This document provides an overview and analysis of the Kenzo brand identity and a proposed marketing plan. It includes a review of past creative directors and their directions for the brand. A market survey analysis examines customer perceptions and competitors. The proposed marketing plan covers the 4Ps of product, price, place, and promotion. It outlines the business model, financial information, SWOT analysis, and a vision for Kenzo in 2020 with pop-up stores, a new collection, and e-communication strategies.

1. -EEKSHITHA M. PRASAD
JING NING

2. K
E
N
Z
CONTENT
Brand Identity
Marketing
Plan
Business Model
SWOT
O Vision 2020

3. BRAND IDENTITY
Vision
“Celebration of youth through a kaleidoscope of color within
culture”
Mission
To steer the brand from its current direction and push it to a new
segment so as to reclaim kenzo’s past glory with a fresh and
innovative approach.
ID

4. KENZO TAKADA
Magician of Color
Review
Archetype: The Nomadic Creator
Renegade – The Positive Rebel
Period: 1970-1999
Direction:
•Fashion without hierarchies
•Blend Eastern mysticism with Western aesthetics
•“the art of Kenzo is a joyful celebration of life itself”

5. ANTONIO MARRAS
The Sardinian Couturier
Review
Stereotype: The Traveling Couturier
Period: 2003 -2010
Direction:
• Italian with Asian influence
•Characterized by excess
•Almost too artistic

6. Review
HUMBERTO LEON AND
CAROL LIM
Designer duo from Opening Ceremony
Stereotype: The Urban Trouper
Period: 2010 – present
Direction:
•Youthful spirit, mixed with fun and
cheekiness
•Urban funk
•Floating above fast fashion

7. KENZO TAKADA
• Elegant and Sophisticated
• Infused with color and
culture

8. ANTONIO MARRAS
Artistic and colorful
Very Sardinian
• Artistic and colorful
• Very Sardinian

9. HUMBERTO LEON AND
CAROL LIM
• Urban and youthful
• Lack of Flow, structured –
Trouper
• Absence of Eastern heritage

10. Past
Elements of nature in the form of print color
and culture integrated into the garment
through shape, design and cut
Present
Today the brand has been metamorphosized
from being ‘Classic Jungle’ to ‘Urban Jungle’
Inspiration – urban youth, the dynamic city
and its elements like electric colors and
plastics.
Conclusion
Deposition of the brand
ID

11. MIND-MAP

12. M
Market Survey
Purpose
In order to understand KENZO as a brand, from the
perspective of a client/potential client we conducted
a survey and gathered a substantial amount of
information to draft the following conclusions.

13. MARKET SURVEY ANALYSIS
Identity (origin), Genre, Price Position
•Based on the survey, 66% concluded that it is
associated with Japan and 18% believed that it
is of French origin.
•39% think KENZO is trendy and playful and
19% feel it is sophisticated.
•83% agreed that it is a premium brand,
however 10% felt it was moving towards fast
fashion.

14. Expectations
•Home décor 33%
•Jewelry 8%
•Candy 21%
•Others 24%: Puppets, tea-sets etc
MARKET SURVEY ANALYSIS

15. Competitors, Target Audience
•46% voted ETRO as KENZO’s closest
competitor followed by Marc Jacobs.
•Kenzo:59% Europe, 27% France
•Etro:65% Asia
•Marc Jacobs: 71% Asia, 91% China(138
stores)
MARKET SURVEY ANALYSIS

16. M
MARKETING PLAN
4Ps
Product
•Heritage Line: A new line inspired by the iconic
pieces of Kenzo infused with an updated outlook
•Limited Edition Collectibles: Inspired by the life and
travels of Kenzo Takada – sourced from the point of
origin.
•Tea-sets from China, Rugs from the Middle-East,
French Dressing doors and Japanese puppets.
•Buzz Product - Candy
Limited Edition Collectibles

17. M
MARKETING PLAN
4Ps
Price
• Premium Price, High quality.
• Most of the collectables are
individually priced since they are
sourced from the point of origin.
Brand label

18. MARKETING PLAN
4Ps
Place
Location
•The store is an important communication channe
•POP-UP stores are launched in areas close to creative
hubs, near the city center.
•A conscious effort would be made to avoid the city
center itself, while staying close to it in order to
emphasize the ideals of Kenzo Takada.
•Consistent and strong store image with focus on vision
and brand identity.
M

