fashion design case study

Fashion Design Management: Case Study

Updated for the 2025 undergraduate admissions cycle.

The  Fashion Design Management Case Study  is required of all first-year and transfer applicants interested in this option of the Fashion Design Management option of the Fashion Design & Management major*.  This submission will be considered along with your required application materials (Common Application, transcripts, etc). Fashion Design Management applicants who do not submit the  Case Study  will not be considered. 

*Applicants interested in the Fashion Design option must follow separate fashion design portfolio guidelines .

How do you transform an idea into a successful fashion brand, and how do you define “success”? Fashion Design Management merges creativity, business savvy, and ethics to realize the potential of fashion products and ensure they reach the right consumers.

In the College of Human Ecology, students approach all areas of study by centering the health and well-being of people and communities. In Fashion Design Management, this means thinking about the needs and desires of consumers as well as the impact of fashion products, production, and promotion on the environment, garment workers, and society more generally. How do you learn about your consumer (i.e., “target market”) and then align your branding, communications, product lines, manufacturing, marketing, and retailing with their preferences?

The Fashion Design Management Case Study will provide an opportunity for you to answer some of these questions and showcase your creativity, analytic skills, and understanding of fashion design management. The written statements, though separate from the Case Study, will also offer a space to share your experience, background, and perspective on fashion design management.

Submission instructions All Fashion Design Management Case Study components must be submitted via  SlideRoom . Mailed materials will not be accepted, reviewed, or returned.

Deadlines Your  Fashion Design Management Case Study  must be submitted to SlideRoom by the application  deadline  that corresponds with your application status. Late submissions will not be considered.

Fashion Design Management Case Study  Components The Fashion Design Management Case Study  consists of the following (2) required components and (1) optional component (see below). Applicants must complete and submit the (2) required components.

• Required — Written Statements
• Required — Case Study
• Optional — Your own creative work

All work must be original and produced by the applicant,  WITH NO ASSISTANCE FROM CONSULTANTS, ARTIFICIAL INTELLIGENCE, ETC.  Any images or graphics that are not the work of the applicant must be properly cited (for example, a mood board of collaged images from a magazine must include attributions to the source). Submissions found to have significant similarity to work posted on the internet or from other sources will not be accepted.

Fashion design management case study instructions (2025).

Tell us more about yourself and your interest in Fashion Design Management by responding to each question/prompt below. Submit (1 – 2) pages with your responses to SlideRoom.

• Students in the College of Human Ecology approach the study of human health and well-being by considering many different scholarly perspectives, including human development, nutrition, psychology, history, economics, design, and the social and material sciences, among others. What interests you about studying Fashion Design Management in this kind of interdisciplinary educational context? (Maximum: 150 words)
• Please describe any fashion and/or business related experiences (including jobs, courses, internships, and volunteer work) in which you have participated. Share more about the creative, as well as the business, financial, and management aspects of these positions. (Maximum: 100 words)
• What do you believe is the greatest challenge facing the fashion industry today? What solutions would you recommend from the perspective of fashion design management? (Maximum: 150 words)
• Of all the places, people, and media platforms where fashion is seen, which has most informed and influenced you and why? (Maximum: 100 words)

The Fashion Design Management Case Study allows you to present your perspective on the business side of fashion and the management of design.

Prompt: Create a new fashion brand or expand/revamp an existing brand for an underserved or niche consumer. Develop a cohesive presentation of your work that you would pitch to an investor (in the case of a new fashion brand) or to upper-level management (in the case of an existing brand). Respond to each portion of the Case Study as outlined below.

• Brand identity and target market. Develop a brand identity and describe the target customer for your brand. Indicate what research and resources you used to select and understand this consumer group. Describe how your proposed brand would meet the needs and preferences of this customer. Develop a brand identity that clearly and cohesively communicates the mission, values, and personality of your brand through both visuals and written word. Submit (1 – 2) pages to SlideRoom.
• Product line. Create or curate three looks that would be worn by the target customer and indicate the product category or categories that are part of the brand. For example, a brand might specialize in footwear, accessories, or a particular category of apparel, like swimwear, sleepwear, activewear, etc., whereas other brands might manufacture across a range of different product categories.  To illustrate the consumer looks, you may provide original sketches, take photos of models you have styled, or use existing images from other sources, such as catalogs, magazines, or the internet. Be sure to identify your original work and accurately credit the work that you sourced. For each look, indicate how it exemplifies your brand identity. Submit (1) page per look (maximum 3 pages) to SlideRoom.
• Brand promotion. Consider how you would advertise this new brand to your target customers. Explain why your promotional strategy will effectively reach your customers and what will make you stand out from other competing fashion brands. Think outside the box for a unique approach. You could provide a sample advertisement, social media post, or promotional video. Submit (1 – 2) pages to SlideRoom.
• Production, distribution, and retailing . Share production and/or sourcing choices you might make for the product line(s).  Identify and describe the distribution channel(s) the brand will use to reach consumers. Provide a general overview of the anticipated financial, environmental, and social considerations affecting your choices. Submit (1 – 2) pages to SlideRoom.

Submit up to three (3) additional images of your original creative work for consideration. Submissions can include photos, videos, and blog posts, as well as garments or accessories you have made.

