Linje - Business Plan

‘The items needed to create hygge in your home, wherever that may be.’

CONTENTS PAGE 1.0 Business Summary ........................................................................................................ 2

6.0 Linje Packaging ............................................................................................................ 23

2.0 Elevator Pitch .................................................................................................................... 2

6.1 Competitor Packaging .......................................................................... 23

3.0 Owners Background ..................................................................................................... 4

7.0 Intellectual Property ................................................................................................... 24

4.0 About the Brand ............................................................................................................... 6

8.0 Understanding the Market ...................................................................................... 25

4.1 Scandinavia .................................................................................................... 6

8.1 Competitor Analysis ............................................................................... 26

4.2 Scandinavian design ................................................................................. 6

9.0 The Linje Customer .................................................................................................... 28

4.3 Hygge ................................................................................................................. 9

9.1 Consumer Segments ............................................................................. 30

4.4 Linje .................................................................................................................. 10

10.0 Communicating with Customer ......................................................................... 33

4.5 Linje SWOT .................................................................................................. 15

10.1 Social Media ............................................................................................ 34

4.6 Line Drawing ............................................................................................... 16

10.2 WHOgge ..................................................................................................... 35

5.0 Branding ............................................................................................................................ 18

10.3 Trade Fair .................................................................................................. 44

5.1 Mission Statement ................................................................................... 18

10.4 Audio Visual .............................................................................................. 44

5.2 Strapline ........................................................................................................ 19

10.5 Website ....................................................................................................... 44

5.3 Logo ................................................................................................................. 19

11.0 Operations and Logistics ..................................................................................... 45 11.1 Visual Merchandising .......................................................................... 46 11.2 Payment ...................................................................................................... 47 11.3 Trading and Consumer Law ........................................................... 47 11.4 Insurance ................................................................................................... 47 11.5 Management and Staff ..................................................................... 48 11.6 Production Materials and Facilities ..................................................................................................... 48 11.7 Product Suppliers ................................................................................. 49 12.0 Costing and Pricing ................................................................................................ 50 13.0 Financial Overview .................................................................................................. 50 14.0 Contingency Plan ..................................................................................................... 51 15.0 Conclusion ................................................................................................................... 53 16.0 Appendices .................................................................................................................. 56 17.0 References ................................................................................................................ 112

LIST OF FIGURES

LIST OF TABLES

Figure 1: Infographic of Linje’s business aims .................................. 3

Table 1: Linje’s SWOT analysis ............................................................... 15

Figure 2: Important qualities in home accessories in the UK ............................................................................................................... 10

Table 2: Brand essence questionnaire ............................................... 18

Figure 3: Development of Linje’s logo ................................................. 29

Table 3: The Uses and Gratifications Motivation Factors – WHOgge Campaign ................................................................ 35

Figure 4: Linje’s packaging for trade fair .......................................... 23 Figure 5: Infographic of Linje consumer research ....................... 29 Figure 6: Linje’s Instagram page ............................................................ 34 Figure 7: The Uses and Gratifications Theory .............................. 35 Figure 8: Linje’s website homepage ..................................................... 44 Figure 9: Linje’s trade fair stall ................................................................ 46 Figure 10: Forecasted product quantity changes ........................ 52

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1.0 BUSINESS SUMMARY Linje was established by five International Fashion Promotion students who wanted to exercise their commercial abilities and expand their knowledge of business practices. Due to having similar educational backgrounds, the Linje team all challenged themselves to learn the skills needed to run a successful business and fulfill their roles. The incorporation of art, design and craft plays to the different strengths of the individuals, whilst the research, market understanding, costing and promotion also allowed the team members to employ their knowledge from past experiences.

The business name of Linje is derived from the Danish word for ‘line’. As the company based its design philosophy on Scandinavian influences, it seemed fitting that the name was also of this origin. The word ‘line’ was chosen due to its relevance to both the line drawings that make up the designs on all products, but also for its connotations with continuity - something that is woven into Linje’s creatives and ethos.

Linje’s strapline, ‘Continuous Contentment’ simply and efficiently explains what the brand strives to create. The short, alliterative statement refers to the feeling that Linje hope their products and marketing outputs will evoke, but also features a play on words. ‘Continuous’, in relation to contentment, suggests that investing in Linje’s products will ensure a lasting gratification, whilst conceptually, ‘continuous’ relates to line drawings that are featured on the products.

In the first month of trading (December 2017), Linje made a net profit of £280. This was more than was anticipated by the team, as initially only 60 percent of stock was targeted to sell-through. Linje project that this profit will take the business through to the new year, where re-investment will be made to cover residual stock quantities (see Appendix 1 for Financial Forecast).

2.0 ELEVATOR PITCH Linje are a company who strive to help their consumers create a sense of hygge. The brand provides home accessories curated for the Generation Rent demographic, allowing small spaces to be decorated with items that are unique and handmade. Linje aims to inspire, educate and inform on the way to achieve contentment as an escape from the conflicts of everyday life.

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4th May Lysfest

Established social media following

Global brand awareness

Add new members to the team Recognition in Manchester

10K profit per annum

Work with social media influencers Launch sustainable range

Develop finances Work with stockist

Available to shop online

UK brand awareness

Figure 1: Inforgraphic showing Linje’s short term, mid term and long term goals (see Appendix 2 for full explanataion).

New collection launches

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3.0 OWNER’S BACKGROUND In order to divide up workload, curriculum vitaes (see Appendix 3.1-3.5) were scrutinised, allowing the team to allocate roles.

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MANAGING DIRECTOR

CREATIVE DIRECTOR

As an International Fashion Promotion student, Abbi has a clear awareness of the fashion industry and academic knowledge to support the inner-workings of a successful business. Her experience on placement at fashion company Coach allowed her to manage employees through continual communication between global teams. From this, she has learnt the importance of time management, motivation and how to communicate effectively with a multitude of individuals. These combined factors made Abbi the clear choice for Managing Director.

Ruth has extensive experience in the creative industry – producing innovative concepts, thorough research and a wide range of portfolio development. In her time as an International Fashion Promotion student, she has found her main interest and strengths lie in digital design. On her placement year at H&M and Label PR, Ruth had to be aware of current trends, taking aesthetics into consideration in all endeavours. Due to this, Ruth was the top candidate for the Creative Director role.

Her artistic skills also meant she was chosen to produce the artwork for the products.

MARKETING DIRECTOR

PRODUCTION DIRECTOR

FINANCE DIRECTOR

With experience in the marketing departments of two global companies, Marketing Director Francesca has the knowledge and skills to understand consumers and how best to market to them. As an International Fashion Promotion student, she has learnt how to understand target consumers, and how the modern consumer chooses to interact with brands. Across her placements at Adidas and Unidays, she was often responsible for creating new marketing campaigns for a multitude of brands and helping them to reach new markets. This experience has meant she has taken the task of launching Linje into the market as an exciting new venture.

Production manager Phoebe has experience within product marketing, visual merchandising, and social media management, along with her studies in International Fashion Promotion.

Previous placements at Calvin Klein Europe and &Blanc Limited saw her working as part of a team, collaborating with a wide range of departments and independently overseeing initiatives to ensure production was successful.

Strong communication skills and a deep understanding and experience within the process of production on both a global and local scale is why she was appointed this role.

As an International Fashion Promotion student, Katie has an understanding of finance and its importance in garnering eventual success.

Both this and her placement underpinned her interest in finance and costing. During her time on placement, at Y-3 Adidas, she took care of the e-commerce platform and market budgets, liaising with the account managers of individual partners to identify their budget restraints and make amendments when necessary. As Finance Director, Katie will oversee all costing - moving from original cost sheets all the way through to the sales and financial forecast for the business.

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4.0 ABOUT THE BRAND 4.1 SCANDINAVIA In 2016, the United Nations’ World Happiness Report (Helliwell, J.F. et al. 2016:20) found that all five Nordic countries ranked in the top ten happiest nations (see Appendix 4). Loughrey (2016) contests that the heightened happiness behind the Danish, in particular, is their ideology behind ‘culture and self-identity’, rather than that of political and economic triumph. Egalitarianism is a distinctive trait of Scandinavia, and may be the secret to their continuous cluster at the top of league tables (The Economist, 2013).

4.2 SCANDINAVIAN DESIGN The simple lines that derived from the inter-war art movement gave Scandinavian design its minimalistic approach, while the clean designs ‘suited a liberal democracy’, by offering affordable, quality and functional product to the masses. The design promotes a Scandinavian way of living – ‘clean designs, accessible and available to all, with an emphasis on enjoying the domestic environment’ (Eyporsdottir, 2011).

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4.3 HYGGE The Norwegian word ‘hygge’, which translates into something similar to the word well-being (Wiking, 2016:9), spread to Denmark in the 18th century and soon became an integral part of the country’s culture and national identity (Wiking, 2016:18). Internationally, the craze has become popular as a way to focus on ritualising everyday activities; removing technology for certain periods of time and embracing simple practices (Loughrey, 2016). The complexity of modern day life can be stressful, but hygge is an uncomplicated way of living that not only engages us, but also keeps us attune to our surroundings. ‘Hygge draws meaning from the fabric of ordinary living’, by making something ordinary, extraordinary (Brits, 2016:6).

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4.4 LINJE According to the Business of Fashion (Brown, 2017), the ‘hygge’ phenomenon that has taken the world by storm in recent years is due, in part, to a “renewed love of home”, and by extension all of the things we can buy for the home.

For its emergence into the industry, Linje’s first range includes a total of four homeware products: a candle holder, print, mug and coaster set (see Appendix 5) – all of which will incorporate original line drawing designs, by Manchester artist, Ruth Headon. The purpose of this product selection is to provide a ‘hygge to go kit’ to the customer, with accessories that will contribute to a sense of heightened contentment in their home, wherever that may be. Mintel (2017) found that unique product is high on the wish lists of those looking to buy decorative accessories for the home, and that handmade product is even more influential. This USP sets Linje apart from its competitors, and provides the customer with a unique piece of home decor that is new to the market.

Wiking (2016:178) says that the art of hygge is appreciating ‘the simple pleasures in life’, which can be achieved on a limited budget. Considering research that also identifies low price home accessories as being one of the most important qualities within UK customer purchasing behaviour (Mintel, 2017. See Figure 2), it was imperative that Linje’s products were created with affordability in mind.

Figure 2: Important qualities when choosing decorative home accessories for the UK market, based off 2,000 internet users aged 16+ (Mintel, 2017).

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THE ABHA CANDLE HOLDER RRP £5 According to the European Candle Association, the country of Denmark ‘burns more candles per head than anywhere in Europe’ (Wiking, 2016:12). These statistics – alongside data that found that in the UK, one third of householders ‘see decorative candles as an essential accessory’ (Mintel, 2017) – supported production of The Abha, a candle holder with multifunctional use. Multi-functionality has been a key development in the retail industry over the past few years, with consumers looking for “multiple features and benefits” from a product (Menach, 2016).

