creators, the owners appointed a creative director who guidance the line designs.

Initially, the Balenciaga House was inherited the family of the designer, that kept the business selling perfums and accessories. Six years later the German group Hoechste bought it, directed the by Jacques Konckier. The operation intended to take advantage of the tradition of Balenciaga and not forget his contribution to fashion.

A year later, in 2001 the Gucci group , bought it. Designer Tom Ford and Domenico De Sole wanted to convert the Balenciaga name into a global luxury Brand. They had experience because they were the owners of the bags and shoes of Bottega Veneta, the clothes of Yves Saint Laurent’s designs of Stella McCartney and Alexander McQueen of Boucheron jewels or Sergio Rossi shoes.

The Gucci group currently competes with another large conglomerate of fashion brands: Louis Vuitton Moët Hennessy.

In this long-lasting relationship of Balenciaga and the Gucci Group has been very important the contri-bution of Nicolas Ghesquière. In fashion brands, the creative director is responsible for that all designs, fa-brics, embroidery, stitch, hemming and sketches sound with the same tone, always perfectly tuned.

At the beginning, Nicolas Ghesquière directed the brand without walking away from the original essence of Balenciaga.

However, he ended up focusing his efforts on the prêt-à-porter, a concept far from the high couture.

Also, it dispensed with the name of the firm, in this case Cristóbal Balenciaga to name it simply Balencia-ga.

There is considerable discrepancy between profes-sionals of the fashion as to whether Ghesquière has maintained the essence of Cristóbal Balenciaga but his professional contribution and permanence in the Brand has allowed that the Balenciaga brand has not been shaken by sudden changes in design and image.

Brand challenge: What to do when the designer passes away

New Brand Proposal

54

After the death of Alexander McQueen in March 2010, the Gucci group, to which it belonged since 2002, appointed in May to Sarah Burton as creative director of the brand Alexander McQueen.

Burton had worked fourteen eyears with the decea-sed Designer. Her solo speech began the month of October, at the Paris fashion week. Industry critics praised the creations proposed by Burton, for being faithful to the essence of McQueen and for introdu-cing a more feminine touch.Sarah Burton shares with Alexander McQueen the passion for details and manual work, made by hand. This creative knows perfectly all the keys of the fashion brand and continues the legacy of Alexander McQueen.

After the death of the designer, the Brand has adop-ted the name McQueen of McQ.

From Yves Saint Laurent to “Saint Laurent Paris”

Yves Saint Laurent announced his retirement from the fashion design and catwalks in January of the year 2002, and only six years later in 2008 he died after a long illness. American Tom For took charge as creative director for four years but without the success desired by this designer because apparently, his strategy did not entirely match with the strategy of the owners of Gucci, Pinault Printemps - Redoute group that had invested 10 billion euros in the task and pretended to direct it their own way.After the departure of Tom Ford, this appoints as new creative director a friend of the fashion house and a friend of his, the Italian designer Stefano Pilati.

Pilati has been fundamental to rebuild and reposition this iconic brand becoming a contemporary Brand in high couture. The main success of Pilati has been the to revitalize one of the oldest fashion houses in Fran-ce thanks to a respect for the past and avant-garde spirit formula. Pilati has been profoundly respectful with the legacy of the dead Saint Laurent, managing to update its aesthetic codes.

After twelve years in Yves Saint Laurent, the designer Stefano Pilati said goodbye in Paris in the last show for autumn/winter 2012-2013.

The Gucci Group chose in March 2012 Hedi Slimane as new creative director of the Yves Saint Laurent fashion house where assumed creative responsibility for the Brand image and fashion collections. On June 21, 2012, the fashion brand announces that is going to change the brand name Yves Saint Laurent to become Saint Laurent Paris. The process of change will happen for many months but it is expect to be set up for the spring-summer 2013 women collection signed by Hedi Slimane. Altough the name will be changed, the logo will remain with the famous YSL lo-gotype. This decision is the result of the total respon-sibility of Slimane in Brand image of the fashion firm from the shops, shows, or collections.

As we have concluded after this analysis, once the creator has passed away the fashion firms bet for maintaining the surname of the founder in order to preserve its essence and position on the people’s imaginary.

From Alexander McQueento McQ

New Brand Proposal

55

SECTION V

Communication Plan

Corporate objectives

Objectives specify exactly what are the needs to be achieved by the communication plan.

In our case, there are two main objectives: to increase the company’s Prêt-à-Porter business line’s turnover by 20% and increase the presence in media by 30%.

This goal will be reached by the support of a number of secondary objectives.

Increase Prêt-à-Porter Turnover 20%

Increase Media Presence 30%

To make clear that ‘Del Pozo’ is going to keep the essence of the previous brand.

To transmit the innovations produced due to the change of identity and creative director.

Maintain consumer’s loyalty and drag out potential costumers due to the changes incorporated.

Increase profitability and capability of the Company.

Increase the sales of garments instead of focusing just on the perfume business.

Develop a national communication plan for the first year. (*)

* (Depending on the fulfilment of the objectives in Spain, we will carry out concrete Communication Plans addressed to USA, Co-lombia and Panama for the next years, in line with the company’s internationalization strategy)

Corporate message

The message to be sent is that ‘Jesús del Pozo’ is transforming into ‘Del Pozo’, which is going to be a brand as important as the first one, but refreshed and renewed addressed to a new target.

is now

“Del Pozo”

Communication Plan

57

Considerations about the Communication Plan

Communication Strategies

The strategy will be focused on reinforcing the idea of the repositioning of the brand ‘Jesús del Pozo’ into ‘Del Pozo’, with a new target, a new graphic and visual identity, but keeping the essence of the brand’s founder.

