Gucci'S Prelude To The New Exhibition: Building Its Own Full Channel Marketing Mode.

In October 2016, we reported that Alessandro Michele, the current creative director of Gucci, is going to launch a magazine as a guest editor.

This is the result of his collaboration with A Magazine curated by, a Paris based fashion art magazine. The designer who makes Gucci "once again great" will show some of her inspiration.

On the front page of the 280 page magazine, the Civita Di Bagnoregio, Italy, stretches the dawn of the mountains, which is Michele's favorite quiet place and his inspiration cradle.

The cover also opened the prelude to the new Gucci exhibition.

From March 2017 to May, Gucci jointly organized A Magaine to hold the three city art exhibition in Hongkong, Beijing and Taipei. Its theme is "curator", and the curator is Dan Thawley, editor in chief of A Magazine.

In addition to presenting Michele's collection and inspiration, the exhibition will invite three new artists to create locally.

Among them, the Spanish artist Coco Capit n, who is only 24 years old, arrived in Beijing. At present, the Beijing Railway Station Exhibition for a month has been opened in March 29th and is located at No. 77 theatre in the back street of the art gallery.

Under the label of "alternative" and "depth", the survival mode of niche magazine is actually no difference from mainstream fashion magazines. Today, the paper media has been severely impacted by the Internet. Many fashion brands have cut down the advertising budget in traditional media.

However, Gucci has invested a lot of money and energy in the "A Magazine" of minority publications, and has made use of magazines, exhibitions, online publicity and other channels to carry out brand communication.

Is this an anomaly? From its type, A Magazine is a small independent magazine.

In 2001, the famous Belgian designer, Walter Van Beirendonck, founded the "N degree A" of the magazine during the Antwerp Fashion Festival (Landed Geland Fashion Festival in Antwerp).

After 2004, after looking for Maison Martin Margiela as guest editor, it changed its name to A Magazine, and explored its own content production and operation mode, that is, every period will select a designer guest host editor, in order to create and interpret their design inspiration content.

At present, the magazine has launched 16 phases. Besides the latest Alessandro Michele and the Maison Martin Margiela of 2004, the past A Magazine guest editors also include Yamamoto Teruji, Riccardo Tisci, Thom Browne, Takahashi, and Tisci.

In the form of big and small people, A Magazine is sought after by people in the industry. However, under the label of "thinking", "culture" and "niche", the business survival mode of A Magazine is hidden -- the creative creative marketing media.

This is quite similar to the "exclusive customization" and "cooperation funds" of the fashion industry today.

Prior to this, Gucci president and CEO Marco Bizzarri also told the women's Wear Daily that in fact, the paper media channel is still important for the brand building of Gucci.

However, the importance of paper media lies in the characteristics of differentiated products.

For Gucci, cooperation from magazines to curators and A Magazine is not a choice: the latter emphasizes the humanistic image of the media, which is highly consistent with the Gucci's current product and brand image. In addition to ensuring its own tonality, the magazine provides an unofficial special channel for production and distribution.

In addition, A Magazine can still serve as a selling point to attract other brands to advertise.

Turning on the latest issue of Alessandro Michele's guest editor magazine, Gucci naturally occupies the first cross page gold advertising position, followed by

And other brand advertising.

If you say this is a commercial soft banner with a small banner, it is no harm.

Because "culture" is always over mythical, people who are willing to pay for it are everywhere. At the same time, the supply and demand of the industrial chain are also stimulated.

From this point of view, small fashion magazines are not as outsiders imagined, purely for the sake of media ideals, cultural thinking or creative aspirations of people with lofty aspirations. Besides, the same type products are even more numerous nowadays. In February, the famous fashion editor, stylist Marie-Am e lie Sauv E also launched a magazine called "Mastermind", which also dealt with "thinking", "depth" and "difference".

Therefore, the survival of small fashion magazines is nothing more than a detailed classification of the media product market.

Especially in the current pformation of the print media market, it highlights the characteristics of its differentiation.

