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Care economy: Rethinking how we live what we do how we value:

The Care Collective:

What do we Value – Valuing each other – Dignity in terms

Verso

Caring economies- communities.

RSA – Royal Society Arts:

Website

Short Films and animations.

Talking Heads

Journal – Funding (idea of the ground)

Alternative economies- Alternative

Alternative: Caring

New companies

Different ways of working within the client

HERMIOE – EXTENSION REBELLION

Smartworks – Returns

Qualitative research:   Questions you are asking and research questions. Conduct interviews.

Feelings and emotions:

Boil it down to one and sub questions:

Labours of Love – Madeleine bunting:

Nice angle - : - Crafting

Workplace –

Written piece- Research Journal / Online and Offline.

Different fashion Journals.

Tone and interest

Arts and Humanities – Journal of fashion theory and practice.

LC of Fashion

Fashion Theory

The journal: Cultural:

Economic and cultural

Find articles.

ACTIONABLE: START:

Literature Review:

Drafting research question: Sub Question

What am I setting out to do and demonstrate

Research File and add literature review: Critical Literature: ARCHIVE

200-300 words.

Key words: Help do journal searches

Meet Sarah –

Special Collections:

Methodology: Qualitative

Short Reflection how it relates to your ideas or not, gap in literature or different interpretation / gaps / problems / thinking’s.

What has been said already

Asking questions – Ethnography (understanding of cultures and how they operate, participant ethnography) - Anthropology.

Observe people in their work environment: Sabbatical (Interviews)

and different approaches to that

INTERACT -

SHIRLEY BAKER       - Photography

Uncertainty and possibility – Yoko Akama / Sarah Pink / Chanti semaretojo – Bloomsbury (design anthropology) – Co-production approaches to methodology.

Sensory ethnography – In the home: Sarah Pink (culture)

Methodology – Part of creativity

How you do it but underpinned by theory

Primary and secondary – Research article.

Methodology: Approach you want to take but informed by a set of methodological theory.

Drawing of theories of gender:  Theories of sustainability.

Different themes in literature review:

SUSTAINABILITY CULTURE ECONOMY

Mini Thesis.

Limit sources.

Articles – Based on citations.

5-8.000 words.

Promoting organic growth

Strengthening synergies and developing growth platforms

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Stewardship - Concept consultancy - graduate - Business Model Strategy

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Stewardship - Concept consultancy - graduate - Business Model Strategy

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HOLITION: DIGITAL AGENCY: Jonathon Chippindale I was deeply inspired by HOLITION and their ambitious vision of humanising technology. I loved how multi-disciplinary the team is and I believe the future of all creative industries require this type if think tank to explore, the synthesis of scientists, film makers, mathematicians, UX designers and so on really speak to the creative output they can create. And at the heart of the business is curious minds and innovation. ‘’ the creative team combines analogue and digital design practices to navigate every creative challenge by aggregating visual and academic research and leveraging their multidisciplinary skills, to generate distinctly original concepts and design outcomes’’  I found it inspiring that HOLITION works as an innovation consultant, connecting multiple technologies to push storytelling forward for the brands it works with, each challenge a brand-new project that pushes boundaries, using the world of augmented reality and AI to push Luxury brands into different spheres, testing that digital narrative for marketing and allowing data capture for the brand and new experience for the consumer. I found the concept of non-commercial work captivating brands truly interesting playing to the idea that brands are reaching outside the mainframe of the fashion and commercial disciplines. Jonathon mentioned working with several different brands including Burberry and the development of creating a smorgasbord of ideas making the brand more nebulas bending and twisting their marketing direction to fix that customer, doing this through social media and personalising the digital experience to be more targeted. Jonathon uses heritage brands as an example of a brand that can challenge new ideas, legacy luxury brands have a core heritage that allows them to reimagine storytelling. Ultimately the key finding for HOLITION brings me back to the first part of my refection which is blurring lines between disciplines, stretching brands outside of their own architecture to re define their consumer base, anthropologists, psychologists, and computer scientists making a commercial endeavour less commercial.  I loved how diverse the HOLITION team is, interesting source of employees, thinking into the future, harnessing employees direct from university where they are un bias and fresh with innovation and building tools that will measure an emotional response as you go through the journey

