MAGICALLY MARVELLOUS JOHN LEWIS CHRISTMAS 2016
CONTENTS INTRODUCTION 04 WELCOME TO JOHN LEWIS 06 OUR CUSTOMER 08 LET THE COMPETITION COMMENCE 13 NEVER KNOWINGLY UNDERSOLD 38 CHRISTMASES PAST, PRESENT & FUTURE 42 ROALD DAHL, THE WIZARD OF WORDS 50 MAGICALLY MARVELLOUS 2016 54 BIBLIOGRAPHY 72
INTRODUCTION Welcome. Within this report is a hypothetical marketing plan orientated around the visual merchandising of John Lewis’ Christmas 2016 window displays and accompanying advertisement. The aim, to create a highly imaginative and pioneering image for the John Lewis brand that shall arouse and inspire customers far and wide, reenergising the brand and the high street.
WELCOME TO JOHN LEWIS
With 151 years retail history, since it opened its first store in 1864, London’s Oxford Street, and now a national icon, with over 43 stores across the UK and a growing online presence that reaches over 30 international countries, John Lewis’ readiness to share and celebrate the successes of the business through weekly sale figure reports, available to all, illustrates the openness and honesty of this brand, appealing to a consumer society that is interested in what they buy, who they buy from, and how they buy. You do not simply buy from John Lewis, but invest in it.
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“WHATEVER PRODUCTS SHOPPERS ARE BUYING, OR HOWEVER THEY CHOOSE TO ENAGE WITH JOHN LEWIS, WE ARE THERE FOR THEM.” ANDY STREET, MANAGING DIRECTOR, JOHN LEWIS, JOHN LEWIS RETAIL REPORT 2014
m a g i c a l ly m a r v e l l o u s
John Lewis is a brand that continues to excel in order to serve customers’ needs, and deliver care and attention to everything they do, winning numerous awards, such as Which? Awards 2014, where John Lewis was named Best Retailer for the second year running, and, Drapers Magazine Awards 2014: Department Store Business of The Year.
OUR CUSTOMER
The average John Lewis customer has a household income of under £30,000, are particularly price-savvy, who invest in quality pieces that will stand the test of time, for their homes and wardrobes. 64% of John Lewis customers use both in-store and online channels when shopping with John Lewis, who enjoy shopping as a leisure activity. The majority of John Lewis’ customers are female with only 44% of John Lewis’ customers male. John Lewis will be moving to a younger customer demographic in order to “-prevent the department store from falling into the predicament of having an ageing target base”, as stated in a report ‘John Lewis Looks To Younger Customers’, published by Mintel, the London based market research provider. John Lewis is incredibly aware of the importance to evolve and adapt in order to remain appealing to a profitable customer base.
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John Lewis has a rich and astute understanding of who their customer is and how their customer shops, revealed through the annual How We Shop, Live & Look annual reports. By having such an insightful and in-depth comprehending of the John Lewis customer, John Lewis have shaped themselves into a brand that is appealing and incredibly dedicated to providing the optimum customer experience. Indeed, 6,000 consumers participated in a survey awarding John Lewis the Verdict Customer Satisfaction Awards 2014. By keeping themselves viable amongst current consumer groups, John Lewis is able to evolve and maintain strong dominance amongst the department-store-battle-arena. At present, John Lewis’ customer base is growing and diversifying, far removed from the middle-aged and middle-class stereotype. They currently target a 3050 year old demographic, with around 39% under 34 years of age and only 28% over the age of 55years.
INTERESTS CHARACTER
ART
AFFLUENT
SOCIAL MEDIA
OPTIMISTIC
COOKING
ASPIRATIONAL
PETS
CARING
URBAN EXPLORATION
AMBITIOUS
DESIRES INQUISITIVE INDEPENDENT RURAL HOME LIFE CREATIVE
ENTREPRENEUR HOME OWNER TRAVELLING SUCCESS LUXURY
LET THE COMPETITION COMMENCE
Debenhams took its first steps in 1778 after William Clark established a draper’s store, in London’s West End, selling luxurious fabrics, bonnets, gloves and parasols. Now, Debenhams is an internationally trading, multi-channel brand with stores throughout the UK, providing a mix of own, private, and international brands, including concessions. Entering the 2014 festive season, Debenhams was one of the first to debut its 60-second Christmas advert, directed by David Edwards for advertising agency JWT London, and filmed in Debenhams’ Clapham Junction and Sutton stores, featuring a group of children roaming through a Debenhams store, after hours, in search of the perfect
“...BEAUTIFUL ADVERT THAT HAS CAPTURED THE MAGICAL FEELING OF JOY & EXCITEMENT...” In the past, Debenhams has followed a more fashion focused Christmas theme for its advertising, for it is best known for its range of Womens, Mens and Childrens fashions, as well as an up-market collection of premium health and beauty products. However, Christmas 2014 saw Debenhams wishing to pay greater attention on their more diverse product offering.
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DEBENHAMS
gift. Throughout the advert, the scene returns to a girl, who grows increasingly frustrated when she is unable to find her own gift; and when hope is almost lost, there, under a bed, she finds the perfect gift, unwraps it, and proceeds to hug her stuffed reindeer.
STRENGTHS Instead its Christmas
usual fashion focused campaign,
Debenhams
utilised the popularity of adverts that evoke emotional connections
Times
the launch of its promotional
with its customers.
TV
ad campaigns at peak viewing times on
Utilises
multi-channel
promotional
possessed its own heartfelt message that received positive feedback from
Debenhams utilised hand held Christmas Made Fabulous’ campaign 2013.
devices within its in-store
points that customers engage with over the
‘Life Customers
festive season.
smartphone up to promotional material
platforms in order to reach all touch
This
ensures mass exposure
were
able
to
hold
of their seasonal promotion. campaign
Debenhams’ ‘Found It’, saw
and view videos of new products.
Christmas 2014
creating
imaginative
creative
implementations
between brand and customer,
appear in
and
“-windows
and throughout ‘hot
spots’ with gift cards and swing tags
120 gift messages. Print, outdoor, digital and TV advertising -”.
delivering over
capture the
customer expectation. Debenhams’ Christmas 2014 ‘Found It’ advert
channels that have a high view rating.
