Research

Print is dead: How do lifestyle catalogues contribute to evolve their offering in the consumer market place?

Alice Farr Project Research DE0929 13008427 BA (Hons) Fashion Communication Northumbria University

Contents

Introduction

1-2

Methodology

3-4

Chapter 1: Lifestyle brands and the use of catalogues

5-8

Print is dead:

9-12

How do lifestyle catalogues contribute to evolve their offering in the consumer market place?

Chapter 2: Combining digital and print brand channels Chapter 3: A Multichannl business and the success of its catalogue

13-18

Conclusion

19-20

Reference List

21-22

Image Reference List Bibliography

23 24-26

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Introduction

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‘ he catalogue has fallen out of favor in the last few years as various companies decided to trim their catalogue mailings, or stop them entirely’. Cunningham (2015)

According to Lee Yohn (2015), catalogues for the fashion/lifestyle industry had great success during 2007 when catalogue mailings reached their peak. Lee Yohn states ‘during 2007 a DMA study revealed that 59% of multichannel marketers had increased their catalogue circulation from 2006, however since 2007 catalogue distribution started to decrease and during 2012 mailings dropped to its lowest level since the year 2001’.

Though many companies have decreased or ceased their mailings completely, the popularity of catalogue distribution is however increasing.

‘The catalogue has fallen out of favor in the last few years as various companies decided to trim their catalogue mailings, or stop them entirely’

Notwithstanding the uncertainty of catalogues in an online age, many brands (especially lifestyle/ fashion companies such as Toast and Boden) still produce catalogues. However, many argue that catalogues are extinct and have little value to brands. Therefore, this report aims to support the use of catalogues, by exploring two lifestyle brands. The report will assess how their catalogues evolve their lifestyle offering in the consumer market place, by acknowledging their purpose, reporting the consumers response and analysing their success in a digital denominated world.

- Cunningham (2015)

The report will focus on the importance and popularity of lifestyle brands by looking at, online brand Hush, who uses only digital and print channels to evolve its offering and The White Company, who use digital, physical and print to evolve theirs. The case studies inform and persuade the purpose and success of the role of print for popular lifestyle brands and ascertain how, as a brand channel, print has a vital purpose.

Overall, this report will explore the question ‘How do lifestyle catalogues contribute to evolve their offering in the consumer market place’. The information gathered intends to question the necessity of print and the effect print has in an age where catalogues are considered extinct.

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Primary and secondary research has been used to produce a detailed study of lifestyle catalogues and how

they evolve a brand offering. All research was conducted ethically, with no participant being exposed to harm and with all data been treated with respect.

Primary research was conducted via

Methodology

•An online survey named ‘Catalogue Popularity,’ consisting of 7 questions answered by 24 online participants to determine quantitative data, regarding who uses catalogues and why.

•Email interviews with creative director and founder of the brand Hush, Mandy Watkins. The retainer manager of The White Company, Jo Stone, and previous sales associate from The White Company, Holly Gorst. These aimed to get an insight and to understand how successful these lifestyle brands catalogues are and how they contribute to their offering.

•A focus group consisting of 4 females aged 25-40, discussing their views on Hush and The White Company’s catalogue to receive a consumer response.

Secondary research was conducted online through brand websites and relevant articles from the business of fashion and the Telegraph etc. Research also originated from literature sources to produce information on lifestyle branding and promotional brand methods such as catalogues. Analysis of further data came from Mintel.

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Over time, lifestyle brands have gained popularity in areas including health, fashion, and cosmetics, which

Saviolo and Marazza (2013, P.3) suggest ‘is due to lifestyle brands ability to inspire, guide and motivate consumers beyond product benefits alone’. Lifestyle brands have developed from producing and selling a product, to constructing a view on how we should live. This has generated increased loyalty from customers.

For example, anthropologist Ted Polhemus (1997, quoted in Saviolo and Marazza, 2013, P.9) suggests that ‘brands are signalling systems, with great communicative and symbolic power, which allow an individual who adopts them, to share a belief, to experiment with multiple personalities, interpret new ones and to make an identity’.

Chapter 1:

Grant (2007) explains that our need and desire for lifestyle brands, came about through entering a condition of uncertainty, which scientists call postmodernism. Grant (2007, P.12) states ‘the result of this is that we live with a basic uncertainty about how to lead our lives: what to wear, what to eat, how to communicate and how to get on in life. Due to this, self-help media content, which supplies answers, has been booming. And the roles of brands have now shifted and are now committed to creating new lifestyles’ whose overall aim is to aid and guide uncertainty.