Submit optional creative work (maximum of 3 pages) to SlideRoom.

• Think about the mission of the College of Human Ecology — Improving lives by exploring and shaping connections to the natural, social, and built environment — and consider developing a brand that articulates with this commitment to health and well-being in some way.      
• To start your research, you may want to create a list of potential brands you think would be interesting for this challenge. Visit their websites and look for “Company Information” or “About Us” information to learn more about their background and customer. 
• Explore the media platforms you use to learn about fashion and think about consumers who may be underrepresented in these spaces. How will you address both the needs and the desires of an overlooked consumer group?
• Consider identifying a target consumer who is different from you in some way and use the Case Study as an opportunity to research and learn about the needs of this consumer group. You may conduct research in the library, talk with people who identify in this consumer category, search for research reports, read journal articles, and find magazines or social media accounts targeted to this group, among many other research approaches.
• Visit a store in your area to look more closely at the merchandise and to talk to store employees.
• Be sure that if you use images, media, or styling looks with garments you did not create, that you indicate the sources owned/created by others.

Frequently Asked Questions

The fashion industry and fashion design management bridge creative and business components. The Case Study is intended to give prospective Fashion Design Management students a platform to highlight their business acumen, creativity, and consideration of social and cultural contexts. We are interested in understanding how you perceive fashion around you and the innovations, improvements, and interventions you might bring to the industry.

By creating a brand and detailing the products, consumers, branding, promotion, production, and distribution, your Case Study will show us a bit more about your perspective on fashion and your hopes for the future of the industry.

To start your research, you may create a list of potential retailers you think would be interesting for this challenge. Visit their websites and look for “Company Information” or “About Us” information to learn more about their background and customer. You can also see if there is a store in your area and take a visit to look more closely at the merchandise and talk to store employees.

Resources for images can come from print catalogs, fair use image databases, or you may take your own photographs. Be sure to appropriately credit images and photos if you use those owned by someone else.

The written statement portion of the Case Study allows you to describe your work experience. If you have visuals (images or designs) that resulted from your work experience, you can add this as your “Optional Creative Work” in SlideRoom.

Email us if you have additional questions about the design supplement.

Zara Case Study: How Zara Lead The Fast Fashion Market?

Supti Nandi

Updated on: April 8, 2024

You asked, and we listened! Get ready to dive into the fascinating world of Zara with our highly requested Zara Case Study. 

Recently, Zara has been trending in Instagram reels and YouTube shorts for its funky model poses. You must have seen it too! Have you wondered what made this Spanish brand so famous?

You may say that Zara works on the concept of fast fashion, which makes it win in the competitive market. 

Well, that’s true but it is not the only reason. Let’s uncover the secrets behind Zara’s success through the Zara Case Study.

Let’s begin!

(A) Zara: A Brief Overview

Zara, a notable name in the fashion industry, is a Spanish retailer known for its distinctive approach to clothing and accessories. Operating on a fast fashion model, Zara excels in swiftly adapting to evolving fashion trends, setting it apart in the market. With a vertically integrated process, the brand manages everything from design to production in-house, allowing for efficient and responsive operations.

You’ll find Zara stores globally, each offering a diverse range of trendy and affordable clothing for men, women, and children. The brand’s commitment to delivering fashion-forward pieces at accessible prices caters to a broad audience, reflecting its significance in the industry.

Do you know what is fast fashion?

Fast fashion is a business model characterized by quickly producing affordable, trendy clothing items to meet rapidly changing consumer demands.

Zara works in the same way. We will look into its details in the upcoming section. Before that, let’s go through the profile of Zara-

What makes Zara stand out is its ability to balance responsiveness in manufacturing, a well-structured supply chain, and a keen understanding of consumer preferences. This combination has established Zara as a trendsetting and influential player in the fashion landscape. Its adaptability and dedication to making fashion trends accessible have solidified Zara’s place as a recognizable and influential name in the fashion industry.

(B) Zara Case Study: History & Evolution

Zara’s journey began with a dress-making factory called Inditex, established by Ortega in 1963. Over the years, Zara expanded its presence from Spain to Portugal and eventually to other European countries, the United States, and France.

Today, Zara boasts nearly 6,500 stores across 88 countries worldwide.

Let’s dive into the history of Zara in detail-

Zara is the flagship brand of the Inditex group, which is one of the world’s largest fashion retail conglomerates.

The head office of Zara is located in Arteixo, in the province of A Coruña, Galicia, Spain. Inditex also owns other popular brands like Massimo Dutti, Pull&Bear, Bershka, and Stradivarius.

(C) Brand Philosophy of Zara

Do you know why Zara stands out among its competitors? Due to its brand philosophy! Sara’s success hinges on several key principles-

Zara’s strategy is strikingly different from traditional fashion retailers. Reason? Fast fashion concept and in-house production of clothes! Go through the next section for detailed information.

(D) Zara Business Model: Effective Working Strategies

In this section, we will dive into the business model of Zara to determine its working strategies that played a huge role in its success-

Let’s dive into the details-

(D.1) Fast Fashion Model

Zara is known for its “ Fast Fashion ” approach. It releases new collections frequently, sometimes launching over 22 new product lines per year. This agility allows Zara to respond swiftly to changing trends and customer preferences.

