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Black in fashion: how PR is the thread of lasting racial diversity in the fashion industry

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Black in fashion: how PR is the thread of lasting racial diversity in the fashion industry

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BLACK IN FASHION:

HOW PR IS THE THREAD OF LASTING RACIAL DIVERSITY IN THE FASHION
INDUSTRY

by

Kyndall L. Echols

A Thesis Presented to the
FACULTY OF THE USC ANNENBERG SCHOOL FOR
COMMUNICATION AND JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
STRATEGIC PUBLIC RELATIONS

May 2020

Copyright 2020 Kyndall L. Echols

i

Dedication
Bringing this thesis to life could not be done without vision, guidance and support. First
and foremost, I dedicate this thesis to God who planted a dream and passion within me.
Secondly, this thesis is dedicated to my support system – my parents, sisters, friends (old and
new), family, USC professors and mentors. Your patience, guidance, support and encouragement
kept me moving forward, even on the days I wanted to give up. Lastly, this thesis is dedicated to
all the artists and designers of color. Whether you’re just beginning your journey sewing
garments in your mom’s basement, behind the scenes designing for a brand, deconstructing
societal stigmas and creating space for others with your art, or showcasing your fifth collection at
New York Fashion Week; this is for you.

ii

Acknowledgements
Expertise, patience, and support brought this thesis into fruition. First, I would like to
express my sincerest gratitude towards my thesis committee chair, Burghardt Tenderich, for his
support since the first day I hurried into his office to with a passionate idea. My work could not
have been possible without his immense patience, accountability, and guidance. Next, I would
like to thank Dr. Alison P. Trope and Professor Miki Turner. Both women equipped me with
information, resources, and feedback that strengthened my thesis. Their support, encouragement,
and spontaneous hugs in the hallway kept me grounded throughout the process.
I would like to thank Dr. Tameka Ellington of Kent State University who was so kind to
give me a copy of her own research about Black designers in America. Her meeting with me in
the fall of 2017 planted a seed that would later bloom into becoming this thesis. Thank you,
Tyree Boyd-Pates, for providing historical and social context regarding African Americans role
in fashion and culture, and for creating spaces for Black creatives and designers to learn and
connect with each other at the California African American Museum (CAAM). Furthermore,
thank you TJ Walker of Cross Colours for presenting your thoughts about diversity in fashion
and answering my question at the opening of the Cross Colours exhibit at CAAM. I would also
like to thank the OWN Network’s Martin Bowier for so graciously connecting me with various
industry experts and cheering me on. Finally, I would like to express my gratitude to Kendall
Reynolds, who is the “client” in my thesis. Thank you for taking me seriously by meeting with
me and giving insight into the KMD world.

iii

Table of Contents
Dedication........................................................................................................................................ i
Acknowledgements ......................................................................................................................... ii
List of Tables ................................................................................................................................. vi
Abstract ......................................................................................................................................... vii
Preface ......................................................................................................................................... viii
Background .................................................................................................................................... 1
Luxury Fashion Brands .......................................................................................................................... 1
Kendall Miles Designs ............................................................................................................................. 2
Mission Statement .......................................................................................................................... 4
Statement of Opportunity ............................................................................................................... 4
Research ......................................................................................................................................... 5
Research Goals ........................................................................................................................................ 5
Methods .................................................................................................................................................... 6
Luxury Fashion 101 .............................................................................................................................................. 6
Branding and Marketing for Luxury Fashion Brands .......................................................................................... 7
Global Luxury Markets ...................................................................................................................................... 10
The Reign of Footwear ....................................................................................................................................... 11
Millennials: Driving Force Behind Luxury Goods ............................................................................................ 12
Evolution of Digital Commerce ......................................................................................................................... 13
Black in Fashion ................................................................................................................................................. 14
Prevalence of Black Designers in Fashion Publications .................................................................................... 15
Designers’ Experience ........................................................................................................................................ 16
Situation Analysis (SWOTS) ....................................................................................................... 18
Strengths................................................................................................................................................. 18
Well Developed and Easy E-Commerce Website .............................................................................................. 18
Celebrity Connections ........................................................................................................................................ 19
Instagram Presence and Engagement ................................................................................................................. 19
Expanding Product Assortment .......................................................................................................................... 20
Statement Footwear ............................................................................................................................................ 20
Weaknesses............................................................................................................................................. 20
No Brick and Mortar Store ................................................................................................................................. 20
No Publicist ........................................................................................................................................................ 20
No Experiential Marketing Efforts ..................................................................................................................... 22
No Advertising ................................................................................................................................................... 22
Limited Coverage in High-Fashion Magazines .................................................................................................. 22
Abandoned Facebook and Twitter Profiles ........................................................................................................ 22
Opportunities ......................................................................................................................................... 24
Rise of Luxury Sneakers .................................................................................................................................... 24
Growing Luxury & Footwear Markets ............................................................................................................... 24
Evolution of E-Commerce .................................................................................................................................. 24
Threats .................................................................................................................................................... 25
Competitors ........................................................................................................................................................ 25
iv

Strategic Implication ............................................................................................................................. 25
Communication Goals ................................................................................................................. 25
Objectives ...................................................................................................................................... 26
Target Audiences.......................................................................................................................... 26
Key Messages................................................................................................................................ 27
“You are a BOSS!” ................................................................................................................................ 27
“Embrace what makes you, YOU!” ..................................................................................................... 27
“KMD has shoes that support every lifestyle.” ................................................................................... 28
“Sustainable luxury products are worth the investment.” ................................................................ 28
Strategies ...................................................................................................................................... 29
Expansion of offline events ................................................................................................................... 29
Digital Communications ....................................................................................................................... 29
Earned Media ........................................................................................................................................ 30
Paid Media ............................................................................................................................................. 30
Tactics ........................................................................................................................................... 30
Tactics for Strategy #1: Expansion of Offline Events ........................................................................ 30
Exclusive Showrooms at Fashion Week. ........................................................................................................... 30
NYFW Pop-up shop ........................................................................................................................................... 31
Tactics for Strategy #2: Digital Communications .............................................................................. 32
Social Media Revamp. ........................................................................................................................................ 32
“Kickin’ it with Kendall” Blog. .......................................................................................................................... 32
“Strut Like A Boss” Social Media Campaign. ................................................................................................... 32
Editorial Lookbooks for each season. ................................................................................................................ 33
KMD Kam .......................................................................................................................................................... 34
CEO Coverage .................................................................................................................................................... 34
National Entrepreneurs Day Twitter Giveaway ................................................................................................. 34
Tactics for Strategy #3: Earned Media ............................................................................................... 35
PR Packages ....................................................................................................................................................... 35
Model Mayhem in Manhattan ............................................................................................................................ 36
Fashion Features ................................................................................................................................................. 39
Tv and Digital Segments .................................................................................................................................... 39
Tactics for Strategy #4: Paid Media .................................................................................................... 39
Ad Campaigns .................................................................................................................................................... 39
Promotional Ads ................................................................................................................................................. 40
Timeline ........................................................................................................................................ 40
August 2020 ............................................................................................................................................ 40
September 2020...................................................................................................................................... 40
October 2020 .......................................................................................................................................... 41
November 2020 ...................................................................................................................................... 41
December 2020 ....................................................................................................................................... 41
v

January 2021 .......................................................................................................................................... 41
February 2021 ........................................................................................................................................ 41
March 2021 ............................................................................................................................................ 41
Evaluation .................................................................................................................................... 41
Budget ........................................................................................................................................... 43
Budget Breakdown: Tactics for Strategy #1 – Expansion of Offline events .................................... 43
Budget Breakdown: Tactics for Strategy #2 – Digital Communications ......................................... 44
Budget Breakdown: Tactics for Strategy #3 – Earned Media .......................................................... 45
Budget Breakdown: Tactics for Strategy #4 – Paid Media ............................................................... 46
Bibliography ................................................................................................................................. 47
Appendix ....................................................................................................................................... 51
Appendix A – Primary Research Interview #1 ................................................................................... 51
Appendix B – Primary Research Interview #2 ................................................................................... 52
Appendix C – Primary Research Interview #3 ................................................................................... 54

vi

List of Tables

Table 1: American vs. European Luxury Brands....................................................... 10
Table 2.1: NYFW Exclusive Showroom ................................................................... 40
Table 2.2: MFW Exclusive Showroom ..................................................................... 40
Table 2.3: NYFW Pop-Up Shop ................................................................................ 40
Table 3.1: Social Media Revamp ............................................................................... 41
Table 3.2: Twitter Giveaway .................................................................................... 41
Table 3.3: Spring Editorial Lookbook ....................................................................... 41
Table 3.4: Winter Editorial Lookbook ....................................................................... 41
Table 4.1: September PR Packages (50 Packages) .................................................... 42
Table 4.2: November PR Packages (50 Packages) .................................................... 42
Table 4.3: January PR Packages (50 Packages)......................................................... 42
Table 4.4: Model Mayhem in Manhattan .................................................................. 42
Table 5.1: Ad Campaign – “New Boss on the Block” ............................................... 43
Table 5.2: Ad Campaign – “Your Life, Your Style” ................................................ 43
Table 5.3: Promotional Ads ...................................................................................... 43

vii

Abstract
Luxury footwear is the fastest-growing business in the fashion industry. The evolution of
footwear has allowed different sectors to expand, giving companies new terrain and
opportunities to grow. Despite brand loyalty being so strong amongst luxury brands, new luxury
companies and designers have emerged within the luxury footwear sector. However, prevalence
and levels of publicity for Black and African American luxury footwear designers is still
significantly lacking. This paper will explain the experience of Black and African American
designers as well as examine the lack of exposure and representation of Black and African
American designers in fashion publications. Furthermore, this paper is a communication plan for
Kendall Miles Designs, a luxury footwear company. It will explain the company’s history,
strengths and weakness, as well as strategic plan to increase publicity for the brand and designer,
Kendall Reynolds.
viii

Preface
“In fashion, one day you’re in, and the next you’re out.”
-Heidi Klum
All throughout middle school, Thursday nights were solely dedicated to televised fashion. I
would have my snacks, markers and sketch book ready, as I watched Heidi Klum share her
infamous phrase, “in fashion, one day you’re in and the next you’re out,” striking utter fear into
designers on Lifetime’s “Project Runway.” Every episode, before the designers debuted their
garments, she would remind them of the reality of world fashion. The fashion industry is equal
parts of creativity and glamour, fickleness and unpredictability. However, my 13 year-old self
only dreamt about being a world renowned fashion designer and having my art and garments in
showrooms across the world. As I flip flopped back and forth from “Project Runway” and Tyra
Banks’ “America’s Next Top Model,” my inspiration increased and my dreams got bigger.
However, one thing that these shows didn’t fully portray is how the realities vary and intensify
(in some degree) for designers of color. I would jokingly throw around Heidi Klum’s phrase, but
as I got older, I began to ask, “who determines who’s IN?”