Lifestyle brands and the use of catalogues

Lifestyle brands are able to connect with consumers – consequently affecting the industry. Donna Karen, American fashion designer, recently left her fashion business, ‘Donna Karen International’, for her new lifestyle - focused brand, Urban Zen (urban Zen, 2015) described as ‘A philosophy of living’. Highlighting this, Karen (2015, quoted in Lindzon, 2015)) stated: “Lifestyle is the way of the future.” suggesting her informed decision to move brands revolved around popularity of lifestyle branding.

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Urban Zen 6.

Not all lifestyle brands are formed and developed in a linear form; some are created to form a lifestyle, whereas others develop into one. An example of this is luxury designer brand, Burberry who Initially created gabardine fabric, which was used to create the trench coat, which became popular with officers during WW1, establishing Burberry as a product-based brand. This was further developed through the design of the check pattern; which gained popularity in the luxury market and then, to the masses, resulting in damage to the brand’s image. Supporting this Bothwell (2005) explains‘The brand became something of a national joke’ Saviolo and Marazza (2013, P.59) suggest Burberry saved itself by travelling in the direction of ‘proposing more youthful dynamic British contemporary lifestyle, which has been interpreted by Kate Moss; one of the few models that embodies a lifestyle.’

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Many brands describing themselves as lifestyle brands, attempt to produce a lifestyle and evolve this offering through a variety of channels, including digital, physical and print methods. Numerous brands (in addition to extensive online means) offer a print catalogue. However, some question how relevant these catalogues now are in a digital, innovative World, which is supported by brands decreasing or stopping the production of catalogue send outs. Supporting this is Wightman-Stone (2015) who stated ‘Shop Direct, which owns brands including Very.co.uk and Littlewoods.com, is stopping production of its catalogues after more than 80 years, as consumers head online’ Wightman-Stone continues to explain ‘The decision follows a dramatic decrease in the number of catalogues sent out, last season only 300,000 versions were produced, compared to more than five million, five years ago’

Online methods have been blamed for the decrease in catalogues, Grant (2015, P.14) suggests that ‘we are getting ahead of ourselves, we need to stop and consider the classic approach to developing and promoting brands’. Despite the popularity of online methods, many lifestyle brands formed by catalogues, have examined the power of both catalogue and Ecommerce, being more powerful than either method alone. Therefor, not allowing the web to destruct the use of catalogues, but alternatively to complement one another. Boden, British clothing retailer, started to examine how they can connect their digital world with their physical catalogue. Producing this vision is Hiscock (2015, quoted in Mellery-Pratt) who explains ‘The challenge we face is finding the right mix of relevant printed material to excite and engage the customer whilst complementing the digital experience, We really value the tactile experience it gives our customers. We know it’s a powerful tool and is particularly loved by our best customers who really engage with it.’ Supporting this comment is Koryl (2015, quoted in Mellery-Pratt) who states: ‘there is a niche in the market that catalogues serve, it's not like the customer is aging out. It's really across the age demographic spectrum that catalogues play a role.’

Despite this, Mintel’s (2015) clothing retailing-UK reports on Otto mail order business, stating ‘Otto group as a whole have seen strong increase in online sales, which now make up 64% of total revenue. This in turn has led to sales falling in to the traditional catalogue business. With this information Otto have disregarded the catalogue and are now becoming an online-only retailer.’ However, during the online survey - ‘catalogue popularity’ 52% of people had ordered catalogues before, although the 12% who had not, cited their reason as, increased availability of online buying and browsing. Supporting how the online brand channel has dominated the print. Despite this, 64% of participants admitted catalogues persuade them to visit brands online and in store (Appendix 1) - highlighting that catalogues do serve a purpose.