• Rapid Trend Replication: Harnessing cutting-edge information technology, Zara excels at swiftly replicating prevailing fashion trends. This enables the brand to stay ahead of the curve, delivering the latest styles to customers promptly.
• Group Design Approach: Departing from the conventional individual designer model, Zara adopts a collaborative approach. Teams of designers work in synergy, fostering enhanced creativity and efficiency in product development. This collective effort ensures a diverse range of products aligned with dynamic market demands.
• Cost-Effective Materials: Zara strategically utilizes affordable materials without compromising on quality. This approach allows the brand to maintain competitive pricing while delivering products that meet or exceed industry standards. The focus on cost-effective yet quality materials contributes to Zara’s accessibility and broad customer appeal.
• Competitive Pricing: Zara optimizes its production costs by outsourcing to countries with cost-effective labor. This global approach not only supports competitive pricing but also facilitates the brand’s ability to swiftly adapt to market demands. The combination of efficient production and competitive pricing reinforces Zara’s position as a leader in the fast fashion landscape.

(D.2) Product Range

Let’s briefly look at its product range too-

• Clothing: From chic dresses and tailored suits to casual wear and activewear.
• Accessories: Including bags, shoes, belts, and jewelry.
• Beauty Products: Fragrances and cosmetics.
• Perfumes: Zara has its line of fragrances.

(D.3) Vertical Integration: In-House Operations & Logistics

Zara’s way of doing business centers on something called vertical integration. Here is how it works-

• Design: Zara takes charge of creating its designs, meaning it controls how its clothes look and stay on-trend. This ensures that what you find in Zara stores reflects the latest fashion trends.
• Manufacturing: Zara doesn’t just design; it also makes its clothes in-house. This is a big deal because it lets Zara make changes to its products fast. If there’s a new trend or customer feedback, Zara can respond quickly, which is pretty cool.
• Shipping and Distribution: Zara doesn’t stop at making the clothes; it handles everything from getting them to the store to making sure they’re sent to the right places. This full control of the supply chain ensures that the clothes you see in Zara are not only stylish but also reach the stores efficiently.

In short, the fast fashion concept, vertical integration, and supply chain efficiency helped Zara to achieve impressive milestones.

(E) Revenue Model of Zara: How does Zara make money?

Do you know Zara earned Rs.2,562.50 crore in India? That’s not all. It earned over 23 billion euros from its stores worldwide.

That’s quite amazing! Isn’t it?

But how does Zara earn such a whopping amount of money? Due to its impressive revenue model.

Let’s go through them one by one-

Let’s briefly dive into Zara’s finances for the years 2022 & 2021-

That’s how Zara is going through its purple patch in terms of revenues!

(F) Zara Marketing Strategies

Zara, the renowned Spanish fashion retailer, has crafted a distinctive marketing strategy that contributes to its global success. In this section, we will delve into the key elements of Zara’s marketing approach-

(F.1) Fast Fashion Strategy

The fast fashion model functions as a highly effective marketing strategy for Zara in several ways. First and foremost, the rapid turnover of collections, with over twenty product lines per year, creates a sense of urgency and novelty for customers. This continual introduction of fresh styles not only keeps Zara top-of-mind but also fosters a dynamic shopping experience, encouraging frequent visits to discover the latest trends.

Moreover, the quick response to changing trends and customer preferences positions Zara as a trendsetter, appealing to fashion-conscious consumers. The ability to swiftly translate runway trends into accessible and affordable pieces reinforces Zara’s image as a go-to destination for staying in vogue.

Additionally, the limited production batches contribute to an atmosphere of exclusivity, prompting customers to make timely purchases to secure unique and in-demand items. This scarcity-driven approach enhances the perceived value of Zara’s offerings.

In essence, the fast fashion model serves as a powerful marketing tool for Zara by creating a sense of immediacy, exclusivity, and trend relevance, fostering customer loyalty and consistently attracting a diverse audience seeking the latest in fashion.

(F.2) In-Store Experience

Zara places a strong emphasis on crafting an exceptional in-store experience, carefully curating showrooms to exude an atmosphere that is both exclusive and professional. The meticulous design choices contribute to an ambiance that goes beyond a mere shopping space, creating an environment where customers feel engaged and inspired. 

The meticulous attention to detail is aimed at ensuring that every aspect of the in-store setting is carefully considered, from layout to lighting.

This focus on the in-store ambiance goes beyond aesthetics—it becomes a vital part of Zara’s marketing strategy. The thoughtfully designed physical stores act as powerful marketing tools in themselves, drawing in customers by providing a memorable and immersive shopping environment. 

By enticing shoppers to explore the latest trends in this carefully curated setting, Zara not only enhances the overall customer experience but also reinforces its brand image as a trendsetting and sophisticated fashion destination!

(F.3) Affordability & Differentiation

Zara strategically positions itself by prioritizing affordable pricing while maintaining a commitment to quality. This dual emphasis allows the brand to resonate with a wide range of customers. By providing stylish clothing at reasonable prices, Zara ensures accessibility, making fashion-forward designs attainable for a diverse audience.

The effectiveness of this marketing strategy lies in Zara’s ability to differentiate itself in the market. The brand stands out not only for its trendsetting designs but also for its adept balance of fashion-forward aesthetics and accessible costs. 

