FASH10106 portfolio by Amy A Catton

portfolio

Amy Catton

N0500024

Creative Networks 1

FASH10106

CONTENTS

03.

New York Trend Report

15.

fragarance visual analysis

20.

fragrance group presentation

26.

Fragrance communication strategy

35.

Brand you: Blog Pinterest Articles

NYC Trend Report

NEW YORK CITY TREND REPORT 31

NYC Trend Report

American Apparel

RETAIL SPACE

Victoria’s Secret

Alex and Ani

Victoria’s Secret Flagship, Herald Square. Midtown Manhattan. Exhibition in Store of world renowned annual ‘Victoria’s Secret Fashion Show’ couture esque products. Not available to customers. Flat Screen TV to the right of this display replaying the most recent catwalk show. Essence and cultural history of brand shown through exhibition medium.From these examples it is clear to see that retail environments are fast beomcing spaces for brands to project their values and essence upon to the consumer. Alex and Ani, a jewellery brand has a television screen much like Victoria’s Secret displaying products as well as advertising their marketing on social media. Brands are now more awarethan ever of reating unique and exciting environments for their consumer to shop in.

NYC Trend Report

American Apparel. North Williamsburg, Brooklyn. Colourful animal kingdom murial adorns the store building. Prominent colours; blue, green and red.

NYC Trend Report

ART

//COLOUR

NYC Trend Report

JEAN PAUL GAULTIER 68

NYC Trend Report

WILLIAMSBURG 7 9

Graffiti has always been a part of New York along with fashion therefore this past decade has seen fashion and art combine to create amazing pieces e.g Stephen Sprouse x Marc Jacobs for Louis Vuitton & most recently Marni collaborated with urban artist Brian Rea. Itâ&#x20AC;&#x2122;s a trend that is here to stay, especially within Urban Art.

NYC Trend Report

BROOKLYN

American Apparel In STore

NYC Trend Report

Marketing & Packaging

NYC Trend Report

E l e n i s N e w Y o r k

NYC Trend Report

Eleni’s New York is a small bakery based in the Chelsea Market, with one other shop located in New York. The in store environment also went with the Exhibition style as there was artwork located on the wall that fit with the fun feel of the brand.

The packaging of the ‘Crips’ cookies really caught my eye as a consumer. Simple yet effective opening of the box that is cut into four and when pushed together open the box.The packaging adds to the experience the brand want to give their consumer. An example of a trend that is becoming even moreso important to brands.

Process

NYC Trend Report

Amy Catton N0500024 FASH10106 Creative Networks

The art of FRAGRANCE ADVERTISING ‘Endless Euphoria’ is a flanker fragrance to the women’s bestseller ‘Euphoria’ from Calvin Klein launched at the beginning of this year. This fragrance’s top notes include Mandarin Orange, Cherry Blossom and Bergamot, the heart notes are Rose, Violet and Syringa with finally the base notes include Musk, Bamboo and Sandalwood. (Fragrantica, 2014)

Denote The print advertisement for Endless Euphoria consists of a mid shot of model, Vanessa Axente, filling two thirds of the frame, with the last third being dominated by her white dress flowing behind her. The model has direct eye contact with the camera. The background can be seen is through her pose as she has her arms raised, the background is of a summer nights sun setting sky showing blue and pink colours. Her dress is white and pleated, and is also a halter neck so therefore is revealing to the side of her body. The bottle is positioned in the lower half of the advertisement, in the left corner. The bottle provides the visual contrast between the organic shape of the model’s body and the straight edge of the bottle lid.

Connote The connotations of these elements include the white dress, ‘White’ being a dominant historical code for innocence and virtue along with purity. The Style of dress which reveals the side of the model’s breast or known colloquially ‘Sideboob’ this displays the dichotomy of Innocence vs Sexuality and promiscuity as do the ‘Come Hither’ eyes. The model’s pose is quite suggestive also, as the arms raised allow the breast to be exposed; she is allowing the viewer to see her body, alluding to her being promiscuous. The style of the dress is reminiscent of Mariano Fortuny’s Delphos gown, his renowned process of pleating silk derived from the classical Greek Chiton that was generally worn with no undergarments ( In Heilbrunn Timeline of 1 15

