Brand report vivienne Westwood

Brand Report Business Of Fashion Abi Haigh

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Contents 3.0

20.0

Executive Summary

Brand Positioning

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21.0

Brand History

8.0-9.0 Brand Timeline

12.0 Brand Identity

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Marketing Mix

16.0-17.0 Consumer Segmentation 2

Competitor Analysis

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Macro and Micro-economic Factor Analysis

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SWOT Analysis

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Recommendations

Executive Summary

This report intimately looks into Vivienne Westwood as a brand, it considers how it has widely developed from the work in the 1970s, to the current position in the market today and the future growth of the brand.

The product offer has always remained the same regarding the heritage, style and macro environmental factors.

Although a restructuring twist of a new label within the brand which the creative director, Westwood’s husband, has a leading role on the design team. The report highlights the brands history, identity, positioning and communication. It’s identity is discussed and considers the impact consumers have with buying the brand. As the British heritage is visible throughout this stands as a strong element of identity and how Westwood uses the brand as a platform of awareness which aims also at the target market. It’s position in the industry is considered with competitor analysis included. The results demonstrate concise and minimalistic findings, with a diverse range of marketing techniques which captures the attention of the brands target market. Throughout the collaboration of both primary and secondary research the report concludes how the brand prides itself in environmental awareness and the quintessential British heritage, and how Westwood plays a vital role in the fashion timeline.

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Brand History Westwood was introduced into the creative industries by her late husband Malcom McLaren. She renowned for her ‘Britishness’ running throughout the collections, bringing modern punk into mainstream fashion. Winning British Fashion Designer of The Year 3 times and a OBE in 1992. McLaren was a platform through whom which she could express her creative freedom, and showcase the power of art into a political landscape.

They opened a shop on 430 king’s road in 1971, selling records and full of Westwood’s designs.

“We wanted to create a feeling of being inside a womb, but in a sort of sex torture chamber” (Westwood, 1994) ‘SEX’ was an important part of the punk movement in the 70s with McLaren managing the Sex Pistols in 1975, wearing her designs helped to shape the Sex Pistols identity along with other iconic music legends, which boosted the brand into recognition. The stores name has changed 5 times, being first called ‘Let it Rock’, then ‘too fast to live too young to die’, ‘SEX’, ‘Seditionaries’ and reinvented to the current ‘Worlds End’. Her vibrant personality reflects within her work along with her unconventional style sense. Westwood and McLaren were rebels of their time, inspired by the 50s music and clothing they began to recreate 6

original teddy boy clothing to advance her tailoring techniques and was showcased in their store ‘Let it Rock’. 1972 was when the tables turned to creating fashion for the ‘Punk Rock’ era using zips, chains, safety pins, tartan and leather. This was a style shift to fetish biker clothing, which was rebranded with skulls and cross bones. T-shirts with provocative messages displayed across them was one of the reasons the brand was prosecuted with an obscenity law and changed the brand name again in 1974. This ‘Punk Rock’ trend

was a key part of her timeline which transformed sexual fetishism into fashion, and was described as ‘rubber wear for the office’ (Vivienne Westwood). When the sex pistols collapsed, they renamed the brand ‘Worlds End’ and within the period of 1988-1992 it went from punk to ‘Tatler girls’. The inspiration for this upper-class clothing was the most important and influential fabric used to date, Harris Tweed. The brands first collection launched in 1981 shown in Paris titled ‘Pirates’ tartan is now synonymous with the brand.

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1958

Created her own jewellry to sell on a stall at portabello Road.

1971

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1980

1972

Designers interests had turned to ‘biker clothing’ using zips, leather and chains.

Opened the store on 430 Kings Road ‘’Let it Rock’.

1976

Shop transformed into its current name change, ‘Worlds End’.

Sex Pistols ‘God Saves The Queen’ hits No.1, and desiging clothes of ‘obscure sexual fetishism’.

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1986

The iconic orb logo began.

First collection to launch titled ‘Pirates”, offered a romantic look onto londons fashion scene.

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1993

Westwood won British Fashion Designer Of The Year , both years for her brand.

1987/8 Harris Tweed and tartan was introduced.

Naomi Campb stumbles on the ca in 9 inch heels

1992

Westwood awarded an OBE for services to fashion.

