Luxury Marketing

MKT 710
Tutor: Malani Gunaratnam
Paper Type: Report
By
Melis Yurtbay
S00603718

Luxury Marketing: Critical evaluation of

Chanel &Hermès
1. Introduction………………………………………………………………………………….1
2. Brands Overview……………………………………………………………………………1
3. Theoretical Framework…………………………………………………………………….2
3.1. Brand Positioning/Identity………………………………………………………2
3.2. Brand Heritage…………………………………………………………………….5
3.3. Brand DNA…………………………………………………………………………6
3.4. Brand Touch Points……………………………………………………………...7
3.5. Flagship Store…………………………………………………………………….8
4. CHANEL Analysis…………………………………………………………………………..9
4.1. CHANEL Identity Prism…………………………………………………………9
4.2. CHANEL Heritage….……………………………………………………………10
4.3. CHANEL DNA……………………………………………………………………10
5. CHANEL Touch Points...…………………………………………………………………11
5.1. CHANEL Flagship Store……………………………………………………….12
5.2. CHANEL Online Campaigns………………………………………………..…13
5.3. CHANEL Printed Advertising Campaign……………………………………13
6. HERMES Analysis…………………………………………………………………………15
6.1. HERMES Identity Prism…..……………………………………………………15
6.2. HERMES Heritage………………………………………………………………15
6.3. HERMES DNA……………………………………………………………………16
7. HERMES Touch Points…………………………………………………………………...16
7.1. HERMES Flagship Store…………………………………………………….…17
7.2. Print Advertising Campaigns…………………………………………………17
7.3. HERMES Online Campaign Videos…………..………………………………19
8. Critical Comparison of Chanel and HERMES………………………………………..19
9. Conclusion and Recommendations……………………………………………………21

References…………………………………………………………………………………….22
APPENDICES………………………………………………………………………………….28
1. Introduction
One of the main differences between the luxury goods segment and other segments is
the fact that the former does not employ the traditional marketing strategies to appeal to
its customers. The present paper seeks to analyse the marketing strategies and more
precisely the brand market position, heritage and brand DNA of the luxury brands
Chanel and Hermès and the ways in which these are communicated through their
flagship stores. Moreover, this paper analyses the consistency of the marketing
messages, which the stores of these brands provide in relation to their other ‘brand
touch points’.

2. Brands Overview

CHANEL Overview

Chanel is a French luxury goods brand founded in 1909 by Gabrielle Bonheur

Chanel. Its success can be attributed to the measured attention it pays to multiple
consumer segments, its strong use brand DNA elements in video and advertising in
luxury publications for which it was also proclaimed as the Luxury Marketer of the
Year by Luxury Daily in 2013 (Luxury Daily, 2013a). Chanel targets high-income
women between the age of 23 and 80. The most transparent strategy to appeal to
younger consumers was to include celebrity endorsement with actress Kristin
Stewart in its advertising campaigns (Luxury Daily, 2013a). Another strategy to
appeal to its younger consumers is through digital media campaigns, including the
mobile strategy, advertisements on Hulu and online consumer interaction (Luxury
Daily, 2011a). In terms of this, Chanel’s brand image in consumer minds highly
associate with its core products, premium pricing strategy, quality and aesthetics.
Due to the fact, it is still one of the few brands that do not sell its goods online, which,
however, does not impact its performance, as it remains the best marketer in this
segment
 HERMES Overview
Hermes is a France-based company, founded in 1837. While many luxury houses
saw slowing of growth in 2012 Hermès reported acceleration and record operating
margins (Mintel, 2013), which can be attributed to its ultra-luxury, prestige positioning
and resistance to growing its retail network (ibid.). Its marketing strategy is to be
unique and highly exclusive, so that it maintains exclusivity and low supply (CEO
Milton Pedraza, Luxury Daily, 2013b). It targets only elite and affluent consumers
and, consequently, applies a prestige pricing strategy that limits access to the brand
following specific association with product characteristic. Hermès is not available on
all marketing channels in order to maintain its exclusivity (ibid.). However, it offers
online retail and thereby is in line with the new trend in the luxury industry - the luxury
online retailing, which is expected to grow rapidly (Euromonitor, 2014). Hermès has a
long heritage, which is communicated through various channels whereby the Festival
des Métiers is one of the most successful. Same as Chanel, Hermès also seeks to
appeal to younger consumers mostly through social media and storytelling videos
posted on social media.