The birth of VENUS Art History, 2006) something that this model is also exhibiting. The dress is also reminiscent of Ancient Greece; the audience is active in creating links to the iconography of Ancient Greece- the Gods & Goddesses. a specific Goddess springs to mind with the chosen colour palette. The colour palette is consistent with many gender stereotypical shades; Pink, Purple and White, along with the slight hint of Sky Blue. These warm tones suggest romance and in turn that also suggests Love, the Greek goddess of love and beauty; Aphrodite. ‘Aphrodite’ and ‘Goddess’ can be associated with words such as ‘Celestial’, ‘Idol’ and ‘Divinity’ which suggests Calvin Klein wanted their advertisement narrative to be associated with these words in order for their product to also be associated with them and encourage the consumer to buy into the narrative. Along with there being historical references through styling to Aphrodite there is also a sense of rebirth due to the billowing dress surrounding the model. This can be related to the Botticelli painting ‘The Birth of Venus’. The painting, much like this advertisement shows a female figure being reborn into a grown woman, a possible interpretation of this advertisement especially when regarding the younger target audience as they can also be reborn into grown women. The female figure is Venus, the Roman counterpart of Aphrodite whom is the reference character for the advertisement, the use of colour is very similar also, as the shade of Blue, Pink and even the blonde hair are referencing the artwork. The oyster shell from which Venus is emerging can be seen referenced by the billowing pleated white dress from which the model is emerging from in the Calvin Klein ad; this is an exact reference to the painting. Euphoria currently makes up for 25% of total Calvin Klein sales, Calvin Klein are hoping that this fragrance will be received extremely well and it is predicted to split the Euphoria Franchise sales “75% Euphoria and 25% Endless Euphoria within the first year.” (Rozario, 2013). Endless Euphoria is targeted towards a younger consumer than the parent fragrance ‘Euphoria’, Calvin 2

CURRENCY OF SIGNS Klein must have gained insight into either the brand or the market place in order to take action and launch a new fragrance as well as go in a different direction. This advertisement has strayed away from the brand identity of Calvin Klein. The colour palette is not very commanding or daring, which is quite opposed to the brand’s DNA known for their risqué advertisements in the past featuring black and white filters, highly suggestive posing and very little clothing. There are still hints of suggestion and a risqué pose that does expose the side of the model’s breast yet there is nothing to grab the attention of the consumer, nothing that screams for attention much like the earlier Calvin Klein ads for Jeans but also for the earlier Euphoria and Obsession ads. Does this ad still exude the modern simplicity and sophistication? Yes it does, through the use of the crop and keeping the shot of only the model. Judith Williamson’s ‘Four Processes’ offers an insight into how the consumer is affected by the ad, from the four processes Endless Euphoria uses two. The ‘Currency of Signs’ methodology where the ad is encoded with pre existing symbolism that the audience can already identify with and therefore decode themselves as Judith explains – “Our linking of products, images and emotions produces the meaning of the advertisement.” As well as the ‘We create ourselves In the ad’ where “We desire to be this image and we lack something this image proclaims to have. Ads actively 3

DESIRE FULFILLMENT construct lack and produce space for our desire simultaneously promising fulfillment.â&#x20AC;? (Williamson 1978, as cited in Wilson 2011). ) Endless Euphoria is active in using both of these processes; the signifiers that the consumers can decode include elements such as the colour palette with pink being feminine and romantic etc. This as well as the model acting as a mirror image for the consumer to project themselves onto; this is acting out the second process of creating oneself in the ad and ultimately fulfilling the desire by buying the product. As the target market for Endless Euphoria is young women, the ad found was placed in Elle magazine which is the correct placement for this particular ad. The readership for Elle in the UK has a median age of twenty eight, therefore other placements of this ad should be in magazines that cater to even younger women such as Company & Glamour. I also found this ad in InStyle Magazine which was a slightly odder choice given that the median age of InStyle readers is thirty. Overall this advertisement veers away from the Brandâ&#x20AC;&#x2122;s DNA, uses exhausted colour palettes and is bland at face value but has an underlying quality of historical references that will appeal to the targeted consumer and if explored in more detail would have made for a very exciting campaign for Calvin Klein. (1,146) Including Quotes (1,071) Excluding Quotes Amy Catton N0500024

