INDIVIA Portfolio

U NL E

N N V ROLI E HELE D VIE S N N ST UDE T O. 2010 0 9275 C

V

D IVI V

IN

SH

V

YO UR S

V SD16 CHD @ LEED S. C . UK N U I VER SI T Y O F LEED S

FIG 1 /// COVER

V N BR A ND

4

BR A ND OV ER V IE W

6

J U ST IFI CAT I O N

8

T HE

MI S S I O N STAT EMEN T

10

TA RG E T C O N S UMER

12

BR A ND V I S I O N

20

BR A ND N A RR AT I V E

24

B U S INE S S M O D EL

26

A P P L I CAT I O N

30

PAC K AG IN G

32

O B J EC T I V E S

3 4

V N MA RKE T IN G

V ST R AT EGY

ST R AT EGY OV ER V IE W

38

1 8 - M O N T H T IMEL INE

39

B2B

V N FA SHIO N

SHOW

42

ST R AT EGY C O N T E X T

4 4

CA MPA I G N ME S S AG E

46

T HE CA MPA I G N

4 8

T HE CA MPA I G N P L A N

52

CA MPA I G N T IMEL INE

58

C O ST E ST IM AT I O N

6 0

V G UERRILL A

V V N C A MPA I G N

62

ST R AT EGY C O N T E X T

6 4

CA MPA I G N ME S S AG E

66

T HE CA MPA I G N

68

TA RG E T C O N S UMER

7 2

T HE CA MPA I G N P L A N

74

CA MPA I G N T IMEL INE

78

C O ST E ST IM AT I O N

8 0

N N INFLUEN CER

V N MA RKET IN G

82

ST R AT EGY C O N T E X T

8 4

T HE CA MPA I G N

88

TA RG E T C O N S UMER

94

T HE CA MPA I G N P L A N

96

CA MPA I G N T IMEL INE

98

C O ST E ST IM AT I O N

V N V C O L L A B O R AT I O N

FIG 2-37 /// LEFT

36

10 0

102

ST R AT EGY C O N T E X T

10 4

T HE CA MPA I G N

10 8

TA RG E T C O N S UMER

110

T HE CA MPA I G N P L A N

112

CA MPA I G N T IMEL INE

114

C O ST E ST IM AT I O N

116

N C ON CLU S ION

11 8

REFEREN C E S

122

A P P END I C E S

127

V N 4 /// T H E B R A N D FIG 38 /// SPREAD

01 THE

BR

VN

T HE

D

V N BR A ND

///

5

6 /// T H E FIG 39 /// LEFT

V N BR A ND

VN BRAND OVERVIEW Introducing artificial intelligence into the fashion e-commerce experience, Indivia is a pioneering service and application simplifying the 'overwhelming' process of online shopping (Carreon, 2019). The revolutionary service presents users with a unique feed of curated fashion products from their favourite brands, unifying the shopping process and combining multi-brand browsing into one application. Specifically selected for suitability to the user's style, shape, size and budget, Indivia's intelligent systems provide unprecedented convenience across desktop, mobile and tablet. From the platform, users are able to browse and shop numerous different brands on one website or application and purchase products through one transaction.

The ultimate fashion search engine, Indivia is reintroducing the convenience that online shopping once gave consumers through the latest advanced technology. Reducing the overwhelming choice available, Indivia is reinstating the enjoyment and efficiency of online shopping in the fashion industry.

T HE

V N BR A ND

///

7

VN "TOO MANY CHOICES VN CAN OVERWHELM US V VN N AND CAUSE US TO NOT V V CHOOSE AT ALL. FOR VN N BUSINESS, THIS MEANS V THAT IF THEY OFFER US VN TOO MANY CHOICES, V N WE MAY NOT BUY VN N V V ANYTHING AT ALL." N V ( I Y EN G A R, 201 8 )

FIG 40 /// LEFT

V N J U S T I F I C AT I O N

V V N N “ARTIFICIAL INTELLIGENCE WOULD BE THE V V N ULTIMATE VERSION OF GOOGLE. THE ULTIMATE V N V VN SEARCH ENGINE THAT WOULD UNDERSTAND N N EVERYTHING ON THE WEB. IT WOULD VN V V VN UNDERSTAND EXACTLY WHAT YOU WANTED, VN N AND IT WOULD GIVE YOU THE RIGHT THING." V ( PAG E, 201 7 )

8

///

T HE

V N BR A ND

54%

HAVE STOPPED PURCHASING FROM A PARTICULAR SITE BECAUSE IT WAS TOO DIFFICULT TO FIND THE RIGHT PRODUCT

42%

REPORTED ABANDOING A PLANNED PURCHASE BECAUSE OF TOO MANY OPTIONS

71%

HAVE SWITCHED TO A COMPETITOR THAT PROVIDED AN EASIER PRODUCT-FINDING EXPERIENCE

35%

THINK THAT IT IS VERY OR EXTREMELY IMPORTANT FOR RETAILERS TO PROVIDE INNOVATIVE TECHNOLOGIES THAT MAKE THEIR SHOPPING JOURNEY EASIER

HUM A NI Z IN G D I G I TA L 2020 ( Z O OV U , 201 8 )

FIG 41 /// RIGHT

The current e-commerce market is bleak, a victim of

be (WAAM, 2019). The above findings from Humanizing

over-saturation causing frustration in overwhelmed

Digital 2020 establish a growing need for an intelligent

consumers. The extensive choice of brands and

solution such as Indivia to unify and simplify the online

products available, is deterring users and without

shopping process (Zoovu, 2018). Creating the hassle-

significant change fashion e-commerce will fail to be

free shopping experience consumers desperately

the convenient shopping channel it was once famed to

crave, Indivia is the ultimate fashion search engine.

T HE

V N BR A ND

///

9

10

///

FIG 42 /// LEFT

T HE

V N BR A ND

FIG 43 /// RIGHT

V N T HE FA S HI ON N E - C O MMERCE E X PERIEN CE V N V N T HRO U G H C UR AT I O N A ND V N V N P ER S O N A L I S AT I O N

N N RE VO LU T IO NI S IN G

N MI S SION

V N STAT EMEN T

V TA R G E T N CONSUMER

Having recently graduated from university, these young business women are beginning their corporate careers. Striving to impress their business superiors, they work long hours in an eager attempt to demonstrate their dedication and commitment. Outside of the office, they spend their time socialising with friends and colleagues and going to the gym as they try to lead a balanced life. Thriving on these busy schedules, these young working women are trying to get the best out of life, but on a relatively tight budget.

They are savvy with their money, saving where they can, but enjoy spending their disposable income on leisure, fashion and beauty. They aspire to luxury brands, without the means to purchase from them; instead, they attempt to create a similar aesthetic from high-street and mass-market brands such as Zara, ASOS and Topshop (Solomon, 2017; Marketing Interactive, 2018).

Conscious of how they are viewed by others, these women make great effort with their appearance, investing in new styles and trends; however, with their busy schedules and the current e-commerce market, they struggle to find the time to browse new styles and shop their favourite brands.

V C O R P O R AT E CLIMBERS 12

///

T HE

V N BR A ND

FIG 8 /// RIGHT

T HE

V N BR A ND

///

13

FIG 44 /// RIGHT

14

///

FIG 45 /// LEFT

T HE

V N BR A ND

TEMPORARY WORKI NG W O M E N V

CO

N

/// aged 21-28 /// recently graduated from university /// in full-time employment in corporate environments /// urban dwellers, residing in large towns with an average commute of 54 minutes by train to their city based jobs (ACAS, 2018) /// saving to get onto the property ladder with Help to Buy schemes, looking to move in with their partners (Nemeth, 2018) // below average disposable income, but great spending power in the fashion industry as they choose to indulge themselves in clothing and beauty (OECD, 2017; Van Elven, 2018) /// luxury aspirationalists, engaging with high-end brands on social media and striving for the portrayed lifestyle (Solomon, 2017)

16

///

FIG 46 /// LEFT

T HE

V N BR A ND

FIGS 47-55 /// ABOVE Completely absorbed in technology, these target consumers rely on their portable devices for 'more than just communicating' (Nickalls, 2018). With 60% of UK women owning two or more mobile devices which they use daily, the target consumers' dependence on their mobile devices is apparent (Nickalls, 2018). Using their phones, tablets and laptops for socialising, productivity, entertainment and shopping, they rely on their devices to increase their efficiency across all aspects of their life. Despite their constant technology use, the consumer group are less receptive to digital advertisements such as pop ups and banners as they detract from and hinder their device use; therefore, they respond to such promotions negatively (Newman, 2015).

Instead, they seek new product and brand recommendations from peers and social media accounts that they trust and have chosen to follow, to gain control over the influx of digital promotions (Stoppard, 2019).

T HE

V N BR A ND

///

1 7

F

V

LLE

N

OUT

OF

LOVE WITH N V F SHIO

FIG 56 /// LEFT

1 8

///

A result of the oversaturation of choice available

a style-rut, opting for the same blouse and trousers

online, and their busy schedules preventing them

combination for work or jeans and top combination for

from browsing through these thousands of products,

social situations. Frustrated at their new-found lack of

the once fashion-loving consumers have fallen into

style, they are striving to rediscover their individuality.

T HE

V N BR A ND

T HE

V N BR A ND

///

19

FIG 57 /// RIGHT

20

///

FIG 58 /// LEFT

T HE

V N BR A ND

FIG 59 /// RIGHT

N N IN S PIRIN G

V N IND IVID UA LI T Y

V N BR A ND

N VI SIO N

N NV FUNCTIONAL V N NV I N S P I R AT I O N A L

Marrying revolutionary technological components with the emotional connection consumers hold with fashion brands, Indivia presents a simplified and minimalist aesthetic, allowing the product imagery from each brand to remain the focus of the application (So et al, 2013). Targeting busy and overwhelmed consumers, the unornamented interface and brand identity creates a sanctuary-feel; a haven from the hectic and stressful e-commerce experience the consumers are so used to. Ensuring that the functionality and ease-of-use are not compromised, simplicity is vital in the brand identity; however, this is elevated to a contemporary and almost futuristic tone. A platform to inspire, Indivia meets the needs of the consumers both functionally and aesthetically, appealing to them in a manner that competitors, such as ShopStyle and Lyst, have yet to achieve.

NV REVOLUTIONARY SIMPLIFIED 22

///

T HE

V N BR A ND

T HE

V N BR A ND

///

23

FIG 60 /// RIGHT

BR

V

N

VN

D

N

NV

RR

V

TIVE

N

" I H V E E V ER OT BEE V N T K E S ERI O U S LY FO R V N W E RI G C O LO UR. " N V ( O S E , 2019 ) 24

///

FIG 61 /// LEFT

T HE

V N BR A ND

N N " TO T HE WO RK IN G WO MEN V N W H O A RE ST R U G G L IN G TO N V V V FIND A WAY TO D RE S S T H AT N FEEL S RI G H T TO T HEM IN V NV M A L E - D O MIN AT ED N N EN V IRO NMEN T S. . . G O TO N N O NE O F T H O S E MEE T IN G S N N V IN A P INK S UI T " N V ( O N S E A , 2019 )

Honing into female empowerment, an important topic for these women building their careers in male-dominated environments, Indivia's brand narrative

revolves

around

establishing

the

importance of individuality in fashion (Stocking, 2016). Encouraging these women to be bold and to stand out in all aspects of their lives, the narrative is entirely in keeping with the brand ethos whilst also feeding into a bigger societal movement, a formula for a brand's success in the contemporary age (Hanlon, 2016).

FIG 62 /// ABOVE LEFT FIG 63 /// ABOVE RIGHT

T HE

V N BR A ND

///

25

BU SI NE S S - TO - BU SI NE S S

BU SI NE S S - TO - C O N S UMER

B U S INE S S - TO - B U S INE S S & B U S INE S S - TO - C O N S UMER FIG 64 /// LEFT

Ensuring

26

///

FIG 29 /// LEFT

favourability

the

commission on each purchase made via Indivia, a

service is provided to them at no additional cost.

small fee for the success that the service brings to

Therefore, revenue is sourced from the retailers

their business. Therefore, whilst the application is

whose products are sold via Indivia. By providing

consumer-facing, retailers are the paying customers

advantages

for

including

amongst

greater

consumers,

sales

and

better

the

service.

Establishing

to-business

consumers, they too benefit from the service and

businesses is paramount to the success of Indivia,

specifically in monetary terms through their increased

as the service bridges business-to-business and

revenue. Hence, retailers will be charged a 5%

business-to-consumer

V N BR A ND

between

business-

engagement and retention amongst overwhelmed

T HE

relationships

strong

channels

cooperating

(Wren,

2018).

N

BUSI ESS MODEL

N BUSINESS MODEL

V N T HE BR A ND FIG 65 /// RIGHT

///

27

N RE T URN S

V V DATA

As the artificially intelligent technology is always learning, items that are returned, and the reasons they are returned, are vital to ensure accurate curation for the user

B2B

V N REL AT I O N S HIP S

New B2B relationships are formed and existing partnerships are strengthened through continuous communication

HEAD OFFICE V

V S OF T WA RE Developed in the head office, the software is stored in the cloud server and transmitted to app stores and the website.

As the software is improved and upgraded, new versions are transmitted

CLOUD SERVER

APP STORES V

V U S AG E

V V DATA

Data is transfered back from the website and app stores to track usage and establish any improvements or developments required

N V D OWNLOA D Consumers download the app onto their desired device(s)

PROFILE Consumers log in to their own personal profile

N CONSUMER N OWNED DEVICES

WEBSITE V N R AT IN G

V V DATA

As the consumers browse, they can rate the products recommended for them. This data is then fed back so the technology can continue to learn and improve the curation.

28

///

T HE

V N BR A ND

N

BUSINESS

NV EXTERNAL

V R E TA I L E R S

COS

H&M

V V ZARA

ORD ER S

N RET URN S

Items are sent from the individual retailers to the Indivia warehouse by the brands' couriers

Items are repackaged at the Indivia warehouse and sent to the brands by Indivia's contracted courier

WA REH O U S E V

ORD ER

MODEL

*For clarity, only three example retailers shown.

N RET URN S

V V DATA

Couriered to the Indivia warehouse by the Royal Mail service

Items ordered are transmitted to the corresponding brands to process the order

N DI ST RIBU T ION Orders are repackaged into one package per consumer and delivered by Indivia's contracted courier

BASKET CHECKOUT V

V A DD

TO

V BA SKET

Consumers add the items they wish to order to their basket. This goes to one checkout and one transaction, even if the items are from different brands.

N CONSUMER

POST OFFICE N RE T URN S

Any items the consumer is unhappy with can be packaged up and sent back to the Indivia warehouse via their local post office.

FIGS 66-70 /// LEFT FIGS 71-77 /// RIGHT

FIG3780/// /LEFT // T H E FIGS 79-81 /// RIGHT

V N BR A ND

PROFILE As 88% of consumers 'cite transparency as one of the keys to further increasing trust', Indivia will ensure that

consumers

are

informed

and

in

complete

control of their data sharing (Edwards, 2019). In this area of the application, they are able to edit their preferences by partnered brand, to achieve complete

transparency,

strengthen

the

trust

in

the brand-consumer relationship and ensure that Indivia avoids any negative publicity or controversy.

N V N I N S P I R AT I O N Presented with an array of images from digital media, including public Instagram profiles, magazines and newspapers, users can browse through style inspiration. Selected for their relevance to the user's individual preferences, these images provide personalised inspiration unlike platforms such as Instagram which rely on the user to already be following the accounts. From these images, users can click through to buy the individual items or similar.

SHOP A selection of products from partnered brands are presented to the users. Selected for their suitability to style, budget, size and body shape as learned by the technology, this area of the application simplifies the browsing process. With the addition of a rating feature, users can rate the product suggestions, allowing the technology to continue to learn and improve future curation.