This unique blend positions Zara as a go-to destination for those seeking both style and value, enhancing the brand’s appeal and solidifying its market presence. The affordability and differentiation strategy contribute to Zara’s ability to capture a broad customer base and maintain its status as a leading player in the competitive fashion landscape.

(F.4) Word of Mouth and Limited Advertising

Zara strategically leverages the power of word of mouth and customer recommendations as primary drivers of its marketing efforts. In a departure from traditional advertising-heavy approaches, Zara relies on the subtlety of customer satisfaction and positive experiences to promote its brand.

This unique strategy involves cultivating a strong and positive buzz around Zara’s collections, encouraging customers to share their experiences and recommendations. The reliance on word of mouth creates an authentic and organic promotion of the brand, fostering a sense of trust and credibility among potential customers.

The limited advertising approach doesn’t diminish Zara’s impact; rather, it aligns with the brand’s commitment to providing an outstanding in-store experience and quality products. The positive buzz generated by satisfied customers becomes a powerful force, driving foot traffic to Zara’s stores and contributing to the brand’s sustained success in the competitive fashion market.

(F.5) Social Media Marketing

Zara actively embraces social media platforms as a crucial component of its marketing strategy. The brand leverages platforms like Instagram, Facebook, and Twitter to engage directly with its audience, creating a dynamic online presence.

The strategy involves regular updates across these platforms, keeping followers informed about the latest arrivals, ongoing trends, and behind-the-scenes glimpses into Zara’s fashion world. By maintaining an active and visually appealing presence, Zara not only stays connected with its audience but also cultivates a sense of anticipation and excitement around its offerings.

In addition to direct engagement, Zara strategically collaborates with influencers. These collaborations amplify Zara’s reach, tapping into the influencers’ follower base and creating a ripple effect of brand awareness. 

Through this multi-faceted approach, Zara effectively utilizes social media not just as a promotional tool but as a means to foster a dynamic and interactive relationship with its audience, contributing to the brand’s overall success in the digital landscape.

(F.6) Personalization & Community Engagement

Zara adopts a customer-centric strategy by customizing its offerings to cater to local tastes and preferences. This personalization ensures that Zara’s collections resonate with diverse communities, creating a more inclusive and relatable shopping experience.

Community engagement takes center stage in Zara’s approach. Events like fashion shows or store openings play a pivotal role in fostering a sense of belonging among customers. By actively involving the community in these events, Zara goes beyond being a retailer and becomes an integral part of the local fabric.

Crucially, Zara prioritizes customer feedback. Actively listening to what customers have to say, the brand adapts and evolves its offerings based on this valuable input. This responsiveness not only enhances the overall customer experience but also reinforces a sense of collaboration between Zara and its community. 

In essence, Zara’s commitment to personalization and community engagement contributes to a brand image rooted in customer satisfaction and a genuine connection with the diverse communities it serves.

(G) Sustainability Efforts: Crucial Part of Zara Case Study

Do you know what Zara is famous for apart from fashion? Its sustainability efforts to preserve mother nature! Let’s look at the sustainability efforts of Zara-

Thus, Zara is increasingly conscious of sustainability. The brand aims to reduce its environmental impact by using eco-friendly materials and promoting recycling. Such initiatives resonate with socially aware consumers.

(H) Challenges Faced by Zara

The journey of Zara was not free of challenges. Let’s look at some of the major challenges of Zara- 

Zara brilliantly addressed those challenges to produce effective results that ultimately helped them grow their business.

(I) Summing Up: Zara Case Study

Zara’s remarkable success in leading the fashion market can be attributed to its unique blend of rapid fashion cycles, vertical integration, and a customer-centric approach. By staying ahead of trends with its fast fashion model, ensuring control over the entire production process, and tailoring offerings to local tastes, Zara captures a diverse and loyal customer base. 

The brand’s commitment to affordability, engaging in-store experiences, and strategic use of social media further solidify its market leadership. Zara’s story showcases the power of adaptability, responsiveness, and a strong connection with customers in navigating the dynamic landscape of the fashion industry!

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Apart from selling clothes and accessories at higher prices, still it is among the favourite ones for many!

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• About Bloomsbury Fashion Central
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Case Studies: Teaching with Bloomsbury Fashion Central

Discover how the interdisciplinary content within Bloomsbury Fashion Central has directly supported academics and students across the visual arts, humanities, and social sciences.

Case study with Hanna Akalu, SOAS, University of London

Formerly london college of fashion, university of the arts london.

"Overall, using the case studies has been a brilliant experience, as it enhanced my knowledge and complemented my teaching style, (…) by encouraging myself and my students to be self-reflective, socially responsible, actively participate and critique knowledge, and develop a conscious voice."

Helping students to address topical and important real-life issues

The Bloomsbury fashion business case studies have been an invaluable digital resource for my teaching last year (as Associate Lecturer at London College of Fashion, UAL) allowing my BSc Psychology of Fashion undergraduates to critically appraise current fashion business problems and solutions in an engaging and innovative way. During my classes on the future of fashion, students would read, discuss, and attempt to skilfully address a wide range of business case studies on topical and important real-life issues, including ethics, sustainability, and diversity in fashion. They were then asked to apply strategic thinking to develop feasible solutions, based on research, knowledge, and creativity, to develop a more ethical and sustainable fashion industry.