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THE ANDELA PRINT RRP A5: £2 A4: £4 A3: £6 When it comes to contemporary interiors, less is more (Nafie, 2017). Colourful prints are therefore elements that have been avoided as they confuse the plain space in which a contemporary home is based around. Linje’s prints follow the less is more ideology, using white space as something that is ‘as important as areas filled with objects’.

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THE AKSEL MUG RRP ÂŁ8 A survey among Danes found that the majority associate hygge with hot drinks (Wiking, 2016:80). There are also psychological theories behind the popularity of hot drinks in that they make people feel cosier, and also more approachable (Glaser, 2016). By providing the customer with a mug, Linje are promoting an essence of cosiness, whilst delivering a practical product. All of this supports the hygge ideology, and contributes to the contentment that Linje strives to promote.

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THE ACKERLEY COASTER SET RRP £12 The Little Book of Hygge (Wiking, 2016:122) sets out a list of ‘ten things that will make your home more hygellig’, one of which is wooden product. Wood is associated with nature and the environment in its simplest form and therefore works synonymously with a hygge setting. The Linje coaster set includes six wooden coasters that sit in a holder, all of which have the three line drawing designs laser etched into them.

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4.5 LINJE SWOT ANALYSIS

Strengths • • • • • • • • • • •

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USP: original artwork Affordable price point Targeted at the biggest consumer group in the world The products are relevant to a current popular market trend Unique items that can’t be found on high street Consistency throughout products Range of products that complement each other Inspired by Scandinavian, minimalist design Product range includes hand crafted products ‘Inspiring brand’ - encouraging people to live a hygge lifestyle Visible on social media

Weaknesses • • • • • • •

Financial advantage of having an artist who is not wellestablished

Opportunities • • • • • • • •

Craft will require time and manual labour Small, new brand with low visibility and reach As a ‘lifestyle’ brand, the product range is limited No innovative product (no new inventions) Small team of five individuals Non-specialists in business-specific areas Artist used is not a well-known name

Huge potential from consumer group (due to size) Homeware market is always consistent Growth and development of product range Small product range allows us to adapt to changing customer requirements Long term - explore other ranges e.g. different artwork collaborations, different product – linen Creating an innovative product Think about a retention scheme e.g. loyalty scheme or artist scheme to engage customers/ audience Handmade element creates opportunity for a ‘story’ behind our products

Threats • • • • •

Other lifestyle brands sell a wider range of products with much higher quantities Launching brand into a fairly saturated market Homeware trends can change Competitors have much more visibility, both physically and digitally Customer retention could be low as trends change and competition is high

Table 1: SWOT analyis of Linje, as a brand, launching into the market.

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4.6 LINE DRAWING Linje’s aesthetic is based around continuous line drawing. This type of drawing requires the artist to keep their pen on the paper until the drawing is finished (Fussell, no date). Linje feels that this method makes the drawing abstract, whilst still being minimalistic, unique and memorable. Linje looked at numerous artists who use line drawing as the main inspiration in their work such as Frederic Forest, Design Butler, Christiane Spangsberg and Masha Reva. Linje’s main artist influence is the 24 year old German artist Boris Schmitz. Linje admired the beauty in the informality of the lines in Schmitz’s drawings, which inspired our artist to have a relaxed approach when focusing on details of the face (see Appendix 6).

Schmitz recently collaborated with a home decor brand Desenio. Desenio produce high quality posters and fashionable art prints online. The Desenio Instagram follows a very clean, minimal aesthetic with a mainly white, grey and pastel palette (see Appendix 7). Linje feels that the Gaze prints produced for the Desenio x Boris Schmitz collaboration is a perfect example of what the Linje brand is trying to accomplish; continuous line drawing prints in a home inspired by Scandinavian design.

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5.0 BRANDING Canva (Staff Writers, 2017) explain the importance of information “delivered at first glance”, whether that be through a colour palette or a logo. To find its personal brand identity, Linje used a brand essence questionnaire (Guerrero, n.d. See Table 2). Considering the results, minimal and uncomplicated branding for the company was established.

5.1 MISSION STATEMENT “The items needed to create hygge in your home, wherever that may be” Mission statements provide the customer with encouragement to invest. There have been many instances where companies have been exposed for counteracting their proposed mission statement, and although they may be considered extremes cases, reputations are easily tarnished. Therefore, it is key for companies to consider their statement in everything that they implement and produce (Sherman, 2017), while creating a clear guide for future initiatives and an understanding that will underpin their strategies as the brand grows (Rotter, 2016).

The mission statement relates directly to the concept of Generation Rent (see Section 9.0). Linje strive to create a brand that provide inexpensive and small homeware products - allowing the customer to take the product with them when they move to their next destination, hence the description “wherever that may be”. Having this ideology will allow Linje to conquer the rapidly changing business environment, and anchor the brand to its fundamental plan (Sherman, 2017).

What makes it different from competitors?

USP: original line drawing artwork, a specific style of art that is becoming increasingly more popular – unique.

A niche brand Homemade product. Made in the UK How would you describe your brand?

Minimal, intricate, monochromatic, white space, uncomplicated How would a consumer summarize your brand?

Small, affordable items suitable for homeware and gifting How do you want people to experience your product or service?

To decorate their space how they please Want them to feel personally content and at ease To come away from the issues of the world and focus on themselves and their environment What kind of emotions do you want your brand images to evoke?

Serenity Happiness Contentment Table 2: Brand essence questionnaire for Linje (Guerrero, n.d.).

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5.2 STRAPLINE “Continuous contentment” The best company straplines tick four boxes by conveying a brand’s values; focusing on the customer and a “shared future together”; being simple and being action-driven (Morel, 2014). Meeting these requirements provides a valuable tool, and one of the most memorable components of a brand.

Not only does this strapline relate to the contentment which hygge inspires, it also refers to the service that Linje are selling – a content piece of mind and home environment. Linje are aware that life is full of change, whether it be intentionally or subconsciously. However, Linje strive to promote contentment regardless of these influences. By using the word ‘continuous’, Linje provides the customer with a subtle confidence in the brand - that they will strive to continually bring the customer contentment through product and conversation.

5.3 LOGO As can be seen in the brand essence questionnaire (see Section 5.0), the foundation of Linje as a brand is its simplicity and minimalism, and as the artwork is based around continuous line drawing art, it seemed apt for the logo to follow suit. Although there was some criticism that it was not legible, Linje identified that some of the best brands have illegible logos – as it is more about its appearance and the customer’s perception of that, than what the letters read. Linje’s designs are abstract so it seemed appropriate for their logo to follow this model (see Figure 3).

Figure 3: The development of Linje’s logo.

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6.0 PACKAGING

6.1 OUR PACKAGING Linje’s choice of packaging, a white drawstring shoe bag (see Figure 4), is unique from that of other brands on the market and can be reused after the product has been purchased. Inkeeping with Linje’s aspiration of ensuring continuity, the shoe bag allows the purchaser to have a functional item to continue their consumer relationship with the brand. The bag follows the brand ethos of minimalism, as well as following the Linje colour scheme - black and white.

6.2 COMPETITOR PACKAGING

Figure 4: Linje’s packaging for the trade fair.

Rettie and Brewer’s (2000) study into the verbal and visual components of package design placed emphasis on the importance of the use of packaging and its role in brand growth, communication and marketing, with over 70% of purchasing decisions being made in store. It has also been further suggested that brand packaging is essential in promotion of products and the effect it has on buying decisions made by the targeted consumer (Kauppinen-Raisanen, 2014). Following this, a competitor analysis was undertaken on Linje’s key competition; Urban Outfitters, Oliver Bonas and Form Lifestyle Store (see Appendix 8).

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7.0 INTELLECTUAL PROPERTY

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The intellectual property for Linje relates directly to the brands continuous line drawings. This original artwork has become the branding to Linje’s entire range; printed on all products and shown on all marketing platforms. Copyright is the relevant legislation for the protection Linje requires as this prevents others from reproducing it in any material form without the brands permission. For example, making adaptations of it, distributing copies of it or putting it on the internet and communicating it to the public as their own. As the ‘artistic work’ was produced within the Linje team, the work is automatically Copyright protected (GOV. uk, 2017). If used without a license or consent from the Copyright owner, this is classed as Copyright infringement. Deliberate infringement, particularly on a commercial scale, can lead to criminal prosecution (GOV.uk, 2014). This is a particularly relevant issue for Linje due to the increasing amount of independent artists work being used unlawfully (see Appendix 9). The laws have been amended to better suit the digital age and give people greater freedom to quote the works of others. However, this is only the case if there has been ‘fair dealing’; the use of work is a fair and reasonable amount (GOV.uk, 2014). Linje would also need to register for a Trade Mark to protect the brand’s unique logo. Trade Marks protect product names, logos and jingles. This is expensive and can take up to four months for the application to be processed successfully. In Linje’s case, the time for this to be accepted is limited. However, this would be a future investment as a registered Trade Mark can last up to 10 years (GOV.uk, 2017).

8.0 UNDERSTANDING THE MARKET The homeware market in Britain has gone from strength to strength in recent years. Part of this rise can be explained by the growth of young people renting smaller homes, as opposed to owning their own properties. A Mintel (2016) report has found that ‘home ownership has plummeted amongst the under35s, whilst demand for rental properties’ increased. Those under the age of 35 who rented a property were most likely to say that their residence ‘didn’t feel like a home’ and was ‘temporary’, which may be due to them cutting back on ‘personal preferences [due to] the economic reality of their material resources’ (McKee et al, 2017). Mintel suggests that this is an opportunity to encourage young renters to buy items that will improve their view on their living environment.

However, results from Linje’s market research found a different outcome. 87% of the target demographic claimed that they take pride in the appearance of their home (see Appendix 10), highlighting that this is not a concept that brands need to encourage, but one that they should capitalise on. For ‘Generation Rent’, the limitations of renting mean they cannot redecorate and thus small, mobile items allow them to add personality without making any permanent changes.

The home accessories sector reached an estimated value of £8.54 billion in 2015 and was expected to grow by a further 2.7% in 2016 (Mintel, 2017).

With these trends not expected to change any time soon, Verdict Retail have predicted that the ‘decorative accessories’ sector will grow by 22% and account for 12% of all homeware sales by 2021 (Santamaria ,2016). This positive and stable environment means that 2017 is a prime time for Linje to launch into the market.

Hygge and homeware go hand in hand; the concept of coziness and contentment has resulted in hygge becoming a well-established and profitable trend. Hygge has been adopted by many brands and resonates with the Generation Y particularly well due to its Instagram-worthy image.