1

Background
Luxury Fashion Brands
Luxury footwear is the fastest-growing business in the fashion industry. From the
infamous “red bottom” pumps by Christian Louboutin to the unpredicted rise of designer
sneakers, consumers have been investing more of their time and money into luxury footwear.
According to The NPD Group’s latest U.S. Luxury E-commerce Report, footwear accounts for
nearly half of all luxury fashion dollars spent online, with the “remaining divided between
apparel and accessories” (George-Parkin).
The evolution of footwear has allowed different sectors to expand, giving companies new
terrain and opportunities to grow. With luxury footwear, consumers are looking for more than
just high quality, they are looking to make a statement. Whether it’s creative color blocking or
expensive embellishments, consumers want to make a statement about their personality and their
socioeconomic status through their purchases.
Quality, exclusivity, and uniqueness define luxury footwear. These characteristics are
highly valued and can be found within any luxury footwear brand. However, brand loyalty
amongst luxury consumers is very strong and they rarely venture away because of the brand
image, reputation, and status of the said company. Companies like Stuart Weitzman, Gucci,
Louis Vuitton, Jimmy Choo, Balenciaga, Manolo Blahnik, and Miu Miu dominate the luxury
footwear market (Gilbert). These companies, both American and European, stand on decades of
craftsmanship and creativity, and their genius marketing strategies have transcended beyond their
products and have defined wealthy lifestyles. The brands’ images, signature embellishments (i.e.
Christian Louboutin’s “red bottoms”), and logos (i.e. Chanel’s double “C” logo) also contribute
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to the longevity and recognition of these companies, making them highly prestigious within the
market and amongst consumers.
Kendall Miles Designs
Despite the numerous industry leaders, new luxury brands and designers have emerged
within the luxury footwear sector. In 2015, Kendall Reynolds founded Kendall Miles Designs
(KMD), a luxury footwear brand that creates statement footwear for women. Originally from
Chicago, the Los Angeles based designer started KMD as a passion project. She taught herself
how to design footwear as she completed her International Relations degree at the University of
Southern California (USC). After USC, Reynolds received formal training at Arsutoria School in
Milan – the world’s leading school for footwear and bag designers. When she returned to the
United States, she spent two years in New York establishing a network within the fashion
industry and later returned to Los Angeles.
Named after herself and her brother, Kendall Miles Designs sources and manufactures all
of its products in Florence, Italy. Her products are produced by the same tanneries and factories
that make footwear for Gucci, Prada, and Yves Saint Laurent. Reynolds has mastered the art of
“stylishly combining sexiness, originality, and quality” into every pair of shoes she designs.
KMD shoes have graced the feet of Rihanna, Lupita N’yongo, Regina King, Karrueche Tran,
Andra Day, Caroline Vreeland, and many more (“Kendall Miles Designs: About Us”).
In an interview on November 22, 2019, Reynolds shared that when she first launched
KMD, she pitched her luxury collections to top department stores such as Barney’s New York,
Nordstrom, and Neiman Marcus. Though she was met with praise from the department stores,
Reynolds was always sent back to the drawing board to make specific edits to the collection such
as changing the style of a shoe or overall aesthetic of a presented collection. Reynolds declined
3

wholesale accounts with department stores because she felt that her creative integrity would be
compromised with their feedback. Therefore, she began selling her shoes through luxury fashion
boutiques in Chicago and Beverly Hills with exclusive wholesale accounts. Reynolds received
press coverage and awareness through her relationships with the boutiques. However, profits
were not consistent. In addition, Reynolds was prohibited to sell many of her products due to the
exclusive contracts with the boutiques.
In efforts to redeem lost revenue from the wholesale accounts, Reynolds terminated her
relationships with boutiques and investigated new ways to expand her sales channels. Using her
personal funds, she invested in her business by buying 900 pairs of her own shoes. She began to
sell her shoes directly to consumers through trunk shows, conferences, and industry trade shows.
Finding success with the direct to consumer approach, Reynolds transitioned to using e-
commerce to sell her products. She sells five different types of footwear (sneakers, pumps, boots,
flats, and sandals) in various styles and assortments. The price point for merchandise ranges from
$325 to $1,300. Reynolds’ largest social media community is on Instagram with 16,100
followers. There are eight team members that operate KMD.
Reynolds’ company possesses all the qualities of a luxury brand from unique designs to
craftsmanship. Her creativity, connections, and capital have brought her this far. However,
awareness amongst potential target audiences and presence within the fashion industry is
lacking. A six-month communications plan during the height of the fashion calendar will
establish KMD’s presence amongst the luxury fashion communities, increase exposure and sales
of merchandise, and will create relationships with new target audiences.

4

Mission Statement
The mission of Kendall Miles Designs is to empower women through the transformation
that occurs when we slip our feet into luxury statement footwear (“Kendall Miles Designs: About
Us”). Through their shoes and outreach, KMD aims to help women confidently showcase their
personalities and define their own lifestyles as women. Using state of the art technology and
artisan expertise, KMD produces unique and innovative shoes that are physically supportive,
aesthetically pleasing and one of a kind.

Statement of Opportunity
Due to the high success of selling directly to consumers, the brand has proven that it has
desirability and demand. Consumers willing to try a “new” brand shows that there is a high level
of trust and interest within the company and its products. Kendall Miles Designs has the
opportunity to make its mark in the luxury footwear market. The biggest challenge facing KMD
is the notoriety and longstanding existence of its competitors. However, due to the current size of
the company, KMD has the opportunity to have more intimate encounters with its publics, which
can establish lasting relationships, repeated purchases, and increased awareness. KMD is a fresh
face equipped with capital and international connections with new insight and creativity.
Another challenge is the reluctance of some fashion publications to showcase designers
of color. Though the diversity efforts in the fashion industry have improved, there are still certain
unseen and unaddressed prejudices designers of color face. Reynolds is one of the few African
American luxury footwear designers that has the potential to have longevity and impact within
the industry. Though Reynolds’ ethnicity is important, it is imperative that any campaign efforts
5

do not tokenize her Blackness nor allow the media to demean her talent as a luxury designer.
Having a strong strategic communications plan in place gives the Reynolds the opportunity to
have complete control over KMD’s narrative.
According to Fundera, the United States has 12.3 million women-owned businesses, and
last year 64% of new women-owned businesses were started by women of color
(Shepherd). There has been a steady increase in female entrepreneurs, especially among
Millennial women. With KMD’s mission to empower women, and Reynolds being a young
entrepreneur herself, the brand has an opportunity to establish new relationships with target
audiences who are female entrepreneurs and/or organizations that support female leadership and
entrepreneurship.

Research
Research Goals
In order to successfully and strategically launch a campaign, the following information
must be gathered. This will assist in potential tactics and strategies, as well as setting a
benchmark for all efforts going forth.
1. Assess the current perceptions of luxury footwear amongst Millennials.
2. Assess the current level of awareness of Kendall Miles Designs amongst
target audiences.
3. Identify key audiences and stakeholders
4. Assess the best channels of communication for key audiences and
stakeholders.
6

5. Establish benchmarks to measure success of campaign and
communications efforts.
6. Identify what fashion publications key audiences and stakeholders read and
follow to stay up to date with new fashion trends and designers.
7. Identity annual luxury and haute couture fashion events, releases, and
shows (i.e. New York Fashion Week, Met Gala).
8. Identify the key elements of luxury campaigns that drive sales and loyalty.
9. Identity brands and organizations that support African American fashion
designers (i.e. Harlem Fashion Row, ESSENCE Fashion House).

Methods
Interviews with various fashion designers, historians, and professionals were conducted
to assess the current perceptions of diversity within the fashion industry, the history of
representation within the fashion industry, and the career trajectory of various
designers. Additionally, over 25 articles, journals, and books were reviewed in efforts to achieve
the research goals. The findings are as follows.

