How Did Christopher Bailey Transform the Image of Burberry through Digital Marketing?

BURBERRY’S DIGITAL STORY

How did Christopher Bailey Transform the Image of Burberry through Digital Marketing?

Caroline Booth

BA(Hons) Fashion Design

XXFTK10001: Design, Culture & Context 3 2016/17

Tutor: Kevin Hunt

Contents

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Fig. 1 Friends in Burberry/Burberry Counterfeit [2014] in Dazed Digital

Fig. 2 Possum Spring/Summer 2011 Campaign [2011] by Mario Testino for Burberry

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Introduction

Burberry’s past is as chequered as the Nova check that caused them all their problems. Only thirteen years ago Burberry were amidst the damaging Chav Crisis. Their heritage Nova check was associated with football hooligans and ‘The Queen of Chavs’ Daniella Westbrook (Thomas, 2007: 261-262). It is images such as the one on the left, that form my first memories of Burberry. However, it is my surprise at how my perceptions of Burberry have changed over the last few years that initiated my research. Christopher Bailey is largely responsible for the transformation of the brand. As CEO he recognised how digital marketing and technology could be used to regain Burberry’s luxury status and this forms the basis of my research question; How did Christopher Bailey transform the Image of Burberry through Digital Marketing?

These three objectives are fundamental as they are the basis on which the rebranding of Burberry has been built upon. It is essential to discuss why they were chosen, how they have been put into practice and the results they have achieved. Ahrendts’ and Bailey’s focus on outerwear signifies revisiting Burberry’s heritage as a source of inspiration for their clothing and digital marketing campaigns. This raises the question; why does heritage, Britishness and authenticity sell and how have Burberry utilised this? A topic which I will discuss further later on in my study.

Purifying the brand message demonstrates Burberry re-establishing the essence of their brand to create a To fully understand how Burberry have made the cohesive brand identity. Essentialism is a key part of transition we have to consider the past, present and my design ethos and it is from that perspective that future of the brand, beginning with the Chav Cri- I analyse Burberry’s digital marketing campaigns. sis. This was a time when Burberry had fallen victim Essentialism in a design context is the concept that to counterfeits due to becoming popular attire for every object has a function which is at the centre of Chavs and the working-class. Ultimately, this had a the design as opposed to being designed purely for its detrimental effect on Burberry’s reputation as a lux- aesthetic quality. Although Baudrillard does not disury brand and consequently their sales. This period cuss the topic of essentialism directly, there are simiprovoked issues of class, taste and money and raised larities between his theory and an Essentialist’s ideas. the question; what makes luxury, luxury? Bailey and predecessor, Angela Ahrendts, created a clear strat- The first two chapters are crucial in understanding how egy deciphering how they were to rebuild Burberry Burberry have responded to the Chav Crisis in order to and regain its reputation as a luxury British brand. successfully rebrand themselves through digital marketing. In the final chapter we are able to apply what we ‘We needed to purify the brand message and we were have learnt and understand how redefining the essence going to do that; by focussing on outerwear, by fo- of Burberry has allowed them to create a strong brand cussing on digital, by targeting a younger customer.’ identity that people have fallen in love with via tech(Ahrendts [2006] in Swire, 2014: Online Blog) nology. The relationship between the consumer and brand is of particular interest to me, especially when we apply it to the idea of para-social relationships.

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Fig. 3 Neil Bratchpiece as ‘The Wee Man’ [2007] in TheArches via Flickr

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Originally this term was used to describe the one-sided relationship that can be found between an individual and someone seen on the television. The individual exerts emotional energy, interest and time whilst the person who appears on the tele is unaware of the others existence. (Horton and Wohl, 1956: 215) This term became established when television became popular, however, due to the nature of technology and the rapid speed in which it advances, the term para-social relationships changes and takes on new meanings.

Finally, I will investigate how Burberry’s choice to utilise the digital platform has had repercussions in other areas of their business model that they have had to address. This research will support me when creating my own brand as well as allowing me to be informed about the industry which I will be entering and how it is rapidly changing.

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The Chav Crisis

‘Westbrook was named as the Queen of the Chavs when she was snapped shopping in London dressed head-totoe in Burberry check and pushing her Burberry checkclad baby in a Burberry check stroller.’

(Thomas, 2007: 261-262)

The infamous photograph of Daniella Westbrook raises the question; does the way in which a luxury label is worn, affect how it portrays the wearer?

Westbrook gained the title of ‘Queen of the Chavs’ (ibid) whilst wearing a vast amount of a luxury label.

These two statements contradict each other in the sense that a Chav is defined as ‘a young person of a type characterized by brash and loutish behaviour […] usually with connotations of a low social status.’

(OED, 2017: online) In comparison luxury brands are associated with wealth and the higher classes.

‘The way we dress reflects not only our personality but also our economic, political and social standing and our self-worth.’ (Thomas, 2007: 6) In a literal sense this would suggest Westbrook’s clothing portrays her as someone belonging to the middle-upper class, not a ‘Chav’. Pierre Bourdieu’s book, Distinction, is fundamental in my exploration of how cultural capital and taste affect social standing. (Bourdieu, 1984) In parallel with Bourdieu’s theory I will discuss Thorstein Veblen’s idea, Conspicuous Consump-

tion. These two theories will allow me to establish why the excessive wearing of a luxury label appears distasteful and ‘chavvy’ and ultimately, how Burberry have transformed their image from that associated with Chavs, back to it’s former luxury status.

Bourdieu believes that tastes ‘function as markers of ‘class’’ due to taste being something that is learnt. ‘Cultural needs are the product of up-bringing and education’ and one’s ‘preferences in literature, painting or music, are closely linked to educational level and secondarily to social origin.’

‘A work of art has meaning and interest only for someone who possess the cultural competence, that is the code, into which it is encoded.’ (Bourdieu, 1984: 2) He goes on to explain that without said ‘code’ one is only able to appreciate the ‘sensible properties’.

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Fig. 4 Nova Check [2016] by Burberry

Fig. 5 Daniella Westbrook in Burberry [2002] via Big Pictures Photos

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Fig. 6 Spring/Summer 2001 Campaign [2001] by Burberry