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HOLITION: DIGITAL AGENCY: Jonathon Chippindale I was deeply inspired by HOLITION and their ambitious vision of humanising technology. I loved how multi-disciplinary the team is and I believe the future of all creative industries require this type if think tank to explore, the synthesis of scientists, film makers, mathematicians, UX designers and so on really speak to the creative output they can create. And at the heart of the business is curious minds and innovation. ‘’ the creative team combines analogue and digital design practices to navigate every creative challenge by aggregating visual and academic research and leveraging their multidisciplinary skills, to generate distinctly original concepts and design outcomes’’  I found it inspiring that HOLITION works as an innovation consultant, connecting multiple technologies to push storytelling forward for the brands it works with, each challenge a brand-new project that pushes boundaries, using the world of augmented reality and AI to push Luxury brands into different spheres, testing that digital narrative for marketing and allowing data capture for the brand and new experience for the consumer. I found the concept of non-commercial work captivating brands truly interesting playing to the idea that brands are reaching outside the mainframe of the fashion and commercial disciplines. Jonathon mentioned working with several different brands including Burberry and the development of creating a smorgasbord of ideas making the brand more nebulas bending and twisting their marketing direction to fix that customer, doing this through social media and personalising the digital experience to be more targeted. Jonathon uses heritage brands as an example of a brand that can challenge new ideas, legacy luxury brands have a core heritage that allows them to reimagine storytelling. Ultimately the key finding for HOLITION brings me back to the first part of my refection which is blurring lines between disciplines, stretching brands outside of their own architecture to re define their consumer base, anthropologists, psychologists, and computer scientists making a commercial endeavour less commercial.  I loved how diverse the HOLITION team is, interesting source of employees, thinking into the future, harnessing employees direct from university where they are un bias and fresh with innovation and building tools that will measure an emotional response as you go through the journey

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Craftmanship, technology, digital innovation, heritage, blurring those worlds to enhance strategy.

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Craftmanship, technology, digital innovation, heritage, blurring those worlds to enhance strategy.

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Designer, manufacturing, international relationships that have helped the business to evolve. Heritage positioning has helped to export the brands. However, he says, the evolution of digital content and the need for brand consistency, should still be based on a unified purpose and strong brand insights.  leadership in this space and the challenge of ensuring the core values of the business are translated

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Designer, manufacturing, international relationships that have helped the business to evolve. Heritage positioning has helped to export the brands. However, he says, the evolution of digital content and the need for brand consistency, should still be based on a unified purpose and strong brand insights.  leadership in this space and the challenge of ensuring the core values of the business are translated

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Modernist luxury philosophy, innovations the technology enables are key to staying ahead of the competition and elevating the design of the vehicles

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Modernist luxury philosophy, innovations the technology enables are key to staying ahead of the competition and elevating the design of the vehicles

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Trying to cultivate stewardship with students, harnessing strengths and ideas, many companies are turning to graduate now to conceptualise their business models.. stewardship and maintaining skills for the next generation, describing the graduate programmes . 

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Trying to cultivate stewardship with students, harnessing strengths and ideas, many companies are turning to graduate now to conceptualise their business models.. stewardship and maintaining skills for the next generation, describing the graduate programmes . 

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This inspired him to create a brand that would revive the industry and invest in local tradesmanship to reposition English bone china with contemporary designs.

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This inspired him to create a brand that would revive the industry and invest in local tradesmanship to reposition English bone china with contemporary designs.

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“We’re a small batch production company. We’re effectively like slow food. We’re slow textiles.” - Margaret A Macleod, sales director, Harris Tweed Hebrides

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“We’re a small batch production company. We’re effectively like slow food. We’re slow textiles.” - Margaret A Macleod, sales director, Harris Tweed Hebrides

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Harris Tweed operates a unique business model — the brand is actually owned by the people of the Outer Hebrides, so cannot be bought and sold like a conventional commercial entity. It is, effectively, a brand for the people, by the people

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Harris Tweed operates a unique business model — the brand is actually owned by the people of the Outer Hebrides, so cannot be bought and sold like a conventional commercial entity. It is, effectively, a brand for the people, by the people

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Heritage positioning has helped to export the brands. “We have been really lucky. Land Rover has a great heritage, similar to Jaguar, and they have been an inspiration to many people around the world… At the same time you need to make sure that your brand is always relevant.” However, he says, the evolution of digital content and the need for brand consistency, should still be based on a unified purpose and strong brand insights. Thinking about the future, Hoornik describes Jaguar Land Rover’s ambitions for electrification, leadership in this space and the challenge of ensuring the core values of the business are translated 

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Heritage positioning has helped to export the brands. “We have been really lucky. Land Rover has a great heritage, similar to Jaguar, and they have been an inspiration to many people around the world… At the same time you need to make sure that your brand is always relevant.” However, he says, the evolution of digital content and the need for brand consistency, should still be based on a unified purpose and strong brand insights. Thinking about the future, Hoornik describes Jaguar Land Rover’s ambitions for electrification, leadership in this space and the challenge of ensuring the core values of the business are translated 

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Log into your Squarespace account. Squarespace is the all-in-one solution for anyone looking to create a beautiful website.

