DM5500 Dissertation

Department of Design and Branding Strategy MA

College of Engineering, Design and Physical Science

Core aesthetic film elements implementation to enhance fashion brand engagement

Rebeka Toth 2041874

Table of Contents
Acknowledgements................................................................................................................................. 1
Abstract ................................................................................................................................................... 2
Executive summary ................................................................................................................................. 3
Introduction ............................................................................................................................................ 4
Problems and opportunities ................................................................................................................ 4
Problems ......................................................................................................................................... 4
Opportunities .................................................................................................................................. 4
The role of Design ............................................................................................................................... 4
Branding .............................................................................................................................................. 5
Core aesthetics of film ......................................................................................................................... 5
Outcome.............................................................................................................................................. 5
Motivation ........................................................................................................................................... 6
Key Research Question, Aim and Objectives .......................................................................................... 7
Key Research Question ........................................................................................................................ 7
Aim ...................................................................................................................................................... 7
Objectives ............................................................................................................................................ 7
Research methodology ........................................................................................................................... 8
Research structure .............................................................................................................................. 8
Research methods ............................................................................................................................... 9
Literature review ........................................................................................................................... 10
Case studies................................................................................................................................... 10
Expert interviews ........................................................................................................................... 10
Visual questionnaire ...................................................................................................................... 10
Principal Findings .................................................................................................................................. 11
Literature review ............................................................................................................................... 11
The role of design .......................................................................................................................... 11
Branding ........................................................................................................................................ 14
Core ascetics of film ...................................................................................................................... 17
Case studies....................................................................................................................................... 19
Prada ............................................................................................................................................. 20
Miu Miu ......................................................................................................................................... 22
Vogue Film..................................................................................................................................... 24
Louis Vuitton ................................................................................................................................. 26
Expert interviews ............................................................................................................................... 29
Design Management ..................................................................................................................... 29
 Organisational Development ......................................................................................................... 31
Branding ........................................................................................................................................ 33
Visual questionnaire .......................................................................................................................... 34
Results ........................................................................................................................................... 34
Suggestions ................................................................................................................................... 34
Discussion.............................................................................................................................................. 36
The role of design-led branding in the organisation.......................................................................... 36
4 stages of design .......................................................................................................................... 36
Design management...................................................................................................................... 37
Improve the design-led branding strategy .................................................................................... 37
Design-led branding and film ........................................................................................................ 37
Branding key considerations ............................................................................................................. 38
Brand identity in the contemporary society .................................................................................. 38
Film as a medium to communicate ................................................................................................... 39
Design a film .................................................................................................................................. 39
Recommendations ................................................................................................................................ 40
Strategic concept............................................................................................................................... 40
1. Design-led branding strategic framework ................................................................................. 41
2. Message to communicate with the audience............................................................................ 42
3. Guide to design a film ................................................................................................................ 44
Intersection ....................................................................................................................................... 45
Conclusion ............................................................................................................................................. 46
Acknowledgements
With all the kind regards I wish to thank the Design and Branding Strategy teachers for their
work and analytical observations, especially to Chris Holt, who presented kindness,
professionalism and extraordinary patience and understanding. Further thanks to those
people who inspired me through great and endless conversations, and enhanced the idea.
Furthermore, thanks to my family and those people who were open-minded and kind,
especially in the year of the pandemic situation.

Brunel University London, 2021

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Abstract
Is there any disambiguation where, between design strategy, brand value and films core
aesthetic elements are correlating and starting to reflect upon each other? This question
supports obtaining the most efficient fashion brand engagement. A common trend in brand
transmission is motion picture implementation in order to reach wider audiences.
Controversially, a lack of strategy can lead to simple commercials in today's accelerated world
where media noise is high and customers' patients are fragile. Besides, fashion film is
somewhere in between established genres, and this uncertainty might be its signature.
However, the collaboration between fashion brands and the film industry predicts rewarding
new paths. Exploring contemporary Haute couture case studies from Miu Miu 'Women's Tales’,
Prada, Louis Vuitton, and various luxury brands indicate the essential impact on the market.
Additionally, film history and the moving image key aesthetic elements analysis such as texture,
sound, colour, shape, pattern, or movement; have the ability to enhance customer satisfaction.
Ultimately, the research seeks to recognize couture branding aspects and values to have a
complete perspective of the brand operation and behaviour to formulate a design-led strategy
accompanied by film's visual components.
Made in Brunel 2021- Above the Fold

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Executive summary
And the research objectives are the following:
In contemporary society, this research targets 1. To understand the three areas; design,
large organisations from the fashion industry branding, and film aesthetics,
whose denominator is a large amount of authenticity in an organisational
budget, various departments and reachable context connected to the fashion
human resources. Eventually, concentrating on industry.
their target audiences to create the most 2. To identify trends, problems and
successful engagement and attention in a busy opportunities in design, branding and
and competitive market, where to be different film context.
is distinguishing success from failure (TFL, 3. To measure the relationship between
2021). design, branding and film and create a
Therefore, the research aims to create a theory.
design-led branding strategy focusing on three 4. To develop the idea with conducted
areas; design, branding and the use of film to primary research methods.
enhance engagement with potential 5. To deliver a strategy and
customers. recommendation to enhance the
existing fashion brand communication.
In the field of design, the research seeks to
develop large organisational structures with To identify a design-led branding strategy,
the help of design management. Related to primary and secondary research was
conducted. Literature review in the design area
branding, the aim is to conclude essential brand
to give a strategic frame, in branding to
touchpoints such as the core idea, message and
understand the message and value and in film,
value propositions of the company to aesthetics to review the medium to
communicate. The research suggests that these communicate and create engagement. Best
two areas, design and branding should work case studies measured to understand luxury
together and enhance the organisation. Finally, brand film interpretations that are successful in
film as a medium is currently a powerful tool to the market to gain deeper insights on film
communicate and reach audiences. Thus, in communication. Eventually, qualitative and
this perspective designing a film, understanding quantitative interviews were conducted to
the core aesthetic, authentic elements have the develop the existing ideas and the outcome.
opportunity to give suggestions to engage Ultimately, the opportunity of the research is
customers in a continuously changing society that design management branding and film are
(Ward, 2021). not discussed together thus, the findings give a
new, fresh perspective. Initially, the study
Hence, the research questioning the following;
proposes a design-led strategy with the help of
How do design, branding and the use of film film design implementation. The outcome
work together to develop successful would benefit the fashion industry, the film
engagement, in the fashion industry? industry and large organisations who would
consider using design as a core implementation
to branding and film enhancement.

Keywords: Design-led branding, Organisational development, Film design, Aesthetics, Engagement

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Introduction
Problems and opportunities
The research proposes to focus on design
management, branding and the use of film to Opportunities
create a design-led strategy for the fashion The opportunity of this project is the possible
industry, especially for large organisations. The solution that the formulated model can bring
initial aim of this research is to create a guide into the fashion industry.
that can enhance audience engagement and
improve the attachment of the Implementing a design-led branding strategy to
customers. Since the main concern in the the organisation has the opportunity to
market, the competition, media noise and enhance internal and external communication
differentiation on the market (Marketing Leap, processes since it gives a strategic direction to
2021). the corporate.
Branding tools furthermore have the
Problems opportunity to give touchpoints and
Strategic design management studies suggest coordination for message flow to communicate
that design is often not recognized in to the audiences.
organisation management processes. In Initially, designing films with the help of design
addition, branding and design as they are thinking gives practical examples of how to
working together have a significant role to drive create a motion picture production to reach
recognition. However, many companies are not audiences.
aware of this fact and use conventional
methods (Holland, R. and Lam, B., 2014. M).
Additionally, an important design and branding
The role of Design
factor is the visual identity, consistency of the Design has been increasingly recognised as a
brand since it has the power to engage part of business development for its potential
customers (Nieves, 2021). Therefore, to increase customer satisfaction connected to
organisations strategy is to develop brand products, services and brands (Kimbarovsky,
communication with motion pictures but they 2021). However, design is more often not
are often interruption advertisements viewed as a strategic tool for internal
(Sorrentino, 2021). organizational development which can increase
strategic awareness (Holland, R. and Lam, B.,
Thus, to create an authentic experience 2014. M). Still, implementing design into the
organisations marketing departments and organisation has several opportunities for
advertisements have to look for new outlets. brands. Therefore, the research aims to
Hence, this research proposes to use film and understand firstly the segregation of large
its aesthetic implementations to drive organisation structure. And a further review on
recognition. how design can connect, enhance these
departments to increase external
communication.
In the literature review, design will be analysed
as a process, strategic thinking, to fit into
departments and the organisation. Design

