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Moncler Industry Project

MONCLER
Progetto: Cosa significa per te Moncler? Stupiscimi!
Project Leader: Pablo Arroyo
Master in Fashion Communication & Art Direction a.a. 2022 /2023

Industry Project in collaboration with Moncler, Tommaso Tomaiuolo, Digital Corporate Communication; Sara Hessam Bakhtiari, Brand Management Coordinator and Bianca Ludovici Digital Corporate Communication Intern.

“Dear friend, Moncler means everything to me, what does it mean to you? Thanks from my heart” – Remo Ruffini

 “People don’t buy what you do; they buy why you do it. And what you do simply proves what you believe”– Simon Sinek

Since beginning of 2020, Moncler’s top management has developed a new DNA- platform underpinning 5 different values:

  1. Push for higher peaks, always reaching new finish lines
  2. One house all voices, from project Genius to the world of D&I
  3. Embrace crazy, hence thinking outside the box
  4. Be warm, giving a more physical attribute to product range
  5. Create and protect tomorrow, future and a new millennium are already here

The strategy of listening to new ideas and nurturing different forms of creativity has been the coremantra for the brand.

“Moncler Voices” is a multi-faceted creative landscape, based on an idea by Ceo Remo Ruffini and focused on the Permanent collection, with plenty of intersections linking  together artists, photographers, DJs, mountain explorers, all able to deliver their ideas in different digital platforms such as Instagram, WeChat, Weibo, Line and Kakaotalk.

Moncler Voices’ output is a rich inspirational moodboard conceived to become viral thanks to a social media and digital campaign.

Industry Brief

This story-telling project has been developed in 3 different steps since July 2020 (“What does Moncler mean to you?”) to the final and third one of August 2022: in this phase Moncler’s executives have added the “purpose-driven” step with a view to select different talents embracing new values such as Hope, Joy and Love. The goal of this project is to single out a possible 4th step, according to students insights and recommendations. What’s next? Will it be physical, analogic or simply digital? Virality, social issues-driven, connecting deeply with people will be mandatory requirements. Students were asked “Astonish me”, as Aleksej Brodovitč used to say when interviewing new talents in his crucial role as art director at Harper’s Bazaar in the 50’s, during the magazine’s golden age thanks to EIC Carmel Snow, young photographer Richard Avedon and legendary fashion editor Diana Vreeland.

The student’s design process was be led again by Pablo Arroyo, photographer, art director and curator with a long experience on this field. Born on May 31, 1975, in Mexico City, he studies art history, screen printing, engraving and works as an assistant set designer. Moving to Italy in the early 90s, he studied editorial graphics and photography at Istituto Europeo di Design in Milan. After a first brief experience as assistant art director in the editorial staff of Vogue Italia during the outstanding leadership of Franca Sozzani, he dedicated himself to fashion photography collaborating with Italian and international magazines, creating catalogs and advertising images for clients such as Alexander Mc Queen, Gucci, Valentino, and Trussardi. In 2009 he presented his first independent editorial project in Paris, immediately afterwards he began collaborating with international brands as Art Director. In 2011 he was appointed Creative Director of Officiel Hommes Italia, taking over the Creative Direction of Officiel Hommes Paris in 2015 and since 2017 he has been Creative Director of the new semi-annual magazine Officiel Hommes + France, continuing with the parallel work of photographer and Art Director.

The main purpose of this project in partnership with Moncler was to discover the new universe of curating the Brand in its most cultured and artistic meaning, thus interpreting fashion and its communication as a powerful tool which goes far beyond marketing.

As a matter of fact, it was essential to understand that communication passes through a curatorial sensitivity and the definition of a creative universe.


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