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To cultivate relevance by bringing a new form of small-scale, traditional textile skills to China, a market which is itself renowned for traditional textile manufacturing, such as silk weaving and needlework.

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To cultivate relevance by bringing a new form of small-scale, traditional textile skills to China, a market which is itself renowned for traditional textile manufacturing, such as silk weaving and needlework.

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In this series of exclusive conversations, we explore the strategies that British luxury brands across fashion, home and motoring have taken to successfully break into international markets.

To receive the Vogue Business newsletter, sign up here.

In partnership with the UK's Department for International Trade, the latest master class series from Vogue Business brings exclusive insights on doing business internationally from luxury brands ahead of the Walpole British Luxury Awards. This series, curated to support International Trade Week 2022, explores each brand's experience in British manufacturing, how they effectively export overseas and what they do to cultivate relevance with international consumers. We look at their different strategies for global success and the strengths required to evolve from a home-grown brand to one with global reach.

In the first episode, Vogue Business head of advisory Anusha Couttigane sits down with Nick English, co-founder of luxury watchmaker Bremont, to talk about the brand's rapid growth over the last 20 years and the way in which it has developed a reputation as a heritage brand despite being relatively young compared to many established luxury labels. The story of the brand is rooted in family history for brothers and founders Nick and Giles English, whose father was an engineer, with all three coming from an aviation background. This provided inspiration for the brand, with precision time-keeping and fine engineering in the mechanisms key focuses. English speaks passionately about the history of watchmaking that emerged from the UK, saying: "The world sets its time by Greenwich."

Export is essential for the brand's growth strategy. The US and Australasia have become key expansion territories. The brand gets about a quarter of its business from military around the world, with the US leading. Having entered the US in 2008, English says they've learnt a lot from this market; and have since established stores in Melbourne, Hong Kong and, most recently, Shanghai. However, not everything has been smooth sailing. Following the Shanghai launch last year, the market suffered due to a return to Covid restrictions. However, Bremont acknowledges that huge demand for luxury timepieces still comes from China.

Thinking strategically about how Bremont has conquered the US, English says research and focus are key to success when entering new territories and warned about treating markets like the US as a monolith. "America isn't a country... each state is a country. What they want on the East Coast or West Coast or Texas is very different to what they want in the Midwest." When pursuing expansion, brands should focus on understanding those nuances, he says, adding: "Don't rush into it."

"America isn't a country... each state is a country. What they want on the East Coast or West Coast or Texas is very different to what they want in the Midwest."
- Nick English, co-founder, Bremont.
In the second episode, Couttigane continues the series in conversation with Lennard Hoornik, chief commercial officer at Jaguar Land Rover, exploring luxury growth strategies from the perspective of a car manufacturer. Hoornik starts by saying that key to their success has been the timeless designs the group creates in England, which are also "emotionally engaging". The brands' relationships with culture have also helped to augment their reputation abroad. "We were the first car to be presented in the Louvre, for example," he says, alluding to the 1970s Range Rover that was exhibited there.

Craftsmanship is central to the group's values, but Hoornik explains that technology plays an important role in this. While for most luxury brands craftsmanship represents notions of artisanal handicrafts, for Jaguar Land Rover the innovations the technology enables are key to staying ahead of the competition and elevating the design of the vehicles. Hoornik also speaks about stewardship and maintaining skills for the next generation, describing the graduate programmes and training schemes that aim to upskill 29,000 people over the next three years. "We look around us and [the automobile industry] is full of Formula 1 teams, it's full of other car manufacturers and there is a real big knowledge and a real big desire to really drive new technology into the mobility world and we are capturing that desire," he says.