In simple terms, independent magazines and Vogue, ELLE's "popular" publications are no different. The relationship between them and brands is no longer a simple purchase advertisement and soft language cooperation is so simple, but can rely on its brand appeal and related resources to create more diversified marketing programs for the other side.

For example, planning a cooperative exhibition.

The exhibition hall is divided into three parts in Beijing's "curator Mi Kai Li".

The outermost room is called "Cabinet of Curiosities", which refers to the cabinet used to display collectibles in the westerners' home. The theme is "obsessed with love": Thawley introduces the creation thoughts of Michele in the "A Magazine Curated By Alessandro Michele" magazine, and many of the works have appeared in the fashion of the last few seasons.

The second room is the work of Coco Capit n, in addition to showing her travel experience and photography in Florence and Rome, Coco Capit n also created a manuscript in Beijing, which is hung in the most prominent position in the exhibition hall.

In the third room, as long as the audience is at the central station, with the rising and falling of the surround videos, photos and paintings projected on the wall, we can enjoy the dynamic immersive experience of the sound and light.

All in all, "curator Mi Kai Li" is a great literature review. It lists inspiration and inspiration from past classics. No wonder Michele is always described as a "book bag".

However, if there is no exhibition, it is really difficult for ordinary consumers to have an in-depth understanding of the origin of the printing on a skirt, which means that the exhibition is indeed a way to help people experience the brand story. This is also a way of Louis Vuitton, Dior and other luxury brands in the past decades.

But today's exhibitions pay more attention to the cooperation of every market group than before.

Not long ago, Gucci's "Gucci 4 ROOMS" held at the flagship store in Ginza, Tokyo, was very close to Japanese culture. It worked with Japanese artist Shioda Chiharu to put handbags, clothes and other products in a dense red silk thread, while in the "Gucci Garden" room, it was filled with Japanese artists Daito Manabe's Japanese cartoon device.

But in China, "curator Mickey" does not enable large-scale installation art, nor does it have a clear consumption orientation, and more focuses on the rendering of brand stories.

This is determined by the current situation of different consumers in China and Japan.

According to McKinsey's 2015 report, the luxury market in Japan is now very similar to the West. Consumers are cautious, more sensitive to prices, no longer blindly pursuing luxury, but are more willing to spend money on health and environmental protection.

But in China, consumers are not as mature as Japan, and brands need more output while expanding the consumer base.

In order to educate the market.

Different from the past preaching promotion of luxury goods, today's Gucci is more inclined to launch corresponding publicity forms and channels for different cases. From the case of 2015, "the exhibition, the current exhibition", and the case of #GucciGram, #GucciGhost, #TFWGucci, etc., which are co operated with young artists on Instagram, we can see that Gucci is building a full channel marketing mode that covers numbers, flat media, landing exhibitions and so on, and there is a certain overlap between them.

This way, let Gucci brand image from the show.

It extends to social media, publications, exhibitions and urban life, thus forming an integrated marketing system.

In the past, the concept of the whole channel was more used in the sales level, and in order to maintain a unified brand image, luxury and fashion brands often lacked a segmentation marketing mode for different products, channels and customers.

Now, Gucci has realized the limitations of this traditional practice. Whether it is aimed at the collaborative marketing of social media in the young market, or the landing exhibitions on the line, although they share the same brand characteristics - retro, boasting and bookish, their forms are very diverse, and their strategies and layout are more elaborate.

In 2016, with the cooperation of Marco Bizzarri and Alessandro Michele, Gucci sales increased by 12.7% to 4 billion 378 million euros compared with the same period last year.

In the face of the increasing fame and achievements after taking office, Michele also told the daily telegraph that he had "created a lot of works in a crazy way to release all the sensory accumulation on all sides."

He called his inspiration from the combination of dreamlike soliloquy and business effects.

It is true that beauty is everywhere, but it is a troublesome business to let people find it and willingly pay a high price.

In this regard, Gucci deserves the same type of brand thinking.

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