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management audit tools will be used to create
a strategic frame.
Best case studies will be used from the luxury Core aesthetics of film
fashion industry to look for the role of design
strategy in the organisational context.
Quantitative research, expert interviews are Film or moving images is currently the most
conducted to develop the findings and the idea. powerful tool to reach audiences, in terms of
brand communication (Right Lane Productions,
2021). Still, fashion brand’s fashion film
Branding communication is in experimental status as a
new strategy, yet it should be a core
implementation for many brands (D. Sologa,
Branding is well known for helping brands to
2016). Moreover, the attention is still on
communicate themselves to potential
fashion film festivals, artistic fashion films and
customers. However, design-led branding is not
not viewed as a continuous engagement form
as perceived and used as a branding strategy
or strategy (Horton, 2021).
itself. Thus, overviewing design and branding
together has the potential value to create new
Therefore, investigating fashion film, short film
ways to the corporate (R. Cooper, 1995).
cases in the luxury fashion industry by
influential contemporary designers, film
Overall, the research aims to understand the
directors, creative artists are helping to
most important aspects of branding.
understand successful brand communication.
Connected to brand visual communication,
internal organisational development; the core
The medium of film is a broad area, to narrow
idea, message, value proposition, targeted
down the research aims to concentrate on two
audiences, look and feel, position in the market,
aspects; firstly, the aesthetic appearance of the
memorability, cohesion, storytelling, internal
brand with the implementation of film key
and external branding (Lee, 2021). Best case
visual elements and authentic experience with
studies in the luxury fashion industry will give
the help of storytelling and branding ideas on
real-life examples to review branding and
how to stand out in the market. The area in the
design together and create a strategy with
organisation is the marketing department
motion pictures. Experts asked about brand
where the script is generated to create a
strategy and customer engagement. A visual
motion picture visual communication such as
questionnaire will give feedback on potential
advertisement or fashion films. The research
buyer’s thoughts and ideas in the luxury fashion
proposes to prove that film implementation
brand industry.
can enhance brand equity.

The research relates and adds value to already existing literature since it collects design theories and
proposes to interfere with branding and film communication. To summarise, design is perceived as a
strategic frame, branding is used as a message, value to communicate with the medium of film for the
audiences to create successful engagement.

Outcome
The outcome would help to increase conscious design and branding management inside the
organisation, which would enhance all departments and increase external communication with film
design. The stakeholders are the following: the fashion industry large organisations, and companies
who would consider using design and branding-led strategy to improve their businesses through
internal strategy and visual communication. The outcome is a design-led branding strategy and a
formulation of a three-minute motion picture for the fashion industry.

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Motivation
A personal motivation regarding film is connected to previous studies in motion picture and
communication in the media and arts field from Finland and Budapest, and newspaper experiences in
the advertising industry. Subsequently, I have settled in a PR company, where I got to take part in
professional film production. Working in the PR and branding consultancy I learned about the
importance of design and the essential role branding has in projects on the logo, brand message, social
media marketing and event organization. Following this, I started working at an international e-
commerce company. My journey there showed me in-depth examples of branding strategies since I got
the chance to bring fashion brands into the online sphere and help them to create sales strategies.
Furthermore, in a multinational company, I perceived that strategy, project management and
organisational development are essential for success. In my perspective operating with a well-defined
design-led branding, management process can lead to higher brand equity from many brands.

In conclusion, within this project, I am determined to interfere with the three areas; design, branding
and film as I favoured these areas in the past five years.

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Key Research Question, Aim and Objectives

Key Research Question

The research seeks to understand organisational structure and development in the fashion industry
with the help of design, branding and film connection. Therefore, the research question is the following:
How do design, branding and the use of film work together to create a successful engagement strategy
to enhance organisational communication in the fashion industry?
This question supports obtaining the most efficient fashion brand engagement. The research outcome
should recommend that the three-area combination is beneficial to draw a guide for large organisations
in the fashion industry.

Aim
The research aims to formulate a design-led branding strategy to gain effective audience engagement
with the implementation of film design to brand communication for large organisations in the fashion
industry.
Best cases from the luxury fashion industry will bring the theories into life and show a potential example
how to communicate the brand value and the message with the help of film visual implementation.

Objectives

1. To understand the three areas; design, branding, and film aesthetics, authenticity in an
organisational context connected to the fashion industry.
2. To identify trends, problems and opportunities in design, branding and film context.
3. To measure the relationship between design, branding and film and create a theory.
4. To develop the idea with conducted primary research methods.
5. To deliver a strategy and recommendation to enhance the existing fashion brand
communication.

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 Research methodology
In the research methodology chapter overall the research structure, methods presented, whence the
research was conducted and which methods were used in order to fulfil the research aim, follow the
objectives and answer the key research question.

Research structure
The research structure is based on the Double Diamond framework which steps are; discovering,
defining, developing and delivering (British Design Council, 2005). The research includes three stages
and it is conducted from April to September.

The first stage ‘General research’ involved secondary research where the study engendered a basic
understanding of the context and background of design, branding and film. In the second phase, specific
methods were used as quantitative and qualitative research methods. In the development stage, raw
data from the secondary and primary research were analysed and evaluated to gain a profound
understanding and formulate a strategy (see figure 1).

Figure 1. Research Methodology based on the Double Diamond design framework. In the general research phase, literature review and case studies
helped to understand the research scope. Specific research as deductive method expert interviews and visual qualitative questionnaire helped develop
the idea and further case studies and literature review was overviewed. In the final development stage, all the findings were analysed and with the
help of creative thinking, the outcome was designed.

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 Research methods
The project used research methods such as literature review in design to create a strategic frame for
large organisations in the fashion industry internally and externally. Branding aspects were collected to
communicate value and messages with the customer. Film and aesthetics theories were concluded to
generate engagement with the medium of film.

Best case studies from the luxury fashion industry were analysed to give a guide for designing a film
and understanding theories in real-life practice.

Expert interviews and visual questionnaires were conducted to develop existing ideas and theories in
the field of design management and branding. (See all research methods and purposes in figure 2.)

Figure 2: Literature review helped to create a design-led strategic frame, collect branding aspects to communicate messages and value, and film as a
medium to communicate to reach the audiences. Case studies from the luxury fashion industry were helping to bring theories to life. Expert interviews
and visual questionnaires enhanced the collected information.

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Literature review
The literature review was used as a research method to understand design management, branding and
film aspects connected to the fashion industry for large organisations to gain successful engagement.

First of all, design was viewed as the core implementation to the organisation in terms of design
management, and the three areas of design; pure design, design process and design thinking.

Secondly, branding was viewed as a strategic frame to determine internal brand core aspects such as
the idea, value, personality, vision- mission to communicate externally.

As a last measured area, film literature was helping to identify film as a medium to communicate with,
fashion film use, the nature of aesthetic preferences and film history.

Case studies
After large amount of fashion film observation, the research reviews five best-case in the luxury fashion
industry. The aim is to understand brand their identity and how they communicate with the help of
film.

Further explored whereby they design a film to gain inspiration to develop a film design strategy.
Furthermore, behind any communication, there is a brand strategy therefore, their organisation
structure is also valuable to review. Eventually, case studies can help to understand businesses in
practice and suggest a strategy to enhance the research concept in the area of design, branding and
film (Graeme, 2021).

Expert interviews
To gain a deeper comprehension, the research aims to interview experts in the area of design
management, branding and organisational development. Since, experts can give a deeper
understanding, due to their experiences in the industry, and unique viewpoints (Döringer, 2020).

In the design management field, the creative director of Marimekko interview helps to reflect on design
management inside the organisation and gives a strategy to manage people and understand design,
branding connections in the fashion industry.

Connected to the design management field, from Air France, GDF Suez practised in organization
development in B2B and B2C business with 30 years’ experience helped to set clear strategy and
objectives in terms of design-related strategy.

As for branding and communicating values, PR and branding consultancy, Mitte Communications
founder will help the research to gain profound understanding on reaching the audience.

Visual questionnaire
For qualitative research, the research proposes to use a visual questionnaire as an effective method to
gain understanding from the questioned audience on the topic of effective fashion brand
communication in terms of aesthetic film elements. With visual experiment A\B choice, it can be tested
the usability, emotional value and attractiveness of design using standardized questions. Show potential
users a part of the visual design and let them rate it with adjectives. The method can help to decide on
brand effectiveness and improve the overall research outcome (Knospe and Portmann, 2021).

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Principal Findings
In principal findings, the study presents collected data gained from research methods such as literature
review, case studies, expert interviews and visual questionnaires in the areas of design, branding and
film.

Literature review
The literature review helped to understand design as a strategic tool for large organisations in the
fashion industry, branding as a message, value for the fashion brands and film as a medium aesthetic
and authentic appearance to implement and use to enhance customer engagement.