Hoornik also talks about the international relationships that have helped the business to evolve. Heritage positioning has helped to export the brands. "We have been really lucky. Land Rover has a great heritage, similar to Jaguar, and they have been an inspiration to many people around the world... At the same time you need to make sure that your brand is always relevant." However, he says, the evolution of digital content and the need for brand consistency, should still be based on a unified purpose and strong brand insights. Thinking about the future, Hoornik describes Jaguar Land Rover's ambitions for electrification, leadership in this space and the challenge of ensuring the core values of the business are translated into the manufacturing of electric vehicles.

In the third episode, Couttigane speaks with Margaret A Macleod, sales director at Scottish textiles leader Harris Tweed. The iconic tweed fabric has always been produced on the archipelago of the Outer Hebrides and is the only fabric in the world to be protected by an act of parliament. The certification mark for Harris Tweed has been going since 1910 and is believed to be the UK's longest surviving brand in continuous use. The modern brand launched in 2007, with trading beginning as the last recession was reaching its peak. Given the crisis in the textiles industry at the time, Harris Tweed helped to revive the local economy of weavers and mill workers, keeping the story of the brand alive through generations. Harris Tweed operates a unique business model - the brand is actually owned by the people of the Outer Hebrides, so cannot be bought and sold like a conventional commercial entity. It is, effectively, a brand for the people, by the people.

Macleod explains that most of the buyers they work with internationally are busy people who might not know the rich heritage behind the brand, so highlighting exciting story snippets and stats to quickly familiarise them has been important. For example, the emphasis on only using British wool with an exclusive blend of Cheviot wool from British farms. This simple statement quickly communicates that Harris Tweed is able to trace its supply chain across its small-scale production processes, with bale lengths of only 50 metres of hand-woven product. "We're a small batch production company. We're effectively like slow food. We're slow textiles." For partners focused on sustainability, the ability to showcase this transparency and proof of production has helped Harris Tweed to differentiate from other textile suppliers.

"We're a small batch production company. We're effectively like slow food. We're slow textiles."
- Margaret A Macleod, sales director, Harris Tweed Hebrides.
When it comes to international expansion, Harris Tweed has seen strong success in Japan. Macleod describes Japanese consumers as "discerning" shoppers who care about authentication and doing their research. The brand has also broken into South Korea, where authentic British textile brands with a story are in demand. The company is also working with partners to boost visibility in China, but Macleod acknowledged that it's been difficult over the last two years. She says that they have been able to cultivate relevance by bringing a new form of small-scale, traditional textile skills to China, a market which is itself renowned for traditional textile manufacturing, such as silk weaving and needlework. Macleod describes a "two-way process" of learning from partners there on how to leverage messaging around the traditional approach Harris Tweed maintains, in order to encourage customers who value these traits. Finally, Macleod says government advice and organisations have a lot to offer small traders when it comes to international expansion, reminding people of the value they offer in opening doors and making introductions.

In the fourth episode chaired by Couttigane, Richard Brendon talks about the stellar growth of his eponymous luxury crystal and tableware brand. He starts by talking about the inspiration for the band, which came from restoring "orphaned" saucers from antique tea sets that he found on Portobello Road: "Over the course of the last 300 years people have just broken a lot more cups than saucers... I started to buy these beautiful orphaned antique saucers and I really wanted to make them valuable again."

The first design idea was a cup that was mirrored on the outside, which would reflect the design of the original saucer. This simple idea led Brendon to Stoke-on-Trent, the epicentre of fine bone China in the UK, where his products are manufactured. Similar to Harris Tweed's mission to preserve the local trade, Brendon noticed how the industry in Stoke-on-Trent had declined, leaving several derelict potteries in its wake. This inspired him to create a brand that would revive the industry and invest in local tradesmanship to reposition English bone china with contemporary designs.

Now, the brand is focusing on US expansion. Brendon, who was born in America, expects their share of US trade to overtake the domestic UK market in the next two years. He consequently spends a lot of time travelling up and down the US to understand the needs and demands in both high-end retail and leisure and hospitality. Beyond this, he believes the world is his oyster, but, "you can't do everything. You have to pick things and do a couple of things really well rather than spreading yourself too thin," he says. For Brendon, government support from institutions such as the UK's Department for International Trade have helped to accelerate growth by providing both advice and community.