‘Found It’ TV ad was broadcast 8th November alongside the launch of ITV’s X Factor, which brought in 7.8million viewers.
They
festive spirit, and are now a current
an
interactive
a
By
relationship
Debenhams
builds a more inviting and interesting brand image that is forward thinking, and demonstrates insight of how personal devices can be used as a more intimate promotional platform.
customers.
WEAKNESSES Debenhams’ ‘Found It’ Christmas
advert,
failed to bring in the numbers, only
755,000 views in the past four months, compared to John Lewis’ #MontyThePenguin campaign with over 16million online views within the first week of the ad’s debut. If the number of views can be linked to sales, as seen with John Lewis, who reported record-breaking Christmas sales, then it can be argued that Debenhams failed to excel. receiving
Weather has significant affect in sales. Due to warm weather in September, October & early November, Debenhams reported a -0.8% fall in like-for-like sales as a result. Visual merchandising displays do rely on having strong product that fits with customer demand.
“It is you imagination that needs to be stimulated. Once that happens, the rest is easy. The merchandise is always the leader.” Joe Cotugno, OVP & Creative Director, Bloomingdale
Falling victim to customers’ fatigue, the deeper and broader pre-Christmas cuts have dented perceptions around Debenhams’ value for money, and, cheapened the brand image. Instead of continuously discount
using
discounts
encourage sales,
and
sales
Debenhams
to
needs to
look into using a more balanced use of promotional tactics, in order to create a luxury brand image at working-class prices.
The extremely high numbers of Christmas promotional activity, it more difficult for Debenhams’
premade own
promotions to stand out in the market.
Debenhams
did not offer anything of
exceptional interest to its customers, and therefore became lost amongst the throng of competing businesses.
OPPORTUNITIES ‘Department Store Retailing: UK: April 2014: Debenhams’, reports that Debenhams will see 16 new UK stores, along with 27 new franchise stores, over the next four years. Online sales grow in importance and significance in the
Debenhams aims to improve its multi-channel services. Plans to provide in-store catering in all Debenhams stores, to help drive footfall and dwell times, therefore increasing exposure to Debenhams marketing ploys.
retail industry, the new stores will not only be a physical point of sale, but also a collection
Debenhams’ online international sales are growing,
Debenhams
& building international brand A strong & aesthetically
awareness.
does have a usp but has lost its
own distinctive aesthetic.
“-gives
Debenhams
states
pleasing webpage will enhance the brand
Ted Baker, Jasper Debenhams needs to reignite excitement and anticipation; and to refurbish the store aesthetics, maintaining its 87-year-old heritage, that will encourage
and elevate its international status. Magasin Du Nord, a Danish department store chain, reported a +52% increase in sales per outlet between 2011 to 2014, with plans to expand. If Debenhams is successful in building greater international demand, they could look into reinventing their brick-and-mortar aesthetics, building a stronger brand image, which
customers to visit and return to their
improves its customer range
brick-and-mortar stores.
and opportunity.
that it
its customers around the
world a unique, differentiated and exclusive mix of own brands, international brands and concessions-”, including
Conran,
and many more.
image
& returns point, in an
attempt to open up a greater multi-channel income.
THREATS Debenhams’ competition &
intensifies in a crowded fashion products market.
Debenhams’
home
competitors
Debenhams focuses ts
are more in-tune with their target customer,
advertising and promoting budget on press,
Debenhams has lost connection with its own. Brands like John Lewis, Houser Of Fraser or Harvey Nichols, offer whereas
totalling
the
customers much greater choice and allow
The
their customers to become increasingly individualistic;
with
stronger
in
2013,
with a
Christmas campaign.
majority of leading department store
retailers also concentrate their advertising
Christmas
budgets in this advertising medium. Debenhams’
messages behind their campaigns, compared to
£24.3million
large proportion of this being focused on
Debenhams. Debenhams risks becoming out-dated and outmoded.
Debenhams has doubled its marketing & promotional spend year-on-year, yet Christmas 2013 failed to rouse shopper interest
campaign needs to be iconic and strong in order to be noticed and remembered by customers.
despite heavy discounting in the run up to
Christmas. Although Debenhams
has
A
lack of expenditure on the
UK
store
interesting aspects to its marketing strategy,
portfolio leaves stores looking dated and
it is a very underdeveloped multichannel
missing festive appeal.
model,
and
Debenhams
risks
pushing
customers towards brands with stronger promotional messages that are not only more
engaging,
but
also
maintain
engagement of the customer.
the
“IT IS THE BREADTH OF OUR RANGES THAT GIVES US THE RESILIENCE IN OUR MODEL.” ANDY STREET, MANAGING DIRECTOR, JOHN LEWIS
Although Debenhams aimed to promote a more rounded product offering, the window displays failed to reflect this, and although beautifully lit, and festively themed, the very much fashion-dominated displays did not correlate with the message of the advertisement. Debenhams is still behind the times, and although alongside the advert, they launched hashtag #FoundIt, as part of a social media drive in which entrants could win £1,000 gift card prizes in return for sharing selfie images.
Debenhams’ marketing strategy was far from inspiring, and although Debenhams is a John Lewis competitor, in regards to product offering, Debenhams lacks the fundamental charm that John Lewis never fails to provide. However, John Lewis cannot become complacent, and although Christmas 2014 saw John Lewis sales jump +6.9% in the five weeks to 28th December, with online sales growing +27%; Debenhams is only one brand of many that has wised up to the success of a narratively appealing promotional campaign. It is now time for John Lewis to leave its competitors behind, and surge forward into a new realm of innovation and modernisation, that shall appeal to John Lewis’ new younger target customer, by offering them something and new and revolutionary that shall reenergise the brand and resurrect the appeal of the high street.
House Of Fraser’s 2014 Christmas campaign was part of the department store’s first national launch for its renewed positioning. The 166-year-old brand has similar beginnings to that of Debenhams, originally a drapery shop in Victorian Glasgow, but now, an internationally trading department store. House Of Fraser is best known as a luxury department-store that offers its affluent millennial target customers designer brands in Womens, Mens and Childrens fashion. Now owned by Nanjing Xinjiekou Department Store Co. Ltd, House Of Fraser now aims to improve and grow its online business.