The role of design

Design has increasingly been recognised worldwide as a strategic implementer, for many businesses
(Dempsey, 2021). Cooper and Press (1995) wrote in the 'Design Agenda' book that design has three
principal elements; one is pure design as a product or service the other two is intangible, the design
thinking and design process. However, many businesses are not aware of these differences, and several
times people do not know what they design. Holt (2019) said everything in the world that is man-made
has been ‘designed’. Yet, design is barely seen as a strategic method that can enhance organisational
success. Still, design is both process and outcome and design management are the business side of
design (Goodrich, 2021). Therefore, using design management is valuable to drive and implement
corporate strategic goals (The Interaction Design Foundation, 2021).
Furthermore, design has the potential to enhance management processes and create successful
performance and experience for the organisation. Thus, design is a strategic weapon for marketing that
drives recognition (Gupta, 2021). Archer (1965) pointed out that design is a goal-directed, problem-
solving activity consequently, understanding the role of design and managing it at the organisational
level can help to increase brand values and ultimately enhance external communications thus
engagement. Therefore, it is principal to understand and define the design and how it can be injected,
recognised in organisational management.
Furthermore, design management can enhance branding, improve organisational performance in visual
communication. Hence, a design-led context can enhance branding and using 4Ds of design analytical
tools and design thinking with branding can help the organisations to develop an inside strategy to
stand out externally in the market.

Design analytical tools such as 4Ds of design create a framework for a corporate strategy. These tools
help to harvest an internal structure that can be externally communicated as well. Moreover, the 4Ds
of design helped to understand this internal process which I perceived and transformed into four stages
of the design management process. This process views internal design management as a linear strategy,
that is applied to the organisation departments and proposes to create a structured internal design and
branding process.

Regarding the 4Ds of the design model in a design-led organisational management context the
considerations and the design and branding steps are the followings;

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 1. Defining
Where is the design and where can it be used?
Where the organisation wants to be - Where is in the market? It is useful to benchmark in this
stage and understands the targeted audience. As a basic business tool SWOT analysis
(Strengths, Weaknesses, Opportunities, Threads) and 4Ps of marketing (Product, Price, Place,
Performance) are worth using.
Where is the brand currently?
In this phase, brand audit tools are encouraged to use. Such as the Design Council Brand Audit
tool to determine the brand core elements. Furthermore benchmark, position in the market,
target analysis is important to consider.

2. Deciding
If there is space for design?
Where does the company want to be?
What does the brand stand for?
Identifying the brand unique aspects. Important to recognise the meaning of the brand and
value for the brand promise.

3. Designing
Creating a design strategy
How does the organisation get there?
In this phase, it is worth creating a plan and design strategy.
Creating a brand strategy
These aspects design the third stage where the design-led strategy and brand strategy is
created. Reflecting on the organisation's strategic, tactical and operational levels.

4. Evaluating
Design was used properly?
Understanding the process and creating monitored feedback and conclusion.
Whether the brand aimed at the desired outcome?
Finally, in the deciding stage where brand evaluations happen, overviewing the performance
of the brand.

The three-organisation level is important to overview; strategic (board management), tactical (business
process), and operational (production) levels. The viewed organisation type is a large organisation in
the fashion industry that operates with a large budget, qualified management and profound resources.
And every level has different structure aims and decision-makers therefore it is principal to segregate
them and set realistic goals accordingly.
Furthermore, marketing, design and branding ought to work closely together and overview the brand
current position, definition, plan, and future aims.
Initially, looking for the role of design and how it can enhance customer engagement and loyalty. Thus,
the management needs a clear annual plan as a quarter, half and yearly plan which every department
is aware of (McCullough, 2021). This annual plan is usually discussed at the beginning of the year in the
management board collaborating with sales, marketing, human resources, finance and the
management differently according to the department’s plans and the success depends on the CEO
management board (Rhythm Systems, 2021).

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 In this process, design can contribute to success since it can deliver real value to all stakeholders. Design
has the potential to manage people and enhance the company performance (Bason and D. Austin, 2021).
Using design thinking (small D, big D of Design) and strategic thinking together also can increase
processes (Holland and Lam, n.d.). (See the 4 stages of Design linear interpretation on figure 3.)

Figure 3. The 4 Ds of Design (by Holland and Lam, Managing Strategic Design) linear interpretation; 4 stages of design. The
model perceives the design considerations in 4 steps. The strategy was designed considering the research aim to gain the most
successful engagement with the help of design and branding. In order to externally communicate and engage the brand should
be coherent internally.

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Branding
Many fashion brands actively promote their businesses with the help of brand strategy. However, why
is it that some fashion brands are more successful than others? How do we consider branding aspects
and measure brand effectiveness? In this section, branding core aspects will be reviewed connected to
customer engagement as potential film representation forms.

Brand core aspects

Many articles highlight the most important facts a brand should communicate in order to reach the
audiences in the market (Council, 2021). Since branding is an attempt to harness, generate, influence
and control associations to help the business perform better (Richardson, 2021). Hence, the wise use of
design, branding, marketing- advertising, service proposition, corporate culture can all help to generate
associations in people’s minds that will benefit the organisation (The power of branding, 2021).
Branding also gives everyone involved a clear direction and focus internally in the organisation
(Hancock, n.d.).

Design Council Brand Model

According to the Design Council, there are principal elements to consider in order to set up a
brand. ‘The big idea’ is basically what lies in the heart of a company such as differentiation, offerings,
how they present themselves, and how the company stand out in the market. ‘The vision, mission’ is
considering the future, where the company wants to be, looking at ways to challenge the market or
transform a sector. It is creating a strategic direction. ‘Values’ refers to what the company stands for
and how it can be communicated either explicitly or implicitly. ‘Personality’ comes after the ‘big idea’
and when vision and values are generated and they can be transferred to consumers through a range
of channels. The way the company decided to present this communication – the tone, language and
design of the medium such as commercials or any medium of film, visual identity. (See in figure 4. The
Design Council Simple Brand Model)

Figure 4. Simple Brand Model by Design Council. (The power of branding, 2020) Shows the main focuses of branding in
order to set up a brand. The main question to consider is; how brands can communicate these aspects with the help of film
medium to gain the aimed engagement?

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‘Love marks’
Meanings, associations, emotions and stories are key ingredients for fashion branding success
(Hancock, n.d.). According to Kevin Roberts, CEO of Saatchi & Saatchi, the future beyond brands is
emotional branding. What's needed is customer ‘love affairs. He suggests that what distinguishes
brands in the market is how people emotionally connect or love them. This emotional aspect is essential
to consider when we are considering customer engagement. Thus, ‘Love marks’ as a marketing concept
is worth using for looking at customer engagements. He considers that love is what is needed to rescue
brands (Roberts, 2006). For fashion brands, it is important to consider how they are marketed and sold
as a ‘brand image’ which is basically ‘lifestyle merchandising’. The meaning given to the brands through
branding campaigns and visual images determines the brand. Therefore, emotional branding is used
for successful fashion brands in order to capture the emotions and personal convictions of their
customers. Companies that make emotional ties to consumers will rise up to the top, whereas those
who do not will fall. McCracken identifies nine different types of meanings that are usually targeted by
companies: gender, lifestyle, decade, age, class, and status, occupation, time and place, value, fad,
fashion and trend (Hancock, n.d.). (See on figure 5. ‘Love marks’ matrix)

Figure 5. Love marks matrix developed by Kevin Roberts. It shows how the brands can be considered
emotionally. Such as; brands, products, fads and love marks. The aim is to create emotional engagement
with the customer.

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Storytelling
In order to survive in the marketplace, businesses also need to engage in terms of stories. Brand
storytelling is the cohesive narrative that shows what your brand stand for. It is giving customers
reasons why they should buy a product or service, businesses need to start sharing the story behind
their brand, why it exists, and why this matter, consistently across all communication form (Costa,
2021). In the book of Storytelling: Branding in practice, Klaus Fog, Christian Buudtz and Baris Yakaboyu
describe that storytelling process gives an emotional connection through the brand with the targeted
consumers. With storytelling values and massages can be communicated which is produces loyalty.

In his book Legendary Brands: Unleashing the Power of Storytelling Vincent highlights that Levi’s and
Nike created a and established a brand culture through stories, creating a perception that brands are
superiors. According to him, there are four paths of brand narrative: plot, character, theme, and
aesthetics. Aesthetics includes any part of the brand that stimulates one of the five senses.

Considering storytelling, film as a medium, motion picture is the best tool to use in order to
communicate. Thus, using Holt (2019) Design Pillars in the aim of engaging with storytelling the design
audit tool transformed the following – see on figure 6.

Figure 6. Four paths of brand narrative: plot, character, theme, and aesthetics. The
Design pillars interpreted into narrative film use:

• Differentiate
• Engage
• Stand out
• Inspire
• Guide
• Narrate

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Core ascetics of film
As a chosen industry for brand communication, the research aims to understand film as a medium to
communicate since motion picture is currently the most powerful tool to communicate with audiences
(Francis, 2021). The research suggests that searching for the film aesthetic and authentic element
implementation is valuable for fashion brand communication. Hence, this section is aimed to
understand film as a medium, fashion films as a communication forum for fashion brands, aesthetic
preferences and looking for fashion history as an idea to inspire.