Luxury Fashion 101
Luxury fashion brands are defined as “[brands] that consistently deliver unique emotional
value and possess the capacity of creating a lifestyle experience through a strong identity, a high
level of creativity, and closely controlled quality, quantity and distribution, all of which justifies
asking for a premium price” (Hameide 111). These brands illuminate heritage and tradition
which is also associated with luxury brands due to the commonality of generational ownership
7

and craftsmanship. Being an indicator of social and technological changes, this market is driven
by the guarantee of quality and craftsmanship (Hameide 109). The craftsmanship of luxury
products, both the handwork and manual labor, produces high-quality unique products that are
difficult to replicate or reproduce (Hamiede 113).
Luxury brands are not solely driven by sales compared to other markets. Typically,
luxury brands have the capital and consumer to allow creativity to guide decisions, assuring an
ongoing flow of newness. Design houses produce at least two collections every year that
highlight exciting trends and designs (Hameide 113-114). Luxury fashion brands have expanded
globally, expanding their business models both vertically (adding retailing to manufacturing
activities) and horizontally (expanding their range of products) (Hameide 110).
There are two types of luxury buyers; regular and occasional (Hameide 119). Regular
buyers are wealthy consumers (both old and new money) who purchase luxury products
consistently. Their purchase decisions are determined/shaped by which brands and products
complement their lifestyle and identity. Occasional buyers purchase luxury products and services
sporadically as a means to treat themselves or as a gift for significant occasions (weddings,
graduations, birthdays, etc.). These buyers value the experience of luxury from the ultimate
customer service in stores and an experience that is special and different from any shopping
experience they have had previously. It’s both a financial and emotional investment.

Branding and Marketing for Luxury Fashion Brands

By nature, luxury fashion brands are “brands that no one really needs but everyone
desires” (Hameide 110). There are multiple emotional and psychological benefits that motivate
consumers to purchase luxury products including:
8

1. Feeling superior, privileged, and special by standing out in a crowd.
2. Feelings of value and importance.
3. Rewarding oneself for efforts and achievements, which are symbols of status and
success.
4. Feelings of pampering, gratitude, and aspiration implying that luxury products and
services are out of normal reach and require an effort to obtain.
5. A desire to command acknowledgment and respect.
6. A desire to motivate, aspire and energize.
7. A desire to have a sense of belonging and affiliation.
Kalied Hameide, associate professor of fashion studies at Montclair University, stated
that “notions such as feeling special, self-reward, and motivation highlight the strong emotional
reward associated with buying a luxury brand and demonstrate how a purchase motivator that is”
(Hameide 110).
The emotional interest and investment is strategically created through the marketing and
advertising efforts of luxury fashion brands. The marketing strategies for luxury fashion brands
intend to pull and entice potential consumers to seek a brand and buy its products. There is a
heavy reliance on communication through advertising and strategic marketing campaigns to
create and emphasize an aspirational world and fantasy. For example, advertisements are image-
focused and not informative, using the images to further create fantasy, define lifestyles, and
generate desire. Hameide stated that “advertising and promotional hype play a significant role in
motivating demand or wants for these products” (Hameide 138). Luxury fashion brands are
notorious for having large budgets for advertising. The average budget is between “$14 million
and $50 million, representing about 5 to 15 percent of revenue, which increases to 25 percent
9

with the inclusion of other aspects such as PR events and sponsorship” (Hameide 139). In
addition to advertising, elaborate fashion shows are key PR events and tactics for luxury fashion
brands. There are not any direct financial returns, however, fashion shows are necessary to
showcase the brand, its new products and to boost the brand’s image both in the industry as well
as in the community (Hameide 139).
Another important factor in marketing for luxury fashion brands is having a strong and
recognizable brand identity. Visual symbols and logos play an important role in brand identity,
which is further communicated in advertisements. These luxury symbols and logos have become
indicators of wealth and status within society. Brand identity has a strong significance because it
is also a major factor in consumers’ purchasing decisions (Hameide 135). According to
Hameide, marketing communication is meant to achieve the following for luxury brands:
1. Demonstrate and establish the lifestyle status and proposed image of the brand.
2. Compensate for lack of history and heritage in the case of new brands.
3. Create social awareness, which makes owning luxury more meaningful.
4. Combat economic downturns.
European and American luxury brands are the main contributors to the luxury market.
However, there are slight differences between each sector. American luxury brands are described
as “marketing brands” because they are driven by consumer needs and backed by marketing
plans that position the brands to be accessible, relaxed and casual (Hameide 116). European
brands are deemed “creative-driven,” meaning that the designer has full independent authority
over the content and personality of the brand (Hameide 116). The designer places a high value
on aesthetics and products that appeal to the senses. For European brands, functionality is
secondary to the emotional value created.

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Table 1. American vs. European Luxury Brands
American vs. European Luxury Brands
American Luxury Brands European Luxury Brands
MOTIVATIONS: Social
• Realization of social dreams and prominence in a group
• Fulfill personal ambition
• Perfumes are an external, social accessory; they are about the
brand
MOTIVATIONS: Individual
• Relaxation of personal dreams
• Fulfill emotional desires
• Perfumes are about me, my identity, my
scent

RELATIONSHIPS: Functional
• Practicality, utility, functionality
• Keywords: wearable, comfortable, informal
RELATIONSHIPS: Emotional
• Aesthetics, sensory, elements, style
• Keywords: emotions, vanity, fantasy
POSITIONING: Customer-driven
• User-friendly, casual, simple
• Practical needs
• Strong marketing, customer service
• Lifestyles, modernity, status
POSITIONING: Creativity-driven brands
• Eccentric, no constraints
• Fantasies
• Creativity, imagination, craftsmanship
• Culture, heritage, class
(Hameide 117)

Global Luxury Markets
In 2018, the global luxury market reached €920 billion (~$1 trillion), of which €330
billion (~$370 billion) was in personal luxury goods and €590 billion (~$660 billion) was for
experiential luxury, such as dining, hotels, cruise/resorts, wine and spirits, design furniture,
lighting, cars, boats and smartphones/tablets (Danziger). The global luxury market is predicted to
top €1.3 trillion (~$1.5 trillion) by 2025, with experiential luxury growing about 5%, far faster
than personal luxury at 3%, with accessories and cosmetics expected to gain the most from 2018-
2025 (Danziger).
Luxury fashion accounted for 30% of the luxury goods revenue in 2018 (Shaulova and
Biagi). Deloitte’s 2018 Global Powers of Luxury Goods report found that Millennial and
Generation Z consumers are responsible for the growth in luxury sales over the past year, with
“younger shoppers seeking a personalized shopping experience that seamlessly integrates both
online and offline platforms” (Cooper). Today Millennials, those born from 1978-1992, represent
11

only about 32% of spending in the personal luxury market, but by 2025 they are expected to
make up 50% of the total market (Danziger).
A report done by the NPD Group stated that nearly half of the online luxury fashion
dollar sales in 2019 came from footwear, which has the highest average annual spend per buyer
and annual purchase frequency (Marshall). The average online luxury footwear spend increased
4 percent to $794 (on one pair), and purchase frequency also increased slightly to 1.6 times per
year.

The Reign of Footwear
Expensive shoes have surpassed luxury handbags as the latest status symbol
(Hoffower). Sneakers are at the forefront of the market trend, driven by Millennials' desire for
comfort and “the consequent rise in athleisure — a reflection of how they live and work today”
(Hoffower). Reports have shown that consumers, especially Millennials, are willing to pay for
products that symbolize their status. In an article for The Atlantic, Kimberly Chrisman-Campbell
wrote that footwear has always conveyed "ideas about national identity, class, race, and other
forms of social meaning" (Chrisman-Campbell). Zion Market Research reported the global
footwear market is forecasted to reach $320 billion by 2023 (“The Data Behind The Most
Searched Luxury Sneakers”). Footwear sales for men grew 27 percent between 2011 and 2016
while women's footwear, grew 21 percent.
Retail prices for luxury footwear start at $300, $495, and $900 for each, respectively.
Lisa Fickenscher for the New York Post reported that women are dropping $900 on the
Balenciaga Triple S and men are spending up to $795 on Balenciaga faux-python leather hi-tops
and $790 on Gucci sneakers with embroidered velvet (Fickenscher). The most popular shoe of
12

purchase in the luxury footwear market is sneakers. According to Business Insider, as
Millennials continue to buy sneakers, they're continuing to drive prices up — and the more
expensive the sneaker, the more coveted it becomes (Hoffower). Millennials' willingness to pay
a high price tag for sneakers is partly what's redefining the shoes status today.

Millennials: Driving Force Behind Luxury Goods
Millennial and Gen Z luxury consumers identify highly prestigious brands, product
quality, distinctiveness, and timeless style as their top personal criteria when making a luxury
purchase decision (“Younger Consumers Have a Different View of the Luxury Fashion
Industry”). According to a report by U.S. Luxury E-commerce Report from The NPD Group,
Millennial women ages 25 to 34 are responsible for buying two-thirds of online luxury
accessories, apparel, and footwear (Cooper). Additionally, Millennials who are luxury consumers
own an average of nine luxury fashion items across accessories, apparel, and footwear
(“Younger Consumers Have a Different View of the Luxury Fashion Industry”).
Older Millennials prioritize luxury footwear, in fact, 30% of luxury footwear buyers are
older Millennials (“Luxury E-Commerce: 5 Trends You Need to Know”). Millennials over-index
against the average footwear buyer, indicating the importance of luxury footwear among this
consumer group (“Luxury E-Commerce: 5 Trends You Need to Know”). Marshall Cohen, the
chief industry analyst at the NPD Group, said “Younger luxury consumers favor the convenience
and extensive browsing ability afforded to them by online shopping but also appreciate the
luxury in-store experience” (“Younger Consumers Have a Different View of the Luxury Fashion
Industry”). The endless brand, product, and shopping options available to luxury shoppers today
make it easier for them to get an item and the overall luxury experience they are
13

seeking. Millennials favor pure-play websites and department stores with multiple brand
offerings. Nearly three quarters said their favorite luxury purchase was planned in advance and
they knew where they wanted to purchase it (“Luxury E-Commerce: 5 Trends You Need to
Know”).