Despite this, catalogues seem to remain an incredibly common and vital tool for retailers. Mellery-Pratt (2015) highlights this through the case study of The Neiman Marcus group, who publish 100 catalogues a year under the Neiman Marcus and Horchow Brands, with combined circulation of over 37 million. The Neiman Marcus group also publish a catalogue combined with a magazine, which transcends the sales of products; this is mailed seven times annually to just over one million consumers. The president of stores and online at Neiman Marcus, Koryl (2015 quoted in Mellery-Pratt) states, ‘I think you’ve seen a lot of people abandon catalogues, but they’ve either come out since and said ‘ it was a bad decision, it was premature’ or they’ve just gone back to catalogues’. Mellery-Pratt (2015) explains that Neiman Marcus experienced a decrease in their catalogue circulation, over the past five years, although despite this, they have not adapted their strategy. Koryl (2015, quoted in Mellery-Pratt) responded by stating, ‘I can buy, quite frankly, a thousand display ads for what a catalogue costs, We're trying to make sure we're spending on a per customer basis in the most efficient way possible. Catalogues scratch the itch that certain customers want.’

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In spite of previously mentioned, online brands stopping or decreasing the production of catalogues, digital and physical methods combined to compliment one another, have gained popularity for brands using print channels. Ryan (2015) implies that print methods such as catalogues ‘drive traffic to your website’, and suggests: ‘it’s an opportunity to spread informative, engaging content’, also,‘Catalogues offer visuals and text that help shoppers make choices and, of course, suggest additional items they could purchase, as well as the psychological advantage of ‘hands-on touch’ that catalogues offer. Which highlights catalogues can compensate as a physical channel to brands that exist only online.

Chapter 2: Combining Digital and Print brand channels

Lifestyle brand, Hush is an online only brand, which started in 2003 and since then use digital and print methods only. During an interview with Mandy Watkins, creative director and owner of hush, Watkins (2015) explained that Hush has expanded in to a lifestyle, online brand and have projected this lifestyle and personality through their website, mainly on their blog, (Blog Hush 2015) including a mixture of art, food, music and fashion, emphasizing Hush’s values. Supporting this Watkins (2015) said ‘Hush is a lifestyle brand that is heavily conveyed through its website and blog, when we call ourselves a lifestyle brand, we mean, there is more to hush than a collection of products. We try to embody a life that is both aspirational but accessible.

She continues ‘How do we convey this? I hope through the products themselves and how we style them, through the tone of voice in our emails, through how we talk to customers on the phone, through our blog and social media channels’. Mandy suggests most of Hush’s promotion relies on online methods, which appear to be a successful, supported by Mintel’s (2015) Clothing retailing- UK online report, which states: ‘online sales of clothing and accessories have grown rapidly in recent years and by the end of 2015 will account for as much as 20% of the market, reaching £10.7 Billion of estimated online sales’.

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Hush explored and enhanced their brand lifestyle with the topic of ‘Hygge’ during Autumn/Winter 2015.

Hygge is a term which dominates the Danish region and was adopted on Hush’s website, blog and social media (Hush Home 2015) which announced that ‘we're celebrating all things 'Hygge' with our essential ingredients for the PERFECT cozy night in’. Russell (2015) explained,’Hygge is a term that was first formed in 18th century, Denmark and has become crucial to Danish people and their lives ever since’. There is no literal translation for the term but has been described by Russell (2015) as ‘the absence of anything annoying or emotionally overwhelming’, It is a way of life, rather than a product or object. Watkins (2015) was asked about reasons for including the Hygge lifestyle and responded by stating ‘we started Hush explicitly as a home wear brand. It was all about looking good and feeling good – and Hygge is a concept that encapsulates exactly that. We did briefly flirt with the idea of calling the brand Hygge’.

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HYGGE

Hush mails 10 catalogues annually and despite the emphasis of lifestyle through Hush’s online mediums, lifestyle imagery, text and the adoption of ‘Hygge’ all were absent from the Hush Autumn/Winter and Christmas 2015 catalogue. The focus group suggested, Hush’s catalogues lacked lifestyle content; participants explained the catalogues appeared to simply portray imagery of products (Appendix 5). Supporting the idea of Hush as product-based catalogue is Watkins (2015) who states ‘a product and lifestyle are inextricably linked, but the most important thing is always the product. If that’s not right, nothing else matters’. This could explain the catalogues content. However, Watkins (2015) continued ‘The association of the product and brand with an aspirational lifestyle is a vital part of who we are’ Despite this, the participants in the focus group disagreed. Participant 2 states ‘I don’t know an awful lot about the brand and after reading this, I still don’t’ (Appendix 5).