This demographic build their identities through social media, where they ‘actively share(s), search(es) for and consume(s) content’ (Bolton et al, 2013) and this is no different for homeware. Investigating the obsession of ‘lusting after the interiors of fashion influencers on Instagram’, Bramley notes that home interior trends are now becoming synonymous with fashion and those who influence it (2017).

For Linje’s target market, this desire for aesthetic appeal is a key factor in purchases and the hygge trend is something they buy into. Linje’s products, marketing and overall appearance will aim to capitalise on this desire, whilst providing quality, unique goods that consumers will enjoy having in their home.

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8.1 COMPETITOR ANALYSIS Certo and Peter (1990) placed emphasis on competitor analysis and referred to the process as ‘a continuous, interactive process aimed at keeping an organisation ... appropriately matched to its environment’, making it important in strategic business management. Upon beginning to develop Linje’s range, importance was placed on the analysis of competitor product to allow for a clear view of competitor pricing, materials and manufacturing methods.

URBAN OUTFITTERS Urban Outfitters was established in 1970 and originated as a ‘unique retail experience and community centre for the college age consumer’ (URBN, 2017). Today Urban Outfitters has seen a global expansion to over 500 countries and offers a carefully curated mix of mens, womens and homeware.

OLIVER BONAS Marketing themselves as an independent British lifestyle store, Oliver Bonas was founded in 1993 by its namesake. With company values of ‘Work Hard, Play Hard and Be Kind’ there are at present over 63 stores across the UK. FORM Small independent business Form, located in the Northern Quarter of Manchester, has strong business ethics that surround craftsmanship, they support artists who are knowledgeable and passionate about their products and the process (Form Lifestyle Store, 2017).

(See Appendix 11 for full competitor product analysis)

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“ The Oxford Dictionaries’ 2016 “word of the year” shortlist was heavy on neologisms that one wishes didn’t have to exist: “alt-right,” “Brexiteer,” and this year’s winning term, “post-truth.” Among the finalists, though, there was one bit of solace: “hygge,” a Danish term defined as “a quality of cosiness and comfortable conviviality that engenders a feeling of contentment or well-being. ” (Altman, 2017) 27

9.0 THE LINJE CUSTOMER Linje’s consumer is defined as young adults aged 24-30, often referred to as Generation Y or Millenials. They are often criticised and considered to live in a state of perpetual adolescence and associated with the term ‘self-involved narcissists’ (Lyons, 2016). A progression throughout their lives: from naivety to cynicism, access to top education and a spending power of over $200 billion, sees them becoming the most powerful generation yet (James, 2017). With an early exposure to technology significantly shaping their behaviour, they find great comfort in the mobile world (Bolton et al., 2013).

Global instability, a declining economy and a rise in house prices are a few of the significant factors shaping the way Generation Y choose to live their lives. Factors such as these mean millennials are distancing themselves from the global crisis and embracing different notions of life and wellbeing, through both their consumerism and lifestyles (Wiking, 2016). This generation are looking for comfort and happiness following the uncertainty of the times and hygge facilitates this (Brits, 2016).

Also dubbed ‘Generation Rent’ - it has been suggested that they are ‘unlikely to own their own home and probably paying high prices while aspiring to save for a deposit’.

This predicament they find themselves in is the reason why small – and arguably random – decor trends have found themselves to be so popular on the mass market.

Small home accessories “easy way to decorate” without spending lots of money or permanently changing the property, says interior designer Carol King (Blaire, 2017).

These small homeware pieces also have the added bonus of being portable, so when their owners inevitably move, they move with them.

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Figure 5: Infographic of Linje’s consumer research (see Appendix 10 for full transcript).

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9.1 CONSUMER SEGMENTS In using Acorn (2017), Linje was able to look more personally into demographic segments of possible Linje customers. A more personal and concise view into these select consumers, allowed an insight into their social and economic behaviours, a deeper knowledge of how and what they buy. Following primary consumer research, as aforementioned, more distinct segments were formed.

Category 3, Comfortable Communities Group J Starting out Type 33: Smaller houses and starter homes.

All quotes in italics have been taken from Linje’s primary research (see Appendix 10).

Responds well to content sharing on social media and digital advertising.

Couple, 29 Newly purchased home, want to buy some key simple pieces to fill home without spending too much money.

View on independent retailers:

Better quality production, better quality packaging, more creative and interesting. Cost tends to be higher but quality is better. Also nicer to fund environmentally aware brands than corporate giants.

Different to what’s found in chain stores. interestingly presented. - Female, 24, living with partner What makes you trust a brand you find online?

A non-corporate, human voice that clearly listens to its customers. - Female, 28, living with partner Linje’s product’s should see significant interest in this segment. High quality products over a range of designs and forms that are simple and aesthetically pleasing will see an increasing interest for this demprpagic.

Visual aids through the instagram and Audio visual will allow for inspiration around how and when to use the products and how they can be styled in a range of environments.

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Category 2 Rising Prosperity Group D City Sophisticates Type 17: Socialising young renters Male, 27 City worker, simple apartment in big city, want some key cheap pieces to make it a bit more homely.

Money: Has a relatively high income, working in the city, has money to spend but his spending priorities fall in things other than homeware.

Wants to purchase a few homey pieces for his minimal 1-bedroom city flat.

Strongly responses to digital content marketing.

View on independent retailers:

I like items that possibly not many people will have, so it's different. That would be my only attraction. Otherwise I'd believe it to be cheaper and not good quality. - Male, 29, living alone What makes you trust a brand that you find online?

The presentation and professionalism of the website or if it had been recommended. - Male, 29, living alone Linje’s carefully curated look book will allow for a clear overview of how and where Linjes products can be used for this gender segment in particular. Van Aswegen (2015) places prominence on males making purchasing decisions should a brand state why they need something and where and how it can be used whiles actively engaging the consumer and guide their desired visual aesthetic.

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Category 4 Financially Stretched Group K Student Life Type 36: Educated young people in flats and tenements Female, 24 Student, wants to decorate student room/personalise it.

Likely to live in a shared house with 5+ bedrooms, her room is her personal space to make her own.

Financially, has little disposable income but places important on having her own space so will spend on key pieces.

Responds well to photo sharing and visual imagery.

View on independent retailers:

Have to be unique and have a competitive price. - Female, 24, living in shared accomodation What items do you like to purchase?

Designer items that are high in quality and price as well as unique individual items made my independent retailers.

- Female, 26, living alone

Linje will work to create a range suitable for this segment, taking into consideration financial situations and the quality of the products. Linje’s visual social media, website and lookbook will considerably affect purchasing decisions from this consumer segment and strive to market themselves as a desirable brand.

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10.0 COMMUNICATING WITH THE CUSTOMER To ensure effective and relevant communication with the Generation Y consumer, marketing research and strategies have been analysed. Colucci and Scarpi (2013) argued that these individuals were born into a consumption-oriented society and are ‘better educated, more self-assured, materialistic and receptive to new products’ than generations before them. Generation Y have ‘spent their entire lives’ with technology and it is part of their everyday (Bolton et al, 2013). It is argued that shopping is now intertwined with technology and that providing consumers with multiple ways to interact with your brand has a positive impact on online shopping purchases (McKinnsey, 2015).

Cambal et al (2011) state that Generation Y don’t believe in traditional promotion methods and there is evidence to suggest that they expect more from brands as they are more intelligent, internationally aware and fair-minded (Farris et al, 2002). As a result, it is proposed that marketers need to understand Generation Y and what they have experienced in life, but also aiming to assist with the changes they ‘will be making as they enter the next stage in their lives’ (Farris & Roy et al, 2002).

This means that Linje’s customers will want interesting and fresh marketing ideas, they want to be communicated with professionally but also informed and stimulated by the brand. Linje will aim to be a source of education and assistance to their consumer. The concept behind the brand is to provide items that will help make a living space a ‘home’, and the brand will give constant inspiration for doing so. Initially, Linje will promote their product in a living environment through a lookbook, that is available at the trade fair and on the website. Linje’s website was designed by our Creative Director, to be a platform of information and aesthetic inspiration for our consumers, with a link to social media, the WHOgge campaign and Linje’s audio visual (see Appendix 12).

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10.1 SOCIAL MEDIA Due to the environment in which Generation Y have grown up in, Bolton et al (2013) believe their reliance on social networks has amplified. Social media is no longer limited to the viewing of peers. Particularly on Instagram, the content that consumers digest is often from businesses and brands. Peng et al (2014) notes that the main purpose of social networks is now for ‘search purposes, brand inspections, and shopping’. A 2017 announcement from Instagram revealed that usage of the app had grown amongst UK internet users from 17% in 2016 to 21% in 2017 and that daily usage levels grew from 60% in 2016 to 67% in 2017 (Mintel, 2017), meaning there is a huge audience potential for marketers. In 2016, Instagram introduced the ‘Save for Later’ feature, allowing users to select posts that they like and enabling each person to ‘curate a visual list of things that are notable to [them]’ (Wilson, 2016).

This has turned the platform into ‘a curation tool’ which further shows that Linje need to create content that aesthetically engages their followers (Wilson, 2016).

Linje will use their Instagram not only to promote their products, but to inspire their consumers in terms of how to decorate their home, enjoy life and to achieve ‘hygge’ themselves - whilst promoting their product range. When considering the target market of Generation Y, it has been found that they do not ‘trust advertisements’ in the traditional sense - instead they seek brands with ‘products that fit and express their lifestyle’ (Cambal et al, 2011). For this reason, there will be no hard advertising on Linje’s Instagram, everything posted will have relevance to the warming and inspiring aesthetic; even product-orientated posts will not be a hard-sell (see Appendix 13).

Linje will aim to inform their consumers about the brand: the inspiration behind it, the creation of products, the thought behind designs, the day to day business and the ways in which the outputs they see are created. This will add an element of transparency and honesty to the relationship between the business and consumer.

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Figure 6: Screenshot of Linje’s Instagram page.

Linje’s USP is the handmade element to their products. Although not every element of production has been carried out by the team, each product in the range has required customised craft, meaning every product is individual.

Van der Bergh and Berher researched how brands are perceived as ‘cool’ amongst Generation Y and they found that the consumer group value ‘design-led’ brands, as they consider them to be more authentic (2013).

Linje’s Instagram will showcase the information behind the artists work, as well as the processes in which the products are created.

10.2 WHOgge

Figure 7: A diagram demonstrating the process of The Uses and Gratifications Theory (Schlenker & Wowra, 2003).

In order to capture the target consumer’s attention, with the aim to retain it, Linje created the ‘WHOgge’ social media campaign. Van der Bergh and Berher found that a ‘larger proportion’ of Generation Y in the UK feel unhappy compared to other European countries. They also note that brands who can

‘evoke feelings of happiness’ amongst a Generation Y consumer base, are the most likely to achieve a positive and long lasting relationship with them (2013). Linje’s aim is to restore positivity into the lives of their consumers.

