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N0425657 CAITLIN THOMAS FASH10106 FASHION COMMUNICATION AND PROMOTION LEVEL 1 VISUAL AWARENESS
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contents introduction
pre-launch
launch event
post-launch
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6 7 8 9
10 11 12 13
14 15 16 17 18 19
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introduction Bluff is a new men’s fragrance brand. It is a living, breathing reflection of cultural and social currents, of what’s going on in music, art and the streets of the communities we live in.
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Our competitors lie in niche brands that are inspired by street culture, those such as Supreme, Urban outfitters and MSBHV. However, we found that many of these brands hadn’t translated their urban ethos into fragrance; this is where bluff comes in to successfully filling a gap within the market. Through research we found that not only was the fragrance industry highly saturated, but that it was saturated with like for like men’s fragrances that adopted sex and ideals as a selling point. Utilizing primary research we asked our consumer their opinion on the Dolce and Gabbana advert (which features an almost unclad David Gandy, see figure 2), the majority reaffirmed what we had predicted; men found these adverts overly staged and unrealistic. Bluff speaks an honest tone of voice to an audience of creatives
looking for differentiation in the oversaturated, unvaried men’s fragrance market. Posner (2011a, p. 141) makes the point that, “Consumers are more likely to engage with a brand when they respect or connect with its values” and marketer Martin Butler tells us “people don’t buy what you sell, they buy what you stand for” (Posner 2011b, p. 141), therefore we made this a crucial focus point for the brand. The philosophy of the brand is to provide genuinely creative individuals with a connecting set of beliefs and aesthetics. The brands design equation makes use of structural shapes, primary colours, typewriter fonts and raw, gritty components. We transferred the idea of matching our consumer’s lifestyle with the brand into the fragrance itself. The scent comprises of Mossy and Tobacco
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constituents to symbolize festivals and going out; helping to recreate the rush they feel in these in environments with a simple spray of bluff fragrance. This report will discuss a strategic proposal for the initial launch and first year’s promotional activity of bluff, including public relations, our digital strategy and advertising.
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pre-launch Whilst the actual launch of Bluff is a fundamental factor to the success of the fragrance, the run up to the launch is almost equally as important; in order to ensure that people are aware of what is coming and when it will be available. Levinson (2007, p. 1) states that
“Marketing is the art of getting people to change their minds” I believe it is vital to build a sense of curiosity and ultimately excitement in the run up to bluff’s release to ensure that consumers are willing to embrace the new fragrance.
Using a ‘dripping tap’ strategy I will enforce a controlled reveal, using several different tactics to create and sustain the all-important buzz in the lead up to the launch. The first of which is to commission one of London’s best known Street artists; Pablo Delgado, to paint the Bluff logo (figure 3) around areas of London. This will take place mid-June, 2014. Delgado has a distinct style to his street art; he
relevant locations in London – such as the underground, Shoreditch and Camden - will guarantee the right attention. Delgado can adapt the logo to his style as long as the word ‘bluff’ is clear and lowercase so it remains signature to the brand. This will make the street culture element of bluff more prominent, appealing to a creative consumer whilst heightening not only the publics awareness of the brand,
creates miniature narrative scenes (figure 4), additionally he is “known for the distinctive black shadows that he casts on the pavement in black paint. These shadows give his pieces a lifelike quality and make them pop off the wall” (Street Art London 2014). I found this to be an important factor in the decision to use Delgado’s work as I don’t want the logo to be too overpowering – like most brands – therefore the idea of ‘bluff’ being discretely painted in Delgado’s signature style in
but also their awareness of Pablo Delgado, this will enable a mutually beneficial collaboration, Rudes (2013) reiterates the point that “The most effective collaborations are when like meets like”.