Rather than creating a fictional storyline for its advert, House Of Fraser opted for viewers to follow and engage in a “realistic” setting, where models spoke directly to a camera as if at a casting session. The incredibly fictional backdrop saw the models discussing their experience of Christmas gifting, and answering questions pulled from a bowler hat, and reveal whom they struggle to shop for during the festive season. Towards the end of the film, the models nominate a special person they would like to gift to, who then swiftly arrives on the casting set and is surprised with the perfect gift. The advert aims to personalise the act of gift giving.
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HOUSE OF FRASER
Pushing its new slogan “Be You No Matter Who”, their Christmas campaign included 20-second, 40-second and 60-second adverts, and product laden window displays that lacked distinguishable style and meaning.
STRENGTHS 2014 saw House Of Fraser’s brick-and-mortar stores increase +4.2% on like-for-like sales in the Christmas trading period for the 6 weeks to January 2015. There is still a
During 2014, House Of Fraser refurbished its store in Bath, which saw a +27% increase in sales since the completion of the work. If a store looks inviting and aesthetically appealing, customers will want to be part of House Of Fraser’s store exteriors & interiors, Christmas
they are able to entice customers to enter.
updated facilities provide; all of which can only be experienced trees,
other stores, drawing the moth to the
Once customers have been drawn to House Of Fraser’s product heavy, fashion focused window displays, showcase what House Of Fraser have to offer. Once a customer has been drawn to the store, and brought into the ‘House-Of-Fraserbubble’, the other marketing the store,
platforms can attempt to influence and entice.
are presented, that will influence how
as exploiting the latest opportunities that the
acting like a beacon that outshines all flame.
street as a tangible representation of the brand, and it is how these stores
the new and refreshing atmosphere as well
are bedecked in thousands of fairy lights and incredibly over-sized
demand for physical stores on the high
in store.
House Of Fraser’s Christmas 2013 +10% compared to the previous year’s figures. This is due to House Of Fraser’s clearly differentiated offer of House Brands and premium labels. House Of Fraser had clearly fashion sales were up
illustrated their understanding of what the well-to-do
younger
demographic,
core target market, aspire to.
their
WEAKNESSES
John Lewis utilises technology to improve their own in-store shopping experience, like
Google Street View in its Oxford Street flagship store, transactional tablets to skip queues, and a free mobile phone charging station, dubbed ‘Chargebox’, promoting purchasing via personal handheld devices, have made in-store experience easier and quicker. House Of Fraser does not provide
House Of Fraser’s Christmas 2014 advert failed to impress viewers, and received low viewing figures, with only 33,500 over
4 months, compared to John Lewis’ 23million, Marks & Spencer’s 3million and Debenhams 755,000. House Of Fraser the optimum shopping experience that was confusing, and had no clear target engages with its technology savvy target House Of Fraser contacts audience, receiving negative feedback customer. from online viewers. customers with emails & active the past
campaigns across Twitter,
Pinterest, Facebook and Instagram. Though they have a broad multichannel presence, House Of Fraser miss opportunities to promote interest on full-priced eveningwear (their best seller in the build up to Christmas and New Year) instead opting for a barrage of sales blasts. Not only do they lose revenue, but also their continuous discounting cheapens the brand &
House Of Fraser does not stir the same excitement or interest in its
Christmas campaign, and their financial success is reliant on its online
deters consumers from purchasing any
discount sales. Compared to John Lewis, after House Of Fraser aired its ‘Be you, no matter who, this Christmas’ advert, there was a +610% jump in online interest, whereas John Lewis’ Monty the Penguin brought a +903% increase in online brand consumption. Although these are phenomenal figures, House of Fraser does
full-priced item.
not portray an image of prestige or luxury.
OPPORTUNITIES
House Of Fraser had chosen to launch its updated brand at a time where consumer
House Of Fraser chose
spending is at its highest. Using a promotional
to stray from the emotional, fictional
campaign that orientates around fashionable giving,
set story that are usually expected for follow a documentary style film for its
are extremely fashion conscious
Christmas 2014 advert, the first since 2003. Not only was there high anticipation from loyal customers, House Of Fraser
the fashion industry, therefore
offered a new and individual
paying greater interest to
approach, in order to differ
60 stores that are spread throughout UK. Not only will stores be refurbished, but House Of Fraser’s online platform will also see improvements, in order to be more appealing to customers. Having strong
from their competitors.
its
and are the biggest spender in
The Christmas 2014 campaign was part of House Of Fraser’s national launch of its renewed positioning,
the
aesthetics that are visually appealing and inviting, will encourage customers to invest their time and money. John
King, House Of BBC further investment, we
executive stated in a this
believe that we are well placed to continue to grow in
2015.”
appealed to a
younger demographic of customer, who
House Of Fraser is
Fraser’s chief report, “given
House Of Fraser
adverts, and instead chose to
Christmas
‘Be you no matter House Of Fraser can carry this message
with the tag line who.’
in future marketing campaigns appealing to customers wanting greater choice as they become increasingly individualistic. ‘Individuality’ appeals to current social views of the younger demographic, which are a key consumer group in the fashion market.
encouraging profitable
Christmas sales.
THREATS
House Of Fraser contacts customers via
219K Twitter Debenhams’ 123K or John Lewis’ 209K. On average, House Of Fraser, send around 4 email newsletters per week and update their social media hourly. This bombardment of emails, tweets and posts, can be quite overwhelming for the customer, and become irritating rather than informative. By showering their customers with too much marketing, House Of Fraser
do not help deepen an emotional attachment
risk customers becoming blind to
with customers.
email and to its large following, compared to
House Of Fraser between the brand and customer through its
campaigns.
This
creates a
customers towards brands that aim to
Negative comments ‘House Of Fraser’s Christmas 2014 Advert via Youtube, conveys a brand
create a relationship
House Of Fraser focused 60.1% of its total advertising and promoting budget on press in 2013.
key promotional events.
Majority
Christmas
superficial brand image, which risks deterring
on
image with no emotional connection
of the leading department store
retailers also concentrate their advertising budgets in this advertising medium, and are building in popularity.
House Of Fraser’s
campaign needs to be individual and have a unique promotional stance, appealing to customers, with a strong campaign message.
to its customers.