refrencES

1. Fragrantica, 2014. ‘Endless Euphoria Calvin Klein For Women’ Available at:http://www.fragrantica. com/perfume/Calvin-Klein/Endless-Euphoria-22535.html [Date Accessed 25th March 2014] 2. Hearst Magazines. 2014.Elle UK Vital Statistics Available at: http://www.hearst.co.uk/magazines/Elle/5magazine.htm [Date accessed 9th March 2014] 3. IPC Group. 2014. InStyle Available at: http://www.ipcmedia.com/instyle Date Accessed 19th March 2014] 4. Julie Wilson. 2011. Judith Williamson, Decoding Advertisements Available at: http://www.teachingmedia.org/williamson-judith-decoding-advertisements/ [Date Accessed 14th March 2014] 5. Kevin Rozario, 2013. New Euphoria pillar to add +30% in sales. [Online] TRBusiness. Available at: http://trbusiness.com/index.php/regional/international/14392-new-calvin-klein-euphoriapillar-to-add-30-in-sales.html [Date Acessed: 09th March 2014]. 6. “Mariano Fortuny: Dress” (2001.702a) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art Available at: http://www.metmuseum.org/toah/works-of-art/2001.702a. (October 2006) [Date Accessed 25th March 2014]

Illustrations 1 .The Birth of Venus. 486 [Painting] http://mmmnoodles.files.wordpress.com/2010/06/botticelli-birth-venus.jpg Accessed 9th March 2014]

[Date

2. Calvin Klein Endless Euphoria. 2013. [Advertisement] Available at: http://fimgs.net/images/secundar/o.24819.jpg [Date Accessed 14th March 2014] 3. Calvin Klein Endless Euphoria Bottle. 2014. Amy Catton [Own Digital Illustration] [Created 19th March 2014]

BIBLIOGRAPHY Cally Blackman, 2012. ‘100 Years of Fashion’ London: Lawrence King Harriet Posner, 2011. ‘Marketing Fashion (Portfolio)’. London: Lawrence King. Judith Williamson, 1988. ‘Consuming Passions: The Dynamics of Popular Culture’. London: Marion Boyars Ltd. Mark Tungate, 2012. ‘Fashion Brands: Branding style from Armani to Zara.’ London: Kogan Page.

Legacy

Communication

Strategy

01 02

2014

CONTENTS

Introduction to Legacy

The Launch

The Event

Celebrity

Digital

Conclusion

Co m m u n i c at i o n

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Our Story

egacy is a brand that offers a home service in which consumers are able to build a personal fragrance, which in turn will be archived through the innovative bottle design for future family members to refill making this a truly sentimental item and heirloom. This service is offered to the ABC1C2 65+ Female Consumer. Not only does Legacy offer a service to an under represented consumer in the market, our service will also be offered to the future generations of these women. There is a ingrained tradition to teach our daughters about being a woman, the trinity of grandmother, mother and daughter is an extremely powerful and emotional bond. One that Legacy can cater to by providing a shared olfactory experience through the already popular passing down of sentimental objects & from this, Legacy hopes to mould itself into an institution. Through this report I will be exploring the promotional techniques that will make this transition possible.

Communication

Strategy

2014

Figure 1, Izziyana Suhaimi.

Launch As previously discussed our targeted consumer is the “Leading Edge Baby Boomer” (Strauss and Strauss cited in Harriet Posner, 2011) we hope to market our product by catering to their ‘rebellious & cultural’ streak (see Appendix A & B). From our research into their decades of influence; the Sixties & the Seventies, we discovered that they are an intelligent consumer, previously protesting against consumerism. They have an intense dislike to large corporations and instead value their individuality and self expression, they were largely shaped by sexual and racial movements such as the Civil Rights Movement, the Second Wave of Feminism The Environmental Movement both in the US and the UK. Also in the UK, Baby Boomers would have been shaped by the Youth Movement of the Sixties; Mary Quant, The Beatles, Twiggy & David Bailey. This is why they are more likely to disregard marketing messages that seem irrelevant or impersonal.

“They value their Individuality and Self Expression.” Therefore the build up to the launch event will occur via the successful Guerrilla marketing method of ‘Pop up’ shops, where throughout three cities over the course of 3 months with each structure being London, Manchester & Birmingham there will be small structures. Within these structures there will be an experience that will be at the essence of the brand; perfume technicians that speak with the consumer developing a natural rapport, demonstrating and allowing consumers to experiment with the Then there will be the Launch event, this will be located in the one and only stand alone store of ‘Legacy’ located on 6

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Figure 1 ‘Save The Mini’ 1970.