Hush’s first ever few catalogues appear to have had a larger focus on lifestyle content, Watkins (2015) stated that ‘we included book and film recommendations in our very first catalogue in 2003. Its all about engagement – we’d like to be a site where customers and non-customers come and while away a few minutes, as well as trusted source of recommendations.’ Watkins speaks about Hush’s online methods suggesting again that the brands main focus of lifestyle lies online. However, merging online and print together is something catalogue readers appear to want more of. During the focus group, Participant 4 selected a page in the Autumn/Winter catalogue titled ‘find us here.’ It expressed what is available online for Hush and its blog (Appendix 5). Grant (2007, P.186) states ‘a blog is a way to make a statement, a key feature of a successful blog is standing against the official establishment’ which is what Hush has achieved by allowing the blog to link from the catalogue.

This was a key feature in the focus group with participant 4 who continued to explain ’I just want to go online to see more. I’m not sure whether this page (blog page) interested me because I felt it stood out and looked so different from the rest of the content’ (Appendix 5). This example, supports Ryan’s (2015) view that print ‘drives traffic to your website’.

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Even with lack of lifestyle, Hush’s catalogue has been a successful part of the brand and its strategy.

Supporting this is Watkins (2015,) who stated: ‘The vast majority of our customers purchase online, rather than by telephone, however the catalogue is the main driver of sales, so people clearly like to browse the catalogue before going online to order’. This is supported by Appendix 1 which showed that 83% preferred to shop online rather than from a catalogue and with 64% of people stating that catalogues do drive them to look online, illustrating how print compliments the digital to evolve the brands offering more effectively than if alone.

Watkins explained that ‘Hush’s catalogue is a ‘showcase which is hard to replicate on a transactional website, the catalogue plays an incredibly important role in recruiting new customers’. This gives the catalogue the purpose of promoting and selling their products, to established and new customers. Which was supported by the Focus group as 3 of the participants had never shopped at Hush, with Participant 2 stating ‘I would love to look at the blog’ and participant 4 stating ‘I just want to go online and find out more’. (Appendix 5). This further supports that Hush’s catalogue evolves their offering through engaging customers online and through showcasing products and evolving the brand through print imagery.

Hush are not a physical brand, although Watkins (2015) stated ‘We’re really keen to bring our online world offline – so expect more pop-ups, more events and more physical manifestations of the Hush brand.’ Customers cannot experience Hush physically enhancing the vitality of the catalogue.

Considering this, Watkins (2015) was asked, whether the online blog content would ever be included in the catalogue, due to Klein (2005, P.41) stating ‘Lifestyle magazines are looking more like catalogues and catalogues have begun to look more like magazines’ Watkins (2015) responded by stating ‘Probably not.

We like the fact that the catalogue is very clean and uncluttered. That said, we are looking at different forms of publication that could bring the two together.’ This appeared popular amongst participants in the focus group, who were intrigued by Hush’s reference to the online world and lifestyle content in the catalogue. Also, the online catalogue survey showed that 28% of participants order a catalogue to purchase a product, whereas 24% order to look at the content, so combining both would be preferable (Appendix 1). Watkins (2015) suggested that Hush will keep the online and print content separate, as both are evolving their offering successfully, however they are looking at ways to improve their catalogue.

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The lifestyle brand, The White Company (TWC) uses all three-brand channels, digital, physical and

print to evolve it’s offering in the consumer marketplace. (TheWhiteCompany.com, 2015) TWC was initially created from a catalogue in 1994, when owner and founder Chrissie Rucker failed to find good quality, affordable, white bedding. Chrissie saw a gap in the market, creating a 12-page catalogue launching TWC. Grant (2007, P.93) states ‘brands are successful when a cultural idea has been put in to a product, as this anticipates and responds to something in every day life’ which Chrissie did with TWC, finding space for everyday essentials, combined with quality and luxury.

Chapter 3: A Multichannel business and the success of its catalogue

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Since creating the initial brand and catalogue, TWC have expanded to physical and digital channels. Jo Stone (2015) retainer manager at TWC head office, explained when interviewed:‘The White Company is one of the original retailers to genuinely embrace multi-channel; it is a vital part of the company's DNA.’ Being a multi-channel lifestyle retailer, has helped to enhance the brands success, Stone (2015) supports this, stating ‘The White Company has become one of, the UK's fastest-growing, award-winning multichannel retailers’. The channels TWC use, all help communicate the brand to a large customer base, as Holly Gorst, previous TWC sales associate (2015) suggest during an interview is ‘young professionals to middle aged couples’.