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It is essential for the pre launch activity to be memorable, Malcolm Gladwell introduces his theory of the Stickiness factor, whereby he states that “for an idea or marketing message to spread it must ‘stick’, something about the message, its content or how it is delivered must remain active in the recipients mind” (Posner 2011c). As a challenger brand in the fragrance industry bluff breaks conventions, for this reason I have decided
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the use of a sabotage marketing campaign will help to firstly capture the publics attention and secondly help to show what bluff represents. The idea is to create a new video campaign - using the same male model as before. Initially he will be stood against a beach setting backdrop, wearing only his boxers – similar to the overtly sexual campaigns by Dolce and Gabbana. The model will then begin to get dressed to signify and define his individuality, once fully dressed the green screen will be removed – revealing a raw, urban location. Lastly, the model will raise the fragrance up towards the camera and spray it directly into the lens. Five weeks before the launch event, this idea will be brought to life; the campaign video will be projected, in the evening, onto one of the buildings in Leicester Square, London. When the model sprays bluff into the camera a physical spray of highly concentrated bluff scented mist will be emitted into the square from the buildings window; I found inspiration for this from a visit to New York, a similar technique was used in Times Square by Nissin Foods; for Cup Noodles (figure 5). Following this a hashtag will appear on the advert: ‘#embracethebluff’. The physical element of the campaign in Leicester square
will spark word of mouth promotion and potentially shares via Facebook, Twitter or Instagram – all of which can incorporate
'#embracethebluff' leading to a cult following before the launch has even taken place. The hashtag will also be promoted on twitter’s feed in the final 7 days leading up to the launch, furthering interest into what bluff could potentially be. Our initial ‘coming soon’ teaser video campaign – that shows clips of music, art and the streets will be screened on Youtube only, carefully selected to appear before music videos (figure 6). The first screening will take place 4 weeks before the launch. I believe that for the brand to truly break away from conventions and target the correct consumer, channels such as TV or Radio would be too mainstream, whereas Youtube captures a primarily youthful and music orientated audience – linking to bluffs 20-26 year old market. All coverage in both the lead up to and the launch itself, will be given to independent magazine Dazed and Confused. Eshun (2011)
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said that, “Dazed has survived – even thrived – by doing all the things that creative Britain is good at”. The magazine works towards challenging its readers to create a “new generation of switched-on, intelligent, aware and influential individuals” (Dazed and Confused Official Facebook 2014); bluff’s aspirations correspond to those of Dazed and Confused. In July’s edition of Dazed, the front cover will feature a promotional section for bluff, directing the reader to a certain page for more information. Inside will be a double paged spread of the campaign photo printed on a thick card, allowing a tear away ticket to be cut out, giving the reader exclusive entry to the launch of bluff (figure 7). Due to the nature of the brand: being focused on the individual rather than the ideal, I felt that it wouldn’t be appropriate for the brand to invite celebrity figures. Instead, special invites will be sent out to a range of influential bloggers that hopefully, following the launch, will go on to be ambassadors for the brand. This includes bloggers from Dazed digital, The Daily Street (figure 8) and Ape to Gentleman (figure 9).
launch event The launch event itself will be held on August 6th, 2014. As the fragrance holds nostalgia to festivals and going out, this will be a prime time to release bluff, so that the consumer has something to transport them back to these memories following the Festival period; which generally spans late May to early August. The event will encompass music, street art and fashion whilst remaining integrated with the pre-launch activity. The launch will be held in a venue in Shoreditch named Underground Village, and will play host to several events. Due to bluff being heavily influenced by street culture, I felt it was essential that the venue reinforced
this, “High above Great Eastern Street, atop the venue, four recycled Jubilee line train carriages and shipping containers make up the creative studios of Village Underground” (Village Underground 2014a) (figure 10). For the launch several of the carriages will be transformed into studios, one of which will be branded with the bluff logo - again using Pablo Delgado’s artistic talent. On entry
Shhhh Collective logo (figure 13). Shhhh collective is a company who “showcase a collective of emerging designers and creatives from around the world each season to create a diverse blend of products and printed matter” (Shhhh 2014); through their website you can buy a range of t-shirts and hooded jumpers which appeal to a primarily indie crowd. Inside this carriage there will be the opportunity to
attendees will be handed a bag stamped with the bluff logo, ready to be filled with a range of goodies from the launch (figure 11). Inside this first carriage attendees will be able to test the fragrance, and will be encouraged to give their opinion, incorporating the ‘embracethebluff’ hashtag on twitter, using the free Wifi provided in the carriage. Following this they will be given a complimentary miniature version of the scent (figure 12). A second carriage will be branded with the
pick up a one of three printed designs on a T-shirt by Shhhh. This is a collaboration that will use a fabric finishing technique called microencapsulation. The technique will capture the scent of bluff in the ink printed on the t-shirt; Emerick (2011) tells us that the polymeric shell holding the fragrance oil “will break if you rub the surface of a printed product; or with movement if it is used on a garment.” This will allow for word of mouth promotion after the event; for example if someone asks what fragrance that male is wearing, they can then go on to explain about bluff, again avoiding overpowering promotion. The T-shirt can then also be kept safe and clean in the bluff stamped bag.