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customising fragrance & giving them an insight into our ethos as a brand. To fit with our consumer’s interest in social activism, we will use the aesthetic of the structure, the material will be of a canvas like material there will also be paint/pens and other writing equipment provided where our consumer can write their thoughts and issues with large and impersonal corporations. This will promote consumer engagement and therefore promote our smaller and more personal brand. This will be surrounded by some controversy and will be picked up by news channels as ‘Hard news’ (Trevor Morris and Simon Goldsworthy pg. 103, 2013). Whilst visiting the Pop up shop we will also have our consumers sign up to our mailing list in order to market directly to those interested in our brand. This will continue our thread of traditional direct marketing, we will also take into account our personal ethos and therefore all of our promotional letters will be hand written in order to reflect the conversational image we take pride in. This has been inspired by another fragrance brand, Jo Malone. From this list we will also determine the consumers that live in and around London as the consumers that we will personally invite to our Launch Event. Other consumers that missed the Pop Up shop opportunity will have the ability to see advertisements for the launch event within popular magazine supplement The Sunday Times Style of who will also be invited as well as Tatler who boast a readership of 77,000 48% of their total readership to be Women 45+. The advertisement will tease the promotional material, as well as a public invite informing them of the launch event happening.

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Strategy

2014

Figure 3 ‘Memory Collage’ 2014

Commun i c at io n

Event Carnaby Street in London, due to the links to the past and also because of the occupants there currently among the likes of Benefit, Pixi by Petra, Paul Smith & Peckham Rye. The location of our store is extremely important to our consumer, they want to recognise and have familiarity with their surroundings, Carnaby Street fits this criteria well. The style of our store is also essential in consumer engagement as well as promoting our brand.

store as well as below ground level, our hundreds of personal fragrances will be held within small tubes labelled with names and numbers. The tubes will hold the ingredients to the perfume as well as a sample. Although we predominantly offer a home service, there will be an in store cocktail bar that will house fragrances and consumers that wish to can have a personal conversation and create a fragrance in store but as we wish to have one store this will be limited to those living and visiting London.

When you first enter the store, the first thing to catch your eye is the collaged display that sits on the far left wall. Photographs of consumers from their past, present and their family portraits. There are hundreds that have been offered by consumers who have used the brand, real life case studies that each hold their own story and fragrance. (See Appendix D) In twenty years if your granddaughter retraces your footsteps to our store, she will see you on our wall. Our legacy is yours. She will be able to use your very bottle to refill the perfume you personally created. This is due to our unique archive that is located within our store itself. The archive will be held towards the back of the

As our Brand’s mission statement is to bring back conversation, our launch concept is to hold a social and relatively informal art gallery in which our consumers will be invited to attend along with their daughters & granddaughters. There will be a light atmosphere that will encourage consumers to mix and converse with each other. If they wish, consumers can also share what they would like to teach their daughters and granddaughters through an open letter, a similar format to a poetry reading as the launch concept is inspired by this idea.“Their top volunteer motivator is passion for a cause. Many researchers predict Boomers will reengage in 10

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“

Figure 5 ‘Portrait 2’ 2014

Bringing back something that is virtually lost will resonate with the baby boomers.

”

social activism because Boomers want to feel productive.” (Jacquelyn I. Poetker) The idea that fighting for a cause of bringing back something that is virtually lost will resonate with the baby boomers. The art that will be included will be the upcoming ‘Legacy’ promotional images, a collaborative effort with Chilean mixed media artist Jose Romussi. They will be readily accessible to the consumers as they will be available to buy as prints on the night. As Legacy wants to establish itself as an institution, if this collaboration is successful there will be other art related threads to our PR strategy. These will include future collaborations on advertisements and campaigns with graduates, students and other up and coming global artists. The concept of the exhibition was inspired by a trip to New York where it became apparent there was an exhibition trend for retail spaces (See Appendix C).

Figure 6 ‘Flowers 2’ 2014

Figure 2 Archive 2013

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Celebrity There will be a select few special guests, due to the nature of the informal, personal feel of the event, the celebrities will be low key but as our consumer are heavily inspired by their key influencers our guests will be; Mary Quant, Vivienne Westwood, Stella McCartney and her Beatle father Paul McCartney, Twiggy and her daughter Carly Witney, David Bailey, Catherine Dyer and Sascha Bailey, Catherine Deneuve and her daughter Chiara Mastroianni and Jerry Hall accompanied by her model of the minute daughter Georgia Jagger. Current celebrities that will be invited include models Jourdan Dunn and Suki Waterhouse, musicians Ella Eyre and Paloma Faith. Other guests take the form of Jean Woods, Daphne Selfe and Bridget Sojourner know for Sue Bourne’s Fabulous Fashionistas Channel 4 Documentary. Many of these guests will also share a story and open letter