The White Company is described as a lifestyle brand; with owner, Rucker (2013, quoted in, Startups) stating ‘the product range broadened, from bed linen and towels it became a complete lifestyle brand.’

Stone (2015) explains TWC lifestyle’s purpose is ‘inspiring people to live in comfortable luxury’, which revolves around the brands customers, Stone (2015) states ‘Customers are attracted to our lifestyle or already have a lifestyle that fits with our brand’. Supporting this, Gorst (2015) explains that ‘The White Company uses luxury to intrigue customers and draw them in, almost by saying ‘treat yourself ’, once the initial meeting between customer and brand has occurred the customer then identifies with the luxury and quality of the product and the lifestyle that revolves around this’. It is vital for TWC to ensure lifestyle is communicated through each channel, supporting this, Gorst (2015) who states ‘Lifestyle brands have the opportunity to create a trust with their customers so they will always go to them with any essential they might need. This ultimately provides them with the longevity to survive the competition of the multitude of brands’ further supporting this is Klein (2005, P.21) who states ‘Products that will flourish in the future will be the ones presented not as ‘commodities’ but as concepts: the brand as an experience as lifestyle.’ Klein and Gorst both highlight the importance of a lifestyle concept, which TWC have adopted.

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The White Company is more advanced than Hush in terms of being a multi-channel retailer, who produce and maintain their lifestyle influence through each channel. Regarding physical channels, TWC has 50 stores and its first store, known as the Symons Street store, is referred to via the brands website (TheWhiteCompany. com, 2015) as a store which ‘brings all product ranges together in a total lifestyle concept’. Also, Dalziel and Pow, a design agency in London, created a lifestyle led concept store in Norwich for TWC with the use of projected imagery, which the agency state ‘enhanced the brand’s aspirational positioning which offered a retreat from the busy High Street’. Digitally, TWC reflect their brand and its lifestyle through its products online. For example, promoting their crockery and table wear through online blog posts (TheWhiteCompany. com, 2015) such as ‘4 steps to hosting success and ‘how to work with your Christmas table’. These elements promote TWC products, to sell and to become part of consumer lives.

Despite speculation around the use of print, Rucker (2013, quoted in, Startups) stated ‘The perception of mail order, even 10 or 15 years ago was that it was cheap, poor quality and mass marketed’ however continues to say ‘with a 28 day wait dropping to 2-3 The White Company grew by over 40% each year for much of its first decade.’ TWC catalogue is incredibly important to the brand as The White Company developed from a catalogue of 12 pages, now increased to 148 pages. Stone (2015) explains ‘We send around 850k-1m brochures in our main seasonal mailing, and often follow up to around 75% of the database with a 2nd brochure in the season’. Which is Considerable as Appendix 1, suggests that over 83% of participants prefer online methods of browsing and buying. However, Gorst (2015) supported the need for TWC catalogue, claiming: ‘during my time working at TWC, customers would ask for the new catalogue, there is a fascination to see how the products are photographed and displayed’. Gorst (2015) continues ‘The White Company take pride in displaying the products in ‘their catalogues, providing a little narrative for the reader to follow I think that’s something that not all brands do’ which highlights the catalogue is more than a product based book.

Supporting this participant 2 stated after looking through the two White Company catalogues ‘you can just picture what everything would feel and smell like, which I think for a catalogue is so important and actually maybe quite rare’ (Appendix 5). This comment highlights the physicality TWC catalogue brings to the consumer, also evolving their products through the catalogue, promoting the brands personality, senses and use of lifestyle. This is incredibly important and has helped TWC catalogue evolve their lifestyle offering.

They have successfully developed a brand not a product, which Klein (2005, p, 3) expresses is incredibly vital ‘During the mid 1980s an idea was developed by management theorists which suggested that successful corporations must primarily produce brands as opposed to products’.

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Although most of the focus group agreed, participant 3 explained the catalogue gave an unrealistic perception of a lifestyle. Therefore, no connection between brand and consumer was made. Supporting the views of participant 3, Walden (2010) who states ‘catalogues such as the White Company are telling us how to be married, to do our parenting and whom to vote for’ Walden (2010) continues to say ‘What good is a his-andhers set of hooded hydro cotton bathrobes from the White Company if your bathroom tiles are crosshatched with mildew and your husband looks like a portly snow-gnome in his?’ also suggesting TWC is unrealistic and slightly invading. In response, participant 1 explained ‘though the lifestyle wasn’t impossible to have, it was the desire to have it which the catalogue created’ she continued ‘even if I was to receive a candle, or treat myself to some bedding, I would feel like I got a bit of it or slightly closer.’ (Appendix 5) Which suggest the catalogue is persuading us to buy in to the brand despite how much.