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bell atwalk s.

1999

The red Label is launched, brining a youthful ehtos to the brand, and it promotes human rights causes close to Westwoods heart.

1994

Anglomania Collection launch.

2008

Designed the wedding dress for Carrie Bradshaw on Sex In The City.

2003

Men wore fake breasts down the catwalk.

2011 Works on ethical fashion in Africa, producing handmade bags.

2008

Dazed collaboration for the Active Resistance edition.

2015

Atisan Fashion Line created in Africa.

2012

Launched Climate Revolution

2018

A/W 18 first digital runway for the brand.

2016

Bold statement used on day 3 of London fashion week, marching into the runway with poolitcal fracking signs.

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Stores

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There are many values and messages that underpin Westwood as a designer, most distinctively the ‘Britishness’ feel to the brand is expressed throughout the products showing visible roots to London.

Identified through techniques in British tailoring and dressmaking which is applied in all collections. The initial product offer has remained by using fabrics such as Harris Tweed, wools, Scottish Tartans, and their own ‘Westwood MacAndreas’ which is now registered on The Scottish Register of tartans.

First sighting of their own tartan was used on the A/W 93/4 catwalk, the Anglomania collection was exploding with tartans. Westwood’s personality is reflected in her collections and advertisements, providing a platform to communicate political and environmental issues through collections and campaigns.

The result of this demonstrates how the campaigns she supports create commercial awareness and also raises the profile of her work, promoting the brands identity. Despite the fact its ethos is rooted from her own personal and passionate beliefs, the loyalty of the brand to their

rious. Westwood began to make jewellery at the start in the 1970s, this has evolved into being one of the bestselling items, with the first orb appearance on a pendant in the Harris Tweed A/W 87/88 show.

Using the Aaker’s theory, the perceived value of the brand is the loyalty from both consumer and brand perspective.

The brand maintaining a constant theme and not changing anything drastically regarding print or products.

Whereas the loyalty of the consumers represents a stable source of revenue, which is a positive for the brand as it would be more expensive to keep up with the current trends as other brands do to gain potential new consum(Vivienne Westwood, n.d) ers, rather than sticking to the brands ethos. The brand ground of the orb comes from name and its iconic emblem is inspiration whilst working an anchor to which consumon a Royal themed collection ers associate Westwood with, with, and her son’s astronomy along with familiar products magazines. This iconic logo such as scarves, belts, bags, is visible on labels, buttons shoes, tartan, and jewellery. embroidery, perfume bottle Regarding the perceived quallids, clothing rails and chan- ity of the brand, Westwood deliers. The use of specific says purchasing expensive font flows with the eccentric garment with longevity are but yet elegant brand, being more environmentally friendly printed with gold colouring on than cheaper products damagall packaging and displays, ing the environment. identifies the brand as luxuconsumers remains strong, and they are able to identify false branding initiatives.

The Packaging, display and website are coherent with the visual identity of the brand.

The most distinguishable part of the brand, is the iconic orb emblem, this is essentially the essence and identity of the brand. The back-

“You have a more interesting life, if you wear impressive clothes”

Brand Identity 12

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Marketing Mix

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“I have been asked what i would ban immediatley if i could.

Advertising.” (Vivienne Westwoodn n.d) Using the BCG matrix, the current product portfolio has been reviewed.

When visiting the Leeds store, I asked several questions to the staff who had full knowledge of the brand and the marketing scheme. The brands current best seller is their jewellery range, this brings in the largest profits. Pirate boots were once their best-selling product but need re-marketing to develop and be advertised, as the product has future potential to rise to be a best seller. Products which have been problematic on the market for a long period of time which have led to a drop in the sales and profits, were said to be non-specific seasonal items.

