Burberry in 2014

Anita  Elberse

Case | HBS Case Collection | January 2015

Burberry in 2014

Abstract

In February 2014, Burberry's chief executive officer Angela Ahrendts is preparing to hand the reins of the English luxury fashion company to chief creative officer Christopher Bailey. Under their partnership, in place since 2006, Burberry's revenues have tripled to more than two billion English pounds, and operating profits have more than doubled. Ahrendts has led Burberry to become a brand that once again stands for luxury and that has a strong global and digital footprint. Yet, the leadership change is met with skepticism. Is Burberry's current strategy also the right one for the future, and can Bailey continue Burberry's transformation?

Keywords: Management Succession; Luxury; Product Marketing; Brands and Branding; Manufacturing Industry; Fashion Industry; Great Britain;

Language: English

Format: Print

27 pages

Educators Purchase

Citation:

Elberse, Anita. "Burberry in 2014." Harvard Business School Case 515-054, January 2015.

Should the ABN AMRO World Tennis Tournament gamble most of its player budget on superstar player Rafael Nadal, even after the event’s previous two editions saw Nadal and Roger Federer pull out at the last moment due to injury, leaving the tournament without any top-five players? That is the question that Richard Krajicek, former Wimbledon champion and current tournament director, is debating with Jolanda Jansen, the director of the venue that hosts the event. It is June 2017, and earlier in the day, Nadal won the French Open (“Roland Garros”) for a record tenth time. Krajicek’s plan for the upcoming edition was to focus his recruiting efforts on five exciting, mostly younger, players, and assemble a group of top-20 players around them—but after Nadal’s record-breaking performance, Krajicek is now considering pursuing the Spanish superstar for the 2018 tournament after all. What is the best course of action?

Roger Federer, widely regarded as the best tennis player in the history of the sport, walked onto the court to thunderous applause during in the second edition of the Laver Cup in September 2018. Named after tennis legend Rod Laver, the Cup pitted many of the greatest players from Europe against those from the rest of the world. Federer was more than one of the Laver Cup’s main stars—he was an owner and co-creator. In fact, the idea for the event had originated in his boutique company TEAM8, which he co-founded in 2013 with his agent and business partner Tony Godsick. The Laver Cup’s success had not gone unnoticed in the world of tennis. With traditional tennis tournaments such as the Davis Cup attracting new investors and with governing bodies such as the Association of Tennis Professionals planning to relaunch their team event, the competition for top players and for desirable slots on an already very full tennis calendar was stronger than ever before. Was TEAM8’s Laver Cup well positioned for long-term success?

In July 2013, composer, writer, actor and rapper Lin-Manuel Miranda, director Tommy Kail, and producer Jeffrey Seller met to discuss how to launch Hamilton, a new musical based on the life of the first Treasury Secretary of the United States, Alexander Hamilton. With a hip-hop score and an ethnically diverse cast that looked nothing like their historical counterparts, Hamilton was an unlikely candidate for success on Broadway. The trio needed to decide which of two popular routes was best to bring their new musical to Broadway: either take the production straight to Broadway in a 'cold open,' or strike an 'enhancement deal' with a non-profit theater so the musical could be tested before mounting a more expensive Broadway run. Could a hip-hop musical about a largely forgotten Founding Father be a Broadway blockbuster? And if so, what was the right next step in bringing Hamilton closer toward that goal?

Faculty & Research

Burberry in 2014

Abstract

Citation:

About the Author

More from the Author