Helping The White Company’s catalogue to evolve their offering is its layout. Stone (2015) explained the catalogue is split in to sections such as (fragrance, clothing etc.) the pages are evaluated by what sells best and what utilizes the catalogue space specifically, combined with the look of the white company catalogue. Stone continues to explain ‘The quality of our products plus the stunning photography we use undoubtedly make up important elements of the catalogue, at the same time it is vital to keep true to the brand and tell a story throughout by sharing what our customers think, what our Founder recommends (i.e. Chrissie’s Christmas table tips) and where we source our products from,’ suggesting the catalogue is much more than a product based book, unlike how the focus group described Hush’s print channels (Appendix 5).

The catalogue appeared to evolve TWC offering by inspiring consumers through its imagery and text.

Participant 2 stated ‘I feel so inspired to decorate, to have a dinner party to cook, I feel like it presents products in a way that inspired me to do so many things…which is surprising because I’m not even a house decorating type.’ This comment is unsurprising according to Frings (2002, P.80) who stated ‘catalogues are essentially free magazines though many designers use them for ideas’, permitting us to see alternative uses of catalogues other than to sell. Supporting this, Stone (2015) stated: We want to keep the customers engaged with the brand itself and truly loving every part of The White Company beyond just the product they are buying,’ suggesting TWC potentially evolves their offering through their catalogue by bringing TWC in to people’s lives even before they have purchased a product, showing TWC catalogue enhances the lifestyle concept.

The White Company catalogue has a variety of purposes and is mostly successful because it works alongside the other channels. Rucker (2013) states ‘The three areas of the business talk to each other, we’ve got customers that shop all three ways.’ Firstly, the catalogue acts as a reminder; Gorst (2015) suggests ‘the catalogue is successful when customers who are in store can take a copy away to remind consumers, rather than being the main attraction of sales like they might have been years ago’. Secondly, The White Company’s catalogue combines selling and non - selling elements to promote the product, brand and lifestyle. Stone (2015) explains that ‘there is so much added value from the story telling but at the same time marketing has targets to hit and merchandise teams have X number of items to sell. However there is a fine balance between making sure we are selling products as much as possible but not losing the story telling to ensure the catalogue has non-selling elements throughout’. Thirdly, the catalogue analyses the brands customer data, Stone (2015) states ‘We always monitor the impact of the catalogue through holdback cells and consistently see that customers who receive the brochure go on to perform around 60-70% better than those who don’t’.

The White Company is a great example showing how a brand can use print to compliment other brand channels and to evolve an offering by communicating a lifestyle through text and imagery.

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This report acknowledged the uncertainty of the use and affectivity of print channels in terms of catalogues in the fashion/lifestyle industry. Many brands have ceased or decreased their catalogue send outs and increased other brand channels such as digital and physical. However, this appeared to be due to catalogues not being utilised to achieve their full potential, permitting other channels such online methods to overshadow them. This gave consumers and brands a negative view of printed channels.

Despite this, the report highlighted there is still many who believe catalogues have a firm place in the industry with Koryl (2015, quoted in Mellery-Pratt) stating ‘Catalogues scratch the itch that certain customers want’. This was further investigated through looking at popular lifestyle brands that produce more than just a product.

Hush and The White Company highlighted how catalogues do have a purpose and can work effectively to evolve their lifestyle offering. Both brands use the catalogue in different ways. Hush appeared to lack engaging and lifestyle content through its catalogue in the opinions of the focus group (Appendix 5) and doesn’t directly evolve its offering through its catalogue. However Hush uses the minimalistic imagery and feel of its catalogue to entice consumers and leave them wanting to know more about hush and its lifestyle, in turn attracting them to their website. Hush effectively use the catalogue in conjunction with its digital channel, evolving its online offering through print.

Conclusion

The White company as a multi channel retailer also interlink its catalogue with the other existing channels but also produce lifestyle content and story telling which convinces and persuades consumers that their products will enhance their lifestyle. The White Company also uses their catalogue to make informed brand decisions by analysing customer data. Therefor The White Company are not only able to evolve their lifestyle offering but are able to improve it.