The WHOgge campaign is based on the concept of interviewing individuals whom incorporate hygge into their lives in various ways. The interview questions (see Appendix 14) and answers were used as the basis for captions on Instagram - for which each respondent has a dedicated post (see Appendix 15).

Applying Bulmer and Katz’s Uses & Gratifications theory (see Figure 8), it can be suggested that the WHOgge campaign provides entertainment through social media and socialization (connecting with others who have also engaged with the campaign). Information is provided about how the interviewees live their lives, and identification with the interviewees’ views supplies self-presentation, enabling viewers to enhance their own identity based off this (Schlenker and Wowra, 2003).

Motivation

Relevance to WHOgge

Entertainment

Consumers will receive entertainment by following the Whogge campaign, keeping up with each installment and learning about the lives of others.

Socialisation

Consumers will use social media to interact with the campaign, ‘liking’ and commenting on the posts they enjoy.

Information-seeking

Learning about the ways in which the featured individuals incorporate hygge in their lives will provide information for consumers on how they can do the same.

Self-presentation

By featuring a range of people (genders, ages, occupations, relationship statuses), there will be someone for all consumer demographics to identify with. This will help them to relate to the campaign and potentially learn about or improve themselves.

Table 3: An explanation of The Uses and Gratifications motivation factors in relevance to the WHOgge campaign.

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10.3 TRADE FAIR On the day of the Trade Fair, Linje utilised Instagram’s promotion feature, investing £5 behind a post that informed Instagram users within a reachable proximity of the time and location of the event. The investment enabled the post to be seen by over 3,000 accounts and ‘liked’ by over 50 (see Appendix 16).

Investing small amounts to ensure big results is a stable way for Linje to begin their promotion and find new consumers.

10.4 AUDIO VISUAL Linje’s audio visual aims to inspire the audience on interior design, whilst highlighting that everyone has different styles but the brands’ products can fit with all of them. The video features a sped-up process of a multitude of people rearranging and re-dressing the same space, to demonstrate that we all have different views on how our living spaces look (see Appendix 17).

10.5 WEBSITE Linje’s website (see Appendix 12) has been meticulously designed to reflect the sleek, clean aesthetic that the brand strives for. The site features professional photos and clear navigation, displaying all products, the full WHOgge campaign, information about the brand and the audio visual. The product descriptions are thorough to ensure full transparency from the brand, as well as information about the team to add personality. Whilst there is currently no online purchasing option, as this is something Linje intend to integrate in the future- the website is perfectly designed to host this feature.

Figure 8: Linje’s website homepage.

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11.0 OPERATIONS & LOGISTICS QUALITY CONTROL Having strict and concise quality control measures in place is essential for successful brand growth.

As Linje are producing lifestyle products to be used daily, quality control is important. Creating quality products will ensure customers satisfaction, thus improving customer retention and increasing the possibility of customer acquisition. It is essential to ensure customer needs are put first and the product offering meets quality requirements (Six Sigma online, no date). Factors considered in quality control include: ensuring high quality manufacturing, timely delivery and the meeting of safety precautions. Utilising quality control also ensures any errors found in the manufacturing process are eliminated (Flinchbaugh, 2015).

CRITICAL PATH TRADE FAIR - DELIVERY TO CUSTOMERS The 6th December 2017 marks Linje’s launch to consumer. This will be within a trade fair, taking place in Manchester Metropolitan University. In a face-to-face selling strategy, factors such as VM and strong product knowledge are essential.

It is crucial that all products are market-ready and utilisation of the critical path will make this possible. As the trade fair will be the first instance in which Linje’s products are available, it is imperative that resources are utilised effectively to ensure profitability.

Reh (2017) states the importance of implementing a critical path and using it to plan sequential events, ensuring they are completed in a time effective manner. In creating a clear critical pathway, time management of the project will be maximised.

The Theory of Constraints (Goldratt, 1997) further stated the importance in developing a critical path as a platform to review risk analysis and uncertainty. Following this theory, overestimations were made to allow for safety margins in order to develop a concise and well managed plan. Linje created a critical path (see Appendix 18) based on these theories.

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11.1 VISUAL MERCHANDISING The VM communication process refers to the way in which a retailer promotes their brand image through their visual displays. This, when done well, can have a notably positive effect on consumer buying (Bhalla & Anuragg, 2010).

In maximising the aesthetic of displays, studies prove sales will increase (Morgan, 2011). As a result an extensive VM plan was created by Linje to ensure maximum effectiveness.

Following theory analysis, significant importance was placed on the VM at the Trade Fair and research into elements that attract our direct consumer.

Creating a ‘hygge’ environmental setting was a factor essential to the look of the stall, providing the customer with a first hand experience of the product and lifestyle Linje are offering. A stall with a simple colour scheme of black and white and minimalistic layout provides simplicity and easy navigation (see Appendix 19). Moreover, psychology suggests that by incorporating plants, space perception and mood is increased (Kaplan, 2009) thus creating an inviting space - achieving the primary objective of selling to the consumer.

Theory analysis; as aforementioned, places prominence on keeping the space clear, calm and focused so as to psychologically allow the millennial customer to make purchasing decisions.

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Figure 9: Linje’s stall at the trading event on 6th December 2017.

11.2 PAYMENT Linje explored many forms of payment for the trade fair in order to work with the most effective method for consumers. Comparison website Merchant Machine was used to establish whether a card machine would be successful for the brand on the day of the trade fair. The website takes into consideration the size of a business, how long a business will be trading for and how much money a business will make in the upcoming trading months. Following a discussion with an employee, it was clarified that as Linje is a start up business, and with only one day of trading forecasted, the business’ income was not substantial enough to utilise a merchant machine. The colleague advised that Paypal as an online payment system would be the most viable option, as Linje can send invoices to receive payment.

After researching the PayPal process, Linje decided this was the most effective and secure way for customers to pay, as well as accepting cash payments.

11.3 TRADING AND CONSUMER LAW As initial transactions will be on business premises (trade fair), the transaction enters Linje into a legally binding agreement with the customer, creating rights for both parties (Gavin-Pitt, 2017). In this environment, the receipt needs to state the following: date and time of purchase, quantity and description of items purchased, price/total price, method of payment, brand logo, address of purchased items, contact information and social media handle (Informi, 2017. See Appendix 20). The return policy will be stated at the bottom of the receipt, explaining Linje’s stance on faulty products (see Appendix 21). Both the goods sold on business premises and online must be of satisfactory quality, fit for purpose and described correctly. To exercise due diligence, Linje will undertake various quality

control measures to ensure all products comply and cause minimal risk to the customer as the brand has a ‘duty of care’ (Which?, 2015).

In the future, online will be a mode of transaction. Transactions where there has been no physical meeting between business and consumer are known as ‘Distance Contracts’ (Gavin-Pitt, 2017). Linje need to provide specific details when selling online; payment method options, courier details, delivery dates, costs and details of order cancellation rights (see Appendix 22). This information will all need to be made clear in a ‘durable medium’. For example, via Linje’s electronic receipts (Which?, 2014).

TRADING LICENSES As Linje will eventually trade online, the brand will need to register with the workers compensation and unemployment departments. As Linje are selling tangible goods, the brand may need to collect sales tax from customers. If so, Linje will need to apply for a tax permit. Sales tax rules for online are more complex than in-store. Therefore, Linje will receive advise from an accountant on this matter. Long term, Linje would look into general business licenses as well as healthy and safety risk assessments for potential bricks-and-mortar trading (Wolters Kluwer, 2016).

11.4 INSURANCE Employers liability insurance is a legal requirement. If a business does not have this, there is a risk of being fined up to £2500 for every day they trade without it. This insurance protects the business and their employees - covering any claims for injuries or illnesses that could be made (AXA, 2017).

If a customer or member of the public suffers accidental damage or injury

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to themselves or their property from any products Linje has supplied, liability insurance (product, public and personal) will protect the business from any claims made against them. This would be particularly important to have when selling products such as the Abha candle holder. Linje have provided clear safety labels on the holders as well as stating warnings and instructions of use on the website. However, in the case that a claim was made against the business for any faults or negligence, this insurance would cover compensation costs (AXA, 2017).

Long term, if Linje were to open an independent store or rent/own an office space, the brand would look further into commercial property insurance and business equipment insurance to protect these from any damages or business interruptions (AXA, 2017).

11.5 MANAGEMENT AND STAFF Linje will be registered as a partnership business; each member of the Linje team will personally share responsibility for any losses or profits made. Initally, management and staff will remain the same; the five members. Long term, if stockist sales are successful, Linje will consider opening an independent store. Once this is established, part time and full time staff members will be required at this point to support all aspects of the brands growth. Once the employees are registered with HMRC, all employee contract details such as payroll will be reviewed at this time (gov.uk, 2017).

11.6 PRODUCTION MATERIALS & FACILITIES Linje utilised local facilities at Manchester Metropolitan University, such as spray painting, vinyl stickers, laser cutting and printing across all of the products. These were provided at a discounted rate in comparison to other facilitators and therefore were the perfect option for Linje in this start-up period.

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PREMISES

EQUIPMENT

Trade Fair Location WHOgge home locations Studio for lookbook

Printer Laser Cutter Vinyl Printer Spray Paint T-shirt Transfer Paper Camera/Tripod Lighting/Studio equipment Homeware props Trade fair goods e.g. packaging/product labels

11.7 PRODUCT SUPPLIERS The Abha Candle Holder - Supplies for Candles After extensive research into other suppliers, it was clear that Suppliers for Candles was the most reputable and affordable. Linje purchased fifteen holders with the intention of having four of each line drawing design, and some for trial and error. The glass holders took less than a week to arrive. Unfortunately, due to wet weather, four were destroyed and therefore we were one short for the Trade Fair that took place in December. It will be a precaution that Linje will take and consider in the future – resulting in less wastage.

The Aksel Mug - VistaPrint Initially Linje wanted to use a wholesaler for the mugs. Due to minimum quantity restrictions, it was decided these were not cost effective. Therefore, Linje approached a more commercial supplier, VistaPrint. Although their product still has wholesale quantities, there is no minimum order and the original cost was relatively inexpensive. Twelve mugs were ordered - four of each design. The products arrived in 7 days.

The Ackerley Coaster Set – Etsy: Crab Tree Lane Shop Originally, there were discussions of ceramic or slate coasters. However, after research into hygge and Scandinavian design, it was clear that wood was the most fitting. Although the coasters were more expensive than originally planned for, especially when including postage and packaging, they were the cheapest found for the best quality/style. Five sets of the six coasters/holder were ordered. The coaster set took 6 days to be delivered, which was a perfect lead time for Linje as there were other elements that needed to be scheduled to finalise the product.

