It represents the brand's turnover from the sales of finished goods through all of the distribution channels - retail, wholesale and e-commerce, after the deduction of returns, allowances for damaged or missing goods and any discounts allowed.
Also known as ROS - Return on Sales, it measures the percentage of sales revenue that gets 'returned' to the company as net profits after all the related costs of the activity are deducted. The figure is about the latest fiscal year available.
in Thousands of EUR | 2013 | 2012 | Δ 2013/2012 | 2011 | Δ 2012/2011 | 2010 | Δ 2011/2010 | CAGR |
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Revenue | ||||||||
Operating Income |
It includes the overall revenue of the company, considering not only the sales of finished goods, but all of the sources of the company income.
Also known as ROS - Return on Sales, it measures the percentage of sales revenue that gets 'returned' to the company as net profits after all the related costs of the activity are deducted. The figure is about the latest fiscal year available.
It's a measure of a company's overall profitability, i.e. how much of its sales are converting to profit. The value given is the amount of sales needed to generate one currency unit of post tax profit. Negative values mean that the company has a negative level of post tax profit. The figure is about the latest fiscal year available.
It's a key measure of success. The profit ratio measures the amount of profit generated by each single currency unit of sales. The figure is about the latest fiscal year available.
in Thousands of EUR | 2013 | 2012 | Δ 2013/2012 | 2011 | Δ 2012/2011 | 2010 | Δ 2011/2010 | CAGR |
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Total Revenue | ||||||||
Cost of Sales | ||||||||
Gross Profit | ||||||||
Operating Income | ||||||||
Net Income |
in Thousands of EUR | 2013 | 2012 | Δ 2013/2012 | 2011 | Δ 2012/2011 | 2010 | Δ 2011/2010 | CAGR |
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Current Assets | ||||||||
Total Assets | ||||||||
Current Liabilities | ||||||||
Equity |
Brand doesn't have an official ecommerce
Born in 1975 in Pompei, near Naples, Francesco Scognamiglio opened his first atelier when he was 23. Since then his career has been constantly on the rise thanks to his designs often characterised by a strange dichotomy between research, experimentation and avant-garde inspirations on one side and the traditional principles of the Neapolitan tailoring school on the other. This perennial dichotomy came back in Scognamiglio’s Spring/Summer 09 collection: perfectly tailored cropped jackets were paired with black plastic see-through trousers; there was an emphasis on sleeves, shoulders and shoulder-pads, often decorated with ethereal feathers; sculpted ruffles appeared on necklines, skirts and dresses, alternated to cascades of roses. Soft and light fabrics were juxtaposed to stiffer fabrics used to create more structured volumes and silhouettes. This bi-dimensionality allowed the outfits to acquire a new form as the fabrics created chiaroscuro effects and a tactile experience exalted by the body’s movement. Scognamiglio’s ivory silky suits and his signature organza blouses were impeccable, while his rigid coat dresses mirrored the personality of the muse the young designer had in mind when he designed this collection, a self-confident and warrior-like, though highly sensual and sexy, woman.
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