The
campaign’s message
who, this
Christmas’
‘Be
you, no matter
message, was not
conveyed, and instead was confusing. was the advert meant to appeal to?
Who Why use
models? I’m not a model, how is this meant to inspire me to be myself? This advertisement was not the success that it could have been.
The prospects for John Lewis shall be optimistic they continue to meet the needs and wants of their customers by: providing an even balance between branded merchandise and private labels at the right price and value for money, maintaining its range of services that make in-store and online shopping exciting, appealing, and convenient, as well as tailored solutions that help to deepen the emotional attachment between John Lewis and the John Lewis customer. However, the House Of Fraser customer, which is to be John Lewis’ new target customer, does not look for emotional attachment, but is interested in new and up-and-coming trends and fashions, which John Lewis supplies, but does not emphasise. As John Lewis is aiming to appeal to the younger demographic, it would be worthwhile spending more attention on the promotion and marketing of its own fashion offering.
NEVER KNOWINGLY UNDERSOLD
John Lewis delivers high quality goods and services to all who engage with John Lewis; customers, suppliers and employees alike. John Lewis maintain to stay true to their business codes and values throughout everything they do, from helping the customer make more sustainable choices, to supporting local communities and building business relationships, providing optimum quality is something John Lewis strive to achieve in all aspects of their business. John Lewis’ values are an integral part of their brand identity, and they are keen to promote the values.
John Lewis proudly: Brings quality of life through better ways of doing business, from their unique partnership structure and supporting British manufacture, to their commitment of reducing their impact on the environment.
“...BRINGING QUALITY TO LIFE IS SOMETHING WE DO EVERY DAY IN IMPORTANT, SIMPLE AND REWARDING WAYS.” John Lewis also support all communities they interact with, local and international. Not only does John Lewis pledge a charitable donation scheme to support local causes, but also The John Lewis Foundations have provided grants for extremely worthy causes, including the building and running of a girl’s school in Badohi, Uttar Pradesh, India.
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When John Spedan Lewis opened the first John Lewis store in London’s Oxford Street in 1864, he was determined to provide a service that “Never Knowingly Undersold”, and this mantra continues to be John Lewis’ unique promise 151 years later, that the price of any item John Lewis sells will always be as low as the lowest price in the neighbourhood.
And finally, John Lewis encourages sustainable living and conservation of energy, by helping consumers make positive purchasing decisions in buying sustainable products. These values will continue to be echoed throughout John Lewis’ marketing campaigns, whilst pushing the boundaries of the conventional to provide a new and stimulating experience for all who engage with the John Lewis brand; and what better time to offer this, than the festive season.
“AT THE CORE OF OUR DECISIONS IS OUR RELATIONSHIP WITH CUSTOMERS, WHETHER THAT’S IMPROVING SERVICE, BOOSTING CHOISE OR MAKING SHOPPING MORE INSPIRING.”
CHRISTMASES PAST, PRESENT & FUTURE
John Lewis’ current advertising agency, Adam & EveDDB, construct the retailer’s Christmas TV advertisement with strong story-telling, beautifully sung song covers, and emotional climaxes, which has now evolved into a major national event on the marketing calendar, with each campaign requiring phenomenal amounts of craft and expertise in order to create a successful promotion. It is evident when looking at Christmases since 2007, John Lewis’ advertisements, as part of a strategic
marketing strategy, have been able to develop a stylised, minimal and emotionally gripping reputation.
“JOHN LEWIS CHRISTMAS ADVERTS EXEMPLIFY... EFFECTIVE, CONSISTENT STRATEGY TO GENERATE CONVERSATION...” MINTEL, WHAT CAN BRANDS LEARN FROM JOHN LEWIS’ CHRISTMAS BUZZ?
Adam & EveDDB debuted for John Lewis in 2009; featuring a folk cover of the Guns ‘N’ Roses’ popular ‘Sweet Child Of Mine’. The £5m ad campaign depicted children opening gifts intended for adults, such as a laptop and slippers, with the final scene depicted a girl becoming a woman. The campaign, which re-launched its ‘Never Knowingly Undersold’ brand proposition, had an increased emphasis
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From humble roots to a national event, John Lewis has been able to market its Christmas campaign with energy and vitality. From year to year, John Lewis has surpassed themselves with every new campaign, excelling in creativity and innovation, relying on traditional images and notions of a ‘homely’ celebration that appeal to us as customers. At Christmas, mixing family values, nostalgia and familiarity is a key tactic.
on narrative, offering a hint at how the retailer’s Christmas adverts would develop. The effort drove Christmas sales to an increase of +12.7% compared to 2008 and set a trend for years to come. 2011 was the year that John Lewis became more ambitious, with a beautifully shot 90-second advert titled ‘The Long Wait’, featuring a boy counting down the days to Christmas so that he could give his parents a present. With the melancholic cover of ‘Please, Please Let Me Get What I Want’ by The Smiths, Adam & EveDDB fully embraced a narrative approach to advertising, with amplified sentimentality. The effort indeed saw great returns, as within days of the advert’s release, it had passed the 1million view mark. The window displays took a more stylised approach by
creating minimal elegance with a Scandinavian essence, with even the detailing of the pricing signs framed and nailed to a tree, creating the traditional themes of a white Christmas. Although the two promotional tools did not directly correlate with one another visually, they did emphasise John Lewis’ image of a family focused business that is both elegant and stylish, with John Lewis reporting an increase of +9.3% in sales compared to the previous year. After 2012’s ‘Snow People In Love’, 2013 saw a more obvious connection between the visual merchandising of the window displays and ‘The Bear And The Hare’ advertisement, showcasing the best in artistic craft. Displaying inventive product styling, the ‘Winter Woodland’ themed window displays, designed by Chameleon Visual and produced by Setsquare Staging, created deer made from Dyson vacuum cleaners and penguins made
“AT JOHN LEWIS, THIS TIME OF YEAR IS ALL ABOUT HELPING OUR CUSTOMERS CREATE THEIR DREAM CHRISTMAS.” CRAIG INGLIS, MARKETING DIRECTOR, JOHN LEWIS, MARKETING MAGAZINE
bath towels, and a bear fashioned from brown furniture to create the lovable bear from the retailer’s advertisement ‘The Bear And The Hare’. The classic line drawing animation, by the artists who created Disney’s The Lion King (1994), told the story of a bear who hibernates through Christmas every year, and
his friend, the hare, gives the bear an alarm clock as a gift that wakes the bear just in time to share a joyous unwrapping party with the other woodland creatures. The advert evokes warm and nostalgic emotions that are associated with acts of intimate friendship. 2014’s #MontyThePenguin not only recreates this sentimental narrative, but the £7m campaign encompasses a greater range of technology focused promotional strategies to ensure John Lewis maximum exposure, including a TV advert using CGI, a specially created smart-device app, story book, soft toys and instore events including a chance for children to see their toys brought to life with the aid of experimental gadgetry. The now infamous advert tells the story of a young boy, Sam, awaiting Christmas day with his imaginary friend, a
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from kettles. A total of 188 animals were created utilising over 7,000 products that could be found in store. Other creatures included turkeys comprised of hand, face and
penguin named Monty. The advert successfully creates the intimate friendship between the two characters. Realising that Monty is quite lonely, Sam gets Monty what he desires most for Christmas, a mate. Under the tree on Christmas morning is Mabel, a female penguin, and it is there that the audience come to realise that Sam’s imagination has been giving life to two stuffed animals. The message is clear, that John Lewis, is not just a high street store that sells products and goods, but ‘love’ itself. Continuing the theme of Monty the Penguin, John Lewis created a series of fun window displays that visually linked directly to #MontyThePenguin, and the other promotional platforms, in order to present a consistent concept. Alongside the TV advertisement, the windows feature a snowy backdrop with fluorescent lighting, and multiple penguin models in a variation of sizes to
create adult and children penguins. Some are dressed in scarves, hats, and aprons, either playing or using products that can be found in-store.