Overall, the report has acknowledged there is a constant need for lifestyle brands to engage with consumers and this will never diminish. Because of this, there will always remain a place for catalogues if used correctly, as they maintain consumer relationships, differentiate brands from one another and if used in conjunction with other brand channels, have the ability to create valuable brand experiences.

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Russell, H. (2015) The telegraph: Get cosy: why we should all embrace the Danish art of 'hygge'. Available at: http://www.telegraph.co.uk/wellbeing/mood-and-mind/Danish-cosy-hygge-lifestyle-cosiness-winterwarmth-Nordic-Danes-Scandi-home-interiors/ (Accessed 5/11/15)

Bothwell,C. (2005) Burberry Versus The Chavs. Available at: http://news.bbc.co.uk/1/hi/business/4381140. stm (Accessed: 2/11/15) Blog hush (2015) Available at: http://bloghush-uk.com/ (Accessed: 3/11/15)

Ryan, M. (2015) Business 2 Community: Print Is Dead? J.C. Penney Catalog Crunches The Data, Returns To Print. Available at: http://www.business2community.com/consumer-marketing/print-is-dead-j-c-penneycatalog-crunches-the-data-returns-to-print-01289952#3PY53YGW0XLi8fSW.97 (Accessed 2/11/15)

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Frings, G. (2002) Fashion From Concept To Consumer. 7th Edition. Upper Saddle River, New Jersey: Pearson’s Education.

Stone, J. (2015) Interview with retainer manager at The White Company head office. Transcript in Appendix: 4

Grant, J. (2007) The Brand Innovation Manifesto. The Atrium, Southern Gate, Chichester, West Sussex: John Wiley & Sons LTD.

The White Company, Online (2015) Available at: http://www.thewhitecompany.com/help/uk-stores/ symons-street-lifestyle-store/ (Accessed 10/12/15)

Gorst, H. (2015) Interview with previous sales associate at The White Company. Transcript in Appendix: 2

Urban Zen (2015) Available at: https://www.urbanzen.com/ (Accessed 2/12/15).

Hush Home (2015) Available at: https://www.hush-uk.com/home (accessed 3/11/15)

Wightman-Stone, D. (2015) Fashion United: Shop Direct to stop printing catalogues. Available at:https:// fashionunited.uk/news/retail/shop-direct-to-stop-printing-catalogues/2015051116367 (Accessed 2/11/15)

Klein, N. (2005) No Logo. Fulham palace road, Hammersmith, London: An imprint of Harper Collins Publishers.

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Watkins, M. (2015) interview with Hush’s owner and creative director. Transcript in Appendix 3

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Image Reference List

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De Rosee, S. The Telegraph ‘spreading toast: A fashion success’ Available at: http://fashion.telegraph.co.uk/ columns/sophie-derosée/TMG8018867/Spreading-Toast-a-fashion-success-story.html

Image 5: Own Photography

Hush Home (2015) Available at: https://www.hush-uk.com/home

Image 6: http://www.thewhitecompany.com (Accessed 1/1/16)

Joseph, C. And, Davies, B. (2015) The Daily Mail ‘The school dropout who became a WHITE goddess’ Available at: http://www.dailymail.co.uk/femail/article-2979856/The-school-dropout-WHITE-goddessChrissie-Rucker-couldn-t-decent-white-bed-linen-set-firm-sell-it.html

Image 7: http://www.lightlocations.com/tearsheets/?loc=forest-house-east-sussex (Accessed 1/1/16)

Knowels, J. (2014) Drapers Online ‘ video on Barbara Hoorspool for the white company’ Available at: http://www.drapersonline.com/news/video-barbara-horspool-on-plans-for-the-white-company-clothingoffer/5067216.article

Image 8: http://www.madebymonique.com/archive/ (Accessed 1/1/16) Image 9: http://www.madebymonique.com/archive/ (Accessed 1/1/16)

Laverne, L. (2012) The Guardian ‘Dressed to chill’ Available at: http://www.theguardian.com/fashion/2012/ mar/11/lauren-laverne-loungewear-slouchy Lindzon, J. (2015) Fortune: Why Donna Karen’s shift from high fashion to lifestyle brand is good business.