A store assistant said that “The boots and bags which were in the previous season, were fabricated in foil which began to rub off over time”, showing this product was an issue for the brand when it was on the market as it wasn’t being sold. Key products that identify with the brand need little advertising, are items showing the brands icon of the orb which help to fund new products. Plain t-shirts, belts, shoes and jewellery sales help with brand growth, these products are vastly popular amongst consumers but tactically placed at the lower end of the price budget. The bag range is constantly changing and needs seasonally promoting, considering shape, colour, size and fabric. Bags are excellent products with high growth and high market share, they lead to sales of other products within the brand and

have the potential to become a best seller. The most popular bags are the patent and croc bags and purses. Using the AIDA model, the brand uses different advertising strategies in order to attract consumer attention and desire for purchase. To engage and involve the consumer the brand creates

awareness and promotes the brand through the use of visual and written tools. Magazines and social media are the main resources of advertising for the brand. In order for adverts to work the visual impact must be immediate as it is only looked at for a few seconds, simplistic and bold ads have the

best impact. Westwood’s Instagram has a continuous theme, all images and videos use a plain backdrop, letting the patterns and colours take centre stage.

Each piece of advertising works hard to generate interest and be noticed, the model poses are editorial, fun and traditionally Westwood. Keeping competitor brands in mind the ads become more bold and sophisticated to grab the consumers attention. Using Instagram as a mood board for her creativity, a variety of posts contain shoots, Westwood herself, close-ups of accessories and make-up, art inspiration, illustrations, campaigns, runways, celebrities and editorial images. Westwood connects with her target audience using a range of social media, showing her current campaigns for War Child, and her own meaningful playing card collectables. Once she has gained consumer interest she manipulates the consumer to thinking they need a product to stay on trend.. The truth behind the brand personality and the visibility in her campaigns, protests and collections being hands on herself shows the loyalty and passion she gives her brand. The brand plays on the psychological factor of desire, making the consumer feel the product is irresistible, creating a sense of urgency to act now, buy now. Even if an ad wasn’t successful, Westwood doesn’t feel the need to benefit from the buy now stage, as gaining attention, interest and desire have been fulfilled. The brand has a wide global reach, selling internationally in 86 countries, 5 continents, and holding 7 stores within the UK alone, with their main buyers from the UK, USA, and Asia.

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Consumer Segmentation Westwood’s consumer profile shows evidence of recognition regarding the use of traditional materials and the appreciation towards them.

“Its quality of course, that’s what people associate with Vivienne Westwood, you see some of the old collections that we’ve done. ‘on liberty,’ ‘café society’, those fantastic collections full of tartan and tweeds you don’t even needs to touch the fabrics in real life as you can see from images of the shows that the fabric is amazing.” (Clarke, JS, and Holt R, 2016).

Her consumer profile is both women and men with a diverse sense of style and awareness, with specific interests in products with attitude and bold statements. Consumers also have a sense of appreciation towards the symbolic power linked between Westwood’s clothing and the history within the collections, and understanding of the environmental and ethical issues. By buying the brand they are supporting and promoting the same social and environmental factors as the brand does creating public awareness. Westwood says, “Clothes give you power because you are able to play with your identity.”

(Clarke, JS, and Holt R, 2016).The consumer is fashion conscious and connects with Westwood through expressing one’s self through their own style. The brand engages interest of most age ranges, targeting the Anglomania and 16 Red label to a younger audience, as the price

margin is much lower and affordable, keeping the styles on trend. The gold label is aimed at a wealthier and more mature client, collections with suits and inspiration from royalty keeps it aimed at the upper class. The specific target audience is to consumers who appreciate high quality, shapes, colours and have attitude in their style with a chic/punk edge which is traditionally British. When asking the store manager at the Leeds store, specific questions related to consumer behaviour the answers I received were interesting. Consumers aged between 18-25 are the largest percent to purchase from the store, specifically women buying jewellery products, and the men purchasing plain t-shirts. The motivations for the purchases lean towards buying products for evenings out, and loyalty towards the brand, “There’s a man who comes in each year at Christmas to buy his wife a dress”. As the brand is anti- establishment, it meets the needs of the consumers by not aiming individually at a certain consumer and going against the status-quo. Although the brands consumer has changed over the decades, mostly because it is widely available, and the amount of jewellery which they sell. The newer target market is aimed at a uni-sex audience, fusing the men’s label with the red label, and the main Westwood label exercises in equality, efficiency and is environmentally friendly.

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Brand Positioning

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Competitor Analysis “I’m not trying to do something different, I’m trying to do the same thing but in a different way.”