“WE HOPE THIS UPLIFTING TALE...WILL REMIND PEOPLE OF THE MAGIC OF CHRISTMAS THROUGH A CHILD’S EYES AND INSPIRE THEM TO THINK HOW THEY CAN MAKE THE FESTIVE SEASON EXTRA SPECIAL...” CRAIG INGLIS, MARKETING DIRECTOR, JOHN LEWIS, MARKETING MAGAZINE
Once in store, customers can then explore Monty’s winter garden, adopt a penguin, look through Monty’s virtual reality goggles, and download Monty’s storytelling app.
John Lewis’ use of “narrative-based persuasion”, means that John Lewis present no facts, make no claims and do not even indicate the type of product that is sold. Instead, by telling a story, this allows John Lewis to engage with us as customers, who are now more susceptible to accept more imaginary worlds, where we then absorb ideas and emotions that we would usually filter out as untrue, but now, associate them with John Lewis. When these emotions are experienced, our emotional memory not only directly links us to the John Lewis brand, but also builds John Lewis to be a creator of the fanciful, and our salvation into reclaiming our child-like innocence. Now, it is time to push the boundaries of narrative-based persuasion, and evoke emotions that are bold and daring. Christmas can be more than a time of nostalgic longing, and can be dynamic and thought provoking,
pushing us as customers forwards into embracing the unconventional and the experimental. Christmas 2014 contributed to +2.5% of the economic growth, seeing retailer sales growing +3.6% in the final quarter. A further +2.5% growth in the economy has been forecasted for Christmas 2015, as consumer confidence remains strong. It is paramount that retailers are appealing to their target customer market during this peak-selling season. A 2013 ING Group survey revealed that the average Briton spends 17% of their monthly wages, as well as additional savings, on gifts. To continue the growth and prosperity of John Lewis’ Christmas profit success, and with John Lewis redefining their target customer into a younger demographic, the Christmas campaign needs to entice, entrance and captivate, whilst still allowing us, the customer,
49
There is great opportunity to use a creative concept that shall allure our inner child, someone who taught us the perils of gluttony, the magic of uniqueness, the power of good, and much, much more! He invited our imaginations to fly, jump, skip and summersault in realms of magic and fantasy, and continues to do so to this day.
“I THINK IT WILL TAKE US BACK TO OUR CHILDHOODS AND THAT’S SOMETHING WE TRY TO ACHIEVE AT JOHN LEWIS EVERY CHRISTMAS.” CRAIG INGLIS, MARKETING DIRECTOR, JOHN LEWIS, MARKETING MAGAZINE
Mr Roald Dahl.
m a g i c a l ly m a r v e l l o u s
to connect to our child-like innocence; letting Christmas nostalgia provide a narrative foundation, but encouraging forward-thinking innovation in order to build a sensually stimulating atmosphere.
ROALD DAHL, THE WIZARD OF WORDS
understanding. Roald Dahl’s wit, humour, creativity and family-friendly persona are traits that not only suit John Lewis, but better John Lewis’ image also.
“...IF YOUR ARE INTERESTED IN SOMETHING...GO AT IT AT FULL SPEED AHEAD. EMBRACE IT WITH BOTH ARMS, HUG IT, LOVE IT AND ABOVE ALL BECOME PASSIONATE ABOUT IT...” ROALD DAHL, MY UNCLE OSWALD
Not only does Roald Dahl offer an extensive customer scope, but also to promote and support Roald Dahl’s Marvellous Children’s Charity, which aids ill children across the UK, demonstrating John Lewis’
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November 23rd 2016 marks the sad passing of the infamous Roald Dahl, who would have celebrated is 100th Birthday on the September 13th 2016, and an opportunity to recreate his magical works alongside the magic of the festive season. An author, poet, screenwriter and committed family figure, Roald Dahl appeals to the masses. Over his extensive writing career, Dahl composed novels and short story collections for both child and adult readers, as well as, several television and movie scripts, which continue to inspire and educate even today. His most famous works include: James & The Giant Peach, The Gremlins, Chitty Chitty Bang Bang, James Bond: You Only Live Twice, and many more. As an individual, Roald Dahl is a character that appeals across the generations and to a multitude of demographics, who all share this link and
ROALD DAHL, MATILDA, 1988
key values of bettering society locally and globally. Using Roald Dahl’s works as the visual and narrative concept behind John Lewis’ Christmas 2016 campaign provides a tangible backdrop that can be easily translated
This is best achieved through the technological advancements that allow the physical realisation of the fanciful, providing a multi sensory experience that is interactively engaging. Window displays that utilise colour, light, shape, sound, smell and touch, integrating social media and advertising for both online and televised broadcasting, will aid in the recreation of Roald Dahl’s fantastical worlds, and promote John Lewis as a cutting-edge and pioneering entity that shall be our unique selling position.