The brand has got a challenge: maintain the reputa-tion gained by Jesús del Pozo and at the same time, position the new image as a renovated one.

To achieve this, it is essential to divide the different strategies in two audiences:

Internal

Costumers MediaProfessional Stylists BloggersPrescribers

External

Retailers (El Corte Inglés, multibrand stores)ACMEEmployees of ‘Del Pozo’

Developing the Communication Plan

In order to obtain the best results from the Communication Plan it is essential to fix the objectives addressed to different audiences mention before.

ExternalAudience

Position the brand ‘Del Pozo’ as a reference brand in the Spanish people’s imaginary.

To have awareness in the media in order to be pre-sent on the people’s imaginary.

To have brand ambassadors that wear the designs for promoting the brand and creating awareness about it.

To achieve presence on the social media thanks to the popularity that blogs and stylists have among the society.

Communication Objectives

Communication Plan

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Offline Actions

Press Releases

Press release informing about the change of the na-ming of the ‘Jesús del Pozo’ into ‘Del Pozo’ due to the changes of the brand’s identity.

By this press release, the brand will communicate the contributions of Josep Font ensuring the essence of the previous brand.

Brand Prescribers

To be able to project and reinforce the new image of the brand ‘Del Pozo’, we suggest as prescriber’s two well-known actresses on the Spanish scene such as Marta Etura and Juana Acosta.

Both are independent women, with a timeless beauty, passionate, young and of course, femenine. Two wo-men who maintain a perfect balance between their profesional life and the beauty with ‘duende’ that they project.

Advertorials

Fashion Magazines Generalistic Press

Advertorials in the main fashion magazines such as Vogue, Elle, Vanity Fair and Harper’s Bazaar.

These magazines fit with the target of ‘Del Pozo’, independent woman, confident, professional and that pay attention to their physical appearance.

Advertorials on the Sunday supplements ‘El País Se-manal’, ‘El Magazine’ and ‘Yo Dona’.

Through an advertorial in these two newspapers supplements we are going to spread the new identity of ‘Del Pozo’. Our target is a consumer of general press because they are cultivated and interested in what is happening in the society.

TV Presence

Report on ‘Solo Moda’.

The new fashion programme of RTVE host by the ex model Nieves Álvarez. This new Tv programme contains the latest new around the fashion world.

By this format we will project the new image of the brand with an interview of Josep Font explaining the changes and its own creative goals.

Costume Design

Collaboration with the next ballet of Compañía Na-cional de Danza for the creation of its costumes.

By this action ‘Del Pozo’ will consolidate its brand as a reference; because fashion is art, culture, business and somehow a show. In short, a world with lots of edges.

It is interesting to create a link between fashion and culture in order to provide to the brand other values that can reflect its philosophy.

Communication Plan

59

Marta Etura

She is a 33 years old actress born in San Sebastián. Despite her youth, she has a consecrated and serene film career. She has been working in this world for eleven years and filmed more than twenty movies.

She has several nominations to the Goya Awards since 2002 for ‘La Vida de Nadie’ but it is in 2009 when she wins her first Goya for best supporting actress for ‘Celda 211’.

In 2006 she received the Max Factor Award to the most beautiful face of the Spanish film at the San Sebastian International Film Festival.

Since 2011 she is Vice President of the Spanish Film Aca-demy, and that is the reason why is a permanent face on all the Spanish film-related events.

Marta Etura will release in 2013 the film project ‘Lo imposible’ with the international actors Naomi Watts and Ewan McGregor.

This actress has a very personal style in which the natu-ralness and femininity are visible. For the galas and events she always chooses dresses in strong colours, as the red or blue, though neutral tones and simple lines garments are also among her favourites.

2009 Goya Awards

2012 Goya Awards

San Sebastián Film Festival

Communication Plan

60

Juana Acosta

She is an actress and model born in Cali, Colombia 36 years ago. She lives in Spain for twelve years where her professional career has taken off, both in films and on television.

In her filmography there are successes and heteroge-neous projects such as the Golden Globe winning mini serie Carlos about the terrorits ‘El Chacal’ in 2011, spa-nish movies such as ‘Diario de un skin’, ‘Los dos lados de la cama’ or the recent hit Spanish series ‘Crematorio’ for which she won on june 2012 the best supporting actress award granted by the Actors Union of Spain.

This Latin American-born actress has a career on the rise in Spain, in the USA and also in our neighbouring coun-try where ‘Les Beaux Mecs’ movie was released.

She is also a familiar face in Spain for her roles in series of renown, such as the one mentioned ‘Crematorio’, ‘Hospital Central’ or ‘Hispania’. She is working at the mo-ment on a Spanish and Venezuelan movie based on the Simon Bolívar’s struggle for emancipation of the Spanish empire in Latin America, also produced by Sean Penn.

She is an essential actress of the red carpets in Spain for her looks always successful, for her image of strong woman, confident and on the same time for her timeless beauty, feminine and sensual

With the election of Juana Acosta as prescribers of the brand we take advantage of the potential and the fame that this actress has both in Spain and Colombia, future potential market of the brand ‘Del Pozo’.

2012 Goya Awards

Yo Dona Awards

Communication Plan

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Catwalk

This is the main event of communication that a fashion brand develop for its external audience.The most important Spanish designers present their collections two times in a year at Mercedes Benz Fashion Week Madrid.