3. Theoretical Framework
3.1. Brand Positioning/Identity

According to Kapferer and Bastien the concept of positioning should not be applied to
luxury goods as they focus on their unique identity and do not compare each other
with other luxury goods brands (2009, p. 62). Instead, luxury goods can differentiate
themselves through their identity, character and personality (ibid.). Brand identity is
‘what the brand says’ to consumers (Chevalier and Mazzalovo, 2012). Among the
many tangible and intangible characteristics of luxury brands identity (Figure 2)
durability and differentiation are essential (ibid.).
Figure 2. Luxury brand identity prism

Source: Kapferer and Bastien, 2009

Figure 3. Brand positioning graphic of Chanel and Hermès1
The brand-positioning graphic of Chanel and Hermès reveals that both, Chanel and
Hermès position themselves as brands with strong brand heritage, though the latter
positions itself as possessing stronger heritage. This is due to the longer history of the
brand dating from 1837 as well as from the fact that it is still run by the Hermès family.
In terms of their style, the products of both brands can be classified as considerably
classy though Chanel positions itself as more classy. This is so because Hermès also
use digital media and social web, however, Chanel manage multi channel
communication, social web and digital media in a better way for their advantage

1
Other brands that compete with Chanel and Hermès due to their strong heritage and classy
style include Christian Dior, Louis Vuitton (LV) and Givenchy. Dior positions itself in customers’
minds as cool, trendy but still luxurious and this is why it changed its brand name and erased
the forename Christian in order to reflect the modern look (Okonkwo, 2007, p.109). LV positions
itself as a high-end luxury brand, which differentiates itself by its timeless and authentic style.
Givenchy differentiates itself by its avant-garde, gothic yet elegant identity. All of these brands
use digital marketing strategies, though Chanel’s digital presence is most sophisticated and
advanced. Chanel differentiates itself from its competitors by creating a brand image, which
focuses strongly on its founder and her ideals of fashion. Hermès has established its brand
image, which consists of strong focus on craftsmanship and brand heritage and of staying true
to its savoir-faire. Both brands make use of adverts, sponsorships, celebrity endorsement,
flagship stores and logos in order to maintain a distinctive brand image. Chanel succeeds in
cultivating its strong identity by combining its values of tradition with the audacity of its designers
(Chevalier and Mazzalovo, 2012, p.23). It has used its strong brand identity to extend its product
line and apart from clothes it is now producing jewelry, accessories and beauty products.
Similarly, even though Hermès started as a saddlemaker it used its strong brand identity and
now produces accessories, clothes, tableware and furniture. The brands do this in order to
reach to a wider audience.
3.2. Brand Heritage

Brand heritage has been defined as a mixture of the history, core values and visual
symbols (Urde et al., 2007). It has the ability to create nostalgia and credibility for the
brand (Naughton and Vlasic, 1998). It is an important factor that makes brands stand
out, i.e. it creates advantages over competition (Urde et al., 2007). It is a very
important concept as it is the first thing to come to mind when a brand name is
mentioned and has been used by many brands, including Chanel and Hermès, to
differentiate themselves from the competitors and to create an image of a prestigious
brand.

Figure 4. Elements of brand heritage

Source: Urde et al., 2007

3.3. Brand DNA

Brand DNA is comprised of the core characteristics and sources of competitive

advantage unique to a brand (Chapman and Tulien, 2010, p.20) (Figure 5). The
most important elements of a brand DNA are the values and the style, i.e., how the
brand relates to its clients, staff, vendors etc. (ibid.). Nowadays it is crucial that
luxury brands remain true to their DNA while being relevant to new audiences
(Luxury Daily, 2013c).