(Vivienne Westwood, n.d)

The brands product offer is how it differentiates itself from other competitors, with the core values challenging the common perceptions of fashion. Westwood is an avant-garde, contemporary brand that doesn’t follow the mainstream trends of society. Its image has remained strong from the 1970s with heritage and history relating to contemporary issues and historical themes in the brands collections. Its price margin falls into the luxury category, also the highend market with the new, see now- buy now trend on the capsule 20 piece uni-sex collection. There are competitors which are in a similar market, but there is no other brand that has a comparable identity, so it is difficult to say which brand is direct competition. A brand that offers competition is Alexander McQueen. With a reputation for being bold and fierce, having extensive creativity, with avant-garde with whimsical modern collections. Although they have a similar target audience, luxury price point, and history in British tailoring, McQueen is on trend unlike Westwood not relying on historical references. The weakness of McQueen being the collections are haute couture, and mostly for exclusive clientele, whereas Westwood is more accessible and has ready to wear fashion. Christopher Kane who also Is known for expert tailoring and innovative designs. His price point is similar with a comparable budget, however the brand launched in 2006 and being relatively knew on the luxury market, it is not as established as Vivienne Westwood. Kane has no clear brand history or identity as rich as her brand holds.

Paul Smith, another iconic British designer who is a high-end market competitor. Smith has a distinctive look which is signature to the brand, but the target market is limited to UK only, although they have direct competition as they have the same target market.

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Micro and Macro-economic Factor Analysis “Buy less, Choose well, Make it last” (Vivienne Westwood, n.d)

Westwood has a way of politically provoking people with punk, one of the ways she has done this is showing a t-shirt with the swastika and Jesus cross, with the word ‘destroy’ emblazed across the front of it, which epitomized their views on politics. This shirt was her most controversial creation which made an impact worldwide, and was a means of challenging the mature generation of saying

“We don’t accept your values or your taboos, and you’re all fascists”.

(Waters, 2015) Westwood took over the dazed in 2008 July issue, having the phrase “Get a life”, with a child eco-warrior star on the front and used for the active resistance edition. Known for being a freedom fighter and raising political concerns such as rising sea level, and turning a blind eye to propaganda.

The current A/W18 menswear collection in London didn’t have a runway, instead there was a 2.45-minute film shot at night, utilising space backstage which starred character models, Westwood herself, EU flag and sandbags. The theme for the short menswear film was war, displaying military history, fabrics with texture and visibly focusing on colour over uniform with a re-invented version of the princess coat now uni-sex. The brands current campaigns are about war, showing peace flags, her playing cards and the fight.

“You all know what I’m up to, I use fashion as a vehicle for activism to stop climate change and mass extinction of life on earth.”

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(Vivienne Westwood, 2018)

Believing that feminism is dangerous and made t-shirts with Julian Assange’s displayed on the front, to provoke the Swedish government, When the Swedish government made up he raped someone and how “its exposes all the lies the government wants you to believe” (Vivienne Westwood, 2015).Although she is anti-feminist she champions female empowerment rather than masculine imitation.

In an interview with guardian she says “I think it’s great that people stand up for women’s rights, but the problem with feminists is that they somehow consider women to be superior beings. In the end, the just want to be men” (Vivienne Westwood, 2008).The brand is eco-friendly and sustainability is an important core value, “We have a responsibility” (Kronthaler, 2015).Sustainable materials are used, and prevent using leather which is chemically treated. Supporting

campaigns such as Vote Green in the red label A/W15 making a powerful statement channelling eco-warriors through men’s makeup, and donating £300,000 to the green party.

Promoting ethical fashion in 2011 visiting Nairobi in aim to empower female African workers, producing handmade bags from recycled materials. The brand has become more socially aware as times change and adapting the brand to new consumer habits and trends.

