Below are the hottest fashion apps that will transform the fashion industry in the next season. Companies that figure out how to blend tech with fashion will win.


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Have a great summer holidays and see You in September :-)

There are a series of popular archetypes, or narrative roles, used in literature and movies:
  1. Innocent
  2. Orphan
  3. Wanderer
  4. Warrior
  5. Martyr
  6. Magician
They can be used in luxury advertising, too.

Here is a brief outline of these archetypes, (that are narrative roles, not real people):

He is at the height of his accomplishment and has no further goals to achieve. He could only but fall, and fears the loss of bliss, of Paradise. A young, rich and beautiful model is the archetype of innocent.

The innocent
His goal is safety, the quest for the lost and unfound goodness. Hope is his task and his greatest fear is abandonment.
This archetype, much used in fiction, is not often used in luxury advertising.

The orphan
His goal is goodness, a just world. To achieve it, he would even consider self-sacrifice. He has a great ability to give up. He only fears selfishness, even his own, in moments of spiritual weakness.
This archetype is not often used in fashion and luxury advertising.

The Martyr
His goal is autonomy. Freedom is like the air he breathes. His task is to develop his sense of identity and assert his ideas. He fears conformity and compliance with written rules.
A self confident business woman, waiting to get in the plane for a trip, is the archetype of wanderer.

The wanderer
His task is to fight, his goal is strength. He seeks courage and fears weakness.
A business leader, or a captain of industry may be the archetypes of warrior.

Leonardo Del Vecchio: the archetype of the warrior
He seeks wholeness in himself and in others, connectedness of opposites, the fullness of knowledge and sharing.
He seeks joy for himself and faith for others. He fears and hates superficiality.
This is the most complex and commonly used of archetypes.
A well know director, or a scientist, or a designer may be archetypes of magician.

Karl Lagerfeld: the archetype of the magician
Sometimes, the same character embodies two o more archetypes in himself, and so is more involving and effective.

For instance, Harry Potter is the archetype of the wizard, but also of the orphan (he lost his parents), of the warrior (he fights against Voldemort), of the innocent (he is a child), of the wanderer (he travels between the worlds of Muggles and the wizarding world) and of the martyr (he sacrifices himself to save his friends and destroy Voldemort).

These choices build on the desire to identify with meaningful characters by using items (design or luxury objects) that call to mind their characteristics. But such intensity originates in the very archetypal role that these characters embody.

The appropriate use of archetypes is extremely important in the creation of visual texts, if we wish to penetrate the innermost spheres of the receiver, suggesting images that call to mind certain messages that originate in the deepest layers of his being, an offshoot of what Jung calls collective unconscious.

Archetypes help us stimulate the memory of forgotten messages and implicitly generate them in the mind of our receiver, without directly manifesting them, making use of the principle of identification or of transference by our spectator.

Advertising of design items created on these archetypes will have a stronger impact, as it will touch the deep, subconscious chords of the soul of potential buyers, increasing its symbolic strength, communicational effectiveness and desirability.

They refer to the perceptions generated by the typical scent of particular materials used in the making of certain garments or accessories (hide or leather).

There are brands that owe some of their appeal to olfactory categories, like Marlboro classic.

When people enter a Marlboro store, the instant feelings that help recognize the unique features of the brand is the odour of hide, musk and leather they can scent in the air, which lends a positive connotation of “genuineness” to the brand’s creations.

They refer to the perceptions generated by sounds produced by clothes and accessories (the rustle of silk, the sound of an automatic fastener, velcro or zip being opened or closed, shoe heels clicking on the floor and so forth), which have an almost playful tone forming the realm of perceptions related to the “luxury object” experience.

Leather jacket "Zip" d'Aniello
The "sound" of spike heels

These categories refer to the unconscious effects of the refraction of light on the surfaces of design “objects” and to the perception that this optical phenomenon generates.

They are based on a series of combinations of opposites such as

  • [DARK] [LIGHT]

For instance, the dark, dull range would be a poor combination for a pair of emerald earrings (image: les émeraudes intemporelles d'Harry Winston).


Video is an integral part of content marketing, and several brands have released ambitious new projects.

Marriott’s “Two Bellmen” series is often cited as a top example of video content marketing.

In an attempt to reach millennials, the hotel chain released the first “Two Bellman” in March 2015. The 17-minute video went viral, gaining more than 5 million YouTube views, and winning numerous awards. The 19-minute sequel, launched in February 2016, was another hit, receiving 7.9 million YouTube views.

Now, Marriott had released the most ambitious installment yet: “Two Bellmen Three” is a 35-minute third film set in Seoul, South Korea. It’s the first of the series to highlight one of Marriott’s Asian properties, and follows the original two bellmen as they compete in the “Global Bellmen Games.”

The movie has been using Marriot hotels and resorts as the backdrop, which seems to continue even in this series. The first series was filmed in Los Angeles, while the second sequel featured Dubai backdrop. The third one is all set to exhibit Seoul's scenery and culture as the stunning element besides the star cast.

The second element concerns the choice of a personalized experience in which young people can identify themselves.

Video advertising is more effective in involving the receiver when there is narrative, and it tells a story.

The actantial model is a interesting and useful tool in creating a story.

It's composed of six elements:
  1. subject
  2. object
  3. helper
  4. opponent
  5. sender 
  6. receiver
The story follows a young Korean couple (subject) across the day before, and day of their wedding (object).

The groom is Jun Lee (Ki Hong Lee), an aspiring K-Pop star who saw brief success a few years ago.
Things have been slow for Jun, and now all signs are telling him to give up on his dream and pursue a more realistic career path.