Following these, it is obvious that both Chanel and Hermes have been keeping their
own unique personas, that promises to provide classic values, visions and identity of
brands that makes Chanel & Hermes successful in changing but not ending fashion
industry as leading identities that will be focused further in this paper.
Figure 5. Elements of brand DNA

Source: CeQuotia Consulting, 2010

3.4. Brand touch points

Brand touch points are points through which users come in contact with brands
(Abbing, 2010, p.170). According to Davis and Dunn (2002, p.7) users can
experience brands throughout three stages: the pre-purchase, the purchase and the
post-purchase experience (Figure 5).

According to this, both Chanel & Hermes deliver the functional and emotional benefits to
users that differentiate the consumers of brands with customer focus communication
from others and give them a prestigious statue (Abbing, 2010, p.170).
Figure 6. Brand Touch Point Wheel

Source: Davis and Dunn, 2002, p.7

3.5. Flagship Store

Flagship stores are the places where users come in direct interaction with the brand.
They reinforce and enhance the retailer's luxury status and enhance and maintain
relationships with customers, distribution partners and with fashion media (Moore,
Doherty and Doyle, 2010). They convey the narratives of brands and provide users
with entertainment (Kozinetsa et al., 2002, p.17).

Due to the fact that, any brand that keep being successful or aims to be successful
should provide the brand’s iconic feeling from decoration to direct marketing strategies
by offering high-class services where the customers can interact with a Brand, in
Flagship stores (Keller 2009, p. 291).
4. CHANEL Analysis
4.1. CHANEL Identity Prism 2
Personality
Instinctive
Daring
Culture
Creative
Physique Perfectionist
Simplicity
"Total look for Undestated and Sophistication
women" sophisticated Anticipation
Liberation

Relationship Self Image

Durable A liberated
Flattering Reflection woman's
Respectful The modern lifestyle
elegant
women

Source: Chevalier and Mazzalovo, 2003, p.102

2 The physique of brands refers to the sensory and objective characteristics of products (Chevalier and
Mazzalovo, 2012, p. 161) and for Chanel this is “the total look for women” because Chanel’s product lines
integrate various elements of woman's outfit. Brand personality refers to the character of brands (ibid.,
p.162) and for Chanel this is its daring, creative and perfectionist character. This is so because Chanel’s
products are daring which mainly arises from the integration of male elements in woman’s outfit; because
even though Chanel hinges on heritage it still innovates its product lines in order to keep consumers
interested with creative solutions; and because perfectionism was Coco Chanel’s credo: “Luxury lies
in invisible perfection” which the brand still applies to all its collections. Brand’s culture refers to the
original values of the creators (ibid.) and for Chanel these are Coco Chanel’s values of simplicity and
sophistication in terms of style and the liberation, which she brought to women through her bold,
revolutionary and manly designs. The brand’s self-image refers to the image consumers have of
themselves when buying the product (ibid.). Chanel’s customers perceive themselves as confident and
liberated women free from constrains which is identical with the image that Coco projected of herself. The
brand’s reflection refers to the typical customer which the market associates with a brand (ibid., p. 163)
and in terms of Chanel this is the modern elegant woman because this brand offers contemporary and
elegant clothing for women. Lastly, brand relationship refers to the social communication of a brand
(ibid.). When consumers use a Chanel product they believe that they are perceived as flattering and
respectful which mainly arises from the prestige that this brand carries as well as from the classy and
elegant style of its collections.
4.2. CHANEL Heritage

As pointed out by Kapferer and Bastien there must be a founding myth (2009, p. 87),
which Chanel certainly has. The heritage of Chanel is communicated through the cult
that is made around its founder, Coco Chanel and the company is very successful in
maintaining this cult. For instance, it is possible to see the heritage of Chanel in the
flagship stores and every season collection, yet there must always be something
immediately familiar, suggestive of an iconic that denotes heritage and enduring value
including symbols of Coco Chanel which are lion heads, pearls, interlocking double-C
Logo and camellias (Picardie,J, 2010, p2). In addition, at its No.5 Culture
Chanel exhibition in Paris Chanel gave a unique insight into Coco's life and work.
Similarly, the film about Coco at Chanel’s website (Appendix 1) also tells the story of the
founder. Basically, Chanel answers all the expectation of customers about statues
symbol given by brand heritage.