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“NEVER DO ANYTHING BY HALVES IF YOU WANT TO GET AWAY WITH IT. BE OUTRAGEOUS. GO THE WHOLE HOG. MAKE SURE EVERYTHING YOU DO IS SO COMPLETELY CRAZY IT’S UNBELIEVABLE...”
across multiple promotional platforms in order to create a consistent theme that is identifiable and coherent. The fictional worlds that Roald Dahl has created also permit manoeuvrability in unconventional and experimental creativity, which shall build a strong Christmas promotion that fascinates and captivates the target audience.
MAGICALLY MARVELLOUS 2016
The heart of a brands’ success lies in its marketing, and the success of a campaign can aid in the representation and interpretation of the brand and the image the brand wishes to convey. Promotion is a multi-faceted entity and when each integrated together, as well as taking into consideration the 7P’s of the marketing mix, the full strength of the marketing campaign can be fully realised. The many faces of the promotional mix continuously grow as we develop more ways to communicate and interact with the John Lewis customer, nationally and globally. The key areas of promotion can be simplified into seven distinct categories: Advertising, Personal Relations (PR), Visual Merchandising (VM), Sales Promotion, Guerrilla Marketing, Direct Marketing and Digital & Social Marketing. If one of these aspects fails, the effectiveness and
efficiency
of
the
campaign
will
be
affected.
I wish to focus on the importance of strongly linked visual window displays and TV advertisement, that shall also be available online via a specially developed microsite accessed through John Lewis’ main website page, YouTube and Vimeo, in order to ensure maximum exposure.
“IF YOUR STORIES ARE ALL ABOUT YOUR PRODUCTS AND SERVICES, THAT’S NOT STORYTELLING. IT’S A BROCHURE. GIVE YOURSELF PERMISSION TO MAKE THE STORY BIGGER.” JAY MAER, MARKETING CONSULTANT, JAYBAER.COM
ADVERTISING
PRICE
PUBLIC RELATIONS
POSITIONING
VISUAL MERCHANDISING
PROMOTION
SALES PROMOTION
PLACE
GUERRILLA MARKETING
PACKAGING
DIRECT MARKETING
PEOPLE
DIGITAL & SOCIAL MARKETING
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PRODUCT
In the reimagining of Roald Dahl’s fantastical works, this innovative concept provides the opportunity to be creatively diverse, translates cleanly across a marketing strategy that utilises all multi-platform opportunities available, and, showcases John Lewis’ novel and fresh approach to the promotion of the festive season. Visual merchandising and TV advertisements are two of the first points of contact that John Lewis has with their customers, and it is these contact pointsthat need to leave an impregnable impression in order to remain at the forefront of the competition.
“IT IS YOUR IMAGINATION THAT NEEDS TO BE STIMULATED. ONCE THAT HAPPENS, THE REST IS EASY.” VISUAL MERCHANDISING: WINDOW & INSTORE DISPLAYS FOR RETAIL, 2011, P. 6
Window displays are the face of a brick-and-mortar store. Visual merchandising is the presentation of merchandise at it’s best; colour coordinated, bedecked and selfexplanatory, however, window and in-store displays need to offer more than just product, but provide a pizazz, vivacity, sparkle and shine, which encompasses the presentation of merchandise and makes a shopper stop, look, and invest. It is not only the presentation of merchandise that is important, but also the presentation of the brand itself. A means to forward a store’s marketing goals, and describe them; the window displays are the face of the store and the brand. However, we are in a time, where the high street is having to battle for survival as the accessibility and ease of online shopping grows. John Lewis themselves reported a +42.2% increase in Christmas 2014 online sales
“RETAIL WINDOWS... THEIR PURPOSE BEING TO CREATE EXPERIENCES...THAT GENERATE SALES, COMMUNICATE A BRAND AND CULTIVATE...CLIENTELE.” FOREFRONT: THE CULTURE OF SHOP WINDOW DESIGN, 2005
and alluring, and by breaking the glass barrier between the street and the store, it is this technology that will revolutionise the art of window displays.
Roald Dahl provides the perfect platform for this unique approach, and it is only with technology that we are able to recreate the fantasy and allure that surrounds his works. What is important is that John Lewis does not simply copy Roald Dahl’s characters, but reimagines them in a current and contemporary reinterpretation, that is culturally and socially provoking that shall stun and amaze passers-by. Focusing on some of Roald Dahl’s most famed creations, and using technology developed from the technology used in the Selfridge X Nike 2012 Kinect sensor powered window displays, the aim is to create interactive displays, using smell, touch, sight and sound, as well as utilising the power of smartphone technology to share and communicate via social media, using the hashtag #MagicallyMarvellous, which shall be the proposed slogan for John Lewis’ Christmas 2016 marketing campaign.
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compared to Christmas 2013; but the high street is NOT a lost cause, but simply needs to reinvent itself to regain the charm and attraction that only the high street can offer. Technology has grown in popularity and appeal due to its ability to be multi-sensory stimulus that is interactive
These displays can include: blowing on the window to inflate Roald Dahl’s champion gum-chewer, Violet Beauregarde into a blueberry that fills the window, or, photographing a pixelated window backdrop, that is then magically transformed into a distinguishable image, and share via social media sites, such as Twitter and Facebook. Each display will have an individual digitally
enabled quality that is designed to encourage and reward interaction with the John Lewis brand. The four themes have their own colour palette that promotes the essence of the narrative behind each display. Accompanied with atmospheric lighting, the meaning and psychological associations combined the specific colour, will power the emotions and responses of the display. For example, the Willy Wonka themed display, will incorporate mauves, often associated with a mystical regal-ness and rich in form and taste, electric violets and sweet cherry reds, colours already associated with the festive season, but also promotes elation and youth with twinkling lights to create a magical and an unearthly aura. The James And The Giant Peach display incorporates warmer toned colours, such as fruity peach, soft pinks and
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Displays will be orientated around four of Roald Dahl’s iconic works demonstrating his skill in writing for both book and screen; James And The Giant Peach, Willy Wonka from Charlie And The Chocolate Factory and Charlie And The Great Glass Elevator, James Bond: You Only Live Twice, and Fantastic Mr Fox. There will be the opportunity to showcase a broader range of Roald Dahl works through a TV advertisement that visually correlates with the window displays.