19. MARKETING PLAN
4Ps
Place
Store atmosphere
•Playful vide with elements of travel and
culture
•It is vital for us to create an
environment which is the opposite to
that of a store – we do not want to give
a ‘shop’ vibe.
•The atmosphere is aimed at providing
the consumer an experience full of
surprises
•Focus on Impulsive buying(Spending
more than planned)
M
Store atmosphere

20. Main communication
objective
Above the line(Print
promotion materials)
Below the line:
a)Brand communcation
b)PR
c)Internet
d)Events/Exhibitions
M
MARKETING PLAN
4Ps
Promotion
Main communication objective
•Brand communication
•Public relations
•Events/exhibition
•Pop-up store
•Advertising

21. M
Promotion
Main communication ojbective:
A.Communicate the new vibe and
hence the line associated with it
B.Create positive emotions in
connection between clients and
products.
C.Generate consumer interest
and purchase intensions
Main communication objective
REVIVAL OF KENZO –
CONSISTANT WITH
KENZO TAKADA’S
VISION OF THE BRAND
SUPPORT AND
SPREAD THE
THEME OF THE
BRAND VIA PRINT
AND
ADVERTISEMENT
S
EMOTIONAL
APPEAL(STOR,
HERITAGE AND
CULTURE)

22. BRAND
COMMUNIC
ATION
PR Internt
Events
/
Exhibit
ion
• Involvement of consumer with the brand,
primarily through E-communication
• Street style fashion promotional event to
promote inclusiveness and individualism
POP-UP
store

23. Journalism
•Communicate brand story based on heritage,
culture world.
•Efficient product placement in magazines
•Editorial coverage.
Brand
communica
tion
Internet
Events
/
Exhibit
ion
POP-UP
storePR

24. Lookbook
PR
Lookbook

25. • Use the highly interactive and innovative website as a
main communication channel
• Feature the corporate social responsibility initiative to
build the brand awareness.
• Use the online communities to reach the new clients
and retain old customers.
Brand
Com-
munication
PR INTERNET
Events
/
Exhibit
ion
POP-UP
store

26. • Line launch event in fashion capitols of the world
namely Milan, Paris, London and New York.
• Aim to offer the real experience of the brand and
what it stands for -
Brand
Com-
munication
PR Internet EVENTS /
EXHIBITION
POP-UP
store

27. • Will be set up in Major cities of the world – Milan, Tokyo,
London, Paris, New York, Shanghai, Sao Paolo and
Sydney.
• Each pop-up store will be unique to the city, inspired by
the cities culture and heritage.
Brand
Com-
munication
PR Internet
Events
/
Exhibit
ion
POP-UP
STORE

28. • Advertising tonality
• Advertising format
• Advertising placement
• Website and Social Media
update
ADVERTISING

29. Example
Tonality
• Tonality will be creative and
youthful with a hint of
sophistication
ADVERTISING

30. Format
Double page spread with KENZO
logo
ADVERTISING

31. ADVERTISING
Placement
• High fashion monthly magazines like
vogue, Marie Clair and Elle.
• Independent magazines like wad, surface
pool
• Website an social media update

32. ADVERTISING
Lookbook
The look book will provide an
exclusive sneak preview to the new
Heritage Line and Limited Edition
Collectibles

33. B Business Model
Executive Summary
Objective
Revive the brand and restore it to its
past glory
To push Kenzo to a higher pricing
position
To retain old clients, engage current
clients and entice potential clients
Method
Utilize a differentiation strategy with
innovation, high quality and strong
brand image are key.

34. "Self-treating" Customers
B Targeted Segments of
Customers
With a look at established markets, KENZO
customers can be grouped in two main customer
profile categories: ‘selective extravagance’ and
‘self-treating.’
Customers’ tastes change and get more
sophisticated and specific over time. However, it
has been observed that ‘self-treating’ customers
constitute the majority worldwide
They have strong identity, passionate about
culture and have a strong attitude for life.

35. B Distribution
Distribution
74% Flagship store worldwide
23%Department store
3% Multi-brand store
The Main distribution is flagship
store
Market share
KENZO store concentrate in
Europe 50%
Asia:38%

36. B Communication
• Social Media updated:Enhance the brand
awareness
• POP-UP stores :A connection between brand
and customers
• E-communication: A new method to
communication with potential customer

37. B Value Chain Organization
 Strategic development of New Collection.
 Materials procurement
 Manufacturing
 Sales and Distribution
 Customer Service

38. New
Collection
Development
Material
procurem
ent
Manufact
uring
 Seasonal change and cultural
influences
 Extensive research of unexplored
cultures and fashion trend
forecasting
 Innovation is key
 Prototypes and expositions (prologue
to the garment/product) are vital.
Sales
and
Distributi
on
Customer
Service

39.  Fibers and materials come from
suppliers in partnership with LVMH to
maintain Quality Control.
 Some of the material will be sourced
from point of origin since culture is USP
of brand.
New
Collection
Developm
ent
Material
procurement
Manufact
uring
Sales
and
Distributi
on
Customer
Service

40.  Most stages occur in Paris and it is important
to mention that a few stages occur in Asia.
 Machines and Equipment that are provided by
LVMH are utilized with skilled proficiency.
 Using new techniques and equipment is
encouraged.
New
Collection
Developm
ent
Material
procurem
ent
Manufacturing
Process
Sales
and
Distributi
on
Customer
Service

41.  Primary distribution is done via Direct Channel
distribution.
 Direct distribution has three points of sale:
1. Flagship Stores/DOS
2. Multi-brand stores and Department
stores
3. E-commerce
New
Collection
Developm
ent
Material
procurem
ent
Manufa
cturing
Process
Sales and
Distribution
Customer
Service

42.  Customer Service is the heart of a luxury
experience.
 After examining all touch points, customization
is done for each depending on location and
clientele
 Loyalty programs tailor made to retain old
clients while gathering new ones.
New
Collection
Developm
ent
Material
procurem
ent
Manufa
cturing
Process
Sales
and
Distribut
ion
Customer Service

43. 03
F
Financial
Company Financial
The following information gives the
financials of KENZO for the years 2009 to
2011.
After LVMH made the decision to oust
Antonio Marras as KENZO’s creative head
and introduced the designer duo of Opening
Ceremony, revenue shot up from 17k in
2009 to over 23k euros in 2011 worldwide.
This decision was essential for the brand as
the sales were going downhill during Marrass’
reign. This is evident from the sales in USA
as it dropped from over 200k to below
150k US dollars.

44. SWOT
Strength Weakness
Opportunities
Threats
 Worldwide brand
presence.
 Rich heritage and
history
 Wide range of
products
 Ineffective distribution
channels
 Worldwide store
expansion in an emerging
market.
 E-commerce through E-
communication
 Brand image
inconsistencies
 Existing competition
Economic slump
 Strong brand
prestige
 Recognition in
established markets
 Spread brand
awareness in
emerging markets
 Pop-Up stores
 Current goals do not
match previous brand
image

45. K Vision 2020
KENZO POUR TOUJOURS
Kenzo Pour Toujours
“Everything that was, that is and will be Kenzo”
Brief
A dynamic representation of what Kenzo
Takada had envisioned four decades ago,
infused with a modern perspective, mirrored
against time.

46. Preview
K
POP-UP Store
Location: London, New York, Milan,
Shanghai, Tokyo, Sao Paolo and Paris – Off
the main city center.
Design: Unique to the city.
Mood: playful, youth, celebration, color and
culture.
KENZO POUR TOUJOURS
Proposal:
Pop-Up Stores
Collection
E-communication

47. K
KENZO POUR TOUJOURS
The Collection
Heritage Line: iconic pieces from kenzo’s
early collections with a new outlook.
Limited edition collectibles
Buzz Products

48. E-communication page
K
KENZO POUR TOUJOURS
Vision 2020
E-Communication
“If the present is the past and the future is
what is current, are we living in the past?”
 Interactive flash website complete with RSS
feed, available as a desktop widget.
 Interactive Visual Journey
 Inspired Shopping vs Impulsive Shopping
 Dynamic Evolving Catalogue
 2020 – 3D, ultimate experience in brand
communication
 kenzo finalkenzo.html