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12.0 COSTING AND PRICING INVESTMENT

SPECIAL OFFERS

The amount of money invested into a business is crucial to the success of a startup brand. Many small businesses fail through undercapitalisation, so it is imperative to know how much money is needed to start and continue up until break-even, through to the point when Linje’s sales revenue equals their total expenses (Small Business BC, 2016). The Linje team invested £70 per individual. Therefore, initial investment totalled £350.

Linje have decided to provide a gift with purchase for the day of the Trade Fair. For customers that buy more than one product, they will receive a free print of their choice (A5 or A4). By delivering a discounted item (and in this case, a free item), loyalty will ensue (Maguire, 2017).

PRICING STRATEGY By determining an appropriate pricing strategy for Linje, it was identified at which price point products needed to be sold to reach height profitability, whilst still aligning with current market pricing (see Appendix 11).

The elements that Linje considered when allocating prices include production and distribution costs, the target consumer, competitor offers and positioning strategies (Maguire, 2017). It is by default that many customers are likely to spend more on a product when they trust your brand, and are existing and loyal (Rob, 2015). Therefore, when selecting a pricing strategy, Linje understood that they are primarily a start-up business and currently only have a target market rather than an established customer database. For most business’ with a confirmed consumer base, allocating a pricing strategy can be straight forward as they understand purchasing behaviours (Oakes, 2017). As this is not the case for Linje, they will utilise pricing that will be both competitive and penetrative (see Appendix 23).

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13.0 FINANCIAL OVERVIEW A Financial Forecast was created to envision and predict the sales/costs of Linje for the year starting 2018. Figures from the first three months of trading were utilised to help analyse the business’ expenditure and profit (see Appendix 24 - financial forecast). Linje invested a total amount of £350, and are selling 5 separate products at different quantities, totaling 59 items overall. Individual retail prices were calculated based on supplier costs, shipping, manufacturing and labour costs (see Appendix 25-30 item costs). After cross-referencing these prices with the break even analysis of each product (see Appendix 31-36 - breakeven analysis), in relation to investment, item specific prices were established in line with a penetrative pricing strategy. Three separate trading profit and loss accounts were created; November, December and January. As the brands’ main trading month was December, evaluating the business’ profit and loss within these months was imperative (see Appendix 37-39 - profit and loss sheets).

14.0 CONTINGENCY PLAN Contingency planning is designed to help a business respond effectively to an event that could possibly happen. It should include “preventative controls, recovery strategies” and should be reviewed regularly to be kept up-to-date (EMS, 2016). Influences cannot always be avoided and therefore planning helps to address long-term critical issues that may be detrimental to an organisation (Bloom & Menefee, 1994:223). Considering CoreCities (n.d.) guidance, Linje have drawn up plans to alleviate future strain that may occur through selling periods. These instances relate directly to Linje as a small business. However, it is necessary to consider general business risks – both internal and external. Linje used CoreCities (n.d.) template to find possible preventions and solutions (see Appendix 47).

LINJE CONTINGENCY PLAN MANUFACTURING

SUPPLIERS

•

Should order quantities increase, Linje will need to consider a new manufacturing process as currently all product, excluding the Aksel Mug, is handmade by the team.

•

If demand for product increases unexpectedly during immediate business stages, Linje will look into overseas suppliers – benefiting from economies of scale.

•

Lead times will need to be taking into consideration and some product may need to be produced prior to order.

•

•

Thorough plans will be drawn up to identify each stage of the manufacturing process and at which point they should take place.

As Linje evolves, mass quantities will be necessary and therefore supplier development needs to be taken into consideration. This will either come in the form of discussion with a representative from each supplier company, or by utilising a different supplier.

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QUANTITIES

MARKETING

•

As digital marketing has proved successful for Linje, future marketing endeavours will aim to build on this by:

Despite successfully selling out of all product at the Trade Fair, order forms identified that the Aksel Mug was the least popular product. On the contrary, the Abha candle holder was the most popular, with the Ackerley coaster set following closely behind.

•

Product order quantities will adjust to comply with popularity as Linje begin to trade online.

•

If at any point Linje feels the need to reduce quantities due to struggling financial figures, the Aksel Mug will be removed from the range and product quantities will decrease.

Current Quantities

Immediate Quantity Changes

Financial Struggle Quantities

Candle Holder

12

26

20

Mug

12

8

0

Coaster Set

5

10

10

A4 & A5 Print

30

30

30

Product

Figure 10: Forecasted product quantity changes.

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•

Build Instagram following using promoted posts and competitions to reach new followers and grow brand awareness.

•

Encourage and re-post customer photos of products to feature usergenerated content and create brand advocates.

•

Create a CRM scheme using emails taken from day of the Trade Fair, and implement a sign-up feature on the website to update customers and increase sales by offering loyal customers special offers.

•

Use Instagram to find suitable lifestyle influencers to partner with for sponsored Instagram posts promoting Linje products.

•

Build the Linje Instagram profile as the go-to account for home interior inspiration.

15.0 CONCLUSION Having established, launched, marketed and begun trading all within a 4-month period, Linje have created solid foundations for a successful business. All financial evidence shows how profitability was considered at every stage, whilst still striving for top-quality products. All products were created to the best standard and the production process was secure and timely.

Linje’s online presence was both visually strong and professional, receiving orders from customers who had found the brand via Instagram and had only seen the products online (see Appendix 48).

This only reinforces the fact that Linje can stand on its own as a stable, legitimate brand with the ability to attract unique customers through their strong product offering and brand image.

With a firm understanding of the industry and a contingency plan in place, Linje is prepared to expand and meet the growing demand for their business development.

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16.0 APPENDICES APPENDIX 1 Linje’s financial forecast from September 2017 - September 2018.

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APPENDIX 2 Full explanation of Linje’s short term, mid term and long term goals.

Short Term: 2018

Mid Term: 2019

Long Term: 2020-2022

The 4th May is Lysfest in Denmark - create 3 limited edition candles: Research shows that national holidays are great marketing opportunities for any brand to promote their product. Garber (cited in Hutchings, 2016) describes them as “functional equivalents to a hashtag” - which has undoubtable popularity in the social media realm.

Find a stockist so our products can be sold in person: As Linje moves into its second year as an active business, it hopes to work in conjunction with a distributor to widen its reach.

New collection launches: Many product avenues were discussed in Linje’s initial meetings - including home linen and candles. Feedback from the Trade Fair showed a particular interest in apparel. Once Linje find themselves comfortable in the homeware market, profit will be reinvested into new collections.

Recognition in Manchester through social media/ marketing: Manchester has been ranked number three for the best cities to start a business (Kelly, 2017), so it is important that market efficiently to their local consumer.

Keller (2001 cited in Roy & Chau, 2011:272) proposed a customer-based brand equity model which follows “salience, performance, imagery, judgment, feelings and resonance” to deliver a positive outcome from the consumer to a brand.

Develop finances: Linje’s current break even analysis shows profitable results in the immediate future, considering sales intake recorded in December. As the business develops, Linje hope expenditure will decrease, due to wholesale supplier opportunities, and revenue will increase as brand recognition grows resulting in an estimated positive financial forecast.

Available to shop online in the new year: A fully transactional website is a goal that the brand plan to obtain in the first few months of 2018. For the website to be a valuable promotion tool, it needs to be “a conversion engine for the traffic being directed to it” (Ryan, 2014:35).

Established social media following: According to Ryan (2014), ‘digital silence is not an option’ for a business.

Linje will continue to have an active Instagram page in which they will work to retain and acquire customers.

Through this constant communication, Linje aim to have an established social media following by 2019, with a minimum eight thousand followers.

Add new members to the team: As the business develops, changes to staff are definite. Linje hope to have a larger term in 2019 to conduct business more efficiently.

Find established social influencers to work with: There has been a strong current of word-of-mouth marketing in recent years (Phillips et al., 2013:20-21). Shoppers under the age of 30 emphasised the influence of user generated content when purchasing (TurnTo, 2017:1012), so it is important for Linje to recognise and utilise this form of marketing by affiliating themselves with social media influencers and utilising blogger outreach on social media.

Conscious collection: After extensively researching sustainable suppliers, it became clear that investing in sustainable materials would increase the overall price of supplies by 5-10%. As a start-up brand this was not cost effective, however it will be a priority for the brand in the future, as the eco-friendly lifestyle is deeply ingrained into Scandinavian culture.

Reach an international market: To earn global recognition, Linje will need to ensure that the local market is considered successful. Online purchasing and worldwide shipping will allow Linje to explore new markets and gain worldwide recognition before entering them physically.

Profit per annum: Through discussion with Linje’s Financial Director, Katie Ewen, a minimum estimated profit goal of ten thousand GBP has been set for Linje as they go into their third year of trading.

Increased brand awareness (UK): Once Linje have successfully penetrated the Manchester market, focus will then be turned to expansion across the UK into other major cities.

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Education

APPENDIX 3 Curriculum vitaes of Linje’s team members.

3.1 Abbi Minchin

GCSE: 10 Grades A-B

Textiles – B History – C Drama – C

2014 – Present Manchester Metropolitan University, Hollings Faculty BA (Honours) International Fashion Promotion Level 6

Kathryn Lamaster Senior Manager – Global Visual Merchandising 10 Hudson Yards New York, New York 10001

Editorial Intern, VIVA Magazine December 2015 – April 2016 Corresponding with advertisers and contacts over the phone/via email/face to face.

Generating creative and informative online articles on a weekly basis.

Conducting journalistic interviews with a variety of contacts, for both online and print content.

Helping the team to manage VIVA's social media platforms.

klamaster@coach.com +1 347 920 0487

Voluntary Work

Visual Merchandising Team, House of Fraser July – August 2015 -

2012 – 2014 Beaufort Cooperative Academy Sixth Form

Referee

Voluntary Work

-

2007 – 2012 Beaufort Community School

Working on ‘The House Edit’ to meet a brief, preparing the menswear department new stock for a visit from the Regional Visual Merchandiser.

Education 2007 – 2012 Beaufort Community School

2012 – 2014 Beaufort Cooperative Academy Sixth Form

GCSE: 10 Grades A-B

Textiles – B History – C Drama – C

2014 – Present Manchester Metropolitan University, Hollings Faculty BA (Honours) International Fashion Promotion Level 6

Editorial Intern, VIVA Magazine December 2015 – April 2016 -

Corresponding with advertisers and contacts over the phone/via email/face to face.

Generating creative and informative online articles on a weekly basis.

Conducting journalistic interviews with a variety of contacts, for both online and print content.

Helping the team to manage VIVA's social media platforms.

Visual Merchandising Team, House of Fraser July – August 2015 -

Working on ‘The House Edit’ to meet a brief, preparing the menswear department new stock for a visit from the Regional Visual Merchandiser.