earthy oranges. These colours suggest an affectionate and happy excitement, which glows with the aid of incandescent coloured lighting filters, emanating a hypnotic ecstasy. The other essential components that build a successful window display, such as, graphics, composition, mannequins and props, will contribute to building the overall image. What is important about these John Lewis displays is that they stand out against their twee and mundane competitors, and instead are unusually provocative and daring. Willy Wonka is no longer a jolly chocolatier, but a crazed individual of mystical mayhem, James Bond’s violent eroticism stands out against the gentleman charisma, Mr Fox’s playful charm, outshone by his eerily devious cheek. These displays will give back John Lewis’ window displays its drama, its sparkle and its shine!
“THE FIRST STEP WHEN DESIGNING A WINDOW IS TO DEFINE A THEME & THE SPIRIT... THEN...THE IDEA, THAT VERY SPECIAL IDEA THAT WILL MAKE THE DIFFERENCE VISUALLY.” VISUAL MERCHANDISING: WINDOW & INSTORE DISPLAYS FOR RETAIL, 2011, P. 50
Saks 5th Avenue unveiled a stunning Christmas 2014 display, partnering with film director, Baz Luhrmann, and costume designer, Catherine Martin, taking advantage of their own theatrical insight, to create a dramatic and visually arresting spectacle. To showcase John Lewis’ own dramatic take on the Roald Dahl works, a partnership with Tim Burton will be an impressive asset to the visual merchandising team,
showcasing his own dramatic artistry and supporting collaboration within the creative industry. These specialised displays will be found at John Lewis’ key stores, in order to receive maximum exposure. John Lewis’ flagship store on Oxford Street London; the new flagship department store in Birmingham, New Street Station, where work is due to be completed in September 2015; and the much anticipated, Leeds’ Victoria Gate. A four storey, £650 million retail development department store, which is planned to open in late 2016. The promotion of these displays will be aided through external sources, such as the promotion of the incredibly popular Oxford Street’s Christmas Lights event, and Christmas window display articles. These displays will also be available to be seen online through a microsite that is accessible through the main
and a demand from the John Lewis customer. John Lewis’ advert is a highlight of the Christmas period, and building up tension and excitement, maintains the essence that John Lewis’ advert is not merely a retailer’s promotional ploy, but an event that stirs delight and joy across the nation.
In order to convey a continuous narrative throughout the promotional platforms, visual links between the TV advertisement and the window displays is important, in order to highlight a clear correlation between the two promotional tactics. Where the window displays are designed to take a step towards the unconventional and daring, in order to promote a new forward-thinking and pioneering John Lewis, narrative-based persuasion advertising has proven to be successful in engaging and procuring customer support, but also is a John Lewis trademark
Incorporating sound in a TV advertisement can help build upon the atmosphere created by the onscreen visuals, and the Magically Marvellous advertisement for Christmas 2016, will stray away from famed songs covered by famed artists, but instead promote new and upcoming talent. The Magically Marvellous musical soundtrack, is beautifully tranquil and romantic, sung by Louisa Wendorff, with her own song, ‘Every Little Thing’. Advertising also provides an ideal launch pad for celebrity endorsement, and as the grand-daughter of the
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John Lewis website and smart-device app, that also enables the same digital interaction that can be experienced at the store, for example, blow into your phone’s microphone to blow up Violet Beauregarde into a blueberry, that fills the screen.
infamous Roald Dahl himself, Sophie Dahl shall step into the spotlight for this festive campaign. As the inspiration for the character of Sophie, the BFG’s helpmate in Roald Dahl’s book, The BFG, Sophie Dahl’s fashion credentials are well known, finding fame as a fashion model when she was signed to the modelling agency Storm, by Vogue stylist, Isabella Blow. Now a talented writer, loving wife and devoted mother, Sophie Dahl’s national popularity and fame, is the best link between the audience and Roald Dahl himself. Sophie Dahl will be a key character within the TV advertisement that shall feature many of Roald Dahl’s characters, brought to life with the aid of CGI-animation, and vast array of products that John Lewis has to offer. This advert shall be the next jewel in the John Lewis crown. Initially, the promotion of the advert will be a series of
“THE KEY TO CHRISTMAS ADVERTISING IS MAKING IT AS SIMPLE AS POSSIBLE & EVOKING AN EMOTION THAT EVERYBODY CAN CONNECT WITH.” SHELBY HASLAM, HEAD OF PR & PLANNING WARE ANTHONYRUST, CAMBRIDGE NEWS, 2014
5-second unbranded teasers with a simple backdrop of starry skies, or a glowing smile from Sophie Dahl in a festive themed setting, and cheeky jingle of bells with the “Magically Marvellous” slogan clearly visible alongside the #MagicallyMarvellous hashtag, with the full advertisement released mid November. Alongside the 5-second teasers, there shall also be a countdown to the unveiling of the advert, which can be found via John Lewis’ main website and the microsite, to continue the atmospheric build-up.
The unveiling of the advert will be broadcast on prime time TV via ITV, John Lewis’ usual broadcasting station. However, ITV saw a fall in viewing figures in Christmas 2014, competing against the more popular BBC Christmas offerings. ITV’s 1.39million all-hours audience, a 15.7% share, fell -8% compared to last year’s 1.51million, a 16.3% share, according to a Broadcast Now report using Barb data supplied by overnights.tv. This was mirrored by its primetime performance (7pm10.30pm), which dipped below the 5million viewer mark. It fell -8.1%, from 5.33million (22.5%) viewers in 2013, to 4.9million (21.4%) 2014, due to popular shows, such as The X Factor and Britain’s Got Talent, being not as compelling as they have been in the past. To ensure strong publicity, promotion through online platforms is an essential part of spreading the advertisement. So not only will the advert be broadcast on television
and digital signage in all John Lewis stores, but shall also be available for viewing online.