of their own with the other attendees. Whilst discussing celebrities, there is also an option for brand ambassadors. The concept of utilising brand ambassadors is to promote the brand through the association of a celebrity/ person of influence. Due to the skepticism of our consumer, the route of brand ambassador does not fit with our brand DNA and identity and instead would compromise our brand integrity. Associations with key influencers will come from the guests of the launch event and any photo opportunities and press that will gain. Press that will be invited will include publications such as Tatler, Harper’s Bazaar, Prima as well as Elle magazine. The Sunday Times Style, The Telegraph Fashion and The Guardian Fashion will also be attending. We will also invite the creator of Advanced Style, Ari Seth Cohen, a blog dedicated to mature women’s style. This will leverage our 15

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2014

event across all platforms of the media, from print to digital by having the celebrities and journalists in attendance tweeting and socialising during and after the event. One of our tactics will also be to include a complimentary product gift bag in which guests will receive our innovative bottle inviting them to book a home consultation or to visit our Carnaby Street store. This will entice consumers’ desire to fill the bottle with their own personalised fragrance using our service. There will also be included within the bag, a disposable camera, a pen, paper and envelope in order to write a message. Our gift bag will also be a promotional tool itself as our promotional material will be printed on them but as a limited edition version we will have the artist hand stitch unique designs onto the photographs that will be on the side of the bag. The bag will be made from recycled cardboard and be a sturdy structure with roped handles i order to be used again and again. Thus creating more promotion for our brand.

Figure 7 ‘Georgia Jagger & Jerry Hall’ 2014

Figure 8 ‘Sir Paul & Stella McCartney’ 2011

Figure 9 ‘Suki Waterhouse at Burberry’ 2014

Figure 10 ‘Jean Shrimpton Vogue US’ 1965

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PR For our strategy we have been able to determine our SMART objectives (Trevor Morris and Simon Goldsworthy pg. 189 , 2013). We have outlined that we wish to increase awareness by 60% in our specified target market and increase sales by 35% over the next 12 months. We will achieve this by setting our strategy and expressing our brand message which are primarily Legacy brings back conversation and secondary messages include Legacy is a brand you can trust and Legacy does not patronise. The method in which our messages will be delivered is obviously through the Launch Event and therefore News Events. The tactics of how we will achieve this is through the use of Celebrity guests and the party element of the launch. These objectives will be measured through Output, Outtake and Outcome. Through the press we will gain from the guests of publications, we will be able to measure their online readerships much more easily than print, a much more reliable method is by measuring the Outtake and therefore the changes in attitude towards our brand, this will be carried out by market research 12 months after the launch and subsequent promotional activity of the brand. Outcome will be measured by the figures of sales in 12 months. Our brand will be represented by the PR company, Modus Publicity. They have represented brands such as Calvin Klein, Bally, The Cambridge Satchel Company and Etro. All of whom have a specific brand identity that they have enhanced through their PR strategies.The AW 14 runway show “displayed

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Strategy

2014

Etro’s origins while forging a path towards New Tradition.” (Modus Publicity, 2014) This is the essential idea behind Legacy’s launch. To recognise and embrace the past of the consumer whilst building the path to the future. They are also responsible for Tom’s ‘One day without Shoes 2014’ event, a worldwide event to raise awareness of their continued collaboration with charities. We believe that Modus can deliver an intriguing, efficient and magnificent spectacle that will create brand awareness, familiarity, consideration and purchase. As well as hopefully converting consumers that will become loyal and advocates for our brand. They will also be able to offer the prestige that comes with their renowned brand, and therefore be able to obtain high profile guests that will be invited to our brand events.