4.3. CHANEL DNA

Chanel values are heritage, perfectionism, elegancy, the minimalist ‘less is more’
approach and good quality. Another core value is the combination of masculine and
feminine elements in its products (Appendix 2 and 3). Chanel’s brand promise is one of
luxury, sophistication and elite status. Its global vision articulates Coco Chanel’s vision:
“In order to be irreplaceable one must always be different”. Chanel executes the brand
by using celebrity endorsement (Appendix 4) and events sponsorships and engages its
customers through social media, online interaction and advertising in luxury magazines.
5. CHANEL Touch Points
The foregoing analysis reveals the core values and key messages of Chanel:

Brand heritage and legacy

Liberation of women and combination of simplicity
and luxury
The following section analyses the communication of these messages across different
touch points.

5.1. CHANEL Flagship Stores

Figure 7. Chanel’s Flagship Store, New Bond Street, London

Source: Roye, 2013

The flagship store on London’s New Bond Street combines brand heritage with
contemporary. The store is designed by Peter Marino who used Coco Chanel’s
apartment, 31 Rue Cambon, as an inspiration (Alex Loves, 2013). By honouring Coco,
he sought to bring Coco closer to consumers and thereby to communicate the brand
legacy, which arises from her. The heritage element and the brand DNA is
communicated through the vintage furniture, the giant pearl necklace, the combination of
black and white and the double C logo in addition to lions that signifying Coco’
astrological sign of Leo in commemoration of birthday on 19 th August 1883 (Picardie,J,
2010, p2). Similar to Paris store, New Bond street store is decorated with cream
surfaces, silver mirrors black and shiny floorings like lipstick case and ivory walls behind
the porcelain faced models (Appendix 5) that present iconic pieces (Picardie,J, 2010,
p2). The giant pearl necklace which reaches from the floor to the ceiling (Appendix 6) are
one of the tangible elements in this store that evoke associations with Coco’s signature
pearls and with Chanel’s spirit. Chanel’s spirit is also reflected through the timeless and
classic pieces featured in the store. Moreover, the combination of black and white is also
used throughout the store and echoes the simplicity of Chanel’s products (Appendix 7).
The double ‘C’ logo created by Coco which is laden with brand’s history, is used
throughout Chanel’s stores and seeks to reflect the founding myth of the brand
(Appendix 8). The walls covered in gold tweed (ibid.) and the tweed chairs (Appendix 9)
seek to refer to the iconic and classic Chanel tweed products for which Chanel is well
known. The glass and mirrored walls featuring gold ribbon seek to refer to Coco’s spirit,
which was originally devised by her (Vogue, 2013). In addition, Chanel’s New Bond
street store’s uses iPad’s to help customer to find the goods from several collection
available. In addition, thanks to the mirrors located cleverly, it is possible to watch videos
on screen by the mirror reflection during the purchase (Appendix 10.) as direct marketing
strategy shown also in the Chanel’s official website. To sum, Flagship store of Chanel
represent brands DNA and brand Heritage in successful aspects following Coco’s Cult.
5.2 CHANEL Online Campaigns
Chanel’s videos on social media play with the brand’s feminine and sophisticated codes
(Luxury Daily, 2014a). They are a great representation of Chanel’s messages; they are
bold, liberating, stylized and sophisticated (ibid.). Chanel also shared backstage videos
from the photo shoot and Cannes Film Festival 2014 (Appendix 11b.) with Kristen
Stewart in order to satisfy the desire for insider access among consumers (Luxury Daily,
2014b). The Inside Chanel project is a micro-site, which tells the story of Chanel and its
founder through short documentaries (Luxury Daily, 2014c). All of the documentaries
are in black and white graphics thereby relating to Coco because she was a clear
advocate of these two colours. Chanel also launched a No.5 fragrance campaign in
2012 with Brad Pitt. The purpose was to raise awareness of the fragrance among new
consumers, i.e. among men, and to encourage them to buy the product as a gift to
women. As it can be seen Chanel uses online communication tools in a clever way for
its advantage to keep its place in the market as leader.