The Spring/Summer collection for 2013 will be presented the 30th August 2012, through this event, the brand will launch its first collection as ‘Del Pozo’ and with Josep Font as creative director.

For this reason, we consider that the catwalk must take place out of the traditional IFEMA trade fair, in an em-blematic place of Madrid, to give the brand’s launching event more notoriety.

We propose the “Circulo de Bellas Artes” building, and its “Salón de las Columnas”. By this location, ‘Del Pozo’ is going to create a halo of poetry, magic and oneiric around the new collection presented.

‘Del Pozo’ will invite the main general press and TV channels, such as: RTVE, Telecinco, Antena 3, Cuatro and Divinity, in order to appear on its news. In the case of Divinity, the objective is to have presence in the special TV programmes that this channel launches for Mercedes-Benz Fashion Week Madrid.

Also, the brand will invite the fashion press maga-zines mention before for assuring the presence of its launch campaign on its pages.

The “Kissing Room”

It is a tradition in the fashion world to fit out a place where celebrities go after the catwallk to congratu-late the designer.

The brand will invite to the kissing room the most relevant celebrity that match with the image that ‘Del Pozo’ wants to project in order to achieve pre-sence in the media. The guests will be the following: Marta Etura, Juana Acosta, Paula Echevarría, Vicky Martín Berrocal, Laura Vecino, Lydia Bosch, Bibiana Fernández, Leticia Dolera, Nuria Roca, Susanna Gri-so and Adriana Abascal.

Autum/Winter collection

In February 2013, will take place the launching of the second collection of ‘Del Pozo’. In this case, the catwalk will be placed at IFEMA Madrid.

Communication Plan

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Fashion Night Out

On September 6th 2012, ‘Del Pozo’ will participate on the Fashion’s Night Out event in its corner loca-ted at El Corte Inglés Serrano.

To this event will be invited fashion media, the pres-cribers Marta Etura and Juana Acosta and the tren-diest bloggers.

During the event, the brand will give a gift for the costumers of that night.

Brunch

Press/Stylist Day Blogger’s Day

By this action the brand will assure that these pro-fessionals recommend the designs to their clients and the presence of its designs in fashion magazines productions.

‘Del Pozo’ will offer all the information about the fabrics, the latest news and an exceptional treatment in order to make them feel confortable and loyal to the brand.

Alfredo Molina & Sonia Alcolea(Stylists)

Jorge Olmedo (Stylist)

Organize a brunch with the most important bloggers in Spain at ‘Del Pozo’s shop’.

The brand is conscious that having a good relations-hip with the bloggers will assure its active and conti-nuous presence in the social media and networks.

This is why ‘Del Pozo’ will invite a selection of the most followed bloggers of Spain giving them a gift, such as a scarf or a clutch that they have to draw on their media platforms.

The bloggers have to write about the experience in the shop, explaining the collection, the atmosphere and the treat received with the goal of generating good publicity about the image of ‘Del Pozo’.

This “Press/Stylist Day” and “Blogger’s Day” will take place two times in the year, according to the launch of both Spring/Summer and Autum/Winter collections.

Communication Plan

63

Collaboration with bloggers

Con 2 Tacones

Macarena Gea

Mireia

Mi Armario en Ruinas

Alexandra

Rebel Attitude

Lady Addict

Communication Plan

64

Online Actions

Website SEO Positioning

The design of the website will be modified according to the new visual identity of the brand, but it will maintain the same structure with different sections for information about the company, the fashion line and the perfumes.

For the future, introducing a section for online shop-ping will be considered.

As the company is now operating with a new name, it will be necessary to develop a SEO strategy to po-sition the new brand as well as the other was, linking all the contents about the old brand to the new one.

Social Networks

Facebook Twitter

The company will maintain the strategy with this tool, publishing more informal contents. People love fashion, but also love to know the backstage of this world, so it is a very good idea to publish in the facebook profile some pictures taken in the atelier, or sketchs, or tips about the inspiration for the next collection.

It is interesting to create hastags about the brand in order to achieve brand awareness on the social media. We recommend the following actions by the use of twitter :

Create a hashtag for announcing the new naming of the brand ‘Del Pozo’: #conoceDelPozo.

The purpose of this action is to spread on the so-cial media the new image of the brand through Del Pozo’s twitter and also tweeting to Vogue, Harper’s Bazaar, Elle and Vanity Fair Spain.

Create a hashtag asking where is going to be the presentation of ‘Del Pozo’ during the Mercedes-Benz Fashion Week Madrid: #desfildeDelPozo.

Among the winners the brand will draw two invi-tations to attend the event that will take place 30th August 2012. ‘Del Pozo’ will tweet about this draw and also, will tweet it to Harper’s Bazaar, Elle, Vogue and Vanity Fair Spain, tweets in order to have more presence in this social network.

The objective is to promote the hastag among Twit-ter and generate as much as participation as possible. ‘Del Pozo’ looks for awareness in this social network.

Communication Plan

65

Social Networks

Twitter

Create a hashtag during the Mercedes Benz Fashion Week to generate opinions about the launching of the collection: #duendeDelPozo.

The election of this hastag is in order to remember the audiences that the brand is going to keep the origin and the essence of the creator of the brand: el duende. A question will be settled: what is for you the “duende” of the new collection?

It will be tweeted on Del Pozo’s twitter, Vogue, Elle and Vanity Fair Spain. Also, it is important to take into account the prescriber’s twitter and the bloggers that collaborate with the brand.

