A CONTEXTUAL MARKETING REPORT FOR THE REIMAGINED HMV
you are what you listen to
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table of contents
TABLE OF CONTENTS INTRODUCTION 03. introduction
EXECUTIVE SUMMARY 06. executive summary 07. the nations favourite entertainment retailer
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08. his masters voice through the decades
SITUATION ANALYSIS 10. the digital revolution on the music industry 12. the people buying music in its best form 13. internet meets retail 15. market segmentation
COMPETITIVE ANALYSIS 19. identifying the competition 21. Rough Trade SWOT analysis 22. Urban Outfitters SWOT analysis 24. Amazon SWOT analysis
CONSUMER ANALYSIS 25. the HMV consumer 26. customer pen portrait
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BRAND ANALYSIS 29. the HMV brand essence & proposition 31. identity 33. HMV brand analysis 33. HMV SWOT analysis 34. HMV brand onion
INTEGRATED PROMOTIONAL STRATEGY 35. the strategy 35. AIDA 36. the re-launch 37. com munications theory his masters voice
39. the brand experience 41. HMV X BLITZ 42. HMV X GRIND X GRINDSMITH X SILO
CONCLUSION 45. plan s for the future 46. conclusion
APPENDICES 47. appendices
LIST OF ILLUSTRATIONS 53. list of illustrations
BIBLIOGRAPHY 57. bibliography
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V O I C E
M A S T E R S
introduction
H I S
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HMV
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introduct ion
INTRODUCTION
THIS REPORT AIMS TO EXPLORE THE BENEFITS OF A DYNAMIC RE-BRAND FOR HMV USING METHODOLOGIES
AND IDENTIFY ELEMENTS THAT WILL BE REVAMPED IN A MORE RELEVANT WAY THAT IS ALIGNED TO TODAY’S TECHNOLOGICALLY ADVANCED CONSUMER. THE MAIN OBJECTIVE IS TO CREATE AN IMMERSIVE AND FRESH APPROACH TO THE CONSUMER EXPERIENCE.
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THAT INCLUDE PRIMARY AND SECONDARY RESEARCH,
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FIGURE one
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executiv e summary
EXECUTIVE SUMMARY Thanks to the continued perseverance of online, retail the way in which consumers shop today has changed and it requires businesses to rethink the way in which they run and present their bricksand-mortar stores. Shopping now consists of
shop in multiple ways, checking a stores website, visiting stores, reading reviews and making price comparisons with smart phones whilst shopping” (Clark, 2013).
“Ownership of smart phones (87%) and tablet computers (59%) peaks amongst the most affluent adults, making it much easier and more convenient to find the best price and locate discounts” (Mintel, 2013). John Lewis has named them the “Master Shopper”.
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multichannel retailing, meaning “customers now
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executive summary
THE NATIONS FAVOURITE ENTERTAINMENT RETAILER HMV is a respectable British brand who, since opening in 1921, has worked its way up to become the country’s leading specialist music retailer and go-to vendor when it comes to entertainment. Throughout the years they have built up an extensive product range including music in physical and digital forms, books, magazines, posters, video games, DVD’s, technology and merchandise. Unfortunately the HMV story has not always been a happy and successful one.
The first section of the report will analyse the state of the music industry after being hit by the digital revolution and illegal downloads to determine whether there is still a market for a chain that sells physical copies of music. FIGURE two
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HIS MASTERS VOICE THROUGHOUT THE D E C A D E S
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FIGURE three
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FIGURE four
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THE DIGITAL REVOLUTION ON THE MUSIC INDUSTRY
The digital music revolution enabled the likes of
The first decade of the 21st century saw
music to be exchanged freely (illegally), iTunes,
extraordinary changes within the music industry,
who contributed to the fall in album sales, being
essentially changing the relationship between
the first to allow the purchase and download of
artists, record companies, promoters, retail music
single songs and more recently music streaming
stores, the technological industry and consumers.
services such as Spotify and other music streaming
“Conventional wisdom has always suggested
services. In response to this technological surge
that the Internet spelled the end for physical
HMV decided to supply customers with other
entertainment stores” (Bayley, 2016) and it did
forms of entertainment including DVD’s and
for Zavvi (formerly Virgin Megastore), Borders, Our
games, when all their consumers wanted was a
Price and Woolworths.
place to go to discover new music.
Napster, a peer-to-peer network that allowed
“
WE USED TO BUY A LOT OF RECORDS FROM HMV. BUT SINCE IT BEGAN TO MOVE TOWARDS BEING AN ENTERTAINMENT SUPERMARKET, THE SELECTION OF MATERIAL ON OFFER
”
FOR A BLOKE SUCH AS MYSELF BEGAN TO SHRINK. (BBC, 2013)
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Radio 6 DJ Steve Lamacq said
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HMV refused to believe that digital downloads and e-commerce was here to stay, assuming they were passing trends, which meant their “business model had simply become increasingly irrelevant and unsustainable� (The Guardian, 2013) and led them down a slide into administration. After the knock-on effects of legal and illegal digital music on the physical music market, there are serious questions as to whether there is still a feasible market out there for hard copies of music. FIGURE five
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FIGURE six
THE PEOPLE BUYING MUSIC IN ITS BEST FORM “UK consumers purchased £514.5 million of physical music in 2015, that was over double the amount of money spent on subscription services,” (Music Business Worldwide, 2016) which accumulated to 49% of all music sales within the country. The vinyl revolution has come as a pleasant surprise to the music industry; in 2015 NME stated, “sales of vinyl have increased by almost 200% since 2009.” These encouraging figures help determine who the re-branded HMV will be aimed at; “the fact is that different formats provide different benefits to different
owning music and entertainment in its physical form.