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Following this, attendees will be led towards the main Village Underground centre which is “housed in a renovated turn-of-the-century warehouse primed for everything from concerts and club nights to exhibitions, theatre, live art and other performances” (Village Underground 2014b) (figure 14). Once inside the warehouse there will be an opportunity for guests to choose from a range of both non-alcoholic and alcoholic beverages from a bluff branded bar. Once settled there will be a 15-minute talk, it will give an overview of bluff’s background and what we aim to provide, along with an explanation about the fragrance.
this is about being one of the few”. Placed in front of the set there will be a large wooden crate (similar to the design of bluffs packaging box) that will hold 100 copies of King Krules single: Easy Easy, another gift for the guests to take away with them.
To round off the event there will be a performance by King Krule (figure 15): whose music also featured on the video campaign. Another Man (2014) describes him as a
“genre-blurring musical prodigy” We chose his music for its masculine yet highly original qualities to sit with the values our consumer holds, Posner (2011d, p. 122) explains the niche market; “just enough to form a tribe but not too many…
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post-launch Following the launch the fragrance will initially be sold in Box Park – Shoreditch, an incredibly exciting area of London. Box Park comprises of refitted shipping containers, which create unique low cost, low risk pop-up stores. More importantly Box Park plays host to a vast range of independent fashion and lifestyle retailers, such as: Hype, Get Slick and Tusch Und Egon, all of which embrace talent, innovation and
principle; Pentin (2013) states that this creates “the impression of excess demand by restricting supply”. This will increase the hype surrounding bluff, leading to consumers feeling they are travelling to buy something truly niche; contributing to sales of bluff and ultimately guaranteeing its success. This will also be a test drive for the brand, allowing adjustments to be made before releasing the fragrance
Urban Outfitters (figure 17) stocks a wide portfolio of brands products, ranging from clothing to home and gifts. Bluff will be the first fragrance to be sold in the store, it will reach both companies ideal consumer whilst cementing our brand in the hearts of the creative driven community.
attitude at their core. Placement here will be a prime location as our target consumer is likely to be already shopping in this location (figure 16). For the first 2 months the fragrance will only be available to buy in Box Park, discarding online sales too – the idea follows the scarcity
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with Frank PR (figure 18). Their job will be to “shape and maintain the image of a company [bluff] in the eyes of the clients various ‘publics’” Roos (2012). Frank have won numerous awards for their highly innovative campaigns. Having worked with high profile clients such as Disney and Fosters, they heavily focus on generating a reaction and word of mouth promotion; “when we started frank in 2000, we knew that the best campaigns were those that had that special ingredient - the ones which kickstarted word-of-mouth, or what we called talkability” (FrankPR 2014). Frank is a credible PR company that would provide the original ideas so important to a niche brand like bluff.
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clothing
store
Urban
Outfitters.
As previously stated, our fragrance is a translation of clothing brands inspired by street culture. “Urban Outfitters operates more than 130 stores…we stock our stores with what we love, calling on our — and our customer’s — interest in contemporary art, music and fashion…we offer a lifestylespecific shopping experience for the educated, urban-minded individual in the 18 to 30 year-old range” (URBN INC 2014).