Create a hashtag during the Fashion’s Night Out in order to promote the event and create traffic to the twitter’s brand: #FNODelPozo.

‘Del Pozo’ will tweet the event to Harper’s Bazaar, Vogue, Elle and Vanity Fair Spain in order to achieve more relevance on the social media. Also, the brand has to tweet to its prescribers and the bloggers that are collaborating with the fashion firm.

Create a hashtag for the brunch organized at the shop with the professional stylist: #brunchDelPozo.

By this hastag, the brand seeks for the positive com-ments and opinions of these professionals about the collection.

Create a hashtag for the brunch organized at the shop with the bloggers: #brunchbloggersDelPozo.

This action looks for the participation of these bloggers through the social media.

Create a hashtag during the Mercedes Benz Fashion Week Madrid on February 2013: #inviernoDelPo-zo2014.

By this tweet the brand looks for the participation of the audiences asking them their opinions about the new campaign. The brand will tweet it on its twitter account, Vogue, Elle, Harper’s Bazaar, Vanity Fair Spain and also in its prescribers and bloggers. The purpose is to generate traffic and comments about the brand, looking for awareness on the social media.

Create a hashtag for the brunch of the professional stylists after the presentation of the campaign 2014: #brunchEstilistasDelPozo.

The main goal of this action is to have presence on the social media by the brunch addressed to the stylists that will attend to the shop.

Create a hashtag for the brunch of the bloggers: #reencuentrobloggersDelPozo.

By this action, the purpose is to have presence on the social media and on the blogs.

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Communication Plan

InternalAudience

To provide calmness and security despite all corpora-te changes that are happening.

To inform about the changes at the Company.

To make them feel part of the Company and impor-tant to the brand, in order to make them project the image of ‘Del Pozo’.

Communication Objectives

In the case of the company’s internal audiences, we are going to develop the actions of this communica-tion plan according to each stakeholder.

These actions will fit the reduced number of emplo-yees that the Company has.

To send a formal email announcing the changes of the Company and that a physical meeting will take place.

The organization of a formal meeting with the ob-jective of avoiding confusions and instability at work. Aims to answer all the questions that employees might have about the situation.

Actions adressed to employees

Actions adressed to ACME

Formal email detailing all the changes that the Com-pany is developing and making clear that these chan-ges will not affect the agreement with the ACME.

Formal email informing about the changes of the Company and ensuring the permanence at El Corte Inglés and the multibrand stores that with we count on.

Actions adressed to retailers

Communication Plan

67

Communication Plan

Timing

The different actions of the Communication Plan have been arranged considering that the brand presents two collections by year, focusing the main actions in the those dates.

July August September October November December2012

Press Release

CatwalkSS 2013

Internal Actions

TV Report

Fashion NightOut

Press/StylistDay

Bloggers Day

FashionMagazines

Sunday Suplements

SocialNetworks

Prescribers

January February March April May June2013

CatwalkAW 2013/14

Press/StylistDay

Bloggers Day

FashionMagazines

SocialNetworks

Prescribers

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‘Lo imposible’ Premiere

Goya Awards ‘Libertador’ Premiere

Communication Plan

Budget

The company has reduced its expenses in communication drastically in the last three years: from 87,760.39€ in 2009 to 10,831.50€. The financial situation is still a weakness, but we consider that a repositioning strategy and the consequence Communication Plan must be as strong as possible to launch the new brand. And with the investment of the company’s new shareholders there is a support for a more ambitious plan. Because of this reasons, we are presenting two scenarios:

A Scenario - The company decides to develop the full plan

TOTAL BUDGET 350,310.00

Communication Analysis 7,350.00

Market Research 1,800.00Brand Audit 3,500.00New Identity Proposal 1,200.00Visual Identity Manual 850.00

Advertorials in Fashion Magazines 70,700.00

(*) Elle 18,100.00Vogue 18,150.00Vanity Fair 17,300.00Harper's Bazaar 17,150.00

Advertorials in Sunday Supplements 83,540.00

(*) El  Pais  Semanal+Dominical 27,240.00Magazine  El  Mundo 26,700.00Yo  Dona 29,600.00

Catwalks 19,800.00

Mercedes Benz Fashion Week Madrid (AW 2013) 11,700.00

Rental  Sala  Las  Columnas  Círculo  de  Bellas  Artes   4,200.00Scenography 6,000.00Catering  Kissing  Room 1,500.00

Mercedes Benz Fashion Week Madrid (SS 2013/14) 8,100.00

Rental 4,000.00Scenography 3,200.00Catering  Kissing  Room 900.00

Fashion Night Out 2,900.00

Catering   800.00Gift:  60  silk  scarfs   2,100.00

Report in Solo Moda No cost 0.00

Brunch 2,600.00

Blogger's Day 1,100.00

Catering 200.00Gift 350.00

Press/Stylist Day 200.00

Catering 200.00

Compañía Nacional de Danza Costumes 4,320.00

4 hours per designCost: 40€/hourNumber of costumes: 27

Prescribers 108,800.00

Marta Etura 54,400.00

Fee 40,000.00Costumes (8 designs/average cost: 1.800€) 14,400.00

Juana Acosta (fee) 54,400.00

Fee 40,000.00Costumes (8 designs/average cost: 1.800€) 14,400.00

Website 2,300.00

Design 2,300.00

Human Resources 48,000.00

Press Release Communication Manager 30,000.00Emailing Communication Assistant 18,000.00MeetingsSocial Networks managementClipping