5.3. CHANEL Printed Advertising Campaign

The black-and-white combination of colours is dominating; the advertisements depict
modern, elegant and confident women; and while there are men figures, women
dominate the pictures and are brought into the centre of attention (Figure 7). The
liberation of women and the daring nature of women are depicted with Kristen Stewart
who has become part of the Métiers d'Art Paris-Dallas campaign (Appendix 11a). The
purpose of this move was to attract the younger audience and is evidence of Chanel’s
use of celebrity endorsement to appeal to different demographic segments. Chanel
uses the actress’ popularity among the younger audience and believes that she can
connect Chanel’s collection with her fans (Luxury Daily, 2013d).
Figure 7. CHANEL print advertisements

Source: Printerest, 2014 & McCulloch, 2012

6. HERMES Analysis
6.1. HERMES Identity Prism3

Personality
Concrete
Warm Culture
Traditional but Sportswear for the
Physique slightly original elite
Fine Material Athletic and Luxury craftmanship
elegant
Leather objects Exceptional expertise
for exceptional peole

Self Image
Relationship
Social representation
Confidence
A lifetime purchase
Loyalty Reflection Exclusiveness
Classic
High-quality

Source: Chevalier and Mazzalovo, 2003, p. 103

6.2. HERMES Heritage

Hermès honours its roots through its products, by promoting customizable saddles and
other products, which are inspired from the brand’s history. The original logo and the
font have remained unchanged thereby reminding consumers of the brand’s history.
The most recent marketing campaign aimed at emphasising its heritage is the “Festival
des Métiers” (Appendix 12), which allows customers to meet with the craftspeople and
provides them with insight into its traditions and values in the crafting of products.

3
Hermès physique is characterised by fine materials and leather because of the iconic silk scarf for which
the brand is well known and because it specializes in leather and is well known for the Kelly crocodile
leather handbag. Its personality can be characterised as traditional but original, and athletic but elegant.
This is so because Hermès maintains its traditional style while adapting to the newest trends; and
because apart from its very strictly elegant collections it also launches chic-sportive collections. The
original values of Hermès creators were those of luxury craftsmanship and elegancy in sportswear. When
consumers use Hermès products they perceive themselves as possessing something exclusive and of
highest quality, which is also essential part of Hermès’ reflection along with classy style. Customers using
Hermès’ products communicate confidence arising from using this brand’s products and loyalty toward
the brand.
6.3. HERMES DNA
The core values of Hermès DNA include craftsmanship, history and quality. Hermès
promises a commitment to quality and refinement of each of its products, which is
guaranteed by rejecting mass production, assembly lines, and mechanization and by
relying on hand-made products only (Forbes, 2012). The vision of this brand is to bring
satisfaction to customers by providing them with the best quality materials and best
craftsmanship with excellent creativity. The brand executes the brand by sponsoring
events such as horse competitions, and engages customers through storytelling, social
media, experience stores and advertisements.

7. HERMES Touch Points

The foregoing analysis reveals the key messages of Hermès:

 Combination of craftsmanship and heritage

 Exclusivity and luxury for the elite

The following section analyses the communication of these messages across its
flagship stores, printed advertisements and online campaigns.
7.1. HERMES Flagship Stores
Flagship store on New Bond Street, designed by the MRA architectural company, by
consistent with the brand DNA. In order to make customer focus previously on a goods
that rich as craftsmanship, Hermes’s simple but premium quality interior design also
settled in to Time Life Building that also matching Hermes’ historic but also
‘contemporary artisan’ aesthetic value similar to the historic Mumbai stores (Appendix
13.). The New bond Street Hermes store (Appendix 14.), which is now under
renovation, had previously designed with the combination of high quality cream
shimmery flooring, silky carpeting, white walls and oak coloured furniture with glass box
displays at top that reveals the brand’s DNA in its stores. However, Hermes support
temporary installation arts in stores in order to emphasize its creativity and to keep the
brand DNA dynamic, such as the Bloody Installation in 2013 in which the windows
represented homage to Hermès craftsmen (Appendix 15). The equestrian universe,
which is essential part of this brand’s heritage because it represents its beginnings as a
horse saddlery manufacturer, is communicated through horse figures (Appendix 16).
Compare to Chanel’s New Bond Street Store, Hermes didn’t use any media installation
or iPads in order to catch smart media generation rather than offering online shopping
website. However, New Bond street flagship store that under construction keeps being
unknown about new and up coming design perhaps with technological renovations.