His bride-to-be, Mi Na Kim (Jessica Jung), comes from a wealthy and successful family. Her parents feel that Jun should choose a more stable career path and barely approved of this wedding.

Mi Na and her parents are staying at and hosting the wedding at the JW Marriott Dongdaemun Square Seoul (helpers).

Over the two days leading up to the wedding (and the wedding day itself) we see the family and future pressures placed on Jun and Mi Na as a result of his unique career aspirations (opponent).

Jun must make a choice between a new career path and the woman he loves, even if it comes at the expense of his dream.

The sender (who prompts the subject at the start of the story) is Marriott.

“Today’s millennials (receivers) plan and travel differently, often accessing information via their peers or through other conversations they’re having on social media,” says David Beebe, Vice President, Global Creative & Content Marketing, Marriott International. “And ‘Two Bellmen Three’ delivers Marriott International’s core proposition, a luxurious hospitality experience with elevated offerings and personalized experiences, to this audience using their preferred, and thus more impactful, social channels.”

Semiotics have goals and main goals. Usually the goal is to excite while the main goal is to sell. There are cases like social causes, where the two terms tend to overlap.

By putting its social mission at the core of its content and campaigns, The Body Shop hopes to connect with likeminded consumers. Numerous studies, including Havas’ 2017 Meaningful Brands Index, and have found that brands that lead with their values are more likely to earn customer loyalty and wallet-share.

The Body Shop is aiming to change that with its just-launched global Forever Against Animal Testing campaign. It’ll run for two years, through 2019, with content consistent across the globe.

Email and social media will be key distribution channels. The Body Shop is teaming up with influencers, including “Game of Thrones”‘ Maisie Williams, to spread the word through social media. It will also turn hard-hitting facts and statistics into content that will live on YouTube, Instagram, and Facebook.

The main goal is to collect eight million signatures to petition the United Nations to ban animal testing globally in the cosmetics industry, with 800,000 of those signatures coming from the U.S.

The Body Shop was the first global cosmetic brand to fight animal testing. Other major initiatives included Save the Whales with Greenpeace in 1986, as well as bringing 7 million signatures to the United Nations in 2012 to end sex trafficking of minors.

The Body Shop’s content strives to inform current customers about its history and raise awareness for the work they do. The majority of its global content marketing focuses on its corporate social responsibility programs and social good messaging.

Social media is key for the company, and YouTube is as an especially strong channel.

One ongoing video series is tutorials for upcycling Body Shop packaging into creative, new items.

Another series details from where The Body Shop sources ingredients and packaging, like paper from the Himalayan Bansbari community, and tea tree oil from the foothills of Mount Kenya.

“Christian Dior, Couturier du Rêve” (“Christian Dior, Dream Couturier” in English) will feature designs by the house’s founder and the six couturiers who succeeded him, spread over 3,000 square meters, or more than 32,000 square feet, with an elaborate set design by interior architect Nathalie Crinière. It is scheduled to open on July 5 during Paris Couture Week and run until Jan. 7, 2018.

This exhibition in addition showcases designs by Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri, including a dress from her very first couture collection for the house, shown last January.

Christian Dior, robe Opéra bouffe, haute couture automne-hiver 1956, ligne Aimant
The outfits on show range from a minimal gray smock dress in speckled wool, designed by Saint Laurent for Dior’s spring-summer 1958 haute couture collection, to a fiery orange kimono with elaborate embroideries inspired by the Ballets Russes, created by Galliano for the brand’s spring-summer 1998 couture show, famously staged at the Paris Opera.

Gianfranco Ferré pour Christian Dior, robe Palladio, haute couture printemps-été 1992, collection Au vent léger d’un été
The exhibition opens with the story of his life, and details how it informed his designs, which incorporated references to painting, sculpture, china and furnishing fabrics. Works of art are on loan from the Louvre museum, the Château de Versailles and the Pompidou Center, among others.

“Christian Dior was one of the people who lent objects to the exhibition, and the presence of his designs turned the inauguration into a fashionable and elegant cultural event,” the museum noted.

One of the main possibilities of fashion is to communicate with the language of art.

Fashion photographer Miss Aniela creates magical, glamorous spaces and suspends them in memorable images.

One of the greatest qualities of Miss Aniela is her ability to create ambiances often reminiscent of those in classic paintings. She cites her inspiration as coming directly from the Dutch masters of chiaroscuro, specifically from the great Caravaggio.

“Whilst everyone around me talked gadgets and software and lighting, I just wanted to somehow capture the magical fascination I felt looking at the paintings,” she says.

In her latest production, Miss Aniela worked in the Chateau de Champlatreux, a historic castle on the outskirts of Paris, creating a delirious and lavish surrealist party. Dead and live animals, twilight and a subtle touch of fantasy punctuate libraries, paintings and 18th century-French-furniture. A zoo becomes a space that simultaneously merges with the imagination.

The virtual gallery with some of the most beautiful images of Miss Aniela.

What I see being huge heading into 2017 is live streaming, and the ability to share all video, and “all content,” in so many more ways, via more apps, with story-telling and engagement at the core.

You need to try these platforms. You need to jump in.

You need to see how you can tell stories, create narratives, build relationships, communicate with consumers, and create learning for your organization.

And CMOs cannot simply stand on the sidelines, they need to truly understand what is happening and how best to leverage. Why do I think it’s gonna be huge? Not because I’m using it or Millennials and GenZ are using it…it’s because it’s making video social. Because they’re not just streaming what’s happening live.

They’re allowing you to engage with those streams…you are now able to be a part of the conversation.