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Throughout the launch and for at least the successive 12 months, bluff will work
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An essential part of furthering brand interaction and therefore conversion is to embed bluff into the digital community. Our consumer is part of Generation Y (as known as Millenials); this consumer is born after 1982, Posner (2011e, p. 110) describes them to have “grown up with technology and increasingly lived their lives online; they are plugged in and globally connected… They understand branding and are media and marketing savvy, they communicate using social media, form online communities and are happy to create their own online content.” This highlights the importance of bluff having a strong online presence. Bluff will open its social media sites immediately after the launch event, the brand will have a Facebook page, Twitter account and an Instagram feed to keep the consumer up to date with brand goings on, discounts and future brand extensions (figures 19, 20, 21). In addition to this bluff will run its own website. For the first 12 weeks following the launch the public can request a sample to be sent to them in the post, through the website. The package will consist of a bluff stamped foil envelope, a fragrance sample in the form of a peel off card that will retain the shape and design of the bluff bottle, as well as a bluff
branded card promoting a competition named ‘What’s your bluff?’, with instructions to lead them to the bluff website.
through bluffs Twitter and Facebook page, both of which will provide a link to the ‘Whats your bluff?’ microsite.
In December 2014 - 4 months after the launch, there will be a competition for consumers to become part of a new bluff campaign advert. A link from the bluff website will lead to a microsite named ‘Whats your bluff?’ this is inspired by Burberrys Art of The Trench (figure 22) – where people can discuss their experiences of the trench, helping to create an inclusive feel. However, the ‘What’s your bluff?’ link will lead consumers to a microsite where they can post what they think makes them individual; this could be through a shot of their style, a sound clip from their music, or a scan/photo of their artwork. The competition will run for two months (until February), following this a winner from each category will be chosen, all three elements will then be united to create bluffs new campaign photo and video. This will allow consumers to fully engage with the brand using personal interaction and leading to the promotion of not only bluff, but its consumer’s work too. To heighten the public’s awareness of the competition and reach more consumers it will be promoted
The lead up to the festival season will see a concentrated burst of promotional activity for bluff, in particular March and April, 2015. It will encompass all of our social media sites and see bluff sponsor low key, independent festivals such as Secret Garden Party held towards the end of July (figure 23). Succeeding these 11 months of promotional activity, bluff will work to meet new consumer wants by extending the brand into fresh realms; there is strong potential to move into clothing, for example, due to bluffs strong links with street culture and art. The 12th month will establish development into such areas.
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conclusion
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In conclusion, the launch and following 12 months will play a vital role in the success of the brand: whether it will fail, or ideally go on to bigger and better things. The promotional tools I have employed help to engage the senses; hearing from our upcoming music artists, sight from our exciting visual campaigns that make use of 4D elements, and smell from the fragrance itself which has been utilized in a variety of ways, Cullinane (2013, p. 76) reported that sensory marketing is the “latest trend in fashion retailing”. I have used this combination of promotional devices to create excitement amongst bluffs audience and increase the ability to stick in their minds. As a challenger brand bluff does have to challenge conventions and provide the consumer with an alternative outlet. Being
a niche brand means that we aren’t market leaders, nor do we intend to be, but it is essential to reach our alternative, young market by giving them originality and modernity, all of which I believe are provided in the promotional activities. Giving them the chance to showcase their own work will provide a foot in the door for 20-26 year olds trying to get their career off the ground, which is notoriously difficult to do in the creative industries. Embracing technology is needs must in the market bluff is placed in, Pestridge (2010) makes the point that “advertising is all about achieving awareness…we need to become part of people’s lives and digital allows us to do that” therefore our focus on everything digital will successfully allow us to embed ourselves in the consumers mind and generate a positive emotional connection with the brand.
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All points mentioned are of high importance, as ultimately they will help towards building a strong relationship with our consumer, Posner (2011f, p. 136) states that “consumers are more likely to connect positively with a brand if they associate closely with its overall identity”. The launch and promotional activity demonstrated will help to emphasize our connection to the targeted consumer, improving prospects of brand loyalty, and eventually advocacy; imperative to the future success of bluff.