Evolution of Digital Commerce
By adopting e-commerce platforms, luxury brands have seen a 22 percent boost in online
sales, with the apparel sector growing 17 percent, to an average of $716 spent per buyer. More
than half of Millennial and Gen Z luxury consumers prefer to shop mostly or only online, but
more than a third prefer in-store luxury shopping. In-store browsing influenced more shoppers in
their latest luxury purchase than any other factor, including needs around a personal event or
occasion. The luxury shopping experience is no longer exclusive and is “now about experiencing
the options and brands through mobile apps and inviting in-store environments,” (“Younger
Consumers Have a Different View of the Luxury Fashion Industry”). Rohan Deuskar, CEO of
Stylitics, stated:
While the in-store experience is critical to the overall shopping journey, younger
consumers are demanding to be engaged across multiple platforms from traditional media
to social media, videos, and mobile apps. In-store is where they can touch and feel the
product just before purchasing, but it is primarily a digital journey that leads them there
(“Research: Millennials Are Redefining The Luxury Fashion Shopping Journey”).

Additionally, according to a report by the Business of Fashion, several brands embracing
“conversational commerce,” a term coined in Silicon Valley that speaks to companies that
interact with shoppers on chat platforms like text messaging, WhatsApp and social media direct
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messaging. The report found that many consumers’ activity online takes place in private chats
with friends and family, rather than on marketing-saturated public feeds. These conversations
have been challenging for brands to get true insights and connect with consumers. Consumers
crave human connection and they want to return to one-on-one interactions if it’s via SMS or
direct messaging. Over 60% of Millennials say they’d like to communicate with brands via text
messaging (Lieber). Brands that have been interacting with customers through chat say it
provides a level of intimacy often missing from digital commerce. It has also been reported that
consumers also enjoy the convenience of direct messaging and texting brands (Lieber).

Black in Fashion
On October 29, 2019, Tyree Boyd-Pates, history curator and program manager at the
California African American Museum, shared the history of Black American fashion in an event
tied to the opening of the Cross Colours: Black Fashion in the 20th Century exhibit Boyd-Pates
explained that Black people (People from the African diaspora) were excluded in many spaces
such as magazines, fashion shows, and even department stores which were reserved for
Caucasian people. As a result, Black people began to create their own spaces and publications
for fashion and art. In addition, style and creative expression became more prevalent within the
communities and Black culture. Boyd-Pates highlighted the problematic history of appropriation
of Black culture within the fashion industry. He attributed the lack of known Black designers to
systematic racism and the lack of awareness or recognition of Black designers. Within the
Council of Fashion Designers of America, one of the industry’s most prominent trade
organizations, only 3% of members are Black. Less than 10% of the designers at the last New
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York Fashion Week were black. And only 15% of the models that walked the runway were black
(Segran).
The biggest roadblock for African American designers is money, both for production,
business, and communication efforts (Bryant). Companies and organizations like Harlem
Fashion Row, Fashion For All, and the Black Design Collective create spaces and publicity for
African American and Black designers.
• Harlem’s Fashion Row, founded by Brandice Daniel-Henderson in 2007, “is a social
company that provides a voice for multicultural designers; through a creative platform
that enables these designers to sell and present their collections to key leaders within the
fashion industry” (“HFR About”).
• The Black Design Collective was founded by designers Angela Dean, Kevan Hall, and TJ
Walker. The organization “seeks to create a platform for designers of color to develop,
produce and market their products globally as well as create a mentorship program for
aspiring designers” (“Black Design Collective”).
• Fashion For All was founded by Hannah Stoudemire and Ali Richmond in 2016 and
seeks to promote equality and diversity through education and empowerment in the
fashion industry (“Fashion For All Foundation”).

Prevalence of Black Designers in Fashion Publications
A study by Dr. Tameka Ellington, associate professor at the Kent State University’s
Fashion School, measured the frequency of featured African American designers in Harper’s
Bazaar and Vogue between 2000 and 2012. She reviewed 48 issues, 12 from each publication
from 2000 and 2012.
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• The data revealed that on average, African American designers were featured in 6 of the
12 issues for a given year, averaging 2 features of African American designers per issue.
• Out of the 48 issues, there were only 11 write-ups on African American designers.
• Out of the 48 issues, there were only three issues African American designers featured in
editorial shoots.
• There were no full-page write-ups on African American designers within the Harper’s
Bazaar issues.
• There were no advertisements within the fashion magazines for African American
designers.
The data also revealed that female African American designers were featured less in
Vogue and Harper's Bazaar 2000 issues. According to the study, only 25% of the African
American designers featured in Harper’s Bazaar 2000 issues were women and the Vogue 2000
issues only featured two African American designers, both of whom were men (Lawrence Steele
and Sean Combs). According to Dr. Ellington, being featured in a high-fashion magazine is a
boost for the economic growth of fashion designers. The largest issues of the year for fashion
magazines are the September and March issues, marking the transition between the selling
seasons of Spring/Summer and Fall/Winter.

Designers’ Experience
On October 18, 2019, TJ Walker shared his experience as a prominent figure and
designer during the hip-hop era of the 1980s and 1990s. His brand, Cross Colours, was co-
founded in 1989 with Carl Jones. Known for its bold and colorful Afrocentric styles, Cross
Colours gained notoriety through music videos, television shows, and magazine covers. Gracing
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the bodies of some of Hollywood’s Black elite such as Will Smith and TLC, Cross Colours
strategically placed products and orchestrated messages that spoke directly to the pressing issues
facing the African American community.
During the public opening of the “Cross Colours: Black Fashion in the 20th Century”
exhibit at the California African American Museum, Walker was asked how he kept the control
of the brand’s message while maintaining authenticity. He shared that they always directly stated
their message in all their advertisements, whether it was “increase the peace” or “stop the
violence.” Walker also shared that he and his partner went against the advice of their buyers and
placed their faces on the hang tags of their merchandise with the message of “accept no
imitations.” This decision was due to the multitude of fashion companies and brands copying
and “knocking off” the Cross Colours designs. He explained that they had to invest a lot of
money to prevent and combat brands from mimicking their designs.
On November 22, 2019, via interview, Kendall Reynolds shared her journey as a luxury
footwear designer. Originally from Chicago, Reynolds found “Kendall Miles Designs” while
completing her undergraduate degree at the University of Southern California. She designs every
pair of her shoes and they are manufactured in family-owned, artisan factories in Florence, Italy.
Reynolds shared the highlights and the lowlights of her career thus far. She explained the
importance of controlling the brand’s narrative as a designer, especially as an African American
designer. Reynolds also talked about her frustrations with cultural appropriation, the lack of
diversity in fashion (from race to sizing), recognition and awareness of luxury designers of color.

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Situation Analysis (SWOTS)
According to the primary and secondary research that was gathered, Kendall Miles
Designs’ strengths, weaknesses, opportunities, and threats were able to be pinpointed. These
factors must be taken into account when developing the communications plan and campaign.
Strengths
Well Developed and Easy E-Commerce Website
The KMD website is easy to navigate, accessible, and continuously updated with new
merchandise. There are editorial pictures showcasing the various products and projects the
elevated presence of the company. All contact information, social media handles, assistance, and
the “About” page are visible. The blog (written by Reynolds), celebrity, and “in the press” pages
add authenticity, legitimacy, and excitement to the website. The overarching brand personality of
Kendall Miles Designs is projected on the website as well.

Developed Branding
Reynolds and her team have developed a strong brand personality and identity for the
company. KMD personifies Reynolds’ values of independence, boldness, sexiness, and
uniqueness. That personality is also carried over on to the brand’s social media channels. There
are two logos; one with the “KM” initials and the other with the brand name spelled out. These
logos are found on products and throughout all the social and digital channels.

Uses Italian Manufacturers and Suppliers
All of KMD products are supplied and manufactured in Florence, Italy. Traditional
methods of hand-craftsmanship are used to bring Reynolds’ ideas to life. Italian manufacturers
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have a history of using genuine leather and having generations of artisanship. This means that
products are of the highest quality and will have a longer shelf life.

Paper trail of Press
Though Reynolds’ current press clippings are sparing, she has a strong foundation of
previous press coverage from publications and websites. This includes Cosmopolitan, Vogue
Italia, Mogul Magazine, Black Enterprise, US Weekly, Okay Magazine, and Crain’s Chicago
Business.

Celebrity Connections
KMD shoes have graced the feet of many A-list celebrities such as Rihanna, Cardi B,
Lupita N’yongo, and Regina King. Celebrities are trendsetters and innovators for consumers
(Hameide, 139). Celebrity endorsement, whether directly or indirectly, brings credibility and
global awareness amongst consumers (Hameide, 140).

Instagram Presence and Engagement
KMD has social media profiles on Facebook, Instagram, and Twitter. However, the
brand’s largest following and engagement is on Instagram. Currently, there are over 16,000
followers on Instagram.

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Expanding Product Assortment
KMD has been expanding its assortment of products. This year the company introduced
“Miles,” its first luxury sneaker and “Ali,” the first combat boot. These new product styles can
potentially bring new consumers as well as increased sales.
Statement Footwear
KMD creates shoes for women who like to express themselves through fashion
statements. Statement pieces are attractive and eye-catching accessories that elevate and
personalize an outfit (Tebele). KMD strategically creates bold and unique statement shoes that
stand out giving buyers the opportunity to purchase a high quality shoe that can further
accentuate their personality.