(*) Source: Oblicua

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Budget

B Scenario - The company decides to develop the main actions

TOTAL BUDGET 172,750.00

Communication Analysis 6,500.00

Market Research 1,800.00Brand Audit 3,500.00New Identity Proposal 1,200.00

Advertorials in Fashion Magazines 36,250.00

(*) Elle 18,100.00Vogue 18,150.00

Catwalks 19,800.00

Mercedes Benz Fashion Week Madrid (AW 2013) 11,700.00

Rental  Sala  Las  Columnas  Círculo  de  Bellas  Artes   4,200.00Scenography 6,000.00Catering  Kissing  Room 1,500.00

Mercedes Benz Fashion Week Madrid (SS 2013/14) 8,100.00

Rental 4,000.00Scenography 3,200.00Catering  Kissing  Room 900.00

Fashion Night Out 2,900.00

Catering   800.00Gift:  60  silk  scarfs   2,100.00

Report in Solo Moda No cost 0.00

Brunch 2,600.00

Blogger's Day 1,100.00

Catering 200.00Gift 350.00

Press/Stylist Day 200.00

Catering 200.00

Prescribers 54,400.00

Marta Etura or Juana Acosta 54,400.00

Fee 40,000.00Costumes (8 designs/average cost: 1.800€) 14,400.00

Website 2,300.00

Design 2,300.00

Human Resources 48,000.00

Press Release Communication Manager 30,000.00Emailing Communication Assistant 18,000.00MeetingsSocial Networks managementClipping

(*) Source: Oblicua

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SECTION VI

Visual Identity Proposal

Proposal for a New Visual Identity

Brand Graphic Shape

Symbol

The merger between the letter P and D is not closed because it means that ‘Del Pozo’ is a project that starts its journey trying to satisfy the women needs and adapting itself to the changes of the women.

This combination suggest dynamism showing the audiences that Del Pozo is an active fashion brand that looks for being adapted to the changes and with future.

The combination of the D and P, despite of existing space between both letters, closes the image projec-ting stability about the brand.

The election of the capital letters is based on the fact that ‘Del Pozo’ is a consolidated fashion brand in Spain. Because of this, we want to give the protago-nism to de D and P that conform the naming of the brand

The capital letters D and P will be helpful to achie-ve on of the main important goals of the company: the internationalization. It is common the use of the initials abroad with the objective of being easy to remember and pronunciation in different languages.

Logotype

The typography is sans-sheriff, Ayutthaya letter, in order to make the brand more recognisable. The election of this type of letter gives stability and makes the brand easy to be read.

The dotted lines located in the logotype represent the sewing patterns used by the designer and at the same time, shows to the audiences that the brand is in a continuous process of renovation according to the demands of the women.

These two dotted lines evoke the idea of stability because they frame the brand within a rectangle pro-viding a halo of stability and creativity to the fashion firm.

Colours

The election of the colours is based on the elegance that ‘Del Pozo’ wants to transmit. Assuring that the brand is in grey scale. These colours are powerful, sta-ble and elegant. Black colour represents the feminine, mysterious and magical force that ‘Del Pozo’ women represents.

Due to the colours selected for both letters, the P is the protagonist, but the D conforms the perfect combination and completes it.

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Typography

The typography chosen for the brand is Ayuthaya letter. It will be used for the graphic representation and for the advertising. The election of this typography is based on two reasons, its legibility and modernity.

The secondary typography is Gill Sans for the paper work.

Competitors comparison

After seen this map, it is obvious that the new brand fits perfectly with the image that the Spanish designers project in the fashion market.

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Aplications

Stationery

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ANNEXES

ANNEX INew Competitors

Ailanto

Ailanto is a Barcelona-based fashion company set up in 1992 by Iñaki and Aitor Muñoz, twin brothers born in Algorta in the Basque Country in 1968. Both gra-duated in Fine Arts from the University of Barcelona. Iñaki also received a degree in Fashion Design from the IADE School in Barcelona.

The Ailanto universe is mainly visual; its most charac-teristic features include its colour combinations and geometrical forms as well as its references to avant-garde and modern artistic trends. The accent is pla-ced on careful attention to details and finishes, as well as fine fabrics (linen, wool and silk) that add the sense of lightness necessary to balance industrial rigidity and ultra-modern aesthetics.

In 1999 Ailanto began its global expansion, taking part in trade shows like Prêt-à-Porter de París (Atmos-phère) and at Creators’ Week at Workshop Paris and Tranoï. Its main international markets are Japan, the US, Hong-Kong, the UK, Belgium and Italy, where it sells at leading boutiques and department stores like Bergdorf Goodman (NY), Penélope (Brescia), Har-vey Nichols (Hong Kong), Baycrew’s Spick and Span (Tokyo), The Cross (London), Baycrew’s Spick and Span (Tokyo), The American Rag Cie (Los Angeles, San Francisco), Iris Kalaora (Istanbul) and Chaplin’s (Cyprus).

Since 2001 Ailanto collections have been presented at the Cibeles Fashion Show in Madrid.

In November 2004 Ailanto won the “Prize for Best Designer” in the magazine Glamour, and in Novem-ber 2009, the designer duo was chosen as “Best National Designer” by the magazine Marie Claire.

In addition to designing and distributing their own collections, Ailanto work on different creative projects like fashion exhibition “Genius cuts a figure”, at the Saitama Prefectural Modern Museum (Japan, 2005), “Madrid Moda New York” at Queen Sofia Spanish Institute (New York 2007) and “Fashion and Light” at the Victoria & Albert Museum (London 2008).