7 Fig. 7 Spring/Summer 2001 Campaign [2001] by Burberry

‘Perceiving a skin as downy or lace-work as deli- ferences in judgement stems from dissimilar ecocate, or at the emotional resonances aroused by nomic and social backgrounds, these two variables these properties, referring to ‘austere’ colours affect how we view objects, including clothing. or a ‘joyful’ melody. He cannot move from the primary stratum of the meaning we can grasp on ‘Taste classifies, and it classifies the classifithe basis of our ordinary experience to the ‘straer. Social subjects, classified by their classifitum of secondary meanings’. (Bourdieu, 1984: 2) cations, distinguish themselves by the distinctions they make, between the beautiful and the If we apply Bourdieu’s analysis to the world of fashion ugly, the distinguished and the vulgar, in which it implies that those who lack cultural capital enjoy their position in the objective classifications luxury clothing, however, purely for its exterior aesis expressed of betrayed.’ (Bourdieu, 1984: 5) thetic. Other qualities that accompany a luxury label such as; heritage and authenticity, go unrecognised. Variations in taste allow one’s social group to deThe specific aesthetic that has attracted the work- scribe Westbrook’s outfit as fashionable and deing-class consumer is logos, specifically ones belong- sirable, whilst those of a higher-class may define ing to luxury brands, such as the Nova Check. The it as distasteful, even vulgar. The Burberry Nova introduction of Thorstein Veblen’s theory of Con- Check became a staple for ‘Chavs’ and gained conspicuous Consumption allows us to understand why notations such as loutish behaviour. Consequentthe amount of a label one wears affects whether the fi- ly, Burberry’s target customer, middle-upper class, nal look appears luxurious or distasteful. ‘The general no longer wanted to wear the luxury label, in order principle, more or less rigorously applied is that the to differentiate themselves from the lower-class. base, industrious class should consume only what may be necessary to their subsistence’ (Veblen, 1994: 50) ‘For some middle-class people they seem almost However, when people of the working-class purchase disgusted by working-class taste, people recoil and luxury goods, or counterfeits which imitate luxury, cringe when they’re confronted by what they see as instead of essential items, the following issue evolves. tacky and showy and blingy’ (Perry, 2012, All in The Best Possible Taste: Episdoe 1 [TV Program] 15:27) ‘Since the consumption of these more excellent goods is an evidence of wealth, it becomes hon- Wearing excessive amounts of the Nova Check hasn’t orific; and conversely, the failure to consume always appeared distasteful. These Burberry adverin due quantity and quality becomes a mark tisements from 2001 display a vast amount of Nova of inferiority and demerit’ (Veblen, 1994: 53) Check at a time when Burberry was a successful luxury brand. Opinions on taste are constantly shifting due Wearing excessive amounts of a luxury brand’s to their correlation with the ever-changing definition logo suggests a lack in cultural capital. Conse- of luxury and changes in both social and economic sitquently, the consumer is unable to accurately as- uations. Two areas we must discuss are; the taboo sursess what quantity of branded clothing should be rounding money and a shift in the meaning of luxury. worn at one time in order to appear luxurious. Dif-

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Wearing excessive amount of a branded good could be a visual representation of how much money the wearer possesses, in an almost boastful manner.

This is problematic as there is a taboo surrounding money in our culture. Trachtman has written about the issue of the British Money Taboo, where he has discussed how in Britain there is an unspoken rule that money must not be discussed. (Trachtman, 1999) Trachtman’s observations are important to my research because they affect how luxury brands approach branding and advertising.

Grayson Perry’s documentary ‘All in The Best Possible Taste’ explores similar ideas to those of Bourdieu in the sense that he focuses on how our taste reflects our class. When someone from a middle-class background was asked how they thought luxury logos should be worn they stated; ‘Wear something that is a known designer brand, but not blatantly having the label flashed all over it. Not too flashy. So it’s subtly rich.’ (Perry, 2012, All in The Best Possible Taste: Episode 2 [TV Program] 9:53) In response Burberry have drastically changed their marketing campaigns. There has been a noticeable reduction in the amount of Nova Check used by the brand in both their designs and campaigns. The famous check has been subtly placed to allow for discreet branding.

‘In a society that claims to be a classless meritocracy on the one hand and a capitalist paradise on the other, there is no acceptable level of wealth.

We have to pretend to be equal even as we know ourselves to have vastly different opportunities depending on our income. This contradiction necessitates that we speak of money euphemistically or keep quiet’. (Lloyd [1997] in Trachtman, 1999: 279)

This suggests a return to the modernist tradition of ‘less is more’, where the consumer looks for function over form, valuing an object for its meaning over appearance. However, this trend only appears applicable to the higher-classes. Grayson Perry discovered that many people with a working-class background live by a more postmodern ideal of ‘less is a bore’. Grayson Perry asked a hairdresser to comment on the women of Sunderland’s preferences in relation to their appearance.

When we apply this idea to branded clothing representing an individual’s economic capital, we begin to understand why it is frowned upon to cover one’s self in designer logos. Since the economic downturn in the late 2000s the fear of appearing immodest has been amplified which has affected how people display their wealth.

‘I think a lot of the northern girls tend to follow a trend. They take the idea to the extreme and then make it their own. If they’re going to have a tan, they’ll have a [dark] tan. If they’re going to have false breasts, they’re having [huge] false breasts. So it’s always taken to the extreme.’ (Perry, 2012, All in The Best Possible Taste: Episode 1 [TV Program] 24:10)

‘Upper class consumers have become intrinsically less drawn to overt status symbols’ due to a reluctance to stand out during the economic downturn of the late 2000s.’ (Wilson, 2015: 4) The middle-upper class no longer desire branded logos, instead they look for discreet branding.

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Fig. 8 Screenshot from All in The Best Possible Taste [2012] via Channel 4

Fig. 9 Screenshot from All in The Best Possible Taste [2012] via Channel 4

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The opposing ideals of ‘less is more’ verses ‘less is a bore’ are reinforced by Bourdieu’s theory discussed earlier. A lack of cultural capital leads to ‘primary meanings’, such as logos, being appreciated as opposed to an object’s ‘secondary meanings’, such as quality and authenticity.

tial clothing that celebrates their functional qualities. In turn changing consumer habits to support slow fashion in an attempt to make the fashion industry more sustainable. Although luxury will never be essential we have seen luxury brands such as Burberry refocusing on craftsmanship and quality.

In a study about luxury branding they explained;

‘Trash is always abundantly decorated: the luxury object is well made, neat and clean, pure and healthy, and its bareness reveals the quality of its manufacture (Le Corbusier [1925] in Woodham, 1997: 33)

‘Very loud brands signals no longer sell, instead a ‘quieter presence’ which emphasises the artisans behind its products, its tasteful stores and its high-quality customer service is flourishing.’ (Wilson et al, 2015)

The term ‘luxury’ is an ever-changing concept which luxury brands must stay connected with. Traditionally ‘luxury production represents an investment in time […] making luxury is not concerned with practical solutions but with extraordinary, non-essential and exclusive’ (V&A, 2015: Online) Despite the return to a ‘less is more’ aesthetic, luxury is fundamentally not essential. In contrast, the fashion brand I am creating for my graduate collection is focused on designing essential, functional clothing which has been designed specifically to stand the test of time. My brand and clothing shares some qualities with luxury for example the craftsmanship and bareness that ‘reveals the quality of its manufacture’ (Le Corbusier [1925] in Woodham, 1997: 330) However, in another sense it is the paradox of luxury, creating essential clothing that avoids excess. I believe the same level of beauty can be found in essential items as it can in luxury goods.

Burberry’s customer desires craftsmanship, authenticity and discreetness as opposed to the famous Nova Check and brash branding. ‘We see inconspicuous as an overreaching global trend going forward. Luxury is becoming more personal than social’. (Wilson, 2015: 4) Burberry have focused on making what they post on social media personal to the viewer. For example, handwritten notes with a personal message from Christopher Bailey and monograming clothing.

These personal touches have replaced the chauvinistic Nova Check in an attempt to add deeper meaning to the brand. However, using a form of marketing which is available to such a vast demographic seems an illogical method when trying to regain exclusivity.

‘In luxury, ubiquity is the death knell: luxury is exclusive or it isn’t luxury at all’ (Ostler, 2014: online) This statement is true and was proven in the Chav Crisis.