Dedicating a Uni-Sex collection in October 2016 with Andreas Kronthaler for VW collection which debuted at Paris fashion week, pushing the boundaries being positioned next to the Westwood main line. “We’re very keen on uni-sex…it’s all about styling, swapping clothes with your partner means you can spend less” (Vivienne Westwood, 2017). Technology has helped to develop the brand and push it into the modern 21st century. Being able to present her A/W18 collection digitally, and said she would no longer continue with catwalks instead, “Through the form of film and imagery.” Changing the way that she prints onto fabrics from screen and rollers to being able to print digitally, using this in her current collections. Campaigning for the environment more specifically climate change is what she is renowned for, although there is no policy in place for the brand to reduce carbon emissions from its operations. Westwood is an ambassador for sustainability, and is part of the fashion switch programme with the British fashion council, to switch brands to green energy. Even though the brand utilises its collections to support her campaigns in climate change, there is no published carbon footprint or sources on renewable energy to suggest the production follows with it.

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There are several strengths of the brand, some of these are include the strong brand ethos that is visible throughout, and the brand identity is consistent throughout all stores, labels and packaging. Another strength is the distinctive style which is recognisable throughout the fashion industry. The brand is unlike no other with Westwood being so active in campaigns and in shoots, shows the consumer she is genuine. Although there are weaknesses within the brand, such as the brand style which is unique and not to all consumer taste. Opportunities which arise, giving the brand ways to have a positive impact on environmental projects worldwide, and as the growth of the brand increases and becomes more recognisable this can provide the brand with larger profits and a wider platform for campaigns. Threats for the brand would be comparative brands with more affordable collections. The Anglomania is the lower end of the price margin and mass produced unlike the Gold label. Up and coming designers with similar interests in supporting the environment would also pose a threat to the brand.

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SWOT Analysis

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Rec ommendations 28

The brands production should follow with the brands campaigns and passions; therefore, the brands operation should prove to become efficient and environmentally friendly within the factories. The packaging and look books should all be from recycled materials along with the stores which should contain eco-friendly backdrops and solar lighting.

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Bibliography (Andreas Kronthaler.

2015. Vivienne Westwood on Transgender Rights and Gender Fluidity in Fashion. Retrieved from http://www.elle.com/fashion/q-and-a/a28423/vivienne-westwood-on-transgender-rights-and-gender-fluidity-in-fashion/) (Clarke,JS,and Holt R. 2016. Considered consumption: Vivienne Westwood and the ethics of consuming fashion. P16. P.18. Retrived from http:// eprints.whiterose.ac.uk/87157/3/Clarke%20Westwood.pdf) (Jamie Waters. 2015. Vivienne Westwood’s Top Ten Political Moments. Retrieved from http://www.dazeddigital.com/fashion/article/24335/1/vivienne-westwood-s-top-ten-political-moments) (Vivienne Westwood. 1994. Did i say that?. Retrieved from https://www. theguardian.com/lifeandstyle/2009/jul/19/vivienne-westwood-quotes) (Vivienne Westwood. n.d. 1971-1980. Retrieved from https://www.viviennewestwood.com/en-gb/history/430-kings-road) (Vivienne Westwood. n.d. Retrieved from http://www.azquotes.com/ quote/312255) (Vivienne Westwood. n.d. Retrieved from http://www.azquotes.com/ quote/312281 (Vivienne Westwood. (n.d.). Retrieved from http://www.azquotes.com/ quote/728680)

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(Vivienne Westwood. n.d. “You have a more interesting life if ypou wear impressive clothes. Retrieved from http://www.independent.co.uk/news/ people/profiles/vivienne-westwood-you-have-a-more-interesting-life-ifyou-wear-impressive-clothes-8157187.html)

(Vivienne Westwood. 2017. Designer Vivienne Westwood explains why she’s ‘very keen on unisex’ looks. Retrieved from http://www.latimes.com/ fashion/la-ig-wwd-vivienne-westwood-unisex-collection-20170106-story. html) (Vivienne Westwood. 2008. Don’t call me eccentric. Retrieved from https://www.theguardian.com/lifeandstyle/2008/nov/15/fashion) (Vivienne Westwood. 2015. Vivienne Westwood Considers Feminism ‘Dangerous,’ Doesn’t Like Kate Middleton’s Makeup. Retrieved https://www. yahoo.com/lifestyle/vivienne-westwood-interview-kate-middleton-makeup-119273020777.html).

(Vivienne Westwood. 2018. Vivienne Westwood gets political at London fashion week men’s. Retrieved from https://www.theguardian.com/fashion/2018/jan/08/vivienne-westwood-gets-political-at-london-fashionweek-mens)

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