Weaknesses
No Brick and Mortar Store
KMD currently does not have any stores. Merchandise is sold exclusively online. As a
luxury brand, this is a weakness because target audiences do not have an opportunity to try on or
see the merchandise. Also, customers want the personalized shopping experience that luxury
brands provide. Sitting in a showroom surrounded by expensive merchandise, having champagne
while waiting and intimate customer service is part of the luxury experience customers desire in
addition to the quality and exclusive merchandise.

No Publicist
As of fall 2019, KMD currently does not have a publicist. As an emerging luxury brand,
this is a weakness because there is not a strategic communication plan being implemented.
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Though is it possible to gain media coverage without a publicist, the efforts won’t be fully
maximized and the messaging, mission, narratives and communication strategies can potentially
deteriorate without a communicator.

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No Experiential Marketing Efforts
KMD rarely hosts any events; Nor does it provide opportunities for target audiences to
connect with both the merchandise and the brand. Because KMD presence is predominately
online, it is vital that the company take the extra steps to invest in opportunities to build
awareness and establish relationships.

No Advertising
Currently, KMD does not have any print or digital advertisements. The lack of traditional
and digital advertising decreases the level of awareness amongst target audiences and
stakeholders.

Limited Coverage in High-Fashion Magazines
KMD lacks a presence within high-fashion magazines such as Vogue, ELLE, Harper’s
Bazaar, and Essence. Having feature articles and editorials of KMD in high-fashion magazines
will increase awareness about the brand amongst editors, fashion thought leaders and influencers,
and readers. More importantly, coverage and advertisements in high-fashion magazines “is a
boost for the economic growth of fashion designers” (Ellington).

Abandoned Facebook and Twitter Profiles
There is very little engagement on Twitter and Facebook. Both profiles lack updates
regarding products and the company overall. Though KMD’s current target audience actively
uses Instagram, it is imperative that the brand improve its other channels in order to expand its
reach.
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Opportunities
Rise of Luxury Sneakers
Luxury sneakers’ sales are drastically rising. So much so that designer sneakers are at the
forefront of luxury footwear revenue. According to the NPD Group, the growth of luxury
sneakers has contributed to Millennials’ desire for comfort and the consequent rise in athleisure.
Consumers are willing to pay top dollar for an expensive shoe that symbolizes their status
(Fickenscher). The bottom line, consumers are willing to pay top dollar for luxury sneakers.

Growing Luxury & Footwear Markets
The global markets for both luxury goods and footwear are predicted to have exponential
growth in the upcoming years. Zion Market Research reported that the global footwear market is
forecasted to reach $320 billion by 2023 (“The Data Behind The Most Searched Luxury
Sneakers”). According to a report by Statista, the segment Luxury Fashion accounted for 30% of
the Luxury Goods revenue in 2018. The worldwide revenue of luxury fashion goods is expected
to increase to $105 billion by 2023.

Evolution of E-Commerce
The ever-changing technology has allowed e-commerce to expand beyond online
purchases. Now, consumers can buy products on social media and mobile apps at the press of a
button. According to the Business of Fashion, several brands have been embracing
“conversational commerce,” a term that speaks to companies that interact with shoppers on chat
platforms like text messaging, WhatsApp and social media direct messaging (Lieber). Interacting
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with customers through chat provides a level of intimacy often missing from digital commerce.
Also, consumers enjoy the convenience of direct messaging and texting brands (Lieber).
Threats
Competitors

KMD is competing against prestigious brands that dominate the luxury footwear market.
These brands are household names and have decades of craftsmanship and notoriety. More
importantly, these brands successfully and strategically position themselves to have a strong
association to luxury amongst consumers.

Strategic Implication
With the global expansion of luxury and footwear markets, KMD should take advantage
of this opportunity to assert itself in the luxury footwear market. During the height of the fashion
season, KMD should implement a strategic communications plan to establish its presence by
investing in advertisements (both traditional and digital), seeking coverage in the media and
high-fashion publications, and creating opportunities to establish relationships with key target
audiences and stakeholders. Being a smaller yet established brand, KMD has the unique
opportunity to connect directly and intimately with target audiences. Not having a brick and
mortar store allows KMD to test and execute various experiential marketing events.
Communication Goals
• Build meaningful relationships with target audiences and stakeholders.
• Influence consumers to purchase KMD shoes.
• Convince target audiences that KMD shoes will boost their confidence, sexiness, and
boldness.
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• Encourage women to be “the boss” within their own lives (travel, work, lifestyle).
• Position KMD to be the most sought after luxury footwear brand amongst target
audiences and stakeholders.
Objectives
1. Objective - To increase target audiences and stakeholder relationships by 30% by March
31, 2021.
2. Objective - To increase sales by 45% by March 31, 2021.
3. Objective - To increase social media followers and engagement by 40% by March 31,
2021.
4. Objective - To increase experiential marketing efforts by 15% by March 31, 2021.
5. Objective - To increase press coverage and buzz by 40% by March 31, 2021.

Target Audiences
The primary audience for this campaign is Millennial women between the ages of 25-35
who are working professionals with disposable income for luxury. Whether they are regular or
occasional luxury buyers, they value the quality and unique experiences luxury brands bring.
More importantly, these women love shoes and want fashion-forward pieces that make them
stand out. They are avid social media users, so much so that some are micro-influencers within
their own communities. Additionally, these women love to support female-owned businesses.
Secondary target audiences for the campaign include celebrity stylists and fashion magazine
editors. Both groups are gatekeepers to a larger reach of publics. Celebrity stylists work directly
with actresses, models, musicians, and television personalities. A stylist’s work showcased on
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red carpets, events, and television receives coverage in the press and social media. They work
directly with the influencers and thought leaders of pop culture. Fashion editors validate the
talent of designers and brands through feature articles, editorial campaigns, and social media
content. Fashion editors are the thought leaders and decision-makers in the fashion industry.
Their approval highly influences sales for brands. Additionally, their work legitimizes a
designer’s position within the fashion industry.

Key Messages
The key messages for the campaign are in place to establish trust, give support, and highlight the
value of KMD products.

“You are a BOSS!”
Today, being a “boss” is no longer reserved for supervisors and higher-ups. This title
now describes an attitude for people who are bold, take charge, handle their business (whether
it’s school or parenthood), and make their own rules. Reynolds embodies a “boss” mindset and
through her products, she wants to empower and remind women they are bosses in their own
right. This message further reiterates the boldness in Reynolds’ statement footwear and how the
brand values women’s empowerment.

“Embrace what makes you, YOU!”
KMD footwear is intended to amplify the unique personality of its owner. Whether she is
bold and artsy, or coy and conservative, there is a shoe that will match her personality and style.
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KMD is a brand that prides itself on embracing its uniqueness and through the campaign
messaging, women are encouraged to do the same.

“KMD has shoes that support every lifestyle.”
KMD has a multifaceted audience with varying lifestyles. Whether they’re a world
traveler or a comfy commuter, KMD’s diverse assortment of products accommodates these
different lifestyles. Luxury is no longer limited to one particular lifestyle but should make room
for all walks of life.

“Sustainable luxury products are worth the investment.”
The world’s carbon footprint increases drastically each year. According to the National
Oceanic and Atmospheric Administration, carbon dioxide levels today are higher than at any
point in at least the past 800,000 years (Lindsey). Unfortunately, the fashion industry plays a
huge role in the earth’s depletion. The fashion industry is the second-largest polluter in the world
(“Environmental Impacts of the Fashion Industry”). However, there are fashion companies and
brands that are committed to making sustainable merchandise that’s stunning and safe for the
environment. This key message informs KMD audiences about the brand’s stance on
sustainability, encouraging them to buy chic yet environmentally responsible luxury goods.
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Strategies
During the height of the 2021 fashion season, KMD will launch the “Strut Like A Boss”
campaign. The theme is inspired by KMD’s values of fearlessness, independence, and
individuality. This theme will help assert KMD’s presence in the fashion industry as well as
encourage and support key target audiences to take ownership of their confidence, careers, and
lifestyles.
The biggest strategic component of this campaign is the timing. The busiest and most
influential time in fashion is between September and February. During this time, the industry
introduces the newest fashion trends and designers through fashion weeks, specialty fashion
magazine issues (Vogue September and March Issues), star-studded events, award shows, and
the holiday season. This is a prime opportunity for KMD to launch a six-month strategic
communications campaign. Additional strategies also include the following.

Expansion of offline events
A large component of this campaign is programming. Have scheduled events to create
opportunities for KMD to build relationships with key target audiences and stakeholders and
increase awareness about the brand and its products. Some of the events will be “partnered
programming” — sponsorships and collaborations — to help gain establish relationships with
supporters in various industries and expand KMD’s reach.

Digital Communications
Use social media and digital communications to further communicate the key messages
and themes of the campaign. Digital communication will be the main strategy to create online
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communities, build awareness, and host and re-share conversations about KMD. Digital
communications strategy will be both owned, shared, and earned.

Earned Media
Use earned media to increase publicity for KMD products and Kendall Reynolds. This is
an awareness campaign that relies on media relations to help get the key messages in front of
target audiences and increase social currency for KMD.

Paid Media
Invest in digital and print advertisements to personify the key messages and influence
audiences to purchase KMD products. Paid media will also help illustrate KMD ‘s narrative and
values.