‘Nothing is more distinctive, more distinguished However, for goods to be classed as luxury must apthan the capacity to confer aesthetic status on peal to the masses but only be attainable to the few. objects that are banal or even ‘common’ or the ability to apply the principles of a ‘pure’ aesthet‘Rarity is not a sufficient condition of a good ic to the most everyday choices of everyday life being luxury […] what is required is not e.g., in cooking, clothing’ (Bourdieu, 1984: 5) that the good in question is of limited supply but that many desire it’ (Berry, 1994: 32) My responsibility as a designer is to create essen-

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12 Fig. 10 Detail of Heritage Trench Coat [2016) by Burberry

Fig. 11 Screenshot of Burberry’s Heritage Gabardine Fabric [2016] by Burberry

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Acknowledging how Burberry has used digital marketing whilst retaining exclusivity is key to understanding their success. Firstly, Burberry reduced the number of entry level goods such as the Burberry caps and the use of the Nova Check. Instead re-directing their focus towards outerwear, which is at the very centre of their brand’s heritage. Their trench coat is famous for its unique waterproof fabric and its importance in British fashion history (in relation to being worn in the trenches by the soldiers in World War One). These qualities are what Bourdieu refers to as ‘secondary meanings’ which are appreciated by those with greater cultural capital, usually signifying a mid-

dle-upper class background. Consequently, Burberry are able to regain exclusivity by marketing products which their specific target customer appreciates.

In the process of making luxury more accessible we must consider whether Burberry have lost what makes luxury special: quality, craftsmanship and a personal service. Personal touches such as handwritten notes appearing on their social media are an effort to digitally recreate the traditional luxury world. Questionably, are these gestures empty marketing tools created to generate more capital by hoodwinking the customer to believe it is an authentic luxury brand.

Fig. 12 Screenshots of handwritten notes on Burberry’s Instagram page [2016] by Burberry

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Christian Louboutin is a luxury shoe designer. In contrast to Burberry he has no advertisements and no marketing department. (Thomas, 2007: 327) It could be said that Louboutin believes in the traditional meaning of luxury.

‘Luxury is the possibility to stay close to your customers, and do things that you know they will love. It’s about subtly and details. It’s about service […] Luxury is not consumerism. It is educating the eyes to see that special quality.’ (Louboutin in Thomas, 2007: 327) This runs true with the original meaning of luxury however luxury brands must also appear aspirational to the masses. We live in an era where people aim to better themselves and aspire to live a better lifestyle. Often this is seen attainable through purchasing luxury goods.

‘Advertising aimed at making us feel inadequate until we have spent even more money buying into a lifestyle peddled by the editorial pages of newspapers and magazines.’ (McDowell, 1994: 3-4) In Burberry’s case digital marketing.

This is true for today’s younger consumer who aspires to live a more luxurious lifestyle from a younger age.

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16 Fig. 13 Louboutin Advert [2017] by Louboutin

Fig. 14 Inage from Art of the Trench [2016] by Burberry

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‘Both men and women in [sic] have put off getting married until later in life, freeing them to spend more on themselves. The average consumer is also far more educated and well travelled than a generation ago and has developed a taste for finer things in life.’ (Thomas, 2007: 8) The younger generations have been exposed to a wider range of experiences due to travel and higher education being more accessible. Burberry have had to adapt to this change by making the younger customer the focus of their marketing campaigns. Previously luxury brands identified their customer as ‘upper-income women between thirty and fifty years old.’ (Thomas, 2007: 4) This is a notable change in the world of luxury and the decision to use digital marketing feeds directly into this as it is a platform millennials use daily.

‘Technology is an intrinsic part of most people’s lives.

All we’ve done is make sure to weave technology into the fabric of the company. This is how customers live, they wake up with a device in their hand and life begins.’ (Bailey [2006] in Swire, 2014: Online Blog) Burberry’s first digital campaign was Art of the Trench which focused on Ahrendts’ and Bailey’s three aims to focus on outerwear, digital and targeting a younger customer. Art of the Trench is a page within Burberry’s website that allows their customer to upload an image of them in the heritage trench coat. The images have then been curated by The Sartorialist, who has created a montage which exudes luxury, glamour and lifestyle.

‘Designed as a stand alone social media platform, instead of being hosted on an existing platform, meaning Burberry had control over the aesthetic of their site rather than being confined to a particular format’ (Deering, 2009 approx: Online) When amidst the Chav Crisis Burberry lost control over who was wearing their clothing and how it appeared on social media. To transform the image of Burberry the brand needed to regain control and use the digital platform to their advantage. This was achieved through Art of the Trench; every image was carefully filtered to have a balance of core brand qualities but also the authenticity of a ‘real’ consumer.

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Fig. 15 Image from Art of the Trench [2016] by Burberry

Fig. 16 Screenshot of Art of the Trench page [2016] by Burberry

ART OF TH

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HE TRENCH

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Fig. 17 Burberry manufacturer using chalk [2016] by Burberry

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Thomas Burberry

A large majority of Burberry’s marketing campaigns keting campaigns to understand how they’ve utiare based on their heritage and Britishness. Firstly, we lised their heritage as a successful marketing tool. will discuss the return to their heritage in order to redefine what is at the core of their brand identity. Earlier, ‘National identity may be conceived, therefore, we discussed how Bourdieu’s theory reveals how one’s as a confection of selective memories, generation taste and class are linked. A similar link between class traditions and rituals in order to reinforce ideas of and heritage has been discussed by Smith through the permanence and longevity and also supplying […] application of Billig’s ideas from Banal Nationalism. a collection of codified emblems through which to foster national belonging and a sense of iden‘Specific communities also use the same symtification.’ (Anderson in Goodrum, 2005: 62) bolic elements to define and constitute who they are – and who they are not – and to ad- Burberry has been established for over 160 years here to particular sets of group values and and use their heritage to appear as an establishhabits.’ (Billig [1995] in Smith, 2016: 48) ment within the fashion industry. This permanence creates trust and loyalty between the consumer Burberry select elements of their heritage that and brand. Heritage is particularly valued in a time their target customers social background will allow when some feel a loss of national identity and politthem to relate to. This allows the brand to differen- ical uncertainty, as it provides a sense of security. tiate themselves from the Chav Crisis by defining ‘who they are not’. (ibid) These elements focus on ‘As modernization erodes customs and expecthe ‘secondary meanings’ (Bourdieu, 1984) such tations, Brett argues, individuals and commuas ‘tradition, durability and earnest values’ (Billig nities are forced to re-articulate and recov[1995] in Goodrum, 2005: 62), instead of the Nova er a sense of the past to affirm or renegotiate Check. Alison Goodrum’s ideas on heritage and a sense of habitus’ (Brett in Smith, 2016: 48) Britishness can be applied to Burberry’s digital marFig. 18 Close up details of manufacturing [2016] by Burberry

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‘[Heritage is] often largely defined through, cultural iconography or by representations of legends and landscapes, by stories of golden ages, enduring traditions, heroic deeds and dramatic destinies located in ancient or promised home lands with hallowed sites and scenery.’ (Daniels [1993] in Goodrum, 2005: 60) ‘The Tale of Thomas Burberry’ is a short film that tells the story of how Burberry began and portrays Burberry as a heroic brand through iconic events in British history. The films subliminal message could be read as the brand enabling the soldiers to fight in the war and Shackleton to venture to the South Pole. These achievements evoke feelings of pride, Britishness and bravery amongst many British people. These feelings transfer to the Burberry clothing and the customer feels as if they are buying a piece of history.