Education Referee Kathryn Lamaster Senior Manager – Global Visual Merchandising 10 Hudson Yards New York, New York 10001

58klamaster@coach.com

2007 – 2012 Beaufort Community School

2012 – 2014 Beaufort Cooperative Academy Sixth Form

GCSE: 10 Grades A-B

Textiles – B History – C Drama – C

2014 – Present Manchester Metropolitan University, Hollings Faculty BA (Honours) International Fashion Promotion Level 6

+1 347 920 0487

Referee Kathryn Lamaster Senior Manager – Global Visual Merchandising

3.2 Ruth Headon

-creating trend focused look sheets that promoted clients’ products to a broad range of fashion magazine titles and also designing a range of event materials, including tailored invitations, for the launch of clients’ Spring/Summer ‘17 collections -sourcing relevant bloggers for clients, securing collaboration through blogger outreach, monitoring their daily coverage on social platforms and personal blogs, providing feedback to clients on results achieved -processing all requests from the press and from bloggers for clients’ samples.

Previous Employment -creating trend focused look sheets that promoted clients’ products to a broad Sales Assistant, Sheffield (June 2015 2016)designing – part-time rangeH&M of fashion magazine titles- May and also a range of event materials,

including invitations, for the launch of clients’ ‘17 Sales Assistant, H&Mtailored Manchester (November 2013 - June 2015) –Spring/Summer part-time collections Voluntary -sourcing Activities relevant bloggers for clients, securing collaboration through blogger outreach, monitoring their daily coverage on social platforms and personal Art Therapyblogs, Volunteer (NHS)feedback Northern to General Sheffield (May 2016-March 2017) providing clientsHospital, on results achieved -processing all requests from the press and from bloggers for clients’ samples.

I worked for one day per week with elderly hospital patients who have dementia, helping them to use art as a therapy to support their well-being. The skills developed include: Previous • StrongEmployment listening skills with a high level of emotional intelligence • Dealing confidently with patients Sales Assistant, H&M Sheffield (Junewhen 2015 emergencies - May 2016) –occur. part-time • Being open minded and empathetic with a clear understanding that the sessions Sales Assistant, H&M Manchester (November 2013 - June 2015) – part-time support patients’ experiences and encourage them to express their personalities.

Voluntary Activities Stylist, ‘Bloggers Style The High street’ event, Company Magazine, London (October 2014) Art Therapy Volunteer (NHS) Northern General Hospital, Sheffield (May 2016-March 2017) • I worked alongside a team of stylists and bloggers who worked with 8 brands I worked for one day per week hospital patients who have dementia, helping including New Look, ASOSwith andelderly M&S and I independently managed a team of 2 themmodels to use for art this as aevent. therapy to support their well-being. The skills developed include: • Strong listening skills with a high level of emotional intelligence Dealing confidently with International patients when emergencies occur.

Student• representative, BA (Hons) Fashion Promotion, Year 1 (2014/2015) Being open minded empathetic clear understanding that students’ the sessions • •In regular meetings withand course leaders with and ayear managers, I ensured support patients’ were experiences and encourage themwhere to express theiracted personalities. views and concerns communicated clearly and, possible, upon

by MMU staff.

Stylist, ‘Bloggers Style The High street’ event, Company Magazine, London (October Interests 2014) Digital Art/Design • I worked alongside a team of stylists and bloggers who worked with 8 brands including New Look, in ASOS and M&Simagery and I independently managed team of 2 • I have a strong interest manipulating through Adobe Creativea Cloud, foristhis event. andmodels how this used for installation art. I also have experience in web design, integrating imagery and film.

Student representative, BA (Hons) International Fashion Promotion, Year 1 (2014/2015) References • In regular meetings with course leaders and year managers, I ensured students’ views and concerns were communicated clearly and, where possible, acted upon Mr. M Howells Ms S. Allen

by MMU staff.

H&M Store Manager Digital Engagement Director 49-63 Fargate Label PR Interests Sheffield 19 Swan Street Digital Art/Design S1 2HD Manchester M4 5JJ • 227 I have through Adobe Creative Cloud, Tel: 0114 1050a strong interest in manipulating Tel:imagery 0845 2411424 and how this is used for installation art. I also have experience in web design,

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3.3 Francesca Stevenson

⎯ Analysing the seasonal business to determine efficiency and ensure sufficient resource allocation ⎯ Assisting the In-Season Creation team by overseeing collections from briefing to sell-in, using research to deliver mini collections that met immediate consumer needs on a short timeline ⎯ Cross-category management of Design and Development to aid the Marketing team ⎯ Sample management, both internal and external Flannels Manchester March 2016- August 2016 ⎯ delivering an outstanding level of customer service across both men’s and womenswear ⎯ performing as a personal shopper for individual clients, selecting garment choices for their unique personalities and requirements ⎯ responsible for the visual merchandising within the store, including window and product displays ⎯ excellent product knowledge across a wide range of designer collections ⎯ operating professionally in a high-end, reputable retail environment French Connection Nottingham & Manchester August 2013- February 2016 Employed firstly in the Nottingham store and transferring to the Manchester flagship, roles and achievements whilst working include: ⎯ earning a place on the company’s ‘Top Seller’ list for 3 consecutive seasons ⎯ regularly exceeding individual monthly sales targets by up to 98% ⎯ training new members of staff on all areas of customer service, store protocol and company expectations ⎯ visual merchandising, often being responsible for large displays, windows and floor moves ⎯ consistently delivering an exceptional level of customer service

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Paul Smith Headquarters May 2011 Had the privilege of completing a two-week placement at the Paul Smith headquarters, assisting with a multitude of sectors including: ⎯ mainline design, garment manufacture, administration, fraud investigation, website photography ⎯ liaising with factories and distributors regarding production of mainline garment requirements ⎯ writing product description content for the e-commerce website Skills and Interests ⎯ German (intermediate level) ⎯ Thorough interest and understanding of the fashion industry on an international scale

3.4 Phoebe Hallas

Project Management support of all Visual Merchandising initiatives, such as seasonal guidelines and styling.

• Development and communication between departments and markets globally and Collaborative working along side the New York Calvin Klein office • Working across all platforms of the industry from e-commerce to retail.

• Invaluable experience in a global company such as PVH, as well as working closely with Tommy Hilfiger Europe to ensure constant growth • and Project Management support of all Visual Merchandising initiatives, expansion. such ascollaborations seasonal guidelines andofstyling.

• Global within one the best known designer names in • the Development and communication between departments and markets world. globally and Collaborative working along side the New York Calvin Klein officeSales Associate, Selfridges & Co October 2015- Present Working across allstandards platforms of the industry from e-commerce to retail.

•• Maintaining luxury across every aspect of the department's • operation Invaluableinexperience in environment. a global company such as PVH, as well as a fast paced working closely with Tommy new Hilfiger Europe to ensure constant growth • Implementing and achieving visual merchandising guidelines and expansion. when needed and working closely with the stylists to ensure visual • displays Global collaborations within one of the best known designer names in are to a high standard the world.

• Working to achieve weekly store-wide and personal targets of around £200,000 weekly for the department.

October 2015- Present Sales Associate, Selfridges Co • Working effectively with a team to ensure&customers are served • quickly Maintaining luxury standards across every aspect of the department's and efficiently. operation intrend a fast paced environment.

• Consistent research and analysis in the form of writing reports to • ensure Implementing and advantage. achieving new visual merchandising guidelines competitor when needed and working closely with the stylists to ensure visual Skills and Interests displays are to a high standard • Working to achieve and personal around • 15 years experience in Ballet, Tap, weekly Modernstore-wide and Jazz dancing.

This targets interestof provided £200,000 for the department. me with opportunities thatweekly have included dancing at the Royal Albert Hall and Her • Working effectively a team to ensure customers served Majesty’s Theatre.

Developing timewith management, perseverance andare dedication quickly and efficiently. attributes • Consistent trend research and analysis styling in the form of writingGaining reports to • Strong interest in fashion Marketing, communications, and editorial. competitor inspiration formensure publications such advantage. as Vogue and Elle as well as brands such as Burberry and Tommy Hilfiger.

Skills and Interests • 15 years experience in Ballet, Tap, Modern and Jazz dancing. This interest provided Technical me with opportunities that have included dancing at the Royal Albert Publisher), Hall and Her • Proficient in Microsoft Office programmes (Word, Excel, PowerPoint, Majesty’s Theatre.

Developing time management, Adobe InDesign, PhotoShop and Illustrator, CAD. perseverance and dedication attributes • Strong interest in fashion Marketing, communications, styling and editorial. Gaining inspiration form publications such as Vogue and Elle as well as brands such as Referees Burberry and Tommy Hilfiger.

Christopher Brannan-Haggas Iona Harley Senior Visual Merchandising manager Department Manager Technical Calvin Klein Selfridges & Co Danzigerkade 165in Microsoft Office programmes The Trafford • Proficient (Word, Excel,Centre PowerPoint, Publisher), Amsterdam Manchester Adobe InDesign, PhotoShop and Illustrator, CAD. 1013 AG M17 8DA Christopherbrannan-haggas@ck.com 0800 123400 Referees Iona Harley Christopher Brannan-Haggas Senior Visual Merchandising manager Department Manager Calvin Klein Selfridges & Co Danzigerkade 165 The Trafford Centre Amsterdam Manchester 1013 AG M17 8DA Christopherbrannan-haggas@ck.com 0800 123400 •

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3.5 Katie Ewen

•

liaising with the account managers of individual partners to identify their budget restraints and make amendments when necessary

October 2015 – July 2016 Kurt Geiger, Selfridges & Co, Exchange Square, Manchester Working successfully in a team to provide high quality of customer care through excellent product knowledge and communication skills • Helping the concession achieve its annual turnover of 2.3million withsales, the account managers of individualfor partners toreports identifyweekly their budget • liaising Analysing Profit and loss of concession financial restraints and make amendments when necessary June 2013 - September 2017 Fred Perry Ltd, Bluewater Shopping Center, Greenhithe October 2015 – July 2016 Kurt Geiger, Selfridges & Co, Exchange Square, Manchester • Creating monthly financial reports for analysis of stores performance • Using my product knowledge and sales ethic to help the store achieve an annual • turnover Working successfully of around 80kin a team to provide high quality of customer care through excellent product knowledge communication skillsVM and assisting the structure • Visual merchandising tasks –and working with the stores • of Helping the floor concession achieve its annual turnover of 2.3million the shop • Analysing sales, Profit and loss of concession for financial reports weekly •

Interests

June 2013 - September 2017 Fred Perry Ltd, Bluewater Shopping Center, Greenhithe • • •• ••

Enthralled by new trends for design, textiles and apparel. Fitting this in with a Creating monthly for analysis stores performance passion for dance,financial and thereports collaboration of theof two creative worlds Using my across productthe knowledge and sales ethic to help thelove storelearning achieveabout an annual Travelled world visiting a range of countries, the turnover of around 80k different rules and cultures that belong there Visual merchandising – working with the stores and assisting structure How the creative fieldstasks that are my passion fit into theVM different cultures the worldwide, of the shop floor internationalisation

Interests Technical Enthralled by new trends for design, textiles and apparel. Fitting this in with a passion for dance, and the collaboration of the two creative worlds • Travelled across the world visiting a range of countries, love learning about the Referees different rules and cultures that belong there • How the creative fields that are my passion fit into the different cultures worldwide, Ms. Annabelle Mr. Tyrell Mcleod internationalisation •

• Enthusiastic in CAD, MS Office, Basic Textiles Training

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Concession Manager Store Manager Kurt Geiger Fred Perry, Ltd Technical Selfridges Upper Thames Walk 1 Exchange Square Central Bluewater Shopping Centre • Enthusiastic in CAD, MS Office, Basic Textiles Training Highstreet Kent Manchester Dartford Referees M3 1BD Kent Tel: 0800 123400 DA9 9AQ Ms. Annabelle Mr. Email: Branch242@kurtGeiger.com Tel: Tyrell 01322Mcleod 423980 Concession Manager Store Email:Manager bluewater@fredperry.com Kurt Geiger Fred Perry, Ltd Selfridges Upper Thames Walk 1 Exchange Square Central Bluewater Shopping Centre Highstreet Kent Manchester Dartford M3 1BD

APPENDIX 4

APPENDIX 5

The United Nations World Happiness Report 2017 (Helliwell, J.F. et al. 2016:20).