HMV now recognizes that “in an increasingly digital age, vinyl records can provide a deeper, tactile connection to music that resonates with some of the biggest fans” (Friedlander, 2015) and so they will fill a gap on the high street throughout the UK by providing these people with a place where they can go to listen, feel and be part of a community.
E-commerce has not only had damaging effects on the music industry, but on retail as a whole and it is crucial to understand what these effects mean to successfully build a fresh, contemporary re-brand for HMV that responds to the previously outlined changes.
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groups of entertainment fans” (Ingham, 2016) and HMV will be for those who are appreciative of the values of
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situation analysis
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INTERNET MEETS RETAIL Online shopping has now become so big that for “many shoppers, the internet is the first port of call before they make a purchase” (Fourth Source, 2013).
Shopping over the Internet often offers cheaper alternatives, a wider range of choice, product reviews, delivery when and where suits the customer, no queues and what makes it even more appealing is that it is all accessible from the comfort of your own home. This is of course having negative effects on physical retailers such as HMV, and explains why, “In Europe as a whole, online retailers are expanding 14.2 times faster than conventional outlets creating major strategic issues for stone based retailers.” (Retail Research, 2015)
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FIGURE eight
These figures show that there is a need for change within the physical retail sector. Whilst HMV
for them to engage with it by taking advantage of it to strengthen the brand and what it offers. They should strive to create a new brand story and experience within their bricks-and-mortar stores in order of differentiating it from the online shopping experience. “The high street needs to re-new itself if it wants to survive and work with the Internet rather than see it as a threat. It needs to offer a special experience they [the consumers] cannot get online.” (Peston, 2013)
To create an efficient retail model for HMV that attracts customers into store and meets the aim to fulfil the needs of today’s technologically advanced consumer it is essential to first of all realise the market segment that they should aspire to target. FIGURE seven
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cannot escape the digital revolution, it is possible
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situation analysis
“
UNTIL NOW, NO ONE HAS HAD THE FACTS TO BACK UP ASSUMPTIONS ABOUT WHAT HAS NUDGED UP VINYL SALES, AND IT’S
”
WIDELY THOUGHT TO BE HIPSTERS.
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(THE GUARDIAN, 2015)
FIGURE nine
MARKET SEGMENTATION Taking the research so far throughout the report
The niche group of consumers that have been
into account it is possible to outline the market
identified may have differentiated music tastes but
segmentation for the reimagined HMV, which will
they all have this in common; they appreciate the
allow them to accurately narrow the focus on
simplicity and rawness of owning physical copies
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of music and other forms of entertainment. They are aware that not only does an LP sound better
“In 2013 the 18-24 year olds drove the growth, but
on a turntable, but that you actually own a copy
in the last 12 months [2014] the biggest growth
of the music, whereas when you buy or listen to
area has been 25-34’s (26% bought vinyl in the
music digitally most companies will not give you
last month, up from 9%). IMC’s research identified
the right of ownership and instead just listening
some of the reasons for the formats resurgence as
rights that can be revoked at anytime.
being about sound quality, the sleeve artwork and collecting.” (IMC Unlimited, 2014) This means that the HMV market segment cannot be defined by consumer generations/age alone, as it is apparent that a wide range of age groups has a passion for physical music.
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A
T
S
S
O
H
I
P
S
T
E
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16
R
“Hipsters” are renowned for sharing this appreciation. The term “hipsters” refers to a contemporary subculture that is made up of independent thinking, creative and intelligent people and it is they, according to The Guardian, who are feeding the vinyl revolution. ‘Hipsters’ tend to reject mainstream consumerism and strive to discover new things, whether it is music, fashion, books or gadgets.
FIGURE ten
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situation analysis
Understanding the way trends and movements are consumed can be explained through Rodgers Diffusion of Innovation (see figure thirteen) for which he identified five individuals and defined them
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by their likeliness and time to adopt innovation. Although hipsters are technically conformists within their own subculture, in comparison to the much larger mainstream mass, they are leaders of the latest cultural trends and ideals meaning that they would fall into the “Innovators” classification, which take up 2.5% of all consumers and can be defined as “adventurous people who initiate trends or adopt innovations before others, along with those that innovate and instigate subculture and street trends.” (Marketing Fashion, page 119)
FIGURE eleven
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It is also important to understand that the
FIGURE twelve
identified segmentation share the same attitudes and buying behaviours that reflect the 21st century consumer; “today’s modern consumer is technologically savvy, well informed, well connected, posting their opinions via social media and leaving feedback on products”. (Visual Merchandising For Fashion, page 162) HMV will cater for these attitudes by supplying a place like no other on the high street that this group his masters voice
of consumers will find intriguing, innovative and differentiated.
DIFFUSION OF INNOVATION (see appendix one)
FIGURE thirteen
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competitive analysis
FIGURE fourteen
IDENTIFYING THE COMPETITION Now that the market segment has been clarified, HMV can position its fresh face within the market in order to appeal to the right target audience. To do this in an effective way HMV have developed a
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positioning strategy by using a positioning map (see figure fifteen) to help locate the whereabouts of where they will sit amongst their competitors and how best to compete against them.
In the most basic way, competition can be defined by similar product offering at a specific market level. However, competition is also reliant on the requirements, needs and psychology of the consumer and the other options available to the potential customer at the time of shopping.
Taking all of these affecting factors into consideration, it is possible to identify that HMV’s main competition is going to come from independent record stores such as Rough Trade who have built up a respectable reputation for selling physical copies of music since the 1970’s. Lifestyle brand Urban Outfitters have also reached into the music market, meaning they now also deliver competition along with the online retailer, Amazon.