In spring 2010, Ailanto opened its own shop in Barce-lona, at Calle Enric Granados 46.

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Duyos

Juan Duyos started work with designer Manuel Piña in 1992, whilst creating his own early collections for a number of stores and friends. In 1995 he set up Duyos & Paniagua with designer Cecilia Paniagua. Between 1996 and 1999, he went on to work with Antonio Pernas, creating his own knitwear collections in parallel.

The Duyos & Paniagua Cibeles Catwalk debut came in 1997, with the 1998 summer collection Naturama. In 1998 the British Embassy invited Duyos & Paniagua to present the collection at London Fashion Week.

The first collection under the Duyos brand name was launched in 1999. Called Recuerda y guarda (Remember and Keep), it received the L’Oréal Award for best collection in show at Cibeles. Since then, the firm has been a constant presence at the Madrid fashion event.

Juan Duyos has also been involved in a series of projects that have taken him into other areas of de-sign. In April 2000 he presented costume designs for Amargo a production staged by the Rafael Amargo flamenco ballet company. He has also taken part in an itinerant exhibition featuring 12 outfits, organised by the Cervantes Institute, which has travelled to Tokyo, Beijing and Istanbul.

In 2005 he launched the eyewear line Duyos Vista and in 2006, his second fashion line Fande Duyos and the bag collection Duyos+Broch&Broch.

In 2007, he presented his first bridal collection with Novissima at the Puerta de Europa bridalwear show. A year later, he took part in Barcelona Bridal Week with his first collection for grooms, in partnership with Miquel Suay. His bridal collections have also featured at Cibeles Madrid Brides.

In 2009 he presented summer collection “Tiki” at NY Fashion Week at the Public Library and is a member of the 4EYES NY project.

As part of the Special K + Duyos project, Juan Duyos launched a collection of five denim designs to enhan-ce five kinds of silhouettes in 2010.

The Juan Duyos universe, not without its irony, stands out for its colour richness. He draws inspiration from natural landscapes and skilfully balances straight, clean-cut lines with millimetric draping.

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Amaya Arzuaga

Amaya Arzuaga, one of Spain’s best known designers, completed her studies in Fashion Design at Madrid’s Polytechnic University in 1992 and joined Elipse, the family business. Two years later she set up her own company and launched her first collection. In 1995 and 1996 she presented her collections in Barcelona, Madrid, Paris and New York.

In 1997 she became the first female Spanish designer to be chosen to take part in the London Fashion Week. Following her success in the British capital, she was invited to the Milan Fashion Week by the National Chamber of Italian Fashion to present her 2003 spring summer collection, together with de-signers such as Tom Ford (for Gucci), Miuccia Prada, Dolce&Gabbana or Alberta Ferretti.

This international success has generated considerable sales outside Spain, which represent 70% of her total production. Her major markets are Spain, England, the United States, Japan, Belgium, France, Italy, Hong Kong and Australia.

As well as designing clothes for both men and wo-men, each season Amaya also creates an extensive collection of accessories and a line of swimwear. At her Madrid atelier, on Calle Valverde 33, she creates her bridal and couture pieces. Today her clothes are sold at more than 200 retail outlets throughout Spain. She opened her first exclusive store in Madrid, loca-ted on Calle Lagasca 50, in the year 2000.

Amaya Arzuaga leaves her signature mark on every Cibeles Madrid Fashion Week. Her trademarks - a predilection for miniskirts, subtly accented sci-fi shoul-ders and enveloping 3D spirals, continue to be seen in her new lines, AA pret-à-porter and AA maille.

Unveiled during the Madrid catwalk’s spring/summer 2011 edition, she offers urban and daring designs based around geometry and weightlessness.

On 28 September 2010, Amaya Arzuaga debuted at Paris Fashion Week with her spring/summer 2011 prêt-à-porter collection, a signature offering laced with her legendary volumes.

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Juanjo Oliva

Juanjo Oliva was born in Madrid in 1971. After com-pleting his diploma in Fashion Design at IADE, the Madrid Artistic Institution of Education, and following a fashion illustration course at the Parsons School of Design in New York, he undertook his first job for designer Isabel Berz in the early 90s, working for her catwalks at Cibeles.

During that decade he worked as an illustrator, fas-hion designer and catwalk coordinator for top names like Zara, Helena Rohner, Antonio Pernas, Sybilla and Amaya Arzuaga.

After this prolific stage in his career, in 2000, Juanjo Oliva decided to open Egotherapy, a shop-studio ori-ginally located in the heart of Madrid’s chic Salaman-ca district, which has since moved to 7, Calle Orfila, where the designer currently sells both couture and ready-to-wear.

In 2003 he made his first solo appearance at the Cibeles Catwalk with an autumn-winter 2004-05 collection of his own, called Debut. Since then, he has been present at every edition. Oliva also exhibits his bridalwear at Gaudí Brides. In September 2009 he gave a “virtual” presentation of his spring-summer 2010 collection at New York Fashion Week.

His extensive and solid career has brought him many accolades. Awards include two L´Oréal prizes for Best Collection at Cibeles – autumn-winter 05/06 and spring-summer 2009 – the Prix d´Excellence Marie-Claire International 2005 for Best New Designer and the “T” prize awarded by Telva in 2006 for Best National Designer.

His collections are designed for a woman who loves discreet elegance, and are always surprising for their pendulum swings between total black and unbeatable colour mix, with silhouettes that echo couture.