Tactics
Tactics for Strategy #1: Expansion of Offline Events
Exclusive Showrooms at Fashion Week.
During New York Fashion Week (NYFW) in September and Milan Fashion Week
(MFW) in February, KMD will host a private showroom exclusively for editors, journalists,
stylists, influencers, and celebrities. This showroom is intended to give these target audiences an
opportunity to have a first glance at new shoe collections and merchandise. Merchandise will be
creatively curated and placed throughout the venue to tell the story behind the collection, giving
attendees the chance to learn and interact with the products. There will be a cocktail hour, a
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small VIP afterparty, and various photo opportunities. Invitations and pitches will be sent out 45
days in advance, therefore it will not be advertised on social media. However, photos and videos
from the event will be posted on the day of and days following to generate more buzz. The
primary goal of this event is to secure earned media for the new collections, the brand, and
Reynolds as talent. Additionally, attendees for the New York showroom in September will have
an exclusive opportunity to attend the pop-up shop on September 18 early.

NYFW Pop-up shop
Host one pop-up shop in New York on the concluding Friday of New York Fashion
Week to increase sales and build relationships with target audiences. This will follow the private
showroom that was hosted at the beginning of the week. Unlike the showroom, the pop-up will
be open to the public. The goal is to push the buzz and curiosity of KMD generated throughout
the week toward the pop-up shop. This was strategically planned for this day due to the high
foot traffic and presence of editors, fashion thought leaders, journalists, celebrities and tourists
from around the world who are in town for NYFW.
One of the goals for the event is to secure sponsorships with Instagram and Apple. KMD
should partner and collaborate with companies that value and support diversity, women, luxury
and individuality. Instagram is rooted in capturing the best “Instagrammable” moments. Through
their sponsorship, KMD will have a “KMD Kam” activation and a photo booth that will give
attendees the opportunity to show their new KMD purchases. There will also be KMD filters
created by Instagram for attendees to use on their Instagram stories.
Apple is releasing new technology in September 2020, including a new “iPad Pro” and
“iPhone.” Additionally, the company has just bought property in New York next to Madison
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Square Garden. With this sponsorship, Apple products and technology will be used as the POS
system for transactions, as photo devices for the Instagram activations, and to collect contact
information from attendees. The pop-up shop will be on September 18th at 5 p.m.

Tactics for Strategy #2: Digital Communications
Social Media Revamp.
In order to reach all target audiences, the Facebook and Twitter accounts for KMD will be
revamped and relaunched. Brand identity, personality, and messaging will be consistent across
all platforms. This tactic is intended to be completed prior to fashion week in September so that
all content can be shared equally on all platforms. With this digital renovation, the KMD online
community, followers and supporters will be affectionately known as “The Krew.”

“Kickin’ it with Kendall” Blog.
In addition to the social media accounts, the KMD blog by Reynolds will also be re-launched
on the website. The new blog will be titled “Kickin’ it with Kendall” and will consist of mixed
media blog posts about the current happenings with KMD and in the fashion industry that are of
interest to Reynolds. Not only will this create the opportunity for key audiences to connect with
the designer, but it also will help position Reynolds as her own entity of talent (i.e. increasing
awareness of who she is as the designer) and control of her personal and professional narrative.

“Strut Like A Boss” Social Media Campaign.
The social media campaign “Strut Like A Boss” will launch on October 16, which is
National Boss’s Day in the United States. This campaign is intended to increase social media
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engagement between audiences and KMD. Social media content will be created for the campaign
to influence and generate different conversations regarding women empowerment and luxury
merchandise. The key messages of “you are boss” and “embrace what makes you, YOU” are the
main messaging for this tactic.
The social media campaign will launch with a 60-second introduction video from Reynolds
as she defines her definition of a boss and what her favorite KMD shoes to wear to define her
personality and lifestyle. Using the hashtag #KMDBoss, KMD audiences will be encouraged to
share their definition of a “boss” and their favorite picture or video of their favorite KMD shoes.
For static content, the social media team will use holidays such as “National Sneaker Day” to
inform followers about different KMD products. The social media campaign will run until the
holiday season in December.

Editorial Lookbooks for each season.
Designers use lookbooks, a collection of photographs and visuals, to preview their new
collections. Lookbooks are important because they give designers the opportunity to creatively
introduce new collections and products. Luxury lookbooks are on the same caliber of high
fashion editorials in magazines such as Vogue. KMD will debut two lookbooks for both the
spring and winter collections available digitally and in print. There will be two KMD lookbooks
throughout the duration of the communications plan. The first lookbook will be released in
September and will align with the “Strut like a Boss” theme.
The second lookbook will be released in February and will pay homage to Black History
Month by recreating famous historical and cultural outfits in the Black community. Through
collaboration with other African American and Black designers such as Telfar Clemens and
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Kerby Jean-Raymond of Pyer Moss, all the models in the lookbook will be dressed head to toe in
garments created by African American and Black designers. All lookbooks will be available
digitally on the KMD website and advertised on social media through posts. Lookbooks will be
printed only for events and PR gift boxes.

KMD Kam
KMD does an excellent job of tracking press of celebrities wearing KMD footwear. In
efforts to track the momentum of retweets and shares on social media, celebrity press coverage
will now be branded as #KMDKam. The word “kam” is The abbreviated form of camera and is
spelled with “k” to pay tribute to Reynolds name. Additionally, pictures of celebrities in public
figures in KMD footwear will be shared on the KMD website and social media accounts using
the hashtag #KMDKam.

CEO Coverage
CEO coverages will be social media takeovers by Reynolds herself on IG and Facebook
stories. They will be in the forms of live question and answer sessions, behind the scenes, and the
day in the life (following Reynolds throughout her daily activities). This tactic will continue to
position Reynolds as the face of KMD and allow audiences to connect with the designer and the
brand.

National Entrepreneurs Day Twitter Giveaway
On National Entrepreneurs Day, KMD will host a Twitter giveaway. This giveaway is in
place to help increase the Twitter following and engagement. Three Twitter followers will have a
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chance to win one $250 KMD gift card. On November 17, there will be a post recognizing
female entrepreneurs. Followers will have 24 hours to retweet the initial KMD tweet with a
positive comment mentioning KMD and using the hashtag #KMDBoss. Participants must follow
KMD on Twitter in order to be considered in the selection pool. Winners will be selected at
random. There will be one advertisement for the giveaway posted the day before on all social
media channels.

Tactics for Strategy #3: Earned Media
PR Packages
PR boxes will be sent to editors, journalists, stylists and selected fashion influencers
throughout the duration of the communication plan. Fifty packages will be sent out three times;
September, November and January. Receivers of these packages will have a preview of new
KMD products and updates regarding the brand. Each PR box will have a different theme that
correlates with the messaging of the communications plan. The September box will align with
the “strut like a boss” social media campaign and the “new boss on the block” ad campaign. It
will have items that will be showcased at the private show room event during NYFW. The goal
of this box is to acquire earned media and shared media for the brand and the NYFW pop-up
shop. More importantly, it will give a preview of the Spring/Summer 2021 collection that will be
formally introduced at New York Fashion Week.
The November box will be a holiday package that will align with the “Your Life, Your
Style” ad campaign and will include materials regarding the holiday such as fact sheet informing
the reader how to pair KMD shoes with holiday party outfits and which shoes are the best to give
as gifts. The goal with this box is to secure placement on holiday gift “must-have” lists and
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holiday editorials within publications and online media. Finally, the January box will be red
carpet themed in correlation to award season. This box is particularly for celebrity stylists and
celebrities. Within the box, there will be products and materials previewing the Fall/Winter 2021
collection. The goal with the January package is to persuade stylists to incorporate KMD shoes
into their clients’ red carpet looks resulting in red carpet press coverage (#KMDKam). PR boxes
will include one pair shoes, a lookbook, a fact sheet, a personal thank you letter from Reynolds,
instructions on how to post on Instagram, and items that correlate with the theme (I.e. KMD
holiday cookies for the holiday box in November). All PR boxes will be packaged exquisitely
and creatively.

Model Mayhem in Manhattan
In efforts to grab the attention of target audiences during the excitement of New York
Fashion Week, models will be hired to attend NYFW events as walking billboards, advertising
the brand and KMD’s NYFW pop-up shop. The overarching goal is to create positive disruption
during fashion week. There will be two groups of five models. One group will be assigned to
attend NYFW events on the first day of fashion week and the other will be attending NYFW
events on the last day of fashion week.
The models will be women of color and strategically chosen based on their social media
following (must have at least 10k followers across their platforms) to help further extend the
reach of exposure. Models will wear turquoise trench coats that have “KMD: New Boss on the
Block,” “September 18th @ 5pm,” and the event’s location on the back of the jacket. They will
be carrying matching turquoise briefcases that will have the hashtag #KMDBoss and KMD’s
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social media handles. The models will also be wearing large afro wigs, turquoise cat-eye
sunglasses, black skinny jeans, and the black “Pout” calf boot by KMD.
Symbolism in this tactic is very powerful and intentional. Afros represent individuality,
Black pride and the rejection of assimilation — symbolism that aligns with the key messages of
empowerment and embracing uniqueness. Women of color being selected as models not only
pays homage to Reynolds’ ethnicity, but also symbolizes Reynolds being the “new boss on the
block” who is taking up space in the luxury markets as an African American woman and
footwear designer. Additionally, fall 2020 will be the fifth year anniversary for KMD. Turquoise
symbolizes fifth-year anniversaries. The number of models was chosen based on the anniversary
year. The number of models will also subliminally remind observers that the pop-up shop starts
at 5pm.
Groups of people turn heads. However, a group with brightly colored statement outfits and
props will spark curiosity. The models’ sole purpose is to generate buzz with their presence.
Models will be on red carpet lists for each fashion show they attend, putting them directly in
front of fashion media and press. To help further create mystery, models will be instructed to
move and take pictures as a group at all times and will travel around town in turquoise taxis with
key messaging and information on the vehicles.
Each group of models will be accompanied by a street team of three members. They will
be responsible for making sure the models get in front of cameras (especially streetwear
photographers), that pictures are posted using the designated hashtag, and placing
environmentally safe stickers that say “KMD: New Boss On the Block” on city objects
throughout their journey in New York.
38

Editors and journalists who received a September PR Box will also receive a trench coat as
well and will be encouraged to incorporate the jacket into one of their outfits during fashion
week and post on their social media. The wording on the models’ uniform will not explicitly
advertise the event as a pop-up shop. Only key slogans and information will be print on the
models’ uniform to help build mystery, curiosity, and buzz.