Film
According to the Oxford dictionary ‘a film is a series of moving pictures recorded with a sound that tells
a story, watched at a cinema or on a television or other device’. Film, also called motion picture or
moving image, series of still photographs, projected in rapid succession onto a screen utilizing light.
Because of the optical phenomenon known as persistence of vision, this gives the illusion of continuous
movement (D. Murphy, 2021). Examples include videos, and other releases, such as movies,
advertisements, video games, animations, and similar types of works which moving pictures or images.

This area was chosen due to the fact that pictures can arouse people’s attention and create
engagement compared to text. Therefore, pictures, motion pictures are a boundless way to represent
business (Taylor, 2021).

A film core element that can represent brand massages often use; plot, setting, characterisation,
structure, and theme and there are many different film techniques to tell the story or narrative. Sound,
music, lighting, camera angles, and editing further aesthetic aspects are important to highlight (Jasper,
2021).

Fashion film
Diaz (2016) suggests that film as a medium have high potential to represent key branding elements
such as; look and feel, value proposition, memorability, cohesion and the brand core idea. In her study,
she highlights the fact that fashion films are possibly a new format to build fashion brands. As film can
become a product to be consumed, individually existing itself as a work of art. Thus, a collaboration
between the fashion industry and film industries predicts rewarding new paths. However, lack of
strategy can lead to conventional commercials in today accelerated world where media noise is high
customers' patients are fragile (Buffo, 2017). Thus, these short films may become commercial
advertisements and interrupting marketing which disengaged the audience (Buffo, 2017). Although,
fashion films are focusing to create a more authentic experience than commercials which are likely to
be avoided as much as possible (Nake, 2021). Yet, the fashion film is connected to the advertisement
industry, since it could not exist without it, located in the middle presenting itself as a boundary
phenomenon. Therefore, fashion film is somewhere between established genres, and this uncertainty
might be its signature (Ion Wille, 2021). Consequently, the definition of fashion film would be “primarily
lyrically orientated standalone film, series or insert organised around visualisations on fashion objects”
(Ion Wille, 2021). Still, a common trend in the brand transmission is motion picture as it can create
customer satisfaction. As pictures own the media, the film is an opportunity to explore more space and
experiments to reach and communicate.

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The nature of aesthetic preferences
Aesthetics appearance significantly affects customer behaviour, such as purchase intention consumer
satisfaction, and product evaluation regarding the visual identity of the brand.

As human nature, we have a profound affinity for beauty and attraction for high aesthetics (cite).

According to the Oxford dictionary, aesthetics is a set of principles associated with nature and the
appreciation of beauty. Philosophers recognized aesthetics to be a source of joy and pleasure.

Plato established the connection between beauty and goodness proposing that we have a natural and
spiritual attraction to beauty. Hegel and Nietzsche agree that the aesthetic is the individual's experience
of a thing and they mention the subjectivity of the experience (Ferry, 1993). Another approach suggests
by Freud that the response to the aesthetic is unconscious behaviour and a subjective process. Blumer
and Becker (1969) agree on the social aspect of art and beauty as the most important perception before
the physical approach. Although this is a personal and emotionally engaged response, it is obvious that
the standards of beauty are shaped based on the culture of the society (Ferry, 1993) Hence, to
represent the visual identity for the brand, the firm should notice the psychological needs of the
consumers like the need for beauty and attention (Shadi Sadat Tayebi,2010).

Film history
A fascinating point of view is what film history can bring into the film aesthetic implementation to show
a path for fashion brand communication. The cinema is influenced by national tragedy, popular culture,
or social issues. These social questions determine our life and impact us. Thus, a competent fashion
brand focuses on inflective questions to represent its brand value. Film history such as French
Impressionism, German expressionism, French new wave, New Hollywood or Italian Neo-Realism and
them piers can suggest aesthetic approach implementation to reach customer commitment in the
fashion industry also inspires the ideas and creates authentic experiences (Green, 2021). Furthermore,
essential directors such as Kubrick, Tarantino, Scorsese, Bergman, Kurosawa, Wim Wenders, Fellini,
Truffaut or Wong Kar Wai and several others in the film history can help deepen down knowledge in
the cinematographic picture.

Figure 7. The golden ratio:

There is a well-known “golden ratio,” also called
the “golden rule” or “divine proportion,” that is
extensively written about and researched. The
basic idea is that if certain measurements of facial
features conform to this ratio, the object will look
more aesthetically pleasing.

Films’ core aesthetic elements • shape •

colour • pattern • Texture • Visual weight •
Scale • Proximity • Movement

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Case studies
Luxury fashion brands meet consumer demand by focusing on brand, aesthetics, quality materials,
superior craftsmanship and pricing to transform everyday objects into status symbols (Millward Brown,
2021). Costumers tend to buy products in the thought of ‘we are what we buy’ mentality (Hancock,
n.d.). And fashion is the way how people express themselves (Shaw and Koumbis, n.d.).

From the beginning of the research, it was aimed to overview as many fashion films, short fashion
movies and brand advertisements as it is possible. Approximately 50-80 cases were reviewed and it is
decided to pick five successful brands and discover their brand identity and motion picture
communication. These brands are; Prada, Miu Miu, Vogue Film, Louis Vuitton.

The reason for these brands' choice is due to their visuality, motion picture and campaign approaches.
However, there are many other brands that would be interesting to review as planned due to the
research limitation five brands will be analysed. The brands will be investigated in terms of design,
branding and film communication and operation.

The brands overall which are worth to discover, overview in terms of successful motion picture
communications are the following:

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Prada
Prada was founded in 1913, according to Prada Group the brand identity represents ‘synonymous with
cutting-edge style, going beyond fashion with its intellectuality and elegance’. Therefore, they are
seeking the newest fashion methods and pursues contemporary perspectives in modern society.
Looking for innovative approaches, aspiration and analysis of society interpreting art, film and
photography, resulting in creations that recognise reality from unusual perspectives. Moreover, pursue
to understand past present and future with Various merits of life celebration and existence in the way
of ‘Pradaness’ which means culture, history, intellectuality, aspiration and aesthetics (Prada Group,
2021).

Film
A communication form that Prada esteems is the use of film and motion picture authority. Referring to
the style of Antonioni, Fellini, Visconti predicts endless fashion in a contemporary social context,
according to Miuccia the current leader of the company. The Prada group aims to be involved in
influential social issues such as ethnicity, genre, economy and history. Ultimately, searching for the
nature of life in multi-disciplinary contexts such as architecture, music, film, stories, and eventually the
spirit of life (Conversation with Miuccia Prada and Ralf Simons, online conference 2021). In the
company’s film productions, they launched approximately fifty short films. The Prada Group often
works with external filmmakers to design their films [1].

‘First Spring’
One of the examples for Prada film is ‘First confusion in the modern changing society.
Spring’ made by Chinese artist and avant-garde Fudong work epitomizes how the recent and
filmmaker Yang Fudong. rapid modernization of China has overthrown
traditional values and culture, balancing this
The film embodies Chinese culture inspired by
disharmony to create a world that emulates an
the maxim, “a good year is determined by its
aesthetic of traditional classic beauty and
spring,” the film is set in the streets of Shanghai,
timelessness.
during the 30s & 40s. The black and white film
is following a young gentleman as he and his Generally portraying his generation of
partner travel through a dreamlike world individuals in their late 20s and early 30s, young
meeting various characters throughout the city. people who seem confused and appear to be
between the past and present. The film
The film articulates multiple abstract
articulates multiple abstract perspectives and
perspectives, it presents traditional and
embodies Prada within its look, and garments
modern Chinese culture connections and
which every character owns (Anakin, 2021).

Aesthetics
Prada often operates with classic visual communication and the true nature of beauty. This film was
chosen to represent ‘Pradaness’ and the values which the company tend to communicate the raw
elegance and the true artistic image of life and joy. There are several other films from Prada which
would be worth overviewing and analyse, yet this film is a great example of how individual filmmakers
and a fashion company can work together to create a brand identity through aesthetic appearance and
motion picture (see in figure 8).

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 21
Figure 8. First Spring; a movie by Prada& Yang
Fudong - Prada Group cinema, 2010
Miu Miu
Miu Miu is an Italian high fashion clothing and accessory brand [2] owned subsidiary of Prada. The idea
of the company is to represent Miuccia Prada creativity and spirit, conveying the essence of an
emancipated and conscious woman. Strength fluctuates between naïf spirit and iridescent subversion
and it illustrates the most rebellious and seductive core of contemporary femininity. Besides, the brand
concentrates on experimental fashion with spontaneous creativity and the kaleidoscopic nature of
fashion. The brand personality combines a sophisticatedly raw elegance with a youthful, maverick and
carefree soul (Miu Miu, Prada Group, 2021).

Film
A great example of successful collaboration between fashion brands and the film industry is the
Women’s Tales film series. In the collection, Prada Group presents Miu Miu’s Women tales from 2011
till the year 2021 where the brand identity and the powerful image of women came into life in short
films. Miuccia Prada considers cinematic art as a natural language embracing various spheres, such as
sight and sound, that allow the creation of direct and immediate interaction beyond fashion (Prada
Group, 2021). Therefore, all-female international directors got a free hand to create their movies, from
2012 all of the winter collection films have had their world premiere at the Venice International Film
Festival (Sowray, 2021).