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Catwalks

Target

Sophisticated, femenine women

Young, futurist and femenine women. Modern, urban and femenine and young women

Poweful woman who knows what she wants

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Perfumes

NO

ShopsOwn shops

ECI “Castellana” corner ACME agreement

Own ShopsECI “Castellana” corner ACME agreement

AntrophologieCorners in international deparment stores

ECI “Castellana” corner ACME agreement

No own shop

Own ShopECI “Castellana” corner ACME agreement

ECI CornersMulti Brand retailers

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InternationalPresence

ACME Agreement

ACME agreementItalyJapanUSA

Hong KongBelgium

UKChipreKuwaitDubai

Multibrand retailers:Kuwait & Paris

ACME AgreementUK, Italy, Belgium

Japan

Price(reference: Dress)

200-300€

170-250€

200-500€

300-600€

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Strategy

Mix of fashion&business:Sunglasses, perfumes, accesories.

Internationalization:US/ Europe/Asia

Low cost line for ECI: Elogy Limited Edition

Internationalization:US/ Europe/Asia

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ANNEX IISurvey

Tool: Surveymonkey.com

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Conclusions:

“Top of mind” designers

1. David Delfín2. Amaya Arzuaga3. Custo Barcelona4. Adolfo Domínguez5. Jesús del Pozo

Most prestigous designers

1. Balenciaga2. Amaya Arzuaga3. Custo Barcelona4. Pertegaz5. Jesús del Pozo

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ANNEX IIIKPI Measurement

Action Audiences Indicators Coverage

Press Release:

Naming change

Media Costumers StylistBloggers

Clipping offline: TV, general and specialized press.

Clipping online: general and specialized press.

Monitoring of Twitter with the hashtag #conoceDel-Pozo

Number of press realeses Number of spectatorsNumber of twitterNumber of visitorsNumber of mentions

TVTVE1 news: 2.124.000 specta-tors Antena 3 News: 1.781.000 spectatorsCuatro News: 857.000 specta-torsTelecinco News: 1. 313.000 spectatorsLa Sexta News: 856.000 spec-tators Divinity: Nova:

According to data obtained on ‘La Guía TV’ on the 6th july 2012.

MagazinesVogue: 889.000ELLE: 692.000Vanity Fair : 533.000Harper’s Bazaar : 398.000

Offline Press El País: 1.915.000EL Mundo: 1.234.000La Vanguardia: 849.000ABC: 660.000La Razón: 298.000

Online Press:Vogue.es: 672.000ELLE.es: 579.000 S Moda: 548.000Vanity Fair : 432.000Harper’s Bazaar : 387.000

Twitter :DEL POZO: 1.740 followersVogue: 399.513Vanity Fair : 229.931ELLE. 268.463Harper’s Bazaar : 201.227El País: 1.608.278

El Mundo: 759.615

EXTERNAL

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Action Audiences Indicators Coverage

Online and offline clipping

Number of readers Number of visitorsNumber of mentions

Offline MagazinesVogue: 889.000ELLE: 692.000Vanity Fair : 533.000Harper’s Bazaar : 398.000

Online Press:Vogue.es: 672.000ELLE.es: 579.000 S Moda: 548.000Vanity Fair : 432.000

Harper’s Bazaar : 387.000

Media Costumers StylistBloggers

Advertorials:

Fashion Magazines

Advertorials:

Sunday Supplements

Costumers StylistBloggers

Clipping Offline

Number of visitorsNumber of press releases

El País Semanal+Dominical: 2.134.000El Magazine: 797.000Yo Dona: 441.000

Report on “Solo Moda” Costumers Audience

Percentage of audience

554.000 spectators

Prescribers Media Costumers StylistBloggers

Online and offline clipping

Number of readers Number of visitorsNumber of mentions

MagazinesVogue: 889.000ELLE: 692.000Vanity Fair : 533.000Harper’s Bazaar : 398.000Yo Dona: 441.000

Online Press:Vogue.es: 672.000ELLE.es: 579.000 S Moda: 548.000Vanity Fair : 432.000Harper’s Bazaar : 387.000Trendencias: 720.000Yo Dona: 425.000

Mercedes Benz Fashion Week Madrid(August 2012 and February 2013)

MediaCostumersStylistBloggersPrescribers

Clipping offline: TV, general and specialized press.

Clipping online: general and specialized press.

Monitoring of Twitter with the hastag #duendeDel-Pozo

TVTVE1 news: 2.124.000 specta-tors Antena 3 News: 1.781.000 spectatorsCuatro News: 857.000 specta-torsTelecinco News: 1. 313.000 spectatorsLa Sexta News: 856.000 spec-tators

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(cont.)