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List of References Another Man, 2014. Another Man 18: King Krule [online]. Available at: http://www. anothermag.com/current/view/3477/Another_Man_18_King_Krule [Accessed 24th May 2014]. Cullinane, S., 2013. The science of shopping. Company Magazine, December, p.76. Dazed and Confused Official Facebook, 2014. About [online]. Available at: https://www. facebook.com/DazedandConfusedMagazine/info [Accessed 25th May 2014]. Emerick, R., 2011. Micro-encapsulation technology - an interview with Ross Emerick from Celessence [online]. Available at: http://www.basenotes.net/content/675-Microencapsulation-technology [Accessed 26th May 2014]. Eshun, E., 2011. Still Dazed at 20: the gang who changed pop culture [online]. Available at: http://www.theguardian.com/media/2011/nov/05/dazed-confused-gang-still-cool [Accessed 25th May 2014]. FrankPR, 2014. PR IS DEAD, LONG LIVE PR [online]. Available at: http://www.frankpr.it [Accessed 28th May 2014]. Levinson, J.C., 2007. Guerilla Marketing. 4th ed. Boston: Houghton Mifflin. Pentin, R., 2013. 26 Product Launch Tactics [online]. Available at: http://www. slideshare.net/Ifonlyblog/26-product-launch-strategies [Accessed 20th May 2014]. Pestridge, S., Simon Pestridge From Nike Make Future Advertising Sound Simple [online]. Available at: http://www.ronnestam.com/simon-pestridge-from-nike-make-futureadvertising-sound-simple/ [Accessed 20th May 2014]. Posner, H., 2011a. Marketing Fashion. London: Laurence King. Posner, H., 2011b. Marketing Fashion. London: Laurence King. Posner, H., 2011c. Marketing Fashion. London: Laurence King. Posner, H., 2011d. Marketing Fashion. London: Laurence King. Posner, H., 2011e. Marketing Fashion. London: Laurence King. Posner, H., 2011f. Marketing Fashion. London: Laurence King. Roos, D., 2012. How Public Relations Works [online]. Available at: http://money. howstuffworks.com/business-communications/how-public-relations-works1.htm [Accessed 21st May 2014]. Rudes, J., 2013. Retailers raise fashion stakes with exclusive designer collaborations [online]. Available at: http://www.smh.com.au/lifestyle/fashion/retailers-raise-fashionstakes-with-exclusive-designer-collaborations-20130517-2jrxc.html [Accessed 24th May
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2014]. Shhhh, 2014. About [online]. Available at: http://www.shhhh.co.uk/pages/about-2 [Accessed 23rd May 2014]. Street Art London, 2014. The Village Undergound WALL [online]. Available at: http:// streetartlondon.co.uk/walls/pablo-delgado/ [Accessed 24th May 2014]. URBN, 2014. Urban Outfitters [online]. Available at: http://urbn.com/profile/urban.html [Accessed 27th May 2014]. Village Underground, 2014a. Cultural space [online]. Available at: http://www. villageunderground.co.uk/about [Accessed 26th May 2014]. Village Underground, 2014b. Cultural space [online]. Available at: http://www. villageunderground.co.uk/about [Accessed 26th May 2014].
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List of Illustrations Figure 1 [my own]. Figure 2 Testino, M., 2007. Dolce and Gabbana Light Blue [digital image]. Wordpress. Available at: https://thesocioartist.files.wordpress.com/2010/10/david-gandy-for-dolce-gabbanalight-blue-campaign.jpg [Accessed 27th May 2014]. Figure 3 [my own]. Figure 4 Delgado, P., 2012. [digital image] Available at: http://streetartlondon.co.uk/ blog/2013/01/11/village-underground-wall-street-art-london/ [Accessed 26th May 2014]. Figure 5 Cup Noodles. Web [digital image] Available at: http://web.mit.edu/mollieb/Public/ Pictures/Junior%20Year/March/Cup%20Noodle.jpg [Accessed 29th May 2014]. Figure 6 Bluff logo [my own] King Krule - Youtube. Youtube [online] Available at: https://www.youtube.com/ watch?v=hRzlbh4or3c [Accessed 28th May 2014]. Figure 7 Bluff campaign [my own]. Scissors cutting line [digital image] Available at: http://www.edugeek.net/attachments/ forums/graphics-requests/8714d1290688496-cut-here-line-break-cut-here.png [Accessed 27th May 2014]. Figure 8 Daily Street [online] Available at: http://www.thedailystreet.co.uk [Accessed 29th May 2014]. Figure 9 Ape to Gent [online] Available at: http://www.apetogentleman.com/about/ [Accessed 29th May 2014]. Figure 10 Village Underground carriage’s [digital image] Available at: http://media.timeout.com/ images/55292/660/370/image.jpg [Accessed 29th May 2014]. Figure 11 Bluff logo [my own]. Black bag [digital image] Available at: http://www.divana.com.au/media/catalog/product/