Lively discussions and debates in the classroom

My students found the activities highly engaging as well as challenging at times, and these would often generate interesting and lively discussions and debates in the classroom. The case studies have been incredibly useful for students to enhance their critical analytical and problem-solving skills, as well as to encourage their creativity and their skills in thinking outside the box.

Exciting and well-written cases

There is also an abundance of exciting and well-written case studies to select from exploring ' How Lack of inclusivity lost Victoria's Secret its Lingerie Crown ', to Patagonia's ' Creative Sustainability Strategy ', and other complex issues around identity, cultural appropriation, green-washing, and transparency in fashion.

Ease of use and tailoring to students’ needs

Some particular favourite features of mine are the ease of use and range of case studies available (which are neatly organised into different sub-topics!) and detailed suggestions within each case study for potential classroom-based activities depending on your preference. The case studies are also helpfully organized into levels of expertise, ranging from 'introductory' 'intermediate' up to the more 'advanced' level of case studies, meaning that I was able to tailor the case studies according to my students' needs. I did this by starting the course using some of the more straightforward introductory case studies and as students demonstrated the ability to develop convincing solutions, well-rounded arguments, and to make, justify, and communicate their decisions, I then gradually introduced more complex case studies which generated more nuanced discussions and solutions.

Students taking on the roles of fashion business practitioners

It was also important to remind students that there is never any 'perfect solution', but the key is trying to work out which is the most feasible by considering the challenges each solution presents and the implications for the future. Depending on the dilemma presented, students might take on the role of a small business owner, CEO, marketing director, or consumer, and engage in brainstorming and developing solutions using a range of communication methods, such as in-class group presentations and designing individual press releases and social media campaigns.

Activities for teachers – flexibility in teaching styles

Another excellent feature of presenting a range of different activities for teachers is that it provides flexibility in teaching styles and the option to introduce different ways for students to present solutions in class. I also found it useful that there were different time-length activities that could be conducted over a 1-hour seminar or over the course of several lessons, keeping the activities interesting and engaging every week. Overall, using the case studies has been a brilliant experience, as it enhanced my knowledge and complemented my teaching style, (which draws on critical pedagogy) by encouraging myself and my students to be self-reflective and socially responsible, to actively participate and critique knowledge, and to develop a conscious voice.

Case Study with Nadya Wang, LASALLE College of the Arts, Singapore

Nadya oversees Cultural and Contextual Studies in Fashion in the BA (Hons) Fashion Design and Textiles and BA (Hons) Fashion Media and Industries programmes, where she lectures fashion history and theories, and teaches academic reading and writing. She also runs Creative Industries and Opportunities, which prepares all BA (Hons) Fashion students for work in the fashion industry.

Context of Use

At LASALLE College of the Arts, students take compulsory modules in Cultural and Contextual Studies in Fashion throughout their three years in the BA(Hons) Fashion Design Textiles and BA(Hons) Fashion Media and Industries programmes within the School of Fashion, which I oversee. These modules provide the historical background and theoretical framework for their work in the studio.

Over four semesters in the first two years, the students learn modern fashion history; appreciate fashion as both visual and material culture; explore identities expressed through dress, such as gender and religion; as well as analyse interdisciplinary approaches to fashion, including its connections with art, music, film and architecture. In their third and final year, the students write a dissertation under supervision.

Usefulness of Resources to Meet Challenges

There are a few challenges in teaching students to research and write about fashion in an academic context. Firstly, many students who decide to study fashion are not instinctively comfortable with research and academic writing. The reliable information available on Berg Fashion Library is provided in accessible language and at manageable lengths, and makes the endeavour less daunting and thus more attractive for them to stay on course. It is one of the first tools that the students are introduced to when they begin their studies.

In the first semester, when they learn to identify iconic garments, pioneering designers and cultural forces that have shaped fashion history, the Berg Fashion Library’s images, biographical articles and longer essays that contextualise fashion in particular time periods and specific societies have complemented lectures and tutorials, and given the students confidence to complete their assignments with the knowledge that the platform provides.

Secondly, students rely heavily on the internet for information to complete their assignments, and Berg Fashion Library allows them to find precisely what they require for their work in the School of Fashion quite quickly. The “search” and “advanced search” options are great for the students to quickly zoom into their research areas. The “browse” option has helped the students to explore further, especially when they are looking for their dissertation topics in the third year. And “related content” has allowed them to stumble onto more information that they would otherwise not have known about, and provided information that add value to their work.

The Berg Encyclopedia of World Dress and Fashion is a particularly incredible endeavour and resource. There is not much academic writing in the area of Southeast Asian fashion history, so Volume 4: South Asia and Southeast Asia , is particularly useful for the students, especially since the lecturers in the School of Fashion have been collectively pushing them to become more curious about their region to inform their work.

In the same vein, the other volumes are illuminating for students to understand what more could be researched and written about in Southeast Asia, and for them to draw parallels and distinctions between what is happening in fashion landscapes elsewhere and in their own region. Volume 10: Global Perspectives is particularly eye-opening for the students in this regard.