‘They are continually delving into the past for convenient emblems to suit their corporate objectives, often using commodified notions of nationness to evoke these same sentiments of tradition, durability and earnest values in their own products. ‘Certainly patriotic themes provide the value-added selling points for many a product’s marketing campaigns,’ (Billig [1995] in Goodrum, 2005: 62)

Fig. 19 Stills from The Tale of Thomas Burberry video [2016] by Burberry

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Fig. 20 Still from The Tale of Thomas Burberry video [2016] by Burberry

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Fig. 21 Still from The Tale of Thomas Burberry video [2016] by Burberry

Britishness is a theme which appeals to the inter- ‘commodified set of national values that are infused national market and with the majority of Burb- with idealized concept of Britishness.’ (ibid: 96) erry’s income coming from outside of the UK the ‘British roots are incredibly important to this ‘‘Brit chic’: a collection (including Burberry, Daks brand’. (Bailey [2015] in Armstrong, 2015: online) and Aquascutum) of luxury British fashion and accessory companies that have replaced their conserv‘Along with export of British clothing and fashative identities with more youthful images and ceion, we see an accompanying export of Britlebrity-endorsed products.’ (Goodrum, 2005: 71) ish signs, symbols and characteristics, all of which feed and fuel a geographical imagination Celebrities play an important role within Burberry’s in which Britishness is inextricably linked to digital marketing campaigns. Using celebrities from a golden age of empire. (Goodrum, 2005: 97) a variety of different professions allows the brand to captivate a more diverse audience. Celebrating BritBurberry successfully uses iconic British symbols as a ish celebrities in particular adds to the Britishness of marketing tool. Their ‘London in Los Angeles’ fash- the brand and helps to create a cohesive brand image. ion show was a British spectacle featuring the First This is where we can first apply the idea of para-soBattalion Grenadier Guards, the London skyline, cial relationships, the one-way relationship between the rainy weather and a sea of Union Flags. These a television star and viewer. (Horton and Wohl, 1956) clichéd emblems were heightened by the appearance Although the theory is applied to television stars, I beof British celebrities. However, this quintessentially lieve it can be applied to viewers following celebrities British show ‘totally ignores alternative British tra- on social media and other digital platforms. Many of ditions to do with non-conformism, eccentricity and the para-social relationships between the celebrities anti-establishment sentiments.’ (Goodrum, 2005: Burberry use and their fans have already been formed 17) Burberry use parts of their heritage and Brit- through their own endeavours. Therefore, the ‘love’ for ishness that emit positive aspects of our culture. A the celebrities can then be passed onto the brand itself.

Fig. 22 London in Los Angeles catwalk show [2015] by Burberry

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Fig. 23 James Corden and Christopher Bailey at the London in Los Angeles catwalk show [2015] by Burberry

Fig. 24 First Battalion Grenadier Guards in London in Los Angeles show [2015] by Burberry

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Celebratin of Billy Fig. 25 Behind the Scenes shot of Romeo Beckham staring in Celebrating 15 Years of Billy Elliot [2015] by Burberry

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ng 15 Years y Elliot Fig. 26 Rosie Huntington-Whiteley and James Bay in Festive Campaign [2015] by Burberry

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‘New ‘takes’ on quintessential British brands have met with favourable results. Stalwarts of traditional British style such as Aquascutum, Margaret Howell, Mulberry and Burberry have all become innovators of fresh approaches to an otherwise dated national look stereotypically personified by the country squire and associated with a golden age of empire.’ (Goodrum, 2005: 20)

Fig. 27 Brooklyn Beckham shooting This is Brit campaign [2016] by Burberry

Burberry’s 2015 Christmas campaign celebrated 15 years of Billy Elliot. The brand recreated the iconic opening scene of Billy Elliot with both old and new British faces including; Dame Judi Dench and James Corden. This festive film focused on a more modern Britain compared to that seen in ‘The Tale of Thomas Burberry’ which revitalised the brand.

The brand captures the process of creating a campaign as extra material for their digital platform. Both Mario Testino’s and Brooklyn Beckham’s photoshoots were streamed live via snapchat and stills featured on social media. For Beckham’s campaign, #thisisbrit, he took over Burberry’s Instagram page for the day of the shoot, sharing photos of the cameras he was using, the set etc. This allowed the viewer to feel as if they had unlimited access to all aspects of the brand which makes the relationship between the viewer and brand deeper.

Combining heritage, celebrity and technology to promote their brand through digital marketing sets Burberry apart from their competitors.

Fig. 28 Mario Testino shooting for Burberry on Snapchat [2015] by Burberry Fig. 29 This is Brit campaign [2016] by Burberry

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#thisisbrit 32

Fig. 30 This is Brit campaign logo [2016] by Burberry

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Fig. 31 Screenshot of Burberry’s Instagram page [2016] by Burberry

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‘In a world which is changing more rapidly than ever Craftsmen nods to both the design heritage before, at both local and global level, it’s perhaps that is so integral to Burberry and to some unsurprising that we attach a deeper level of value of Britain’s most exciting creators and their to that which appears authentic. With its historical work.’ (Bailey in Burberry 2016: Online) roots and meaningful longevity, the authentic offers a comforting stability lacking in the many novelties, This spectacle of craftsmanship initially seemed frivolities and choices which appear before us daily heart warming to me, as if Burberry were returning in contemporary life’ (Wright, 2016: Presentation) to a time where objects had more meaning. However, the key thoughts of theorist Jean Baudrillard have Authenticity sells for similar reasons to heritage and led me to contradict this initial feeling. ‘In BaudrilBritishness. In post-modern fashion there has been a lard’s vocabulary, the transition from ‘products’ to lack of meaning and depth amongst objects and cloth- ‘objects’ is a process transforming use and value into ing which has left us ‘yearning for the age of crafts- exchange value’ (Baudrillard in Rocamora and Smemanship, authenticity and simplicity.’ (Rocamora and lik, 2016: 221). Objects have changed from purely Smelik, 2016: 226) Burberry frequently use crafts- fulfilling a function to having a symbolic or emomanship and artisans as part of their digital marketing. tional value. Although the items available at Makers House are authentic they are by no means essential ‘All exclusive and original products and ser- and it is the romantic idea of having something that vices, possess what the Japanese call miryo- is handmade for us that we are buying into. Here we kuteki hinshitsu, quality that fascinates, rath- can remind ourselves of Veblen’s idea of conspicuous er than simply atarimae hinshitsu, quality that consumption as he also discussed our buying habis expected’ (Lewis and Bridger, 2001: 11) its of buying for pleasure rather than for necessity.

Burberry’s September 2016 show saw the brand partner up with The New Craftsman who curated ‘designers and creators who are dedicated to producing the best of British culture, artefacts and craft methods.’

(Burberry: Makers House, 2016: online) There was a particular focus on the handmade. Rachel Scott created one-off patchwork cushions from remnants of fabric from Burberry’s collection. Other crafts present were bookbinding, calligraphy, saddlers and silversmith to name a few. This exhibition ran alongside the ‘Tale of Thomas Burberry’, both of which have ‘recycled heritage’ and ‘re-invented myths of origin’ (Rocamora and Smelik, 2016: 228) in an attempt to market themselves as an authentic, British, heritage brand.

I’ve previously discussed that for my graduate collection I am designing essential, functional clothing.

I want to reverse the transition of ‘products’ to ‘objects’ that Baudrillard describes. (Baudrillard in Rocamora and Smelik, 2016: 221) Instead focusing on function over form. Authenticity is valued by today’s consumer and it is important that it is at the centre of my brand’s identity. In David Boyle’s book, Authenticity, he has outlined ten aspects of authenticity that are sort after in today’s society. Boyle himself says ‘it would be difficult to buy a product that displayed all of these’ elements at once (Boyle, 2003: 15) however there are several which are fundamental to my design process and brand. These being; simple, honest, sustainable and beautiful (ibid: 16-19). I want to return to the time when clothing was created ‘Our exciting collaboration with The New to fulfil a function not simply for its aesthetic quality.