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cache/1/image/9df78eab33525d08d6e5fb8d27136e95/c/b/cb230023_2.jpg [Accessed 29th May 2014]. Figure 12 [my own]. Figure 13 Shhhh logo [digital image] Available at: http://cdn.shopify.com/s/files/1/0174/4062/t/4/ assets/logo.png?1623 [Accessed 28th May 2014]. Figure 14 Villiage Underground centre [digital image] Available at: http://www.residentadvisor. net/images/clubs/lg/uk-villageunderground-london.jpg [Accessed 28th May 2014]. Figure 15 King Krule [digital image] Available at: http://www.residentadvisor.net/images/clubs/lg/ uk-villageunderground-london.jpg [Accessed 29th May 2014]. Figure 16 Box Park mockup [digital image] Available at: http://www.boxpark.co.uk [Accessed 14th May 2014]. Figure 17 Urban Outfitters [digital image] Available at: http://womansdressingroom.de/wp-content/ uploads/2011/09/Frankfurt_Urban_Outfitters_Store.jpg [Accessed 27th May 2014]. Figure 18 Frank PR [online] Available at: http://www.frankpr.it [Accessed 29th May 2014]. Figure 19 Facebook mockup [online] Available at: https://www.facebook.com/DazedandConfusedMagazine [Accessed 28th May 2014]. Figure 20 Twitter mockup [mobile screenshot, my own]. Figure 21 Instagram mockup [mobile screenshot, my own]. Figure 22 Burberry Art of the Trench [online] Available at: http://artofthetrench.burberry.com [Accessed 29th May 2014]. Figure 23 Secret Garden Party [digital image] Available at: http://www.brightonstarling.com/wpcontent/uploads/2013/04/Paint-Fight-Danny-North.jpg [Accessed 28th May 2013].
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Bibliography Another Man, 2014. Another Man 18: King Krule [online]. Available at: http://www. anothermag.com/current/view/3477/Another_Man_18_King_Krule [Accessed 24th May 2014]. Cullinane, S., 2013. The science of shopping. Company Magazine, December, p.76. Dazed and Confused Official Facebook, 2014. About [online]. Available at: https://www. facebook.com/DazedandConfusedMagazine/info [Accessed 25th May 2014]. Emerick, R., 2011. Micro-encapsulation technology - an interview with Ross Emerick from Celessence [online]. Available at: http://www.basenotes.net/content/675-Microencapsulation-technology [Accessed 26th May 2014]. Eshun, E., 2011. Still Dazed at 20: the gang who changed pop culture [online]. Available at: http://www.theguardian.com/media/2011/nov/05/dazed-confused-gang-still-cool [Accessed 25th May 2014]. FrankPR, 2014. PR IS DEAD, LONG LIVE PR [online]. Available at: http://www.frankpr.it [Accessed 28th May 2014]. Jarrett, M.S., 2006. Nylon Street - The Nylon Book of Global Style. Levinson, J.C., 2007. Guerilla Marketing. 4th ed. Boston: Houghton Mifflin. Pentin, R., 2013. 26 Product Launch Tactics [online]. Available at: http://www. slideshare.net/Ifonlyblog/26-product-launch-strategies [Accessed 20th May 2014]. Pestridge, S., Simon Pestridge From Nike Make Future Advertising Sound Simple [online]. Available at: http://www.ronnestam.com/simon-pestridge-from-nike-make-futureadvertising-sound-simple/ [Accessed 20th May 2014]. Posner, H., 2011a. Marketing Fashion. London: Laurence King. Posner, H., 2011b. Marketing Fashion. London: Laurence King. Posner, H., 2011c. Marketing Fashion. London: Laurence King. Posner, H., 2011d. Marketing Fashion. London: Laurence King. Posner, H., 2011e. Marketing Fashion. London: Laurence King. Posner, H., 2011f. Marketing Fashion. London: Laurence King. Roos, D., 2012. How Public Relations Works [online]. Available at: http://money. howstuffworks.com/business-communications/how-public-relations-works1.htm [Accessed 21st May 2014]. Rudes, J., 2013. Retailers raise fashion stakes with exclusive designer collaborations
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[online]. Available at: http://www.smh.com.au/lifestyle/fashion/retailers-raise-fashionstakes-with-exclusive-designer-collaborations-20130517-2jrxc.html [Accessed 24th May 2014]. Shhhh, 2014. About [online]. Available at: http://www.shhhh.co.uk/pages/about-2 [Accessed 23rd May 2014]. Street Art London, 2014. The Village Undergound WALL [online]. Available at: http:// streetartlondon.co.uk/walls/pablo-delgado/ [Accessed 24th May 2014]. URBN, 2014. Urban Outfitters [online]. Available at: http://urbn.com/profile/urban.html [Accessed 27th May 2014]. Village Underground, 2014a. Cultural space [online]. Available at: http://www. villageunderground.co.uk/about [Accessed 26th May 2014].