Mockup designs of Linje products using secondary artist drawings.

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APPENDIX 6

APPENDIX 7

Boris Schmitz drawing (Schmitz, 2015).

Deseino instagram Example (Instagram, 2018)

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APPENDIX 8 Competitor packaging including images.

Oliver Bonas Oliver Bonas has a very clear brand identity, with labels, font and a colour scheme of grey and white remaining consistent. Their stores are clean and easily navigated, which is a reflection of their branding.

Their carrier bags are high density polyethylene (HDPE), which continues to follow the store aesthetic. Oliver Bonas finds a balance between being personal, whilst also catering to the mass market. Despite large store spaces, the overall feel was welcoming. Personalisation elements were present, tissue paper was used to wrap each item and gift wrapping was an option, albeit for extra cost.

Form As a small and not yet established store Form presented a very intimate aesthetic. With natural elements in both their store design and packaging, complemented with exposed brick and foliage, an overall intimate environment was created. An atmosphere very similar to that of what Linje are striving to create, Form’s branding and packaging fits in with previously mentioned consumer research into the importance of personalisation and intimacy. Purchases are intimately packaged in a brown bag, embezzled with a Form stamp. Although they do not adhere to extensive decorative packaging, which follows the business’ minimalist approach, the exchange between staff and customer is very personal, and therefore creates exceptional customer service.

Urban Outfitters As a top British high street retailer with a large budget and footfall, the packaging found in Urban Outfitters was a lot less personal than that of the previous competitors analysed. All products purchased were placed in a paper carrier bag embezzled with the Urban Outfitters logo. The store had a very clear raw and rustic brand aesthetic continued on all floors and departments. The whole space was synonymous with the brands identity yet due to the scale, there was a much less intimate and personal feel. Purchases are simply placed in a bag with no significant care or attention. This less intimate and personal procedure however, will be down the the past paced retailing of the store.

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APPENDIX 9 Boris Schmitz Case Study.

In October 2017, Boris Schmitz, Linje’s artist inspiration, published on his Instagram story the copyright infringement of his work by Spanish fast fashion retailer Zara. Zara are selling two bags with three of Schmitz’ original continuous line drawings laser cut onto them. In this case there has been no fair dealing as the prints on the bags are identical copies of Schmitz’ line drawings. The 24-year-old German artist stated ‘they never reached out to me’ (The Fashion Law, 2017). Schmitz suspects that the Zara team must have seen his work on social media sites such as Tumblr. He states that ‘Zara is known for that in my community’. Schmitz explained that he is ‘disappointed’ as they don’t credit the artists (The Fashion Law, 2017).

Copyright has become a consistent topic of discussion as there has been a rise of small designers coming forward, with complaints of copyright infringement of their work from fast fashion retailers (The Fashion Law, 2017). 27-year-old illustrator Tuesday Bassen filed an official complaint against Zara accusing them of ‘appropriating’ four pieces of her original artwork without permission or compensation. She states, ‘it has an awful impact on the livelihood of an artist, this is how I support myself and Zara are diluting my brand by literally stealing from me’ (Addady, 2016).

Schmitz states ‘my lawyer and I are currently in contact with Zaras lawyers and we are working towards a solution’ (Instagram, 2017). He has not yet decided what course of action he will be taking against Zara (The Fashion Law, 2017). After reaching out to Inditex, Fortune responded to the Tuesday Bassen case saying ‘Inditex has the utmost respect for the individual creativity of all artists and designers and takes all claims concerning third party intellectual property rights very seriously’ (Addady, 2016).

Inditex have also stated that ‘Inditex has more than 600 designers in house that create more than 50,000 designs a year, it has the highest respect towards each individual’s creativity’ (The Fashion Law, 2017). Evidently, lesser known artists and designers such as Schmitz across the world would argue this.

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APPENDIX 10 Market research carried out to understand Linje’s target consumer (Linje, 2017)

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APPENDIX 11 Full competitor product analysis.

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APPENDIX 12 Screenshots of Linje’s website content. Find at: https://linjecompany.wixsite.com/linje

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APPENDIX 13 Screenshots demonstrating Linje’s Instagram content.

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APPENDIX 14 WHOgge questionnaire transcript.

Jody Ewen, 26 What does hygge mean to you?

Hygge to me is living simply and slowly. It is escaping the frantic and replacing the material with the meaningful. It’s drinking a perfect cup of coffee from my favourite mug. Its climbing into linen sheets after a long day. It’s watering, pruning and repotting my house plants. It’s Sundays with that soft afternoon light, gentle music playing, mouthwatering smells coming from the kitchen and colouring or reading with my son.

How do you try to live your life?

For me it’s all about balance. My son is my priority in every sense and everything I do is for him. At the same time, I recognise how important it is that I nurture my own growth and make time for me. I spin a lot of plates: career, friendships, motherhood, being a fiance, so I’m frequently running the risk of burnout. Being mindful and having an awareness of when it all feels too much helps keep things in balance. I also try and live life with minimal impact on the environment and I make sustainable choices wherever possible. Human consumption patterns are doing enormous environmental damage and I find that very scary.

What makes your living space your ‘home?

The things you adorn your home with should bring you joy - even if they are functional. Home to me is about comfort and relaxing so good bedding, blankets and throws are my obsession. Whilst I prescribe to minimalism in many aspects of my life, our home is probably more maximalist, but every piece deserves its place: a careful curation of things we have collected over the years that mean something to us. My home is full of plants. I think it’s so special to surround yourself with living things, all with very different needs that you have nurtured and tended to, it’s very grounding. Photographs are so important to me too and there are several of our favourites in each room.

When are you at your most content?

Sat at our dining room table with a home cooked meal, next to my son and opposite my fiance. Drinking wine, sharing stories of our day. This is without a doubt the moment when I am most present, no screens, no stress, just us.

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Sam, 29 & Caroline, 23 What does hygge mean to you?

Hygge to us means having the opportunity to be unapologetically yourself, complete physical and mental comfort. With no need to explain any action.

Having a space that is functional yet beautiful, that caters to the need to unwind. A complete haven that is constantly changing and growing, as we do. It means coming home after a long day at work and being surrounded by warmth. The plants, the light, the aesthetic of the sloping roof, creates a sense of peacefulness that allows us to leave the rest of the world behind us, as soon as we get through the door, we’re home.

How do you try to live your life?

With as little fuss and drama as possible, as someone who often gets overwhelmed by everyday life, it’s so important to me that I have somewhere I can separate myself from the rest of the world. Our little haven is exactly where I need to be. Being a student, study fills a large portion of my life, having a work space separate from the rest of the room is so important, it allows me to compartmentalize work from life, two things that can sometimes encapsulate each other and create mental chaos. Having the ability to separate the two, allows the recognition of when each of these things are necessary. An opportunity to be both productive and stress-free. For Sam, it’s more about happiness and personal contentment. The ability to surround himself with the things he loves. Creating opportunities that allow the appreciation and development of the things he enjoys.

What makes your living space your ‘home?’

We’ve created our own environment that allows everyday life to dissolve as soon we arrive home, having unique items that reflect our personal identity is important, things that have been crafted by hand at home, or gifted to us by those we hold dear. Using products like scented candles and incense help us create our own unique environment, distinctly recognizable as you walk through the door. Incorporating beautiful things into our life and home doesn’t just go as far as what’s pleasing to the eye, the smells and sounds also contribute to the atmosphere we love.

When are you at your most content?

As a couple, it’s those first few moments in the morning, just after we both wake up. Light streaming through our tiny window, completely encapsulated by warmth and comfort. It feels like nothing exists but us and our duvet. The nook helps with that; it shuts everything else out. For me personally, it’s when I have time in the morning, coffee in hand, to methodically work around the space watering my tiny indoor jungle. It’s a time at the beginning of each day to be completely alone, my own version of a daily mindfulness routine. The process or taking care of something, and watching it flourish a little more each day is such a wonderful experience.

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Xavier, 24

Callum, 22

What does hygge mean to you?

What does hygge mean to you?

Hygge at first sound, sounds like the highest vibe or satisfaction.

One’s perfect harmony to feel happy with what is around or feel more identified with.

Hygge to me basically means where I most feel at home - a space I can go to where I feel safe, comfortable, and free to breathe. This to me is my bedroom - it’s my safest and most personal space that I hold quite sacred.

How do you try to live your life?

I try to make the most of it, sometimes it is difficult to do everything one wants due economic situation, etc. Money isn’t everything. I try to educate myself on that, and be patient, I think that’s the key that makes one looking forward to improvement and success. Although I keep all my pennies to get a chance and travel to different places as it nurtures myself as a person and more as a designer.

What makes your living space your ‘home?

I like to find a 5 sense harmony, where I can feel comfortable with the environment surrounding me. Everything must be related on things that I like. I like to see objects that are related to those things: art, architecture, design. These things can take shape of canvas, pictures, even the decoration to achieve that sense of tranquility and comfort.

When are you at your most content?

When the environment surrounding me supplies all what I need to feel comfortable, lighting up candles after a long day with an atmospheric light whilst reading a book at the comfort of my sofa. These little things that we set up individually to feel more relaxed.

How do you try to live your life?

I try to live my life (which can be quite messy at times as life is) by always connecting to my emotions to everything. I believe it’s quite important to always relate everything in your life to your emotions - to be connected and to question them. I let my intuition guide me through every decision and my personal space helps me to relax, and to then be able to listen to my thoughts and feelings. Or if when I just need to recharge.