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Fig. 32 Makers House Exhibition [2016] by Burberry

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This is where heritage and authenticity don’t follow suit. A Burberry trench coat was designed specifically to fulfil the needs of the soldiers in the trenches. However why do we still buy the same trench coat with the same features, when these are no longer functions that are applicable to our daily life. ‘Fashion is a playful spectacle, a carnival of appearances. It empties signs of their traditional meaning.’ (Rocamora and Smelik, 2016: 222)

Burberry’s Spring/Summer 2014 show we saw an array of metallic trench coats gracing the catwalk.

The coats are so far removed from their heroic beginnings that all original meaning has been removed and used purely for its aesthetic qualities.

‘Baudrillard sees signification as being totally annulled and being replaced by simulation with historical references emptied of all their meanings’ (Rocamora and Smelik, 2016: 230) This could be said to be true for all their marketing campaigns. The Burberry have focussed on selling its heritage how- digital world, in itself, is seen as one of the least auever in the process have emptied much it of its orig- thentic places, due to the platform being available inal meaning to create an impressive spectacle. In to the masses and removed of all human emotion.

Fig. 33 Soldier wearing Trench Coat [1941] by Burberry

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Fig. 34 Spring/Summer 2013 show [2012] by Burberry

Fig. 35 Screenshots from Burberry’s Introducing The Burberry Scarf Bar video [2015] by Burberry

Burberry present digital material using old fashioned aesthetics such as polaroid pictures or film with the sounds effects of an old camera. This combination of old fashioned mediums with new technology fits in with Burberry’s heritage whilst modernising the brand. However, Baudrillard may argue that this is more hyperreal than authentic.

‘Seduction derives pleasure from excess. It is a sumptuary and useless consumption of surplus, as for example displayed by celebrities. The heroes of production, such as the factory, self-made men, entrepreneurs, pioneers and explorers have been replaced by idols of consumption, such as movie stars, sports heroes, royals and celebrities.’

(Baudrillard in Rocamora and Smelik, 2016: 224) Although Burberry have attempted to celebrate craftsmanship, for example at the Makers House exhibition, these are not the true factory workers that produce the Burberry clothing. The Burberry Scarf Bar shows the process of the monogrammed Burberry scarves from start to finish. The experience feels exclusive and luxurious as it shows the handmade process and uses romantic language such as; ‘washed in the fresh Scottish waters’, ‘brushed by natural teasels’ and ‘finished by hand […] monogrammed for you’ to make it feel personal. However, despite the video being all about the handmade and craftsmanship we only see the hands of the craftsmen.

This makes it feel like the workers are not important and that the celebrities are the true stars of Burberry, and are celebrated throughout the campaigns.

Fig. 36 Monogramed Burberry Scarf [2015] by Burberry

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Fig. 37 Screenshots from Burberry’s Instagram page [2016] by Burberry

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Fig. 38 Screenshots from Burberry’s Instagram page [2016] by Burberry

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Burberry With Love

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Fig. 39 Burberry Kisses campaign in collaboration with Google [2015] by Burberry and Google

I have mentioned how Burberry have used digital marketing throughout, however, now I want to focus specifically on why the digital platform has been so successful in transforming their brand.

Burberry’s new make-up range, as well as an attempt to engage with the younger generation. The concept behind Burberry Kisses is; you kiss your electronic device and it creates a ‘fingerprint’ of your lips, like you’ve kissed a piece of paper whilst wearing lipstick. Then you write a personal message to a loved one which is written out onscreen onto a traditional letter and is sealed with your personal kiss. This can then be sent to anyone, anywhere in the world.

‘The interactive nature of social media platforms […] has ultimately changed consumers’ relationships with brands in these environments, even allowing them to become active players in the creation of brand stories’ (Gensler et al [2013] in Labrecque, 2014: 135)

‘Burberry wanted to immerse millennials in the rich heritage […] by using technology to reach them on an emotional level. Our challenge was to bring the romance of Burberry into the digital space in order to spark a connection with a new generation.’ (Ungvarsky, 2015: Online Video)

The digital platform has allowed Burberry to be extremely creative with the creation of their brand’s story whilst sharing it with the masses with ease.

However, not without overcoming some big issues with using this medium. Technology is often seen as a particularly impersonal way to interact with The use of an individual’s kiss made the experience someone, which is absent of any type of emotion. more personal and emotional, as well as introducing romance, allowing the customer to connect with the ‘Burberry is this 150 year old brand that’s got brand on a new level. Interactivity made this more heritage beyond heritage. If millennials could appealing to a younger, more tech-savvy generation, just see how Burberry can introduce emotion and encouraged them to gain interest in the brand. into their technology, they would fall in love with the brand’ (Ungvarsky, 2015: Online Video) ‘The challenge is introducing something somebody doesn’t expect to be able to get online, like Drew Ungvarsky was the Creative Director on a collove, like romance, whatever that is you just don’t laborative project between Google and Burberry expect out of technology, I think that’s when people named Burberry Kisses. It was created to promote pay attention.’ (Ungvarsky, 2015: Online Video)

Fig. 40 Screenshot of Burberry Kisses website [2015] by Burberry

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Introducing emotions such as love and romance into their digital marketing has allowed Burberry to build a para-social relationship between their brand and the consumer. Previously we discussed the para-social relationship between the celebrities Burberry use in their campaigns and their consumer. Para-social relationships were first explored by Horton and Wohl in relation to the relationship between a persona on television and the viewer. They explained: ‘The interaction characteristically is one-sided, nondialectal controlled by the performer, and not susceptible of mutual development.’ (Horton and Wohl, 1956: 215) The same concept is still applicable today, however, there is a new application of the term para-social relationship that is relevant to my study and must be considered.

from the show. ‘In time the devotee, the fan, comes to believe that he ‘knows’ the persona more intimately and profoundly than others do; that he ‘understands’ his character and appreciates his values.’ (Horton and Wohl, 1956: 217) By being exposed to behind the scenes footage of photoshoots, catwalks and manufacturing of garments the consumer begins to feel as if they know the ‘private life’ of Burberry, creating a deeper relationship between the brand and consumer. Those who devote the most time to following the brand, showing an ‘intensification of loyalty’ (ibid) are rewarded by seeing extra behind the scenes footage which is only available for a very small window of time on platforms such as Snapchat and Instagram Stories. In Ballantine and Martin they discuss how as a para-social ‘relationship intensifies’ the viewing of the celebrity, or in our case Burberry’s social media, may increase until it becomes almost ‘ritualistic in nature’ and a ‘part of the viewer’s daily life.’ (Ballantine and Martin, 2005) This could be applied to the Burberry followers, we quoted earlier Bailey saying:

‘PSI [para-social interaction] might be cultivated through the design and presentation of information, such that it does not depend on the presence of a literal meditated personality such as a newscaster or actor (Hoerner [1999] in Labrecque, 2014: 135) Burberry have a house style which is cohesive throughout their designs, stores and all social media sites. This creates a personality that people become used to and grow to have an emotional attachment to, much like a physical celebrity. Horton and Wohl explain that the viewer shares the public life of the persona as well as aspects of their private life away

‘Technology is an intrinsic part of most people’s lives. All we’ve done is make sure to weave technology into the fabric of the company. This is how customers live, they wake up with a device in their hand and life begins’.