7.2. Print Advertising Campaigns

Hermès advertisements depict silk scarves, which are Hermès most famous products
produced since 1973; horses, in order to remind readers the toots of the brand as a
saddlery manufacturer; stylish and elegant leather goods; and different stories and
lifestyles. Following this, Hermes released Sporting Life Printed Advertising in 2013 to
promote the Collection that combine Sporting Life Clothes with a Premium Luxury
goods of Hermes. With Sporting Life campaign, Hermes was planning to show to their
customer How people can also look elegant, stylish and part of Hermes even in clothes
for everyday use. In addition, similar to Chanel, Hermes also achieves to reach young
segment with this cotemporary comfortable collection.
Figure 8. Hermès Print Advertisements

Source: Printerest, 2014 & Akrans, 2006 & Goldberg, 2012)

Hermès Sporting Life Print Advertisements

Source: Goldberg, 2013

7.3. Hermès Online Campaign Videos
Hermès emphasize the brand’s heritage and help consumers to better understand what
distinguishes Hermès from other brands (Luxury Daily, 2014d). Following this, Hermes
encouraged consumers to share The Sporting Life digital video greeting card (Appendix
17.) in 2013 to push the brand’s affiliation with sports with Facebook and other social
sharing platforms (Luxury Daily, 2013e). The purpose behind this strategy was to add a
mysterious element to the brand because it kept customers wondering about the
message and the meaning of the video but also to push the brand’s ideals during the
holiday season as Burberry previously had success with Kisses digital 80-second
video greeting card (Appendix 18.) (ibid.). In addition, different from Chanel, Hermes
can be evaluated as better online retail user as brand itself. Due to the fact, in the world
of smart phone and devices, Hermes invites their targets by the online banner
advertising (Appendix 19) on related fashion magazines or websites

