Gareth Pugh Marketing Plan by AshleyAshcroft

GARETH PUGH M A R K E T I N G

P L A N

UNIVERSITY OF HUDDERSFIELD School of Art, Design and Architecture Department of Design

Marketing Plan

ASHLEY JADE ASHCROFT

A Major Project submitted in partial fulfilment of the requirements for

BA (Hons) Fashion, Communication and Promotion.

Module THD1101 Fashion Communication Promotion Major Project

The candidate confirms that the work submitted is their own and that appropriate credit has been given where reference has been made to the work of others.

The University of Huddersfield School of Art & Design Department of Design Huddersfield West Yorkshire ENGLAND

16th MAY 2014

EXECUTIVE SUMMARY In this document contains the detailed strategies and relevant marketing tactics chosen to assist the development of Gareth Pugh as the brand marks ten established years, with the aim of raising impressive awareness and strengthening the brand profile over nine months in 2015.

The strategies proposed will be in the form of an e-commerce website, a collaboration and a UK store Launch. The store and website will assist the development of the brand, where as the collaboration has been chosen with the ultimate goal of generating brand awareness in the UK before the store Launch.

Market research clearly promotes London as the location of choice for the Gareth Pugh flagship store. London is a major tourist attraction and credited as one of the big four fashion capitals. Secondary research suggests that Londonâ&#x20AC;&#x2122;s luxury quarter is surging and becoming a prime location for many luxury fashion brands (Drapers, 2012; Jones Lang LaSalle 2012).

Mintel (2013) emphasises the importance of multi-channel retailing in the increasingly competitive industry, stating that 74% of consumers have confessed to purchasing online. The increase in online activity supports the brands need for an online strategy, adopting an e-commerce website can ensure the brand does not fall behind its competitors.

Further research in to the market environment shows the majority of Gareth Pughâ&#x20AC;&#x2122;s primary competitors have already established numerous flagship stores and e-commerce websites, leaving the brand at a disadvantage. Many of the brands competitors also have large promotional and advertising budgets, therefore it is essential that the brand applies the proposed marketing and promotional strategies to up hold a competitive edge.

Further research in to the market environment shows the majority of Gareth Pugh’s primary competitors have already established numerous flagship stores and e-commerce websites, leaving the brand at a disadvantage. Many of the brands competitors also have large promotional and advertising budgets, therefore it is essential that the brand applies the proposed marketing and promotional strategies to up hold a competitive edge.

Social media has also become a recognised promotional channel for retailers, WGSN (2013) identifying that affluent consumers are using the platform and are willing to engage with brands. Adding reason to why social networking activity is valued and maintained within the marketing mix.

The target audience has been identified as a niche luxury consumer within the ABC1 socio economic group, between the ages of 25 to 45 described as ‘the visionary’ and the ‘creative experimentalist’. Mintel (2011) states that 25 to 34 year olds are driving the growth within the fashion industry, influenced by their higher disposable income and growing interest in fashion. This is supported by further evidence that implies the AB consumers have the highest spending power, and are the consumers most influenced by in-store environments.

In order to promote the brand and create awareness around the primary strategies, a relevant collaboration with the English National Ballet has been decided. This strategy will appeal to the brands targets consumers, whilst generating brand awareness before the UK store Launch. Other promotional tactics include a video release, web advertisements, and the on-going use of social media.

The marketing tactics are fundamental to the success of the marketing strategies and will be integrated over the nine months, in order to achieve maximum success. Successfully launching the brands UK flagship store and e-commerce website, alongside a considered collaboration with the national ballet will help to expand the brands profile and generate brand awareness.

F I G U R E S

FIG 1 : GARETH PUGH COLLECTIONS

FIG 18 : WEBSITE AD ON STYLE.COM

FIG 2 : MARKET POSITIONING TABLE

FIG 19 : WEBSITE AD ON TRENDLAND

FIG 3 : THE VISIONARY

FIG 20 : WEBSITE LANDING PAGE

FIG 4 : CREATIVE EXPERIMENTALIST

FIG 21 : EXAMPLE E-MAIL FOR EXCLUSIVE ENTRANCE

FIG 5 : GARETH PUGH E-COMMERCE WEBSITE

FIG 22 : PRESS RELEASE FOR COLLABORATION

FIG 6 : GARETH PUGH X ENGLISH NATIONAL BALLET BRAND CAMPAIGN

FIG 23 : COLLABORATION FASHION FILM HOMEPAGE TAKEOVER

FIG 7 : GARETH PUGH X ENGLISH NATIONAL BALLET BRAND CAMPAIGN

FIG 24 : GARETH PUGH X ENGLISH NATIONAL BALLET FASHION FILM TEASER SCREEN SHOT

FIG 8 : GARETH PUGH X ENGLISH NATIONAL BALLET BRAND CAMPAIGN FIG 9 : GARETH PUGH X ENGLISH NATIONAL BALLET BRAND CAMPAIGN

FIG 25 : THE MAKING OF THE COLLABORATION IMAGES THAT WILL POST TO INSTAGRAM, FACEBOOK AND TWITTER

FIG 10 : GARETH PUGH SPRING/SUMMER 2016 FASHION FILM

FIG 26 : PRESS RELEASE FOR STORE LAUNCH

FIG 11 : GARETH PUGH SPRING/SUMMER 2016 FASHION FILM CLIPS

FIG 27 : INSTORE PROMOTIONAL FLYER

FIG 12 : GARETH PUGH STORE ON CONDUIT STREET

FIG 28 : GARETH PUGH LONDON STOCKISTS

FIG 13 : PRESS RELEASE FOR WEBSITE LAUNCH

FIG 29 : EXAMPLE COMPETITON POST ON FACEBOOK

FIG 14 : EXAMPLE FACEBOOK POST

FIG 30 : EXAMPLE COMPETITON POST ON TWITTER

FIG 15 : EXAMPLE TWITTER POST FOR WEBSITE

FIG 31 : FLAT IMAGE OF THE FORTUNE TELLER INVITATION

FIG 16 : WEBSITE AD ON ID.VICE.COM

FIG 32 : EVENTFOOD AND DRINK

FIG 17 : WEBSITE AD ON VOGUE

FIG 33 : AT THE EVENT

CONTENTS 1.0 INTRODUCTION 1.1

....................................................7

Rationale

2.0 BRAND OVERVIEW 2.1

Background

2.2

Positioning

2.3

Brand aesthetics and core values

3.0 MARKET ANALYSIS 3.1

.................................................9

................................................15

Environment

3.1.1 SWOT analysis Key points 3.1.2 PEST analysis key points 3.2

Competitor Analysis

3.3

Target Market

3.4

Consumers

3.4.1

Consumer Profiles

4.0 AIM AND OBJECTIVES

............................................29

5.0 MARKETING STRATEGY ............................................31 5.1

Website Proposal

5.2

Collaboration

5.3

Store Proposal

5.4

AIDA

6.0 MARKETING TACTICS

..............................................53

6.1

Website promotional tactics

6.2

Collaboration promotional tactics

6.3

Store promotional tactics

6.1.2

Press Release

6.2.1

Press Release

6.3.1

Press release

6.1.2

Social Media

6.2.2

Website

6.3.2

Flyers

6.1.3

Online advertisement

6.2.3

Public Appearance

6.3.3

Social media

6.1.4

Landing page

6.2.4

Media Interview

6.3.4

Website

6.2.5

Teaser Video

6.3.5

Invitations

6.2.6

Social Media

6.3.6 Launch event

6.1.5 E-mails

7.0 PROMOTIONAL CALENDAR 8.0 COSTINGâ&#x20AC;&#x2122;S

.......................................89

..........................................................93

9.0 SUCCESS MONITORING 10.0 CONTINGENCIES 11.0 CONCLUSION

...........................................95

..................................................97

......................................................99

12.0 REFERENCES .......................................................103 13.0 APPENDIX ..........................................................109

1.0 INTRODUCTION...

This document will explain in detail the marketing and promotional strategies for luxury designer Gareth Pugh, with the aim of increasing the brands profile and awareness in the UK market, incorporating a website and store launch alongside a relevant collaboration. The document will analyse the brands current positioning, market research and competitor evaluations, which has helped to justify the reasons behind the following marketing strategies and tactics.

1.1 RATIONALE Within the UK Gareth Pugh is a relatively known fashion designer, recognised more so by fashion professionals as opposed to the general public. When the brand was first establish it struggled to make an overall impression in the UK due to clothing being more of art form and less wearable. Pugh is highly rated in the fashion world for creativity and craftsmanship, and has dressed many of the world’s most famous celebrities, as well as being invited to show at Paris fashion week, alongside some of the most prestigious fashion brands in the world.

Recently there have been encouraging signs that Pugh is becoming more recognisable in the UK, clothing is seemingly more wearable and the designer been making more appearances, in the UK and in regards to collaborations. In January 2014, Pugh created an immersive installation called ‘Monolith’ at Selfridges, Oxford Street London, during Men’s collections. During this time primary research in London suggested that there is a lack of communication from the brand, plus a lack of brand awareness, as it appeared that not many consumers who knew the Gareth Pugh brand or were aware of the installation at Selfridges. Furthermore, the brands stockists are limited, and are lacking supply of collections with the brands womenswear lines being sold out in the majority of stockists.

It is obvious that Gareth Pugh could benefit from having a website and e-store, as well as a UK London flagship store. The plan is to create a cohesive brand image within an immersive experience online and in-store, making the brand highly identifiable whilst positively promoting the development of the brand as it marks ten years.

2.0 BRAND OVERVIEW

2.1 BACKGROUND Gareth Pugh graduated from London’s prestigious Central Saint Martins in 2003, making an entrance into the fashion world with his infamous collection made out of balloons tied to different body parts. Pugh went on to establish his name in 2005, showing his first collection at London Fashion Week, where he continued presenting up until 2008, when he debuted his spring/summer 2009 collection at Paris Fashion Week (Vogue, 2011).

Gareth Pugh was initially funded through awards and sponsorships, including support from Fashion East, NEWGEN and the ANDAM fashion award. In 2006, Pugh retained backing from Michelle Lamy (wife of Rick Owens), who currently owns a share in the brand (Fashionmodeldirectory, n,d). In an interview for the New York Times (2014), Pugh communicates that he would not be where he is now without Michele Lamy’s help and support.

Collaborations have also attributed to the current success of the designer, working with numerous brands and businesses including the designers’ Italian debut at Pitti immagine in Florence, Absolut vodka, MAC make up, Forevermark, and more recently he designed ‘Monolith’, a multi sensory installation at Selfridges. Gareth Pugh has participated in a long list of collaborations, exposing people’s desires to want work with the designer. For a timeline of events see Appendix A for a full breakdown.

Other relationships include the designers on-going partnership with founder of SHOW studio Nick Knight and filmmaker Ruth Hogben, who have helped build the designer a strong portfolio of fashion films. Pugh has challenged the fashion world by using fashion films as well as runway shows, causing controversy amongst the media.

Creativity and controversy is what drives the brand, there is no distinct pattern to collections, as each season is different, apart from a certain essence of masculine femininity and a cohesive link between the women’s and menswear. Pugh likes to experiment, transforming and creating shapes, by using different unconventional materials and methods of construction, making every season unpredictable and original. Gareth Pugh has received critical appraisal for his artistic vision and design craftsmanship, Vogue has described many of the collections as: compelling, dark, complex, masterful, fearless, sinister, unconventional and otherworldly (Vogue, 2014).

Before Gareth Pugh found his calling as a fashion designer he was an aspiring ballet dancer, the design has been quoted saying “It’s a bit of a Billy Elliot story” (Vogue, 2011). To this day, Pugh still expresses interest in the physical art by mentioning it in interviews, incorporating it in collaborations as well as films; even staring in his own ‘Club Noveau’ Cabaret inspired film, which Dazed digital exclusively premiered. The marketing plan aims incorporate the designer’s interest in dance within the strategic approach, as an interesting and compelling promotion tool.

By choice the brand is not hugely commercial, print advertising are non-existent and promotion is understated yet tactical. It is apparent the designer prefers to advertise the brand vocally and digitally. Pugh does not shy away from publicity; the designer is familiar with interviews and will openly express personal opinions and artistic vision. This laid back and open approach helps to drive the personality of the brand, which will be factored into the strategic approach.

Pugh works with a small team so he is able to manager every aspect of his vision. In both print and video interviews Gareth expresses the importance of being able to have full control over the brand, referring to himself as a ‘perfectionist’ (The New York Times, 2012). Therefore it is crucial to keep extended operations low maintenance and manageable, which is what the strategy aims to achieve.

2.2 POSITIONING The brand communicates artistic luxury and remains exclusive by distributing and selling both womenswear and menswear in only a few selective concession stores around the world including Browns in London, Colette in Paris and Seven in New York. Pugh has also opened the first of the brands boutique stores, in association with the IT group in Hong Kong. The price point is relatively high ranging from ÂŁ200- ÂŁ4000, reflecting the luxury status of brand.

Brand research indicated that communication is sparse; online activity is low, press releases are unpredictable and information from the brand is rarely published, leaving room for discrepancies. The brand issues press releases for events and collaborations but they are only distributed to specific contacts, keeping the brands information exclusive. In contrast to this, Pugh remains unconventional and does not issue pre-show press releases to allow people to create their own view of the collection, keeping the element of surprise.

The Designer is regularly compared to renowned British designers such as, the late Alexander McQueen, John Galliano and Vivienne Westwood, as reflection of the designerâ&#x20AC;&#x2122;s creativity and ultimate potential as a luxury brand. According to brands price point and luxury status it holds a strong market positioning and can be placed in relation to Maison Martin Margiela, Alexander McQueen, Yohji Yamamoto, Rick Owens and Vivienne Westwood. However, the brand is still relatively unknown, consumer research identified that only 42%, less than half the people asked, were aware of the brand. This could be due to the length of time the brand has been established compared to its competitors (see Appendix B).

Gareth Pugh is recognised through the brands signature black and white palette and Avant-garde designs that sets the brand apart from its competitors. Consumer research characterised Gareth Pugh with the following attributes: creative (95%) artistic (90%) Innovative (91%) Futuristic (84%) and surreal (66%), however, due to the lack of brand awareness only 34% recognised the brand as a quality brand or even a luxury brand with 32%. The strategy aims to drive all these aspects of the brand, strengthening the brands position in the industry.

FIG 1 : GARETH PUGH COLLECTIONS

2.3 BRAND AESTHETICS AND CORE VALUES Gareth Pugh is recognised for his innovative approach to redefining modern luxury. The Avant-garde designer is distinctly unconventional when it comes to fashion and design, it is the craftmanship and use of extrodinary materials that sets the brand apart from competitors (see fig 1 ). The brand conveys a strong sense of identity; collections expose a strong masculine femininity that is ethereal and surreal. There are often contrasting elements to the brands collections and visuals such as hard and soft, shiny and matte, and black and white, all remaining a defining aspect of the brand.

Main brand aesthetics and core values:

• Creative • Innovative • Surreal • Artistic • Monochrome • Ethereal • Dark • Unconventional

Each of the promotional strategy’s aim to draw upon the brand aesthetics and core values, to create a cohesive brand identity.

3.0 MARKET ANALYSIS

The market analysis has been broken down into four main sections the environment, competitors, target market and consumers. Each section will gather insight into the brands situational background in order to support the proposed marketing strategies and tactics.