Figure 11 ‘Communications’ 2014

Strategy

2014

Figure 12 ‘Digital Website Mock Up’ 2014

Digital Currently Legacy doesn’t use any form of digital other than a website that simply informs and creates brand awareness. Therefore we need to consider this when marketing to our future consumer. Our future consumer will be Generation X and Millennials (Howe and Strauss cited in Harriet Posner, 2011) they’re the generations that were born between 1961-1981 and 19822002 respectively. The generations that consecutively follow the Baby Boomers. Generation X’s decades of influence are the 1980’s and earl 90’s with the Millennials following with their influence being in the 90’s, 2000’s and 2010’s. Most notably being the digital revolution.

consumer we will need to update ourselves in order to stay relevant in the market. The groundwork for this will be at the launch with the attendance of Suki Waterhouse, Jourdan Dunn, Paloma Faith etc. Slowly we will introduce the digital aspect of our brand’s Facebook, Twitter and instagram accounts, we can see this has been accomplished by other brands such as Zara who are renowned for doing minimal promotion, they are still present online as well as Maison Martin Margiela who is also a well known brand that does not advertise. We see this as an opportunity to simply extend the conversation beyond the physical world and make the discussion global.

As ’Bringing Conversation Back’ is our brand mission, where else is there to create a global discussion other than Twitter? As Trevor Morris and Simon Goldsworthy state “This more interactive form of online media is often called Web 2.0- It is not so much the technology that is important as the behaviour that it facilitates” (pg. 142, 2013) Now, we will still keep our digital marketing to a small amount, but with the reins being handed to a completely new

Figure 13 ‘Digital Instagram Mock Up’ 2014

Commun i c at io n

Legacy purchases, their sentimental items, anything that constitutes using the hashtag in reference to our conversation and our brand. These photographs will then form the basis for our brand exhibition in which we will showcase our consumer’s #OurLegacy moments along with our past collaborative promotional advertisements. This will be held at the Guildhall Gallery in London as the architecture is grand and would be fitting for our exhibition. Guests would include celebrities, journalists and industry experts. Our advertising that is in collaboration with mixed media artist Jose Romussi, will be displayed on our website, Instagram and Twitter pages, along with behind the

This extension will see the hashtag #OurLegacy provoking conversation and consumer engagement through user generated content. This will further the concept of Legacy becoming an Institution rather than simply just a company, we will make ourselves integral within families. Using the hashtag people will explain their definition of Legacy, post photographs of them with their families, their friends as well as their

Strategy

scenes videos, interviews as teasers before the launch and available as full versions afterward. This will also happen with each collaboration we do with artists. The collaborative relationship between Legacy and art will be an ongoing one as we want to appear fresh and cultural along with our consumer. This will manifest as like described in ‘Launch’ we will create a relationship with recent graduates and current students creating a competition that involves the winner the ability to create our promotional material for that season. This is one of the methods in which we will reach our future audience, by setting up our reputation within students and the creative world. 23

Com m u n ic at i o n

#OurLegacy

2014

Conclusion

In order for Legacy to remain a contender within our gap in the market, our promotional activities must continue to establish our brand as an institution within families’ lives. We believe the design of our bottle, the promotional technique of ‘open letters’ and the integration of linking the memory of scent into generations and involving photographs will achieve this. We also believe that setting the groundwork for the future generations to be aware of our brand for future purchase to refill their mother’s and grandmother’s perfume bottle is an essential part of our brand promotion.

Figure 13 ‘Advertisement Art Visual’ 2014

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Co m mu n i c at i o n

Strategy

2014

Appendix Appendix A: Brand Presentation

Women Aged 65+ Young at heart

Consumer

Individual

Daphne Selfe Catherine Deneuve Iris Apfel Jean Woods

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Appendix C: New York Trend Report

References Appendix D: Sketches, Scamps and Experimentation

Hoew & Strauss via Posner, Harriet, 2011. Marketing Fashion

(Portfolio) London: Laurence King

Hoew & Strauss via Posner, Harriet, 2011. Marketing Fashion

(Portfolio) London: Laurence King

Morris, Trevor & Goldsworthy, Simon, 2011. Pg 103, PR Today: The Authoritative Guide to Public Relations London: Palgrave Macmillan Morris, Trevor & Goldsworthy, Simon, 2011. Pg 142, PR Today: The Authoritative Guide to Public Relations London: Palgrave Macmillan Poetker, Jacquelyn I. MSW, RSW Tapping the Power of Boomers as Senior Volunteers. [Online] Available at: http://www.mtroyal.ca/cs/ groups/public/documents/pdf/boomervol.pdf [Date Accessed 26th May 2014]

Modus Publicity. ‘Modus Loves > Launches and Events > ‘Toms No Show Day’ Available at: http://www.moduspublicity.com/channels_ modus/launchesandevents/ [Accessed 29th May 2014] 29