Available at: http://fortune.com/2015/07/06/donna-karan-lifestyle-brand Lee Yohn, D. (2015) why the print catalogue is back in style. Available at: https://hbr.org/2015/02/why-theprint-catalog-is-back-in-style Lane, H. (2007) The Guardian ‘The Bread Heads’ Available at: http://www.theguardian.com/ theobserver/2007/sep/02/features.magazine117 Mintel. (2015) ‘Ted Baker launches new lifestyle concept’ Available at: http://academic.mintel.com/display/740121/?highlight Mintel. (2015) ‘Combining fashion retailing and food service’ Available at: http://academic.mintel.com/ display/746867/?highlight Mintel (2015) ‘John Lewis launches new shopping concept’ Available at: http://academic.mintel.com/ display/745347/?highlight Mellery-Pratt, R. (2015) Business Of Fashion: Why catalogues survive in a digital age. Available at: http:// www.businessoffashion.com/articles/intelligence/in-digital-age-catalogues-still-drive-business

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Mintel (2015) ‘Clothing Retailing-UK’ Available at: http://academic.mintel.com/display/752280/?highlight

Klein, N. (2005) No Logo. Fulham palace road, Hammersmith, London: An imprint of Harper Collins Publishers.

The London Lifestyle Awards. About us. Available at: http://www.londonlifestyleawards.com/london/

Catalogue Research

Plumo online Available at: https://www.plumo.com TOAST late Autumn 2015 catalogue Quinn, J. 2015) The Telegraph ‘The White Company’s profit jumps 40pc’ Available at: http://www.telegraph. co.uk/finance/newsbysector/retailandconsumer/11337672/The-White-Company-profits-jump-40pc.html

Plumo winter’15 collection catalogue

Russell, H. (2015) The telegraph: Get cosy: why we should all embrace the Danish art of 'hygge'. Available at: http://www.telegraph.co.uk/wellbeing/mood-and-mind/Danish-cosy-hygge-lifestyle-cosiness-winterwarmth-Nordic-Danes-Scandi-home-interiors/

Lush, fresh thinking catalogue

Ryan, M. (2015) Business 2 Community: Print Is Dead? J.C. Penney Catalog Crunches The Data, Returns To Print. Available at: http://www.business2community.com/consumer-marketing/print-is-dead-j-c-penneycatalog-crunches-the-data-returns-to-print-01289952#3PY53YGW0XLi8fSW.97

The White Company. October 2015. Celebrating 21 years of white. Catalogue.

Rucker, c. (2013) Start ups: The White Company-Chrissie Rucker: http://startups.co.uk/the-whitecompany-chrissie-rucker/

Hush. Autumn/Winter 15. Catalogue.

The White Company. September 2015. Celebrating 21 years of white. Catalogue

The White Company. November 2015. Christmas starts here. Catalogue.

Timothy, S. Oneims ‘Using a brand to sell a lifestyle’ Available at: http://www.oneims.net/using-brandingto-sell-a-lifestyle/ ‘The talent’ Available at: http://www.beachtomato.com/fashion/hush/#.VjEXl9ys6bB Toast. Available at: http://www.toa.st/?gclid=CKOVnMmt8MgCFUqdGwodDsQJ0A The White Company, Online (2015) Available at: http://www.thewhitecompany.com/help/uk-stores/ symons-street-lifestyle-store/ Urban Zen (2015) Available at: https://www.urbanzen.com/ Vision of earth (2010) ‘Lifestyle brands selling people a constructed dreams’ Available at: http://www. visionofearth.org/social-change/lifestyle-brands-selling-people-a-constructed-dream/ Walden, c. (2010) The Telegraph ‘ Catalogue Lifestyle Anxiety’ Available at: http://www.telegraph.co.uk/ journalists/celia-walden/8005001/Catalogue-lifestyle-anxiety.html Wightman-Stone, D. (2015) Fashion United: Shop Direct to stop printing catalogues. Available at:https:// fashionunited.uk/news/retail/shop-direct-to-stop-printing-catalogues/2015051116367

Book research Antonio, S. and Marazza, S. (2013) Lifestyle brands, A guide to aspirational marketing. Basingstoke, Hampshire: Palgrave Macmillan.

Frings, G. (2002) Fashion From Concept To Consumer. 7th Edition. Upper Saddle River, New Jersey: Pearson’s Education.

Grant, J. (2007) The Brand Innovation Manifesto. The Atrium, Southern Gate, Chichester, West Sussex: John Wiley & Sons LTD.

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