(Bailey [2006] in Swire 2014: Online Blog)

Fig. 41 Burberry Craftsman with roll of Nova Check fabric [2016] by Burberry

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Fig. 42 Christopher Bailey and Mario Testino on photoshoot [2015] by Burberry

46 Fig. 43 Christopher Bailey backstage of the Spring/Summer 2016 show [2015] by Burberry

Fig. 44 ‘Made for You’ Screenshot from Burberry Instagram [2016] by Burberry

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Checking social media has become a daily routine for many and Burberry have responded by uploading new material every day. ‘Each day we pass through multiple realities – we phase in and out, back and forth, between the actual world and imaginary realms’ (Caughey [1984] in Langness, 1987: 143) The digital world that Burberry have created is easily accessible and instantly transports us to another world, a world of luxury, lifestyle and aspiration.

is speaking directly to them. ‘Uses the mode of direct address, talks as if he were conversing personally and privately.’ (Horton and Wohl, 1956: 215) Burberry have replicated this digitally through the use of direct language such as ‘made for you’ and ‘hope you enjoy the show’ within messages to their customer.

When celebrating reaching one million twitter supporters, Burberry sent a personalised message saying #thanksamillion directly to everyone who congratulated them on reaching the milestone. Another technique uses film to capture personal gestures, such as whispering into the camera, a wink or pointing down the lens to ‘duplicate the gestures, conversational style and milieu of an informal face-to-face gathering’. (ibid:217)

‘As they decisively move towards automated engagement options (Owyang, 2012) it becomes essential to understand the ways in which marketers can preserve the intimate human relationship qualities offered by social media platforms while meeting consumer response expectations amidst the escalating volume of interactions.’ (Labrecque, 2014: 135)

‘An important role of marketing re-search is to understand the decision-making influences of particular consumers and consumer groups, online communities provide another opportunity for marketers to study the tastes, desires, and needs of those consumers who interact in such forums. (Ballantine and Martin, 2005: 197)

Despite para-social relationships characteristically being one-way, the strongest relationships are formed when the viewer feels as if the television star

Fig. 45 Personalised hand written note to Twitter fans [2015] by Burberry

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50 Fig. 46 Aerial view of Burberry’s Spring/Summer 2016 show [2015] by Burberry

Digital marketing is an effective way for Burberry to gain crucial information about their customer. This is vital to Burberry especially in this period when they’re re-establishing their target customer where we have learnt one’s taste and desire are essential. The importance of online communities to a brand was first discussed by Armstrong and Hagel (1996) who stated ‘online communities provide an opportunity for organizations to build new and deeper relationships with customers’ (Ballantine and Martin, 2005: 197). I believe this to be particularly true in the case of Burberry.

They appear to understand their customer in a much deeper way which has enabled them to tailor their social media sites to appeal specifically to this audience.

Burberry’s online presence has had a huge impact on their business model which they’ve had to change as a direct result of the success technology has brought.

‘Technology has changed everything. Customers are living in the here and now, but we as an industry are working with a business model that is 40-50 years old. You cannot hold a custom-

er’s attention for six months. They are following every move in fashion, which means that by the time a collection arrives in store they are over it.’ (Bailey [2016] in Conti, 2016: online) Due to the nature of digital marketing, everything is immediately available to a global audience. Technology has increased our pace of life and we expect to have all information available to us at the click of a finger. However, despite this the fashion industry, until 2016, have promoted their collections six months ahead of their release date.

‘You can’t talk to a customer and say, ‘we’re really excited, we’re going to stimulate you and inspire you, but you can’t touch it or feel it for another six months.’ In fashion we talk about a ‘moment’, and what feels right for the moment. And I’ve always battled with that because the moment is when you’re showing it, but then you’ve got to kind of say is it the right moment five or six months down the line?’ (Bailey [2016] in Conti, 2016: online)

Fig. 47 Live Stream of Spring/Summer 2013 in the Burberry store, Regent Street [2012] by Burberry

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Fig. 48 Note from Christopher Bailey [2015] by Burberry

In response to this issue, Bailey was the first to announce that the collections shown on the catwalk would be immediately available to the Burberry customer.

As Bailey discusses, as a brand they create a ‘moment’ surrounding the new collection and catwalk show but previously the customer hasn’t been able to physically buy it for another six months, by this time they’ve moved on to the next new big thing. There is a disconnect between the fashion industry and consumer and this void has been caused by the digital world. Already, other brands such as Tom Ford, Tommy Hilfiger and Ralph Lauren have followed suit and we have to ask is this the future of how the fashion industry will work?

It is putting the consumer at the forefront of Burberry’s strategy, which is crucial in the success of the brand.

They are responding directly to the changing culture of how consumers use technology to experience fashion and access the brand’s content. Technology has made communicating with an international market simpler.

This is a positive as one digital campaign can reach a large demographic of people. However, it comes with its own problems; ‘We’re a global company.

When we stream that show, we’re not just streaming it to people who live in spring/summer climates’ (Bailey [2016] in Conti, 2016: online). For this reason, Bailey’s design team are now creating seasonless collections. It is interesting that Burberry used digital marketing to rebrand themselves, however, this success has now meant Burberry have to respond to the issues that come with an online world. It is the digital world that is shaping the fashion industry, showing how they must prioritise it within their strategy.

This research into para-social relationships and how Burberry have used digital marketing has been of particular importance in relation to my own studio work. For my final project, it has highlighted the importance of the consumer and how research into what they want is essential. This is part of the reason Bailey has been so successful and continues to be so. We saw evidence of this in his latest move to make his shows customer focused. When creating my brand I need to keep in mind who it is I am designing for, what they want and how they want that to be delivered to them.

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Fig. 49 Campaign images from This is Brit [2016] by Burberry

Fig. 50 Image from Art of the Trench [2016] by Burberry

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Christopher Bailey has transformed the image of Burberry by purifying their brand message and sharing their luxury vision by utilising digital marketing.

Post-Chav Crisis, regaining exclusivity was their first challenge. To do this Burberry needed to understand what their desired customers required from the brand.

As I begin to build my own brand for my graduate collection this is an important lesson for me. It is important to recognise how a customer is constantly developing as a result of changes in our social and economic environment. For a brand to succeed it must change over time with its customer. As the digital world closes the gap between brand and consumer, Burberry must continue to pay attention to what their customer wants, and respond quickly due to the ever-increasing pace of digital life. The development of a digital relationship between Burberry and their customer has ultimately led to the birth of a para-social relationship, allowing a deeper and more loyal connection between the two. Although Burberry use celebrities to help form a para-social relationship, what is most interesting to me is that a similar relationship can be formed by the way a brand displays its online content.

Conclusion

Hoerner’s idea is important in creating my own brand as it is apparent that I will not be able to feature celebrities in my digital marketing. However, through the use of personal language and gestures, as well as creating a cohesive aesthetic across all digital platforms, there is the possibility to build a para-social relationship with my target customer. Rebuilding a clear brand identity by returning to Burberry’s heritage has been a successful strategy for the brand in regaining their luxury reputation. It has allowed them to focus on the brands deeper values instead of their famous Nova Check aesthetic, which gained them such a disastrous reputation. Bourdieu was a key figure in understanding the importance of ‘secondary meanings’ to the middle-upper class consumer. Focusing on heritage allowed the brand to celebrate their Britishness, craftsmanship and quality, which the Burberry customer values greatly. The heritage brand has traditional values, however, it is how they have overcome the paradox between tradition and technology that has made them pioneers ‘PSI [para-social interaction] might be cultivated within the fashion industry. They have succeeded through the design and presentation of informa- at making the impersonal world, personal, although tion, such that it does not depend on the presence of how authentic their material is, is questionable. a literal meditated personality such as a newscaster or actor [Hoerner [1999] in Labrecque, 2014: 135)

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Burberry’s digital successes has revitalised the brand and attracted a younger customer. A demographic who, due to having growing aspirations, have become more important within the luxury industry, and whom I must consider including within my target market. However, Burberry’s success online has had a direct impact on their business model. In order to make both the virtual and physical worlds work together, Burberry have had to change a business model that has stood for over fifty years within the fashion industry. They’ve made the transition to a ‘see-now, buy-now’ model allowing the customer to buy what they see on the catwalk instantly. This reinforces how the digital world has increased our pace of life with consumers expecting everything to be available at their fingertips. Although I agree with the move to make shows in line with what is in the stores, it concerns me that it encourages fast fashion.