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Bibliography

Illustrations Figure 1 Anonymous, 1970 ‘Save the Mini’ [Photograph] Available at: http://static. twoday.net/zitate8/images/mini.jpg [Accessed 27th May 2014]

Books Bickle, Marianne C. 2010. Fashion Marketing. London: Fairchild

Figure 2 Gillian Cycles, 2013. ‘Archive’ [Photograph] Available at: http://www. gilliancycles.com/wp-content/uploads/2013/06/AWI-core-archive_hg.jpg [Accessed 27th May 2014]

Green, Brent. 2006. Marketing to Leading-edge Baby Boomers: Perceptions, Principles, Practices New York: Paramount Market Publishing. Available at: http://books.google. co.uk/books?id=fQHX8vxKppEC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false [Date Accessed 26th May 2014]

Figure 3 Amy Catton, 2014. ‘Memories Collage’ [Photograph]

Harkin, James & Huber, Julia. 2004. Eternal Youths: How the Baby Boomers are Having Their Time Again London: Demos

Figure 4 Jose Romussi, 2012. ‘Ballerina SN-2’ [Mixed Media Photograph] Available at: http://cargocollective.com/joseromussi/DANCE [Accessed 25th May 2014]

Huber, Julia & Skidmore , Paul. 2003. The New Old Why the Baby Boomers Won’t be Pensioned Off. London: Demos

Figure 5 Jose Romussi, 2013. ‘#NEWSERIE Portrait 2’ [Mixed Media Photograph] Available at: http://cargocollective.com/joseromussi/NEWSERIE [Accessed 25th May 2014]

Levine, Michael. 2001. Guerrilla PR Wired Waging a Successful Publicity Campaign Online, Offline and Everywhere in Between. America: McGraw-Hill Inc.

Figure 6 Jose Romussi, 2013. ‘#NEWSERIE Flowers 2’ [Mixed Media Photograph] Available at: http://cargocollective.com/joseromussi/NEWSERIE [Accessed 25th May 2014]

Morris, Trevor. 2008. PR- A Peruasive Industry? London: Palgrave Macmillan Morris, Trevor, 2011. PR Today: The Authoritative Guide to Public Relations London: Palgrave Macmillan

Figure 7 Anonymous, 2013. ‘Georgia Jagger and Jerry Hall’ [Photograph] Available at: http://mdemulher.abril.com.br/blogs/famosas-na-moda/files/2013/05/167933223. jpg [Accessed 2nd June 2014]

Posner, Harriet. 2011. Marketing Fashion (Portfolio) London: Laurence King

Figure 8 Mario Testino, 2011. ‘Sir Paul & Stella McCartney’ [Photograph] Available at: http://fashionslop.com/tag/stella-mccartney/ [Accessed 2nd June 2014]

Ries, Al. 2004. The Fall of Advertising and the Rise of PR London: Harper Business Tungate, Mark. 2012. Fashion Brands: Branding style from Armani to Zara London: Kogan Page

Figure 9 Anonymous, 2014. ‘Suki Waterhouse at Burberry’ [Photograph] Available at: Pinterest.com [Accessed 2nd June] Figure 10 Richard Avedon, 1965 ‘Jean Shrimpton for US Vogue’ [Photograph] Available at: https://pleasurephoto.wordpress.com/tag/richard-avedon/page/4/ [Accessed 2nd June]

Websites Poetker, Jacquelyn I. MSW, RSW Tapping the Power of Boomers as Senior Volunteers. [Online] Available at: http://www.mtroyal.ca/cs/groups/public/documents/pdf/ boomervol.pdf [Date Accessed 26th May 2014]

Figure 11 Amy Catton, 2014 ‘Communications’ [Own Photograph] Figure 12 Amy Catton, 2014 ‘ Digital Website Mock Up’ [Own Edited Photograph]

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Figure 13 Amy Catton, 2014 ‘Digital Instagram Mock up’ [Own Edited Photograph] Figure 14 Amy Catton, 2014 ‘Advertisement Art Visual’ [Own Multi Media Photograph]

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Legacy

Co m m uni cati o n

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Creative Networks FASH10106

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Moodboards

CONCEPT DEVELOPMENT

Gym

HEALTH

Sports Luxe

Decades

Memories

CONVERSATION

Afternoon tEA

Link decades to scent

RELAXATION

Women Aged 65+ Young at heart

Consumer

Individual

Daphne Selfe Catherine Deneuve Iris Apfel Jean Woods

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