Mercedes Benz Fashion Week Madrid(August 2012 and February 2013)

TVDivinity: (no data)Nova: (no data)

Offline Press El País: 1.915.000EL Mundo: 1.234.000La Vanguardia: 849.000ABC: 660.000La Razón: 298.000Hola: 2.300.000

TWITTERDEL POZO: 1.740 followersVogue: 399.513 followersELLE.es: 579.000 followers

S Moda: 548.000 readersTrendencias: 720.000 readersYo Dona: 425.000 readersModa.es: (no data)

Action Audiences Indicators Coverage

Fashion Night Out MediaCostumersStylistBloggersPrescribers

Online and offline clipping

Hastag #FNODelPozo

Number of press releasesNumber of mentionsNumber of visitors

MagazinesVogue: 889.000ELLE: 692.000Vanity Fair : 533.000Harper’s Bazaar : 398.000

Online Press:Vogue.es: 672.000ELLE.es: 579.000 S Moda: 548.000Vanity Fair : 432.000Harper’s Bazaar : 387.000

Twitter :DEL POZO: 1.740 followersVogue: 399.513Vanity Fair : 229.931ELLE. 268.463Harper’s Bazaar : 201.227Juana Acosta: 52.930

Brunch with stylists CostumersStylist

Online and offline clipping

Number of assistants Number of mentionsNumber of visitorsNumber of press releases

Hashtag #brunchestilitasDel-PozoHastag #brunchDelPozo

MagazinesVogue: 889.000ELLE: 692.000Vanity Fair : 533.000Harper’s Bazaar : 398.000

Use of the clothing at editorial of fashion magazines

Monitoring the followers of the stylists invited

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Action Audiences Indicators Coverage

Brunch with bloggers CostumersBloggers

Clipping online

Number of press releasesNumber of assistants Number of mentionsNumber of visitors

Hashtag #brunchbloggersDel-PozoHastag #reencuentrobloggers-

DelPozo

Rank of the bloggers:

Mi armario en ruinas: 1732. Sites Linking: 3485Style Lovely: 824. Sites linking: 2658Macarena Gea: 5.406. Sites linking: 589Con dos tacones: no data. Sites Linking: 906.Rebel Attitude: 79.979. Sites linking: 488Fashion Salade: 1372. Sites Linking: 3.482

Monitoring the tweets and retweets due to the hastag.

Collaboration with Com-pañía Nacional de Danza designing the costumes.

MediaCostumers

Online and offline clipping

Percentage of audienceNumber of press releasesNumbers of visitorsNumber of mentions

TVTVE1 news: 2.124.000 specta-tors Antena 3 News: 1.781.000 spectatorsCuatro News: 857.000 specta-torsTelecinco News: 1. 313.000 spectatorsLa Sexta News: 856.000 spec-tators Divinity: Nova:

MagazinesVogue: 889.000ELLE: 692.000Vanity Fair : 533.000Harper’s Bazaar : 398.000

Offline Press El País: 1.915.000EL Mundo: 1.234.000La Vanguardia: 849.000ABC: 660.000La Razón: 298.000

Online Press:Vogue.es: 672.000ELLE.es: 579.000 S Moda: 548.000Vanity Fair : 432.000Harper’s Bazaar : 387.000

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Action Audiences Indicators Coverage

Formal email announcing changes

Employees “Del Pozo” Lectures of the email

Number of email verifica-tions

25 people of ‘Del Pozo’

Formal Meeting Employees “Del Pozo” Assistants 25 people

Formal email El Corte InglésMultibrands Stores

Lectures of the email

Number of email verifica-tions

Number of employees at the corner/shops

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ANNEX IVPress Release

Jesús del Pozo presents its new naming and brand image

MADRID,11-07-12. - The Spanish fashion brand, Jesús del Pozo, presents today its new naming and corporate image. This change is due to a new commercial strategy whose objective is to reposition the company towards a younger profile.

After the death of the brand’s founder, Jesús del Pozo, and the incorporation of the new creative director, Josep Font, seeks to project a new brand image, but without loosing the essence implemen-ted by Jesús del Pozo. In words of Josep Font: ‘my intention is to position the brand in the women’s imaginary to know it as a current firm but without loosing that duende which Jesús del Pozo created for them ‘.

The fashion company transforms its name Jesús del Pozo into Del Pozo, using a more modern type-face and according to the current tastes of society.

The company, owned by the Group Perfumes y Diseño, consider women as an essential part of the brand identity. For this reason, fits its image, identity and values to the contemporary women.

Josep Font, creative director of the firm assures: ‘we are working to have fully developed the new brand image for the presentation of the next collection spring summer 2013’.

After this renewal of the brand, the firm expects for 2013 its international jump to United States, Colombia and Panama.

Del Pozo AtelierRonda de Toledo 1, 28005 MadridTel. +34 915319049Fax. +34 915310477delpozo@delpozo.com

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Bibliography

ACME Activities report 2011.

Analysis of the Spanish textile sector from the Uni-versity of Valencia 2006.

AL RIES y JACK TROUT (1999): The 22 inmutable laws of marketing. HarperCollins.

BRADZTM (2008): Top 100 most powerful brands.

CARRASCOSA, J. L. (1992): ComunicAcción. Una comunicación eficaz para el éxito en los negocios. Ciencias de la dirección.

DÍAZ SOLOAGA, Paloma (2007): El valor de la comunicación: cómo gestionar marcas de moda. Madrid: CIE Inversiones Editoriales Dossat 2000.

CARDENAL, Mercedes. “Cómo iniciar y adminis-trar una empresa de moda”. Norma.

Jesús del Pozo Annual Accounts 2011 and 2010.

DE JUAN VIGARAY, María D. (2006): Analysis of the textile sector. Evolution, production and distribu-tion.

IND, NICHOLAS (2007): Living the Brand. Kogan Page.

INTERBRAND (2008): Best global brands.

ONGALLO, C. (2000): Manual de Comunicación. Dykinson.

Webgraphy

www.creadores.orgwww.elcorteingles.eswww.elmundo.eswww.elpaís.eswww.fashionfromspain.comwww.jesusdelpozo.comwww.kantarmedia.eswww.kantarwordpanel.comwww.mercedesbenzfashionweekmadrid.comwww.modaes.eswww.oblicua.es

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