Burberry’s strategy creates excitement surround-

ing their show in an attempt to draw their customer into buying a piece of the ‘moment’. However, these purchases may often be impulse buys and replaced six months later. Through my brand I want to encourage consumers to buy only what is essential and design clothes that are aimed to last. Vivienne Westwood also supports a return to slow fashion in attempt to make the fashion industry more sustainable.

‘What I want people to be able to do is buy well, by first choosing well and then making it last.

And I also believe that if everyone wore just a few beautiful things, there would not be such a climate change problem.’ (Westwood, 2014: Online) My challenge as a designer is to use what I have learnt from Burberry’s digital success and consider how I can utilise digital marketing to prompt a change in consumer habits to encourage people to buy better, but buy less.

Word Count: 6,166

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58 Fig. 51 Campaign image from Spring/Summer 2015 [2015] by Burberry

List of Citations Thomas, 2007: 261-262 Ahrendts [2006] in Swire, 2014: Online Blog Horton and Wohl, 1956: 215 Thomas, 2007: 261-262 OED, 2017: online Thomas, 2007: 6 Bourdieu,1984 Bourdieu, 1984: 2 Bourdieu, 1984: 2 Veblen, 1994: 50 Veblen, 1994: 53 Bourdieu, 1984: 5 Perry, 2012, All in The Best Possible Taste: Episdoe 1 [TV Program] 15:27 Trachtman, 1999 Lloyd [1997] in Trachtman, 1999: 279\ Wilson, 2015: 4 Perry, 2012, All in The Best Possible Taste: Episode 2 [TV Program] 9:53 Perry, 2012, All in The Best Possible Taste: Episode 1 [TV Program] 24:10 Le Corbusier [1925] in Woodham, 1997: 33 V&A, 2015: Online Le Corbusier [1925] in Woodham, 1997: 330 Bourdieu, 1984: 5 Wilson et al, 2015 Wilson, 2015: 4 Berry, 1994: 32 Thomas, 2007: 327 McDowell, 1994: 3-4 Thomas, 2007: 8 Thomas, 2007: 4 Bailey [2006] in Swire, 2014: Online Blog Deering, 2009 approx: Online Billig [1995] in Smith, 2016: 48 Bourdieu, 1984 Billig [1995] in Goodrum, 2005: 62 Anderson in Goodrum, 2005: 62 Brett in Smith, 2016: 48 Daniels [1993] in Goodrum, 2005: 60 Billig [1995] in Goodrum, 2005: 62 Bailey [2015] in Armstrong, 2015: online

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Goodrum, 2005: 97 Goodrum, 2005: 17 Goodrum, 2005: 71 Goodrum, 2005: 20 Wright, 2016: Presentation Rocamora and Smelik, 2016: 226 Lewis and Bridger, 2001: 11 Burberry: Makers House, 2016: online Rocamora and Smelik, 2016: 228 Bailey in Burberry 2016: Online Baudrillard in Rocamora and Smelik, 2016: 221 Baudrillard in Rocamora and Smelik, 2016: 221 Boyle, 2003: 15 Rocamora and Smelik, 2016: 222 Rocamora and Smelik, 2016: 230 Baudrillard in Rocamora and Smelik, 2016: 224 Gensler et al [2013] in Labrecque, 2014: 135 Ungvarsky, 2015: Online Video Ungvarsky, 2015: Online Video Ungvarsky, 2015: Online Video Horton and Wohl, 1956: 215 Hoerner [1999] in Labrecque, 2014: 135 Horton and Wohl, 1956: 217 Ballantine and Martin, 2005 Bailey [2006] in Swire 2014: Online Blog Caughey [1984] in Langness, 1987: 143 Labrecque, 2014: 135 Horton and Wohl, 1956: 215 Ballantine and Martin, 2005: 197 Ballantine and Martin, 2005: 197 Bailey [2016] in Conti, 2016: online Bailey [2016] in Conti, 2016: online Bailey [2016] in Conti, 2016: online Hoerner [1999] in Labrecque, 2014: 135 Westwood, 2014: Online  

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List of Illustrations Fig. 1 Friends in Burberry/Burberry Counterfeit [2014] in Dazed Digital: Online Fig. 2 Possum Spring/Summer 2011 Campaign [2011] by Mario Testino for Burberry: Online Fig. 3 Neil Bratchpiece as ‘The Wee Man’ [2007] in TheArches via Flickr: Online Fig. 4 Nova Check [2016] by Burberry: Online Fig. 5 Daniella Westbrook in Burberry [2002] via Big Pictures Photos: Online Fig. 6 Spring/Summer 2001 Campaign [2001] by Burberry: Online Fig. 7 Spring/Summer 2001 Campaign [2001] by Burberry: Online Fig. 8 Screenshot from All in The Best Possible Taste [2012] via Channel 4: Online Fig. 9 Screenshot from All in The Best Possible Taste [2012] via Channel 4: Online Fig. 10 Detail of Heritage Trench Coat [2016) by Burberry: Online Fig. 11 Screenshot of Burberry’s Heritage Gabardine Fabric [2016] by Burberry: Online Fig. 12 Screenshots of handwritten notes on Burberry’s Instagram page [2016] by Burberry: Online via Instagram Fig. 13 Louboutin Advert [2017] by Louboutin: Online Fig. 14 Image from Art of the Trench [2016] by Burberry: Online via Art of the Trench Fig. 15 Image from Art of the Trench [2016] by Burberry: Online via Art of the Trench Fig. 16 Screenshot of Art of the Trench page [2016] by Burberry: Online via Art of the Trench Fig. 17 Burberry manufacturer using chalk [2016] by Burberry: Online Fig. 18 Close up details of manufacturing [2016] by Burberry: Online Fig. 19 Stills from The Tale of Thomas Burberry video [2016] by Burberry: Online via Instagram Fig. 20 Still from The Tale of Thomas Burberry video [2016] by Burberry: Online via Instagram Fig. 21 Still from The Tale of Thomas Burberry video [2016] by Burberry: Online via Instagram Fig. 22 London in Los Angeles catwalk show [2015] by Burberry: Online Fig. 23 James Corden and Christopher Bailey at the London in Los Angeles catwalk show [2015] by Burberry: Online Fig. 24 First Battalion Grenadier Guards in London in Los Angeles show [2015] by Burberry: Online Fig. 25 Behind the Scenes shot of Romeo Beckham staring in Celebrating 15 Years of Billy Elliot [2015] by Burberry: Online Fig. 26 Rosie Huntington-Whiteley and James Bay in Festive Campaign [2015] by Burberry: Online Fig. 27 Brooklyn Beckham shooting This is Brit campaign [2016] by Burberry: Online via Instagram Fig. 28 Mario Testino shooting for Burberry on Snapchat [2015] by Burberry: Online via Instagram Fig. 29 This is Brit campaign [2016] by Burberry: Online Fig. 30 This is Brit campaign logo [2016] by Burberry: Online Fig. 31 Screenshot of Burberry’s Instagram page [2016] by Burberry: Online via Instagram Fig. 32 Makers House Exhibition [2016] by Burberry: Online Fig. 33 Soldier wearing Trench Coat [1941] by Burberry: Online Fig. 34 Spring/Summer 2013 show [2012] by Burberry: Online Fig. 35 Screenshots from Burberry’s Introducing The Burberry Scarf Bar video [2015] by Burberry: Online via Youtube Fig. 36 Monogramed Burberry Scarf [2015] by Burberry: Online