"You can't do everything. You have to pick things and do a couple of things really well rather than spreading yourself too thin,"
- Richard Brendon, founder, Richard Brendon.
In the fifth final episode of the series, Charlotte Keesing, director of Walpole, is in conversation with Thierry Andretta, CEO of Mulberry. Andretta starts by discussing how people have grown up with the business, for example Mulberry's lead pattern-cutter began as an apprentice 12 years ago.

International growth is fundamental to Mulberry's strategy. When it comes to global expansion, Andretta says: "I don't think you have a lot of choice. The key international market is based in Asia." Mulberry has recently developed the company there, firstly via franchises and now through investment in digital penetration. This strategy is proving successful, as Andretta says "It was becoming necessary to take more and more control in the country." It's a strategy that has worked well for many brands entering Asia, by firstly leveraging partnership with local distributors, then taking direct ownership once brand presence is established. Given Mulberry's customer-centric focus, Andretta emphasises that the direct approach works better for this. Mulberry has pursued this strategy in China, Hong Kong, Macau and Taiwan. The formula has also worked in Japan and South Korea.

Speaking about the challenges Mulberry has faced, Andretta says: "We took a courageous decision. We are the only luxury brand which has the same prices worldwide." He speaks about the behaviour of shoppers in China, who are extremely digital first and compare prices online, together with shipping/import charges before clicking buy. Andretta believes that once consumers realised they were always going to find the same price, they started paying more attention to the sustainability of the product. By eliminating the pain point of shopping around for the best value, customers are able to focus more on the values they wanted to prioritise in their purchasing decisions.

Last year, Mulberry turned 50. Looking ahead, Andretta says that Mulberry's reputation for British, made-to-last products, lends itself to sustainability and the ability to repair products gives people assurance their Mulberry purchases will provide a lifetime of service. Now, Mulberry is focusing on processes to reduce its carbon footprint. In November last year, the brand created its lowest carbon handbag, with most of the materials made in the UK, led by a partnership with a Scottish leather firm. This year in April, it created lines that were completely carbon neutral. So, every new collection is a mark of progress towards Mulberry's sustainability goals. What's more, Andretta says that Mulberry is determined not to pass on the cost of more sustainable manufacturing to the consumer. The brand will continue to defend prices, even as it evolves its processes to ensure a more sustainable legacy.

Comments, questions or feedback? Email us at feedback@voguebusiness.com.

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Vogue Business for Department for International Trade

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Strategies for global success: Highlights from the latest Vogue Business master class series

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In this series of exclusive conversations, we explore the strategies that British luxury brands across fashion, home and motoring have taken to successfully break into international markets. To receive the Vogue Business newsletter, sign up here .

# data[].attributes.headline
We look at their different strategies for global success and the strengths required to evolve from a home-grown brand to one with global reach.

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We look at their different strategies for global success and the strengths required to evolve from a home-grown brand to one with global reach.

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 Hoornik starts by saying that key to their success has been the timeless designs the group creates in England, which are also “emotionally engaging”. The brands’ relationships with culture have also helped to augment their reputation abroad.

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 Hoornik starts by saying that key to their success has been the timeless designs the group creates in England, which are also “emotionally engaging”. The brands’ relationships with culture have also helped to augment their reputation abroad.

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In this series of exclusive conversations, we explore the strategies

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In this series of exclusive conversations, we explore the strategies

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The latest chapter in our exploration of the New Luxury landscape, in partnership with BCG, further investigates how the future of fashion and luxury is changing, focusing on the impact and influence that the communities surrounding brands play in the new luxury equation. In Luxury 3.0, we lay out:

The key attributes that drive cultural credibility for brands and how they've evolved over the last two years

The influence of communities surrounding brands and how community dynamics have evolved

The role of knowledge in the new luxury dynamics and how knowledge creates cultural currency

Shifts in the consumer purchase journey and where consumers are spending their time

How the digitization of the luxury experience will affect consumer spending

The need for brands to pay attention to the new luxury paradigm is more urgent than ever. For access to the complete whitepaper, and to receive a week-long breakdown of the findings in your inbox, sign up below.

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The latest chapter in our exploration of the New Luxury landscape, in partnership with BCG, further investigates how the future of fashion and luxury is changing, focusing on the impact and influence that the communities surrounding brands play in the new luxury equation.

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We look at their different strategies for global success and the strengths required to evolve from a home-grown brand to one with global reach.

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We look at their different strategies for global success and the strengths required to evolve from a home-grown brand to one with global reach.

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https://activity-report-2021.kering.com/pc/files/kering-ra2021-en-01.pdf