Assia Benmedjdoub Discovered that less is more at a recent seminar on global retail.
It was probably one of the only times Australian fashion retailers considered themselves lucky to be working one season behind. Or in this case, several, as they missed out on the biggest global trend of the century. It took the US, UK, Japan and parts of Europe by storm. New Zealand scooped most of the Asia Pacific region by several quarters, with shopping budgets relenting as early as March 2008.
Yes, as far as international trends go, the global recession was probably a good one for us to miss.
It was of little surprise then, that only three domestic retailers warranted a mention at a recent trade seminar hosted by WGSN. The global trend forecasting giant staged two showcases across Melbourne and Sydney last month, with WGSN senior fashion editor Sue Evans dissecting key retail trends to emerge over the past year. Her presentation was framed around the idea “recessionary retailing is evolutionary, not revolutionary”.
In other words, it’s less about reinventing the wheel and more about oiling its essential parts. The first component to go, according to Evans, was the “all singing, all dancing” retail business model.
“Retailers have realised it’s too crass to flaunt wealth, glamour and luxury in the face of a consumer hit,” Evans told Sydney audiences.
One of the more interesting elements of this backlash was a move away from high-end, aspirational fashion advertising to words. Pure. Simple. Words. London newspaper The Evening Standard ran a series of apologies across buses and tubes earlier this year, after market research indicated its falling readership found the title increasingly negative, predictable and out of touch. It literally printed ‘We are sorry...’ for each key blistering criticism it received.
Department store giant Harvey Nichols got clever when it realised more tourists were flooding its doors in the wake of the falling British pound. Glossy advertising was replaced with a creative which poked fun at English stereotypes, as seen through the eyes of international visitors.
One suggested that while an English gentlemen might be boring in the ‘bedroom’, this certainly didn’t extend to his wardrobe. The message was translated into six languages.
“With all these words flying about, what is most important is to simplify your message,” Evans said. “Saying what it is and not pontificating.”
Digital marketing platforms also provided new and exciting ways of doing this, Evans said. European powerhouse Gucci recently launched an iPhone application which, among many other features, allowed users to mix their own tracks from a playlist put together by head designer Frida Giannini and music maestro Mark Ronson. Users can spin tunes on a virtual turntable and share these with friends via Facebook and email.
On a more practical level, intimate apparel giant Victoria’s Secret encouraged sales growth through its interactive online community Victoria’s Secret Pink Nation. Its some 650,000 members were offered exclusive deals, freebies, collection previews and access to never-before-seen pictures and video footage. Designer Norma Kamali kept it simpler still, giving consumers personally presented, instructional videos on how to wear her scarves and clothing on YouTube.
“Your customer is unbelievably tech savvy,” Evans said. “She’s used to using digital mediums to help her make informed decisions. It’s no longer enough to have a one-way web presence now; it’s all about interaction.”
Consumers demanded a smarter approach to product ranging too, according to Evans. Celebrity collaborations became passe as shoppers demanded quality High Street garments at desirable price points. For example, cult basics brand Uniqlo collaborated with design house Jil Sander on a premium but affordable range of men’s and women’s clothing.
“This was a smarter designer collaboration – both brands share a minimalist design aesthetic ... and [it] worked really, really well,” she said.
A collaboration between designer Stella McCartney and America retailer Gap also proved fruitful, with the mother-of-three designing a kidswear line for sizes 0 to 12. A US$128 military jacket sold out within hours of hitting stores, Evans said.
“McCartney’s an immediately identifiable character to Gap customers. She’s a mum. She must know what she’s doing.”
Intelligent designs flowed through to intelligent merchandising strategies, as “monolithic” luxury flagships eased off their high-glam approach. Scottish luxury brand Pringle threw out glossy posters and mannequins in favour of a simple window display at its flagship store, featuring words scrawled across glass and wooden hands reaching out as if to grab the customer.
Gucci and Yves Saint Laurent opened experimental pop-up stores in New York, the latter taking its offer to a “not a very glam” district downtown. Plywood, chipboards, vintage furniture, cheap bric-a-brac and recycled mannequins were key global visual merchandising trends this year.
“Customers are really recoiling [at the idea] of lining corporate pockets. They’re also turning to independent retailers in tune with locals and local area. We spotted a poster in New York which read ‘You Must Support Local Shops or We All Lose’ and big brands are cottoning on to this idea of localising.”
Infamous coffee chain Starbucks has already begun its campaign to ‘debrand’, renaming its stores based on their locations – for instance, 15th Avenue Tea & Coffee instead of Starbucks – and using warm interiors, chalk boards and even serving glasses of wine to offer a more communal mood.
“It’s a great example of demonstrating the power of all things local,” Evans said, predicting an equally unmonolithic, wholesome mood moving into 2010.