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Fig. 37 Screenshots from Burberry’s Instagram page [2016] by Burberry: Online via Instagram Fig. 38 Screenshots from Burberry’s Instagram page [2016] by Burberry: Online via Instagram Fig. 39 Burberry Kisses campaign in collaboration with Google [2015] by Burberry and Google: Online Fig. 40 Screenshot of Burberry Kisses website [2015] by Burberry: Online Fig. 41 Burberry Craftsman with roll of Nova Check fabric [2016] by Burberry: Online via Instagram Fig. 42 Christopher Bailey and Mario Testino on photoshoot [2015] by Burberry: Online via Instagram Fig. 43 Christopher Bailey backstage of the Spring/Summer 2016 show [2015] by Burberry: Online via Instagram Fig. 44 ‘Made for You’ Screenshot from Burberry Instagram [2016] by Burberry: Online via Instagram Fig. 45 Personalised hand written note to Twitter fans [2015] by Burberry: Online via Twitter Fig. 46 Aerial view of Burberry’s Spring/Summer 2016 show [2015] by Burberry: Online Fig. 47 Live Stream of Spring/Summer 2013 in the Burberry store, Regent Street [2012] by Burberry: Online Fig. 48 Note from Christopher Bailey [2015] by Burberry: Online via Twitter Fig. 49 Campaign images from This is Brit [2016] by Burberry: Online Fig. 50 Image from Art of the Trench [2016] by Burberry: Online via Art of the Trench Fig. 51 Campaign image from Spring/Summer 2015 [2015] by Burberry: Online

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List of Videos Page 26: The Tale of Thomas Burberry, 2016 [online] by Burberry via Youtube Page 28: London to Los Angeles, 2015 [online] by Burberry via Youtube Page 29: Celebrating 15 Years of Billy Elliot, 2015 [online] by Burberry via Youtube Page 39: Introducing The Burberry Scarf Bar, 2015 [online] by Burberry via Youtube

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Online Dictionary OXFORD ENGLISH DICTIONARY, 2016, Definition of the word Chav [online dictionary] Available at: http://www.oed.com [accessed 21.01.17] Social Networking Sites BURBERRY, 2014 - Present. Burberry Profile Page [Instagram] 3 September 2014 to Present. Available at: https://www.instagram.com/burberry/ [accessed 21.01.2017] BURBERRY, 2014 – Present. Burberry Profile Page [Facebook] 3 September 2014 to Present. Available at: https://www.facebook.com/Burberry [accessed 21.01.2017] BURBERRY, 2014 – Present. Burberry Profile Page [Twitter] 3 September 2014 to Present. Available at: https://twitter.com/Burberry?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor [accessed 21.01.2017] Television All in The Best Possible Taste with Grayson Perry, 2012 [TV] Channel 4, 5 June 2012 Videos A Burberry Christmas, 2011 [online] Burberry Channel, YouTube, 15 December 2011. Available at: https:// www.youtube.com/watch?v=WzBN2uYNbAI [accessed: 05.12.16] Burberry Kisses, 2015 [online] Ungvarsky D., Walker, B., 2015 June 2015. Available at: https://www.thinkwithgoogle.com/campaigns/burberry-kisses.html [accessed: 16.02.16] Celebrating 15 Years of Billy Elliot, 2015 [online] Burberry Channel, YouTube, 3 November 2015. Available at: https://www.youtube.com/watch?v=961k-cHjMLk [accessed: 20.01.17] From London with Love, 2014 [online] Burberry Channel, YouTube, 3 November 2014. Available at: https://www.youtube.com/watch?v=ojBufhpPgMo [accessed: 05.12.16] Introducing The Burberry Scarf Bar, 2015 [online] Burberry Channel, YouTube, 1 September 2015. Available at: https://www.youtube.com/watch?v=Ro3Qe_hbrt8 [accessed: 16.02.16] The Story of ‘London in Los Angeles’ – A Burberry Celebration, 2015 [online] Burberry Channel. YouTube, 22 April 2015. Available at: https://www.youtube.com/watch?v=Ang94tyx2Uo [accessed: 05.12.16] The Tale of Thomas Burberry, 2016 [online] Burberry Channel, YouTube, 1 November 2016. Available at: https://www.youtube.com/watch?v=6D5IZtDCS5c [accessed: 20.01.17]

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Websites BURBERRY., 2016, Art of the Trench [online]. Available at: https://artofthetrench.burberry.com [accessed 20.01.17] BURBERRY., 2016, Makers House [online]. Available at: https://uk.burberry.com/london-fashion-week/ september-show/makers-house/ [accessed 07.12.16] BURBERRY., 2016, Our History [online]. Available at: https://uk.burberry.com/our-history/ [accessed: 06.12.16] COOKE, J., 2014, The brands at London Fashion Week: how Burberry leads the way on the innovation catwalk [online]. Available at: http://www.marketingmagazine.co.uk/article/1312283/brands-london-fashion-week-burberry-leads-innovation-catwalk [accessed: 18.02.16] DEERING, S., date unknown, How Burberry Uses Social Media (Case Study) [online]. Available at: http:// linkhumans.com/case-study/burberry [accessed 16.02.15] DYAKOVSKAYA, A., 2014, Burberry’s Rise to Digital Content Marketing Darling [online]. Available at: http://www.business2community.com/brandviews/newscred/burberrys-rise-digital-content-marketing-darling-0988324#qXo4qSFDZFVJE9ob.97 [accessed: 16.02.16] FASHION GONE ROGUE, 2015, The Burberry Trench Coat: History of an Iconic Staple [online]. Available at: http://www.fashiongonerogue.com/burberry-trench-coat-history/ [accessed: 18.02.16] LOUBOUTIN, 2016, Louboutin Online Shop [online]. Available at: http://eu.christianlouboutin.com/ uk_en/black-and-nude-nude-fifi [accessed 20.01.17 MATTHEWS, S., 2004, Burberry axes baseball cap due to football hooligan links [online]. Available at: http://www.brandrepublic.com/article/221863/burberry-axes-baseball-cap-due-football-hooligan-links [accessed 16.02.16] MILLER, D., 2015, Tap Into Memories, Why Nostalgia Sells [online]. Available at: http://www.cmswire. com/digital-marketing/tap-into-memories-why-nostalgia-sells/ [accessed 16.02.15] MOTH, D., 2013, How Burberry uses Facebook, Twitter, Pinterest and Google+ [online]. Available at: https://econsultancy.com/blog/62897-how-burberry-uses-facebook-twitter-pinterest-and-google/ [accessed: 17. 02. 16] KANSARA, V., 2014, Burberry Remains Digital Luxury Leader, While CÊline Trails Industry [online]. Available at: http://www.businessoffashion.com/articles/fashion-tech/burberry-remains-digital-luxury-leader-celine-trails [accessed: 16.02.16]

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KIRKHAM, J., 2015, Why Burberry’s Snapchat Testino campaign is the best piece of marketing in 2015 [online]. Available at: http://www.marketingmagazine.co.uk/article/1369558/why-burberrys-snapchat-testino-campaign-best-piece-marketing-2015 [accessed: 16.02.16] VICTORIA AND ALBERT MUSEUM, 2015, What is Luxury [online]. Available at: http://www.vam.ac.uk/ content/exhibitions/what-is-luxury/what-is-luxury-about-the-exhibition/

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