The exhibition archive is also very helpful to us at the School of Fashion at LASALLE as we have a significant curating component in our curriculum, with all Level 2 students from both programmes working together towards putting up an exhibition as their studio project. Extensive research needs to be carried out not only in terms of content matter, but the curation process too, and Berg Fashion Library is a one-stop shop for both.

In addition, with the modules’ emphasis on visual analysis, the images available through partnerships with museum archives such as the Victoria and Albert Museum in London and the Museum at Fashion Institute of Technology in New York means that the students are able to access detailed images directly and download them for use in their assignments, without having to look for them on multiple websites, helping them save time, and often leading to finds that they might have otherwise missed.

A service that Berg Fashion Library offers is providing citations from its articles in the required referencing style for the students’ assignments. This ensures that the citations are done well, which is welcome by both students and tutors.

Concluding Remarks

All in all, Berg Fashion Library is an excellent platform that continues to grow and improve to provide relevant and interesting information about historical and contemporary fashion to its users. It is equally useful for more targeted use and for encouraging exploration, and has proven to be an indispensable research tool for both lecturers and students in the School of Fashion at LASALLE College of the Arts. We are positive that we will continue to learn from it, and hopefully also contribute to it in the years to come.

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ZARA'S CASE STUDY -the Strategy of the Fast Fashion Pioneer The Strategy of the Fast Fashion Pioneer

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Case Study | Inside the $7 Billion Dior Phenomenon

• Robert Williams

Key insights

• Since 2017, Dior has become one of fashion’s fastest-growing and most profitable brands, with estimated revenues tripling to €6.6 billion.
• This BoF case study breaks down how Dior overhauled its product offer and marketing strategies under a new CEO, Pietro Beccari, and designers Maria Grazia Chiuri and Kim Jones.
• In addition to creating a diversified menu of hit products, Dior rolled out multi-layered store experiences and raced into e-commerce, tapping pent-up demand from consumers outside the shopping capitals where it operates stores.

In 1947, mere months after its founding, Christian Dior Couture revolutionised women’s dressing with its post-war “New Look,” securing a place at the pinnacle of French fashion. Later, Dior became the cornerstone of the luxury empire of LVMH chairman Bernard Arnault, who has invested in the house with a “sky’s the limit” approach since the 1980s. But for many years, Dior’s brand, one of modern luxury’s most famous and prestigious marks, remained bigger than its business.

In 2017, LVMH took full control of Christian Dior, kicking off a series of moves that would radically accelerate the business. Under new chief executive Pietro Beccari and designers Maria Grazia Chiuri and Kim Jones, Dior’s business has grown rapidly, with sales roughly tripling since the deal. Its newfound scale has created a virtuous cycle, allowing it to invest even more in spectacular runway shows and sprawling boutiques, all while multiplying estimated profits by a factor of seven. As Dior edges closer to overtaking its historic rival, Bernstein analyst Luca Solca dubbed it “a homegrown Chanel within LVMH.”

This case study examines how Dior became one of luxury fashion’s fastest-growing and most profitable businesses. The company overhauled its product offer and communications: extending a culture of couture craftsmanship and innovation which had long animated its theatrical runway collections, and applying them throughout its commercial lines to create a diversified menu of hit products. The company also raced into e-commerce, rapidly extending its reach beyond the shopping capitals where it operates stores, and rolled out immersive, spectacular flagships to serve as a destination for a broad range of brand devotees, from aspirational tourists to top-spending “VICs.” As the coronavirus hammered sales for most fashion companies, Dior leaned into its momentum by continuing to stage major marketing moments that engaged homebound consumers watching online and fuelled post-pandemic growth.

The strategy appears to be paying off: Dior has rapidly scaled from around €2.2 billion ($2.5 billion) in revenue in 2017 to €6.6 billion in 2021, according to estimates, with the strong growth putting it closer than ever to overtaking mega-brand rivals like Gucci, Hermès or even luxury titan Chanel. With an operating margin above 35 percent of sales, the brand is likely now the fourth most-profitable listed luxury fashion brand, after LVMH stablemate Louis Vuitton, Kering’s Gucci and Hermès.

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Robert Williams is Luxury Editor at the Business of Fashion. He is based in Paris and drives BoF’s coverage of the dynamic luxury fashion sector.

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Co-creating Case Studies to Teach and Learn Fashion at a Business School

• Conference paper
• First Online: 21 September 2023
• Cite this conference paper

• Silvia Pérez-Bou   ORCID: orcid.org/0000-0002-4845-6942 5 ,
• María Ángeles Burguera   ORCID: orcid.org/0000-0001-5551-5237 5 &
• Teresa Sádaba   ORCID: orcid.org/0000-0002-2441-5724 5  

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Case studies are a recognized method to teach and learn in a business school, as they provide the students with the opportunity to analyze real situations in companies in an in-depth manner.

The goal of this paper is to describe a novel methodology of co-creating fashion case studies among students, professors, and companies in a fashion business school, and to establish learnings and improvements in this teaching methodology.

