Monday 22 April 2024

What strategic lesson can we learn from D&G failure in China 

Global luxury brands are trying hard to overcome the Chinese market, fit into local culture and engage with consumers and their changing practices. While some brands begin to succeed in creating real conversations with their audience, some other local cultures are struggling to understand.

A successful example comes from Gucci, which expresses his brand identity by displaying an art in Beijing’s art district 798, with a slightly more conventional fashion, with a combination of high-ranking a magazine magazine. Luxury fashion houses are not alien in the world of art, and it is fast in China. When Alendor Michele played the role of Goki’s creative director in 2015, he changed another artistic brand. He was also responsible for China-inspired Goochi tan pattern and گوشي گر, an online collaboration with contemporary artists emerging from around the world.

Last year, Gucci Gram Campaign targeted the photographers and museums in China, including Beijing-based photographer Ren Hong (R.P.) and Guangzhou-based artist Fu Fu. In 2015, Rain shot Gockey, featuring a series of pictures that was featured online with many other talented photographers and visual artists around the world.

The brand said Renei’s photos succeed in combining the human body, natural ideas and things of desire and informing the overall confusion. “Googie has failed other brands, despite the ability to understand the local mode, most of them especially Victoria’s secret and Dolus and Gabbana.

In secret Victoria’s last fashion show last year, Chinese consumers spread extra efforts in China’s flat through dragon-supported organizations. Alice Hosses’ dragon wrap, Edena Lima’s Embroidery Static Boot and Aspects of many other hills, including the feathers of the Phoenix feathers of Kunden Jenner were playing the elements of China playing on their wide range of organizations.

Global Victoria was broadcast online after Victoria’s secret show, as a result focusing on China’s social media sites, because most people failed to find Chinese traditional beauty in organizations.

On WeChat, many bloggers were less strict about offering Chinese culture. This was not the first time (and probably not last), a foreign brand has tried to impress Chinese consumers or impose impeccable products through Chinese cultural references. The Chinese New Year is always the best time to come with Chinese clutch fuels.

T is strange (although not surprisingly, I say) which limitations are becoming a global trend of PR plays and cultural failures recently, indicating controversial Pepsi advertisements that completely blacken life.

GCC, DOLLES and GABINA decided to consider various “aggressive” communication perspectives. Last year, Dolus and Gabbana wearing cameras and referring her Asian models down the railway, wearing cameras and referring to her promotion for photography, took a mobile phone.
Not satisfied with this, D and G highlighted Asian race model as Chinese tourists for spring adventures of the re-2016. “Chinese” is seen in photographs of security travel books, is seen to take itself with “local” because it is described as branded on Facebook and takes shopping bags.
This year, Dolce & Gabbana doubts the disaster. DG Slice China posted on the official account of the brand on Chinese social network visa regarding the tagged photos of the conflict. The photography team was shot by Melaella Brothers, the collection of pictures shows that wearing a high-end fashion gown model itself shows interesting elephants and tourists’ interests in Beijing’s century-like tourists like Tianman Square As well as taxi and pedicure driver.

The marketing campaign is part of the effort of localizing the brand to meet Chinese customers. D & G has also launched similar guests in Hong Kong and Japan, which was seen against a relatively fascinating background with Model Sikky Scrubs and bright Neon Billboards.
While the intention was to overcome the distance between ordinary people and fashion (perhaps, I do not really know that they are trying to do there), the final result only ends the marketing team and shows the stereo-visual concept.

The campaign did not target with the target audience, and actually started a big debate in Chinese social media whether DG was intentionally thinking of modern road ideas instead of advanced modern areas such as China’s modern district. By selecting as a scene, stereotypes display stereo-like nature. The Chinese Social Media Platform Visa called a “collection” of the picture about many comments.

China Strategies