3.1 ENVIRONMENT 3.1.2 SWOT ANALYSIS KEY POINTS The swot analysis pointed out key components surrounding the current position of the Gareth Pugh brand within the market. It helped to determine internal strengths and weaknesses and external opportunities and threats, further informing the chosen marketing strategies.

The brand sells both womenswear and menswear, and it is the creativity and craftsmanship of the designers clothing that sets the brand apart. Over the years Gareth Pugh himself has achieved recognisable success, receiving awards to building strong relationships with a long list of collaborators. Gareth Pugh has been able to communicate the strong identity of the brand, gaining the brand loyal customers. Although, It is evident that the brand has relied on these existing customers, consumer research shows that out of one hundred consumers in the city of London, less than half knew whom the designer/ brand was (see appendix C). Further brand research recognised that stockists are limited and difficult to find, and the majority of clothing is often sold out relatively quick.

The main weaknesses hindering the Gareth Pugh is the fact that he is a celebrated British designer who promotes visualization and sensory experiences in the form of runway shows and events, yet there is no existing UK store to express this. Secondly, the brand does not have a clearly identifiable website or e-commerce, although Pugh has vocalised that he is enthusiastic about the future of technology and creating an overall brand experience.

Furthermore, there is a lack of brand communication, surrounding projects and events. For example, if an interested consumer wanted to visit an event, the brand is hosting, information would not be openly available, due to the lack of promotion and communication. The Brand is difficult to contact, any or all representatives seem to be unclear. Making enquiries is almost impossible.

Many of these weaknesses leave opportunities for the brand to grow. The Gareth Pugh brand could expand by opening standalone stores in major cities such as Paris, Milan, New York, Beijing and London. By keeping the stores selective in major cities, Pugh can still remain exclusive and have full control over how the brand operates alongside driving the brand identity. More Importantly Londonâ&#x20AC;&#x2122;s Luxury quarter is currently thriving and expanding throughout the city (Drapers, 2012; Jones Lang LaSalle 2012), which could provide immeasurable benefits for the brand, if the brand acts now before leasing prices increase further.

E-commerce websites have become increasingly invaluable to brands, Mintel (2013) estimated that online retail sales have grown by 15% in 2013, showing year on year growth. The brand could benefit from online sales, and online platform to share and channel the brands strong identity and project endeavours. Gareth Pugh has also embraced the world of social media, with accounts on Facebook, Twitter and Instagram. Not all brands currently use the medium, placing the brand at an advantage. Still the brand must maintain up to date, interesting and relevant news feeds and posts, to drive the brands consumer following. By developing an online presence through seamlessly integrated e-commerce and social media the brand can connect with consumers whilst building a strong presence and clear identity.

Other strengths involve the designerâ&#x20AC;&#x2122;s relationship with fashion films. These films have become a notable attribute to the brand, allowing the designer to open imagination to a different medium, where consumer can connect on a different level, which is conveniently more available. This places the brand at a great advantage due to the growth and interest in the platform. Fashion Films allow designers to showcase the work whilst aiming to encourage, promote and stimulate the growth of the designer and brand. The British fashion council (N, D) are endorsing the development of fashion films in the industry by offering designers and emerging filmmakerâ&#x20AC;&#x2122;s support and funding. Fashion films are becoming more recognisable and an important medium in the industry, with gala screenings during menâ&#x20AC;&#x2122;s fashion week dedicated to showcasing the best fashions films.

More pressure is added when there are multiple business paths to manage, which could threaten the brand; therefore the brand must bring in more help from employees in order drive the quality and luxury aspect of the brand, thus maintaining the brands reputation and positioning.

For a full break down of the SWOT analysis please see Appendix C.

3.1.2 PEST ANALYSIS KEY POINTS The pest analysis identified key points that may affect the proposed marketing strategies. For a full break down please see appendix D

Londonâ&#x20AC;&#x2122;s luxury sector is growing, with consumer spending reaching figures of ÂŁ3billion a year. The area now occupies 42 streets, lanes and arcades. It is being welcomed by more brands each year and the area now represents 66% of retailers in the sector, which is up from 42% since 2005 (Drapers, 2012; Jones Lang LaSalle 2012). This dramatic increase in interest in the luxury sector is due to the country surpassing its pre-recession, according the British chamber of commerce (2014), the UK is set to see further growth. This secures stability for brands in a stronger more balanced economy, and supports the decision for Gareth Pugh to open up a store in London.

London is a major fashion capital and holds one of the highest profile fashion events in the world. London fashion week attracts over 5000 visitors including buyers, TV, radio, journalists, photographers and influential fashion socialites; this generates a high amount of media coverage and publicity. The British fashion council (2014) have estimated that orders over ÂŁ100m are placed during London fashion week each season. This makes London the perfect environment to Launch and place Gareth Pugh first UK flagship store.

According to WGSN (2014) Consumer confidence surged in march 2014, a record unseen before the financial crisis, further stating that that the index risen by 22 points, making it the largest increase since 2009. Consumer purchasing habits are also changing; people are becoming more sophisticated about brands and are opting to invest in more quality items that provide longevity over fast fashion (Mintel, 2011). These combined are positive signs of improvement within the retail industry. To take advantage of the changing consumer attitudes, Gareth Pugh must channel the quality and luxury aspect of the brand, in order to secure a strong position within the luxury sector.

Consumers are embracing digital technology and luxury stores are noticeably investing in digital retail concepts and multi-channel branding, in-store, online and direct communication. Mintel (2013) stated that, 74% of Internet users confessed to purchasing online in 2012, with a growth of 9% since 2011, signifying the growing importance of adopting a multichannel retail presence. Effectively many brands are making use of social media as a promotional platform for the brands, according to Mintel (2012). Facebook remains the most popular networking site and out of 462 Internet users, over half (55%) admitted to looking up a brand on the networking site, with 70% becoming a fan or â&#x20AC;&#x2DC;Liked itâ&#x20AC;&#x2122;. Facebook also recently invested in a survey to establish its affluent consumer, proving that not only do the affluent consumers use the site but they also use it as a platform to engage with luxury brands (WGSN, 2013). Therefore the brand must maintain up to date, interesting and relevant news feeds and posts, to keep consumers informed and interested in the brand.

Many consumers are showing interest in smart phone and tablet purchasing, however, there is still doubt amongst consumerâ&#x20AC;&#x2122;s minds, 34% of smartphone owners have opted against mobile purchases, due to worries over security and slow loading times (Mintel, 2012). This shows a lack of confidence in M-commerce, although it should be considered as a method of purchase, which is why a website with responsive design is essential. Responsive design automatically detects the size of the screen that is being viewed on and can adapt accordingly. Furthermore, 52% of smartphone shoppers prefer to purchase on a browser rather than an app, which supports the decision to design and launch a website with responsive capabilities (WGSN, 2013).

There are also rules and regulations that must be considered and adhered to when opening a store and e-commerce including the Data protection act 1998 and sale of goods act 1979, for more information see Appendix D.

3.2 COMPETITOR ANALYSIS In order to further understand Gareth Pugh’s current market position, research into the brands key competitors has been analysed. Research discovered each of the competitors market segment, strengths, weakness and promotion. For full analysis see Appendix E and Appendix F for detailed social statistics.

KEY COMPETITOR STRENGTHS

• High profile brands such as, Maison Martin Margeila have stronger online presence, which allows them drive awareness faster. • Majority of the brands have three or more stores with one in their own country. • Like Alexander McQueen most competitors have multichannel retailing.

KEY COMPETITOR WEAKNESS

• Brands such Vivienne Westwood and Issey Mikaye have over 100 stores, which could question the brands exclusivity. • Many of the Competitors websites lack appeal, either through a lack of creativity or by over complicating the website navigations. • Some brands such as, Ann Demeulemeester and Rick Owens are still relatively unknown.

The close examination identified that all competitors have websites, and 9 out of 10 have e-commerce. With the majority of the brands benefiting from online social media. All competitors have more than one-standalone store, with at least one in the country they are from, unlike Gareth Pugh who only has a small boutique store in Hong Kong.

Promotional campaigns and marketing tactics are also noticeable elements used by at least eight of Pughâ&#x20AC;&#x2122;s direct competitors, including, Vivienne Westwood, Acne and Comme des garcon. The luxury leaders such as, Alexander McQueen and Vivienne Westwood have large promotional and advertising budget and the strongest celebrity following. Primary research in London also discovered that these brands are the most recognised brands followed by Maison Martin Margeila.

It appears that the Gareth Pugh brand is falling behind its competitors especially online, however the brand has the advantage of remaining exclusive, it is not a hugely commercial brand which appeals to Pughâ&#x20AC;&#x2122;s niche consumer. Another advantage is the brands strong portfolio of fashion films, compared to other brands Pugh has been an earlier adopter of this medium, and mastered it with a strong understanding of how to portray the brands vision, therefore maintaining a competitive edge.

Price

GARETH PUGH

Creative edge FIG 2 : MARKET POSITIONING TABLE

3.3 TARGET MARKET The brand is situated within the high-end luxury market, mainly targeting ABC1 consumers and indirect C2 consumers. It appears the brand is aimed at males and females over 25 with a higher than average disposal income, those consumers who are high achievers in a professional or managerial role such as a chief executive or those striving for success, found in a supervisory or team leader roles.

A report by Mintel (2011) states that, it is the affluent ABs and the aspirational C2 consumers who are the main drivers of sales within the premium sector. Further information explains that there has been a peak in luxury purchases made by the C2 socio economic group, with 82% of consumers in full time education opting to buy luxury items, making these brand conscious and status driven consumers potential customers. However, it is the 25 to 34s who have been recognised as the most valuable to the market, given their progressive positions and spending power.

During primary research in London, it was discovered that the Gareth Pugh womenswear is in high demand, with the majority stockist selling out of the brands collections. This shows that there is a growing demand for the brand, which reflects the increase in luxury spending. This suggests that there is further potential to push sales within the brands womenswear.

3.4.1 CONSUMER PROFILES

Primary research from the brands press contacts and stockist emphasis that Gareth Pugh does not pin point the brands target consumer, they stress the importance of brand identity and how it is the consumers choice to think what they want about the brand. The brand isnâ&#x20AC;&#x2122;t defined by gender, beliefs or age however the brands price point generally attracts educated 25+ consumers. These niche consumers share common characteristics through their radiate confidence and strong sense of style, overall the brand appeals to those like-minded individuals who know and want to connect with the brand.

PRIMARY CONSUMER â&#x20AC;&#x201C; THE VISIONARY The visionary defines the confident self-assured innovators. These consumers are sophisticated professionals dedicated to their field of work. They are leaders, and opinion formers, and they often inspire others around them. They live a fast pace lifestyle, which they thrive off. They are dedicated networkers both on and offline, they prefer to be in social environments and prioritise work and life experiences. They are very independent and self-motivated individuals, who tend to surround themselves by people similar in personality, interests and aspirations to them self.

Knowledge and determination helps to maintain their competitive edge. They like to explore new mediums of interest; technology and social media platforms play a primary role in the visionaryâ&#x20AC;&#x2122;s dayto-day routines. They like to update and express their personality online to the social world, they are eccentric and incredibly humble, but they are not afraid to speak their mind.

It is essential for them to be constantly up to date with the latest world and social news, with a strong interest in fashion, art, design, architecture, music and film. They also have a talent for discovering inside information and can be found at elite fashion events, exhibitions, the theatre and Broadway shows, as well as quirky low key bars open till early hours in the morning. When they have time to relax they like to indulge their minds by reading novels and print media. Their choice of magazines include Dazed & Confused, Another, Hunger, Interview Magazine, Vogue and Elle.

They are continuous shoppers and value in store experiences, as they like to relate themselves and form a bond with brands. They push boundaries with their clothing choices and they have the ability to look at things differently to others around them. These consumers are not driven by vibrant colours or prints, they have an eye for detail and appreciate the complexity of the design. They value reliability and quality that can be found in luxury brands.

Ultimately the visionary consumers are inspirational leaders, and innovators with luxury tastes and cultured minds

FIG 3 : THE VISIONARY

SECONDARY CONSUMER â&#x20AC;&#x201C; CREATIVE EXPERIMENTALIST The creative experimentalistâ&#x20AC;&#x2122;s are youthful enthusiasts, who crave a career within the creative industry. They like to feel apart of an exclusive crowd; they are prepared to try new things and step outside their comfort zone. They have a keen interest and knowledge of designers, trends, and upcoming fashion events. They are always looking to gain new information, insight, and new experiences.

They can be described as unconventional and artistic with obsessive personalities, constantly striving to succeed in their personal goals. They are constantly learning and are intrigued by new technology. As devoted social media networkers regular status updates will be found on Facebook, twitter and Instagram, and the occasional blog post about their latest purchases.

They are non-stop shoppers and like to immerse them selves within a store environment, they value a personal experience and high standard customer service. These consumers like to invest in premium pieces combined with some high street items. They are willing to experiment with their day to day black wardrobe, and they are able to look beyond a piece of clothing; and have the skill to transform and manipulate any item into something more creative and compelling. Bright prints do not appeal to this consumer but expect to see blocks of colour and usual materials. They enjoy attention and are known to shock with some of their outfit choices.

This person will more than likely be surrounded by large groups of people at social meeting and events. They enjoy a on the go active lifestyle, their calendar is likely to be filled with vacations, exhibitions, fashion shows and events, store openings, store/online discount days plus music events. They are relaxed in their busy life style and act on impulse. In their spare time these consumers like to retreat to a comforting environment to read their latest issue of their subscribed magazine, and can be found reading Another, Dazed & Confused, Hunger, Love, Wonderland, Elle and Vogue.

To summarise the creative experimentalist are ambitious, educated, and multi-talented creative with a growing appreciation for luxury and quality items.

FIG 4 : CREATIVE EXPERIMENTALIST

4.0 AIM AND OBJECTIVES

AIM To successfully promote Gareth Pugh through a integrated multichannel approach throughout 2015, with the aim of informing the brands development and strengthening the profile of Gareth Pugh in the luxury fashion industry, in the form of a e-commerce website, store launch, and a considered collaboration.

OBJECTIVES • To successfully launch and create interest around the brands e-commerce website through appropriate marketing tactics, with the goal of strengthening the brands online presence.

• To generate brand awareness through a significant and reputable collaboration, driven by relevant marketing tactics prior to the Gareth Pugh store launch.

• To launch and create awareness around the Gareth Pugh’s store opening on Conduit Street, London, through a successful store launch event and additional promotional tactics, emphasising the brand identity and luxury positioning.

•

To increase sales by 8% PA compared to the previous year, plus doubling online social media following by generating impressive awareness through successful marketing strategies and tactics over a nine-month period.

5.0 MARKETING STRATEGY

The marketing strategies proposed have been devised to drive the brands development, consumer awareness and brand identity. To achieve the aims and objectives the following strategies have been outlined and justified with relevance to the Gareth Pugh brand, keeping in mind the brands aesthetics and core values.

To meet the aims and objectives the plan has been broken down into three strategies: website proposal, collaboration and store proposal. Each strategy has its own marketing tactics, which will be integrated throughout to form a cohesive brand identity. The main purpose of the website and store proposal is to encourage the development of the brand, whilst the collaboration will drive consumer awareness and interest.

Collectively the strategies will focus on reinforcing the brands identity, increasing awareness and strengthening the brand profile within UK, more specifically London.

5.1 WEBSITE PROPOSAL

AIM

The e-commerce website aims to build the brands online presence, creating a interactive digital platform that will engage consumers, drive sales and form a strong brand identity.

OBJECTIVES

• To create a website with clear e-commerce functions • To design a website which clearly represents the brands aesthics and identitty. • To generate interactive and engaging content fitted to the needs of the target consumer.

It has been identified that Gareth Pugh does not yet have an e-commerce website. This being said the brand is reaching 10 established years and would benefit from an online presence as a way of developing the brand further. An E-commerce website could potentially drive sales and consumer awareness, with 74% of consumers admitting to purchasing online (Mintel, 2013). Further more, it will give Pugh increase control over how the brand is presented to the UK consumer.

The website will be launched on the 26th March 2015. The website will provide a platform for the brand to share, connect and meet consumer demand. Www.garethpugh.com will be the domain name for the website.

The website aims to channel the brands aesthetics through its design, further focusing on driving interactive content that is supported by visuals and videos to create an immersive experience on each visit. To keep the website low maintenance and to avoid the need for Apps, the website will be designed with responsive capabilities, which will allow consumers to enter the website from any device or any size screen and receive the same online experience.

COUNTRY : UK q

SHOPPING BAG

GARETH PUGH E-store: discover the new womenswear collection

a/w 2015 : backstage

Gareth Pugh Celebrates

exclusive: New Fashion film E-STORE

COLLECTIONS

10 years PROJECTS

STORES

FIG 5 : GARETH PUGH E-COMMERCE WEBSITE

BIOGRAPHY

STOCKIST

CONTACT

On the home page there will be four main links named: E- store, Collections, Projects and Biography. Each link will provide visual content and information, as a brief outline the pages will disclose the following:

• The E-store will have two links named ‘women’ and ‘men’, on these pages customers can browse the brands ready to wear clothing, shoes and accessories, which can then be purchased online.

• Collections will provide a main links to the designer’s most recent collections, as well as, an archive option to view further collections. Each will then unveil the show, each look and backstage footage.

• The projects page will show a mood board of images, which represents each project; you can then click on each image to find further details on the project, as well as visuals and videos.

The biography page will display information about Gareth Pugh. Alongside these main links, there will be extended links to other pages of use including: the shopping bag, log in/sign up, stores stockist and a contact page.

Lastly, costing’s for this strategy are low as Pugh will only have to invest in the domain name, design and staff to help maintain and update the website (see 8.0). For a more detailed break down of the website please refer to the website overview document.

5.2 COLLABORATION

Aim

The aim of the collaboration is to generate impressive awareness around the brand, prior to brands anticipated store launch, by collaborating with suitable company, the English National Ballet, creating an original concept and theme that will drive the brands identity.

Objectives

â&#x20AC;˘ To successful drive brand awareness through the chosen collaboration â&#x20AC;˘ To create a original concept and theme that will appeal to the brands target consumers â&#x20AC;˘ To create a collaboration that is relevant to the brand identity and aesthetics.

The Collaboration has been chosen in association with the English national ballet, which will be announced on the 10th April 2015. A tactical decision was made to collaborate the National Ballet as method to advertise the brands identity and aesthetics, whilst promoting Gareth Pugh’s creative design ability. The collaboration is a strategy on it’s own, as it will be a valuable promotional tactic, creating hype around the brand before the store launch.

THE ENGLISH NATIONAL BALLET The English National Ballet are a pioneering dance company who have currently undergone a successful rebrand, including a new logo, productions, imagery and website. They are moving away from conventional costumes and performances, and seeking to make the company more contemporary, accessible and relevant. A way in which they have chosen to do this is by collaborating with unconventional designers with similar ethos to themselves. For further Information please see the Tears model in Appendix G.

THEME The collaboration will expose the battle against perceptions that both the English National Ballet and Gareth Pugh challenge in their own significant way, by pushing boundaries in both fashion and the physical art form. The Campaign will portray a masculine femininity, in typical Gareth Pugh creations, taking the dancer out of predictable tutus, which is something the ENB is encouraging in their campaigns. The key messages indicated in the ENB brand campaign will be “Looks Can Deceive” and “Reality is merely an Illusion” (see fig 6,7,8,9,) , this will propose that there is something more to what they view and see day to day, initiating an ongoing thought process that will remain prominent in there minds. Visually it will appear obscure, sinister and otherworldly that is unconventional on every level, keeping with the brands aesthetics and core values . This Fashion film will be a separate stand alone project, however, the same theme will be consistent within the fashion film, the dancers will transform the vision into reality; creating an unusual, altered, visually engaging experience (see fig 10,11).

THE COLLABORATION The original and distinctive collaboration will be unlike anything Gareth Pugh or the English National Ballet has done before, it will be a combination of video, costume and campaign representative of both parties. The overall concept will envision Gareth Pugh’s dark, complex and otherworldly design approach, through the ballet art form, portrayed through unique challenging performances, imagery and film.

Pugh’s existing fashion film associates Nick Knight and Ruth Hogben will work on creating and making Pugh’s vision come to life. This will generate further promotion, as the film will be promoted via Showstudio.com, where it will later be permanently exhibited.

The collaboration will consist of a unique sequences of designs created by Gareth Pugh for the English National Ballet’s brand campaign, which will promote Gareth Pugh as a designer and the brand . This ultimately lead to the further decisions of starring the dancer(s) in Gareth Pugh’s up coming fashion film for spring/summer 2016. The campaign will be released in August 2015 and the fashion film will be released unknowingly at the launch event of Gareth Pughs UK store.

The main aim of the collaboration is to increase interest and a strong desire in the brand, aside driving the brands consumer awareness through elevated media coverage, and a stronger promotional message. Ultimately the collaboration with the ENB will reinforce the brands identity and ethos, whilst targeting a wide geographical consumer base, including the brands primary and secondary target consumers.

Overall this strategy could provide endless benefits for both organisations, and will reflect a surreal combination of art forms. It will also help the brand financially as it will be a mutual investment, costs will be split between the parties and promotion will be amplified.

Looks Can Deceive.

GARETH PUGH

FIG 6 : GARETH PUGH X ENGLISH NATIONAL BALLET BRAND CAMPAIGN

Reality is merely an illusion.

GARETH PUGH

FIG 7, FIG 8, FIG 9 : GARETH PUGH X ENGLISH NATIONAL BALLET BRAND CAMPAIGN

Looks Can Deceive.

GARETH PUGH

Reality is merely an illusion.

GARETH PUGH

GARETH PUGH u

FIG 10 : GARETH PUGH SPRING/SUMMER 2016 FASHION FILM

GARETH PUGH u

FIG 11 : GARETH PUGH SPRING/SUMMER 2016 FASHION FILM CLIPS

SPRING / SUMER 2016

5.3 STORE PROPOSAL

AIM

To create a store that offers a distinctive and immersive experience, with a concept representative of the brands aesthetics, further reinforcing the brands status by positioning the store in a luxury area.

OBJECTIVE

• To design a store concept cohesive with the Gareth Pugh Hong Kong Boutique, to ensure a strong brand identity. • To create unique brand experience • To place the store in luxury area that will amplify the luxury status of the brand and create awareness.

In order to inform the progression of the brand it has been decided that a London flagship store would be invaluable to brands development after reaching 10 established years. Pugh does not yet have a UK store, and currently trades in concession stores where there is limited control of how the brand is portrayed. By opening the brands own store, Pugh will benefit from endless opportunities, including, increased control over the brand image. Pugh also currently works and lives in London, which means a store in the chosen area is achievable and manageable.

The Gareth Pugh store opening is scheduled to launch running up to London Fashion Week on the 10th September 2015, at 12-13 Conduit Street, London. The location has been chosen to reinforce the brands luxury positioning, by placing the store within Londonâ&#x20AC;&#x2122;s luxury quarter (see Fig 12)

The store will be broken down over two floors. The Womenswear collections will be situated on the first retail floor and Menswear collections on the second higher floor, along with a office and staff room to the rear.

The key characteristics of the Gareth Pugh store will be the large screen and the monochrome colour palette. The Screen will be visible from the outside of the store and on entrance, It will play Gareth Pughâ&#x20AC;&#x2122;s fashion films and runway shows, as well as other potential video projects. The screen is a key element, as it can be constantly updated and change with each season. The timeless monochrome colour palette will provide the main theme throughout the store, channelling the brands aesthetics.

FIG 12 : GARETH PUGH STORE ON CONDUIT STREET

The store concept will be consistent with the Gareth Pugh Hong Kong store, keeping a consistent brand identity. It will resemble a spacious box like retail space, with the ability to move or add fixtures; the contrasting black and white interior will complement each season, allowing changes to be made or colours to be added. It will also ensure concentration is not taken away from the garments by keeping a minimal colour palette and layout. The fitting rooms will feature a complete white interior with a consistent geometric pattern embed in the walls, highlighted by floor to ceiling mirrors which will create the illusion of added space.

The store will be a hub for Gareth Pughâ&#x20AC;&#x2122;s own events and new projects. The flagship aims to express the world of Gareth Pugh through his eyes creating a unique, exclusive and multisensory experience that consumers can immerse themselves in on every visit.

The store will be the largest expense, however, leasing will be broken down into a yearly basis, which allows time to make a healthy profit. Leasing costs, plus store design and staffing have been estimated at around about three hundred and ninety thousand pounds, which is the majority of the overall costs.

For a more detailed breakdown of the store please refer to the Store Overview document.

5.4

A ttention

nterest

esire

ction

Each marketing strategy alongside strategically planned marketing tactics has been chosen to meet the aim of the marketing plan. In order to fulfil the aim the strategic approach must create attention, interest and desire with the ultimate goal of achieving action.

ATTENTION The creative design and layout of the e-commerce website will reflect the Gareth Pugh brand aesthetics making it instantly recognisable. The security and convenience of being able to buy directly from the brand itself will appeal more than buying from a concession, which will gather immediate attention. The website will also be the brands main online communicator, informing people the brands projects and events, making it a reliable source for customers to find information on the brand.

The collaboration will increase exposure of brand; the English National Ballet is a ballet company that is highly reputable and recognised throughout the UK ensuring the brand will receive maximum exposure. The brands links to ballet will be an attractive talking point bringing attention to the collaboration and therefor the brand.

The store will generate a large amount of public attention for Gareth Pugh, as it will be the brands first UK flagship store. The location will also ensure that the brands store is well recognised, by placing it in a luxury area that consumers are familiar with. The store and website will also strengthen the brands overall identity, making it more distinguishable to public which will drive attention.

INTEREST The website will generate a vast amount of interest, due to its e-commerce capabilities. The ability to find stores, stockist and information on the brand itself are all popular attributes, as the current information on the brand is minute and scattered all over the Internet.

Collaboration will instantaneously drive curiosity due to Gareth Pughâ&#x20AC;&#x2122;s connections with ballet and the current rebrand of the English National ballet, with their aim of pushing boundaries and challenging the perceived view of the art form.

Other than the fact it will be Gareth Pughâ&#x20AC;&#x2122;s first UK store, the overall design of the stores exterior and interior will excite consumers and push them to visit the store.

DESIRE The success of the collaboration will ultimately make the brand more desirable increasing the anticipation for the store launch.

The cohesive brand identity reflected in the website and store will strengthen the brands image, thus boosting the profile and making it more desirable. The ability to buy directly from the brand is also a desirable quality, consumers value store experience and like the convenience of being able to purchase online, by offering both these facilities consumers are more likely engage with the brand.

ACTION The strategies combined alongside strategically planned promotional tactics will build a strong brand presence; the increased attention will intrigue consumers; influencing their decision to engage with the brand.

The new addition of a website and store will give consumers the option of indulging in a Gareth Pugh experience on and offline. Once consumers chose to either enter the website or store they will be immersed in a surreal, luxury experience unique to Gareth Pugh, which will appoint consumers to act. They will receive a memorable and quality experience, which will further encourage consumer to return.

Overall the proposed strategies and tactics will confidently achieve attention, interest, and desire in the brand causing both competitors and consumers to act.

6.0 MARKETING TACTICS

To ensure maximum success of the proposed marketing strategies, promotional tactics have been broken down and integrated over nine months, to promote each strategy accordingly. In order to keep consumers constantly aware and informed the proposed strategies will run seamlessly through various multichannel promotional tactics, ensuring the promotional message targets both consumer and media segments in the most effective way possible.

Taking into account the situational background including technological advancements, competitors and consumer profiles, tactics have been chosen to target consumers on and offline through social media, print, digital and events/ appearances. Visuals will play a main role in consistently driving the brand cohesive identity and aesthetics during the nine crucial months.

Gareth Pugh is not a typically commercial designer and this is reflected in the brand. Pugh does not use print advertisements, however events are generally controversial and generate their own publicity. Pughâ&#x20AC;&#x2122;s clever approach to promoting his brand is subtle yet effective, which has informed the following tactics within this marketing plan.

Although Gareth Pugh is an established designer in the luxury sector a conscious effort has been made to keep costs low, due to the expense of the store launch. Majority of the tactics are low budget and can be done through the brands own devices, such as, the website, social media and e-mails, with other tactics such as, the interview which will generate income. Ultimately, this means positive online and offline media coverage is a key component in achieving maximum success.

The tactics have been detailed and broken down logically according to each strategy, alongside a monthly calendar; showing how the promotional tactics will run throughout the nine months.

6.1 WEBSITE PROMOTIONAL TACTICS The following promotional tactics have been chosen to raise awareness and interest for the launch of www.garethpugh.com. The tactics will begin pre launch and will continue to promote the website running up until the launch day on March 26th 2015. After the website is live it will become a valuable promotional platform for the brand, and will continue to build a strong online presence by supporting the brands other promotional projects and endeavours.

6.1.1 PRESS RELEASE The first open communication announcing the website will be prior to the launch day, in the form of a press release (see fig 13). The aim of the press release is to create awareness and initial excitement for the website by informing relevent media.

The Press release will be sent out on the 5th January 2015 to all preferred media contacts. The contact list has been narrowed down to specific online and print media, based on reliability, profile and target audience (See appendix H). The press release will not detail features of the website at this point, as it aims to create attention and interest, leaving consumers wanting to visit the website and find out more.

The idea is to announce the website promptly so that it can be promoted through social media and online advertisements in due time. So consumers and followers can become familiar with the brands constant up dates and announcements online, which will further inform them of the forthcoming countdown and landing page.

NOTE: You can find a copy of the press release in the press pack.

GARETH PUGH GARETH PUGH LAUNCHES WEBSITE For immediate release

London, 5th January 2015 - Gareth Pugh is pleased to announce the launch of the brands ground breaking e-commerce website, which will be live on 26th March 2015, under the domain name www.garethpugh.com. The website will be the first of many new projects for 2015, as statement of the brands ten years in fashion. Gareth Pugh is a British fashion designer based in London. Pugh has received global recognition for his innovative approach to redefining modern luxury. Often described as unconventional, Pugh’s artistic craftsmanship and novel approach to fashion design is elaborate in conceptual way, generating a senses of purpose in his collections beyond clothing. Each Design from his collection is intensely complex, making every piece a staple item. The website will encapsulate the brands creativity and alternative twist to luxury through its innovative design and layout. The decision to launch an e-commerce website has been made to support the brands long-term goals of developing a digital footprint, and achieving global brand expansion, by shipping overseas. The distinctive luxury experience uncovered through Gareth Pugh’s digital presence will truly reflect the brands philosophy.

Both womenswear and menswear will be available to purchase, encompassed within the brands e-store. Other functions include the ability to view the brands list of collections and projects. As an advocate of fashion ﬁlms Pugh is also looking to channel this through the website, providing consumers with visually engaging content which is sure to excite. -

END -

For additional Information please contact: Ashley Ashcroft, Press Assistant AshleyA@Garethpugh.com Tel: 0207-287-9890 Www.garethpugh.com

FIG 13 : PRESS RELEASE FOR WEBSITE LAUNCH

6.1.2 SOCIAL MEDIA CAMPAIGN Social media networking will be an on-going promotional tactic throughout the nine months. This specific social media campaign will follow on from the press release providing up to date information of the website, and will ensure continued communication, thus driving consumer awareness and interest.

The main purpose of the social media campaign is to raise continued awareness by keeping consumers constantly connected and informed. The networking sites will also aim to create interest, by launching the countdown and introduce the websites landing page, 4 weeks prior the websites launch date. As Facebook is the most significantly popular social networking site with affluent users, and with over half of the adult population having an account, it will be the most prominent communicator of the message supported and linked to twitter and Instagram.

These specific social networking sites have been selected due their versatility. As stated, Facebook is the most influential social networking site, aside this twitter will allow the brand to post quick status updates that can be then linked to Facebook and shared on both networks. Instagram will provide a more visual element, which can also be linked up to both Facebook and twitter. Instagram and twitter also incorporated hash tagging which can connect similar topics of discussion, such as, #GarethPughonline #GPConnected #Garethpughlive (see fig 14,15).

During the pre-launch period, Facebook will make announcements of some of the key features that will be available on the website, such as, the e-store and up-coming projects, these will be broadcasted prior to the landing page, which will incise consumers to want to visit and purchase from the website.

Post launch the brand will announce ‘web exclusives’ via the brands social networks with the hashtag #Garethpughexclusive. The web exclusive’s will be key items and accessories only available to purchase on the e-commerce website. This will contiune the ‘buzz’ around the website after the launch, plus reinforcing the exclusivity of the brand as the items wont be available to purchase anywhere else. this will encourage consumers to to stay connected with the brand, in order for them to keep up to date with the brands activities, ensuring they do not miss out on future gareth pugh exclusives’.

FIG 14 : EXAMPLE FACEBOOK POST

The Landing Page is up!! Head over to www.garethpugh.com check it out and send us your e-mail addresses....Only 27 days to go !! #Garethpughlive #GPConnected

FIG 15 : EXAMPLE TWITTER POST FOR WEBSITE

6.1.3 ONLINE ADVERTISEMENT On January 6th, shortly after the press releases have been mailed, Gareth Pugh will begin placing online advertisements on external websites for a short period of time.

Advertising online is a more efficient and cost effective way to promote the brand to key audiences short-term. The advertisements will be placed on website homepages, such as, I.D.Vice.com, Vogue, Style.com and Trendland. These websites will deliver the promotional message to Gareth Pughâ&#x20AC;&#x2122;s key consumers. An additional benefit is that the advert will also redirect the consumer to the website landing page once it has been clicked on.

The digital advertisements will be clearly identifiable with the Gareth Pugh brand and will resemble the websites landing page. The Advertisement will display the domain name, together with the launch date (See Fig 16,17,18, 19).

WWW.GARETHPUGH.COM LIVE ON THE 26TH MARCH 2015

FIG 16 : WEBSITE AD ON ID.VICE.COM

WWW.GARETHPUGH.COM LIVE ON THE 26TH MARCH 2015

FIG 17 : WEBSITE AD ON VOGUE

WWW.GARETHPUGH.COM LIVE ON THE 26TH MARCH 2015

FIG 18 : WEBSITE AD ON STYLE.COM

WWW.GARETHPUGH.COM LIVE ON THE 26TH MARCH 2015

FIG 19 : WEBSITE AD ON TRENDLAND

6.1.4 LANDING PAGE The calculated decision to create a landing page was decided with the intention of capturing consumer attention, and anticipation around the brands web launch, plus inviting customers to interact with the brand.

The landing page will invite the first step of action from consumers, giving them the option to ‘stay connected’ by entering their e-mail addresses. The Landing page will be live from the 26th February, four weeks before the launch date, allowing time for the brand to build its consumer e-mail base. To encourage more consumers to enter their e-mail address the day before the launch the brand will announce exclusive entrance, via Facebook, given them the chance to browse the website two hours before the set launch time of 8.00pm, this will be for those who have signed up before 12noon on the 26th March.

The design of the landing page will provide insight into what the website will look like. The page will feature the live count down, plus social media icons; encouraging consumers to browse and follow all the brands social networking accounts (see fig 20). The integration between social media and the website will encourage a stronger online presence and, a overall promotional message.

The website’s landing page will be promoted via the social media campaign, which includes Facebook, twitter and Instagram. News feeds and posts will direct consumers to the landing page, via the domain link www.garethpugh.com written within each post, along with the message ‘To stay connected enter your e-mail’.

Overall the landing page will allow consumers to become familiar with the web address. It will also provide visual insight into what the website will be like, which will build up the excitement prior to the launch, with the aim of leaving a lasting impression that will make consumers want to enter the website when it is live.

GARETH PUGH

DAYS

Hours

59 minutes

58 seconds

TO STAY CONNECTED ENTER YOUR E-MAIL

FIG 20 : WEBSITE LANDING PAGE

6.1.5 E-MAILS Once people have signed up on the landing page, they will receive multiple reminders and invites to join the launch of the brands website. The aim is to keep consumers informed and reminded of the website launch.

Consumers will receive an e-mail when they have signed up, and depending on how advanced they do this prior to the launch, they will then receive weekly updates. The day before the launch those signed up will be informed of their importance to the brand by offering them two hours exclusive entrance to the website prior the launch. This will allow Gareth Pugh to drive the exclusiveness of the brand, allowing consumers to be apart of a niche group, directly appealing to the Gareth Pugh target consumer.

On the day of the launch those registered will recieve a e-mail which will have a link, ‘Enter now’ and a code ‘garethpughexclusive’ (see fig 21). The Consumers will need to be redirect via e-mail and they will need to enter the code to gain early access. The website will then unfold in front of them and the video on homepage will automatically begin playing. The reason behind this to get consumers to interact with the brand by creating a unique experience that is interesting and memorable, encouraging them to return to the website.

Donâ&#x20AC;&#x2122;t Miss Your Exclusive Entrance!! Gareth Pugh

26/03/2015

Thank you for joining garethpugh.com, for being such a loyal customer we are giving you 2 hours exclusive entrance to www.garethpugh.com. Just click on the link below and enter your exclusive code!!!

GARETH PUGH

ENTER NOW CODE: GARETHPUGHEXCLUSIVE

FIG 21 : EXAMPLE E-MAIL FOR EXCLUSIVE ENTRANCE

6.2 COLLABORATION PROMOTIONAL TACTICS The tactics chosen to support the collaboration have been decided with the purpose of bring attention, interest and increased desire in the brand. The tactics will be begin in April and run up until September, till after the store launch.

The different tactics will focus on driving the brands UK presence and overall brand recognition, keeping in mind the brands interests and values, targeting consumers and the media through different media tactics to drive increased awareness of the collaboration and therefore the brand. Predicting that the tactics successfully generate positive media coverage, the brand will benefit from building a stronger brand profile in the UK.

6.2.1 PRESS RELEASE Press Releases will be sent on the 10th April to all press contacts on behalf of Gareth Pugh and the English National Ballet. It will inform the media of the designer and the companies plans to collaborate in 2015 (see Fig 22).

The press release will state the plans of the collaboration; details will include Gareth Pugh’s aim of creating costume design for the English National Ballets 2015 campaign and the added decision to further concentrate on a performance piece from the English national ballet for Gareth Pugh’s 2015 fashion film. Lastly the press release will hint to the press the designer’s intention to visit the English National Ballet over the coming months.

It has been decided that the press release will be sent out before Gareth Pugh’s upcoming interview, so the designer can discuss up coming projects and the excitement for the collaboration. The aim is to create hype around the brand through the media, by keeping them informed they are more likely to follow up on the brands plans and progress throughout the collaboration, leaving the brand in a

good position for when the store launch is announced.

HH GARET G UPPU G H HTER A GARETH PUGH AND THE ENGLISH NATIONAL BALLET TELLAB L

ANOITAN HSIL ANNOUNCES COLLABORATION GNE EHT DNA HG UP HTER NOITARO AG BALLOC S E C For Immediate Release NUONNA esaeleR e taidemm I roF

te laB lan otiaof London, 10th April 2015 – lOn Behalf and the English National Ballet N hGareth silgnE ePugh ht dna hg dnarb ev hteENB tiaplans they are pleased to announce their collaborate onuPthe erc BNto raG creative fo flaheBbrand E eht no nO etaroball 5 1 0 2 oc ot snPugh’s s’hgplans campaign, with further prospective collaborate on Gareth 2015 – 5102 lirpA ht01 uP htto a l e p r ,nodnoL r a i G e ht ecnuo no et ro ,notic lo nna ot de balloc ot c 6designers 102 rem up-comingaspring/summer fashion film, reminiscent ofelthe 2016 collection, s s a n e a lp era ye lp evtice mus/ gnir psorp reh ht ps gnimo truf htiw c-pu sren set to launch in September 2015 (Date TBA). ,ngiapma gised eht c fo tnecsi nimer ,m .)ABT eta lfi noihsa D( 5102 -carahc a f r bmetp gntiperceptions aerc yb m of the dance art form by creating a echaraceS ni hcn The ENB aims to challenge the ual ot tes rof tra ec nefto dn n ad t fo a kracampaign, teristically bizarre themed brand and often snothe d eht hgu channelledehthrough tipedark crep eht orht dell esopatxu egnellah e n n a h c c ot smia J eb lliw sinister approach Gareth Pugh emits through designs, which Juxtapose ,ngiawill pmabe hcihw ,his BNE ehT c d fo ecneu n a s r n b g d i s e e m q d es euof ehtoferraz sih hcreate guorhta sunique qinEnglish against the classical repertoire Pugh will sequence u a etaeballet. i b y l lactisiret time hgu rc lliw hg Ph lanotinev uPrebel .tellaagainst noc tsnia the idea is to designs for the ballets brand campaign; b hsilgnEconventionalteraG hcaorppa r g etsinis a leber o fo eriotre fo edis d t si aedi e peside ebrutsof r lacof id the issalc eh design and common notions by portraying ahdark dnaart t ;ngiand kraform apmdisturbed t d a gniya t s niaga ac dnarb rtrop yb stellab e mrof tra ballet, which is commanding and conceivably controversial. ht rof sn eht fo sn g .laisrevor ised otion no tnoc ylba mmoc dn viecnoc d a n g n i s a ed gnidnam lanotiaN moc si hc hsilgnEbetween The immediate connection made Pugh and the English National ihw ,tella eht dna Gareth h b guP hter ,mlfi noih aG neew 2015 fashion film, safto51collaborate Ballet sponsored the decision on the designer’s 0 t 2 e b s ’ rengised edam no eht gniru ticennoc eht no et tpac eb n etaidemm aronce reflecting his new collection. Filmmaker will be capturing the iaga ecno Ruth Hogben oballoagain c ot noisic i ehT lliw nebg e d o e H h t h derosnop tuR rekam essence behind Pugh’s imagination. s tellaB mliF .noti celloc we n sih gnti .notianig cefler tellaB no ami s’hgu tiaN hsilg P d n There willn be a integration between the brand campaign for the English Nation Ballet i n h E e b e h e t rof ngia cnesse otipecrep pmac dn tsniaas gathe arb ehint an battle against perception elttdancer(s) and Pugh’s fashion film, will be engaging a b e a ewteb no ni gnigag denibmo tiar etni ne eb lliw c seceip a eb lliw dehpargbeautifully )s(recnad in a contrasting heavy masculine/ piecesgcombined oerohc t elegant choreographed erehT eht sa ,m nagele yl l fi n o ihsaf s’hg luftiuaeb to create a unusual altered visually engaging experience. uP dna /enilucsa .ecneirep m yvaeh xe gnigag gntisartn ne yllaus oc a ni iv deretla fo ecnes lausunu ehtto a e ni capture t The collaboration issesure the finest of British opulence in the essence of a ecnelupo erc ot hstiirB fo dna evtia tsenfi eh erc ,tned eruconfident, Gareth Pugh’s dark and alternative finoc ehtedge combined with tthe tpac ot e creative and htiw den rus si no .mrof tra ibmoc eg tiarob lacisyhp d e e ehEnglish v contemporary approach the National Ballet applies to the physical art form.alloc ehT tianretla t ot seilp dna krad pa tellaB s’hguP ht lanotiaN eraG hsilgnE e - F/M ht hcaorp pa yrarop me-tnoc - M/F

FIG 22 : PRESS RELEASE FOR COLLABORATION

6.2.2 WEBSITE ANNOUNCES COLLABORATION The recently established website will further announce the collaboration to the public. The collaboration will takeover the website home page with the campaign and will be the main focus once the fashion film is released (see fig 23).

By using the website Gareth Pugh can directly inform the brands target audience of the collaboration in an efficient way. The aim is to maintain a strong online presence by constantly informing consumers and keeping them interested in the brand and website.

The website will be a valuable communication tool to drive both the collaboration and store launch, driving the brands aims and promotional messages.

6.2.3 PUBLIC APPEARANCE Gareth Pugh will make a Public appearance at Markova House, home of the English National Ballet, in London, to meet with the Artistic director Tamara Rojo, alongside the companies Dancers and Choreographers that will be apart of the collaboration.

Dancers and employees will be made aware of the designerâ&#x20AC;&#x2122;s appearance prior to the visit; the English National ballet will then informally express their enthusiasm to the public the day before Gareth Pugh is due to make an appearance, via their own social media platforms. The aim of this tactic is to build up excitement around the collaboration, more so it will generate free media coverage through the press and the public. The planned public appearance will encourage oral communication; this will increase the anticipation around the collaboration.

Another purpose of the collaboration is to start a journey between the consumer, Gareth Pugh and the English National Ballet. Giving the consumer an opportunity to interact within the appearance will give them a lasting impression to engage and follow the collaboration throughout its journey; amplifying the consumers experience.

COUNTRY : UK q U

SHOPPING BAG

GARETH PUGH >>

GARETH PUGH u

E-STORE

COLLECTIONS

PROJECTS

STORES

BIOGRAPHY

STOCKIST

CONTACT

FIG 23 : COLLABORATION FASHION FILM HOMEPAGE TAKEOVER

6.2.4 MEDIA INTERVIEW An interview will be organised between Gareth Pugh and a representative of Dazed & Confused Magazine/ Dazeddigital.com to acknowledge the brands 10 years in fashion. The post 10-year interview will reflect on Mr Pughâ&#x20AC;&#x2122;s experiences and discuss the brands vision for the future, at ways in which it can expand and develop via collaboration, flagship store launch and website, hopefully concluding in a productive year.

Magazine companies are extremely valuable and effective forms of communication, they have the power to inform, inspire and influence opinion on their readers. Research indicates that magazines are still significantly important to consumers for reasons that include: tangibility, credibility, target market, and the supported fact that consumers are more engaged when reading print material (Forbes, 2012). Other studies promote online publications, stating that they are the key to maximum exposure (Sherman & Perlman, 2010). Multichannel media is becoming more apparent as consumers want convenience both on and offline, which is why many print magazines have launched digital editions or websites such as Dazed & Confused (fashion public relations book).

Dazed & Confused has the ability to share information through both print and digital media, via their magazine and online website dazeddigital.com. First and foremost Dazed & Confused is a magazine that prides its self for being at the forefront of youth culture, From the words of dazed magazine â&#x20AC;&#x153;It is quite simply the most influential and successful independent magazine title on the planetâ&#x20AC;?(Dazed digital, 2009), filling consumers minds with cultural information and visual content.

The interview will be organised for the 1st May 2015, for Dazed and Confused July issue, released at the beginning of June. Gareth Pugh has been featured in Dazed and confused before, and designers creations have decorated the front page of the magazine, making them a reliable and trustworthy source.

Furthermore, Gareth Pugh’s target consumers are likely to read Dazed and Confused as the contents appeals to the consumer’s creative and inquisitive nature. By using a magazine that can relate directly to the brands target audience the brand can ensure the message will reach the consumer, through the magazines hi-level of circulation.

The interview will maximise exposure, leaving leave the message to resonate with the reader, making the brand more desirable, and therefore leaving consumers further inclined to visit the store.

STORY ANGLE

The interview will appeal to the interests of the magazine, as Dazed & Confused interviews inspiring individuals shaping the future cultural directions in both fashion and film.

Dazed and Gareth Pugh – 10 years in fashion

A detailed interview regarding Pugh’s 10 years in fashion as unconventional and controversial fashion designer will set the scene, before the interview goes on to discuss Pugh’s most productive year yet, with the launch of the website and on-going collaboration with the English national ballet, and more interestingly unexpected details of the brands first UK flagship store will unfold as the designer discusses the brands future in fashion.

6.2.5 TEASER VIDEO To keep consumers interested during the process of the collaboration a teaser video will be released (see fig 24), providing insight into the collaboration. The video will be released at the beginning of August 2015, online thru the website and social media. To make sure consumers are aware of the video e-mail will be sent out once it has been uploaded, with the message ‘take a look behind the scenes’.

Teaser videos are fast becoming a popular digital promotional tool; they create suspense and promote the message you want to convey. The main aim of this tactic is to build up excitement around the brand before its store launch in September as well as keeping consumers involved in the collaboration.

6.2.6 SOCIAL MEDIA The purpose of the social media campaign is to promote both the collaboration and store launch. A countdown of new images (see Fig 25) will be released from the collaboration, each day for one week via the brands social media accounts, until the store launch on the 10th September 2015.

The count down will focus on providing visual content that will attract to the brands ‘Visionary’ and ‘creative experimentalist’ target consumer, further appealing to their online social interests, giving them the ability to share the count down with their friends and peers.

The idea is to entice the consumer with visuals that are clearly identifiable with the brand, whilst building on the brands social media presence, with the ultimate aim of promoting the brand, collaboration and store launch.

FIG 24 : GARETH PUGH X ENGLISH NATIONAL BALLET FASHION FILM TEASER SCREEN SHOT

3 days

2 days

1 day to go...

FIG 25 : THE MAKING OF THE COLLABORATION IMAGES THAT WILL POST TO INSTAGRAM, FACEBOOK AND TWITTER

6.3 STORE PROMOTIONAL TACTICS The tactics used to promote the Gareth Pugh flagship store have been chosen specifically to inform, interest and entice consumer and the media.

The overall marketing plan will finalise with the store promotional tactics. Previous strategies and tactics have allowed the brand to drive consumer awareness and interest both on and offline. The final step is motivating consumers to act, by encouraging them to visit the Gareth Pugh store, where they connect with the brand and truly immerse themselves in a unique store experience.

6.3.1 PRESS RELEASE The store announcement will be sent out in the form of a digital press release during the promotional plan, scheduled for on the 10th May 2015. Once more they will be distributed to the specified media contacts (see appendix H). The goal behind using repeat media contacts throughout the promotional plan is to build a strong relationship between the two, so that the media relations can feel apart of the brands journey, therefore trusting that they will convey the brands message and remain reliable sources.

The press release will be sent out in due time so that the brand can drive consumer awareness and anticipation around the store launch during the development process.

The press release will include details of the stores location on Conduit Street, London. It will include the date of the brands launch event which is the 10th September 2015, and the brands plans to open to the public prior to London Fashion Week on the 11th September 2015, so that collections are available to shop during the busy week (see fig 26).

Note: You can find a copy of the press release in the press pack.

GARETH PUGH GARETH PUGH ANNOUNCES PLANS TO LAUNCH UK FLAGSHIP STORE For Immediate Release

London, 10th May 2015 - Gareth Pugh Is please to reveal plans to launch the brands first UK flagship store. Bringing every aspect of Gareth Pugh’s dark, unconventional and ethereal aesthetics to 12-13 Conduit Street, London, W1S 2XQ. The store opening marks a new chapter for the brand, beings its first investment in UK, and an important step in the brands development and future. The store design has been inspired by the brands Hong Kong boutique, which truly captures the essence of Gareth Pugh in a unique and dynamic setting. The flagship brings the brands digital world to life in a physical space, with a full wall sized LED screen offering a unique multi sensory luxury experience for the stores customers. Gareth Pugh Explains “It just seemed the natural step to make…Contrasting themes such as shiny and matte, black and white are an important part of my style, I wanted to take these ideas and create something that would make sense in a retail environment, I also wanted to keep the design consistent, so its like my store in Hong Kong, but on a much larger scale”. The two story flagship will stock both women’s and men’s collections and will be an entertainment hub for the brands projects and events, and ultimately a space to constantly communicate the brands core messages. To celebrate the launch of the brands landmark flagship, Gareth Pugh will be hosting an invite only Launch event on the 10th September 2015. Guests will be taken on an immersive experience into the world of Gareth Pugh; in an evening filled with surprises. Doors will be open to the public on the 11th September 2015. -

END -

For additional Information please contact: Ashley Ashcroft, Press Assistant AshleyA@Garethpugh.com Tel: 0207-287-9890 Www.garethpugh.com

FIG 26 : PRESS RELEASE FOR STORE LAUNCH

6.3.2 FLYERS To ensure the message that Gareth Pugh is opening a London flagship store reaches all consumers, especially those who are valuable customers, Flyers will be given out to consumers when they are shopping at Gareth Pugh’s stockists. The Flyers will have the brands logo on and details of the Flagship stores location on Conduit Street, as well as the websites domain name www.garethpugh.com (see Fig 27).

On the 10th July, shortly after the store has been announced to the public, Gareth Pugh stockist will begin handing out the Flyers to consumers when they purchase in store. Directly informing consumers whilst targeting the brands ‘visionary’ and ‘creative experimentalist’ main consumer. The Flyers will also be sent to online retailers who stock the brand, so when customers from the UK buy a Gareth Pugh Item they will receive the Flyer with there purchase, to encourage them to shop in-store.

The Flyers are a less commercial method of advertising the brand in a tangible way. Once customers receive the Flyers in store they will be able keep or pass on the Flyers to others interested in the brand, notifying them on the stores location and date of opening.

The design and style of the Flyers will add a sense of quality, reinforcing the luxury aspect of the brand, thus making it more desirable, this will also ensure that consumer pay attention and hold on to the leaflet rather than throwing it away. The Flyers will continue be given out after the store launch, during London Fashion Week to drive awareness and push sales in store.

GARETH PUGH

C O N D U I T S T R E E T , L O N D O N , W 1 S 2 XQ OPEN ON 11TH SEPTEMBER 2015 -----------------------------------W W W. G A R E T H P U G H . C O M

FIG 27 : IN- STORE PROMOTIONAL FLYER

LONDON STOCKISTS Dover Street Market Layers Browns Selfridges 127 Brick Lane Harevy Nichols LN-CC FIG 28 : GARETH PUGH LONDON STOCKISTS

6.3.3 SOCIAL MEDIA CAMPAIGN Social media will continue to support the brands projects, pushing consumer awareness and communication. This campaign aims to engage consumer interaction with the brand through a design competition via the brands main social network account Facebook (see Fig 29), targeting the brands ‘visionary’ and ‘creative experimentalist’ by appealing to the creative and competitive nature, as well as potential customers.

The design competition will encourage aspiring artists, designers and fashion enthusiasts to design a full outfit with a short description and post it to Facebook, tagging the Gareth Pugh profile. The incentive of the competition will be a one-month internship with Gareth Pugh and the brands team, the contestants will need to promote their design and get people to ‘like’ them in order to win the competition, which will effectively promote the Gareth Pugh brand. The three participants with the most ‘likes’ will receive exclusive tailored invitation to the store launch event, the winner will then be decided by Gareth Pugh and will be welcomed to intern with the brand.

The competition will begin on the 1st July 2015; it will be integrated through all online platforms to delivery a strong coherent message and understanding of the competition. The website, Instagram and twitter will all direct consumers to Facebook in order to share their ideas. Gareth Pugh will also e-mail notifications out to local colleges and university in regards to the competitions, hopefully inspiring eager future professionals to participate in the competition. Not only will it give people valuable experience working with a successful designer and brand, but it will also benefit the brand during the demanding period, helping them to maintain a strong workforce. The competition will end on the 31st August and the winner will be announced the same day.

The idea is to encourage people to connect with the brand, building suspense and excitement amongst participants of the competitions and supporters of the brand.

FIG 29 : EXAMPLE COMPETITON POST ON FACEBOOK

Join In our competiton over on facebook, we cant wait to see all your illustration. Donâ&#x20AC;&#x2122;t forget you could becoming to our UK Store launch event on and we cant wait to meet you ! Get posting and get sharing #Garethpughcompetition

FIG 30 : EXAMPLE COMPETITON POST ON TWITTER

6.3.4 WEBSITE The website is the brands online hub of communication. By the time the store is announced the website should have established a credible online presence, that consumers and more importantly customers can rely on for up to date information.

The website will advertise the location and opening of the anticipated UK store on the homepage. Further details will then be placed on the websites contact page under stores for future reference.

The website will become a source in which customers can depend on when they are looking to purchase Gareth Pugh clothing so by advertising the store on the website it will create a sense of desire in those who prefer and enjoy in-store shopping experiences; aiding their decision to visit the store.

6.3.5 INVITATIONS Event invitations for the launch of the store will be distributed on the 10th August 2014, this will allow people to plan and prepare for the up coming store launch on the 10th September.

The invites will be sent out to a selective guest list to maintain the exclusivity and luxury aspect of the of the brand including media contacts, celebrities, associates, friends and family and other fashion elites.

The fortune teller design of the invitation will resemble Gareth Pughâ&#x20AC;&#x2122;s brand ethos and identity, which is: dark, complex and unconventional, complimenting the brand image and theme of the store. The Invite will be placed in a black box to create a luxury feel and a sense of curiosity that will pleasently surpise. (see Fig 31)

IN THE HONOURED PRESENSE OF GARETH PUGH

YOU ARE CORDIALLY INVITED TO THE GRAND OPENING OF .......

GARETH PUGH 10TH SEPTEMBER 2015

8PM – 10PM 12-13 CONDUIT STREET LONDON, W1S 2XQ

RSVP

ASHLEY ASHCROFT ASHLEYA@GARETHPUGH.COM

You inv are ite d. ..

FIG 31 : FLAT IMAGE OF THE FORTUNE TELLER INVITATION

6.3.1 LAUNCH EVENT

A store launch event has been initiated to excite and satisfy consumers needs, with the ultimate goal of generate positive media coverage and a lasting relationship between Gareth Pugh and the guests. The idea is to create a unique Gareth Pugh experiences that is memorable and distinctive to the brand.

The event has been intentionally scheduled launch before London Fashion Week on the 10th September 2015, and the store will be open to the public on the 11th. By having the event on this date the brand can ensure that there will be no conflict of interests on the day, therefore the brand can remain the key focus without any distractions from other events and shows.

London Fashion Week is one of the highest profile events in the world, attracting over 5000 visitors including buyers, journalists, photographers and fashion elites, who will be eager to visit the store, making it a crucial time to drive sales, further supporting the decision to open the store just before LFW begins.

The launch event will be an exclusive invite only event. By keeping the event intimate and personal it will ensure the designer can focus on the luxury aspect of the brand. It will run from 8pm till 10.30pm with a total running time of two and a half hours. There will be entertainment, and food and drink will be provided throughout, more interestingly the element of surprise will be the main attraction, keeping guests excited and immersed in the Gareth Pugh experience.

FIG 32 : FOOD AND DRINK

FOOD AND DRINK

A set menu of hot and cold classic british canapĂŠs to suit varied palates will be available at the event; hosts will begin serving at 8.30 followed by twenty-minute intervals. Drinks will be served on entrance and will be available throughout with an option of champagne wine and popular cocktails and non-alcoholic alternatives.

ENTERTAINMENT

Dry ice will be set up prior to the guestâ&#x20AC;&#x2122;s attendance leaving it to linger and spread across the ground of the store; the floor will be barely visible. So when guests enter the store it will feel as though they are walking into a surreal experience, adding a sense of mystery and suspense. Once the dry ice has stopped it will take approximately 10 minutes to clear up.

A DJ will play a mixed set of dance, and electronic music at relatively discreet level to allow guest to communicate comfortably. Once guests are have looked around the retail concept and settled into the store environment Gareth Pugh will make a small speech thanking guests for attending, which will continuing with the designer explaining the thought process behind the store design, plus discussing the brands year so far. The designer will conclude by introducing the canapĂŠs.

Shortly after Pughâ&#x20AC;&#x2122;s speech the large TV screen will light up, stunning guests, they will be un aware and hopefully excited to see the designer largely anticipated fashion film collaboration come to life in front of there eyes.

Approximately one hour and fifteen minutes in, the designer will unveil yet another surprise, the second floor will open for guests to go an browse exclusive accessory pieces from the designers not yet seen spring/summer 2016 collection, where they can chose the item they want and have it delivered to there home the next day, accompanied by a note thanking them for their support. The intention of this is to further promote the brand through its quality service, allowing guests to reflect on the event, keeping the brand present in their minds.

During the last half hour a special guest DJ, Matthew stone friend of Gareth Pugh, will play a live DJ set, building up the music as it comes towards the end off the night, putting people in a up beat and positive mood.

FIG 33 : AT THE EVENT

CONSUMER JOURNEY

At approximately 8pm doors will open on guest arrival to the Gareth Pugh store, 12-13 Conduit Street, London. On arrival guests will in awe of the quintessential Gareth Pugh black exterior. As the doors open for each guest they will walk into what appears to be clouds (dry ice) at their feet, greeted by a glass of Moet champagne, set to take them on a journey into the Gareth Pugh world.

As the guest consume their surroundings they may or may not be aware of the subtle yet distinct scents lingering in the air, that will be continual throughout their store experience and thereafter, giving guests a sense of feeling and emotion that is unique to the Gareth Pugh store.

Once guests have settled into the store at approximately 8.20pm, Gareth Pugh will make a short introductory speech; thanking guests for their support and attendance, expressing joy over the store and overall exciting year, he will then conclude by introducing the canapés.

The canapés will begin serving roughly around 8.30pm, during this time guests will be given the opportunity to social amongst each other, with every chance to speak to Gareth Pugh himself on a more personal level. The mood will be set by a mixture low-key dance, house and electronic music, to channel an up beat yet relax atmosphere.

At precisely 9.15 the music will stop and the large LED screen toward the rear of the store, currently supporting black and white light up vertical lines, will suddenly switch to a bright white screen, putting guests into a state of excitement, the screen will then begin playing Gareth Pugh’s long anticipated fashion film, in collaboration with the national ballet, making guests feel apart of an elite group.

Following the video, Gareth Pugh will inform and guide guests of the further surprises that lie on the second floor. As guest make there way up to the second floor, in front of them will be exclusive unseen key pieces from Gareth Pughâ&#x20AC;&#x2122;s Spring/ Summer 2016 collection, displayed in front of them. On hand will be employees ready to take any orders guest wish to make, items will then be delivered to them personally the next day, hinting at the brands luxury service.

To conclude the night around, Matthew stone Gareth Pughâ&#x20AC;&#x2122;s long time friend and associate will play an unexpected live DJ set, keeping with the element of surprise. The set will be energetic and playful, truly reflecting the celebratory mood, creating more of a party atmosphere. The event will come to an end at 10.30pm. Guests will depart in a positive and up beat mood, reflecting on the truly exceptional Gareth Pugh experience.

And for those who purchased a item their experience will continue as they receive their delivery the next day in a luxurious gloss black Gareth Pugh branded box.

GUEST LIST

The event will cater for up to 70 guests, each will have received there own invitation prior to the event which they will need to show on the day. Majority of the guests will be from the UK or in the UK for London fashion week, to ensure their attendance. Guest will include media relations, stylists, models and high profile celebrities such as Rihanna (see fig 33); other guest will include the competition winners, plus dancers and choreographers from the collaboration with the English National Ballet.

GUEST

CONNECTION

Katie Shillingford

Fashion stylist/ fashion editor at dazed & confused and close friend

Daphne Guinness

Fashion stylist/ film producer and friend

Rihanna

Music artist and style icon

Lady gaga

Music artist and avant-garde fashion enthusiast

Agyness Deyn

Model, Actress and singer

Erin O’Connor

Model

Joan Smalls

Model

Jourdan Dunn

Model

Liu Wen

Model

Cara Delevingne

Model

Kate Moss

Model

Sasha Luss

Model

Miroslava Duma

Fashion consultant and style icon

Yasim Sewell

Retail and Fashion consultant

Róisín Murphy

Singer/song-writer and music producer

Nick Knight

Film Producer and Founder of show studio and friend

Ruth Hogben

Film director and Friend

Alex Box

Make up artist and Friend

Tamara Rojo

Artistic direct of the English national ballet

Rick Owens

Fashion designer friend and competitor

Henry Holland

Fashion Designer and founder of house of Holland.

Giles Deacon

Fashion designer friend and competitor

Caryn Franklin

Fashion expert and former editor of I-D magazine

Tim Noakes

Editor in Chief at Dazed and Confused

Becky Davis

Editor at Hunger Magazine

Alexandra Shulman

Editor of Vogue

Holly Shackleton

Editorial Director at I-D

Katie Grand

Editor in Chief at Love Magazine

Sophia Neophitou-Apostolou

Editor in Chief at 10 Magazine

Huw Gwyther

Editorial Director at Wonderland

Imogen Van Zaane

Editor at Tank Magazine

Ben Cobb

Editor at Another Man Magazine

Alicia Tomlinson

Brand director at 1883 magazine

Dylan Jones

Editor in chief at GQ

Simon Costin

Art director and set designer

Overall the event intends to satisfy its guestâ&#x20AC;&#x2122;s, with the aim of receiving positive media coverage and brand awareness, essentially encouraging others to visit the store. More so, the event will reinforce the brand personality and identity. Continued promotion of the fashion film release will be played instore alongside other videos, remaining an incentive to visit the store during LFW.

7.0 PROMOTIONAL CALENDAR

A calendar has been detailed to show how the promotions will run over the nine months to ensure the maximum success of each strategy.

MONTH

PROMOTION

START DATE

END DATE

January

Website press release

05/01/15

Online advertisements

06/01/15

26/03/15

Landing page announced at the end PFW

26/02/15

Social media countdown

26/02/15

26/03/15

Weekly E-mail reminders

26/02/15

26/03/15

Website launch

26/03/15

E-Mail invites sent out to all contacts

26/03/15

Collaboration Press Release

10/04/15

Collaboration announcement takes over

11/04/15

10/04/15

24/04/15

February

March

(X2 before and after launch) April

website homepage

Public appearance at national ballet

May

June

Interview with dazed and confused

01/05/15

Store press release

10/05/15

Dazed and confused magazine release

03/06/15

Social Media â&#x20AC;&#x201C; behind the scenes of fashion

10/06/15

01/08/15

Start of social media competition

01/07/15

31/08/15

Leaflets given out in concession stores to

10/07/15

On-going

media

01/08/15

Invites sent out for store launch

10/08/15

The national ballet releases their 2015

20/08/15

31/08/15

film collaboration July

promote website and store August

Teaser Video Released on website and social

Brand campaign

Competition will end and the winner will be announced

September

Store Launch event

10/09/15

Fashion film released and played In-store

10/09/15

In-store purchases delivered (after event)

11/09/15

Store open to the public

11/09/15

On-going

PFW show streamed in-store and online

26/09/15

8.0 COSTING’S

A cost sheet has been outline as a guide for the overall marketing plan, which indicates the total cost of approximately three hundred ninety six thousand nine hundred and twenty.

Breakdown of costs: SPECIFICS

COST

Website Name

ÂŁ120

Website Design

ÂŁ1000

Collaboration

N/A

Store leasing

70,000 pa

Store Design

120, 000

Staffing

200,000 pa

Digital ads

5000 (approx.)

Leaflets

300

Invitations

500

9.0 SUCCESS MONITORING

In order to measure the success and effectiveness of the specified marketing plan regular procedures will be begin routine monitoring on a daily and weekly basis.

Press coverage will be monitored, especially during key promotional tactics such as the dates which digital press releases are sent out, during the public appearance and the store launch event.

Reactions to the collaboration will also be monitored through the media both on and offline, including public relations and online social media activity, to ensure the message is being received in a positive way, therefore making sure the brand is not tarnished in any way.

The brands online social networking site will be monitored, focusing on increasing brands following during the promotional periods, before the competition is announced. When the competition begins it the networking sites will be checked repeatedly each day, keeping an eye on circulation and sharing of the message, ensuring that a significant amount of people enter.

The e-commerce website will be monitored to ensure that consumers are receiving the message, which will be visible through a steady flow of traffic and online sales. The project page and collections page will also be monitored to identify which videos are most popular amongst consumers, this will help to determine what customers are most attracted to and interested in, giving the brand a competitive edge.

Lastly In store sales will be monitored to assess whether the brand can run effectively without any high cost advertising in place.

10.0 CONTINGENCIES

In the event of the marketing strategies and tactics not working as well as anticipated or even proving to be unsuccessful additional tactics will be applied. If the website promotional tactics such as the social media campaign, online advertisements of landing page do not deliver the message effectively, then the brand will begin increasing posts via social media, and online advertisements will be placed on more websites. There is also the possible option of enticing consumer through promotional discount codes. However, this would be a risk as it could effect peopleâ&#x20AC;&#x2122;s perceptions of the brand making it appear less exclusive, which in turn could discourage original customers, this would have to be reviewed under the circumstances.

If the collaboration does not initially interest people then the brand will respond by strategically planning a PR stunt prior to the store launch, it will be a dance piece performed by the national ballet at public London location, such as the Somerset house. Dancers would be wearing the garments Gareth Pugh designed for the companyâ&#x20AC;&#x2122;s 2015 campaign; this would generate hype around the brand and increased media coverage during the busy period.

If the social media competition does not entice consumers with the internship and invitations to the store launch then the brand will work on adding further incentives, such as, share, retweet and hashtag #garethpughexclusive to be in with the chance of winning a Gareth Pugh wallet or purse. This would hopefully help encourage consumer participation and effectively increase brand awareness.

Finally, If the store promotional tactics do not generate enough coverage of the store location other contingences will work on driving this, for instance employees could give out leaflets in busy areas not only in concession stores, the brand could also post them out to customers who have already signed up the website. The brand could drive social media activity. If there is still a lack of enthusiasm surrounding the brands store launch, the brand could focus on encouraging celebrities to endorse the brand by wearing the clothing. This could work by inviting select celebrities to preview collection and allowing them to pick items of there choice, ensuring that they will wear and be seen in the item(s) of clothing, therefore creating interest and added desire in the brand.

Each strategy will have contingences in place to ensure the aims and objectives are achieved successfully, allowing the brand to confidently move forward.

11.0 CONCLUSION

To conclude, the proposed marketing strategies and tactics outlined within this document have been chosen to fulfil the aim of the marketing plan, â&#x20AC;&#x153;To successfully promote Gareth Pugh through a integrated multichannel approach throughout 2015, with the aim of accelerating the brands development and strengthening the profile of Gareth Pugh in the luxury fashion industry, in the form of a e-commerce website, store launch, and a considered collaboration.â&#x20AC;?

Following a detailed analysis of the brands situational background, including SWOT, PEST, consumer and competitor analysis, it became apparent that the brands competitors appear to be out performing Gareth Pugh in many aspects, by integrating a e-commerce website and UK store the brand can drive a cohesive brand identity on and offline, reinforcing the brands luxury status within the industry and in turn aiding the brands development as it marks ten years. The website and store are long-term investments, that can be applied and use to the brands advantage in future projects.

Primary research also suggests that Gareth Pugh is lacking brand awareness in the UK supporting the need to drive consumer and media attention prior to the store launch, in the form of a focused collaboration with the English National Ballet with the aim of generating impressive awareness. The collaboration with the national ballet will promote the creative aspect of the brand, which will appeal to the Gareth Pughâ&#x20AC;&#x2122;s primary and secondary consumer. The collaboration will generate short -term brand awareness, however it could potentially secure future partnerships between Gareth Pugh and other outside parties.

100

The brands already established social networking accounts will be a valuable promotional tool, providing a platform for the brand to communicate the focal message of each strategy cohesively, addressing a widespread online consumer base and public relations. Other digital media in the form of online advertisements, e-mail promotions and social media campaigns will continue to shape the brands online presence through high levels of engagement, effectively promoting Gareth Pugh, helping to achieve the objective of doubling social media following and increasing sales by 8% compared to the previous year.

The launch event will allow people to connect with the brand, providing insight into the quality service guests will receive in an aesthetically pleasing environment unique to Gareth Pugh reinforce the luxury status of the brand, ensuring a multisensory experience that will immerse consumers into a surreal and memorable experience. In response the brand will receive positive media coverage, boosting the brands profile and overall brand identity.

By having a specific marketing plan that can be broken down and split into different strategies allows the brand to achieve a high level of success and brand awareness through a multichannel approach, strengthening the brand profile. By incorporating a variety of consumer and media focused tactics the brand can drive the success of each strategy confidently. Overall, the application of this plan will be significantly invaluable to the future development and profitability of the Gareth Pugh Brand.

101

>> REFERENCES AND APPENDICES

102

12.0 REFERENCES

103

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Mintel (2013). E-Commerce: Reviewing 2013. Retrieved from http://academic.mintel.com/display/688313/?highlight#hit1.

Mintel (2013). Online fashion sales grow faster than high street. Retrieved from http://academic.mintel.com/display/652510/?highlight.

Mintel (2012). Why fashion needs to embrace social media. Retrieved from http://academic.mintel.com/display/632195/?highlight.

New York Times (2012). An Interview With Gareth Pugh. Retrieved from http://www.nytimes.com/video/fashion/100000001402058/an-interview-with-gareth-pugh.html.

Sherman, G.J. & Perlman, S.S. (2010). Fashion Public Relations. USA: Fairchild Publications.

WGSN (2013). Facebook: reaching affluent consumers. Retrieved from http://www.wgsn.com.libaccess.hud. ac.uk/content/report/Marketing/Consumer_Insight/2012/December/facebook_reachingaffluentconsumers.pdf.

WGSN (2014). UK consumer survey surges to pre-financial crisis high. Retrieved from http://www.wgsn.com. libaccess.hud.ac.uk/content/report/News/2014/Mar_Stories/Mar_28/News_Story_Mar_28_3.html.

Vogue (2011). Voguepedia. Retrieved from http://www.vogue.com/voguepedia/Gareth_Pugh.

Vogue (2014). Vogue UK. Retrieved from http://www.vogue.co.uk/brand/gareth-pugh

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Images Pinterest. (2012). Gareth Pugh [image ] Retrieved from: http://gb.pinterest.com/pin/48835977179499268/

Pinterest. (2013). Gareth Pugh s/s 2007 [image ] Retrieved from: http://gb.pinterest.com/pin/375980268862468189/

Pinterest. (2013). Fashion Feud : Gareth Pugh [image ] Retrieved from: http://gb.pinterest.com/pin/517914025869149933/

Pinterest. (2014). Gareth Pugh Fashion week [image ] Retrieved from: http://gb.pinterest.com/pin/107875353548510418/

Pinterest. (2014). Gareth Pugh Fashion week [image ] Retrieved from: http://gb.pinterest.com/pin/267049452876137204/

Pinterest. (2014). City Girl: Gareth Pugh spring 2014 [image ] Retrieved from: http://gb.pinterest.com/pin/445715694343113662/

Pinterest. (2013). Gareth Pugh s [image ] Retrieved from: http://gb.pinterest.com/pin/535787686889271368/

Pinterest. (2014). In black Gareth Pugh [image ] Retrieved from: http://gb.pinterest.com/pin/138767232242918720/

Pinterest. (2014). Gareth Pugh [image ] Retrieved from: http://gb.pinterest.com/pin/310889180498688200/

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Pinterest. (2013). Gareth pugh mens f/w 2009-10 [image ] Retrieved from: http://gb.pinterest.com/pin/359725088957768007/

Pinterest. (2014). Fashion Feud: quirky conceptual fashion [image ] Retrieved from: http://gb.pinterest.com/ pin/517914025870053505/

Pinterest. (2014). Gareth Pugh 2014 -15[image ] Retrieved from: http://gb.pinterest.com/pin/507710557964077839/

Milk Made (2012) Street Style : Gareth Pugh [image] Retrieved from: http://milkmade.com/articles/1575-STREET-STYLE-GARETH-PUGH

M&M (n/d) 12-13 Conduit street, London [Image] Retrieved from http://www.mandmfund.co.uk/2013/07/29/12-13-conduit-street-london/

Typepad (n/d) Canapes [Image} Retrieved from : http://a2.typepad.com/6a0120a65f64b9970c019affbb571a970d-pi

littleninjajamedia (n/d) Canapes [images] Retrieved From : http://ninja.littleninjamedia.co.uk/userfiles/strattons/images/HandD%20(445).JPG

Gentlemanculture (n/d) Moet champagne[image] Retrieved From: http://www.gentlemanculture.com/wp-content/uploads/2013/01/Moet_Imperial.jpg

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MSN (2013) Gareth pugh fashion week [Image] retrieved from: http://db2.stb.s-msn.com/i/F8/96BAACE678CEA919376C1B686BA9F6_ h498_w598_m2.jpg

Purple.fr(2009) Purple Diary [image] Retrieved from : http://purple.fr/filestorage/cache/blog/9/6854/ZXWEjgG0Pn6a119gAISdrBeL/ZXWEjgG0Pn6a119gAISdrBeL_700_0_resize.jpg

Purple.fr(2009) Purple Diary [image] Retrieved from : http://purple.fr/filestorage/cache/blog/9/11109/gareth%20DAPHNE/gareth%20DAPHNE_700_0_resize.jpg

Diaryofafashionmister (2011) One smalls step for man [image] Retrieved From : http://2.bp.blogspot.com/-o1QUKBAOwRA/TW2hbnF8J5I/AAAAAAAABMo/ARFagfSWGyk/s1600/Tom%2BPecheux%2Bwith%2BModels%2B%2528small%2529.JPG

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12.0 APPENDICES

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APPENDIX A- GARETH PUGH TIMELINE

Past

Gareth Pugh was born in Sunderland, Tyne and wear, England. In 1990 he started taking ballet classes and gave dance up when he started doing his A-levels, he has been quoted saying “it’s a bit of a Billy Elliot story”. In 1995, Pugh began working at the costume department of the national youth centre, lasting three years. He studied at the City of Sunderland college and then went on to Central Saint Martins.

2003

Graduates from Central Saint Martins with his Balloon collection that ties to different body parts, which got his creation on the front of dazed and confused magazine.

2004

Gareth Pugh interns at Revillon working alongside Rick Owens where he met Michelle Lamy, Owens wife. Pugh’s inflatable creatable installation features at Dazed & Confused designer showcase.

2005

Gareth Pugh made his London Fashion week debut with Fashion East a non-profit organisation that funds emerging talent, this success of the collection won Pugh the New Generation project allowing the designer to establish his career. The same year he was approached by Kylie Minogue’s stylist and asked to design costumes for her showgirl tour.

2006

Pugh is awarded Topshop new generation sponsorship for his fall show. He was later featured in Vogue editors letter written by Anna Wintour. Pugh collaborated with Nick Knight photographer and founder of show studio, on his Fash-OFF project during Paris Autumn/Winter haute couture week, the designer help create and stage a series of images and films. Michelle Lamy becomes Gareth Pugh’s backer.

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2007

Pugh hosts a live show of his work at the V&A as part of Fashion in Motion series. Gareth Pugh hosted a Halloween party at Browns London. Roisin Murphy wears one of Pugh’s designs in her music video. Pugh’s clothing goes on sale.

2008

Kylie wears Pugh’s clothing in her music video “in My arms”, Beyoncé also wears several of Pugh’s designs in her “Diva” video and at the MTV Europe music awards. One of designer’s creations was featured at the met costume institutes exhibition “Superheros: fashion and fantasy”. Gareth Pugh wins ANDAM award. Collaboration with Moet & Chandon at London fashion week creating a VIP key pass for exclusive Moet room. Pugh introduces a shoe line to his collections. Pugh debuts his spring/summer collection at Paris Fashion week. Creates ‘diagonal’ a scent designed to sport the six scents fragrance initiative (designers against aids)

2009

Debuts menswear at Palais De Tokyo. LVMH confirms financing of Pughs shows. Daphne Guinness poses in one of his creations for the front of Time out’s London Fashion Week Issue. The designers Fall collection is presented on show studio, featuring a modern dance performance by Natasa Vojnovic. Lady Gaga wears Pugh’s clothing to Wango Tango and Rihanna attends his Paris show wearing his sheer strip mini dress. Pugh takes stage at fashion week wearing a t-shirt designed by Henry Holland that says “get your freak on, Giles Deacon” in return Deacon entered the his run way wearing a tee that said “UHU Gareth Pugh”. Pugh once again collaborated with Nick Knight for a Mercedes-Benz ad campaign, the ad featured Julia Stegner dressed in one of Pugh’s creations. Nick Knight also shot a series of images of Gareth and his boyfriend Carson McColl for I-D magazines 30th anniversary issue featuring their top 200 people in fashion, music and culture.

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2010

Gareth Pugh opens his own stand-alone store in Hong Kong between Gucci and Comme des Garcons. Anna Dello Rosso was seen at French vogues 90th anniversary wearing Pugh’s creations. His fall Fashion film with Ruth Hogben features Model Raquel Zimmermann. Pugh shunned the catwalk for the second time presenting his collection at Paris fashion week through a film by Ruth Hogben featuring controversial model Kristen Mcmenamy, the film was aired on a gigantic video screen at gargantuan sports stadium on the outskirts of Paris.

2011

He made his Italian debut at Pitti immagine in Florence as guest designer were he showcased a video projection onto the ceiling of the city’s Orsanmicheke church streamed live on SHOW studio. Gareth Pugh teamed up with absolut vodka to create a limited absolut mode edition. Gareth Pugh creates a make-up line with mac cosmetics announced by a fashion film by Ruth Hogben. Melissa x Gareth Pugh was announced and launched at Layers in London.

2012

Fall 2012 fashion film released by Ruth Hogben exclusively on SHOW studio. Gareth Pugh designs costumes for carbon life theatre production at the royal opera house.

2013

Gareth Pugh collaborated with leather an accessories label chrome hearts to produce a 14-piece collection. The designer Collaborates with Forevermark diamond specialists, creating a necklace as part of their promise campaign

2014

Collaboration with Inition on an installation at oxford street Selfridges creating ‘monolith’ an augmented reality experience. Lady gaga wears spring summer dress and feather head piece in Harpers bazaar march issue and Gareth Pugh’s fall 2014 collection on the Jimmy Kimmel show. Beyoncé wears Gareth Pugh in “mine” video.

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APPENDIX B- SURVEY Primary research was undertaken in key areas within London, where the Gareth Pugh clothing is sold, including Dover street, Shoreditch, Mount street. Possible Gareth Pugh consumers and stockists were approach and asked questions in order to pin point the current position and consumer awareness of the brand.

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Layers Layers, LN-CC Selfridges and Browns i think. There isn’t many places but I know they stock his clothing in Dover street and a place in Shoredich Never heard of the designer He is quite difficult to find, but there is layers and possibly browns maybe a few others but I’m unsure. Unsure You can buy his clothing online. On farfetch and maybe some other websites The best place i found to buy his clothing is around the corner, shop 127 on brick lane. Online is probably best there isn’t many places in london, only Selfridges layers, dover street market and one or two others I know the brand but unsure where to buy his clothing probably online though Layers Browns Dover Street London Online websites like shop style and farfetch, there is also Selfridges and I think Harvey Nichols. There is a few places in London that I can think of Selfridges, Layers, Dover street Market Online websites Selfridges Harvey Nich’s Dover Street Market Dover Street Market and Layers Dover street, I think he used to sell in Rick Owens as well Dover street market Layers A shop on brick lane and dover street market Dover Street Market and Layers London and online Online, stores in London and Hong Kong I think you can buy his clothing in London

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APPENDIX C - SWOT Analysis

STRENGTHS • •

Steady success over the years Recognised for his design creativity

• •

Lack of marketing Relies on existing consumers

• •

Clothing is of high quality and craftsmanship He has been compared to many successful English designers such as Alexander McQueen Received awards at the beginning of his career Strong brand identity Loyal consumers Ability to envision and create fashion films Long list of successful collaborations Social media profiles including Facebook, twitter and Instagram Social media profiles provide a platform to drive the brand identity and to connect with consumers, it also puts the brand at a better advantage compared to other luxury brands that have not taken use of the medium.

• • • • • • •

No consumer relations London designer with no UK store No website /online store Lack of brand awareness Difficult to find stockists Brand availability Critics have mentioned that some of his clothing is un-wearable. Lack of brand communication One of the reasons he shows in Paris is because he believes the people understand him better there. Orginally the brand has struggled to make a profit Brand is still relatively new compared to competitors Only a small following on social media websites Not responding to consumer demand More emphasis on the luxury and quality of the brand is needed.

• • • • • • •

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WEAKNESSES

• • • • • • •

OPPOURTUNITIES • • • • • • •

•

THREATS

Flagship stores in major fashion cities A flagship in the UK will create greater brand awareness

• •

Competitive brands in London area Lease prices are increasing in London’s luxury quarter

and brand identity as Pugh is a British designer London’s thriving and expanding luxury market A website will help to generate a cohesive brand presence and identity A website will provide a platform for all of Pugh’s creative endeavours. Driving social media activity is key to developing a greater online presence and following. An online website and social media can provide control over how the brand wants to be perceived to its consumers whilst encouraging sales. Channelling the brands identity in store and online can drive brand awareness and reputation without losing exclusivity.

• • •

High street prices and a risk of high street copies High street brands are offering more premium lines Driving and maintaining brand reputation.

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APPENDIX D - PEST ANALYSIS POLITICAL

ECONOMICAL

• Trading hours- gov.uk states that shops can open any day or hour in • London is reported to have the highest ever recorded of attendances England and wales, except Sundays. Shops can open on Sundays but to UK attractions of 106 million. London is receiving a lot of attention only for 6 consecutive hours between 10am and 6pm. All shops must and shops can benefit from the increase in tourists visiting the city. close Easter Sunday and Christmas day. This must be kept in mind when opening a store; hours should be chosen to suit the surrounding • London’s luxury sector is growing, with spending in the sector reaching area in London, standard trading hours vary from 9am to 8pm, and the figures of £3billion a year. The area now occupies 42 streets, lanes and proposed area trades between 10am and 6pm. arcades. It is being welcomed by more brands each year and the area now represents 66% of retailers in the sector, which is up from 42% • Trading Regulations include: consumer protection from unfair trading since 2005. regulations 2008, which prohibits traders from engaging in unfair commercial practices. • As stated by the British chamber of commerce the UK is set to surpass its pre-recession in 2014, and the GDP is set to see further growth in • Sale of good acts 1979,Supply of goods and services act 1982 and the the coming years. This puts brands in a better position and encourages sale and supply of goods act 1994: key information indicates that all those thinking about opening up a store(s) in the UK; it secures stabiligoods sold must be as described, goods are of satisfactory quality in ty for brands in the stronger more balanced economy. terms of there state and condition, which includes fitness for all purposes supplied, appearance and finish, freedom from minor defects, • The total UK Population is estimated at 63.7 million according to the safety and durability. These are essential factors to a luxury brands office for national statistics, which has seen a growth of 0.7% since image and reputation; goods must be sold in reflection of the brand. 2012. This holds potential for a wider consumer base. • Further requirements when opening a store include taking into ac• According to Price Waterhouse cooper the retail and consumer count other acts such as the Disability discrimination act 2005, which industry is still under pressure, the recent fragility of the economy ensures those with any disability, must be treated fairly. This also has impacted the way consumers spend, in effect they have become includes the accessibility of places i.e. shops, banks and transportation. more cash conscious, pressures are added to retailers as they must fight to keep up with consumer demand whilst also maintaining strong • The Equality act 2010 legally protects discrimination in the workplace multi-channel activity. and must be highly considered within the working environment, it is supported by other acts such as the sex discrimination act 1975, race • Exchange rates and taxes must be monitored and considered when relation’s act 1976 and disability discrimination act 1995. selling online to more then one country. Information must be displayed and shipping costs and expected delivery services during different • The current national minimum wage rates stand at: 21 and over £6.31, periods. 18 – 20 is £5.03, under 18 is £3.75 and for a apprentice it is £2.68. This must be taking into consideration during the recruitment process. • Stores opening minus those closing narrowed by almost 80% from 1,779 in 2012 to 371 in 2013. This shows positive signs of improve• The Data protection act 1998 is a vital to ensuring consumer and ment and confidence in the retail sector. employee protection both in- store and online. By thoroughly applying this it provides both consumers and employees with confidence in the brand. • There can be a variation in taxes when trading online internationally and all information must be accessible and readable online when customers are purchasing as well as informing them of terms and conditions of their purchase.

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SOCIAL

TECHNOLOGICAL

• According to Mintel 25 – 34 year olds are driving the growth within the • Consumers are embracing digital technology; more luxury stores are fashion market. The demographic is also set to rise by 9% in the next investing in digital retail concepts due to consumers increasingly adopt5 years and is taking over the age group of under 25s, this is said to be ing online and mobile retailing. influenced by their higher disposable income, as well as there growing interest in fashion and willingness to spend more on quality clothing. • 74% of Internet users confessing to purchasing online in 2012 • London fashion week is one of the highest profile fashion events in the • Research into online purchases shows that consumers trust consumer world. It attracts over 5000 visitors including buyers, TV, radio, journalviews, including recommendations on social networking website. Faceists, photographers and influential fashion socialites; this generates a book in particular has become a recognised sales channel for retailers high amount of media coverage and publicity. The British fashion counwith close to 50% of the adult population having an account with the cil have estimated that orders over £100m are placed during London networking site. fashion week each season. This makes it the perfect environment to organise and co-ordinate events and activities around. • Mintel reports that more people still buy in-store (76%) than online (73%) but it also suggests that online could over take in-store pur• As explained on WGSN the UK retail sector needs to focus on develchase buy numbers in 2014. They also mention the importance of oping their brand to meet the fundamental changes in consumer multi-channel retailing to consumers. behaviour. Adopting consumer centric strategies, including diversification, personalisation and collaborations are all key elements in order to • ncrease in amount of people who own and use smartphones and create a unique in-store experience. tablets. Mintel ‘s March 2014 figures show that 35% of smartphone users and 21% of tablet users have used their devices to make online • Luxury brands represent prestige, other factors that are associated purchase in the last 12months, however 94% of consumers still prefer with luxury brands include: exclusiveness, quality service, quality prodto purchase from a computer or laptop when shopping online. ucts, store environment, brand communication, and brand association. Consumers buy into luxury brands for these reasons and all multi-chan- • Technology is creating more competitions for retailer. WGSN stated nel representatives of the brand must reflect this, mainly the brands that a third of shoppers are buying products online from outside of the own store(s) and website, in order to drive the brands reputation and UK. consumer loyalty. • Future technologies aim to help businesses understand their consum• According to a WGSN survey UK consumer confidence surged in March ers better. The next generation of technology is set to become increas2014 reaching a recorded unseen before the financial crisis. People ingly intimate, personalised responses will be gathered through senshave become more upbeat about making major purchases; the index ing how people are feeling, with the aim of optimising the consumers rises by 22 points, making it the largest increases since 2009. experience, however concern lies in within the privacy. • 56% of clothing shoppers agree that in-store environment is important • Facebook is the most popular networking site amongst affluent conwhen purchasing items. Mintel stated that the AB consumer has the sumers, which is why brand should communicate through them. highest spending power and is most influenced by in-store environments.

SOURCES: - WWW.GOV.UK - BRITISH CHAMBER OF COMMERCE - MINTEL - WGSN

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APPENDIX E - COMPETITOR ANALYSIS BRAND

SEGMENT

MAISON MARTIN High end luxury MARGEILA

Socio economic group AB Men and women

STRENGTHS

WEAKNESSES

PROMOTION

multichannel retailing

A Creative but confusing website

Shows at Paris fashion week

Brand communication and contact information is limited

Fashion ads and campaigns

E-commerce website Very strong social media following

Fashion collaboration including a more affordable and accessible collection at H&M

25 - 45 sophisticated, 3 lines different lines quirky and interesting individuals with an Fragrance line appreciation for abstract and elusive designs. Celebrity following

RICK OWNES

Luxury market Socio economic group ABC1 Men and women

Digital website / E-commerce Stores in key cities Paris, Hong Kong, London, New York, Miami, Tokyo

Social network activity Slow expansion

Shows at Paris fashion week

Average social media following

Controversial PR stunts

Relatively known brand, not highly recognisable.

Collaborations: Rick Owens X Adidas

Slow expansion

Minimum promotion

No UK store

Shows at Paris fashion week

20-35 young affluent ca- Social Media networks sual wearers interested in statement pieces and quirky designs.

ANN DEMEULEMEESTER

Luxury market Strong brand identity Socio economic group ABC1 Men and women Niche consumer with a strong identity and minimal style.

Loyal consumer base Very strong Facebook following and activity.

Plain website, shows a lack of creativity Lack of brand communication Not a very known brand and has stronger competition.

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Some single ad campaigns.

YOHJI YAMAMOTO

Luxury market Socio economic group AB

Multiple lines including Y3 and perfume

No e-commerce for main line

Shows at Paris fashion week

Strong stores and visual presence

Y-3 is more known than main line.

Strong and recognisable partnership with Adidas, creating the Y-3 line

Online website(s)

Average social media following, lack of activity

Men and women 25- 35 Sophisticated individuals willing to experiment with colour and shapes

COMME DES GARCON

E-commerce for Y-3 line

Mid and High end luxury Multiple different fashion market lines and stores Socio economic group ABC1C2 Men and women 20 â&#x20AC;&#x201C; 45 Fun, quirky, creative experimentalists.

Creative and interesting store experience

Confusing lines Website needs updating and is difficult to navigate.

Shows at Paris Fashion Week Strong branding Highly recognisable promotional and advertising material

Quirky, varying price ranges Strong visual and brand presence

Celebrity endorsers Social media advertising Social events

ALEXANDER MCQUEEN

High end luxury market Socio economic group AB Men and women 25 â&#x20AC;&#x201C; 45 affluent, creative and self- assured individuals who like to push boundaries with their style.

The brand is known for being creative, edgy, and surreal, with truly unique designs. Reputable brand worldwide, strong visual presence, highly recognisable.

Compared to the popularity of the brand there are only 31 stores.

Shows at London Fashion Week

Strong branding Often out of price range for many people. Large promotional and advertising budget Creative ad campaigns

McQ line & perfumes Selective Collaborations E-commerce website and strong social media following.

Social media activity Social events

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VIVIENNE WESTWOOD

High end luxury, Socio economic group AB 25 + Confident Men and women who have unusual taste and punk/ rock edge.

British heritage Highly reputable brand with long history.

Weak e-commerce website: plain and not greatly attractive.

Multiple lines

Too many stores could question the brands exclusivity

Shows at London Fashion week Strong branding

Highly recognisable

Creative and distinctive campaigns, sometimes controversial

Loyal consumer base Good use of celebrity endorsers and collaborations

E-commerce website and strong social media following

Large promotional and advertising budget

Strong celebrity following. Social media activity Social events

ACNE

GILES DEACON

High-end luxury and mid Strong social media followmarket. ing and overall online presence, with good interaction Socio economic group with consumers ABC1C2 Range of priced items Men and women Key stores in London, Paris, Young and Stylish 20 to New york, Milan and Hong 35 year olds who appre- Kong ciate artistic design

No specific market

High-end luxury and mid Website market. Accessible stockists

No flagship store

Lack of branding in promotional material Stronger competition

Shows at Paris fashion week Ad campaigns Collaborations including Acne studios X liberty London Social media advertising/ activity

Website but no E-comWon numerous amounts of merce awards including; best new designer 2004 and fashion Brand identity is lost on designer of the year 2009 social media networks 25- 35 year old females and there is a inconsistent who like to mix feminine On-going collaboration following with masculine pieces with high street retail new look Socio economic group ABC1

Shows at London Fashion week Celebrity endorsers Collaborations: Giles gold for new look Some Advertisements

Celebrity following

ISSEY MIYAKE

High-end luxury Socio economic group AB

Creative and sleek store concepts Innovative and unique designs

Confusing website navigation- Predominately Chinese

Exhibitions No e-commerce

Men and woman Strong brand personality Innovative, multicultural enthusiasts with strong personalities

Clothing is main focus in advertising Popular perfume

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Shows at Paris fashion week

Not a very strong social following A lot of stores could question the brands exclusivity

Advertising / Ad campaigns

APPENDIX F -COMPETITOR TABLE BRAND

STORE(S)

WEBSITE

E-COMMERCE

FACEBOOK

TWITTER

INSTAGRAM

TUMBLR

GARETH PUGH

P12,142 Likes

P1181 Followers

P4830 Followers

MAISON MARTIN MARGIELA

P36

P247.7K Likes

P63.5k Followers

P121K Followers

RICK OWENS

P7,632 Likes

P6,915 Followers

P13K Followers

ANN DEMEULEMESTER

P89,383 Likes

P13K Followers

YOHJI YAMAMOTO

P88

PY3

P34,457 Likes

P4,473 Followers

P10K Followers

COMME DES GARCON

P15+

P117.3k Likes

P20.4K Followers

P101K Followers

ALEXANDER MCQUEEN (+MCQ)

P31

P1.4M Likes

P725.6K Followers

P585K Followers

VIVIENNE WESTWOOD

P100+

P873.8K Likes

P197.7K Followers

P145K Followers

P38

P437.2K Followers

P86.2K Followers

P281K Followers

GILES DEACON

P3,688 Followers

P16.4K Followers

P11K Followers

ISSEY MIYAKE

P100+

P17,767 Followers

P3,401 Followers

ACNE

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APPENDIX H - PRESS CONTACTS All Information found at: www.bradinsight.com

MEDIA

INFORMATION

CONTACT

DAZED & CONFUSED / Dazeddigital

PROFILE: National new style title identifying new youth attitudes through its distinct visual and editorial identity. Q&A interviews profile the individuals shaping future cultural direction in fashion, music, film and art

Editor-in-Chief Tim Noakes PHONE: 020 7336 0766

TARGET AUDIENCE: Stylish, innovators, media literate opinion formers. They know about styles, brands and products E-MAIL: tim@dazedgroup.com and look to D & C as a credible and reliable source of information FREQUENCY: Monthly CIRCULATION: 93,193 HUNGER / HUNGER TV (digital)

EDITORIAL PROFILE: Photographer Rankin’s bi-annual magazine for the culturally and visually hungry At our core, we are fascinated by people, fashion, music and art. We are excited by the new, and mindful of the established. We all know that thinking laterally across print and digital is the future – this is an age of rapid change, and we pride ourselves on being ahead of the game. TARGET AUDIENCE: HUNGER readers are cultivated, brand savvy and love luxury. They dare to break the confines of popular culture to satisfy their appetite for individuality and cultural progression. Readers are obsessed with fashion, design, film, art and music. They are always eager to learn more about these subjects. Male 44%/Female 56%. 43% aged 25-34, ABC1 FREQUENCY: Bi-Annual / Spring/Summer, Autumn/Winter

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Editor Becky Davis PHONE: 020 7284 7320 E-MAIL: editorial@hungertv.com

VOGUE / VOGUE.Com (digital)

EDITORIAL PROFILE: Leading-edge fashion magazine playing a vital part in helping women decide what is the right style, the right colour, and above all the right look

Editor Alexandra Shulman

TARGET AUDIENCE: Concentrated in the ABC1 20-44 PHONE: 020 7499 9080 demographic group. A high proportion are in some kind of job or profession and are in the higher income groups E-MAIL: alexander.shulman@condenast.co.uk FREQUENCY: Monthly

I-D MAGAZINE / I-D.Vice (digital)

CIRCULATION: 192,763 EDITORIAL PROFILE: Innovative, general interest young adults magazine, covering music, street and catwalk fashion, clubs, films, books, ideas and people. Interviews, features and reviews illustrated with original graphics and photography TARGET AUDIENCE: 18-35+ year old style leaders opinion formers

Editorial director Holly Shackleton PHONE: 020 7490 9710 E-MAIL: editor@i-dmagazine.co.uk

FREQUENCY: Bi-Monthly CIRCULATION: 83,054 LOVE

EDITORIAL PROFILE: Bi-annual fashion publication featuring inspirational ideas on trends developing in the fashion world and beyond.

Editor-in-chief -

TARGET AUDIENCE: Designers, artists and anyone with an interest in fashion.

PHONE: 020 7499 9080

FREQUENCY: Bi-Annual / Feb, Aug

Katie Grand

E-MAIL: Katie.Grand@condenast. co.uk

CIRCULATION: 400,000

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10 MAGAZINE

EDITORIAL PROFILE: International fashion and beauty Editor-in-chief magazine, incorporating the fashion worlds best stylists, photographers, writers, editors and models. Luxury title at Sophia Neophitou-Apostolou the cutting edge of fashion PHONE: 020 7434 0042 TARGET AUDIENCE: 21-45. AB1â&#x20AC;&#x2122;s, fashion and style conscious. Professional, opinion formers, lovers of fashion, art E-MAIL: sophia.neophiand photography with high disposable incomes tou@10magazine.com FREQUENCY: Quarterly / Jan/Feb, Apr/May, Aug/Sep, Nov/ Dec CIRCULATION: 91,638

WONDERLAND

EDITORIAL PROFILE: Spotlights contemporary visual culture - art, design, film - together with the latest fashion TARGET AUDIENCE: Affluent men and women of sophisticated tastes. AB consumers aged 25-45

Editorial Director and publisher Huw Gwyther PHONE: 020 7243 9966

FREQUENCY: 4 issues per year / Feb/Mar, Apr/May, Sep/ Oct, Nov/Dec

E-MAIL: huw@wonderlandmagazine.com

CIRCULATION: 180,000

TANK

EDITORIAL PROFILE: Luxury magazine covering photography, literature, art, politics, design and fashion

Managing Editor & Production Manager - Imogen Van Zaane

TARGET AUDIENCE: Male/female ratio: 50/50. Age range: 18 to 45. Social grouping: ABC1 75%. Average household income: $60,000 FREQUENCY: Bi-Annual / Spring, Autumn CIRCULATION: 60,000

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PHONE: 020 7637 0303 E-MAIL: Imogen@tankmagazine. com

ANOTHER MAN

EDITORIAL PROFILE: Fashion and culture title for men. Cov- Editor – ers the fashion season for men in depth. Avant-garde and classical takes on menswear together in one guide Ben Cobb TARGET AUDIENCE: 25-45 AB males earning œ40K plus, into Art, Culture, Style, Literature

PHONE: 020 7336 0766 E-MAIL: ben@dazedgroup.com

FREQUENCY: Bi-Annual / Mar & Sep. CIRCULATION: 88,121 1883 MAGAZINE

EDITORIAL PROFILE: Celebrating emerging talent in fashion, music, art and film. Articles and Q&A style interviews.

Brand director –

Strong visual brand identity. Raising eyebrows and breaking boundaries, 1883 captures the household names of tomorrow.

Alicia Tomlinson

TARGET AUDIENCE: Stylish and creative 18-35 ABC1s who follow trends and live and breathe fashion and culture.

E-MAIL: advertising@1883magazine.com

FREQUENCY: Quarterly / Spring, Summer, Autumn, Winter

events@1883magazine.com

PHONE: 020 79370070

CIRCULATION: 40,000 ESQUIRE

EDITORIAL PROFILE: Every month Esquire covers a diverse range of topics from music to politics, health to fashion, lifestyle tips to inspiring features and, of course, beautiful women. Esquire`s heritage of top-class writing and quality journalism

Editor – Alex Blimes E-MAIL: Alex.blimes@hearst.co.uk

TARGET AUDIENCE: Upmarket men - predominantly 25-45 - who want facts, opinions and ideas on a variety of subjects that affect their lifestyle. Esquire is for smart, discerning men who want more than cheap thrills from a magazine FREQUENCY: Monthly CIRCULATION: 55,011

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EDITORIAL PROFILE: Quality men’s lifestyle magazine cov- Editor-in-chief – ering fashion, current affairs, sport, sex, health, film, book, music and theatre reviews Dylan Jones TARGET AUDIENCE: Predominantly ABC1 men aged 20-44

PHONE: 020 7499 9080

FREQUENCY: Monthly

E-MAIL: Dylan.Jones@condenast. co.uk

CIRCULATION: 114,867 ELLE

EDITORIAL PROFILE: An important, high quality directional glossy magazine with a clear emphasis on fashion and beauty. With outstanding photography and witty, intelligent features

Editor-in-Chief – Lorraine Candy PHONE: 020 7150 7353

TARGET AUDIENCE: 18-26 year old women, style-conscious opinion formers, with a high disposable income and a pas- E-MAIL: Lorraine.candy@hearst. sion for shopping co.uk FREQUENCY: Monthly CIRCULATION: 166,680 TIME OUT LONDON

EDITORIAL PROFILE: Provides readers with strong backEditor-in-chief – ground information, and up-to-the-minute facts on leisure and entertainment. Sections include accommodation, Dylan Jones sightseeing, eating and drinking, shopping, and arts and entertainment, maps, and trips out of town PHONE: 020 7499 9080 TARGET MARKET: 58% are between 20-29 years old and 16% are between 30-44 years old of which 53% are male and 44% female abc1 FREQUENCY: Annual CIRCULATION: 35,000

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E-MAIL: Dylan.Jones@condenast. co.uk

TRENDLAND

PROFILE: E-MAIL: Trendland Online Magazine is quickly claiming the leading edge of organic, spontaneous trend information. The rela- Info[@]trendland.com tively young e-zine (2006) has gained a significant following among international trend-watchers and design addicts alike. Relentlessly pushing the limits in both rare content and alluring web design, the site is a beacon for voracious aesthetes around the world. Trendland scouts every genre of culture with a pioneering intensity for documenting style notes in fashion, art, photography, design, architecture and music.

STYLE.COM

PROFILE :

(con de nast)

STYLE.com takes its global audience deep inside the world of fashion.  From catwalk to sidewalk, backstage to after-party, Style.com employs breakthrough technology to deliver instant gratification to fashion obsessives.

Associate Public Relations DirectorJill Weiskopf E-MAIL: jill_weiskopf@fairchildfashion.com

Digitalartsonline

EDITORIAL PROFILE: Editor – Digital Arts delivers high-quality content, providing its professional readership with popular masterclasses and tu- Neil Bennet torials, news, reviews and in-depth features. The magazine offers inspiration for digital creative`s Phone: 020 7756 2894 TARGET AUDIENCE: E-MAIL: Professional creatives with the need to stay abreast of new developments and products in the marketplace. Neil_bennet@idg.co.uk

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APPENDIX G - TEARS MODEL ENGLISH NATIONAL BALLET TRUSTWORTHINESS

The national ballet has recent undergone a rebrand and are looking to excel in there field as Englandâ&#x20AC;&#x2122;s most creative and most loved ballet company. They are challenging perceptions of their art from and avoiding unconventional performances and costumes They successfully collaborated with Vivienne Westwood in 2013.

EXPERTISE

They have been established since 1950 They are recognised dance company in there expertise They have performed endless amounts of acts at different venues They have toured throughout England

ATTRACTIVENESS

The ballet art form is extremely attractive to the English consumer. Ballet is reputable dance form that demands practice, training, dedication and discipline Ballet is elegant yet strong and requires skill and technique. It is taught around the world due to its popularity. They are pushing boundaries in there art form and challenging conventional perspectives of ballet

RESPECT

They are experienced in there art form and educate others They are widely known for there performances in the nutcracker and Romeo and Juliet

SIMILARITY

They are interested in collaborating with unconventional English designers as well as other art forms. Gareth Pughâ&#x20AC;&#x2122;s history with Ballet and costume design also shows mutual interests.

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