Two are the methods used to create the cases: one top-down, triggered by fashion companies, and the other bottom-up, based on the students’ interests. The analysis of a sample of 133 cases elaborated in ISEM Fashion Business School of the University of Navarra (Spain) since 2005 shows both the evolution of the challenges faced by the Spanish fashion industry and the permanence of some topics across time. Moreover, it highlights the contribution of students and academics to the companies’ development.

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Panayi, C., Charalambous, N.: Community-engaged design studios: learning through “live” projects. In: 8th International Conference on Higher Education Advances (HEAd’22) Universitat Politècnica de València, València (2022). https://doi.org/10.4995/HEAd22.2022.14683

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Pérez-Bou, S., Burguera, M.Á., Sádaba, T. (2024). Co-creating Case Studies to Teach and Learn Fashion at a Business School. In: Cunha, J., Broega, A.C., Carvalho, H., Providência, B. (eds) Advances in Fashion and Design Research II. CIMODE 2023. Springer, Cham. https://doi.org/10.1007/978-3-031-43937-7_24

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Nexa Case Study: College of Fashion & Design

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Nexa was selected by the College of Fashion & Design, a new university in the UAE, as their Digital Marketing partner.

The campaign focus was centered around content and inbound marketing with social media, search (organic and paid) and marketing automation (email, workflows and lead scoring – all powered by HubSpot ) being integral content distribution vehicles. Our team also helped to setup the student enrollment and sales funnels to ensure that marketing effort was correctly mapped to student enrollments and revenue.

As a new university in a highly competitive market, our objective was to create trust and credibility for the institution using content and online visibility. With our understanding of the regional education sector, we knew that reaching just students wouldn't be enough. We therefore targeted schools, parents and other stakeholders involved in making further education enrollment decisions.

The launch of a brand new university in the UAE. The challenge was to create awareness, trust and credibility in a higher education brand that has no previous history using a fully integrated digital marketing campaign.

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No two crocodiles in one river: Delhi High Court upholds lacoste’s trade mark rights in its logo

INTRODUCTION:

In the case of Lacoste v. Crocodile International Pte Ltd . [1] that ran its course for 23 long years, between two fashion conglomerates, i.e., Lacoste and Crocodile International Pte Ltd. , the Delhi High Court ruled in favor of Lacoste by granting a permanent injunction against Crocodile International therein restraining the Defendants from using a deceptively similar symbol to Lacoste’s widely popular ‘ Crocodile’ logo.

BRIEF FACTS OF THE CASE:

The Defendant contented the use of the disputed trademark in furtherance of an agreement of mutual understanding and cooperation entered between the two parties pertaining to the use and peaceful co-existence of the two marks in the Asian market. The Defendant further sought the acknowledgment of the said agreement in the Indian market as well.

ISSUES FRAMED:

The present suit dealt with the determination of key legal questions in order to analyze and ascertain the rightful owner of the disputed logo and the rights that shall stem from it. The primary legal considerations revolved around the proprietorship under the Copyright and Trade mark laws, whether the Plaintiff/defendant shall have common law rights due to prior adoption and/use of the disputed logo, whether the suit shall have an impact under laches and acquiescence, does the suit suffers from the limitation by virtue of territorial jurisdiction etc, and lastly, whether the co-existence agreement signed and entered into by the Plaintiff and the defendant extends to the Indian jurisdiction as well.

COURT’S FINDINGS:

1. WHO OWNS THE COPYRIGHT IN THE ‘CROCODILE DEVICE’ AND IS THE REGISTRATION OF THE MARK AND USE OF THE MARK IN INDIA, SUFFICIENT TO ESTABLISH THE PLAINTIFF’S PROPRIETORSHIP OF THE ‘CROCODILE’ (DEVICE)?

The Court, while observing that to assess the eligibility for protection under Copyright law, held that the primary consideration shall be the actual and real expression of the artistic creation in a tangible form, which shall further facilitate reproduction.

The Court further dwelled and drew inspiration from the ‘ Merger Doctrine’ wherein the idea and expression are intrinsically intertwined so much so that they are inseparable, a creator cannot be given a monopoly over the idea which forms the basis for the said expression [2] . In the instant matter, both the devices drew inspiration from the reptile, and thus the copyright stemmed from the unique and inventive expression of the same. Relying on the extensive evidence produced by the Plaintiff, which included the documentary evidence concerning copyright registration as well as the uncontested testimony of the Plaintiff’s witness, the Court upheld the copyright vested in the ‘crocodile’ (device) of the Plaintiff.

The Court while determining the proprietorship of the Plaintiff in the contested mark, observed that the ownership in a mark is determined on the basis of the registration of the same in the Indian jurisdiction as well as the use of the said mark in commerce. The Court, while relying upon the Plaintiff’s documentary evidence corroborating its valid and subsisting Indian registrations as well as the foreign registrations of the contested mark, upheld the trade mark proprietorship of the Plaintiff in the contested mark.

It is pertinent to note that the Court while determining the present case, which involved questions pertaining to copyright as well as trade mark rights vested in the contested mark, scrupulously examined the question involving copyright violation without overstepping the bounds of Trade mark law.

2. WHO IS THE PRIOR ADOPTER AND USER OF THE ‘CROCODILE’ DEVICE?

The Defendant contended honest and concurrent use as well as prior adoption of its umbrella marks pertaining to ‘CROCODILE’ (Device) since 1997. The same was further substantiated by relevant evidentiary documents. However, the Court while taking note of the same, held that prior adoption and continuous use does not automatically confer rights on all the variants that form part of the Defendant’s ‘CROCODILE’ (device) family.