What makes your living space your ‘home’?

My living space at home is quite simple - yet not cold and empty. I have a lot of plants, my favourite books, my artwork and a lot of paintings.

Its important for me to be surrounded by everything that has inspired me and my life - I hold all these quite sacred and can turn to them in times of inspiration.

When are you at your most content?

I am most content in my bedroom at night, when it’s raining (and i can hear it against my window) watching the trains go past with my candles lit, music playing, and doing some artwork.

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Meg, 24 What does Hygge mean to you?

Hygge is important to me because I am a lover of slow living. It influences me in my day to day life, and within my practice; graphic design.

I often find my projects are inspired by seeing the beauty in the present and the ‘calm’. I believe it’s so important to surround yourself with beauty, good people and great design in order for you to feel comfortable and enriched where ever you are.

How do you try to live your life?

I am quite often on the go, busy at work and socially. It’s important for me to strike a balance between being busy and relaxed to ensure I can live healthily and happily. I like to dedicate time to chilling out, reading my magazines, working on freelance projects and seeing friends and family.

What makes your living space your ‘home’?

I like to prioritise the unmeasurable stuff; tactility, beauty and the comfort of being calm and content. I try to design the spaces around me so they’re aesthetically pleasing because I feel like it changes the way you feel in that environment. Surrounding yourself with the things you love, be it candles, or a print or a big plant can help you bring qualities to the room that allow you to slow down. My bedroom is my ‘home’. It’s a space that defines a person quite often, and offers complete creative freedom. I think it’s important for a bedroom not to just be functional but to hold its own personality. Personally, I love art, magazine clippings and illustrations up on the walls to bring a sense of creativity. I then like to fill the room with plant life to embed the idea of bringing the ‘outside inside’. Plants also tend to brighten the atmosphere and fill the room with colour. I like to stick to a muted colour palette in terms of the walls and bed linen, bringing texture and pattern to the room through the choice of cushions and throws. All these elements are specifically chosen by me to allow me to occupy that space in the best way I can, and this is what makes it ‘home’.

When are you most content?

My ideal moment of contentment would be, when I’m fresh out the bath and in cosy clothes. My bedroom is tidy, my music is playing and all my candles are lit. Night time is just creeping in the sky outside, filtering dusk colour’s through my window. I’m sat on my bed, warm, flicking through a Cereal Magazine, utterly relaxed. Or, if I’m lucky enough on a beach in Cali, absorbing all the sun I can.

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Eleasha, 23

Gabriele, 25

What does Hygge mean to you?

What does Hygge mean to you?

Hygge to me is a way of forming an aesthetically pleasing atmosphere, in order to make myself feel content and comfortable.

First and foremost a clean and tidy, clear living space. I like small details but simplicity.

Overcrowding spaces is not the one. Being resourceful of objects and spaces however, has got to be an actual skill! It means to me, having a space which is a reflection of YOU and your mind. It is your base, your foundation. It is where you build yourself up every morning to prepare for the day, and it is where you come back to for recharging and to rest your head. It is sacred, it is a sanctuary and it is the place for ‘you’ time.

How do you try to live your life?

I live my life by using careful consideration. Consideration of events, new spaces to endeavour and everyday plans. Whether it’s breakfast in my apartment with my flatmates or a trip to the gym with post-exercise coffee. I make sure everything I do has a purpose and a benefit atmospherically; always making sure I surround myself with good things and good people.

What makes your living space your ‘home’?

I have lived in tiny rooms in big cities and larger houses in small villages. And my living space always becomes my home, through again, consideration. The consideration for light, minimal components and most importantly, comfort. I surround myself with things that add value aesthetically and atmospherically- from plants to stolen cocktail menus. In short my home is collection of things that please me to live with and more importantly to be surrounded by e.g my lovely flat mates although I am slowly replacing them with plant babies.

When are you most content?

I am at my most content when I am most comfortable. This happens to me in the most simplest of occasions. Mainly mornings; the light is bright, homemade pancakes on the table, cigarette smoking out of the Juliet windows, the coffee machine on and my flat mates and I singing along to Jack Johnson in a plant-covered living room. It’s the small things in life!

How do you try to live your life?

I like to live life in a calm and collected way, taking each day as it comes and emptying my brain most evenings, preparing me to feel fresh for the day ahead. I don’t like to carry unnecessary weight or get overwhelmed by being busy or having lots on my mind, so eating high frequency foods, training at the gym and some formof meditation or reading takes place in my daily routine in order for me to find that balance in my life.

What makes your living space your ‘home’?

Candles! Incense! A bath with scented products & bubbles, with soft towels! A selection of soul nourishing booked! Most importantly, fairy lights! Along with photos, and of course some ice-cream. I have a keep sake collection too, containing photos, theatre tickets, reminders of special experiences and a vision board which lists things I’ve achieved and what I’d like to achieve. Obviously!

When are you most content?

I usually find myself most content on a Sunday night. I’ve had a fun, busy and productive week at work and during our radio show, explored and done fun things over a weekend with my boyfriend as we don’t like to ever waste a day (!), having been to the gym, had a hearty vegan roast dinner and time to soak in the bath, read some of my book The Buddha In Me, The Buddha In You and to journal my state of mind at the time and some goals for the week ahead. Cosied up in bed with a candle lit, listening to the sweetest sounds of Mahalia’s Colors video or something alike.

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APPENDIX 15 Example of WHOgge campaign post on Linje’s Instagram (Instagram, 2017).

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APPENDIX 16 Evidence of Linje’s promoted post on the day of the trade fair (Instagram, 2017).

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APPENDIX 17 Storyboard of Linje’s audio visual. The storyboard illustrates the concept of multiple people taking an environment and decorating it how they choose.

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APPENDIX 18 Linje’s critical paths: generic, personal and written.

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APPENDIX 19 Mockup of visual merchandising for Linje’s stall at the 6th December trade fair.

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APPENDIX 20 Example of receipt given to all of Linje’s customers.

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APPENDIX 21 Linje’s policy on faulty products.

If the customer is not happy with the quality of the product, they have the ‘right to reject’ goods. If the customer notices any faults within 30 days of purchase, the customer has the right to a full refund. After the initial 30 days, the customer cannot demand a full refund in the first instance, but still has the right to a replacement or repair of the product. If the replacement or repair is unsuccessful, or if it is not possible, the brand then has to offer a full refund. The brand cannot make any deductions from the refund if this has taken place within the first six months after purchase. If the brand refuses to provide a repair or replacement and does not offer a refund, the customer then has up to six years to claim to the small claims courts for faulty goods in England (Which?, 2015).

If this fault develops within the first six months of purchase, it is presumed that the fault will have been there since the day of purchase. It would be up to the brand to prove that the fault was not apparent when selling the goods. To prove this, Linje will be undertaking quality control measures before the products are sold at the trade fair as evidence that all products are of a satisfactory quality and fit for purpose. If the fault has developed after the first six months of purchase, it is then up to the customer to prove that the product was faulty when it was sold (Which?, 2015).

According to the Consumer Protection Act 1987, ‘anyone who is harmed by an unsafe product can sue the manufacturer.’ The customer can sue for compensation if there has been a death or injury. The customer can also sue if there has been any loss of property or damage caused by any faulty goods if the damage amounts to at least £275. If harm or damage is done, if there was a lack of health and safety information provided, there can be criminal sanctions which can lead up to 12 years of imprisonment as well as a large fine (Which?, 2015). To avoid this, Linje will be recording the process of various quality control measures to ensure all of the products cause minimal risk to the customer. The product that is the most hazardous is the Abha candle holder; a spray painted glass product which promotes the use of fire. For Linje’s statutory defence, Linje would take reasonable precautions; spraying only the outside of the candle holder and not the inside where the naked flame is, choose glass as the material for the holder as it is naturally heat resistant (The Original Supplies For Candles, 2017), ensure that the spray paint has had weeks to dry on the glass and that every candle holder has a safety label on the bottom.

APPENDIX 22 Cancellation rights.

There is a 14 day cancellation period for the sale of goods and services. The customer has a right to cancel an order and return the product for a full refund or exchange in this time period. The customer has a 14 day period to decide whether to cancel the order and then a further 14 days to return the goods (Which?, 2014). The customer must then get a refund within 14 days of returning the product or showing evidence the product was delivered back to the brand. However, like in high street shops, if the brand feels that the product has been handled more than necessary in this time frame, deductions can be made. Once all products are returned in the same condition in which they were bought, the brand must refund any basic delivery costs (Which?, 2014). Adding to this, the brand is solely responsible for the delivery of the goods; the condition of the goods when they are received. The delivery firm is therefore not liable for any potential damages that may occur. The brand would have to take this into consideration when checking the quality of the product upon return. The brand needs to deliver the goods within 30 days, if not the customer then has the right to cancel the order and get a full refund (Which?, 2015).

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APPENDIX 23 Pricing strategy analysis.

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APPENDIX 24 Linje’s financial forecast from September 2017 - September 2018.

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APPENDIX 25 The Abha Candle Holder - Item Costing.

APPENDIX 26 The Ackerley Coaster Set - Item Costing.

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APPENDIX 27 The Aksel Mug - Item Costing.

APPENDIX 28 The Aksel Mug (wraparound image) - Item Costing.

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APPENDIX 29 The Andela Print (A5) - Item Costing.

APPENDIX 30 The Andela Print (A4) - Item Costing.

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APPENDIX 31

APPENDIX 32

The Abha Candle Holder - Break-even analysis.

The Ackerley Coaster Set - Break-even analysis.

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APPENDIX 33

APPENDIX 34

The Aksel Mug - Break-even analysis.

The Aksel Mug (wraparound image) - Break-even analysis.

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APPENDIX 35

APPENDIX 36

The Andela Print (A5) - Break-even analysis.

The Andela Print (A4) - Break-even analysis.

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APPENDIX 37 Profit & Loss Account - November 2017

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APPENDIX 38 Profit & Loss Account - December 2017

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APPENDIX 39 Profit & Loss Account - January 2018

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APPENDIX 40 Balance Sheet - year ending 2017.

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APPENDIX 41 Linje’s cash book grid.

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APPENDIX 42

APPENDIX 43

The Abha Candle Holder - sales performance monitoring.

The Ackerley Coaster Set - sales performance monitoring.

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APPENDIX 44

APPENDIX 45

The Andela Print (A5) - sales performance monitoring.

The Andela Print (A4) - sales performance monitoring.

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APPENDIX 46

APPENDIX 47

The Aksel Mug - sales performance monitoring.

CoreCities template for Contingency Planning based on general issues businesses may face. (Core Cities Business Continuity Group, no date)

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APPENDIX 48 Customer created Instagram content, showcasing Linje products.

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