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M
A
R
20
K
(see appendix two)
E
T M
A
P
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FIGURE fifteen
The positioning map measures the position of HMV and their competitors by range of music offering against how easily accessible the brands are and as it clearly points out, with over 120 stores throughout the UK and their web store, HMV are the most accessible compared to Urban Outfitters who have 30 physical stores, Rough Trade who have 3 and Amazon who have none. This defines the HMV positioning strategy; they will take full advantage of their ability to reach out to a far larger number of consumers than their competitors through physical stores, which gives them a larger chance of communicating their brand story and ensuring loyal customers through the capability of making emotive connections.
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competitive analysis
Now HMV’s competitors have been identified it is possible to compose a SWOT analysis to pinpoint the individual competitor’s strengths, weaknesses, opportunities and threats (see figures seventeen, eighteen & twenty one) in order of collating and reviewing information. This framework allows HMV to figure out how exactly they can be competitive; even though Amazon is conveniently accessible they do not operate any physical store, therefore meaning there is no customer service interaction’ and can make the brand seem robotic whilst making their customers
(see appendix three)
FIGURE sixteen
ROUGH TRADE SWOT
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feel disconnected with the brand.
FIGURE seventeen
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URBAN OUTFITTERS SWOT (see appendix three)
FIGURE nineteen
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FIGURE eighteen
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competitive analysis
“
THIS TACTILE EXPERIENCE IS IMPORTANT, CONSUMERS VALUE FACETO-FACE INTERACTIONS WITH STORE
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ASSOCIATES. IN FACT, 90% OF CONSUMERS SAY THEY ARE SOMEWHAT OR EXTREMELY LIKELY TO MAKE A PURCHASE WHEN THEY RECEIVE ASSISTANCE FROM A KNOWLEDGEABLE
”
STORE ASSOCIATE.
(RETAIL TOUCH POINTS, 2015)
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AMAZON SWOT ANALYSIS (see appendix three)
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FIGURE twenty one
Moving onto the next section, the report will look at all of the research so far to form and picture a detailed representation of the HMV consumer with the intention of aligning the new brand accordingly.
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consumer analysis
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THE HMV CONSUMER Through demonstration of primary and secondary research it is possible to accurately define the consumer through a pen portrait (see figure twenty three) for the theory proposed. It is important to gain a thorough understanding of the consumers shopping behaviours and mindsets; this will help aid and draw the HMV consumer, of whom can be segmented by a number of variables (see figure twenty two). The hipster contemporary subculture is distinguished by their effort to go against the grain through consuming non-mainstream fashions, bringing features from other eras (such as the Polaroid camera) back
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into trend, and partaking in alternative lifestyles.
FIGURE twenty two
DEMOGRAPHIC men and women but mostly men ] 18-35 ] single = HEIDI’s ] couples = DINKY’s ] millennials ] british ] graphic designer ] income 25-30k ] freelance work ] middle class ]
GEOGRAPHICAL [ outskirts of London [ suburban [ flat
PSYCHOGRAPHIC AND BEHAVIOURAL active lifestyle ] conformist ] takes pride in their appearance ]
[ first time house buyers [ town house [ large town [ Reading, Chester, Brighton
all things green ] social ] reading, cycling, cooking ] savvy shopper ] vegetarian, vegan, pescetarian ]
USAGE AND BENEFIT [ quality [ rawness
discovering new found trends ]
[ originality
goes against the mainstream ]
[ timeless products
against fast fashion ]
[ collectables [ interpersonal brands [ brand loyalty tendencies [ differentiated experiences
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n
conscious
a d v e n t u r o u s
e a going
f a s h i o n
a
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family
s
y
s e n s i t i v e
m
h yp e r
c o n n e c t e d
c r e a t i v e
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consumer analysis
FASHION enjoys charity shop shopping ] levis ] converse ] ray ban ] vans ] h&m ] top man ] urban outfitters ] cheap monday ]
TECH STUFF apple ] kindle ] bowers and wilkins p5 wireless headphones ] attachable iPhone camera lenses ] go pro ] record player ] netflix account ] amazon prime ] adobe pro ]
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WISH LIST [ a.p.c [ paul smith [ pringle of scotland [ burberry [ yves saint laurent [ hover board [ apple watch [ typewriter [ move into a more family home
FIGURE twenty four
FIGURE twenty five
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Accepting the 21st century emerging consumer
trends
will
identify
their
desires, habits and lifestyle and help to decide how to adapt the HMV brand accordingly. Taking into account other retailers, brands, services and products that
may
appeal
to
the
targeted
segmented group will also be useful in backing up this section of the report. his masters voice
After collating this research it is possible to move on to determine appropriate branding strategies that are aligned to the defined consumer and that can properly cater for their desires, mindsets and habits.
FIGURE twenty six
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brand analysis
THE HMV BRAND ESSENCE AND PROPOSITION His Masters Voice’s brand essence is to deliver raw forms of music to the established musically educated, thoughtful consumers through an immersive experience that connects with them on an emotional level.
“
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DESIGNING THE CUSTOMER SHOPPING EXPERIENCE HAS NEVER BEEN SO IMPORTANT TO RETAILERS IN ORDER TO INCREASE BRAND AWARENESS AND LOYALTY AND TO CONNECT WITH THE CONSUMER ON A DEEPER
”
LEVEL
(VISUAL MERCHANDISING FOR FASHION, PAGE 9).
FIGURE twenty seven
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His Masters Voice will aim to become a place
“Over a third of smart phone or tablet owners
that attracts shoppers who want to browse its
buy products and services using their mobile
extensive range of music before deciding what
devices” (Mintel, 2013) whilst HMV now recognises
to buy. “This strategy is designed to tap into the
that e-commerce and m-commerce is here to
sense of an ideal lifestyle and as such, the retail
stay due to the fact that it is so convenient, they
space needs to be an inspirational environment
also realise that customers still prefer to shop
in which the consumer wants to spend time”
in person. “85% of consumers say they prefer to
(Visual Merchandising, page 156). HMV will use
shop in physical stores because they like to touch
creative and mindful visual merchandising to offer
and feel products before they make a purchase
the consumer a new alternative insight to the
decision” (Retail Touch Points, 2015) especially if
physical retail experience. By pinpointing the HMV
they are given a retailer to get excited about.
brand touch points (see figure twenty eight) it is possible to see how the brand will impact on its customers through interactions that could cause
FIGURE twenty eight
PRE-PURCHASE [ website [ in-store events [ social media [ PR
PURCHASE [ technological innovations
brand touch-points
HMV
[ in-store retail environment [ packaging [ uniforms [ products on offer [ limited time in-store offers [ brand story [ visual merchandising [ wide range of product offering POST PURCHASE [ quality customer service [ timeless products [ quality sound [ technical assistance [ personalised offers
HMV
FIGURE twenty nine
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both positive and negative impacts.
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brand analysis
FIGURE thirty
HMV will respond to the need for change in the retail model by adapting their business accordingly in an attempt to give them a new, more contemporary brand image. The reimagined brand offers “today’s technologically savvy shopper” a differentiated in-store experience that is separated from the his masters voice
e-commerce pathway. Technologies including iBeacons that send shoppers personalised, limited
IDENTITY
time offers via an app or Bluetooth; interactive screens that act as gig/festival planners and can be used to purchase tickets; and smart shelves that allow access to product reviews and monitor
HMV will conceptualise and transform into a hub
stock levels and misplaced items, have all been
that mixes their heritage with contemporary
incorporated into the brands bricks-and-mortar
branding, which creates a charming personality
stores to create a “consumer experience that
and is made up of a new logo, e-commerce site,
leaves a lasting imprint on the shopper,” (The
packaging and a change in the colour palette. HMV
Business of Fashion, 2015) one that cannot be
are concerned that due to the digital revolution,
replicated online.
shoppers are becoming robotic in terms of what they buy; only purchasing artists and bands they have listened to in the past, which moves onto their aim to encourage accidental discovery; to achieve this, new informative labelling will feature a brief summary of an album and recommendations on what they may also like (see figure thirty one).
FIGURE thirty one
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FIGURE thirty two The marketing environment can be separated by the macro environment and the micro environment. The macro environment refers to situations outside of the company’s control and can be defined by a PESTLE analysis (political, economic, social, technological, legal and environmental factors). The micro environment is the opposite and suggest factors that impact a company directly, affecting their ability to operate in a particular market. However, for the re-branding of HMV its is more important to place the focus on the micro environment to ensure they operate efficiently in their reimagined state.
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brand analysis
HMV BRAND ANALYSIS
From studying HMV’s micro environment it is
FIGURE thirty three
possible to compose a brand SWOT analysis (see figure thirty four) to identify internal strengths and weaknesses of HMV whilst determining their “external issues that could pose threats to the enterprise and/or its brand.” (Marketing Fashion, page 98) This will allow them to work on areas of the brand that need improving and promote those
(see appendix three)
HMV SWOT ANALYSIS
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that reflect the brand in the best possible way.
FIGURE thirty four
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BRAND ONION (see appendix four) BRAND IN ACTION Deliver an experience aligned to the brand and the customer Core focus on selling physical music
Gives consumers the chance to try before they buy
Emotive shopping environments
Mix vintage elements with modern design
Strong high street presence
Support new, up and coming bands
BRAND PERSONALITY Timeless Masculine
Hipster
Authentic
Originality
Charming
BRAND VALUES Entertainment retailer Brand story Immersive experiences Future of stone based retail
Heritage Re-imagined Music Technological Tactile
FIGURE thirty five
The brand touch points that were acknowledged earlier initiates the outer layer of the brand onion (see figure thirty five), which analyses and maps out the HMV brand identity to represent their layers; brand essence (the heart and spirit of the brand), brand values (what the brand stands for), brand personality (human characteristics of the brand) and brand in action (how the brand identity is made evident).
Now that the appropriate HMV consumer has been clarified and the new branding has been established it is time to reveal how His Masters FIGURE thirty six
HMV
Voice plans to promote itself to communicate its contemporary brand message to said consumers.
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BRAND ESSENCE
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integrated promotional plan
AIDA MODEL
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(see appendix five)
FIGURE thirty seven
THE STRATEGY HMV plans to incorporate many elements of the promotional mix to communicate with customers, achieve objectives and develop a balanced integrated promotional strategy. AIDA (see figure thirty eight) will help HMV to develop effective communication strategies and connect with their customers in an effective way that responds to their needs and desires.
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FIGURE thirty eight
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“
DESPITE ITS AGE, THE AIDA CONCEPT IS STILL IN EFFECTIVE USE BY ADVERTISERS AND COPY WRITERS, PERHAPS BECAUSE OF ITS PRECISE SIMPLICITY IN COVERING THE MAIN ASPECTS AND FUNCTIONS OF
”
ADVERTISING COMMUNICATION. (JANOSCHKA, 2004)
they are positioned in major tourist and shopping destinations, which means there is a guarantee of respectable footfall and more importantly, they
THE RE-LAUNCH
are renowned for having creative flare backed up
The main structure of the strategy will be
consumer it is clear that these are key locations
constructed by the re-launch of the modernised
to where you would find the HMV target market in
HMV, which will take the form of pop-up shops in
plenty.
by thriving music scenes. After research into the
three carefully selected locations; The Basement in Brighton, The Vinyl Factory Soho in London and
The pop-up re-launches will take place over a
The Engine Room in Manchester.
period of two weeks in the upcoming autumn (2016) after music fans have recovered from the
When looking to settle on a new retail location
summers festival season and are starting to crave
there are three things that should be considered,
that live experience again, as well as their wanting
“first is the choice of a trading area that best
buy into bands and artists after discovering them
serves the needs of the particular company,
over festival season.
second is the exploration of the available shopping districts within the desired trading area, and third is the choice of the exact site on which the store will stand.” (Fashion Retailing- A Multi-channel Approach, page 112).
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Not only are the locations spread across Britain, but
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COMMUNICATIONS THEORY
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(see appendix six)
FIGURE thirty nine
Artists and celebrities including Palma Violets,
It is important to understand and realise that
Liam Fray, Fearne Cotton and Russell Kane are all
there are always possible interferences when
opting in to help promote the fresh-faced HMV;
it comes to communicating with customers.
they and others will be making appearances
The Communications Theory (see figure thirty
at at least one of the pop-up locations over
nine) allows HMV to identify potential noise
the two weeks that they are live. Alongside live
(interference) that could get in the way of the
performances, each of the temporary stores will
iBeacon promotional strategy and any other
play host to a full schedule of diverse events with
strategies that HMV plan on implementing.
the aim of promoting new upcoming bands and artists, whilst planting an incentive to encourage the portrayed consumer to visit the store and experience the new brand story.
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FIGURE forty
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FIGURE forty one
FIGURE forty two
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integrated promotional plan
THE BRAND EXPERIENCE What will separate HMV from the competition is the way in which they communicate their brand experience, which will support the structure of the integrated promotional strategy. Undergoing consumer research unveiled that the majority his masters voice
of physical music buyers are men and so the new branding has a definitive masculine feel, yet could still be seen as attractive by women who fall into the same segmentation. Whilst HMV is forward thinking, it is also looking back in time to fulfil the identified target consumers need of discovering that old but new find; unique private listening booths meet these requirements, and the use of authentic wood and brick work should give the brand that classic, timeless image that it so deserves. This established branding should lead the way to designing and constructing interesting and interactive visual merchandising.
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FIGURE forty three
“When
executed
well,
highly-engaging
experiences can help to get people talking about a brand and potentially build up brand loyalty” (Mintel, 2015). This is what the re-imagined HMV his masters voice
is aspiring to fill. They will become one of the first venders on the high street to act accordingly to the change in physical retail; blooming into visual, tactile environments that set out their products in a more “gallery-esque” way, taking full advantage of “show rooming” and visual merchandising to offer their customers a place to “try before you buy” in a literal sense. HMV “stores will become like museums - customers will go to see something, to learn and to be entertained” (Baker, 2015).
FIGURE forty four
HMV
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integrated promotional plan
BLITZ
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TO ENRICH THE CUSTOMERS JOURNEY FURTHER, HAS
COME
INTO
COLLABORATION
WITH
EUROPE’S BIGGEST VINTAGE STORE, BLITZ AND
X
THEIR SUPPLIERS GLASS ONION AND TICK TOCK VINTAGE TO FULFIL THEIR CUSTOMERS CRAVING OF CHARITY SHOP SHOPPING TO FIND THOSE “ONEOFF GOLDEN FINDS AND TO GIVE HMV AN ELEMENT OF LIFESTYLE THAT ENCOURAGES SHOPPERS TO HMV
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HMV
BROWSE FOR A LONGER AMOUNT OF TIME.
FIGURE forty five
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HMV
THIRST FOR THE BEST BEVERAGES AROUND AND
X
THAT WILL TRANSFORM INTO A BAR FOR EVENING
SILO
A UNIQUE BRAND EXPERIENCE.
GRINDSMITH
RUN SO CLOSELY ALONGSIDE EACH OTHER CREATES
X
EVENTS. COMBINING DIFFERENT INDUSTRIES THAT
FIGURE forty six
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POP-UP LOCATIONS TO SATISFY THEIR CONSUMERS
GRIND
WITH COFFEE/TEA ROOMS THAT ARE LOCAL TO THE
X
MORE THAN THIS HMV WILL BE COLLABORATING
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integrated promotional plan
The integrated strategy will also touch on other elements of the marketing mix (see figure forty seven) to help manage the publicizing of the brand whilst incorporating it to the HMV business model in attempt of reaching and achieving the considered goals.
M A R K E T I N G
FIGURE forty seven
M I X
PLACE
T H E
[online [over 120 stores across the UK [ pop-up re-launch in Manchester, London and Brighton
[ in-store events [ industry cross overs music X fashion X lifestyle [ celebrity/band endorsement
PRODUCT
PROMOTION
[ diverse range of music genres
PRICE
[ website [ pop up launches [ press release [ limited time personalised offer
[ physical entertainment; CD’s, DVD’s, vinyl [ band merchandise [ vintage clothing [ music players
[ price matches competitors [ gigs lower price than normal [ free delivery
[ blitz [ grind [ silo [ grindsmith
PEOPLE
[ work force who are passionate about music and the brand [ tick tock vintage [ glass onion [ bands/artists
[ iBeacon technology [ high quality customer service
FIGURE forty eight
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PERSUASION
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[ social media
[ in-store tactile experience [ in-store events/gigs [ informative staff [ focus on providing music in its physical form [ product interaction (try before you buy)
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FIGURE forty nine
“Social
media
has
become
an
important
In todays digital world it is almost becoming
communication tool as it is personal and
essential
for
a
business
to
operate
an
immediate.”(Fashion Marketing Communications,
e-commerce site; Generation Z and Millennials
page 131) In attempt to respond to the hyper-
“are the savviest group of consumers, they are
connected society, HMV have re-analysed their
constantly connected” (Marketing Week) and so
presence on social media in order to identify how
for HMV to be as competitive as possible and to
it can be made stronger. Taking full advantage of
increase their market share they will continue to
these platforms, HMV will use Facebook, Instagram
be a multi-channelling retailer who allows their
and Twitter to honestly engage with their
customer to shop interchangeably between their
customers in the most non-robotic way possible.
online and physical store. The new branding will go towards developing a reimagined online store to
To go even further they will create a life on
help distinguish the difference between the two.
video messaging app, Snapchat, dedicating it to purely connecting with people rather than as a sales promotion tool. On the nights there is a gig scheduled for example, footage of backstage goings-on will be posted along with snippets of the actual event that simply aims to generate interest.
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INCORPORATING THE ONLINE WORLD
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conclusion
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FIGURE fifty
PLANS FOR THE FUTURE
To push the integrated promotional strategy
The pop-ups are simply re-launching the new
unique strategies in attempt of getting the
forward thinking HMV. Following their two weeks of
brand noticed and gaining attention. Guerrilla
being active, the original, existing stores will re-
Marketing could be used by His Masters Voice to
open with the contemporised branding, aesthetics
create unexpected and unusual campaigns that
and technologies that have been trialled through
are clever and memorable and that make them
the temporary stores. They will continue to give
stand out from the crowd even more so. It will
a fresh-minded approach to retail that delivers
be important for HMV to keep their consumers
an immersive customer experience, putting on
constantly engaged, this means they will have to
in-store events wherever possible and staying up
find new, unique ways of reflecting and presenting
to date with the latest technologies that could be
the brand. Incorporating techniques such as
used to contribute and enhance it further.
advertising, an above the line strategy through
further in the future, HMV plan to work on more
promotional film offers a new, informative way for HMV to enlighten, persuade and influence their target audience. a contextual marketing report
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FIGURE fifty two
CONCLUSION Throughout the journey of this report, both industry and market situations have been explored including the acclimatising retail industry. This has been thoroughly dissected so that HMV could develop enlightening, innovative ideas on how to
they could maintain a physical retail presence. By recognising the niche consumer segment of thoughtful individuals who still get a thrill out of buying physical copies of music, HMV can, again supply a place on British high streets for them to satisfy their craving of spend a few hours on a Saturday afternoon rummaging through stacks of diverse genres of music. Combining music, fashion and lifestyle has put HMV at a level playing field with some direct competitors, however their FIGURE fifty one
immersive brand experience that is portrayed through store visuals and aesthetics gives them a USP and a competitive advantage over said competitors. An innovative e-commerce site that is aligned to the contemporary branding, and instore technologies meets HMV’s aim to create a differentiated online experience to the offline experience; each offers something different, which encourages integrated retailing and caters for the technologically advanced consumer.
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tackle the rise of e-commerce to endure that
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appendicies
APPENDICIES
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APPENDIX ONE
ROGERS’ DIFFUSION OF INNOVATION Appendix one shows Everett Rogers’ Diffusion of Innovation from Harriet Posners’ Marketing Fashion, page 119. “Rogers identified five typed of individual classifies by the propensity to adopt innovation” (Posner, 119)
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APPENDIX TWO
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MARKET POSITIONING MAP Appendix two shows a market positioning map taken from Harriet Posners’ ‘Marketing Fashion’, page 53. “This can help pinpoint the desired position for a brand and give a visual overview of this position relative to that of competitor brands within a market.” (Posner, page52)
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appendicies
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APPENDIX THREE
SWOT ANALYSIS Appendix three shows a SWOT analysis chart taken from Harriet Posners’ ‘Marketing Fashion’, page 99. This framework collates and reviews information to help a business identify their internal strengths and weaknesses. From here it is possible for a business to “create opportunity and potential or to determine how strengths could be best employed in order to overcome threats in the market.
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APPENDIX FOUR
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BRAND ONION Appendix four shows a brand onion taken from Harriet Posners’ ‘Marketing Fashion’, page 147. This diagram acts as model that showcases a concise representation of brand identity that captures the essence, values, and personality traits. “The real benefit of the tool is its use in establishing how the identity should be made manifest in reality” (Posner, page 147).
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APPENDIX FIVE
AIDA MODEL Appendix five shows the model AIDA that has been taken from academic journal, ‘Web advertising: New forms of communication on the Internet’. “AIDA can be applied to the examination of the communication process and, as well as explaining the linguistic means used in the advertising message, it additionally shows how advertising functions.” (Janoschka, page 19)
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APPENDIX SIX
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SIMPLE COMMUNICATIONS THEORY Appendix six shows the simple communications model theory that has been taken from the ‘Marketing Communications Blog. It allows you to measure and evaluate the effectiveness of a campaign/strategy and identify any potential noise/interference it may experience.
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list of illustrations
LIST OF ILLUSTRATIONS FIGURE ONE Arctic monkeys sleeveface (2016) Available at: https://www.flickr.com/photos/55155622@N05/5171199688/ (Accessed: 26 March 2016). FIGURE TWO Bassen, T. (no date) Polaroid of couple with vinyl as heads Available at: https://uk.pinterest.com/ pin/423690277417944428/ (Accessed: 16 April 2016). FIGURE THREE Green, A. (2016g) HMV Timeline [Illustration]. . FIGURE FOUR Girl on a train (no date) [Photograph]. Available at: https://uk.pinterest.com/pin/386605949243363543/ (Accessed: 26 March 2016). FIGURE FIVE VSCO
(no
date)
‘Looking
through
vinyl’
[photograph].
Available
at:
https://uk.pinterest.com/
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pin/386605949243272782/ (Accessed: 26 March 2016). FIGURE SIX flyqueens (no date) Happiness and music [photograph]. Available at: https://uk.pinterest.com/ pin/414542340672905283/ (Accessed: 26 March 2016). FIGURE SEVEN Lucas, J. (no date) Conceptual supermarket [p]. Available at: http://herpaperweight.tumblr.com/ post/119191823171/nickelsonwooster-canvas-cc-supermarket393 (Accessed: 26 February 2016). FIGURE EIGHT Conceptual CD (no date) [Ph]. . FIGURE NINE Moyo, M. (2014) Barcode attitudes [Illustration]. Available at: http://hubpages.com/literature/Loose-Threads (Accessed: 26 February 2016). FIGURE TEN Barnfield, E. (no date) Well dressed guys [ph]. Available at: https://uk.pinterest.com/pin/464363411559881967/ (Accessed: 26 February 2016). FIGURE ELEVEN Religious, A. and Shop, G. (no date) Sorry for the inconvenience [pho]. Available at: https://uk.pinterest.com/ pin/329396160219175582/ (Accessed: 26 February 2016). FIGURE TWELVE Fortunes, B. (no date) Vinyl and sunglasses [ph]. Available at: https://uk.pinterest.com/pin/301530137530333897/ (Accessed: 26 February 2016). FIGURE THIRTEEN Green, A. (2016d) Diffusion of Innovation [Illustration]. .
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FIGURE FOURTEEN Two boys fighting (2016) [photo]. . FIGURE FIFTEEN Green, A. (2016h) Market Map [Illustration]. . FIGURE SIXTEEN Baksy (2011) ’sorry the lifestyle you ordered is currently out of stock’ [phot]. Available at: http://www.thesun. co.uk/sol/homepage/news/4011349/Two-new-Banksy-works-appear.html (Accessed: 26 January 2016). FIGURE SEVENTEEN Green, A. (2016m) Rough Trade SWOT analysis [illustration]. . FIGURE EIGHTEEN Green, A. (2016p) Urban Outfitters SWOT analysis [Illustration]. . FIGURE NINETEEN Outfitters, U. (2016b) Vintage Car [pho]. . FIGURE TWENTY Outfitters, U. (2016a) Record player with vinyl [pho]. . his masters voice
FIGURE TWENTY ONE Green, A. (2016b) Amazon SWOT analysis [Illustration]. . FIGURE TWENTY TWO Green, A. (2016n) Segmentation Variables [Illustration]. . FIGURE TWENTY THREE Green, A. (2016c) Consumer Pen Portrait Mood board [Mood board]. . FIGURE TWENTY FOUR Guy reading a newspaper (no date) [ph]. . FIGURE TWENTY FIVE Passport and glasses package (no date) [ph]. . FIGURE TWENTY SIX Girl with a vhs over her face (2015) [pho]. Available at: https://uk.pinterest.com/pin/183169909820942323/ (Accessed: 26 March 2016). FIGURE TWENTY SEVEN Outfitters, U. (no date) Let the music play [ph]. Available at: https://uk.pinterest.com/pin/387802217893089717/ (Accessed: 26 March 2016). FIGURE TWENTY EIGHT Green, A. (2016f) HMV Brand Touchpoints [Illustration]. . FIGURE TWENTY NINE Etsy (no date) Record stores can’t save your life but they can give you a better one [ph]. Available at: https:// uk.pinterest.com/pin/373658100312647414/ (Accessed: 26 March 2016b).
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list of illustrations
FIGURE THIRTY Green, A. (2016j) New HMV logo [Illustaration]. . FIGURE THIRTY ONE Green, A. (2016k) New informative package labelling [Illustration]. . FIGURE THIRTY TWO Alcaraz, B. (no date) Him and her [pho]. Available at: https://uk.pinterest.com/pin/449867450251678478/ (Accessed: 26 March 2016). FIGURE THIRTY THREE Drew, F. (no date) Music is life [phot]. Available at: https://uk.pinterest.com/pin/516436282245800592/ (Accessed: 20 April 2016). FIGURE THIRTY FOUR Green, A. (2016f) HMV SWOT analysis [Illustration]. . FIGURE THIRTY FIVE Green, A. (2016e) HMV Brand Onion [phot]. . FIGURE THIRTY SIX his masters voice
BuzzFeed (no date) vinyl collection [p]. Available at: https://uk.pinterest.com/pin/392094711285347410/ (Accessed: 20 April 2016b). FIGURE THIRTY SEVEN Jones, H. (no date) Group of friends in a photo booth [pho]. Available at: https://uk.pinterest.com/ pin/250723904226469406/ (Accessed: 20 April 2016). FIGURE THIRTY EIGHT Green, A. (2016a) AIDA model [Illustration]. . FIGURE THIRTY NINE Green, A. (2016o) Simple Communications Model [Illustration]. . FIGURE FORTY Shoreditch Grind (2016c) Neon sign in front of brick work [photo]. . FIGURE FORTY ONE Shoreditch Grind (2016a) Camping in the woods [pho]. . FIGURE FORTY TWO Shoreditch Grind (2016d) Snap of a building [phot]. . FIGURE FORTY THREE BuzzFeed (no date) House of oldies [pho]. Available at: https://uk.pinterest.com/pin/33636328445206506/ (Accessed: 9 April 2016a). FIGURE FORTY FOUR Interesting reading space (2015) [pho]. Available at: https://uk.pinterest.com/pin/386605949244040737/ (Accessed: 26 March 2016).
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FIGURE FORTY FIVE Glass Onion (2016) Vintage Denim [P]. . FIGURE FORTY SIX Shoreditch Grind (2016b) Coffee shop interiors [P]. Available at: Instagram (Accessed: 5 April 2016). FIGURE FORTY SEVEN Green, A. (2016i) Marketing mix 4P’s [Illustration]. . FIGURE FORTY EIGHT Rustic building and door (no date) [photo]. Available at: Pinterest (Accessed: 3 April 2016). FIGURE FORTY NINE Green, A. (2016l) Reimagined HMV website [Illustration]. . FIGURE FIFTY Little girl rocking out (no date) [photo]. Available at: https://uk.pinterest.com/pin/386605949243324915/ (Accessed: 26 March 2016). FIGURE FIFTY ONE Green, A. (2916) Blitz installation within HMV popup [Illustration]. .
Black and white record store (no date) [photo]. Available at: Pinterest (Accessed: 8 March 2016).
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FIGURE FIFTY TWO
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ACADEMIC JOURNALS Janoschka, A. (2004) ‘Web advertising: New forms of communication on the Internet’, Web
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Posner, H. (2011) Marketing fashion. London: Laurence King Pub.
DOCUMENTARIES Addiction, Robert Peston goes shopping - BBC Two (2013) BBC, 9 September. Revolution, Robert Peston goes shopping - BBC Two (2013) BBC, 16 September.
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high’, NME (April), . Clark, E. (2013) Online retail to hit the high street, as its revealed one in five shops ‘could close
by 2018’. Available at: http://www.independent.co.uk/news/uk/home-news/online-retailto-hit-the-high-street-as-its-revealed-one-in-five-shops-could-close-by-2018-8633791. html (Accessed: 1 February 2016).
at:
http://www.telegraph.co.uk/business/2016/03/04/bricks-and-mortar-entertainment-
stores-surge-to-record-high/ (Accessed: 28 February 2016). Moulds, J. and Bowers, S. (2016) HMV calls in administrators – putting 4, 500 jobs at risk. Available at: http://www.theguardian.com/business/2013/jan/15/hmv-administrators-4500-jobs-atrisk (Accessed: 18 February 2016). Ruddick, G. (2015) HMV reclaims position as Britain’s biggest music retailer. Available at: http:// www.telegraph.co.uk/finance/newsbysector/retailandconsumer/11549482/HMV-reclaimsposition-as-Britains-biggest-music-retailer.html (Accessed: 3 March 2016). Stanley, B. (2015) Vinyl revival: Is it back for good?. Available at: http://www.theguardian.com/ commentisfree/2015/apr/14/vinyl-revival-music-here-to-stay (Accessed: 18 February 2016).
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Davidson, L. (2016) Bricks and mortar entertainment stores surge to record high. Available
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OTHER TEXTS Bailey, S. and Baker, J. (2014) Visual merchandising for fashion. Switzerland: AVA Publishing SA. Diamond, E., Diamond, J. and Litt, S. (2015) Fashion retailing: A multi-channel approach. Third Edition edn. United States of America: Fairchild Books & Visuals. Hancock, J. (2009) Brand/story: Ralph, Vera, Johnny, Billy, and other adventures in fashion
branding. 2nd edn. New York: Fairchild Books. Holt, D.B. (2004) How brands become icons: The principles of cultural branding. Boston, MA: Harvard Business School Press.
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Lea-Greenwood, G. (2012) Fashion marketing communications. John Wiley & Sons. Morgan, T. (2011) Visual merchandising: Window and in-store displays for retail. 2nd edn. London: Laurence King Publishing.
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WEB PAGES Baker, N. (2015) ‘5 tech trends that will hit every retail store by 2020’, Forbes (April). DAY, R.S. (2016) Home. Available at: http://www.recordstoreday.com/Home (Accessed: 5 March 2016). Ingham, T. (2015) Digital album sales now declining faster than CD in the UK. Available at: http://www.musicbusinessworldwide.com/digital-album-sales-now-declining-fasterthan-cd-in-the-uk/ (Accessed: 16 February 2016). Ingham, T. (2016) Physical music dominates UK market - and it’s stubbornly refusing to die. Available
at:
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market-and-its-stubbornly-refusing-to-die/ (Accessed: 15 February 2016). Online retailing research - centre for retail research, Nottingham UK (2015) Available at: http:// www.retailresearch.org/onlineretailing.php (Accessed: 14 March 2016).
fourthsource.com/ecommerce/how-retail-has-changed-online-vs-the-high-street-14859 (Accessed: 15 February 2016). Rogers, K. (2015) Why millennials are buying more vinyl records. Available at: http://www.cnbc. com/2015/11/06/why-millennials-are-buying-more-vinyl-records.html (Accessed: 7 March 2016). Stafford, A. (2013) Communication model in marketing - part 2 of 3. Available at: http://www. marketingcommunicationsblog.com/communication-model/ (Accessed: 26 March 2016). Thau, B. (2015) A Look At The Retail Model Of The Future. Available at: http://www.forbes.com/ sites/barbarathau/2015/02/10/a-look-at-the-retail-model-of-the-future/#2372477d17e8 (Accessed: 18 January 2016). The future of retail is the end of wholesale (2015) Available at: http://www.businessoffashion. com/articles/opinion/future-retail-end-wholesale (Accessed: 18 January 2016). TouchPoints, R. (2015) 85% of consumers prefer to shop in physical stores. Available at: http:// www.retailtouchpoints.com/topics/shopper-experience/85-of-consumers-prefer-to-shopin-physical-stores (Accessed: 18 February 2016). Communications, propeller (2014) ICM unlimited. Available at: http://www.icmunlimited.com/ media-centre/blog/digital-or-disc-music-buyers-prefer-cds-vinyl-and-cassettes-overthe-cloud (Accessed: 10 March 2016).¬¬¬
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Penny, G. (2013) How retail has changed: Online vs the high street. Available at: http://www.
you are what you listen to
AMANDA GREEN LEVEL SIX FINAL MAJOR PROJECT BLOG: https://shoppingfutures.wordpress.com