Figure 1 [my own]. Figure 2 Testino, M., 2007. Dolce and Gabbana Light Blue [digital image]. Wordpress. Available at: https://thesocioartist.files.wordpress.com/2010/10/david-gandy-for-dolce-gabbanalight-blue-campaign.jpg [Accessed 27th May 2014]. Figure 3 [my own]. Figure 4 Delgado, P., 2012. [digital image] Available at: http://streetartlondon.co.uk/ blog/2013/01/11/village-underground-wall-street-art-london/ [Accessed 26th May 2014]. Figure 5 Cup Noodles. Web [digital image] Available at: http://web.mit.edu/mollieb/Public/ Pictures/Junior%20Year/March/Cup%20Noodle.jpg [Accessed 29th May 2014]. Figure 6 Bluff logo [my own] King Krule - Youtube. Youtube [online] Available at: https://www.youtube.com/ watch?v=hRzlbh4or3c [Accessed 28th May 2014]. Figure 7 Bluff campaign [my own]. Scissors cutting line [digital image] Available at: http://www.edugeek.net/attachments/ forums/graphics-requests/8714d1290688496-cut-here-line-break-cut-here.png [Accessed 27th May 2014].
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Figure 8 Daily Street [online] Available at: http://www.thedailystreet.co.uk [Accessed 29th May 2014]. Figure 9 Ape to Gent [online] Available at: http://www.apetogentleman.com/about/ [Accessed 29th May 2014]. Figure 10 Village Underground carriage’s [digital image] Available at: http://media.timeout.com/ images/55292/660/370/image.jpg [Accessed 29th May 2014]. Figure 11 Bluff logo [my own]. Black bag [digital image] Available at: http://www.divana.com.au/media/catalog/product/ cache/1/image/9df78eab33525d08d6e5fb8d27136e95/c/b/cb230023_2.jpg [Accessed 29th May 2014]. Figure 12 [my own]. Figure 13 Shhhh logo [digital image] Available at: http://cdn.shopify.com/s/files/1/0174/4062/t/4/ assets/logo.png?1623 [Accessed 28th May 2014]. Figure 14 Villiage Underground centre [digital image] Available at: http://www.residentadvisor. net/images/clubs/lg/uk-villageunderground-london.jpg [Accessed 28th May 2014]. Figure 15 King Krule [digital image] Available at: http://www.residentadvisor.net/images/clubs/lg/ uk-villageunderground-london.jpg [Accessed 29th May 2014]. Figure 16 Box Park mockup [digital image] Available at: http://www.boxpark.co.uk [Accessed 14th May 2014]. Figure 17 Urban Outfitters [digital image] Available at: http://womansdressingroom.de/wp-content/ uploads/2011/09/Frankfurt_Urban_Outfitters_Store.jpg [Accessed 27th May 2014]. Figure 18 Frank PR [online] Available at: http://www.frankpr.it [Accessed 29th May 2014]. Figure 19 Facebook mockup [online] Available at: https://www.facebook.com/DazedandConfusedMagazine
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[Accessed 28th May 2014]. Figure 20 Twitter mockup [mobile screenshot, my own]. Figure 21 Instagram mockup [mobile screenshot, my own]. Figure 22 Burberry Art of the Trench [online] Available at: http://artofthetrench.burberry.com [Accessed 29th May 2014]. Figure 23 Secret Garden Party [digital image] Available at: http://www.brightonstarling.com/wpcontent/uploads/2013/04/Paint-Fight-Danny-North.jpg [Accessed 28th May 2013].
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