39

Fashion Features
Throughout the entirety of the campaign, KMD will be pitched to multiple traditional and
online fashion publications. Gaining coverage in publications read by target audiences will help
build awareness for the brands and Reynolds. Seeking feature stories and editorials for press
coverage in publications such as Vogue, Harper’s Bazaar, Essence, WWD, Who What Wear, ID
magazine, and Paper magazine.

Tv and Digital Segments
According to the research that was gathered for the communications plan, KMD target
audiences receives most of their information through digital and social media content. Securing
interviews and digital segments will help ensure that all key target audiences are reached, more
importantly it will expand and diversify KMDs content portfolio.

Tactics for Strategy #4: Paid Media
Ad Campaigns
Luxury brands are notorious for their exquisite and creative ad campaigns. These
campaigns help further create the fantasy and personality of the brand. KMD will have two ad
campaigns. The first will be the “New Boss on the Block” ad campaign that will launch right
before fashion week in September and conclude in at the end of October. This campaign
complements the key message of “You are a Boss,” and is positioned to be the introductory ad
for KMD. The second will be the “Your Life, Your Style” ad campaign. It will launch at the
beginning of the holiday season in December and conclude at the end of January. The theme of
the campaign aligns the key message of “KMD has shoes that complement every lifestyle.” For
40

each campaign, full page ads will be purchased in fashion publications, 30 second digital ads will
be released on social media, and one billboard will be purchased in Los Angeles.

Promotional Ads
Purchase social media ad space on Instagram and Facebook to help promote the Black
Friday and Cyber Monday holiday sales. All ads will align with the “Your Life, Your Style”
messaging and ad campaign.

Timeline
The strategic communications plan for Kendall Miles Designs will begin on September 1,
2020 and conclude February 28, 2021. Preplanning and positioning will take place in August
2020, and the evaluations and results of the strategic communications plan will take in March
2021.
August 2020
• August 12 – 20: Set benchmarks within sales, social media followings, website
traffic, and press coverage.
• August 15: Send September PR Boxes and invitations and for the NYFW
September Showroom.
September 2020
• September 1: Launch “New Boss on the Block” Ad campaign.
• September 11: Model Mayhem in Manhattan (Part 1)
• September 12: Private NYFW Showroom (New York)
• September 16: Model Mayhem in Manhattan (Part 2)
41

• September 18: NYFW Pop-up Shop
• September 21: Release September Lookbook
October 2020
• October 16 (National Boss’s Day): Launch “Strut Like A Boss” Social Media
Campaign.
• October 31: Conclude “New Boss on the Block” Ad campaign.
November 2020
• November 9: Send November/Holiday PR Boxes
• November 17: National Entrepreneurs Day Twitter Giveaway
• November 25 – 30: Promotional Ads (Social Media) for Black Friday and
Cyber Monday.
December 2020
• December 7: Launch “Your Life, Your Style” Ad Campaign.
• December 10: Conclude the “Strut Like A Boss” social media campaign.
January 2021
• January 4: Send January/Red Carpet PR Boxes
• January 31: Conclude the “Your Life, Your Style” Ad Campaign.
February 2021
• February 1: Release February/Black History Month Lookbook
• February 12: Private MFW Showroom (Milan)
March 2021
• March 8 – 22: Evaluations

Evaluation
The following methods will be measured and assessed to determine the success of the
communications plan and campaign efforts for Kendall Miles Designs.
42

• Event attendance: Assess if the number of attendees to campaign events meet
attendance goals.
• Media Coverage: Assess the amount of traditional and digital media coverage of KMD,
KMD footwear, and Reynolds.
• Social media engagement and followers: Calculate the number of new followers on
Facebook, Instagram, and Twitter. Asses the usage of “#KMDBoss,” retweets, tags and
mentions, comments, and reposted content on social media.
• Views and shares of content: Monitor the amounts of clicks and times of sharing of
KMD social media channels, their website and blog links. Calculate the ratio of the
number of shares to the number of clicks.
• Sales: Assess the sales levels for KMD footwear.
• Audiences and stakeholders’ attitudes: Asses attitudes and opinions through reviews,
social media comments, interviews, word of mouth and surveys.
• Customer Surveys and reviews: Monitor online customer surveys and reviews about
KMD.

43

Budget
The approximate grand total for the communication plan and campaigns for Kendall Miles
Designs is $1,223,094.45.

Budget Breakdown: Tactics for Strategy #1 – Expansion of Offline events

Total: $46,764.45

NYFW Exclusive Showroom
Venue $3,000.00
Tables $126.00
Tablecloths $200.00
Decor $800.00
Cocktails/Liquor $645.00
Bartender $350.00
Bar $130.00
Food $650.00
Supplies $2,000.00
Fixtures & Shelves $1,000.00
Lighting $1,500.00
DJ $500.00
Staff $875.00
Red Carpet $150.00
Print Materials $650.00
Photographers $3,000.00
Banners $600.00
Floor Decal $100.00
TOTAL: $16,276.00
MFW Exclusive Showroom
Venue $3,409.09
Tables $143.18
Tablecloths $227.27
Decor $909.09
Cocktails/Liquor $732.95
Bartender $397.73
Bar $147.73
Food $738.64
Supplies $2,272.73
Fixtures & Shelves $1,136.36
Lighting $1,704.55
DJ $568.18
Staff $994.32
Red Carpet $170.45
Print Materials $738.64
Photographers $3,409.09
Banners $681.82
Floor Decal $113.64
TOTAL: $18,495.45
NYFW Pop-Up Shop
Venue $3,000.00
POS Systems $300.00
Packaging/Shopping $400.00
Decor $800.00
Photobooths $1,450.00
Stanchions $84.00
Stanchion Rope $84.00
Supplies $2,000.00
Lighting $500.00
DJ $500.00
Staff $625.00
Red Carpet $150.00
Print Materials $650.00
Photographers $750.00
Banners $600.00
Floor Decal $100.00
TOTAL: $11,993.00
Table 2.1: NYFW Exclusive Showroom

Table 2.2: MFW Exclusive Showroom

Table 2.3: NYFW Pop-Up Shop

44

Budget Breakdown: Tactics for Strategy #2 – Digital Communications

Social Media Revamp
Analytics Tools $4,800.00
Digital Marketing/Content $15,000.00
Communications Assistants $7,650.00
TOTAL: $27,450.00

Twitter Giveaway
KMD Gift Cards $750.00
TOTAL: $750.00

Total: $78,880.00

Winter Editorial Lookbook
Location/Studio $1,500.00
Props $800.00
Makeup Artist $1,000.00
Costumes/Styling $8,000.00
Models $3,000.00
Photographer $7,000.00
Production Assistants $240.00
Staff $300.00
Food $500.00
Print Materials $1,000.00
Lighting $1,500.00
Miscellaneous $500.00
TOTAL: $25,340.00
Spring Editorial Lookbook
Location/Studio $1,500.00
Props $800.00
Makeup Artist $1,000.00
Costumes/Styling $8,000.00
Models $3,000.00
Photographer $7,000.00
Production Assistants $240.00
Staff $300.00
Food $500.00
Print Materials $1,000.00
Lighting $1,500.00
Miscellaneous $500.00
TOTAL: $25,340.00
Table 3.1: Social Media Revamp

Table 3.2: Twitter Giveaway

Table 3.2: Spring Editorial Lookbook

Table 3.3: Winter Editorial Lookbook

45

Budget Breakdown: Tactics for Strategy #3 – Earned Media

Total: $154,350.00

September PR Packages (50 packages)
Packaging $3,000.00
Shipping $3,750.00
Campaign Related Items $7,500.00
KMD Shoes/Products $16,250.00
Print Materials $1,500.00
Miscellaneous Items $2,500.00
TOTAL: $34,500.00
Model Mayhem in Manhattan
Models $20,000.00
Hair $2,000.00
Makeup Artists $1,000.00
Costumes $11,900.00
Props $1,050.00
Staff $1,200.00
Customized Taxis $12,000.00
Stickers $700.00
Miscellaneous Items $1,000.00
TOTAL: $50,850.00
November PR Packages (50 packages)
Packaging $3,000.00
Shipping $3,750.00
Campaign Related Items $7,500.00
KMD Shoes/Products $16,250.00
Print Materials $1,500.00
Miscellaneous Items $2,500.00
TOTAL: $34,500.00
January PR Packages (50 packages)
Packaging $3,000.00
Shipping $3,750.00
Campaign Related Items $7,500.00
KMD Shoes/Products $16,250.00
Print Materials $1,500.00
Miscellaneous Items $2,500.00
TOTAL: $34,500.00
Table 4.1: September PR Packages

Table 4.2: November PR Packages

Table 4.3: January PR Packages

Table 4.4: Model Mayhem in Manhattan

46

Budget Breakdown: Tactics for Strategy #4 – Paid Media

Ad Campaign - "Your Life, Your Style"
Location/Studio $1,500.00
Props $2,000.00
Makeup Artist $1,000.00
Costumes/Styling $8,000.00
Models $6,000.00
Photographer $8,000.00
Videographer $9,000.00
Production Assistants $300.00
Staff $450.00
Food $800.00
Print Materials $1,000.00
Lighting $1,500.00
Miscellaneous $500.00
Magazine Ad Placement $430,000.00
TOTAL: $470,050.00