A currently #22 short film critically investigate the role of women in contemporary society, visually
translating their endless complexities [2] (Mortonshu, 2021).

‘In my room’
the window of the 24th floor of a tower-based
“When Miu Miu proposed me to make a film for in the 13th district of Paris. Within this context
Women’s Tales, in the midst of a health and she created a film in her room, listening to the
social crisis, I thought it was a very delicate audio recordings she made of her
exercise but also a challenge. What story can I grandmother, Maji. Their conversations were
tell now, with minimal means, alone in my recorded during the three last years before she
studio, that resonates with what the world is passed away. They took place in the small living
going through while being intimate?” room of her apartment, in bourgeois 17th
arrondissement, where she lived alone and
Mati Diop French filmmaker writes about the confined for more than 20 years. In the same
‘In my room’ short film which debuted in 2020 way, she thought there was only a special
in the middle of the virus situation. She already moment as lockdown to explore this intimate
started a home movie, filming her neighbours material that truly felt to her to being made and
at night, in long focal length, from shared (Diop, 2021)

Aesthetics
A currently 22 short films from the Women’s Tales series have a different aesthetic appearance since
they all represent independent women in different contexts and life situations. ‘In my room’ is a perfect
example of how an individual filmmaker creates a story for Prada Group representing Miu Miu core
entities (see in figure 9.)

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 23
Figure 9. Women’s Tales #20: “In my room” by
Mati Diop, French film maker.
Vogue Film
Vogue Film was launched by Vogue China in 2016 and a part of Conde Nast Group [3], the idea of the
firm is to produce short quality films through collaboration with leading creatives and models. At the
same time, Vogue Film mission is to showcase the latest news on fashion and beauty, providing viewers
with exclusive insights into the fashion industry. The representation of Vogue film is that the brand has
extraordinary influence, with the power of movie and culture in fundamental ways. Thus, Vogue film is
another great example of how the fashion industry and film industry can work together (Condé Nast -
Vogue Film, 2021).

Film
Vogue Film creates many short fashion films by different filmmakers and film directors collaborating
with Luxury fashion leaders such as Channel, or Prada. As a film director Margaret Zhang (章凝) is
currently the editor of Vogue China and directed several short fashion films.

I've Been Thinking About What You Look Like CHOOSE CHARACTER: All about soy
A 9 minutes short film by Margaret Zhang A 2:38 min short piece of a film directed by Margaret
represents social media issues and loneliness in Zhang with supermodel soy milk consumer,
Tokyo. Fernanda Ly supermodel. The film takes place in
New York as a game character, the audience follows
Two outsiders alone in Tokyo, and two social media
Fernanda day of consumption of soy milk. The film
avatars treading carefully in a Japanese chatroom,
has insensitivity it starts as a game including
embark on an unlikely search for identity through
character choice and finishes as a game over the
the modern, distorted lens of the projected self and
caption.
society's ideals on what love means.
This short fashion film shows an example of art,
Both characters have chosen fake profile photos for
fashion and film and storytelling representation.
their chatroom communications – concealing
appearance, nationality, etc. It reflects on the fact Marimekko
that people choose to express themselves through In the year 2010 Marimekko has shared Growth
unreal photos, representing a seemingly “better Stories of inspiring people from around the world.
self” but ignoring their inner thoughts.
These stories are to be continued with a short film
The background shows Tokyo, symmetrical use of directed by Margaret Zhang.
the camera and montage film elements with the The film was shot in New York, Shanghai and Sydney
fashion garments all represents wise ascetic – and Margaret is seen wearing pieces from
choices. Marimekko’s Fall/Winter 2018 collection.

Aesthetics
These three films are just a hint of that Vogue Film represent. The firm more often operates with big luxury brands
such as Channel and creates around 2 hours long movies. However, as a short film production to generate
engagement Margaret Zhang aesthetic operations are valuable since she is only 27 became chief editor of Vogue
China and one of the most influential contemporary video influencers. Marimekko mentioned as it is an important
part of the research and had several collaborations with leading fashion brands in the market. (All about soy, see
figure 10.)

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 25
Figure 10. CHOOSE CHARACTER: All about soy short film by
Margaret Zhang with Fernanda Ly model.
Louis Vuitton
Louis Vuitton is part of the LVMH Group [4] the company main idea concentrating on the premium
quality of handmade goods. To provide the best products on the market, the company has always
focussed on sophisticated design and traditional artisanship as well as simple exquisite. Their mission
is to represent the most refined qualities of Western "Art de Vivre" around the world. Their products
and cultural values embody, blend tradition and innovation, and connect dreams and fantasy. The
company is one of the world's leading international fashion houses (LV official website, 2021).

Film
Luis Vuitton creative director responsible for the company fashion collection, fashion shows and film
representation. Virgil Abloh is the creative director, designer of Louis Vuitton, an American artist,
entrepreneur, architect and DJ chief executor of Off-white Italian luxury fashion label. In his short
fashion films multidisciplinary industries collaborating to design short fashion films.

Amen Break
Amen Break is a 16 min short fashion film designed and created by Virgil Abloh for Spring, Summer
2021 men’s collection.

The film accompanied a forty-seven-page document that describes all the design elements meanings
and connotations behind the film. Therefore, garment, character, movement, sound, plot, background,
all have meanings that tell a story. This process requires to use of many parts of the design fields such
as design thinking, pure design and design process.

Subcultural connotation
The ‘Amen Break’ collection was named after
the most frequently used drum sample of the The style and vibe of the film are formal and
1969 soul song Amen, Brother by the American street style, with influences coming from hip-
band The Winstons. Virgil Abloh detailed the hop, martial arts and chess. The film explores
cultural relevance that the drum solo had in and celebrates the diversity of cultures, and
contemporary music, as it was sampled, creates different interpretations. The film uses
reinterpreted, and remixed by a host of other Japanese martial art and cinematography to
genres of music. inspire the aesthetics of the digital show.

Furthermore, the film reflects on a historic As a plot synopsis, The Amen Break’s narrative
moment in Black art and culture. An abstract tells the story of a father and son who face loss,
interpretation of the story of Lupe Fiasco, the the challenges and supporting heroes met
American fine artist and rapper, who grew up during a quest to deliver a message that guides
on the Southside of Chicago amid the gang the child through adversity. Archetypes and
turbulence of the ‘70s and 80’s. Fiasco’s father subcultures are highlighted and interpreted in
– an African drummer and member of the Black terms of their cultural evolution or regression –
Panther Party – was intentioned to offer a fluid transition, the act of passing something
another way out for young people in the area. from one person to another, activating waves
He organized martial arts as a solution to the of change across generations. This idea of
problem, impacting on a generation of kids with transmission impacts the lives of others.
ideas of empowerment as to neutralize
prototypal preconceptions.

26
The interior design represents Japanese forest, sunglasses that are still an element of rave
different dimensions and the nature of culture. A wide array of footwear – from
changed dimensions. Chelsea boots with neon contrast-soles to Air
Force 1 trainers created in collaboration with
All characters have a meaning, every character Nike was also displayed. They have been
is inspired by film or existing rappers. The reworked with Louis Vuitton’s logo and
collection presents the graphics of chess materials in an array of combinations and
informing various motifs, while the physical permutations. Thus, white Nike swoosh is also
form of the game manifests in shapes through part of the collection (Metcha, 2021)
hats, skirts and gloves. Furthermore, diversity,
subcultural expressions, accessorized almost
every look with baseball caps belt buckles,
animal-shaped claps in hand-enamelled metal,
hockey gloves as well as soccer socks and

scene, a small blimp reading “Hope” eerily

hovers, perhaps commenting on the past year
Men's Fall-Winter 2021 Show in Seoul with inside which was largely spent without travel.
House Ambassadors BTS | LOUIS VUITTON Furthermore, every member of the brand
BTS, also known as the Bangtan Boys, is a dressed according to their characteristics in
seven-member South Korean boy band K-pop real life.
stars popular worldwide. Virgil Abloh dropping
With his original capsule exploring the idea of
a fashion film with the boy band directed by
travel, the fashion film will be “a conversation
Korean filmmaker Jeon Go-woon, with each
between space, movement, and global
member wearing one outfit from the spin-off
connectivity,” The film opens with a narrator: “I
collection, which comprises of 34 new looks
had been a pilot for around seven years. In the
and 7 from the original FW21 collection.
midst of bad weather, I began my trip having
While Abloh's original collection explored gone through countless amounts of typhoons.”
fantasy ideas of travel, the film will be “a
The boy band members navigate an industrial
conversation between space, movement, and
global connectivity,” tapping into the energy of space filled with Vuitton-clad models, an
the South Korean capital. “Seoul has such a illuminated indoor skyscraper, and a seemingly
unique energy and BTS embody this vibe endless maze of staircases.
completely,” Abloh told WWD. “They add their
Less than an hour after the clip hit YouTube, it
spin to the collection, make it their own and
take it to new heights.” had racked up more than two million views,
introducing everyone who tuned in to a
Each member of the band — of which there are collection they may have only glimpsed in
seven — wears one outfit from the spin-off, lookbook images or on social media.
nodding to the travel theme through airplane
buttons and oversized travel bags. Above the

Aesthetics
These two short fashion films and at the same time debut for a new collection show how a professional can be
design used. In terms of story, plot, characters, garments, interior design, inside connotations such as subcultural
representation. This case shows how pure design as a product and design thinking as a film interfere with each
other and all stands for brand equity and represents an aesthetic, authentic experience (see in figure 10,11,12)

27
Figure 11, 12 Amen Break by Virgil Abloh. Interior design chess table and Japanese
subcultural representation.

Figure 12. Hope, film by Virgil Abloh and BTS Korean boy
28
band in Fall-Winter 2021 collection. Representing the
desire for travelling and hoping for a better time.
Expert interviews
In the areas of design and branding experts were asked based on the 4 stages of the Design model to
develop the strategic design process inside the organisation.

Design Management
In the field of design, the research was focusing to find a design manager to understand design roles in
the organisation with real-life practice. A manager with multiple responsibilities in the decision-making
department from Marimekko was asked about the role of design, branding and marketing connection.

Responsibility
Her responsibility is to be “to ensure consistency in the brand ‘tone of voice’-visually, strategically,
commercially through all touchpoints”. She is working with teams of creatives, sparring, workshopping,
collaborating with the design team- designers and cross-functional teams.
According to her branding falls under marketing, therefore under ‘cross-functional team’, she is
operating with design directors, managers and different departments. She ‘creates’ the brief or set the
direction in collaboration with her design directors. Ultimately, she is the final approver and decision-
maker, considering the needs of the business, the needs of the markets and the direction agreed within
the management board and the BoD. Therefore, she is collaborating with finance, the MB, the BoD and
the CEO.

She is working with supply chain, sourcing, merchandising and product development in terms of the
product, external designers and the artwork studio in terms of print development, marketing and PR in
terms of developing and promoting the brands and seasonal messages. Sales, stores and VM in terms
of bringing the vision to market. The digital team to ensure alignment between design, marketing, sales,
stores and e-commerce. However, her role is constantly changing based on the needs of the brand and
the market.

The role of design

According to her, design’s role is to propose change, both in terms of material, categories and changing
lifestyles. Design or product is often at the core of strategic discussions. Moreover, design is often
creating the brief, proposing new thinking methods and ideas, protecting the integrity of the brand.
Thus, great design is not just following instinct but also understanding strategies, business needs and
ensuring ‘buy in’ from all functions.

As she perceives, being a designer has changed over the last couple of decades, and the last couple of
years. Expectations have changed, the industry now expects designers to understand the market,
benchmark, work closely with both marketing and merchandising, understand cost and price structures

29
and monitor changing needs. Thus, designers are increasingly needing to be more collaborative and
more strategic.
Branding, Innovation and design strategy is happening in collaboration. She proposes branding,
innovation and strategies but will need to ensure by in from cross-functional teams and fellow
management board members and BoD.

Team
To succeed is important to involve all team members and levels. To ensure communication flow, to set
clear objectives and identify expectations. Involvement and collaboration across the different functions
are important.

Strategy
Important to research and monitor competitors, the market and the industry – colours, materials,
techniques. To employ colour and trend services, attend fabric fairs and subscribe to several forecast
services.
She believes that a corporate can only be successful if it listens to and incorporate customer feedback.
It can be directly read customers likes and dislikes through sales, but also collect feedback through
stores, partners (wholesale and retail) and e-commerce.
Further importance to identify expectations in terms of strategies, business models. Hence, research,
benchmark, attend workshops, and review customer’s feedbacks.

30
Organisational Development
To understand deeper, the 4 stages of the Design management tool expert was asked about the design-
led branding model and further details about what differentiates success from failure from a corporate
perspective. The expert has 35 years of organisational development experience in project management
and worked with Air France board members and GDF Suez CEO, funders. She perceived as every process
needs to be strategically designed to succeed. The conducted interview suggests that design, sales,
marketing, branding all connecting with project management.

Determining- Where is the organisation?

In the stage of positioning the company should understand the brand, the design and it is
recommended to create a SWOT analysis and market position. The importance of this process is to
understand the fact that the market is continuously changing, it can be that through time the position
is not relevant anymore. Therefore, it is essential to monitor changed circumstances internally
externally and modify strategy accordingly.

Defining- Where does the organisation want to be?

Similarly, the position, the aim also can be changed accordingly. Therefore, the aim also has to be
flexible regarding the market.
Moreover, the company should be coherent in communicating internally and externally their values. It
is essential to be consistent with what the brand says internally.

Designing -How will the organisation get there?

KPI’s (Key Performance Indicators) can help to design the strategy which shows the results of specific
milestones. Milestones are good to show how much the company gets closer to the aim. In addition,
not updating the strategy can be misleading.

Decisions
In these changing markets, decisions are required and determine the success of the projects. Every
project should have an owner who is responsible for the project. At the organisation strategic, tactical
and operational level there are different kinds of leaders. These owners should always monitor the
team and the process if the progress is on the right track. If there is no decision-maker it can mislead
the whole project.

Motivation
To motivate people, it is highly important to involve everyone in the thinking process and create
engagement, success, and feedback to improve the individual. Furthermore, if the leader is engaged
and motivated and well informed the group will be going in the right direction. In addition, inform
people about the 1+1=3 logic which means that if people exchange thoughts and communicate it is not
two more than that a common thought and a high value. In addition, communication is essential for
success.

Group dynamics
To follow the aim a group should be focused and have a well-created structure. Since people can lead
and mislead the group and take it far from the initial aim.

31
According to Tuckman (1965), there are four stages of creating a team; the first stage is ‘forming’, where
individual roles and responsibilities are unclear. Thus, from an early stage of the group work, it is
essential to set clear objectives and get members to introduce themselves to set the hierarchical roles.
Furthermore, understanding each other’s perspectives is essential in any group structure formulation
(Beever, 2021).

Furthermore, motivate people according to their personality. Another importance is having an expert
or senior in the team and using A, B, C type people for A, B, C types of tasks. A project leader or owner
should therefore analyse the team members' expertise and coordinate them accordingly. Moreover,
monitoring the scope of what the group already has done and what is not in scope that the group does
not need to consider can help the working process and show if the group is on the right direction.

Deciding- Evaluation
In the evaluation phase, a company should understand why the strategy was not successful or
unsuccessful. What have the employers, the company learned about the past situations?

32
Branding
Connected to branding, the researcher asked a branding, PR consultancy to understand the research
context from a branding expert perspective.

In addition, a branding consultancy can help to determine, define, design and decide the core i9dea,
value, vision, mission and personality.

A branding consultancy, therefore, organises with client’s monthly meetings where they discuss the
areas which need improvement. They usually use and recommend the help of design and branding
aspects that might be audit tools created for the brand.

Strategy
Before a brand goes out to any communication space the brand should be well defined, established,
should know about its core idea, vision & mission, values, and personality.

After the brand is well-defined marketing campaigns, advertisements can help to create engagement
with the audience. Currently, motion pictures are the strongest medium to communicate therefore it
is worth looking for film implantation help.

Any advertising money that the company invests in commercials should be well considered since if a
brand invests money in advertisements can be wasted or even the promotional is more annoying for
the audience. Therefore, a strategy in terms of advertisement should be created.

There is a war for people’s attention. The contemporary social media context is a revolution where
people live their identity, personality, gender, sexuality and personality. Thus, to appear as a
commercial on these platforms (TikTok, Instagram, Facebook) is sometimes awkward and not fitting to
the context.

In a modern self-observed society people are well informed day by day about human rights and
sustainability therefore it seems to not work as a communicational focus (as UCB).

Suggestion:

“Satisfy social media needs such as stimuluses (gender, personality, happiness). To engage for fashion
brands, the best to do in the modern communication spaces is to be a friend and part of the society but
still stand out as a brand. Furthermore, be up to date, innovative, creative authentic and trustworthy.
However, it is not easy since how can an advertisement own trust?
Always look for emotional engagements, moreover authentic and aesthetic appearance is important.”
When the brand is aware of the core ideas, values and has a strong identity in the market the marketing
department must create a script for the external agency about the advertisement and the core ideas
of the brand. Then the agency reviews that and creates the eventual advertisement.

33
Visual questionnaire
Thirty potential customers were asked about seven-question in terms of brand preference,
recommendations on how a brand should be an aesthetic visual preference. In addition, how they
consider to fulfil themselves in social spheres as what their recommendation for fashion brands to be
up to date in today’s changing society.