8. Critical comparison of Chanel and Hermès

The above brand analysis revealed that both Chanel and Hermès convey to their
customers their core brand messages across different touch points. They use a variety
of methods to convey their messages, including flagship stores, websites, social media,
logos (Chevalier and Mazzalovo, 2012, p.106), storytelling (Kapferer and Bastien, 2009,
p.122) etc.
 Table 2. Main similarities and differences between Chanel’s and Hermès
Similarities Differences
Both brands are committed to high quality, The main difference in their brands DNA is
though their commitment to the luxury element that Hermès’ focus is on craft skills and on
is also strongly present in both brands DNA. building handcrafted products. The fact that
Accordingly, both brands stayed true to their every single product is hand-produced
core values. Because of their commitment to reinforces the element of luxury and of
quality both brands’ segmentation strategy is individual value because knowing that
to reach to consumers seeking quality, every product is handcrafted and not
refinement and discretion unlike other luxury manufactured in a factory gives a sense of
brands such as Givenchy or Gucci which uniqueness, both to the product and to the
target consumers which want to demonstrate customer that is using it. For this purpose
wealth, bling-bling and to show-off (Hermès the brand seeks to emphasise this feature
CEO Patrick Thomas) of its products across all touch points.
Both brands make strong use of social media Another difference is the minimalist ‘less is
in order to reach and engage the younger more approach’ of Chanel, which enables
audience and to provide them with new its customers to wear Chanel on an
experiences and insights into the brands’ everyday basis while still pertaining its
values. Due to this approach both brands luxury and exclusivity.
should be able to reach more easily the
younger demographic because younger
demographic is more likely to use social media
than the older.
Both brands seek to strengthen the cross- The third difference is in relation to the
channel brand experience by engaging style, that is, while Hermès is more
consumers through various channels: flagship recognizable for its classic style, Chanel is
stores, magazines, websites, social media, more recognizable for its signature style of
mobile-optimised web sites, celebrity the masculine and the feminine. Nonethel,
endorsement etc. despite this difference in style both brands
are able to reach different demographics
because of the brand extension they apply.
9. Conclusion and recommendations
The above analysis confirms that these brands coherently convey their brands’
messages throughout different touch points. While both Chanel and Hermès execute
their brands with strong advertising campaigns and celebrity endorsement, Chanel is
more advanced in this regard. Moreover, its digital marketing campaigns are also more
successful compared to Hermès. Therefore, it can be said that Chanel communicates
its messages in more innovative ways. The flagship stores of both brands successfully
convey their brand messages and keep customers engaged and interested in the brand
by reminding them of the strong heritage while at the same time providing them with
innovative and creative places in which they can feel the brand’s spirit. It can be
recommended that Chanel and Hermès continue to communicate their identity and DNA
through their flagship stores, but this communication should also be extended to the
online world because digital marketing is expected to enhance the luxury experience.
Additionally, both brands should implement segmentation strategies into their digital
marketing strategies in order to have better performing campaigns and less
unsubscribes and in order to give customers a more personalized user experience
(Luxury Daily, 2011b). Moreover, the communication strategy of these brands should
serve as an example for other brands to learn to successfully combine functionality and
emotionality in order to appeal to customers.
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APPENDICES
Appendix 1. Chapter 5 of Inside Chanel – Coco Chanel

Source: Chanel, 2013

1
Appendix 2. Chanel Collections

Sources: Google Images, 2014

2
Appendix 3. Victoria Beckham in Chanel 2012

Sources: Google Images, 2014

3
Appendix 4. Chanel Celebrity Endorsement: Audrey Tautou, Kristin Stewart,
Nicole Kidman and Brad Pitt

Sources: Google Images, 2014

4
Appendix 5. Flagship store on New Bond Street London

Source: Vanthournout, 2013

5
Appendix 6. Flagship store on New Bond Street London

Source: Vanthournout, 2013

6
Appendix 7. Flagship store on New Bond Street London

Source: Vanthournout, 2013

7
Appendix 8. Flagship store on New Bond Street London

Source: Vanthournout, 2013

Mirror Installation Inspiration in New Bond Street store from “Double C and No 5”
motives designed by Coco for her apartment in Paris.

8
Appendix 9. Golden Tweed Walls and Chairs in on New Bond Street Flagship
Store London

Source: Vanthournout, 2013

Source: Vanthournout, 2013

9
Appendix 10. Video Screen on New Bond Street Flagship Store London

Source: Vanthournout, 2013

10
Appendix 11a. Kristen Stewart - Métiers d'Art Collection Paris-Dallas campaign

Source: Lagerfeld, 2013

Appendix 11b. Cannes Film Festival Kristen Stevart Backstage Video

Source: Kallon, 2014

11
Appendix 12. Hermès “Festival des Métiers”

Source: Sharokina, 2013

12
Appendix 13. Hermès flagship store in India, Mumbai

Source: CCP Luxury, 2012

13
Appendix 14. New Bond Street Flagship Store Interior before Renovation

Source: MRA Architecture & Interior Design, 2014

14
Appendix 15. Hermès Bloody Installation, London 2013

Source: Dezeen, 2013

15
Appendix 16. Hermès equestrian value communicated with horse figures in the
flagship Store in Paris

Source: Retail Design Blog, 2011

16
Appendix 17. Hermes Greeting Video 2013 campaign

Luxury Daily, 2013

17
Appendix 18. Burberry Kiss Kiss Digital Campaign

Source: Shayon, 2013

18
Appendix 19. Digital Spring/Summer 2013 campaign

Source: Shea, 2013

The banners shown on the pictures can take customer or target customer directly to the
website of Hermes. Thus Hermes can reach the right target that has been aimed for.

19