WHILE FACEBOOK REMAINS THE MOST USED SOCIAL MEDIA SITE FOR FASHION...ONE FIFTH OF 16-24s USE YOUTUBE FOR INTERACTING WITH FASHION BRANDS.” MINTEL, USING ONLINE VIDEOS FOR FASHION
YouTube and Vimeo are, at present, the most highly used online video platforms, with YouTube alone drawing in over 1 billion users, with half of YouTube views made via mobile devices. John Lewis can take advantage of this opportunity, not only having the advert available for viewing via its
The promotion of Roald Dahl’s Marvellous Children’s Charity shall also be an advantage in this marketing campaign, where a percentage of profits are donated to the charity, not only fulfilling the traditionally festive John Lewis heart-string-twang charm, but also continuing to appeal to the sentimental John Lewis customer. Supporting this charity for the festive season, will evidence John Lewis’
key values of bettering and aiding society, and, procures a positive brand image that shall appeal to the masses. Who would want to deprive someone of a “magically marvellous” Christmas?
“THE AVERAGE BRITON PLANS TO SPEND 350POUNDS ON FESTIVE GIFTS...110POUNDS HIGHER THAN...FRANCE & LUXEMBOURG...” LEE BOYCE, THIS IS MONEY
The effectiveness of this particular Christmas promotion, may be reflected through profits and the increase, or decrease, in sales; however other means of measuring success may also include: clip reports - that give details on which publications the coverage appeared, the topic of the article published and the circulation of the
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own YouTube station, but also being shown as adverts that are placed on other YouTube videos. YouTube also enables linking videos with other social media sites, which broadens John Lewis’ market potential. Alongside Sophie Dahl’s celebrity endorsement, revolutionary window displays, and traditionally heart-warming TV advert; other promotional strategies can include: a specially created smartphone app, in-store events, and prize winning golden tickets found in John Lewis products.
publication, both printed and online. ‘Share of voice’ the comparison of media coverage compared to main competitors, determining who got the most coverage, and finally, ‘audience sentiment’ - a time consuming process, but extremely valuable, whereby surveys are published and distributed to customers for feedback, which can then be analysed and reflected upon. The aim of this “magically marvellous” Christmas campaign is to push the John Lewis image as an unconventional, highly creative and highly interactive brand that appeals to the younger target demographic. To be the centre of attention, the brand that is the most exciting and the most exhilarating, with customers, old and new, who not only admire John Lewis’ daring, but wishes to be part of this new and exciting brand direction. Have a Magically Marvellous Christmas!
“AND ABOVE ALL, WATCH WITH GLITTERING EYES THE WHOLE WORLD AROUND YOU...THOSE WHO DON’T BELIEVE IN MAGIC WILL NEVER FIND IT.” ROALD DAHL, THE MINPINS, 1991
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Sender. T, MINTEL (27th February 2015) Using Online Videos For Fashion, http://academic.mintel.com/display/731604/?highlight [Accessed 23rd March 2015] Short. S, (Autumn 2014), Which Innovation Can You Not Live Without? John Lewis: Edition, Issue No. 23, p. 159 Spary. S, MARKETING MAGAZINE (6th November 2014) Watch John Lewis’ New Christmas 2014 Ad Evoke The Magic Of Friendship, http://www. marketingmagazine.co.uk/article/1320470/watch-john-lewis-new-christmas-2014-ad-evoke-magic-friendship [Accessed 12th March 2015] Thompson. H, TELEGRAPH. THE (27th November 2014) Harrods Christmas Windows Display Fine British Craftsmanship, http://www.telegraph. co.uk/luxury/design/53530/harrods-christmas-windows-display-fine-british-craftsmanship.html [Accessed 10th December 2014] Wain. N, GLOBAL BLUE (4th November 2014) Harrods: Through The Window, http://www.globalblue.com/brands/specials/harrods/harrods--through-the-window/#slide-1 [Accessed 10th December 2014] West. G, DRUM. THE (3rd November 2014) Debenhams Promotes Its Gift Offering With ‘Found It’ Christmas 2014 Campaign, http://www.thedrum. com/news/2014/11/03/debenhams-promotes-its-gift-offering-found-it-christmas-2014-campaign [Accessed 25th February 2015]
77 m a g i c a l ly m a r v e l l o u s
Rupert Sanderson’s Christmas windows at Selfridges - November 2011 (2011) Selfridges, https://www.youtube.com/watch?v=VDntPTqu-cM&in dex=1&list=PLD9DFFFA2AD9B0B0A, Youtube [Accessed 2nd March 2015]
West. G, DRUM. THE (14th November 2014) House Of Fraser Unveils ‘Be You, No Matter Who’ Positioning With First Brand TV Campaign In Over A Decade, http://www.thedrum.com/news/2014/11/14/house-fraser-unveils-be-you-no-matter-who-positioning-first-brand-tv-campaignover [Accessed 4th March 2015] WGSN (3rd November 2014) Selfridges Hits Record Sales As Domestic Growth Helps Offset International Slowdown http://www.wgsn.com/ blogs/intelligence/selfridges-hits-record-sales-as-domestic-growth-helps-offset-international-slowdown [Accessed 2nd March 2015] Wilson-Trower. V, ESSENTIAL RETAIL (27th January 2014) A Christmas 2013 Visual Merchandising Summary, http://www.essentialretail.com/news/ marketing/article/52e652b6b8567-a-christmas-2013-visual-merchandising-summary [Accessed 23rd February 2015] Wyatt. D, INDEPENDENT. THE (8th September 2014) Strictly Come Dancing Launch Beats X Factor Ratings As Entertainment Shows Go Head To Head, http://www.independent.co.uk/arts-entertainment/tv/news/strictly-come-dancing-launch-beats-x-factor-ratings-ratings-as-entertainmentshows-go-head-to-head-9717831.html [Accessed 3rd March 2015]
MAGICALLY MARVELLOUS
JOHN LEWIS CHRISTMAS 2016
EDITOR & DESIGNER: AMY NEWELL // GRAPHICS: AMY NEWELL // 3240396@LIVE.AUCB.AC.UK//ARTS UNIVERSITY BOURNEMOUTH, WALLISDOWN, POOLE, DORSET, BH12 5HH //