Results
• For the question of ‘Which brand do you like the most?’ 30% of the questioned people favoured
The North Face brand while 26.7% are Louis Vuitton fans. Another majority 13.3% are voting
for Prada. That means The North Face and Louis Vuitton are valued amongst the questioned
audience. Thus, their design, branding and film implementation is worth overlooking.

• For the question of ‘In your opinion, a brand should be?’ people perceive that; ‘Uniqueness’
and ‘authenticity is the most important in brand representation. Aesthetic appearance is
preferred in the third stage; therefore, people believe that authenticity, uniqueness is more
important than aesthetic attendance in the market.

• As for authentic preference, 43.3% of the questioned people consider colour as the most
important representation for fashion brands. Another 20-20% thinks that shape and pattern
are important in terms of customer satisfaction in brand communication.

• The questioned audience was asked about a short film - Prada fashion film First Spring; a movie
by Prada& Yang The question was focused on the likelihood of shopping after seeing the short
film. The answers show that 38,4% of the questionnaire somewhat likely would purchase
products from a brand that would consider an advertisement as this form. 32,6% very likely
would purchase a product from a company that has this kind of communication approach.
However, 7 people said they would not buy products or not so likely. And only two people said
that they would buy it extremely likely.

• Amongst the questioned potential customers, the majority 34.9% perceived Film as an
implementation to the advertisement can create an aesthetic and authentic experience for
fashion brands. It can be perhaps due to the board connotations and associations connected
to films and authenticity, aesthetic perceptions. However, this shows that the idea is widely
accepted and have various perspectives and further ideas. The other majority perceive that
sustainability and human rights are important in terms of fashion brand representation.

• 43% of the questioned people said that personality and uniqueness is the most important
aspect to fulfil in the social media spaces. Others shared opinions equally amongst culture,
sexuality, happiness, identity or genre questions.

Suggestions

34
• Social media, online articles by established magazines (Vogue)
• See social current situation and adapt to it. Like climate change more sustainability.
• I think fashion brands should focus on pushing boundary’s once they try to be influenced by something
else they are no longer being original in the way that allowed them to be a fashion brand it’s like an
aeroplane manufacturer watching old war films to help them design modern jets
• follow social media, read trends through magazines or content platforms etc.
• Being in touch with media such as tv shows, movies. Going out to social events.
• Follow brand social media pages
• By knowing your consumer, as they keep evolving, the brands have to evolve too.
• go to the street
• Specific target market Cultural aspects need to be taken care of - as per the festivals Consumer
endorsement- A powerful tool
• Know new trends and how consumers behaviour is changing
• Social media advertisements
• Social platform such as Instagram keeps me informed
• Advertisement
• Watch music videos
• Look at your surroundings and history
• Dress properly
• Via journals
• Watch fashion shows follow the social media pages.
• Look flashy
• Follow brands on social media
• Advertisement
• Has own unique adhere to the values and aesthetic
• Be creative “

35
 Discussion
In discussion chapter, raw data from findings were overviewed and analysed to formulate a design-led
branding strategy with the help of film visual communication for the fashion industry.

The role of design-led branding in the organisation

The first observation is that design and branding are complementing each other. Therefore, using a
design-led branding strategy has the ability to achieve conscious design and branding principles inside
the organisation. In addition, expert interviews developed the design-led branding considerations and
case studies suggested to use film tone of voice of design and branding communication.

4 stages of design
Findings in the literature showed that design is a multidisciplinary research field that concludes design
process, design thinking and pure design. However, many companies or departments are not aware of
these differences or that they use design. Furthermore, design, branding, marketing project
management all work together in the company. And design role is often to be a strategic weapon for
marketing. Eventually, it is stated that design has significant value to add internal organisational
development in terms of strategy to enhance the internal and external design and brand
communications. In addition, a strategic framework such as the ‘4 stages of the design’ interpretation
shows a strategic direction for large organisations in the fashion industry (see in figure 13.). This model
was analysed, construed with the aim in mind to create a strategy for the most successful customer
engagement concerning large organisations in the fashion industry.

36
Figure 13. Design-led branding strategic framework, internal strategic plan. The 4 Ds of Design (by Holland and Lam,
Managing Strategic Design) linear interpretation; 4 stages of the design.
However, to see the whole portrayal of the design-led strategic framework effectiveness for the fashion
industry, it is recommended to analyse the market, target, customer journey, competition and
benchmark. A further suggestion is to narrow down, personalise the framework for the observed
company.

In these personalised circumstances, consider the design steps such as; determine, define, design, and
decide where the brand is, where it wants to be, how to design a process and whether the brand
reached the aimed plan. Moreover, consider the organisation levels regarding tasks, decisions,
resources in strategic, tactical and operational levels at the long, short and medium-terms.

Design management
The creative director of Marimekko interview suggests real-life design and branding insights inside the
organisation.

First of all, according to her, design role is to propose change and is often at the core of strategic
discussions, creating the brief, proposing new ideas, protecting the integrity of the brand. Moreover,
great design is not just following instinct, also understanding strategies and business needs.

Secondly, branding in her case falls under marketing, therefore it is important to research and monitor
competitors, the market and the industry – listen to customer feedback and identify expectations in
terms of strategies, business models. Including research, benchmark, workshops, customer feedback.

Therefore, her responsibility is “to ensure consistency in the brand’s ‘tone of voice’-visually,
strategically, commercially through all touchpoints”. Hence, design, branding, innovation and marketing
are often collaborating. Accordingly, she works with multidisciplinary design fields at strategic, tactical
and operational levels. Additionally, her role and tasks always change based on the dynamic market.

Improve the design-led branding strategy

The ‘4 stages of the design’ strategic method were improved by the organisational manager from Air
France, GDF Suez.

Subsequently, in the first two stages- positioning and setting the aim- she highlighted the importance
of considering the market, aim and circumstances, in terms of change and adjustment.

In the designing phase, where the company sets a strategy, several aspects are important to monitor,
such as KPI, milestones, different levels and decision-makers, motivation and team structure, group
dynamics and conscious use of resources.

In the evaluation phase, it is principal to analyse failures and successes and gain the conclusion from it,
to develop next year's plan in the long, short and medium-term in all levels of the organisation.

Design-led branding and film

Case studies from the measured luxury fashion brands present various real-life organisational
structures, which suggest insights for design implementation. First of all, design as a strategic process
appears to be controlled by design managers, creative directors, art directors and designers. Each

37
company calls it differently, and their purpose is often to ensure the conscious design process, the tone
and voice of the company externally. They are often responsible for brand representation with the use
of film that they design to be a mirror of the corporate identity.

From the measured luxury cases, it is intimated that these organisations often use external filmmakers
whose job is to produce fashion film, still, the company design internally the brand tone of voice and
the identity which is represented in films. However, a case from Miu Miu or Prada suggests that
establishing an in-house film production chain can be a core of the identity advantage. While another
brand as Louis Vuitton create films with a creative director and collaborates with multiple disciplines to
design the fashion film. These short films use design to consciously cover all parts of the movie from
the garment to the plot including character design. Hence, Louis Vuitton design method is worth gaining
insights to use design as a process, thinking and pure design methods for film implementation.

Branding key considerations

The second observation is that branding, design and film can work closely with each other. Film is able
to represent branding core aspects and design can create many values in film communication such as
designing plot, characters, message, garments and furthermore. From pure design to design thinking,
process film is a great medium to use. Hence, observing film as a communication form for branding and
design.

Brand identity in the contemporary society

Regarding the aim of this research, to stand out in the market, the literature review and expert opinion
underline the importance of having a well-defined and established identity before the company
communicates visually in several social spaces. Therefore, a brand should determine its core idea,
vision, mission, values and personality first of all. Consequently, branding audits such as 'The Design
Council Brand Model' can help a brand crystallise its merits. Furthermore, emotional branding and
storytelling are worth considering connected to film communication to create strong engagement.

Case studies showed that the measured luxury fashion brands have a clear identity in the market,
performing with a well-established personality that engages emotionally and drives recognition.
Moreover, they have powerful value representation in films, which tells stories and defines the feeling
of the brand. These cases were examples of brand and film communication, yet, multiple more brands
would be intriguing to investigate in the fashion industry.

Expert opinion from branding consultancy and the visual questionnaire was helping to understand the
contemporary context where the brand is intended to communicate with film. Accordingly, it is hard to
stand out in the market especially now in changed social spaces where people live and fulfil their
personality, passion and uniqueness. Therefore, it is required to have a wise plan in terms of motion
picture messages.

Besides, people's attention is fragile, thus short satisfaction is advised. To fulfil these unique demands,
the expert evolved the idea and proposed concentrating on performing with a short, approximately
three minutes film, which represents the brand core merits.

Still, it is vital to not standing out from the dynamic contemporary society where there is a war for
attention. To accomplish this, the research additionally advises personalized fashion benchmark, as well
as market, target monitoring, with the help of the 4 stages of Design-led branding strategy. In this case,

38
the strategy can be narrowed down and personalised in real-life practice to create a short film to
engage.