Total: $943,100.00
Ad Campaign - "New Boss on the Block"
Location/Studio $1,500.00
Props $2,000.00
Makeup Artist $1,000.00
Costumes/Styling $8,000.00
Models $6,000.00
Photographer $8,000.00
Videographer $9,000.00
Production Assistants $300.00
Staff $450.00
Food $800.00
Print Materials $1,000.00
Lighting $1,500.00
Miscellaneous $500.00
Magazine Ad Placement $430,000.00
TOTAL: $470,050.00
Promotional Ads
Facebook Ads $1,500.00
Instagram Ads $1,500.00
TOTAL: $3,000.00
Table 5.1: Ad Campaign – “New Boss on the Block”

Table 5.2: Ad Campaign – “Your Life, Your Style”

Table 5.3: Promotional Ads

47

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Appendix

Appendix A – Primary Research Interview #1

PRIMARY RESEARCH – INTERVIEWS
Panel Question for TJ Walker, Fashion Designer & Co-Founder of Cross Colours
Cross Colours Exhibit Opening at the California African American Museum
October 18, 2019

KE: How did you control your narrative and make sure the media didn’t demote or
degrade the message of Cross Colours during the height of the brand’s popularity in the
‘90s? How did you stay in control of your narrative and keep it authentic?
TJW: One important way we did that, we always put our message in all of our advertisements.
Whether it was “stop the violence,” “increase the peace,” “educate to elevate,” those messages
were always in our advertisements. Always. Another thing we knew had to do, against the advice
of our buyers, we placed our faces (my partner and I) on the hang tags that went on the clothing.
Additionally, we had a message that said “accept no invitations” on the tag with our faces. We
wanted to do that because so many people were knocking us off. They were copying our brand
and they were saying they were us, and we knew they were not. We spent a lot of money to make
sure we had complete control of that. It takes a lot of money to actually have people go out and
serve papers to tell brands to not knock-off our brand. Again, we put our messaging on all our
advertisements and made sure our products had our messages too. That’s why our t-shirts were
so important because they were our slogans, they were our branding, they were our message.
That’s how we really reinforced that.

52

Appendix B – Primary Research Interview #2

PRIMARY RESEARCH – INTERVIEWS
Interview With Tyree Boyd-Pates, Curator at the California African American Museum
October 29, 2019

KE: In your opinion, why is Black fashion history not known or publicized often?
TBP: That is for several systemic reasons that corroborate with the same reasons why larger
Black history isn’t told. Those reasons are often of failures of recognition for individuals who
contributed in real-time in those eras, and then the ways in which that information could possibly
impact a range of a wider cannon. Both are very explosive if known more broadly, and Black
fashion history is directly tethered and tied to the Black American experience in the United
States. That experience hasn’t been necessarily rectified or toned for in a way that makes the
circumstances and conditions more equitable for the group as to which the fashion was designed
for and by.

KE: How have you seen African American’s thumbprint on art and fashion?
TBP: Our thumbprint and influence are indelible. Many of these trends that we see would not
exist without our influence, us catalyzing them, to begin with. This remains true because all of
these trends remain seismically and they tend to come back around 20 or 30 years. It is because
of Black protest and Black ingenuity that these things tend to catch on with the dominant culture
after we’ve kind of exit it. The television show “The Office” has a great quote; “If you want to
get White people to join what you’re doing, you have to get Black people to do it and then White
people will do it. But then you have to get Black people to stop.” This effectively accentuates
that Black people are the carriers of cool. We drive the market, we are the taste-makers, we are
the influencers. It’s just one aspect of the genius of our experience, to make things out of
53

nothing. Then out of what we make, we tend to get rid of it after it finds a new utility because
our survival depends on it. Our survival depends on our ingenuity and historically it’s proven
that what we make helps us to survive but allows the larger society to thrive afterward.

54

Appendix C – Primary Research Interview #3

PRIMARY RESEARCH – INTERVIEWS
Interview With Kendall Miles, Luxury Shoe Designer & Founder of Kendall Miles Designs
November 22, 2019

KE: How would you describe your brand in three words?
KR: Luxury, statement, and I would say disruptive.

KE: How do you want your customers to feel when they’re wearing your merchandise and
your product?
KR: I want them to feel how I feel when I wear my product; empowered. I feel sexy, I feel like
I’m wearing the best shoes in the room honestly. And I feel expressive, I feel free to express
myself through my fashion and that’s why I’ve always gravitated towards designing statement
footwear because when you design statement footwear it really aligns with the individual
personality traits and it really speaks to the how you desire to be perceived. Like I have shoes
like my Michelle pump or my Throne pump that are so strong in design and in materials, and
when I wear them to meetings and I’m sitting in a boardroom with all men around me, I feel
confident and powerful because it’s a really powerful strong work shoe. Then I have shoes like
Pout, with the removable bag. It’s edgy, innovative and different, and the pouch is functional.
It’s mysterious, but it’s still so sexy because it’s on a four and a half-inch heel. I like to design
for different moods.

KE: I was reading that you started designing after a break-up. Can you give me a little
brief history on your beginning when you first launch?
KR: I am from Chicago. USC was the best school that I got into, and it was already on my radar.
My boyfriend at the time came out to LA to go to Loyola Marymount. So basically, I followed
55

him out here, and we broke up after my first year. I always lived off campus. Plus, I was never
really involved in the campus community, and I hung out in greater LA a lot. So, when we broke
up, I no longer had a friend here. I was sad, depressed, heartbroken – all those things. Then one
day I decided to channel all that negative energy into something creative and positive. I started
drawing and within that process, I started drawing shoes.

KE: So, what has your experience been as a Black luxury designer?
KR: It’s been amazing. I mean I don’t see myself as a luxury Black designer, because I’m black,
I’ve always been Black. I was born Black. I don’t separate from it. I just see myself as a luxury
designer. But as soon as I step outside of my apartment, or my office, I am seen as a Black
luxury designer. There so many pros and there are so many cons, right? At the beginning I didn’t
know any better but to design a collection, merchandise, and then try to sell that collection in a
typical brick and mortar, wholesale type of models, because that’s what all designers do. You
know what I mean? And so that was plan for the first couple of years, and it was so hard. I was
going to department stores in which many of them didn’t even have one single Black designer in
their shoe salon or floor. Like not even one. I think Neiman Marcus had one. And Nordstrom
might have had a couple, but they weren’t at the luxury level.

So, I was getting meetings and pitching myself to these different department stores. And they
were super interested. They would say “Oh, come back next season. Come back next season. We
love this. We love you. We love your story. Come back next season.” It would always be like
come back next season BUT tailor your collection to this or please change that. Or come back
next season and give us more sporty. Or come back next season and give us more conservative.
I’m dealing with all this feedback that does not correlate with anything that I was planning for
56

next season. You know what I mean? None of this is what I’m feeling, or my intuition, or my
passion, or my heart is telling me to go with next season. I was getting super conflicted. I’m like
okay, this isn’t working or feel right. I feel like I’m following my dream but at the same time,
they’re trying to control my narrative and my design. And so I was like, forget it. Then I went to
smaller boutiques and I was selling at a boutique in Chicago. It was super high end, like I think
they have anything in there that’s under $800. And it’s the number one most high-end boutique
in Chicago. And I was also selling at a boutique in Beverly Hills. It was fun! I was selling at the
Chicago boutique and they would choose three styles out of my collection and I would give her
an exclusive on those styles. However, I wouldn’t be able to sell them directly on my website.
They would pay for the exclusives on those styles and of course she would pick the best styles
out in the collection. Eventually, the big orders for wholesale accounts weren’t working, and I
wasn’t getting any revenue. I made the executive decision to terminate the accounts and invest in
my own company. So I personally ordered 900 pairs of shoes and began to sell them directly to
consumers, then I transitioned to e-commerce, and the rest is history.

Abstract (if available)

Abstract Luxury footwear is the fastest-growing business in the fashion industry. The evolution of footwear has allowed different sectors to expand, giving companies new terrain and opportunities to grow. Despite brand loyalty being so strong amongst luxury brands, new luxury companies and designers have emerged within the luxury footwear sector. However, prevalence and levels of publicity for Black and African American luxury footwear designers is still significantly lacking. This paper will explain the experience of Black and African American designers as well as examine the lack of exposure and representation of Black and African American designers in fashion publications. Furthermore, this paper is a communication plan for Kendall Miles Designs, a luxury footwear company. It will explain the company’s history, strengths and weakness, as well as strategic plan to increase publicity for the brand and designer, Kendall Reynolds.

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Asset Metadata

Creator Echols, Kyndall Lee (author)

Core Title Black in fashion: how PR is the thread of lasting racial diversity in the fashion industry

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Publication Date 05/08/2020

Defense Date 05/06/2020

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag African American fashion designers,Black fashion,Black fashion designers,Black footwear designers,diversity in fashion,Fashion,fashion communications,fashion public relations,luxury fashion,luxury fashion public relations,OAI-PMH Harvest,Public Relations

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Tenderich, Burghardt (committee chair), Trope, Alison (committee member), Turner, Miki (committee member)

Creator Email kechols@usc.edu,kyndall@kynleepr.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-302673

Unique identifier UC11663640

Identifier etd-EcholsKynd-8468.pdf (filename),usctheses-c89-302673 (legacy record id)

Legacy Identifier etd-EcholsKynd-8468.pdf

Dmrecord 302673

Document Type Thesis

Rights Echols, Kyndall Lee

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA