Leitmotif Promotional Plan by Betty Barucco

prelude The purpose of this report is to devise an effective promotional plan to follow the launch of Leitmotif, a new fragrance subscription box. It will include a summary of the creative concept, how our brand sits in the market and how it relates to our target consumerâ&#x20AC;&#x2122;s lifestyle. The report will then detail the development of a cohesive and integrated brand identity and how this will be incorporated in a 12-month promotional strategy in order to guarantee a respected position in the market and in the consumersâ&#x20AC;&#x2122; minds.

b e n e d e t t a b a r u c c o / n 0 6 47 2 9 4 / f a s h 1 0 1 0 6 c r e a t i v e networks / fashion communication & promotion

contents 1. creative concept a sensory journey 03 brand identity 05 the campaign: winter & summer 9 brand identity prism 18 our consumer 19

2. execution & plan aims & objectives 32 communication tools: online 33 communication tools: offline 41 collaborations 43 promotional timeline 45 the launch event 48

3. appendices

creative concept

LEITMOTIF creative concept

a sensory journey -“One of the goals of art is not just to distract people, but more to reveal some ideas or share a point of view.” –Matthieu Bourel According to industry expert Karen Gilbert (2016), scent is a very complex yet powerful tool: entrenched in mystery, it is one of the most delicate but strongest parts of the human sensory experience, capable of evoking distant memories and provoking intense emotions. Leitmotif takes this notion further: we aim to challenge it and create a broader definition of what perfume can be. Our fragrances are specifically devised by our expert teams in conjunction with several art curators in order to create a unique synesthetic experience: taking the essence of a cultural event, dissecting all of its cues – the aesthetics, the sound, the shapes, the people – and translating it into an olfactory vision. We believe scent is an experience, it has a story to tell. We do not want our fragrances to be mere fashion accessories, but rather a window to accessing new points of view. We are going to take you on a unique sensory journey.

promotional plan LEITMOTIF

Fig 1. Nick Knight, Dolls (2000).

LEITMOTIF creative concept

leit·mo·tif noun

1. an associated melodic phrase or figure that accompanies the reappearance of an idea, person, or situation especially in a Wagnerian music drama 2. a dominant recurring theme

(Merriam-Webster dictionary)

promotional plan LEITMOTIF

the name -“What’s in a name? That which we call a rose By any other word would smell as sweet.” The word leitmotif has a distinct classicist sound which positions our brand on an intellectual level. In its original sense, it referred to opera music, specifically Wagner’s compositions. Nowadays it is used more broadly to refer to ‘any recurring theme in the arts or in everyday life’ (Merriam-Webster). It also has a lightness to it which lends itself well to the idea of perfume.

LEITMOTIF creative concept

brand identity -“The best brands marry intelligence and insight with imagination and craft.” –Connie Birdsall Creative Director, Lippincott The classicist theme recurs in the logo in the form of an olive wreath, symbol of Ancient Greece and, particularly, of Athena, goddess of wisdom (fig 3). This element is then placed in a boxy, modern-looking logo which reminds of the actual box in which the fragrances are delivered (fig 2). We wanted to keep our box design simple but with an element of surprise. The brown paper adds a dimension of hand-crafted authenticity, whereas the strip of pattern is the fruit of an exclusive collaboration with an artist from our cultural calendar and is of collectable nature (fig 4). As well as the fragrances, imbued in both a body and home format (fig 5 and 6), our subscribers will receive a booklet with a description of the scent and a teaser overview of the process behind its creation, including images of the places and interviews with the people involved. Any extra information, such as exclusive footage and material, will be then made available on our website, accessible through a code which can be found inside the box

promotional plan â&#x20AC;&#x192;â&#x20AC;&#x192; LEITMOTIF

Fig 2. Leitmotif logo, own work (2016).

Fig 3. Olive wreath vector design.

Fig 4. Leitmotif box mockup, own work (2016).

Fig 5. Leitmotif home fragrance mockup, own work (2016)

Fig 6. Leitmotif body fragrance mockup, own work (2016).

LEITMOTIF creative concept

shadows

colours

ripped paper

cut-out letters

hide / reveal Fig 7. Moodboard: print ad creative concept, own work (2016).

words

promotional plan LEITMOTIF

the print ad -“Perfect execution is part of the magic.” –Joann Tan When devising our campaign, it was important to keep in mind the hierarchy of our brand messages, in order to ensure that each element speak with one distinctive and memorable voice (Wheeler 2012). We knew that we would need a series of ads rather than just one to represent the diversity and scope of our concept, so we worked on more than one campaign solution. Our first concept revolved around the idea of discovery and reveal, visualised through our main communication device of ripped paper. This was then refined to cut-out letters which, when peeled back, would project a shadow, adding a sense of mystery and discovery, and reveal a colourful pattern underneath to link to the idea of perfume and art. In post-production we then added our initial ripped paper motif, to build up to the idea of a subscription box to “rip open.” We decided not to use a model in order to let our audience really identify themselves with the images. According to trend and consumer insight specialist Ruth MarshallJohnson, some brands are beginning to leave behind the default approach of using celebrities for promotional purposes, giving priority to more ‘creative, narrative approaches to their promotional storytelling’, often avoiding human presences altogether (Cope & Maloney 2016). Looking back, the ads would probably be more effective and cohesive with our brand vision if the words and props were not so literal but rather more abstract, and if the pops of colour were more subtle and localised.

LEITMOTIF creative concept

seasonal campaign -“We’ve always designed for seasons but they are now increasingly a state of mind, not a date on the calendar.” –WGSN report Our product is in itself dictated by seasons and, more specifically, their cultural calendar, therefore our campaign strategy will be a reflection of this. Overall, focus will be placed on the experiencial value over the materialistic one of buying our product, as 'the abundance of non-essential goods is causing some consumers to feel overwhelmed by product' (WGSN 2015), marking a shift in consumer mind-set from buying things to doing things. Our brand offers an incredible opportunity for gifting, something we want to highlight by focusing on the benefits of our product: not only is it about giving your loved ones something new and exciting every season through a subscription box, but it is also about giving something that will enrich their lives and expand their horizons – the gift of an experience. In the summer months, we will harness the fact that people tend to have more free time and have more opportunities to travel, giving our cultural calendar a global spin and encouraging people to go out and experience the journey we want to take them on.

promotional plan LEITMOTIF

Fig 8. Jackson Pollock, Number 34 (1949).

LEITMOTIF creative concept

Fig 9. Moodboard: winter campaign creative concept, own work (2016).

winter

summer

promotional plan LEITMOTIF

Fig 10. Moodboard: summer campaign creative concept, own work (2016).

LEITMOTIF creative concept

brand u.s.p. -“Strong brands are capable of weaving all aspects into an effective whole in order to create a concise, clear and appealing brand identity.” –Jean-Noel Kapferer Following a shift in consumer behaviour and a gap in the market for concept-based perfumes viewed as artistic and collectable artefacts, Leitmotif will be launching in the fragrance and subscription box markets with no direct competitors. While no brand offers the exact same concept and service as Leitmotif, several main competitors have been analysed in order to measure the threats and opportunities these companies pose to Leitmotif. These competitors include high-end and more affordable niche cosmetics brands that offer unusual or unique fragrances, such as Illuminum and retaW, as well as subscription boxes with a similar cultural focus in their products, such as Finer Things and Stack Magazines. Leitmotif’s U.S.P. lies in its unique approach to fragrance not as a mass-consumption fashion accessory but as an evocative projection of an artistic concept and as a pathway to take part of a real experience through a loop process we define as Anticipation > Motivation > Consequence (fig 17b).

HIGH-END

BEAUTY FOCUS

CULTURAL FOCUS

VALUE Fig 11. Perceptual map, own work (2016).

promotional plan LEITMOTIF

PHYSIQUE Cerebralism Pioneering Mysterious Abstract

PERSONALITY Enquiring Eclectic Empathetic Expansive

CULTURE Quality Experience Content Knowledge Expertise Savoir-faire

RELATIONSHIPS Anticipation Motivation Consequence Intimacy Individuality

REFLECTION Curious Sophisticated Modern Urbane

SELF-IMAGE Intellectual Open-minded Discerning Cosmopolite

Fig 11. J. N. Kapferer's Brand Identity Prism, own work (2016).

LEITMOTIF creative concept

our consumer -“A brand is no longer what we tell the consumer it is – it is what consumers tell each other is it.” –Scott Cook, co-founder of Intuit The Leitmotif’s consumer is characterised by an unquenchable sense of curiosity and overall appetite for learning. No matter the age, they are always on the edge of their seats ready for the next adventure, though they may not always be able to satisfy this urge due to their work and lifestyle – which is where Leitmotif comes in. However, when devising a marketing plan it is crucial to keep in mind some of the key differences which can arise from age and other factors given by our rather wide target audience.

promotional plan LEITMOTIF

Fig 12. KwangHo Shin, 111 Untitled (2013).

LEITMOTIF creative concept

Fig 13. Neil Gavin, TOAST Menswear AW2013.

promotional plan LEITMOTIF

PRIMARY CONSUMER

“THE ONE WITH MONEY”

Female / Male Urban and affluent, with access to premium merchandise Age: 34-48 This consumer does not feel the urge to buy luxury goods to show off their status. Rather, they view purchases as an investment and always look for the intrinsic value, quality and actual worth that it brings to their lives. They are attracted by authentic brands, enriched by a combination of heritage and quality, preferring subtle brands and products that they believe have true value over flashy logos. They are professionals who want to enjoy the finer things in life. Their friends and family are important to them, and they enjoy spending quality time with them. Their purchases are meant to connote something special – a spark of creativity, for example, or a sense of natural authenticity.

LEITMOTIF creative concept

Fig 14. Neil Gavin, TOAST Menswear AW2013.

Fig 15. Neil Gavin, TOAST Menswear AW2013.

promotional plan LEITMOTIF

SECONDARY CONSUMER

"THE ONE WITH FANTASY" Female / Male Aspirational shoppers who live in the city Age: 24-33

Leitmotif’s secondary consumer views self-indulgence not as a guilty pleasure but as a reward, and will occasionally splurge on unnecessary goods if they see worth in them. They follow the latest trends in order to match their fresh and dynamic lifestyle. They have an average job and background but aspire to an above-average lifestyle. They are constantly striving throughout their personal and professional life. In the objects they purchase they look for intellectual and aspirational value to help them reaffirm their identity and aspirations. Their taste is still forming but their sense of curiosity and desire to expand their horizons are what push them to save up for items and experiences that they deem special and in which they see value and quality.

---

TERTIARY CONSUMER

“THE ONE WITH TIME” Female / Male Retired or part-time Age: 45-79

Leitmotif’s tertiary consumer have got a satisfying career at their backs but have now decided to take time for themselves. Though experienced, they hold a somewhat Socratic belief of knowing that they do not know, and believe that in this world there is always room for learning, growing, discovering. They buy into luxury goods out of habit and a certain conservatism, expecting a guarantee of quality and delivery, but are open to new branding methods and modern aesthetics. They are not attached to social media, however they do not shy away from new technologies and social dynamics and do utilise the Internet for educational purposes and for gaining information on products through blogs and reviews.

LEITMOTIF creative concept

media diary -“When you focus on the consumer, the consumer responds.” –Alexander Wang Through a combination of secondary and primary research (Appendix A, B), I devised a media consumption diary. This will help pinpoint the main touch points through which I can connect with my target audience as well as establish a hierarchy of communication tools. TV: Not a huge consumer, avoids commercial TV preferring educational channels or BBC dramas. RADIO: Mostly podcasts and music stations. PRINT: Mostly cultural or interest-specific titles, such as Forbes, and lifestyle such as Kinfolk, Tatler, Vanity Fair, GQ. OUTDOORS: High exposure to surroundings. In big cities, commute through public trnsport such as the tube, otherwise own car. Where possible, prefer to walk. SOCIAL MEDIA: Mostly Facebook, followed by Twitter and then Instagram. Also occasional user of platforms such as Pinterest and, professionally, LinkedIn. INTERNET: Big user of e-mails both professionally and personally. Relies on Google and Wikipedia for research. Checks blogs and forums for reviews and relevant information.

promotional plan LEITMOTIF

week days… 7-8 am Wakes up, checks e-mails, reads the news (paper or digital). 8-9 am If commuting: checks Facebook and e-mails on the way. Exposed to ads on public transport such as underground billboards. If driving: listens to news or music on the radio. 12 pm Lunch break, reads magazine and checks Instagram. 3 pm Checks e-mails, Facebook and general web-browsing. 5:30 pm Heads back home, either by tube/public transport or own car. Turns on radio or TV while cooking. 8-9 pm Checks Facebook and Twitter, spends some relaxing time on Pinterest browsing the home décor section. 10-11 pm Reads a book or magazine while "pampering" (tea, face mask) to wind down after the day.

Fig 16. Consumer media consumption diary, own work (2016). Illustration by Hen Kim.

LEITMOTIFâ&#x20AC;&#x192;â&#x20AC;&#x192;creative concept

CONSIDER

Consumers add and substract br ands from a group under cons ideration during an extended period of time, ba sed on brand perce ptions and exposure to recent touch poin ts.

EVALUATE

BOND

The customer goes from making one-off purchases to developing a loyalty with a brand and even becoming a brand advocate.

ADVOCATE After the purchase, expectations are built based on previous experiences and recommendations to inform the next decision journey.

BUY ENJOY

Fig 17. Consumer decision process, own work (2016).

ANTICIPATION Mindful of the positive previous experience and/or of recommendations, the customer will build anticipation to where the next box will bring them.

intimacy (inward) BOX DELIVERY

CONSEQUENCE

Fig 17b. Leitmotif experience loop, own work (2016).

After receiving the box and experiencing our service and journey, the consumer will build expectations for the next box and return to the loop.

MOTIVATION

Our product generates motivation and sends the consumer to go and embark on a new sensory journey.

catalyst (outward)

promotional plan LEITMOTIF

why -“You’re never too old to reinvent yourself." –Sir Martin Sorrell Our concept is attractive to our target audience on a number of levels. Firstly, we represent an almost unique solution in our market to satisfy our consumers’ advanced cultural appetite in an agile, resourceful manner. We offer a positive story about life and aging rooted in the idea that you never stop growing and learning. Our model is characterised by a unique duality of intimacy (inward) and catalyst (outward) (fig 17b): by delivering our box to their homes we create a conversation with them in their personal space, while at the same time inviting them to go out and embark on a journey which will connect them with places and people and take them out of their comfort zone.

execution & plan

LEITMOTIF execution

Fig 18. Andrew Yee, How To Spend It (2012).

promotional plan LEITMOTIF

aims & objectives -“In order to be irreplaceable, one must always be different.” –Coco Chanel In order to develop an effective promotional campaign, we need to first assess where we are now and where we want to be through a planning journey (Cope and Maloney 2016). Through our campaign Leitmotif is to maintain its intrinsic niche quality whilst also expanding its consumer base and affirming itself within its market of premium fragrances and cultural lifestyle pioneers. In order to do this, we need to work on a slow but steady campaigning strategy to progressively build brand loyalty based on trust of quality and promise delivery. Our relationship to the individual consumer is really important to us as we value their trust and confidence in our brand. We pride ourselves of excellent customer service, therefore this will be one of the tools through which we will make our brand stand out and consequently grow through word of mouth, positive reviews and recommendations. We will also employ a mix of traditional and digital channels of communication for our campaign strategy in order to create a strong and all-round campaign and maximise our reach into our consumer’s life (Posner 2011).

LEITMOTIF execution

social media -“Each word is an opportunity to be intentional” –Alina Wheeler (2012) Social media is where our core principles of trust, value and transparency can shine through. Our aim is to develop brand loyalty and foster a sense of engagement by recognising the importance of building a relationship with our consumers (Posner 2011) and by providing an authentic, conversational experience for our followers. The purpose of the content we share is to inspire and inform, recognising that our consumers care about more than simply being sold a product. We intend to harness social media’s potential to allow for ‘greater depth of information and message’ (Cope and Maloney 2016), giving our followers insight into our behindthe-scenes and offering them relevant, convenient, responsive and reliable content (Forbes 2015). Through this method, we will be actively promoting a “Leitmotif lifestyle,” acting as an authoritative and knowledgeable figure in our sector and thus gaining the trust of potential consumers. Because of the diverse use of social media that our consumers have, it is important that our inputs be relevant and engaging and that they are delivered at the right times, as part of an unbroken and highly relevant conversation across channels. We give value and intention to every interaction, as each of them represents an opportunity ‘to differentiate [ourselves] from competitors, create value and ensure a positive experience for the customer’ (Posner 2011).

promotional plan LEITMOTIF

Fig 19. Mikko Puttonen. Surreal (2014).

LEITMOTIF execution

Fig 20. "Digital Revolution", Barbican Gallery (2014).

promotional plan LEITMOTIF

our website -“The brand experience should create connections to the real world, by sensing the context of customers.” –Nathan Williams As a subscription-based service our website represents our main hub, bringing all our online and real-life presence together into one seamless, organic brand experience. It features a modern, attractive design without sacrificing practicality, as we aim to keep it as easy to navigate as possible. The homepage will feature an introduction to our concept and an easy explanation of the dynamics and steps which our service entails. Consumers will then have the possibility to choose which subscription model to sign up to, with the recommended format highlighted. Aside from that, our website is home to exclusive content such as behind-the-scenes footage, video content and interactive elements, where access to more is unlockable through a code found in each box and is therefore limited to actual subscribers. We still have some of it accessible to all to entice potential consumers to subscribe. Our website additionally benefits from an interactive component represented by a blog section which will act as a bridge between us and our customers and feature relevant articles as well as guest posts from influencers which will serve to widen our online reach, build a solid interest base, generate engagement, and create shareable content (Cope and Maloney 2016).

LEITMOTIF execution

Fig 21. Leitmotif Twitter page mockup, own work (2016).

Fig 22. Leitmotif Instagram page mockup, own work (2016).

promotional plan LEITMOTIF

Fig 23. Leitmotif Facebook page mockup, own work (2016).

Fig 24. Leitmotif website homepage mockup, own work (2016).

LEITMOTIF execution

Fig 25. Mikko Puttonen, Surreal (2014).

promotional plan LEITMOTIF

customer service -“Earn the respect and recommendation of your customers. They will do your marketing for you, for free. Great service starts great conversations." –Andy Sernovitz An efficient and hassle-free customer experience is high on our priorities as we aim to establish an emotional connection with our consumers, which we believe is particularly important in the age of the Internet. According to Edelman (2014), some two-thirds of consumers feel that their relationship with brands are one-sided, wherein they are asked to share information but nothing is shared with them in return. From their graph (Appendix B.2), it emerges that one of the primary concerns in which brands are failing to deliver is customer service. Because of the digital nature of our business, communication with our customers is of paramount importance. This is why a fast, efficient and personalised customer service experience is a key communication tool for our brand, which means we will support our customers at every step of their transactions. This is part of an on-going goal of creating a more personal emotional connection with our consumers (Forbes/Glassman 2013), which is at the core of our brand, and we do so by recognising the importance of a “human touch” across all our online platforms.

LEITMOTIF execution

magazines -“Magazines all too frequently lead to books and should be regarded by the prudent as the heavy petting of literature.” –Fran Lebowitz Because our service is based almost exclusively online, print will be our primary vessel to the offline world. While digital content has become the number one resource for the majority of the population, we must not underestimate the potential that print has due to its attention to editorial, high-quality photographs and engaging tone of voice which give it an overall aspirational quality and, ultimately, make it a more respected and authoritative source of information than a generic online platform. It is predicted that the future of branding lies in a multiplatform, hybrid strategy which covers all types of publishing and ensures ‘the broadest possible appeal’ (Cope and Malonney 2016), therefore, by advertising in publications with similar values as those of Leitmotif, we are exposed to consumers that are most likely to be interested in our offer.

promotional plan LEITMOTIF

Fig 26. Magazine print ad mockup, own work (2016)

Fig 27. Leitmotif ad Tube mockup, own work (2016).

Fig 28. Leitmotif ad town billboard mockup, own work (2016).

LEITMOTIF execution

collaborations -“A collaboration between two established brands and personalities is a great way to reach new audiences. It can also strengthen the credibility of already established brands.” –TrendHunter.com Collaborating with individuals better known for their professional achievements rather than for their celebrity status will help position our brand at a more cultured and urbane level. Because of our brand core values, collaborations with artists of all sectors is likely to prove effective as they belong to our consumers’ aspirational lifestyle and because of the clear synergy and alignment between our brand and the creative individual (Cope & Maloney 2016). Literal contributions by fine artists and graphic designers to the packaging and bottle design of our product will also reinforce our view of fragrances as scent-based artistic artefacts rather than mere fashion accessories. Because of the nature of our product, the logistics of the collaboration will be kept secret until the big reveal which our customers will receive in their box, effectively reversing the traditional way of announcing a collaboration and releasing teasers prior the product launch. Instead, we will be promoting our collaborations by unveiling behind-the-scenes and interviews only after the delivery of the boxes, offering insight into the creation of the scent and exclusive content about the event, location or artist which served as an inspiration for that season, which will add a dimension to our consumers’ experience when visiting it. For the initial 12 months after the launch, we intend to collaborate with:

The Barbican Centre The chosen location for our launch event, the Barbican is an eclectic world-class arts and learning organisation, the largest of its kind in Europe, pushing boundaries across all major art forms including dance, film, music, theatre and visual arts.

Kathryn Ferguson Film director for several fashion designers, international brands and musicians such as Selfridges, Vogue, Sinead O’Connor and SHOWStudio. Her films have been screened globally at film festivals around the world.

Max Richter Hailed as one of the most influential composers of his generation, Richter's sound world blends contemporary classical and alternative popular musical styles. His most recent Sleep (2015), an eight-hour-long cradle song, was performed on BBC Radio 3 "Science and Music" weekend.

Dubai Miracle Garden A unique garden essentially built on a desert. Head landscaper Akar says that the grounds are a great example of how it is possible to “green the desert” by reusing waste water. Designers took additional precautions to protect the beautiful garden arrangements from the environment.

promotional plan LEITMOTIF

Fig 29. United Visual Artists (UVA), Momentum (2014). // Fig 30. United Visual Artists (UVA), Always / Never (2012).

LEITMOTIFâ&#x20AC;&#x192;â&#x20AC;&#x192;execution

promotional timeline may --

june --

PRE-LAUNCH

LAUNCH NIGHT

WEBSITE LIVE

Slowly roll out promotional campaign for launch event through print ad, billboards, mail drop, social media which indicates time and place of event but without revealing too much. Live countdown on website.

Launch event at Barbican centre, London. Media, press and blog influencers invited and given a press kit. Live feed on website.

Official website goes live, customers can begin to sign up. Release behind-the-scenes content about the launch project and information about our brand and vision.

november --

december --

january --

Release short film made in collaboration with Kathryn Ferguson.

Fragrance inspired by music.

Release winter print ad and promo video campaign. Generate blog content on Stephen Hawking (75th birthday), Trainspotting 2, Pompidou Centre (40th anniversary).

FILM COLLAB

WINTER BOX

Behind-the-scenes and additional exclusive content about the fragrance, the artist and the making-of released on website a week after the boxes have been delivered.

Fig 31. Leitmotif 12-month promotional timeline, own work (2016).

july --

AD CAMPAIGN

promotional plan LEITMOTIF

aims & objectives Following the notion that every touch point must reflect, reinforce, and reiterate our core brand strategy (Posner 2011), Leitmotif’s promotional plan should be infused with our three key messages: mystery, intimacy and sensuality. Mystery is at the core of any good story, as it is what taps into our dreams, myths and aspirations, and it reflects our ideal relationship with the consumer which thrives on learning, anticipation and surprise. Intimacy represents our commitment to make the consumer the centre of our interactions, our promise to bring our brand conversation to their homes, and the premise that each experience will be intimately shaped by the individual. Sensuality is the way we interact with the world around us – using our five senses, and it is the way we intend for our consumers to live through truly remarkable experiences by giving them the tools to access new points of view. Thus, we want our launch to embody all of these whilst at the same time to create an enduring and powerful impression through a full sensory marketing strategy.

august --

september -AUTUMN BOX

CHRISTMAS CAMPAIGN

Release print ad and promo video campaign to maintain buzz and word of mouth generated by launch. Guest blogs to share their experience at Leitmotif event. Generate blog content on Cannes Film Festival (70th anniversary), London Design Festival.

Fragrance inspired by film.

Release Christmas ad campaign. In-store booths in Selfridges and Liberty's to promote gifting. Contact bloggers for 'gift ideas' articles.

AD CAMPAIGN

Behind-the-scenes and additional exclusive content about the fragrance, the artist and the making-of released on website a week after the boxes have been delivered.

october --

february --

march -SPRING BOX

SUMMER CAMPAIGN

Release of music album LP created in collaboration with British composer Max Richter.

Fragrance inspired by Dubai Miracle Gardens.

Release summer print ad and promo video. Generate blog content on travel, Rio Olympics, Guernica (80th anniversary).

MUSIC COLLAB

Behind-the-scenes and additional exclusive content about the fragrance, the artist and the making-of released on website a week after the boxes have been delivered.

april --

LEITMOTIF execution

Fig 32. Stephan Moskovic, Hiroshi Sugimoto at Pace (n.d.).

promotional plan LEITMOTIF

launch event -“Successful events should affect attendees emotionally, psychologically, and physically.” –Cope and Maloney, 2016 Our launch will involve a close collaboration with the Barbican centre in London. The location has been chosen specifically because of the cultural capital associated with the museum, which offers invaluable sponsorship (Cope and Maloney 2016). A room of the exhibition will be dedicated to our project. In it, we will display an art installation devised in collaboration with a major olfactory artist which will release our fragrance in the air – an actual materialisation of our concept, a synergy of senses. Several major influencers will be specially invited to the event, as well as a few selected brand ambassadors who will be given a memorable and impressive press kit to base their reviews on. In the room we will also provide such informational material for the public, including a mock-up of the product and a unique code to receive a discount on your first subscription, so as to monitor the success of the event in attracting new customers. This will allow our audience to participate in a holistic brand experience, either directly or vicariously through subsequent media coverage (Cope and Maloney 2016). However, in order to stand by our value of intimacy and avoid to promote a sense of elitism, we will offer the possibility to take part to the event from our consumers’ homes as well, by providing a live feed on our website as well as behind-the-scenes material during the weeks prior to the launch. This will be promoted through a mysterious but intriguing campaign, both digital and offline through an innovative mail-drop designed to stand out from other leaflets and create curiosity (fig 33), which will invite the audience to the event’s location as well as our website. A countdown on the homepage will anticipate the date of the launch as well as of our services.

“A sense of mystery can be remarkably alluring, and appeal to the consumers’ desire for escapism.” (Stylus, 2013) This unconventionally-devised launch will be an incredible source for generating buzz, word-of-mouth, and, most of all, media coverage by a large scope of influencers, getting Leitmotif featured on a wide number of publications.

LEITMOTIF execution

Fig 33. Launch invitation moodboard, own work (2016).

promotional plan LEITMOTIF

conclusion -“A brand is not a product or a promise or a feeling. It's the sum of all the experiences you have with a company.” –Amir Kassaei, Chief Creative Officer, DDB Global With over 200 new fragrances being released every year and only about 5% of launches being still around after two years (NTU 2016), inserting any kind of fragrance brand in this saturated market is going to be risky. However, we feel that our brand concept has been effectively developed to fill an emerging gap in the market and we are confident on the range of communication channels and tools through which we will connect to our consumers and educate them on our brand. With an aging population holding the majority of the UK spending power and a growing consumer trend towards buying experiences over things, our subscription box model and brand values hit all the nails in the head and will be able to gain the momentum we need to generate brand awareness, build a loyal consumer base and maintain it.

APPENDIX

list of illustrations Cover. Michael Chase, untitled (n.d.). Table of contents. Sugimoto, Hiroshi (2015). Conceptual Forms 0010: Surface of Revolution with Constant Negative Curvature. Phillips Collection, Washington. Pages 1-2. Walker, Tim (2015). 'Dark Angel', Vogue UK, March 2015. Model. Xiao Wen Ju. Fig 1. Knight, Nick (2010). Dolls, SHOWstudio. Page 8. Constable, John (1822). Cloud Study, Oil paint on paper laid on board, 476×575 mm, Tate Gallery, Britain. Fig 2. Leitmotif logo, own work (2016). Fig 3. Olive wreath vector design. Fig 4. Leitmotif box mockup, own work (2016). Fig 5. Leitmotif home fragrance mockup, own work (2016) Fig 6. Leitmotif body fragrance mockup, own work (2016). Fig 7. Moodboard: print ad creative concept, own work (2016). Pages 11-12. Leitmotif print ad series, team work (2016). Figure 8. Pollock, Jackson (1949). Number 34. Courtesy of The Pollock-Krasner Foundation ARS, NY and DACS, London 2015/Munson Williams Proctor Arts Institute/Art Resource, NY/Scala, Florence Fig 9. Moodboard: winter campaign creative concept, own work (2016). Fig 10. Moodboard: summer campaign creative concept, own work (2016). Fig 11. Perceptual map, own work (2016). Fig 11. J. N. Kapferer's Brand Identity Prism, own work (2016). Fig 12. Shin, KwangHo (2013). #111 Untitled, Oil on canvas, 53.2×45.6 mm. Available at: http://shinkwangho.deviantart.com/ art/111-Untitled-Oil-On-Canvas-53-2-X-45-6-Cm-20-377762227 Fig 13. TOAST: Menswear AW13. Photography: Neil Gavin. Styling: David Lamb. Model: Katherine May. Fig 14. TOAST: Menswear AW13. Photography: Neil Gavin. Styling: David Lamb. Model: Katherine May. Fig 15. TOAST: Menswear AW13. Photography: Neil Gavin. Styling: David Lamb. Model: Thomasina Miers. Fig 16. Consumer media consumption diary, own work (2016). Fig 17. Consumer decision process, own work (2016). Fig 17b. Leitmotif experience loop, own work (2016). Pages 29-30. Walker, Tim (2014). Vogue China December 2014. Model: Fei Fei Sun. Available at: http://reccalee.com/2014/11/ vogue-cn-december-2014-magic-lens/ Fig 18. Yee, Andrew (2012). How To Spend It. Fig 19. Puttonen, Mikko (2014). Surreal. Available at: http://schonmagazine.com/surreal/ Fig 20. "Digital Revolution" (2014), Barbican Gallery. Fig 21. Leitmotif Twitter page mockup, own work (2016). Fig 22. Leitmotif Instagram page mockup, own work (2016). Fig 23. Leitmotif Facebook page mockup, own work (2016).

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Fig 24. Leitmotif website homepage mockup, own work (2016). Fig 25. Puttonen, Mikko (2014). Surreal. Available at: http://schonmagazine.com/surreal/ Fig 26. Magazine print ad mockup, own work (2016). Fig 27. Leitmotif ad Tube mockup, own work (2016). Fig 28. Leitmotif ad billboard mockup, own work (2016). Fig 29. United Visual Artists (UVA), Momentum (2014). Available at: http://momentumdocument.tumblr.com/ Fig 30. United Visual Artists (UVA), Always / Never (2012). Available at: https://uva.co.uk/work/always-never Fig 31. Leitmotif 12-month promotional timeline, own work (2016). Fig 32. Moskovic, Stephan (n.d.). Hiroshi Sugimoto at Pace. Available at: http://stephan.moskovic.com/?p=2792 Fig 33. Launch invitation moodboard, own work (2016).

list of references Cope, J. and Maloney, D. (n.d.). Fashion promotion in practice. Edelman. (2014). brandshare™ 2014: How brands and people collaborate to build a value exchange. [online] Available at: http://www.edelman.com/insights/intellectual-property/brandshare-2014/ [Accessed 31 May. 2016]. Forbes.com. (2015). Forbes Insights: Customer Engagement. [online] Available at: http://www.forbes.com/forbesinsights/ sap_customer_engagement/index.html#sthash.WfbJSGWh.dpuf [Accessed 31 May 2016]. Gilbert, K. (2016). Intro to Perfumery - Notts 2016 Workshop. Guest lecture at Nottingham Trent University. FASH10106 Creative Networks. leitmotif. (n.d.). In: Merriam-Webster, 1st ed. [online] Available at: http://www.merriam-webster.com/dictionary/leitmotif [Accessed 31 May 2016]. NTU (2016). The fragrance market. Lecture at Nottingham Trent University, FASH10106 Creative Networks. Posner, H. (2011). Marketing fashion. London: Laurence King Pub. WGSN/Bell, A. (2015). Consumer Attitudes: Doing Beats Buying. [online] Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/board_viewer/#/57319/page/1 Wheeler, A. (2003). Designing brand identity. Hoboken, NJ: John Wiley.

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bibliography Edwards, J. (2012). Check Out The Insane Lengths Zappos Customer Service Reps Will Go To. [online] Business Insider. Available at: http://www.businessinsider.com/ zappos-customer-service-crm-2012-1?IR=T [Accessed 31 May 2016].

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Kapferer, J. (2008). The new strategic brand management. London: Kogan Page. Lea-Greenwood, G. (2013). Fashion communications. West Sussex: Wiley & Sons.

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Age Society. [online] Available at: https://www.lsnglobal. com/trend-tracker-3/article/17440/the-flat-age-society-2 [Accessed 31 May 2016].

products [Accessed 31 May 2016]. Stamp, J. (2013). The First Major Museum Show to Focus on Smell. [online] Smithsonianmag.com. Available at: http://www.smithsonianmag.com/ist/?next=/arts-culture/ the-first-major-museum-show-to-focus-on-smell1787124/#yDfct6vdVT97Vyp3.99 [Accessed 31 May 2016].

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ADDITIONAL SOURCES Edelman. (2014). brandshare™ 2014: How brands and people collaborate to build a value exchange. [online] Available at: http://www.edelman.com/insights/intellectualproperty/brandshare-2014/ [Accessed 31 May. 2016].

Moth, D. (2015). 11 pivotal social media trends for 2016. [online] Econsultancy. Available at: https://econsultancy. com/blog/67325-11-pivotal-social-media-trends-for-2016/ [Accessed 31 May 2016].

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appendix a primary sources

Fragrance Development Consumer Survey Initial consumer survey designed to assess the feasability of a personalised fragrance seasonal subscription box. Responses were collected from 30+ year old consumers through various social media.

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appendix a primary sources

Media Consumption Consumer Interview 1. How often do you wear fragrance? (daily, special occasions, etc) 2. Do you have one signature scent or do you like trying different ones? Why? 3. What magazines / newspapers do you read? 4. What TV channels / programmes do you watch most? 5. What social media do you use the most? At what time of day? 6. Do you listen to the radio? When? Which stations? 7. How do you get to work? (commute, walk, tube, car, etc) 8. What time of year do you normally go on holiday? 9. What are the top 3 things you like to do in your spare time? 10. One to three adjectives to describe yourself: 11. Age: 12. Occupation:

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appendix b secondary sources 1

Source: https://www.dmn3.com/dmn3-blog/should-you-market-to-baby-boomers-on-social-media

Edelman (2014)

Source: http://www.marketingcharts.com/traditional/how-brands-are-falling-short-with-consumers-47505/

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