The Court observed that the Defendant failed to provide cogent documentary evidence establishing the adoption and use of the device mark independently sans the verbal element, whereas, the Plaintiff established the same vide sufficient evidence. Thus, the Defendant’s plea of prior adoption and honest and concurrent use was rejected by the Court.

3. DOES THE CO-EXISTENCE AGREEMENT EXTEND TO THE INDIAN JURISDICTION?

The primary defense put forth by the Defendant centered around the peaceful co-existence and mutual cooperation agreement in the Asian market entered between the two parties. The Defendant contended that the territorial jurisdiction of the said agreement shall extend to the Indian jurisdiction as well, since the primary intention of the agreement was to ensure a mutual cooperation maintained and acknowledged globally.

The Court, while interpreting the contractual provisions, held that the intention of the parties cannot be interpreted as one allowing global co-operation and mutual existence, considering the limited and restricted scope of the agreement wherein the nations where the contested mark shall co-exist are stated in an exhaustive fashion.

The Court, while rejecting the said contention, held that it is pertinent to establish the contractual terms governing a said agreement precisely. Moreover, observing the territoriality principle governing the trademark laws, the Court reinstated that a trade mark registration obtained in one jurisdiction cannot ‘by default’ confer statutory rights on the mark in a foreign jurisdiction.

4. DECEPTIVE SIMILARITY

The Court, while determining the question of deceptive similarity between the competing marks, observed that, “Having carefully compared the distinctive elements of both the Plaintiffs' and Defendants' crocodile logos, it becomes clear that the similarities are not only numerous, but also substantial. Bearing the afore- mentioned principles of evaluation in mind, the noticeable difference in the orientation of the crocodiles - with Lacoste's crocodile facing right, and Crocodile International's facing left - carries minimal weight and is likely to be perceived as insignificant by the average consumer. The dominant visual similarities between the two marks discussed previously, create a strong overall ocular and conceptual resemblance. These elements are so closely mirrored that they overshadow the minute directional difference of the logos”. [3]

The Court corroborated the above-stated observations by placing reliance on the Judicial rulings which have clarified the concept of “likelihood of confusion.”. These Judicial rulings justify a review of the contested marks that emphasizes their similarities rather than their differences. The Supreme Court held in Cadila Healthcare Ltd. v. Cadila Pharmaceuticals Ltd. [4] , that the evaluation of deceptive similarity goes beyond a side-by-side comparison and considers the overall impression given by the marks and the imperfect recollection of an average consumer.

5. LACHES AND ACQUIESCENCE- HOW PROFOUND WAS THE IMPACT, IF ANY?

The Defendant contended that the suit is non-maintainable and liable to be refused on the grounds of delays, laches and acquiescence. The Court rejected the same and placed reliance on the documentary evidence available on record, and therein enumerated the jurisprudential basis for the maintainability of the said grounds.

“The principle of laches requires not just a mere delay in filing the suit, but also that the delay must cause some detriment to the Defendant. For acquiescence to apply, it must be shown that the Plaintiff actively represented that they would not assert their rights or that they stood by while their rights were infringed upon, resulting in the Defendants being misled to their detriment. In this case, the alleged delay of three years is not considered excessive, especially in the context of trademark and copyright disputes which often involve complex considerations and necessitate thorough investigation before litigation. Furthermore, Lacoste's timely legal notices, marked as Ex. PW 1/4 to Ex. PW 1/7, which have been admitted by the Defendants, and subsequent lawsuit indicate a proactive stance rather than passive acquiescence.” [5]

CONCLUSION: POSSIBLE PRECAUTIONARY MEASURES

The present case of ‘ Lacoste and Anr. v. Crocodile International Pte Ltd. And Anr.’ [6] , is a crucial judgment and bears significance for fashion and luxury conglomerates. The case establishes the dire necessity to approach intellectual property rights in a mark, rather proactively and avail necessary registrations and documentary evidence prior to entering a foreign market. This shall act as a deterrent to prospective intellectual property rights infringers. The case further highlights and reinstates the growing significance of precise and unambiguous contractual agreements governing and regulating a contractual relationship/arrangement. The same was evident in the instant matter, wherein the precise language indicating the intent and scope of the agreement proved favorable to the Plaintiff. The present case puts forth the importance of securing all possible statutory proprietary claims vested in a mark. This shall further contribute in strengthening the defense against a possible intellectual property infringement claim. Another crucial lesson to learn from the instant case is the need to diligently track and keep eye on new entrants in the Trade mark registry, to ensure timely and appropriate legal actions are undertaken to protect the statutory rights vested in a mark. Moreover, businesses are urged to regularly monitor the market for marks that might infringe on their trademarks, as the Court's "likelihood of confusion" method for assessing trademark infringement is reiterated in the instant matter. Market players should look beyond just identical trademarks and also consider marks that might confuse ordinary consumers. This vigilance should include examining packaging, advertising, and the overall brand presentation, among other aspects of product representation.

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• Delhi High Court
• Fashion & textiles
• Industrial conglomerates

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