Film as a medium to communicate

From findings, it is apparent that film is a potential medium to deliver brand aspects such as; core idea,
look and feel, storytelling and emotional connection. Furthermore, fashion film is a great instrument to
communicate with, as a boundary phenomenon of advertisement and movie production. It is
entertaining and can be consumed as a product, still, these films are often too long or artistic for
modern society.

Hence, the research recommends using short films and conscious observation on the market to fit the
social spaces but still stand out from it.

One solution is film aesthetic emphasis, which concentrates on the colour shape pattern and additional
authenticity of the brand visual communication. Since it is well-defined people have a natural attraction
towards beauty and aesthetic impression.

Case studies can show leading points to observe aesthetic brand design and authentic brand image. In
addition to gaining ideas for short films and fashion films, film history is also a great outset to dig and
measure successful brand-film collaborations in the past and inspire further ideas on how to
communicate aesthetic characteristics for the audience.

Design a film
Luxury fashion brands tend to use and communicate with film and they wisely consider and design all
the components of the motion picture. As per the case, it differs in terms of design elements, some
brands use more conscious design while others rely on artistic senses or abstract visions. Eventually,
the filmmaker determines the film’s 'tone and voice', yet it is eternally loyal to the core idea of the
brand.
In order to design a film, it is valuable to consider branding aspects and visual appearances together.
Additionally, film characteristics such as plot, characters, garments, storytelling, culture, sub-cultural
appearance can be a mirror of the brand representation.
To design a film for the fashion industry visual questionnaire provided insight in terms of visual interest.
Accordingly, Louis Vuitton brand communication is worth investigating since it was chosen as the most
preferred brand.
Furthermore, uniqueness and authentic brand design, colour are favoured, thus highlighting them is
gives further perspectives.
In addition, equally, personality is important to fulfil in social spaces therefore, understanding the
customer perspectives is essential.
Therefore, as the questioned audience recommended marketing and advertisements, understanding
the market and target, competitors and benchmark are recommended to measure in this field, to
attract people's attention with film communications.

39
Recommendations
The research aim was to seek and understand the way brands should stand out in the contemporary
fashion market, with the communication of film as a medium and differentiate with the help of design
and branding connection.

With all the research I have done, such as literature review, case studies, expert interviews and visual
questionnaire, and the findings I have found in discussion and analysis, -at least as a personal
interpretation- lead to a design-led branding concept for large organisations in the fashion industry.
Included with a general guideline to design a short three-minute film to stand out in a busy market.

Literature review suggested that design and branding enhancing each other in a large organisational
context and propose strategic direction. Additionally, film is a great tool to communicate and have the
ability to enhance brand equity. Case studies showed strategic directions to design a film. Expert
interviews helped to enhance the internal design-led branding idea and visual questionnaire suggested
visual preferences to create engagement.

Strategic concept
The research recommends using design, as a corporate strategy in terms of internal design-led branding
strategy enveloped with Love marks, The Design Council Brand Model and The Design Pillars. These
well-considered audit tools can support a strategic frame for the organisation and help to increase
brand equity internally and externally.

In order to bring theory to life the research shows examples considering the previously observed
brands. For design-led branding Prada is overviewed, for the Design Council Brand Model Miu Miu is
considered and for Love marks Vogue Film and eventually Louis Vuitton for the Design Pillars.

Based on the research, the design, film and branding considerations are the following;

40
 1. Design-led branding strategic framework
First of all, in a large organisational context, it is important to set clear, realistic touchpoints. Understand
the position in the market, set the aims and where the organisation wants to be, design the process,
and evaluate when the progress ended.

In short, medium and long term considering all levels of the organisation such as strategic, tactical and
operational levels. It is also important to set KPIs and milestones in the process and be flexible always
monitor the changed circumstances. Both design and branding aspects are important to consider in this
framework which determines the whole process and strategy. (See example on figure 14.)

Figure 14. Design-led branding- 4 stages of design demonstrated with Prada.

41
2. Message to communicate with the audience

Design Council Brand Model

Before the brand appears in the communication spaces it is essential to set previously the brand ‘core
idea, vision, mission, values and personality’. It should be all communicated through the medium of film
and determine the whole brand visual experience. Brand consultancies can help to fix, rethink, build
brand touchpoints in order to have a strong idea of the brand which can be communicated to the
audiences. (See example on figure 15.)

Figure 15. Design Council Brand Model demonstrated with Miu Miu core idea, vision, mission, values
and personality.

42
Love marks
From the findings it is well defined that emotional branding is essential to create engagement.
Therefore, analysing the brand and create emotional touchpoints can help to communicate
brand messages. This can happen with storytelling elements or cultural, sub-cultural
representation. Love mark matrix can help to set the position and suggest further direction for
the considered brand. (See example on figure 16.)

Figure 16. Love marks, demonstrated with Vogue Film. Vogue film considered as a high respect
brand since it belongs to Vogue and Conde Nast Group, however, it is not well known, mostly
operating in China and concentrating in that market, therefore globally anonym and considered
as low love brand. That would be an aim for Vogue film to move into a high love zone.

43
 3. Guide to design a film
The research gives touchpoints to design a short 1-3 minutes film which could be used on any suitable
medium such as social media platforms, exhibitions, contemporary new communication spaces such as
VR, NFT or in store. In order to inspire promote the product and stand out in the busy market.

The medium is film which means it can be any kind of moving image with sound or without.

Here are set of guidelines that would apply for many kinds of medium regards of final production based
on Chris Holt Design pillars design audit tool.

All the touchpoints are set up to give pillars for the brand and design the film in order to represent the
brand. (See example on figure 17.)

Figure 17. Design a short film:

Use of film aesthetic elements; • shape • colour • pattern • line • texture • visual weight • scale • proximity • movement

As Louis Vuitton was the best example on how to design a film it is worth to use to give an example on designing a film.

Differentiate:

Engage:

Stand out:

Inspire:

Guide:

Narrate:

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Intersection
As a summary of the recommendation section the research propose to conclude the strategy in figure
which shows all the considered design and branding tools which can help to enhance costumer
engagement for a large organisation in the fashion industry.

First of all, design-led branding strategy can help to fix, set up and clarify branding and design factors
inside the organisation in order to communicate externally. This design-led strategy concludes branding
important considerations connected to film communication such as; The core merits of the brand,
emotional engagement. Furthermore, the research also suggests to design a film and consider all the
design and branding factors. Since the film is eventually the tone of voice to the brand to communicate
with their customer.

Figure 18. Summary of the design and branding tools which suppose to create audience
engagement for large organisations from the fashion industry. The design process based on a
design-led branding 4 stage of design framework included with Love marks- emotional branding-
, and brand merits from The Design Council Brand Model and a film design based on the Design
Pillars. The brand is in the core position with film. Design words are surrounded since they
function as pillars for the brand. The Horizon, Azimuth suggest the marketing, benchmarking,
targeting phase which also important to consider in the engagement research context. The aim
is to became Love mark thus create engagement and loyalty with the initial costumers.

45
Conclusion
As for the aim of this research which was -to formulate a design-led branding strategy to gain effective
audience engagement with the implementation of film and their core visual elements to brand
communication for large organisations in the fashion industry- is formulated in the design-led branding
context with the help of film implementation.

However, the design-led branding framework and the tool to design a film would need real-life practice
to validate and try in the reality.

The key question of this research as - ‘How do design strategy, branding and the use of film and core
aesthetic elements work together to create a successful brand engagement strategy to enhance
organisational communication in the fashion industry?’-was answered in subjective interpretation
based on research such as literature review, case studies expert interviews and visual questionnaire.
However as per the model as connotations, thus this question would be answered differently in diverse
viewpoints.

In conclusion, the exploratory study suggests that an inside design-led branding is worth using to
determine, define, design, and decide where the brand is where it wants to be and how it gets there
and whether it gets it. Thus, a design-led branding gives theoretically a strategic framework with the
help of branding audits a message and film designed as a medium to communicate can work together
to create satisfying engagement with the audiences.

However, still would needed real-life practice and marketing research, competition analysis target
observation, customer journey, SWOT analysis and a strategic personalised plan to reached the
audiences and create emotional, cultural engagement through storytelling and narrative elements with
the help of film as a medium.

In conclusion, the study suggests that when a film is applied as a strategic tool, it is of relevance to
achieve an authentic fit to the brand. When integrating film aesthetics as art consistently and
authentically within the marketing strategy and design-led branding, leads to higher brand equity.

The research at this point is reached their aim within mint to formulate an engagement strategy with
the use of design, branding and film components. Further research suggested to review a chosen brand,
implement this strategy and design a short film. The created film should be proven in two areas; one
society who saw the film and another which did not and perceive which area bought the product more.
If the area who saw the film would buy more product it would prove that the design-led branding and
the film design is successful.

46
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