V SEARCH If the user is looking for a specific product, for example

V V N F O R F U L L A P P L I C AT I O N V PROTOT YPE, PLEASE N SEE INCLUDED CD

a dress for a work party, the search feature allows them to browse for a 'red dress' where the search results will fit the search criteria as well as maintain the curation and personalisation of the artificially intelligent

technology,

showing,

for

example,

the red dresses that suit their size and shape as well as their preferred dress style and length.

T HE

V N BR A ND

///

31

FIGS 82-85 /// ABOVE

FIG 86 /// BELOW

PA C K A G I N G V

V

Balancing the consumers' appreciation for the luxury aesthetic, with cost-effective materials, the sleek and simplistic packaging is classic yet iconic. As the business model requires repackaging, it is vital that the packaging is sustainable and made of recycled materials to gain favourable opinion amongst the consumers (Amponash, 2019). The inclusion of a hashtag is proven to increase brand reach as it encourages social media sharing, making this an effective but low-cost promotional tool (Adweek, 2016).

32

///

T HE

V N BR A ND

ADDITIONAL M AT E R I A L V

V

V

V

Free returns are offered to remain competitive, ensuring a similar level of service to the retailers.

However, in order to meet the individual brands' varying returns policies, Indivia can only offer a 14-day returns period. Additionally, an incentivised refer-a-friend scheme is included as 'referral marketing' is effective in spreading awareness amongst like-minded consumers, providing an efficient and relatively low-cost promotional tool (Mosley, 2019).

FIGS 87-88 /// ABOVE FIGS 89-90 /// LEFT

T HE

V N BR A ND

///

33

3 4

///

FIG 91 /// LEFT

T HE

V N BR A ND

V N LAUNCH V YEAR 01 ///

OBJECTIVES

N ONE

To achieve an active user base of 100,000

04 ///

people by the end of December 2020

To enrol an additional investor with an initial investment of £150,000 to continue expansion by the end of 2020

02 ///

To establish 25% brand awareness across British female adults by December 2020

05 ///

To attain an average basket spend of £120, and an average order rate of 2 orders per month

03 ///

To maintain a returns rate of below 8% throughout the year

SHORT-TERM V YEAR 01 ///

OBJECTIVES

FIVE

To be partnered with 200 fashion, accessories

04 ///

and shoe retailers by 2025

02 ///

To introduce a voice control feature and smart home assistant integration by 2025

To hold a consumer retention rate of 95%

05 ///

To have expanded into additional target consumer groups, attracting users from both

03 ///

To have reached an average yearly growth rate

older and younger demographics, aged 15-50,

of 35% by 2025

by 2025

N LONG-TERM V YEAR

01 ///

N TEN &

OBJECTIVES

FUTURE

To have 850,000 users by 2030 and maintain an

04 ///

average spend per user of £180 per month

To penetrate the beauty industry, partnering with 10 key makeup and skincare retailers by 2032

02 ///

To enter the menswear market, growing a male active user base of 10,000 by 2030

05 ///

To integrate a live shopping feature, where users can scan garments pictured in magazines,

03 ///

To begin globalisation in 2030 and to have

shown on television or worn by others by 2035

entered 3 international markets by 2035

T HE

V N BR A ND

///

35

CHAPTER PAGE

36

///

T HE

FIG 92 /// SPREAD

V N BR A ND

M

V

02

RKETI

N

G

STR

V

TEGY T HE

V N BR A ND

///

37

V S T R AT E G Y OVERVIEW The result of successful consumer segmentation, the marketing strategy reflects the brand ethos, innovatively targeting the Corporate Climbers as individuals, celebrating their unique qualities. Engaging with the consumers in 'unexpected locations' presents the opportunity of attracting greater attention and increased engagement, enhancing the communication strategy (Hutter, 2015). Hence, promotion occurs in both expected environments, such as Instagram, as well as locations less associated with fashion or technology promotion, including furniture stores and commuter stations.

This 'omni-channel' marketing strategy will be extremely effective when targeting these contemporary consumers as they are 'often influenced by a diverse set' of promotional activities (Quora, 2018). With each element working together, embodying the brand vision and reflecting the brand identity, the multi-faceted strategy will generate great success for Indivia.

38

///

T HE

V N BR A ND

V N PRE-LAUNCH N MONTH

SERVICE DEVELOPMENT

2019 JUL /// 2019 AUG ///

V

N

MONTH

02

N

MONTH

01

WEEK

01

V SOCIAL V MEDIA

PROFILES

N MONTH

V R E TA I L E R

N N INFLUENCER

V GUERILLA

V PA R T N E R S H I P S

V MARKETING

V ADVERTISING

WEEK

WEEK

WEEK

01

WEEK

WEEK

02

design and develop packaging prototype

WEEK

03

WEEK

contract a courier service

2019

WEEK

01

WEEK

01

02

action change in response to feedback

WEEK

01

design social media banners, headers and images; create social media profiles

2019 NOV ///

WEEK

04

01

02

01

install and test touch screen software

styling and model fittings

WEEK

02

develop touch screen software prototype

WEEK WEEK

01

design print advertisements and promotional flyers

03

/// OCT ///

WEEK

WEEK

follow-up with invitees and collate finalised guest list

02

user test the application; receive feedback

design and commission art installation

post out invites; launch Indivia for Business website

01

prepare warehouse

WEEK

02

design and print invites and collate an invite list

hire warehouse staff; hire technological support staff

WEEK

WEEK

04

2019

SEP

WEEK

02

begin software developing VR experience and prototype services; order touch screens

03

order decorative materials; run VR software and prototype

WEEK

2019

contact stations and buy advertising space

contact Otherworld to hire venue; visit venue

start website development; source warehousing space

WEEK

N

DEC

01

01

print press releases and info booklets; source and order garments

///

03 MONTH

WEEK

hold a focus group for technological development; assess consumer wants and needs for app design

hire models; hire catering staff, hair and makeup artists and a videographer; design press releas and info booklets

N

N

MONTH

05

N

MONTH

04

N

06

01

begin Indivia For Business website development

02

WEEK

MONTH

06

01

begin application development process; purchase domain names and cloud-based server space

WEEK

-

N TIMELINE

WEEK

01

hold fashion show rehearsals; write introductory speech

order 5000 packaging units

WEEK

02

second application user test

WEEK

WEEK

03

edit fashion show footage

03

02

launch Indivia website

WEEK

04

list application on Google Play store, Android store and Apple App store

WEEK

02

prepare event venue; B2B fashion show event

WEEK

action change in response to feedback

WEEK

01

04

contact attendees to establish partnerships

WEEK

launch social media channels

WEEK

WEEK

03

04

run launch comapign of footage from the B2B event as countdown

WEEK

04

publish a page about success of B2B event on the Indivia for Business website; set up a Google alert for Indivia to measure earned media

01

source potential influencers & contact for a trial use

WEEK

03

contact potential influencers following test and establish ambassadorships

WEEK

02

contact temporary staff agencies and hire staff; print advertisement posters and flyers

WEEK

03

hire transportation and a driver

V N LAUNCH N MONTH

2020 V

N

JAN

-

N MONTH

V R E TA I L E R

N N INFLUENCER

V GUERILLA

DEVELOPMEN NT

V MEDIA PROFILES

V PA R T N E R S H I P S

V MARKETIN NG

V ADVERTISIN NG

WEEK

01

service launch

WEEK

02

initial bug fixes and developments

01

launch application with posts, stories and sponsored posts

WEEK

02

post about London feature

WEEK

03

post about Birmingham feature

WEEK

04

WEEK WEEK

01

read popular fashion publications

WEEK

02

measure the success of earned media, note the number and tone of articles discussing Indivia

2020 FEB /// 2020 MAR /// 2020 APR /// JUN

N

N

///

10 MONTH 11

2020 M AY

2020

///

V

N

MONTH

V

N

12

V

N

MONTH

09

N

MONTH

08

post about Manchester feature

MONTH

12

V SOCIAL

///

07

07

SERVICE

WEEK

MONTH

N TIMELINE

WEEK

01

receive feedback from usage

WEEK

02

action any changes and improvements

WEEK

WEEK

03

release update

WEEK

02

repost user #unleashyourindivia post

WEEK WEEK

01

post about Edinburgh feature

04

post new-retailer or 'partnered retailer of the month'

WEEK

02

challenge begins; a week of posts and stories

WEEK

03

analytic review; contact challenge winner; review success

WEEK

02

action any changes and improvements; place packaging order

02

03

01

receive feedback from usage

WEEK

02

action any changes and improvements

02

repost user #unleashyourindivia post

WEEK

04

post new-retailer or 'partnered retailer of the month'

WEEK

03

release update

WEEK

01

receive feedback from usage

WEEK

02

action any changes and improvements

WEEK

03

release update; place packaging order

WEEK

WEEK

02

action any changes and improvements

WEEK

02

repost user #unleashyourindivia post

04

post new-retailer or 'partnered retailer of the month'

WEEK

follow up with retailer

WEEK

03

Manchester feature; transition to Edinburgh

WEEK

04

Edinburgh feature

01

02

01

contact an additional retailer

WEEK

WEEK

02

WEEK

03

follow up with retailer

post about May bank holiday incentives

WEEK

02

repost user #unleashyourindivia post

WEEK

03

release update

WEEK WEEK

04

post new-retailer or 'partnered retailer of the month'

contact an additional retailer

WEEK

02

repost user #unleashyourindivia post

WEEK

02

pitch to retailer

WEEK

03

follow up with retailer

WEEK

04

post new-retailer or 'partnered retailer of the month'

01

contact an additional retailer

WEEK

02

pitch to retailer

WEEK

03

follow up with retailer

WEEK WEEK

01

01

contact an additional retailer

WEEK

02

pitch to retailer

WEEK

03

follow up with retailer

01

measure discount code and QR code usage

pitch to retailer

01

01

receive feedback from usage

WEEK

Birmingham feature; transition to Manchester

WEEK

03

01

post about Easter incentives

WEEK WEEK

02

Edinburgh awareness survey; measure social media spread; measure earned media documentation

release update

WEEK

WEEK

London awareness survey; Birmingham awareness survey; Manchester awareness survey

pitch to retailer

WEEK

01

London feature; transition to Birmingham

WEEK

01

contact an additional retailer

WEEK WEEK

WEEK

credit the influencers prior to the challenge

WEEK

01

receive feedback from usage

WEEK

WEEK

01

01

send quarterly credit to the influencers

WEEK

02

influencer posts and challenges

WEEK

03

measure reach, engagement and resulting downloads and purchases

V N POST-LAUNCH N MONTH

SERVICE

2020 JUL /// 2020 AUG

02

action any changes and improvements

WEEK

N

/// 2020 SEP /// 2020 OCT /// 2020 NOV /// 2020 DEC

V MEDIA

PROFILES

WEEK

03

01

receive feedback from usage

WEEK

02

action any changes and improvements

WEEK

03

release update

WEEK

02

repost user #unleashyourindivia post

WEEK

04

post new-retailer or 'partnered retailer of the month'

02

03

release update; place packaging order

WEEK

02

action any changes and improvements

WEEK

WEEK

03

01

receive feedback from usage

WEEK

02

action any changes and improvements

WEEK

03

release update; place packaging order

WEEK

post about August bank holiday incentives

WEEK

02

repost user #unleashyourindivia post

WEEK

04

post new-retailer or 'partnered retailer of the month'

02

action any changes and improvements

WEEK

V PA R T N E R S H I P S

V MARKETING

V V C O L L A B O R AT I O N

WEEK

WEEK

WEEK

02

03

WEEK

01

01

send quarterly credit to the influEncers

contact an additional retailer

WEEK

02

WEEK

02

influencer posts and challenges

pitch to retailer

WEEK

03

follow up with retailer

03

develop integrated software for touch screens

WEEK WEEK

02

draw up collaboration contract and finalise

pitch to retailer

WEEK

01

contact IKEA and prpose collaboration

01

contact an additional retailer

WEEK WEEK

02

repost user #unleashyourindivia post

WEEK

04

post new-retailer or 'partnered retailer of the month'

WEEK

03

measure reach, engagement and resulting downloads and purchases

01

WEEK

01

meet with IKEA to discuss wardrobe styles

WEEK

02

source products from partnered retailers

WEEK

04

style products to wardrobe layout; install campaign in-store

WEEK

contact an additional retailer

WEEK

WEEK

01

in-store experience begins

02

WEEK

pitch to retailer

04

interim measurement of success

03

follow up with retailer

WEEK WEEK

02

repost user #unleashyourindivia post

WEEK

04

post new-retailer or 'partnered retailer of the month'

WEEK

post about Black Friday incentives

WEEK

02

repost user #unleashyourindivia post

WEEK

03

release update

01

contact an additional retailer

WEEK

WEEK

02

interim measurement of success

pitch to retailer

WEEK

04

post new-retailer or 'partnered retailer of the month'

03

follow up with retailer

WEEK

01

contact an additional retailer

WEEK

WEEK

02

WEEK

03

follow up with retailer

WEEK 02

repost winning posts

WEEK

04

post new-retailer or 'partnered retailer of the month'

04

uninstall software and remove products; measure success through touch screen analytics

pitch to retailer

WEEK WEEK

04

01

01

receive feedback from usage

WEEK

V IKEA

01

release update

WEEK

N N INFLUENCER

01

receive feedback from usage

WEEK

V R E TA I L E R

01

action any changes and improvements

WEEK

18

follow up with retailer

receive feedback from usage

WEEK

N MONTH

WEEK

release update; place packaging order

WEEK

///

15 MONTH 18

receive feedback from usage

WEEK

V SOCIAL

-

01

N

N

MONTH

17

N

MONTH

16

N

MONTH

WEEK

V

N

MONTH

14

N

MONTH

13

DEVELOPMENT

13

N TIMELINE

01

contact an additional retailer

WEEK

02

pitch to retailer

WEEK

03

follow up with retailer

01

send quarterly credit to the influEncers

WEEK

02

influencer posts and challenges

WEEK

03

measure reach, engagement and resulting downloads and purchases

WEEK

01

search hashtag on Instagram; pool entrants and measure reach and engagement

WEEK

02

select winners and contact

42

/// B 2 B

FIG 93 /// SPREAD

V N FA S HI ON

SHOW

03

B2B

F

V

SHIO

N

B2B

SHOW V N FA SHIO N

S H O W ///

4 3

FIGS 94-105 /// ABOVE

FIG 106 /// ABOVE

Business-to-business (B2B) partnerships provide the foundation of the service. In addition to regular retailers,

S T R AT E G Y N CONTEXT

communication an

event

will

and

pitching

provide

an

to

new

effective

platform to promote the service to numerous potential B2B consumers. Creating 'an experience an audience won't forget' is commonly attributed to consumer-facing experiential events, but has proven success in B2B marketing, providing a 'memorable' occasion and creating a 'positive' association with the brand (B2B Marketing, 2014).

B2B

V N FA SHIO N

S H O W ///

4 5

V

46

///

FIG 107 /// LEFT

V

N

FIG 108 /// RIGHT

THE

FUTURE

OF

V N FA S H I O N

V R E TA I L

4 8

/// B 2 B

FIG 109 /// LEFT

V N FA S HI ON

SHOW

FIG 110 /// ABOVE

The fashion retailers, concerned with their own success, may hold reservations about partnering with a service that will allow their consumers to shop with other brands. However, placing emphasis on how their current business models are excluding these consumers who hold a lot of buying power, will reintroduce the importance of providing a cohesive experience for the consumers.

Therefore, the fashion show will highlight collaboration between brands, featuring models of all sizes and ethnicities, reflective of the target consumer, modelling outfits compromised of garments from the retailers present. From this, the brand representatives will be able to see how the consumer marries their favourite brands together to create their own unique style, presenting a positive association with a service that will present FIG 111 /// ABOVE

The event will consist of a virtual-reality integrated fashion show as well as large touch screens on which attendees can interact with the Indivia technology.

Providing an 'immersive' experience that communicates the service as futuristic and innovative, the campaign message is embodied whilst the benefits of the service are highlighted (Pettijohn, 2018). A 'unique' and memorable night, that educates attendees about the service and its benefits; the event creates a highly successful

their consumers with products from numerous brands.

V V V " V IR T UA L RE A L I T Y H A S N V T HE P OT EN T I A L TO N N VN P RO FO UND LY ENH A N C E N V N T HE FA S HI O N B U S INE S S " VN ( J I A N G , 201 7 )

and impactful campaign (Fashion Week Online, 2018)

B2B

V N FA SHIO N

S H O W ///

49

5 0 /// B 2 B FIG 112 /// LEFT

V N FA S HI ON

SHOW

N

N E VE T V E NUE OT HER WO RLD N N LOND O N

/// a network of fourteen immersion rooms (Otherworld, 2019) /// rooms offer a compromise between an intimate setting and maximising on capacity /// a fully VR (virtual-reality) integrated venue (Parsons, 2019) /// VR pods line the edge of the rooms providing a corrider-like space for the models to walk /// on-site and licenced catering facilities (Otherworld, 2019) /// located in north east London, easily accessible by public transport /// immersive, unique and innovative, Otherworld is the ideal location for a futurstic-style fashion show

NV

PLAN

OBJECTIVES

N

C A M PA I G N

N EVENT

01

Follow up with attendees to establish and measure partnerships

02

Read publications and search Indivia following the launch to find articles and features

N CONSUMER V R E TA I L E R S

As the campaign addresses the business-facing side, the target consumer is not the busy working women.

Instead, the campaign targets these women's favourite fashion retailers; mass-market but chic and fashionable brands such as ASOS, Topshop, Zara and Cos. Secondary consumers consist of the publications favoured by the B2C target consumer group, as the event 'provides a reason to write, film, or photograph the event in the media', which in turn will reach the consumer (Cope and Maloney, 2016). These publications include Glamour, Cosmopolitan and retailer-owned media such as the ASOS magazine.

THE V N FA S HI ON

03

To be promoted on 7 partnered retailer websites after the launch of the service

SUCCESS

V

/// B 2 B

02

To be featured in 5 publications after launch as a result of the event

V N MEASURING

V

52

01

To establish 12 retailer partnerships from event attendees

SHOW

FIGS 113-114 /// BELOW

VNN CHANNEL N EVENT

&

V N POTENTIAL

N V SECONDARY

V MEDIA

&

V I M PA C T S

RISKS

The primary channel of the campaign is the physical

Relying on contractors, the event is at the risk of third-

event;

secondary

parties; therefore, preparations for cancellations and

channels that span owned and earned media. From

alterations will be in place. Additionally, success relies

Indivia's own media channels, including websites,

in the guest list; so, measures have been considered

emails and social media, to external publications, this

to minimise the number of no-shows. Coordinating

campaign is effective as it bridges numerous channels,

the event around other fashion events and ensuring

ensuring

it is accessible, reduces the risk of limited attendees.

however,

maximum

there

are

potential

resulting

reach

is

achieved.

B2B

V N FA SHIO N

S H O W ///

53

THE

FUTURE

OF

N V FA S H I O N

OTHERWORLD,

FIG 115 /// ABOVE FIG 116 /// BELOW

5 4

/// B 2 B

V N FA S HI ON

SHOW

N N LONDON

V R E TA I L

CLOT HE S

M O D EL S ' V V A RE A

VR

P OD

P OD

VR

V H A IR

&

V MA KEUP

VR

P OD

P OD

VR

BA R

P OD

VR

V BA R

VR

V

P OD

V

CAT WA L K

P OD

P OD

VR

VR

V R A IL S

V N S E AT IN G

V V N RE STAUR A N T V & BA R

V N

VR

S E AT IN G

P OD

P OD

VR

N V

V

VR

RE STAUR A N T

P OD

P OD

VR

V N EN T R A N C E TO UCH

S CREEN S

FIGS 117 /// BELOW B2B

V N FA SHIO N

S H O W ///

55

FIGS 119-122 /// ABOVE

VIR T UA L - RE A LI T Y V

V

N V IN T EG R AT ED

N E X PERIEN C E

Wearing the virtual reality headsets, the audience will be immersed into a combined experience. Watching the models walk the runway, the audience will see the models walking through live locations. From the streets of London, to the gym, Canary Wharf to bars and clubs, the models will seamlessly blend into this visual experience, allowing the audience to see the full impact of these inspired and individual looks in their true setting.

56

/// B 2 B

FIG 118 /// BELOW

V N FA S HI ON

SHOW

B2B

V N FA SHIO N

S H O W ///

57

FIG 123 /// RIGHT

V N V C A M PA I G N

N TIMELINE

N PRE-EVENT

N POST-EVENT

01 / 0 8 / 19

HIRE

Contact Otherworld and arrange a visit

05/08/19

Visit Otherworld

06/08/19

Contact Otherworld and book the venue V S OF T WA RE

N DE VELOPMEN T

08/08/19

Create prototype

08/08/19

Develop VR experience

08/08/19

Order touch screens

27 / 0 8 / 19

G UE ST

LI ST

27/08/19

Design invitations

27/08/19

Collate invitation list of 200 people

29/08/19

Print 200 invitations

02/09/19

Post invitations

18/09/19

Contact invitees for RSVP

19/09/19

Create finalised guest list

19 / 0 9 / 19

/// B 2 B

N VENUE

01/08/19

0 8 / 0 8 / 19

58

TO

M ODEL

V N CA ST IN G S

19/09/19

Source potential models of various sizes and ethnicities

20/09/19

Contact models

23/09/19

Hold model castings

24/09/19

Hire models

25 / 0 9 / 19

N HIRIN G

V STA FF

25/09/19

Source temporary staff agencies

25/09/19

Source hair and makeup artists

26/09/19

Create a contract with a temporary staff agency

26/09/19

Hire hair and makeup artists

V N FA S HI ON

SHOW

V N V C A M PA I G N

N TIMELINE

N PRE-EVENT

N POST-EVENT

N PRIN T ED

V N FA S HI ON

TO

V V M AT ERI A L S

27 / 0 9 / 19

Design press release

27/09/19

Design B2B information booklet

27/09/19

Print press releases

03/10/19

Print B2B information booklets

03/10/19

V V N P R E PA R AT I O N

SHOW

27 / 0 9 / 19

Create potential outfits using garments from retailers

27/09/19

Order garments

27/09/19

Style garments

03/10/19

Model fittings

03/10/19

NV FIN A L

V V N P R E PA R AT I O N S

15 / 10 / 19

Order decorative materials and ambient props

15/10/19

Write introductory speech

16/10/19

Run VR software

17/10/19

Run prototype service

17/10/19

Hold rehearsals

01/11/19

B2B

V N ME A S URIN G

N E VEN T

Prepare venue

07/11/19

Hold event

07/11/19

Clean up event venue

08/11/19

S UC CE S S

01

Follow-up with retailers who have not yet contacted V N ME A S URIN G

07 / 11 / 19

S UC CE S S

02

21 / 11 / 19

21/11/19

31 / 12 / 19

Set up a Google alert for Indivia

31/12/19

Read popular fashion publications

01/01/20

Analyse earned media success

14/01/20

B2B

V N FA SHIO N

S H O W ///

59

COST

V N E S T I M AT I O N

N PRE-EVENT

£ 24 0 0

N VENUE

£2000

Venue hire

£400

£ 10 0 0

£600

Drink

£ 36 50

Support staff V N FA SHION

Models

£1500

Clothing

£ 50 0 0

£1000 (x4) £1000

£ 530

V N IN T ER AC T IVE

N S CREEN S

Touch screens (per screen) Prototype software development N REC ORDIN G

Videographer

£180

Editing V N IN V I TAT I O N S

£20

Printing

£50

Postage

£ 10 0

SHOW

Hair and makeup

£350

£ 7 0

V NV A DDI T ION A L

N N PRIN T IN G

£20

Press release

£80

B2B information package

£ 13750

/// B 2 B

V N STA FFIN G

£1500

£650

6 0

V N CAT ERIN G

Food

£1000

N EVENT

Decoration and interior

£400

£ 10 0 0

&

V N FA S HI ON

V TOTA L

SHOW

FOR

N E VEN T

FIG 124 /// RIGHT

RETUR

N

O

N

I

N

VESTME

N

T

It is unfeasible to quantify ROI in terms of monetary value, as this event alone will not result in any direct revenue. However, without retailer partnerships the service would cease to exist; therefore, the partnerships gained from the B2B event are vital to generating revenue. Additionally, the event will provide the footage for the social media countdown launch campaign, therefore reducing further investment and increasing return.

T HE

V N BR A ND

///

61

62

V /// G U E R I L L A

FIG 125 /// SPREAD

V V N C A MPA I G N

04

GUERILL

V

C

V

V G UERILL A

MP

V

IG

V V C A MPA I G N

///

N 63

V V V N "MARKETERS HAVE A UNIQUE N N V OPPORTUNITY TO INTERACT N N WITH MILLIONS OF CONSUMERS ON SOME OF THE UK'S BUSIEST V N N STATION CONCOURSES." V N ( NE T WO RK R A IL , 2019 )

FIGS 126-136 /// ABOVE

FIG 137 /// ABOVE

Targeting urban-dwelling working women presents a compelling marketing opportunity, to interrupt and add a sense of enjoyment to their 'mundane' commute to and from work (Robson, 2018).

Providing unprecedented access to a great number of Indivia's target consumers, commuter stations

S T R AT E G Y N CONTEXT

present the ideal location for promotion. However, as we are exposed to 4,000-10,000 marketing messages daily and 99% do not resonate or have any impact, it is imperative to make a statement and be memorable (Simpson, 2017). This can be achieved through a more experiential approach in which it is key to 'engage the senses' and provide a unique experience. Therefore, this campaign will be a truly immersive, and multi-sensory campaign that strives to make a point and create a conversation to achieve maximum reach and brand awareness.

V G UERILL A

V V C A MPA I G N

///

65

V

66

V /// G U E R I L L A

FIG 138 /// LEFT

V V N C A MPA I G N

FIG 139 /// RIGHT

N DON'T

FOLLOW

THE

HERD

THE V V N C MP IG FIG 140 /// LEFT

68

Targeting major commuting hubs across the UK, the

consumers, which will be converted to action through

campaign will visit 4 major stations providing effective

incentivisation with unique discount codes handed out

geographic spread. Intended to create the biggest

on flyers. To further support the campaign message

impact in a limited time frame, one working week per

and really provide an immersive atmosphere, print

station, the campaign could be considered a 'station

advertising space in the stations will echo the message,

takeover' (Exterion Media, 2018). On the main station

boasting quirky and eye-catching imagery of bright

concourse, a multi-sensory experience will capture

fashion juxtaposed on herds of sheep. Unusual and

the audience's attention, through sight, hearing

memorable, these images will resonate with the luxury

and touch. Music, carefully selected to reflect the

aspirationalist consumers who engage with high end

campaign message, will greet commuters on the

fashion-imagery, presenting an almost satirical approach

concourse drawing them towards the art installation

to the use of animals in fashion promotion. Thought-

that embodies the notion of individuality through dress.

provoking, innovative and distinctive, the campaign will

Bold and brightly coloured, the unique feature will

create a conversation surrounding how automated and

contrast the typically bland, monotonous dull colours

mechanical commuting is, as everyone mindlessly follows

throughout stations. Furthermore, touch screens will

a crowd, earning exposure on commuters own social

be installed where passers-by can interact with Indivia's

media channels as well as features in earned media,

technology, instilling a sense of desire in the target

further extending the campaign reach (Balch, 2014).

V /// G U E R I L L A

V V N C A MPA I G N

FIG 141 /// RIGHT

V G UERILL A

V V C A MPA I G N

///

69

ED INBURG H V WAVERLE Y

V M A N C HE ST ER V P I C C A D I L LY

V BIRMIN G H A M NE W ST REET

LOND ON KIN G ’ S CRO S S

7 0

///

FIG 142 /// LEFT

V G UERILL A

V V N C A MPA I G N

V REACH

THE

The week-long features at a selection of the UK's most visited train stations will result in a reach

of

approximately

990,045

commuting

women, based on the 'estimation of station usage'

and the approximation that 40% of rail

commuters are female (Office of Rail and Road, 2018;

Office

for

National

Statistics,

2018).

990,045 N COMMUTING

N WOMEN

V G UERILL A

V V C A MPA I G N

///

7 1

V TA R G E T N CONSUMER

Bored of their lengthy commutes to-and-from work, the contemporary commuter is constantly searching for ways to up their productivity or enjoyment during their monotonous commute. Much of this time is spent on their phones or laptops, catching up with work, scrolling through social media or browsing online shops. Almost robotic in their routine, they follow the crowd both in their journey and in their appearance. Stuck in their rut of wearing the same black, grey or navy, blazer and trouser combination, they have lost individuality in their commute. Unperceptive to generic and unexciting print advertisements in train stations and on the tube, they need reason to look up from their phone or pay attention to their environment during their commute. Intrigued and excited by experiential and quirky events to brighten their commute, they engage with these campaigns simply to inject a sense of entertainment into their boring commute (Exterion Media, 2019).

They are receptive to these immersive 'brand experiences', making them the ideal consumer to be targeted through campaigns like this (Tindall, 2018).

N V CONTEMPORARY COMMUTER 7 2

///

V G UERILL A

V V N C A MPA I G N

/// walk or drive to their local stations and commute to work via train and tube (Department for Transport, 2017) /// spend their commuting time scrolling through social media apps on their phone and listening to Spotify (Joseph, 2018) /// average daily commute time of 54 minutes (ACAS, 2018) /// have city based jobs in major cities such as London, Manchester, Birmingham and Edinburgh (Ritschel, 2018) FIGS 143-147 /// ABOVE

N

C A M PA I G N

NV

PLAN

OBJECTIVES

V

THE

V

74

///

V G UERILL A

V V N C A MPA I G N

V N C A M PA I G N

01

To establish a brand awareness rate of 45% amongst female commuters

02

To engage with 3,000 commuters per station through the use of the touch screens

03

To result in 20,000 new downloads of the Indivia app

04

To establish a conversion rate of these downloads to purchase of 70%

05

To be mentioned 1,000 times by passers-by on their social media profiles

06

To earn coverage in 8 popular printed news publications and 15 news websites

V N MEASURING SUCCESS

01

Use analytic tracking software in the touch screens to measure use and interaction

02

Use QR codes on promotional material that lead to app stores and can be tracked

03

Measure the use of the discount codes handed to passers-by

04

Search #unleashyourindivia on social media channels and measure use and engagement

05

To read popular news publications and search Indivia online to measure earned media

06

Assuming an initial brand awareness rate of 0% as a start-up, revisit each station following the campaign and survey users to establish brand awareness

FIGS 148-149 /// ABOVE

VNN CHANNEL V N S TAT I O N S

&

V SECONDARY

N V POTENTIAL V MEDIA

&

V I M PA C T S

RISKS

Primarily the campaign is situated on station concourses

Targeting the consumers through public transport

providing a physical form of contact between the

places reliance on the transport service itself. Severe

brand and the consumer, vital in gaining consumer

weather could significantly reduce the number of

trust as an online start-up business (Singh, 2019).

consumers passing through the station; therefore,

Secondarily, the campaign will bridge across onto

lessening the reach. Delays or transport issues

print and digital media, both earned and owned. The

would negatively affect consumer moods; therefore,

campaign will feature on Indivia's own social media

affecting the success of the campaign. Unique and

channels as well as the channels of news publishers and

bold, there is possibility for extreme reach through

consumers' own social media, as the result of innovative

viral social media spread. Hence, precautions for

'engagement' with the target consumer (Kolb, 2016)

an influx in sales and downloads will be put in place.

V G UERILL A

V V C A MPA I G N

///

75

V 7 6 /// G U E R I L L A FIG 150 /// LEFT

V V N C A MPA I G N

N ON

M OVE

V MAYFIELD

- C UR T I S

I

UP

FEEL

V - JA ME S

G O O D

N BROWN

E X PRE S S V - CH A RLE S

YO UR SELF

WRI G H T

RE SPEC T V V - A RE T H A

N N NINE - D O L LY

V N N FR A NKLIN

TO

FI VE

V N PA R TO N

The 3D art installation is a manifestation of the campaign message and will be visually in keeping with the print advertisements. A train carriage, with open doors, will house a herd of model sheep, spilling out onto the concourse floor. Leading the herd will be a mannequin, dressed boldly and brightly, drawing attention from across the station. A free-standing feature, the Indivia installation will allow both 360ยบ viewing of the abstract art and uninterrupted movement throughout the station concourse, causing no disruption to commuters. Unique and striking, this eye-catching art installation, coupled with upbeat, universally loved, chart-topping songs will draw the attention of the target consumer.

V G UERILL A

V V C A MPA I G N

///

7 7

V N V C A M PA I G N

N TIMELINE

N PRE-EVENT

N POST-EVENT

01 / 0 8 / 19

Contact stations regarding concourse space

05/08/19

Buy print advertising space

PRO CE S S

Design art installation mockup

08/08/19

Commission art installation

02/09/19

Design print advertisements

03/09/19

Design flyers

04/09/19 01/10/19

0 9 / 12 / 19

TO UCH

N S CREEN S

Develop prototype software Install and test software N HIRIN G

V STA FF

09/12/19

Contact temp agencies for flyering staff

09/12/19

Hire support staff for installation and removal

10 / 12 / 19

N N PRIN T IN G

10/12/19

Print advertisement poster

10/12/19

Print flyers

16 / 12 / 19

16/12/19

0 5 / 01 / 20

V G UERILL A

N DE SIG N

08/08/19

0 4 / 0 9 / 19

///

V N LO CAT I O N S

01/08/19

0 8 / 0 8 / 19

78

TO

V N V N T R A N S P O R TAT I O N

Hire van and driver N LOND ON

N KIN G ' S

CRO S S

05/01/20

Installation of concourse feature

05/01/20

Display print advertisements

06/01/20

Campaign begins

11/01/20

Uninstall feature from station

11/01/20

Remove screens and campaign materials

11/01/20

Travel to Birmingham

V V N C A MPA I G N

V N V C A M PA I G N

N TIMELINE

N PRE-EVENT

N POST-EVENT

N V BIRMIN G H A M

TO

N NE W

ST REE T

12 / 01 / 20

Installation of concourse feature

12/01/20

Display print advertisements

12/01/20

Campaign begins

13/01/20

Uninstall feature from station

18/01/20

Remove screens and campaign materials

18/01/20

Travel to Manchester

18/01/20

V P I C C A D I L LY

19 / 01 / 20

V N MA N CHE ST ER

Installation of concourse feature

19/01/20

Display print advertisements

19/01/20

Campaign begins

20/01/20

Uninstall feature from station

25/01/20

Remove screens and campaign materials

25/01/20

Travel to Edinburgh

25/01/20

N EDINBURG H

V WAVERLE Y

26 / 01 / 20

Installation of concourse feature

26/01/20

Display print advertisements

26/01/20

Campaign begins

27/01/20

Uninstall feature from station

01/02/20

Remove screens and campaign materials

01/02/20

Return to warehouse

01/02/20

V N ME A S URIN G

S UC CE S S

03 / 02 / 20

London King's Cross awareness survey

03/02/20

Birmingham New Street awareness survey

05/02/20

Manchester Piccadilly awareness survey

07/02/20

Edinburgh Waverley awareness survey

10/02/20

Measure social media spread

14/02/20

Measure earned media documentation

14/02/20

Measure QR and discount code use

03/03/20

V G UERILL A

V V C A MPA I G N

///

7 9

COST

V N E S T I M AT I O N

N PRE-EVENT

£ 1 8 0 0 0

&

N VENUE

HIRE

£8000

Concourse space

£10000

Print advertising

£ 50 0 0

V A R T

N EVENT

V V N N IN STA L L AT I O N

£1000

Materials

£4000

Design, assembly and build

£ 14 0 0

£4000

V V N C A MPA I G N

Touch screens (already purchased for event)

£500

Flyers

£900

Print advertisement

£ 10 0 0

£1000

£ 130 0

V N STA FFIN G

Promotional and support staff V N V N T R A N S P O R TAT I O N

£800

Van hire

£500

Drivers

£ 19 0 0 0

£20000 -£1000

£ 4 4 8 0 0

V V M AT ERI A L S

V P URCH A SE

N DI S C O UN T

Discount per consumer 5% commission paid by brands on purchase V TOTA L

FOR

N E VEN T

N N INVESTMENT

N N RETURN ON

This large initial investment will prove profitable in both the short- and longterm. Establishing great brand awareness and incentivising downloads and purchases, there will be a near immediate return on investment. If the objectives are met, with an average basket worth of approximately £120, the result of the campaign will be 14,000 purchases, totalling £1,680,000,

earning

£84,000

in

commission

(Skeldon,

2019).

Nearly

doubling the initial investment, a ROI of 87.5% demonstrates extreme effectiveness

8 0

and

V /// G U E R I L L A

success,

warranting

V V N C A MPA I G N

the

expensive

investment.

FIG 151 /// RIGHT

V G UERILL A

V V C A MPA I G N

///

81

82

N N /// I N F L U E N C E R

FIG 152 /// RIGHT

V N MA RKE T IN G

05

I NF L U E N C E R

M

V

R K E T I NG

N N INFLUEN CER

V N MA RKET IN G

///

83

FIGS 153-164 /// ABOVE

FIG 165 /// ABOVE

With ‘61% of consumers, aged 18 to 34’ being ‘swayed

in

their

decision-making

by

digital

influencers’, influencer marketing has proven to be a highly effective form of promotion (Econsultancy, 2018). However, with the rise of mega-influencers,

S T R AT E G Y N CONTEXT

consumer scepticism surrounding the strategy is increasing and many fear that the influencer has lost its relatability. Combatting this distrust, brands have turned to influential people with smaller, yet still impactful, followings. These 'microinfluencers' are becoming the 'marketing force of the future' and provide an unprecedented platform for consumer engagement and establishing trust within the target consumer group (Wissman, 2018).

N N INFLUEN CER

V N MA RKET IN G

///

85

V

86

N N /// I N F L U E N C E R

FIG 166 /// LEFT

V N MA RKE T IN G

THE MICRO N N INFLUENCERS

N V ONE OF THE QUALITIES V V V N APPROACHABLE. WHEN VN N N V V BRAND ON INSTAGRAM, V N N V THEIR WORD SEEMS AS GENUINE AS V V N ADVICE FROM A FRIEND"

V V "THEIR LACK OF FAME IS V V THAT MAKE THEM N V THEY RECOMMEND A

V ( M A HE S H WA RI , 201 8 )

FIG 167 /// ABOVE LEFT FIG 168 /// ABOVE RIGHT

Whilst

the

formal

Selected for their content and quality of following,

definition, they can be categorised as Instagram users

rather than quantity alone, the micro-influencers will

with a approximately 10,000-50,000 loyal followers,

offer transparency and relatability to the core target

establishing a high engagement to following ratio

consumers. Their trustworthy quality and friend-

(number of likes, comments and views) (Pierucci,

like interaction with their followers will embody the

2018). With 60% higher engagement than their

personalised aspect of the business model and brand

more-followed peers, these small-scale influencers

identity, resulting in a cohesive campaign that acts

are

platform

as a clear extension of the business. Rather than

micro-influencer

opting for extensive reach of broad and untargeted

marketing requires smaller initial investment and

consumers as traditional media offers, adopting

is estimated to be 6.7 times more cost-efficient

this innovative approach finds the ideal compromise

than mega-influencer marketing (Pierucci, 2018).

between great reach and individual engagement.

an

(Pierucci,

term

extremely 2018).

micro-influencer

effective

lacks

marketing

Furthermore,

N N INFLUEN CER

V N MA RKET IN G

///

87

N N 8 8 /// I N F L U E N C E R FIG 169 /// LEFT

V N MA RKE T IN G

FIG 170 /// LEFT

FIGS 171-172 /// RIGHT

V V #UNLEASHYOURINDIVIA

Establishing reach and enabling engagement, the campaign extends beyond influencer ambassadorship

THE V V N C A M PA I G N

and aims to take full advantage of loyal followings and high engagement rates. The established microinfluencer ambassadors will lead a seven-day challenge, challenging themselves and their followers to step out of their style comfort zone and embrace their own individuality through Indivia, sharing their outfit creations and results on their social medias.

N N INFLUEN CER

V N MA RKET IN G

///

89

FIGS 173-176 /// ABOVE

9 0

As questioned 'authenticity' in the industry incites

in the brand and wish to pursue their ambassadorship.

negative

the

Influencers who accept ambassadorship will receive

campaign will maintain integrity through complete

further credit with the obligation of posting and

transparency

micro-

sharing stories on Instagram each day of the seven-

influencers will be approached and offered paid-for

day challenge. These posts will also include a code

trial usage of the service, with no obligation to post or

for followers for ÂŁ5 of their first spend of ÂŁ100,

share neither products received nor their experience.

incentivising the use of the application. All posts

Following this trial period, it is the influencers in the

in which use of the service has been gifted will be

decision-making position, choosing whether they believe

disclosed in accordance with ASA guidelines (ASA, 2018).

connotations (Gilliland,

N N /// I N F L U E N C E R

in

consumer 2018).

opinion,

Potential

V N MA RKE T IN G

FIGS 42 /// ABOVE

FIG 177 /// RIGHT

N N INFLUEN CER

V N MA RKET IN G

///

91

@LO N DON BLOGGER

40,900

FOLLOWERS

FLEUR

Epitomising

urban

living,

Fleur

offers a unique level of relatability to both her followers and the Indivia target consumers. The degreeeducated social media coordinator exhibits her ability to experiment with fashion whilst maintaining a work-wear appropriate style and preserving her down-to-earth aura.

FIGS 178-183 /// ABOVE 92

N N /// I N F L U E N C E R

V N MA RKE T IN G

@WITH

27,100

V

MELI

V

T

V

YLOR

FOLLOWERS

A MELI A

V

V

Business-owner Amelia shares a relatably busy lifestyle with her loyal and engaged followers and Indivia's consumers, whilst still appearing aspirational through her fashion choices and effortless ability to style

striking

outfits.

A

fitting

ambassador for the service, she inspires individuality in her followers.

FIGS 184-189 /// ABOVE N N INFLUEN CER

V N MA RKET IN G

///

93

V TA R G E T N CONSUMER

The Digital Obsessive target consumer is engrossed in their digital devices, considering them to be 'essential tools for navigating daily life' (Ofcom, 2017). Relishing in the ability to access anything regardless of location, with 94% of women accessing the internet from mobile devices, they appreciate the on-the-go nature of the apps installed on their phones and tablets (Statista, 2018). As their busy lifestyles prevent them from socialising as much as they would like, their devices allow them to scroll through social media applications whilst commuting (Statista, 2017). However, their dismissiveness of online advertisements as they view them to be interruptive results in negative associations with brands that bombard them with advertisements on platforms such as Facebook and Twitter (Stelzner, 2018). Instead, they respond favourably to recommendations from their favourite, relatable Instagram accounts.

V D I G I TA L OBSESSIVE 94

N N /// I N F L U E N C E R

V N MA RKE T IN G

/// use Instagram daily for an average of 53 minutes per day (Clarke, 2019) /// engage frequently with brands they shop from on Instagram as well as aspirational luxury fashion brands (Gilliland, 2018) /// dissmissive of online advertising, finding it to be interruptive (Zajechowski, 2016) /// have extensions such as AdBlocker installed (Zajechowski, 2016) FIGS 190-194 /// ABOVE

PLAN

NV

OBJECTIVES

N

C A M PA I G N

V YEAR

V

02

To extend the reach of the brand, increasing brand awareness and recognition by 80%

03

To establish a conversion rate of views to click throughs of 70%

04

To expand the brand following on social media, gaining a following of 20,000 on Instagram

05

To increase the number of active users, generating 8,000 initial downloads

06

To generate a sales conversion rate, of these downloads, of 75%

SUCCESS

THE N N /// I N F L U E N C E R

01

For 25% of the micro-influencers' followers to participate in the challenge

V N MEASURING

V

96

N ONE

V N MA RKE T IN G

01

Track #unleashyourindivia on Instagram measuring number of posts and engagement

02

Using Instagram analytics to track views and engagement on stories and posts

03

Measuring the use of influencers' individual discount code

04

Using Google analytics, measure the click throughs and resulting downloads and purchases

FIGS 195-197 /// BELOW

VNN CHANNEL

N V POTENTIAL

N V V I N S TA G R A M

&

60% of Instagram users are actively seeking to discover

As the campaign promises a vast reach, there is

new products, making the social media application

potential

the ideal channel for engagement and interaction

Whilst this could be deemed an immense success,

with

2019).

preparations must be put in place to ensure the

Furthermore, with a ten times better engagement

exponential increase in interest in the business

rate than other social media platforms such as

does not cause a negative experience. Therefore,

Facebook, Instagram is not only perfectly suited to

additional staff may need to be employed and available

the target audience but will also prove more effective

during these times in both head office to assist with

in achieving the desired results (Osman, 2018).

downloads and customer support and in the warehouse.

potential

target

consumers

(Clarke,

V I M PA C T S

RISKS

for

greater

downloads

N N INFLUEN CER

than

forecast.

V N MA RKET IN G

///

97

V N V C A M PA I G N V N PRE-LAUNCH

02 / 12 / 19

&

V YEAR

N S O URCIN G

N ONE

N N INFLUEN CER S

02/12/19

Source potential micro influencers

09/12/19

Contact potential micro influencers

10/12/19

Give access to the beta-application to test

10/12/19

Send credit for trial of the service

17/12/19

Contact potential influencers following test

19 / 12 / 19

19/12/19

02 / 01 / 20

V E STA BL I S H

V N PA R T N E R S H I P S

Draw up contracts for partnered influencers V V N C A MPA I G N

V N CH A LLEN G E

02/01/20

Send credit for the challenge

06/01/20

Posts & stories on influencer profiles and brand profile

07/01/20

Posts & stories on influencer profiles and brand profile

08/01/20

Posts & stories on influencer profiles and brand profile

09/01/20

Posts & stories on influencer profiles and brand profile

10/01/20

Posts & stories on influencer profiles and brand profile

11/01/20

Posts & stories on influencer profiles and brand profile

12/01/20

Posts & stories on influencer profiles and brand profile

13/01/20

Review of initial analytics

14/01/20

Select and contact challenge winner

27/01/20

Measurement of success and review

01 / 0 4 / 20

N N V C ON T INUA L

V V N C A MPA I G N

01/04/20

Send credit to influencers

20/04/20

Measurement of success and review

01 / 0 8 / 20

N N V C ON T INUA L

V V N C A MPA I G N

01/08/20

Send credit to influencers

20/08/20

Measurement of success and review

01 / 12 / 20

98

N TIMELINE

N N V C ON T INUA L

V V N C A MPA I G N

01/12/20

Send credit to influencers

20/12/20

Measurement of success and review

N N /// I N F L U E N C E R

V N MA RKE T IN G

1

2

3

FIG 55 /// RIGHT

N N INFLUEN CER

V N MA RKET IN G

/// 9 9 FIG 198 /// RIGHT

N N 1 0//0 / / /I N F L U E N C E R FIG 199 / LEFT

FIG 200 /// RIGHT

V N MA RKE T IN G

V N E S T I M AT I O N

COST

V YEAR

N N INFLUEN CER

N ONE

N S O URCIN G

£ 10 0 0

Credit for potential influencers to test the service (per influencer)

£100 (x 10)

N V N V # UNLE A S H YO URINDIVI A

£ 250 0

V N CH A LLEN G E

Credit for influencers (per influencer) N N INFLUEN CER

V N PA R T N E R S H I P

Quarterly credit for influencers (per influencer)

FIR ST - U S E

N IN CEN T IVE

Estimated discount of first orders in excessive of £100 (per user) V TOTA L

FOR

V YE A R

1

*Of this figure, 5% commission (£950) will be paid by the retailers

N N RETURN ON

£500 (x 5)

£ 30 0 0

£200 (x 5 x 3)

£ 1250 0

£5 (x 2500)

£ 1 8 0 50

£19000*

N N INVESTMENT

A relatively low-cost strategy, the initial investment has the potential to yield great return. If the objectives are met, with an average basket worth of approximately £120, the result of solely the 7-day challenge will be 6,000 purchases, totalling £720,000, earning £36,000 in commission (Skeldon, 2019). With a ROI of 99.4%, this campaign will achieve the truly unprecedented success that other brands have found in influencer campaigns.

N N INFLUEN CER

V N MA RKET IN G

///

101

V V N 1 0 2 / / /C O L L A B O R A T I O N FIG 201 /// SPREAD

06 COLL

V

BOR

V

TIO

N

V V N C O L L A B O R A T I O N ///

10 3

N V VN "WONDERFUL ALLIANCES VN N N COMMAND ONGOING N V V N ATTENTION FROM MEDIA VN V N AND CONSUMERS ALIKE" VN V N ( C O P E A ND M A LO NE Y, 2016 )

FIGS 202-212 /// ABOVE

FIG 213 /// ABOVE

The 'phenomenon' of collaboration as a promotional tool is frequently employed in the fashion industry, due to the success in gaining 'media coverage', reaching 'new audiences' and 'producing something novel and unexpected' (Cope and Maloney, 2016). A different and innovative approach to this method of

S T R AT E G Y N CONTEXT

promotion, this campaign does not hold the intention of creating a product in collaboration, but rather an experience. Bringing together two products and services that are inherently valuable to the consumer, meets their needs for affordable furniture, a curated ecommerce environment, as well as satisfying their millennial 'experiential' needs (Morgan, 2019). The result is a favourable for both businesses involved, leading to effective engagement with the consumer and enhances the potential for future sales.

V V N C O L L A B O R A T I O N ///

10 5

V

10 6

V V N / / /C O L L A B O R A T I O N

IKEA PA X V

V

/// IKEA's personalised wardrobe solution to meet each individual's needs' (Ikea, 2019) /// customisable by size, finish, colour and structure (Ikea, 2019) /// low price point ranging from ÂŁ95 to ÂŁ15,000 depending on size and material (Ikea, 2019) /// one of the top 10 best-selling products at IKEA (Petter, 2017) /// sold at 20 UK stores, located in major cities and retailed online (Petter, 2017) /// sharing similar target consumer markets of urban dwellers in their 20s with some disposable income, that crave a luxury aesthetic on a budget (Dudovskiy, 2017)

V V N C O L L A B O R AT I O N V N PA R T N E R S H I P

FIG 214 /// LEFT

FIGS 215-218 /// ABOVE

10 8

Fusing collaboration with competition, the campaign

and chance to interact with the service and technology,

presents extensive advantages and the potential for

learning more about how Indivia can benefit them, will

great success (Kokemuller, 2018). Beginning with

not only increase brand awareness but instil a sense of

collaboration, IKEA stores provide a unique opportunity

interest and desire in the consumers' mind, resulting in

for Indivia to interact with consumers by utilising the

downloads and purchases. Collaborations must provide

touch screens already present, that allow users to

benefits for both parties involved to be successful;

design their very own PAX wardrobe. For a limited

therefore, in return for the feature, Indivia will provide

period of 3 months in the 10 most popular stores, these

the products to fill the wardrobes in the in-store displays

screens will feature Indivia's technology, integrated

(Coleman, 2017). Offering a service in exchange for the

into the design software. Allowing IKEA customers to

exposure, both parties benefit for little cost on either

both design a wardrobe structure and the wardrobe

behalf, resulting in a successful business collaboration,

contents to suit their personal needs. The exposure

with great potential for consumer-facing success.

V V N / / /C O L L A B O R A T I O N

FIG 219 /// ABOVE To further increase brand awareness, app users and purchases via the service, a competition for consumers will be integrated into the strategy. Held on social media, the competition will incentivise consumers to get involved and share the service amongst their likeminded peers of similar demographic, behavioural and psychographic traits. The sharing of the hashtag #indiviaxikea will enter the Instagram user into a

THE V V N C A M PA I G N

quarterly draw to win one of 3 IKEA PAX wardrobes.

A prize that is desirable to the target consumer, the competition will encourage users to purchase via the app and share their new looks with their friends.

V V N C O L L A B O R A T I O N ///

10 9

V TA R G E T N CONSUMER

Having just moved from their family or university homes, the Interior Enthusiasts revel in the opportunity to explore their style and personality through interior design. However, those that are renting are saving for a house deposit, and those that have bought have spent their savings, leaving them with a limited budget for furnishing and decorating. Choosing low cost without compromising on style and aesthetic, they furnish their new homes with IKEA products. Preferring to shop in the IKEA store than online, the Interior Enthusiasts enjoy the in-store experience, finding inspiration in the innovative displays and styled rooms (Ringstrom and Dowsett, 2018). Used to student accommodation or their childhood bedroom in their family homes with minimal storage, the Interior Enthusiasts are excited to create a perfectly organised storage system to give their beloved collection of clothing and shoes a sleek and stylish home to perfectly suit their needs.

N INTERIOR V N ENTHUSIASTS 110

V V N /// C O L L A B O R A T I O N

/// living in small flats in busy urban towns (Experian, 2019) /// joint spend between herself and her partner of ÂŁ3,000 to furnish the entire property (White, 2018) /// uses sites like Pinterest and luxury furniture stores to gain inspiration to recreate these stylish looks on a restricted budget (Parks, 2015) /// part of 'generation rent' they've moved to be closer to work and to gain some independence (Experian, 2019) FIG 220-224 /// ABOVE

PLAN

N

C A M PA I G N

NV

OBJECTIVES V YEAR

N ONE

01

For 13,000 IKEA consumers to interact with Indivia's technology in store

02

To acquire 3,250 new users as a result of the in-store feature

03

To receive 2,500 entrants to the first IKEA PAX draw

04

For entered posts to reach and engage with an average of 100 of the entrants' followers

V

THE

V

112

V V N /// C O L L A B O R A T I O N

V N MEASURING SUCCESS

01

Using tracking software in the touch screens analyse software use

02

Track QR code on screen to measure number of downloads direct from this campaign

03

Follow the #indiviaxikea hashtag on Instagram to measure entries

04

Measure the engagement with these entry posts by tracking likes and comments

FIG 225 /// ABOVE

VNN CHANNEL V IKEA STORES

&

N V POTENTIAL V SOCIAL

V MEDIA

&

V I M PA C T S

RISKS

The experience will take place in-store; however, the

As a competition, much of the success of the campaign

campaign will extend to social media, further engaging

relies on consumers entering the competition, spreading

with the target consumer. Mostly on the consumer's

brand awareness amongst their followers. As with any

own

competition,

competition there is a risk that there will be little-to-

the engagement of consumers' own followers will

no entrants; however, resulting from in-depth consumer

increase the traffic on Indivia's own social media

analysis, the competition should be successful as the

profiles, where the winners will be announced. A

prize and collaboration is desirable. Positively impacting

truly integrated campaign, this promotional activity

Indivia's future success, the extensive reach gained

joins the physical experience with digital channels.

from this campaign will increase the consumer base.

profiles,

incentivised

through

V V N C O L L A B O R AT I O N

///

113

V N V C A M PA I G N V N PRE-LAUNCH

01 / 07 / 20

&

V YEAR

N ONE

V V N C O L L A B O R AT I O N

N V C ON T R AC T

01/07/20

Contact IKEA regarding collaboration

06/07/20

Propose and pitch collaboration

13/07/20

Draw up collaboration contract

17/07/20

Sign contract

20 / 07 / 20

20/07/20

0 3 / 0 8 / 20

N E X PERIEN CE

N DE VELO PMEN T

Develop the integrated software for the design screens

PROD UC T

N S O URCIN G

03/08/20

Contact IKEA regarding each individual wardrobe style

10/08/20

Source products from Indivia's partnered retailers

24/08/20

Style products to wardrobe layout

31 / 0 8 / 20

V V N C A MPA I G N

V N V N IN STA L L AT I O N

31/08/20

Place products into the wardrobes in IKEA stores

31/08/20

Install software into IKEA store screens

01/09/20

In store experience begins

31 / 11 / 20

31/11/20

07 / 12 / 20

114

N TIMELINE

V V N C A MPA I G N

N END

Uninstall software from IKEA store screens

PRI Z E

V DR AW

07/12/20

Search #indiviaxikea hastag on Instagram

08/12/20

Pool all competition entrants

09/12/20

Select winners

09/12/20

Contact winners

14/12/20

Repost winner #1's entry on the Indivia Instagram

15/12/20

Repost winner #2's entry on the Indivia Instagram

16/12/20

Repost winner #3's entry on the Indivia Instagram

V V N /// C O L L A B O R A T I O N

V V N C O L L A B O R AT I O N

///

115

FIG 226 /// RIGHT

FIG 227 /// ABOVE

COST

V N E S T I M AT I O N V YEAR

£ 10 0 0

£1000

116

V IKE A

N ONE

V PA X

X

N V INDIVI A

N S CREEN S

Technology development and installation

FOR

V IKE A

£ 750 0

PROD UC TS

£750 (x10)

Clothing to fill a display wardrobe (per store)

£ 150 0

V PA X

V WA RDROBE S

£500 (x 3 x 1)

One wardrobe (per winner per quarter)

£ 10 0 0 0

V TOTA L

V V N /// C O L L A B O R A T I O N

FOR

V YE A R

1

N N N N RETURN ON INVESTMENT N IN-STORE

V F E AT U R E

A low-cost strategy with little risk, this collaboration is set to be extremely successful. With a minimal initial investment, but the potential for great reach and engagement, cost-effectiveness is extremely high as this campaign will prove highly profitable. If the objectives are met, with an average basket worth of approximately £120, the result of solely the 7-day challenge will be 3,250 purchases, totalling £390,000, earning £19,500 in commission from the in-store feature alone (Skeldon, 2019). With a ROI of 95%, this campaign is the most cost-effective and will prove extremely successful.

V V N C O L L A B O R AT I O N

///

11 7

O7 CONCLUSION

V V N 1 1 8 /// C O L L A B O R A T I O N FIG 228 /// SPREAD

07 CO

N

CLUSIO T HE

N

V N B R A N D ///

119

V N 1 2 0 /// T H E B R A N D

VN

" YO U C ST IL L V VN BE ST RO N G D VN N N I T EL L I G E T WO M N W HIL ST D RE S S I G VN C O LO URFUL LY D VN E X UBER T LY. " V ( O NS E , 2019 )

This

cohesive

and

innovative

marketing strategy will provide an

impressive

foundation

of

brand awareness and desire that will allow Indivia to find success amongst the target consumers.

Unique, striking and conversationstarting, the planned promotional activities have the potential to reach viral success, resulting in great

cost-effectiveness.

perfect

compromise

The

between

cost and expected success, the marketing campaign engages with the target consumers, specifically and innovatively, as a result of close segmentation. Furthermore, the societal movement that the campaign establishes creates more than just a successful marketing strategy,

but

a

community,

encouraging

engagement

participation

further

the

potential

and

enhancing

success.

A

revolution in fashion e-commerce, coupled

with

revolutionary

promotional activities, Indivia is sure to be a success with fashion retailers

FIG 229 /// LEFT

and

consumers

alike.

08 N REFERENCES

122

N /// R E F E R E N C E

LI ST

ACAS. 2018. Half of workers wouldn’t take a job with an hour’s commute. [Online]. [Accessed 30 March 2019]. Available from: http://www.acas.org.uk/index. aspx?articleid=5300 Adweek. 2016. How product packaging helps market your brand on social media. [Online]. [Accessed 10 April 2019]. Available from: https://www.adweek.com/ digital/ben-plomion-gumgum-guest-post-productpackaging/ Amponash, B. 2019. How to tackle the packaging demands of millennials. [Online]. [Accessed 10 April 2019]. Available from: http://lawprintpack.co.uk/packaging/packaging-demands-millennials/ ASA. 2018. New guidance launched for social influencers. [Online]. [Accessed 20 March 2019].

Available from: https://www.asa.org.uk/news/ new-guidance-launched-for-social-influencers.html

Econsultancy. 2018. Generation rent. [Online].

[Accessed 11 April 2019]. Available from: https://www. experian.co.uk/consumer/generation-rent/index.html Edwards, L. 2018. Transparency is the key to making more consumers happy with data sharing. [Online.]

[Accessed 15 April 2019]. Available from: https://gdpr. report/news/2018/03/05/transparency-key-making-consumers-happy-data-sharing/ Experian. 2019. Rail station experiential: a day in the life of the commuter audience. [Online]. [Accessed 10 April 2019]. Available from: https://www.exterionmedia.com/uk/about-us/latest-news/our-blog/ rail-station-experiential-a-day-in-the-life-of-thecommuter-audience

homeowners, but do they want smart homes?

Exterion Media. 2019. Rail station experiential: a day in the life of the commuter audience. [Online].

[Accessed 10 April 2019]. Available from: https://www. exterionmedia.com/uk/about-us/latest-news/ourblog/rail-station-experiential-a-day-in-the-life-ofthe-commuter-audience

[Online]. [Accessed 6 April 2019]. Available from: https://www.forbes.com/sites/andrewarnold/2018/05/28/more-millennials-are-becoming-homeowners-but-do-they-want-smarthomes/#23f0d2f838f8

Fashion Week Online. 2018. Virtual Reality and Fashion: Latest Updates. [Online]. [Accessed 9 April 2019].

Available from: https://fashionweekonline.com/virtual-reality-fashion-latest-updates

Arnold, A. 2018. More millennials are becoming

B2B Marketing. 2014. Tips On Planning Your Product Launch Event. [Online]. [Accessed 9 April 2019].

Available from: https://www.b2bmarketing.net/en-gb/ resources/blog/tips-planning-your-product-launchevent Balch, O. 2014. The rise of 'sadvertising': Why social good marketing works. The Guardian. [Online]. 18 July.

[Accessed 10 April 2019]. Available from: https://www. theguardian.com/sustainable-business/sadvertising-social-good-marketing-business-brands Carreon, J. 2019. ELLE’s Ultimate Guide to Online Shopping. Elle Magazine. [Online]. 7 February.

[Accessed 30 March 2019]. Available from: https:// www.elle.com/fashion/shopping/g26205486/bestonline-shopping-sites-for-womens-clothing/ Cican, A. 2019. How my app got 455K users in the first week. [Online]. [Accessed 20 March 2019]. Available from: https://alexcican.com/post/455k-users/ CB Insights. 2018. The Future Of Fashion: From Design

To Merchandising, How Tech Is Reshaping The Industry. [Online]. [Accessed 20 March 2019]. Available from: https://www.cbinsights.com/research/ fashion-tech-future-trends/

Clarke, T. 2019. 22+ Instagram statistics that marketers can’t ignore this year. [Online]. [Accessed 20 March 2019]. Available from: https://blog.hootsuite.com/instagram-statistics/ Cohn, W. H. 2019. How nano-influencers can impact your business in 2019. Forbes. [Online]. 31 January.

[Accessed 20 March 2019]. Available from: https:// www.forbes.com/sites/forbesnycouncil/2019/01/31/ how-nano-influencers-can-impact-your-businessin-2019/#7f0d87b56483 Coleman, A. 2017. What are the benefits of collaboration for big brands? [Online]. [Accessed 11 April 2019]. Available from: https://www.virgin. com/entrepreneur/what-are-benefits-collaboration-big-brands Cope, J. and Maloney, D. 2016. Fashion Promotion in Practice. London: Bloomsbury Publishing Plc Department for Transport. 2017. Transport statistics Great Britain 2017. [Online]. [Accessed 10 April 2019].

Available from: https://assets.publishing.service.gov. uk/government/uploads/system/uploads/attachment_data/file/661933/tsgb-2017-report-summaries.pdf Dolan, F. 2019. What is the future of Ecommerce? 10 insights on the evolution of an industry. [Online].

[Accessed 30 March 2019]. Available from: https:// www.shopify.com/enterprise/the-future-of-ecommerce Dudovskiy, J. 2017. IKEA Segmentation, Targeting and Positioning: Targeting Cost-Conscious Customers.

[Online]. [Accessed 30 March 2019]. Available from: https://research-methodology.net/ikea-segmentation-targeting-positioning-targeting-cost-conscious-customers/

Gilliland, N. 2018. Transparency in influencer marketing: Where are we now? [Online]. [Accessed 20 March 2019]. https://econsultancy.com/transparency-in-influencer-marketing-where-are-we-now/ Gilliland, N. 2018. Why Chanel is the most influential luxury brand on social media. [Online]. [Accessed 20 March 2019]. https://econsultancy.com/why-chanelis-the-most-influential-luxury-brand-on-social/ Hanlon, P. 2016. What is strategic brand narrative?

Forbes. [Online]. 26 April. [Accessed 30 March 2019]. Available from: https://www.forbes.com/ sites/patrickhanlon/2016/04/26/what-is-strategic-brand-narrative/#173caef6433d Hutter, K. 2015. Unusual location and unexpected execution in advertising: A content analysis and test of effectiveness in ambient advertisements. Journal of Marketing Communications. 21(1), pp.33-47 ID Agency. 2019. Multi-sensory brand experiences.

[Online]. [Accessed 10 April 2019]. Available from: https://www.idagency.com/insight-section/ multi-sensory-brand-experiences/ IKEA. 2018. IKEA facts and figures 2018. [Online].

[Accessed 10 April 2019]. Available from: https://highlights.ikea.com/2018/facts-and-figures/home/ IKEA. 2019. IKEA PAX. [Online]. [Accessed 10 April 2019]. Available from: https://www.ikea.com/gb/en/ collections/pax/ Iyengar, 2018. Humanizing Digital 2020: Consumer Expectations Report. [Online]. [Accessed 30 March 2019]. Available from: http://tinyurl.com/y6xjv5wk Jiang, E. 2017. Virtual Reality: Growth engine for fashion? Business of Fashion. [Online]. 28 February.

[Accessed 10 April 2019]. Available from: https://www. businessoffashion.com/articles/fashion-tech/virtual-reality-growth-engine-for-fashion Joseph, S. V. 2018. Here's how to make your commute more fun. Forbes. [Online]. 26 January. [Accessed 10 April 2019]. Available from: https://www.forbes.com/ sites/shelcyvjoseph/2018/01/26/make-your-commute-work-for-you-heres-how/#51069ede135c Kokemuller, N. 2018. Are contests effective marketing tools? [Online]. [Accessed 11 April 2019]. Available from: https://smallbusiness.chron.com/contests-effective-marketing-tools-61299.html Kolb, B. 2016. 3 Earned media strategies for content marketing plans. [Online]. [Accessed 11 April 2019].

Available from: https://contentmarketinginstitute. com/2016/05/earned-media-strategies/ Maheshwari, S. 2018. Are you ready for the nano-influencers? The New York Times. [Online]. 11 November. [Accessed 20 March 2019]. Available from: https://www.nytimes.com/2018/11/11/business/media/nanoinfluencers-instagram-influencers.html

Marketing Interactive. 2018. The shifting shape of

luxury: From aspirational to being genuine.

[Online]. [Accessed 30 March 2019]. Available from: https://www.marketing-interactive.com/the-shifting-shape-of-luxury-from-aspirational-to-being-genuine/ Morgan, B. 2019. Nownership, No Problem: An updated look at why millennials value experiences over owning things. Forbes. [Online]. 2 January.

[Accessed 30 March 2019]. Available from: https://www.forbes.com/sites/blakemorgan/2019/01/02/nownership-no-problem-an-updated-look-at-why-millennials-value-experiences-over-owning-things/#3e7823a3522f Mosley, M. 2019. 10 reasons why referral marketing is perfect for eCommerce. [Online]. [Accessed 10 April 2019].

Available from: https://uk.business.trustpilot.com/ reviews/10-reasons-why-referral-marketing-is-perfect-for-ecommerce Nemeth, H. 2018. 81% of first-time buyers get on the property ladder using Help to Buy. [Online].

[Accessed 30 March 2019]. Available from: https:// www.moneywise.co.uk/news/08-17/first-time-buyers-get-property-ladder-using-help-to-buy Network Rail. 2019. Advertising and promotions.

[Online]. [Accessed 10 April 2019]. Available from: https://www.networkrail.co.uk/industry-commercial-partners/network-rail-property/retail-in-britains-biggest-stations/advertising-and-promotions/ Newman, D. 2015. Research shows millennials don’t respond to ads. Forbes. [Online]. 28 April.

[Accessed 30 March 2019]. Available from: https:// www.forbes.com/sites/danielnewman/2015/04/28/ research-shows-millennials-dont-respond-to-ads/#7fa64695dcb2 Nickalls, S. 2018. Infographic: Women use their phones for way more than just communicating. [Online].

[Accessed 30 March 2019]. Available from: https:// www.adweek.com/digital/infographic-women-usetheir-phones-for-way-more-than-communicating/ Odjick, D. 2017. Collaboration ideas to boost your small business' sales. [Online]. [Accessed 6 April 2019]. Available from: https://www.shopify.co.uk/ blog/collaboration-ideas-boost-small-business-sales OECD. 2017. Household disposable income. [Online].

[Accessed 30 March 2019]. Available from: https:// data.oecd.org/hha/household-disposable-income. htm Ofcom. 2017. Adults’ media use and attitudes.

[Online]. [Accessed 30 March 2019]. Available from: https://www.ofcom.org.uk/__data/assets/pdf_ file/0020/102755/adults-media-use-attitudes-2017. pdf Office for National Statistics. 2018. The

commuting gap: men account for 65% of commutes lasting more than an hour. [Online]. [Accessed 30 March 2019]. Available from: https://www.ons.gov.uk/ employmentandlabourmarket/peopleinwork/employmentandemployeetypes/articles/thecommutinggapmenaccountfor65ofcommuteslastingmorethananhour/2018-11-07 Office of Rail and Road. 2018. Estimates of Station Usage 2017-18. [Online]. [Accessed 30 March 2019].

Available from: https://orr.gov.uk/__data/assets/ pdf_file/0009/39960/estimates-of-station-usage2017-18-key-facts.pdf Onsea, I. 2019. In Murphy, A. 2019. Sequins to the supermarket? Why ever not? The Times 2. 3 April, p4 Osman, M. 2018. 18 Instagram statistics every marketer should know for 2018. [Online]. [Accessed 20 March 2019]. Available from: https://sproutsocial. com/insights/instagram-stats/ Otherworld. 2019. Home. [Online]. [Accessed 6 April 2019]. Available from: https://www.other.world/ Page, L. 2017. Artificial intelligence. Forbes. [Online].

25 July. [Accessed 30 March 2019]. Available from: https://www.forbes.com/sites/bernardmarr/20 17/07/25/28-best-quotes-about-artificial-intelligence/#6e455e684a6f

N REFEREN CE

LI ST

///

123

Parks, C. 2015. Want to decorate your home? Follow these 15 pinterest accounts. [Online]. [Accessed 30 March 2019]. Available from: http://tinyurl.com/ yx9gblxo Parsons, G. 2019. A Stunning New VR Bar Is Coming To East London (And It’s Like Nothing You’ve Ever Seen).

[Online]. [Accessed 6 April 2019]. Available from: https://secretldn.com/otherworld-london-virtual-reality/ Petter, O. 2017. IKEA UK at 30: Swedish home store's biggest selling products of all time. The Independent.

[Online]. 29 September. [Accessed 11 April 2019].

Available from: https://www.independent.co.uk/ life-style/ikea-uk-30-anniversary-biggest-sellingproducts-flatpack-furniture-beds-all-time-swedishhome-store-a7974061.html Pettijohn, N. 2018. The Future Of VR Is Here, Let's Start Using It Properly. Forbes. [Online]. 26 November. [Accessed 20 March 2019]. Available from: https://www.forbes.com/sites/nathanpettijohn/2018/11/26/the-future-of-vr-is-here-letsstart-using-it-properly/#cc985a609c64 Pierucci, S. 2018. Why micro-influencer marketing is still ‘The Game’ in 2019. [Online]. [Accessed 20 March 2019]. Available from: https://medium.com/swlh/whymicro-influencer-marketing-is-the-game-in-2018fdeda0993c36 Posner, H. 2015. Marketing Fashion: Strategy, Branding and Promotion. 2nd ed. London. Laurence King Ltd Quora. 2019. How an omnichannel marketing strategy can help Your business. Forbes. [Online]. 28 August.

[Accessed 11 April 2019]. Available from: https://www. forbes.com/sites/quora/2018/08/28/how-an-omnichannel-marketing-strategy-can-help-your-business/#95274fe6d894 Ringstrom, A. and Dowsett, S. 2018. New stores and online growth help IKEA fend off rivals. Reuters.

[Online]. 10 October. [Accessed 11 April 2019].

Available from: https://uk.reuters.com/article/usikea-sales/new-stores-and-online-growth-helpikea-fend-off-rivals-idUKKCN1MK0YM Ritschel, C. 2018. The UK's best cities to live and work in revealed. [Online]. 15 March. [Accessed 10 April 2019]. Available from: https://www.independent. co.uk/life-style/best-city-to-live-work-in-uk-britain-edinburgh-london-a8257426.html Robson, D. 2018. The neglected benefits of the commute. BBC News. [Online]. 8 August. [Accessed 10 April 2019]. Available from: http://www.bbc.com/ capital/story/20180806-the-neglected-benefits-of-the-commute Simpson, J. 2017. Finding brand success in the digital world. Forbes. [Online]. 25 August. [Accessed 10 April 2019]. Available from: https://www.forbes.com/sites/ forbesagencycouncil/2017/08/25/finding-brandsuccess-in-the-digital-world/#5a2423b4626e Singh, P. 2019. Why pop-up stores should be part of every retailer's strategy. [Online]. [Accessed 11 April 2019]. Available from: https://www.entrepreneur.com/ article/326138 Skeldon, P. 2019. UK fashion retailers face challenge

of low spending online and mobile shoppers, finds global study. [Online]. [Accessed 11 April 2019].

Available from: https://internetretailing.net/themes/ themes/uk-fashion-retailers-face-challenge-of-lowspending-online-and-mobile-shoppers-finds-globalstudy-19257 So, J. T., Parsons, A. G. and Yap, S-F. 2013. Corporate branding, emotional attachment and brand loyalty: the case of luxury fashion branding. Journal of Fashion Marketing and Management. 17(4), pp.403-423 Solomon, M. 2017. How Millennials will reshape the luxury market. Forbes. [Online]. 20 June. [Accessed 30 March 2019]. Available from: https://www.forbes. com/sites/msolomon/2017/06/20/how-millennialswill-reshape-the-luxury-goods-market-bain-luxuryreport-2017/#7de8ee152f86 Statista. 2017. Social media usage in the United Kingdom. [Online]. [Accessed 1 April 2019]. Available from: https://www.statista.com/topics/3236/socialmedia-usage-in-the-uk/

124

N /// R E F E R E N C E

LI ST

Statista. 2018. Share of individuals who accessed the

internet via a mobile phone in Great Britain in 2018, by age and gender. [Online]. [Accessed 1 April 2019].

Available from: https://www.statista.com/statistics/275985/mobile-internet-penetration-in-greatbritain-by-age-and-gender/

Stelzner, M. 2018. The Facebook ad algorithm: What marketers need to know. [Online]. [Accessed 1 April 2019]. Available from: https://www.socialmediaexaminer.com/facebook-ad-algorithm-ralph-burns/ Stocking, B. 2016. Male-dominated workplace culture alienates talented women. The Financial Times.

[Online]. 24 August. [Accessed 30 March 2019].

Available from: https://www.ft.com/content/ 51c81a8c-69d9-11e6-a0b1-d87a9fea034f Stoppard, L. 2019. Meet the micro-influencers. The Financial Times. [Online]. 1 February. [Accessed 30 March 2019]. Available from: https://www.ft.com/content/62e64f08-1f28-11e9-b126-46fc3ad87c65 The Drum. 2018. Influencers: Have we reached a tipping point? [Online]. [Accessed 20 March 2019]. Available from: https://www.thedrum.com/ news/2018/09/25/influencers-have-we-reachedtipping-point-the-drum-and-buzzoole-publish-report Tindall, F. 2018. Train stations are on-track to

becoming one of the best places for brand experiences. [Online]. [Accessed 10 April 2019].

Available from: https://www.promomarketing.info/ train-stations-track-becoming-one-best-places-brand-experiences/ Valuation Office Agency. 2018. Private rental market

summary statistics - April 2017 to March 2018.

[Online]. [Accessed 6 April 2019]. Available from: https://www.gov.uk/government/statistics/private -rental-market-summary-statistics-april Van Elven, M. 2018. British women set to spend 29.4 billion pounds on clothing in 2018. [Online]. [Accessed 30 March 2019]. Available from: https://fashionunited. uk/news/retail/british-women-set-to-spend-29-4billion-pounds-on-clothing-in-2018/2018091438906 VR Fashion Week. 2017. Virtual Reality Fashion Week.

[Online]. [Accessed 30 March 2019]. Available from: https://www.youtube.com/watch?v=I7iA_QZfxrk WAAM. 2019. Artificial intelligence: Leading the future of e-commerce. [Online]. [Accessed 30 March 2019].

Available from: https://medium.com/@waamofficial/ artificial-intelligence-leading-the-future-of-e-commerce-c410c00dee73 White, A. 2018. Best-made plans: how to furnish your

first home on a budget — a step-by-step guide.

[Online]. [Accessed 11 April 2019]. Available from: https://www.homesandproperty.co.uk/home-garden/ interiors/how-to-furnish-your-first-home-on-abudget-a-stepbystep-guide-a120101.html Wissman, B. 2018. Micro-influencers: The marketing force of the future? Forbes. [Online].

2 March. [Accessed 30 March 2019]. Available from: https://www.forbes.com/sites/barrettwissman/2018/03/02/micro-influencers-the-marketing-force-of-the-future/#214e815b6707 Wong, K. 2017. How to use clothing subscription boxes to find your personal style. The New York Times. [Online]. 17 October. [Accessed 1 April 2019]. Available from: https://www.nytimes.com/2017/10/17/smarter-living/clothing-box-services-stitch-fix-trunkclub.html Wren, 2018. The Convergence Of B2B And B2C Brand Marketing. [Online]. [Accessed 1 April 2019].

Available from: https://www.brandingstrategyinsider. com/2018/10/the-convergence-of-b2b-and-b2cbrand-marketing.html#.XKcXUOtKg_U Zajechowski, M. 2016. Ad blocking and its effects on advertisers and publishers. [Online]. [Accessed 20 March 2019]. Available from: https://www.relevance. com/ad-blocking-and-its-effects-on-advertisersand-publishers/ Zoovu. 2018. Humanizing Digital 2020: Consumer Expectations Report. [Online]. [Accessed 30 March 2019]. Available from: http://tinyurl.com/y6xjv5wk

FIG 1 /// Jacob, M. 2019. Fashion photography.

[Online]. [Accessed 30 March 2019]. Available from: https://unsplash.com/photos/x6r78Qaibxw

FIG 77 /// Shutterstock. 2019. Mail icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/mail+icon

FIG 113 /// Original image. Source image: Otherworld.

2019. Home. [Online]. [Accessed 10 April 2019]. Available from: https://www.other.world/

FIGS 2-37 /// Prishella. 2019. Instagram profile.

[Online]. [Accessed 14 April 2019]. Available from: https://www.instagram.com/prishella/?hl=en

FIG 78 /// Original image. Source images: Mockup World. 2019. iPhone in Hand. [Online]. [Accessed 2 April 2019]. Available from: https://www.mockupworld. co/free/tag/hand/ Topshop. 2019. Instagram profile. [Online]. [Accessed 2 April 2019]. Available from: https://www.instagram. com/topshop/

FIG 114 /// Original image. Source images: Mockup World. 2019. iPhone in Hand. [Online].

[Accessed 2 April 2019]. Available from: https://www. mockupworld.co/free/tag/hand/ Topshop. 2019. Leopard print bias cut skirt.

[Online]. [Accessed 2 April 2019]. Available from: https://www.topshop.com/en/tsuk/product/ clothing-427/skirts-449/leopard-print-satin-bias-skirt-8482750?geoip=noredirect&cmpid=ppc_ pla_UK_ip&utm_medium=cpc&tsrc=vdna&istCompanyId=38aa0d7f-6514-4cb3-bbdc-df0d32d48b7f&istItemId=-pilpiiipa&istBid=tztx&gclid=EAIaIQobChMItvOcnufU4QIVzb3tCh1wVw7gEAQYAiABEgLgo_D_ BwE&gclsrc=aw.ds

FIG 38 /// Jacob, M. 2019. Fashion photography.

[Online]. [Accessed 30 March 2019]. Available from: https://unsplash.com/photos/x6r78Qaibxw FIG 39 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Horsfall, D. 2018. Knitwear that you can’t miss.

[Online]. [Accessed 10 April 2019]. Available from: https://www.queenhorsfall.com/2018/11/knitwearthat-you-cant-miss.html FIGS 40-41 /// Quaritsch, T. 2019. iMac. [Online].

[Accessed 30 March 2019]. Available from: https:// unsplash.com/photos/3xQ65cknLPk FIGS 42-43 /// Jacob, M. 2019. Fashion photography.

[Online]. [Accessed 30 March 2019]. Available from: https://unsplash.com/photos/x6r78Qaibxw FIGS 44-55 /// Lee, M. 2019. Instagram profile.

[Online]. [Accessed 30 March 2019]. Available from: https://www.instagram.com/happilygrey/ FIG 56 /// Unsplash. 2019. Grey clothes hanging on rail.

[Online]. [Accessed 30 March 2019]. Available from: https://unsplash.com/photos/WVFjZF2QNFk FIG 57 /// Lee, M. 2019. Instagram profile. [Online].

[Accessed 30 March 2019]. Available from: https:// www.instagram.com/happilygrey/ FIGS 58-60 /// Jacob, M. 2019. Fashion photography.

[Online]. [Accessed 30 March 2019]. Available from: https://unsplash.com/photos/x6r78Qaibxw FIG 61 /// Unsplash. 2019. Fashion photographer.

[Online]. [Accessed 30 March 2019]. Available from: https://unsplash.com/search/photos/fashion-photographer FIG 62 /// Fleur, A. 2019. Instagram profile. [Online].

[Accessed 30 March 2019]. Available from: https:// www.instagram.com/vivaluxuryblog/ FIG 63 /// Lindner, F. 2019. Instagram profile. [Online].

[Accessed 30 March 2019]. Available from: https:// www.instagram.com/shortstoriesandskirts/ FIG 64 /// Pollock, S. 2019. Taller than the trees.

[Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/photos/PhYq704ffdA FIG 65 /// Kononov, M. 2019. Illuminated offices in Moscow. [Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/photos/lFv0V3_2H6s FIG 66 /// Shutterstock. 2019. Offices icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/office+icons FIG 67 /// Shutterstock. 2019. Cloud icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/cloud+icon FIG 68 /// Shutterstock. 2019. App icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/app+icon FIG 69 /// Shutterstock. 2019. Website icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/website+icon FIG 70 /// Shutterstock. 2019. Devices icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/devices+icon FIGS 71-74 /// Shutterstock. 2019. Warehouse icon.

[Online]. [Accessed 1 April 2019]. Available from: https://www.shutterstock.com/search/warehouse+icon

FIG 79 /// Original image. Source image: Mockup World.

2019. iPhone in woman’s hand. [Online]. [Accessed 10 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-in-female-hand-mockups/ FIG 80 /// Original image. Source images: Mockup World. 2019. iPhone in Hand. [Online]. [Accessed 2 April 2019]. Available from: https://www.mockupworld. co/free/tag/hand/ Topshop. 2019. Instagram profile. [Online]. [Accessed 2 April 2019]. Available from: https://www.instagram. com/topshop/

FIGS 115-116 /// Otherworld. 2019. Home. [Online].

[Accessed 10 April 2019]. Available from: https://www. other.world/ FIG 117 /// Original image.

FIG 81 /// Original image. Source images: Mockup World. 2019. iPhone in Hand. [Online]. [Accessed 2 April 2019]. Available from: https://www.mockupworld. co/free/tag/hand/ Topshop. 2019. Leopard print bias cut skirt. [Online]. [Accessed 2 April 2019]. Available from: https://www.topshop.com/en/tsuk/product/ clothing-427/skirts-449/leopard-print-satin-bias-skirt-8482750?geoip=noredirect&cmpid=ppc_ pla_UK_ip&utm_medium=cpc&tsrc=vdna&istCompanyId=38aa0d7f-6514-4cb3-bbdc-df0d32d48b7f&istItemId=-pilpiiipa&istBid=tztx&gclid=EAIaIQobChMItvOcnufU4QIVzb3tCh1wVw7gEAQYAiABEgLgo_D_ BwE&gclsrc=aw.ds

FIG 118 /// Erics Electronics. 2019. Zeiss VR One Virtual Reality Headset. [Online]. [Accessed 10 April 2019].

Available from: http://www.ericselectronics.com/ shop/emerging-technologies/virtual-reality/zeiss-vrone-virtual-reality-headset-retail-packaging-whitewith-black-front-and-head-strap/

FIGS 82-86 /// Original images. Source image: Creative Market. 2019. Box mockup. [Online]. [Accessed 7 March 2019]. Available from: https://creativemarket. com/search?q=box&categoryIDs=0

FIGS 125-137 /// Unsplash 2019. Train station. [Online].

[Accessed 10 April 2019]. Available from: https://unsplash.com/search/photos/train-station

FIG 87 /// Original image. Source image: Horsfall, D. 2018. Knitwear that you can’t miss. [Online]. [Accessed 10 April 2019]. Available from: https://www. queenhorsfall.com/2018/11/knitwear-that-you-cantmiss.html FIG 88 /// Original image. Source image: Paper UK. 2019. Tracked returns label. [Online]. [Accessed 10 April 2019]. Available from: https://www.paperuk.com/ more_info_extra.asp?current_id=100 FIGS 89-90 /// Original images.

FIG 91 /// Original image. Source images: Unsplash.

2019. Phone in hand. [Online]. [Accessed 10 April 2019]. Available from: https://unsplash.com/search/ photos/phone-in-hand Topshop. 2019. Tapered suit trousers. [Online].

[Accessed 10 April 2019]. Available from: https://www. topshop.com/en/tsuk/product/tapered-suit-trousers-8414613 FIG 92 /// Williams, G. 2019. London at night. [Online].

[Accessed 20 April 2019]. Available from: https://unsplash.com/photos/NaWJWzmprZQ FIGS 93-106 /// Unsplash. 2018. Fashion show.

[Online]. [Accessed 10 April 2019]. Available from: https://unsplash.com/search/photos/fashion-show FIGS 107-108 /// Otherworld. 2019. Home. [Online].

[Accessed 10 April 2019]. Available from: https://www. other.world/ FIG 109 /// Find the Fit. 2019. How virtual reality is changing the fashion industry. [Online]. [Accessed 10 April 2019]. Available from: http://findthefit.net/ blog-categories/virtual-reality-in-fashion FIG 110 /// Charara, S. 2017. Wearable tech at NYFW

2017: Data dresses, LEDs NFC and VR fashion shows. [Online]. [Accessed 10 April 2019]. Available from: https://www.wareable.com/fashion/wearable-tech-nyfw-2017-7776

FIG 75 /// Shutterstock. 2019. Trolley icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/trolley+icon

FIG 111 /// 360 Design Box. 2019. Gaming and VR real estate. [Online]. [Accessed 10 April 2019]. Available from: https://360designbox.ro/gaming-and-vr-realestate/

FIG 76 /// Shutterstock. 2019. Person icon. [Online].

[Accessed 1 April 2019]. Available from: https://www. shutterstock.com/search/person+icon

FIG 112 /// Otherworld. 2019. Home. [Online].

[Accessed 10 April 2019]. Available from: https://www. other.world/

FIGS 119-123 /// The 4 of Us. 2019. Fashion. [Online].

[Accessed 11 April 2019]. Available from: https://www. the4ofus.co.uk/blog?category=Fashion FIG 124 /// Unsplash. 2018. Fashion show. [Online].

[Accessed 10 April 2019]. Available from: https://unsplash.com/search/photos/fashion-show

FIGS 138-139 /// Ragusa, D. 2019. Herd of sheep.

[Online]. [Accessed 11 April 2019]. Available from: https://unsplash.com/photos/cDwZ40Lj9eo FIG 140 /// Tang, R. 2019. Commuters. [Online].

[Accessed 11 April 2019]. Available from: https://unsplash.com/photos/HrBNsh-wzN8 FIG 141 /// Original image. Source images: Creative Market. 2019. Billboard. [Online]. [Accessed 29 March 2019]. Available from: https://creativemarket.com/ search?q=billboards&categoryIDs=0 Matirosyan, V. 2019. Sheep. [Online]. [Accessed 29 March 2019]. Available from: https://unsplash.com/ photos/EQFOJLFamJk Taylor, A. 2019. Instagram profile. [Online]. [Accessed 29 March 2019]. Available from: https://www.instagram.com/withameliataylor/?hl=en FIG 142 /// Original image. Source image: Pinterest.

2019. Map of the UK. [Online]. [Accessed 11 April 2019]. Available from: https://www.pinterest.co.uk/ pin/197454764893594414/?lp=true FIGS 143-147 /// Unsplash. 2019. Business woman.

[Online]. [Accessed 15 April 2019]. Available from: https://unsplash.com/search/photos/business-woman FIG 148 /// Original image. Source image: Horsfall, D. 2018. Knitwear that you can’t miss. [Online].

[Accessed 10 April 2019]. Available from: https://www. queenhorsfall.com/2018/11/knitwear-that-you-cantmiss.html FIG 149 /// Original image. Source images: Mockup World. 2019. iPhone in Hand. [Online]. [Accessed 2 April 2019]. Available from: https://www.mockupworld. co/free/tag/hand/ Topshop. 2019. Leopard print bias cut skirt. [Online]. [Accessed 2 April 2019]. Available from: https://www.topshop.com/en/tsuk/product/ clothing-427/skirts-449/leopard-print-satin-bias-skirt-8482750?geoip=noredirect&cmpid=ppc_ pla_UK_ip&utm_medium=cpc&tsrc=vdna&istCompanyId=38aa0d7f-6514-4cb3-bbdc-df0d32d48b7f&istItemId=-pilpiiipa&istBid=tztx&gclid=EAIaIQobChMItvOcnufU4QIVzb3tCh1wVw7gEAQYAiABEgLgo_D_ BwE&gclsrc=aw.ds QR Code Generator. 2019. QR codes. [Online].

[Accessed 4 April 2019]. Available from: https:// www.qr-code-generator.com/a1/?gclid=EAIaIQobChMI9O6Mu_bU4QIVjbHtCh0LKA5xEAAYASAAEgKL3vD_BwE

FIG URE

LI ST

///

125

FIG 150 /// Original image. Source images: Matirosyan, V. 2019. Sheep. [Online]. [Accessed 29 March 2019].

Available from: https://unsplash.com/photos/EQFOJLFamJk Taylor, A. 2019. Instagram profile. [Online]. [Accessed 29 March 2019]. Available from: https://www.instagram.com/withameliataylor/?hl=en Unsplash. 2019. Train. [Online]. [Accessed 29 March 2019]. Available from: https://unsplash.com/search/ photos/train FIG 151 /// Wale, C. 2019. King’s Cross. [Online].

[Accessed 4 April 2019]. Available from: https://unsplash.com/photos/AU1rKyKPJco FIG 152 /// The 4 of Us. 2019. Fashion. [Online].

[Accessed 11 April 2019]. Available from: https://www. the4ofus.co.uk/blog?category=Fashion FIGS 153-164 /// Doherty, A. 2019. Instagram profile.

[Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/alannanicolex/ FIG 165 /// Fleur, L. 2018. Behind the scenes – Charity shoot. [Online]. [Accessed 17 March 2019]. Available from: https://thefashioncamera.com/behind-thescenes-charity-shoot/ FIG 166 /// Brockbank, E. 2019. Home. [Online].

[Accessed 17 March 2019]. Available from: https:// www.instagram.com/ellenbrockygirl/?hl=en FIG 167 /// Gungor, R. 2019. Instagram profile. [Online].

[Accessed 17 March 2019]. Available from: https:// www.instagram.com/rojdagungor_/ FIG 168 /// Zuschlag, A. 2019. Instagram profile.

[Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/aliziazuschlag/ FIGS 169-172 /// Taylor, A. 2019. Instagram profile.

[Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/withameliataylor/ FIGS 173-177 /// Fleur, L. 2018. Behind the scenes – Shoots in Geneva. [Online]. [Accessed 17 March 2019]. Available from: https://thefashioncamera.com/ behind-the-scenes-geneva/ FIGS 178-183 /// Raffan, F. 2019. Instagram profile.

[Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/londonblogger/ FIGS 184-189 /// Taylor, A. 2019. Instagram profile.

[Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/withameliataylor/ FIGS 190-194 /// Unsplash. 2019. Woman on phone.

[Online]. [Accessed 29 March 2019]. Available from: https://unsplash.com/search/photos/woman-onphone FIG 195 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Taylor, A. 2019. Instagram profile. [Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/withameliataylor/ FIG 196 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Prishella. 2019. Instagram profile. [Online]. [Accessed 14 April 2019]. Available from: https://www.instagram. com/prishella/?hl=en FIG 197 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Raffan, F. 2019. Instagram profile. [Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/londonblogger/ FIG 198 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Taylor, A. 2019. Instagram profile. [Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/withameliataylor/

FIG 199 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Raffan, F. 2019. Instagram profile. [Online]. [Accessed 17 March 2019]. Available from: https://www.instagram.com/londonblogger/

FIG 200 /// Original image. Source images: Mockup World. 2019. iPhone X top view. [Online]. [Accessed 30 March 2019]. Available from: https://www.mockupworld.co/free/iphone-x-top-view-mockup/ Prishella. 2019. Instagram profile.

[Online]. [Accessed 14 April 2019].

Available from: https://www.instagram.com/prishella/?hl=en FIG 201 /// Laptev, O. 2019. IKEA. [Online]. [Accessed 14 April 2019]. Available from: https://unsplash.com/ photos/KDawdoaC-ts FIGS 202-224 /// IKEA. 2019. Ideas. [Online].

[Accessed 8 April 2019]. Available from: https://www. ikea.com/gb/en/ideas/?N=0+4294967085&Nr=content.type%3Ai%3Aideas&Ns=rank%7C0&t=ideas FIG 225 /// Original image. Source images: Creative Market. 2019. Large touch screen. [Online].

[Accessed 10 April 2019]. Available from: https://creativemarket.com/search?q=large+touch+screen&categoryIDs=0 IKEA. 2019. PAX Planner. [Online]. [Accessed 11 April 2019]. Available from: https://www.ikea.com/gb/en/ customer-service/planning-tools/pax-planner/ Topshop. 2019. Shirts and blouses. [Online].

[Accessed 11 April 2019]. Available from: https:// www.topshop.com/en/tsuk/category/clothing-427/ shirts-blouses-4650801 FIGS 226-227 /// IKEA. 2019. Ideas. [Online].

[Accessed 8 April 2019]. Available from: https://www. ikea.com/gb/en/ideas/?N=0+4294967085&Nr=content.type%3Ai%3Aideas&Ns=rank%7C0&t=ideas FIG 228 /// De Khors, N. 2019. Model poses in red.

[Online]. [Accessed 1 April 2019]. Available from: https://burst.shopify.com/woman?page=9 FIG 229 /// Unsplash. 2019. Fashion photography.

[Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/fashion-photography

/// F I G U R E

LI ST

FIG 242 /// Taylor, A. 2019. Instagram profile. [Online].

[Accessed 17 March 2019]. Available from: https:// www.instagram.com/withameliataylor/ FIG 243 /// Unsplash. 2019. Urban. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/urban FIG 244 /// Unsplash. 2019. Futuristic. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/futuristic FIG 245-248 /// Unsplash. 2019. Fashion photography.

[Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/fashion-photography FIG 249-256 /// Unsplash. 2019. Purple. [Online].

[Accessed 1 March 2019]. Available from: https://unsplash.com/search/photos/purple FIG 257-268 /// Jacob, M. 2019. Fashion Photography.

[Online]. [Accessed 1 March 2019]. Available from: https://unsplash.com/@melodyjacob1 FIG 269 /// Original image. Source image: Horsfall, D. 2018. Knitwear that you can’t miss. [Online].

[Accessed 10 April 2019]. Available from: https://www. queenhorsfall.com/2018/11/knitwear-that-you-cantmiss.html FIG 270 /// Original image. Source image: Jacob, M. 2019. Fashion Photography. [Online]. [Accessed 1 March 2019]. Available from: https://unsplash.com/@ melodyjacob1 FIG 271 /// ASOS. 2018. The new ASOS boxes are here. [Online]. [Accessed 1 March 2019]. Available from: https://www.asos.com/women/fashionfeed/2018_10_01-mon/october-beauty-boxes/ FIG 272 /// Pillbox Design. 2019. The Wow Box. [Online]. [Accessed 1 March 2019]. Available from: https://www.pillboxdesign.co.uk/luxury-mail-order-wow-box-modular-design

FIG 230 /// Original image.

FIG 273 /// Pinterest. 2019. Glossier box. [Online].

[Accessed 1 March 2019]. Avaiable from: https://www. pinterest.co.uk/pin/452682200036439282/?lp=true

FIG 231 /// Unsplash. 2019. Canary Wharf. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/canary-wharf

FIG 274 /// Zara. 2016. Twitter profile. [Online].

[Accessed 1 March 2019]. Available from: https://twitter.com/zara/status/791199771641937920

FIG 232 /// Unsplash. 2019. Bar. [Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/ search/photos/bar

FIG 275-279 /// Original images.

FIG 233 /// Unsplash. 2019. Office. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/office FIG 234 /// Unsplash. 2019. Online Shopping. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/online-shopping FIG 235 /// Unsplash. 2019. Luxury bags. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/luxury-bags FIG 236 /// Unsplash. 2019. Commuter. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/commuter FIG 237 /// Unsplash. 2019. Business woman. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/business-woman FIG 238 /// Unsplash. 2019. Woman in the gym.

[Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/woman-in-thegym FIG 239 /// Unsplash. 2019. Phone and laptop.

[Online]. [Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/phone-andlaptop FIG 240 /// Unsplash. 2019. Wardrobe. [Online].

[Accessed 1 April 2019]. Available from: https://unsplash.com/search/photos/wardrobe

126

FIG 241 /// Pinterest. 2019. Multi-media portrait.

[Online]. [Accessed 1 April 2019]. Available from: https://www.pinterest.co.uk/search/pins/?q=multi-media%20portrait&rs=typed&term_meta[]=multi-media%7Ctyped&term_meta[]=portrait%7Ctyped

FIG 280-281 /// Original images. Source images: Horsfall, D. 2018. Knitwear that you can’t miss. [Online].

[Accessed 10 April 2019]. Available from: https://www. queenhorsfall.com/2018/11/knitwear-that-you-cantmiss.html Paper UK. 2019. Tracked returns label. [Online].

[Accessed 10 April 2019]. Available from: https://www. paperuk.com/more_info_extra.asp?current_id=100 FIG 282-286 /// Pinterest. 2019. Fashion advertisement animals. [Online]. [Accessed 1 March 2019].

Available from: https://www.pinterest.co.uk/search/ pins/?q=fashion%20advertisements%20animals&rs=typed&term_meta[]=fashion%7Ctyped&term_ meta[]=advertisements%7Ctyped&term_meta[]=animals%7Ctyped FIG 287 /// FIG 141 /// Original image. Source images: Matirosyan, V. 2019. Sheep. [Online]. [Accessed 29 March 2019]. Available from: https://unsplash.com/ photos/EQFOJLFamJk Taylor, A. 2019. Instagram profile. [Online]. [Accessed 29 March 2019]. Available from: https://www.instagram.com/withameliataylor/?hl=en FIG 288-299 /// Pinterest. 2019. Bright women's fashion. [Online]. [Accessed 18 April 2019]. Available from: https://www.pinterest. co.uk/search/pins/?q=bright%20women%27s%20 fashion&rs=typed&term_meta[]=bright%7Ctyped&term_meta[]=women%27s%7Ctyped&term_ meta[]=fashion%7Ctyped FIG 300 /// Jacob, M. 2019. Fashion photography. [Online]. [Accessed 30 March 2019].

Available from: https://unsplash.com/photos/ x6r78Qaibxw

09 N V APPENDICES

FIG URE

LI ST

///

127

N REFLECTION

Since

128

the

submission

research

criteria, and instead focusing on creating a

portfolio, the development of the brand,

truly viable brand that could achieve success

both

has

outside of academia. Using this perspective to

accelerated exponentially. Feedback from

propel development, I believe that I truly let

the first submission coupled

with further

go of my usual inhibitions that had tended to

consultation with the target consumers,

halt development; I was no longer concerning

determined that whilst the concept and

myself with the end result and thinking solely

idea remained interesting and appealing,

of the final outcome. Instead, I enjoyed

the angle and approach to the branding

and embraced the process, relishing in the

and visual communications was misguided

unknown rather than fearing it. This process

and may alienate potential consumers. The

has allowed me to develop more than a brand

focus had been too heavily placed on the

and marketing strategy, it has allowed me to

technological aspect of the brand, rather

develop skills that will benefit my future career,

than the consumer-facing aspect. Therefore,

transitioning my outlook and work ethic from

to remedy this, I decided to take a step

student to professional. I believe I combined

back and return to the target consumer

skills I had learned across my academic career

development. Through gaining greater insight

to create a portfolio and piece of work that

into the target consumer, I was able to begin

I was truly proud of and that I could show

approaching the development of the brand

with confidence to potential employers and

in a manner that was more tailored to them.

industry personnel to exemplify my skills. The

Furthermore, throughout the development

process has culminated my university learning

stages, focus groups of the target consumer

and truly prepared me for a future career in

were held to gain feedback at key points to

fashion marketing. Instilling a sense of pride

really mould the brand development. This

and joy, the development of Indivia has left

constant consultation ensured that the final

me excited at the prospect of entering the

outcome was perfectly suited to the target

working world and implementing the skills I've

consumers, and would guarantee the success

learned practically, outside of the theoretical

of the brand. I believe that this process

learning environment. Overall, I truly believe

allowed me to make the bridge between my

that, in enjoying the process and finding new

academic studies and professional brand

avenues for development in the unknown I

development. I felt I had finally removed

have not only created a succesful branding

myself from the academic environment,

and marketing strategy but also developed

concentrating less on grades and meeting

as a marketer, preparing me for industry.

conceptually

/// R E F L E C T I O N

of and

the

visually,

Having time to reflect further on the intial proposed idea from the first semester, it was apparent that the business model did not fully reflect the consumers needs. Through further research and consultation with a number of target consumers, their need for a simplified delivery process became

FIG 230 /// ABOVE

apparent, an issue the initial model did not tackle.

Therefore, instead of creating an artificially intelligent service that only provided the curation

A favoured development process, logistics across the

and personalisation, the informed decision was

entirety of this project were planned out with Post-

made to expand the business proposition to include

It notes. The temporary nature of this method of

delivery. The overwhelmingly positive response to

working allowed for continued development and really

the ability to shop numerous brands from one site

captivated the notion that nothing was final. This really

or app and only have to schedule one delivery to fit

aided me in my development, as I typically have fallen

in with their busy schedules, indicated that this was

victim to combining planning with finalisation. Instead,

a potentially ground breaking improvement. Whilst

throughout this process, I have learned that the best

this means the delivery process is slowed, further

results are created through continous development,

research uncovered that these busy millenial women

and this is a planning and exploration technique I intend

have a greater preference for convenience over

to carry with me through my professional career.

instant gratification (CB Insights, 2018; Wong, 2017)

N BUSINESS

MODEL

N DEVELOPMENT

FIG 231

FIG 232

FIG 233

FIG 234

FIG 236

130

FIG 238

/// F I G U R E

LI ST

FIG 239

FIG 242

N C ON S UMER SLEEK FIG 235

&

SH A RP

MINIMA LI SM CL A S SY URBA N

&

REFINED

CHIC

P U T - TO G ET HER A E ST HET IC D I G I TA L

&

LU X URY

M OD ERN

A S P IR AT I O N A L

C ON T EMP OR A RY ORG A NI SED LO G ICA L FIG 237

FUN

BU T

CL A S SIC

PER S ON A LI T Y - FILLED E X PRE S SIVE S O CI A L PA S S I O N AT E DRIVEN

FIG 240

&

D ET ERMINED

FIG 241

FIG 242

FIG 243 132

/// F I G U R E

LI ST

FIG 244

FIG 245

FIG 247

FIG 246

FIG 248

FIG URE

LI ST

///

133

FIG 250

FIG 249

FIG 251

FIG 252

FIG 254

FIG 253

13 4

FIG 255

///

V

FIG 256

VI A

SHOP . A I

C OLLEC T ION

Z IPD

INDIVIDE

C UR AT E

WA RDROBE

YO U VI A

Taking a selection of potential names to a focus group

decision to develop this into the name. Additionally,

of target consumers uncovered a number of insights. A

feedback indicated that the target consumers wanted

preference for brand names that did not already exist as

the name to be somehow rooted in the brand meaning

words, and therefore had no existing connotations, was

or brand offering. This group discussion was invaluable as,

indicated; shaping the name development process. The

in a group effort, it led to the combination of the words

strong favour for the femininity of 'VIA' was contrasted

individuality and via, creating a feminine name that is rooted

with its existing connotations, which moulded the

in the brand ethos; finding individuality via the service.

IND I VI A

T YP O G R A PHIC

E X P ERIMEN TAT I O N

INDIVIA INDIVIA I N D I V I A A a B b C c D d E FfGgHhIiJjK L l M m N n O o P Q q R r S s T t U V v W w X x Y y Z REL AT I V E M O N O

e k p u z

A a B b C c D d E F f G g H h I i J j K L l M m N n O o P Q q R r S s T t U V v W w X x Y y Z

e k p u z

A F L Q V

M O D IFI CAT I O N

INDIVIA INDIVIA A a B b C c D d E FfGgHhIiJjK L l M m N n O o P Q q R r S s T t U V v W w X x Y y Z

e k p u z

REG UL A R

T YP O G R A PHIC

A a B b C c D d E F f G g H h I i J j K L l M m N n O o P Q q R r S s T t U V v W w X x Y y Z 85 %

e k p u z

HEI G H T

ST Y L I S AT I O N

Line logos offer an aura of sleek contemporary style to any brand identity. The stylised geometric nature of the typography and name lends itself to manipulation into a line logo. Focusing on the interesting angles featured in VIA, I began experimentation in creating line logos and I then presented the selection to a focus group of target consumers for feedback and finalisation. To maintain brand identity, the creation of the logo, led bar in the A and reversing the N, so all branding was continuous and related back to the developed logo.

NN

A

V

to typographic stylisation, removing the horizontal

D d i J j O o T t Y y

ARIAL NARROW

M O N T S ERR AT REG UL A R

T YP O G R A PHI C

a B b C c f G g H h I l M m N n q R r S s v W w X x

E K P U Z

e k p u z

V

N

FIG 257

FIG 258

FIG 259

FIG 260

FIG 261

FIG 262

FIG 263

FIG 264

FIG 265

FIG 266

FIG 267

FIG 268

IN SPIRIN G INDIVID UA LI T Y S IN G LE

MIND ED

PRO P O S I T I O N

///

137

DE VICE

C ON T E X T

I MPA C T

L A P TO P

Browsing at home Often looking for a specific item or an outfit for a specific occasion Large screens Majority of the user's focus is on the laptop Listening to music in the background

More text information Smaller sized images so users can see a lot of products at once to compare Easy navigation but access to more options and controls Inspiring images

TA BL E T

Browsing at home Browsing whilst watching the television or engaged in some other activity Not entirely focused on the browsing Relatively small screen Not usually looking for anything specific, just browsing new styles and trends

Large and bold images to draw attention back to the application Not much information and few click throughs to be usable with touch screen Visual inspiring and attracting

PH ONE

Browsing on the go Filling time whilst commuting or waiting for trains Very small screen Busy and loud surroundings Aware of their surroundings so not entirely focused on the phone Often also listening to music through headphones

Large pictures - full screen size Uncluttered screens Little text and info Communication through images Not many clicks required and no small fiddly icons Easily navigable Does not interrupt music playing in background

Research began through the use of applications that the target consumers were already using to review the design and flow of applications that were already successful within this market. From this, I drew out ideas for sleek, simplistic yet inspiring layouts, and opted for an ultra-simple interface as the service is a serene haven from the overwhelming fashion e-commerce environment.

From this, I began experimenting with Adobe Muse and Adobe XE to build and design the applications, learning the features and employing them to create a truly successful prototype. Balancing the functionality and the aesthetics, I feel I was able to create a truly inspiring and striking application that did not detract from the ease of use. Again, the development of the service was aided by continuous consultation with the target consumers, to ensure it met their needs and appealed to their style and preferences.

FIG 269

FIG 270

FIG 271

FIG 272

FIG 273 I reviewed the packaging from the target consumers' favourite brands along with packaging trends to create iconic packaging. Ensuring continuity in colour and aesthetic, experimentation revolved mainly around box style and placement, as the strong purple and white brand identity was continued across all physical products.

Experimentation of material was explored; however, as the consumers would receive free delivery, the lowest cost option was selected in order to maximise on profitability.

FIG 274

FIG 275

FIG 276

FIG 277

FIG 278

FIG 279

FIGS 280-281

Pivotal to the business model, it is imperative that retailers

challenge. Therefore, the research turned to finding event

are successfully marketed to. Hosting an event would

venues that already supported or provided some form of

allow for the targeting of numerous retailers in one

futuristic technological experience that the event could

situation, but the challenge is creating an event innovative

use advantageously. Finding Otherworld, the virtual reality

and intriguing enough to ensure attendance. Establishing

event, was the key accelarator in the development of this

Indivia as a futuristic brand, developing a technological

promotional activity as, from the existing infrastructure

slant to the event would solidify the innovation that Indivia

and experience provided, this could be tailored to the

will bring to the brands in their representatives' minds.

requirements of the fashion show, integrating physical

However, doing so at a low cost proved to be a further

and digital; a perfect reflection of the brand foundation.

Despite how absorbed the consumers are in technology,

have willingly followed the content-creators prior to the

engaging with them digitally proved challenging. Exploring

campaign, expecting product recommendations from

digital marketing avenues, and discussing their effects with

them. However, large scale influencers were received

consumers, firstly led to more issues rather than solutions.

as impersonable and inauthentic. Therefore, the scale

It was discovered that the consumers were put off by

of the influencer was reduced to increase relatability,

brands that interrupted their device use through unwanted

resulting in a micro-influencer marketing campaign.

advertisments. Therefore, they had to be targeted in a

Selected for their similar lifestyles, these busy, young

way that would not interrupt them, in a situation in which

working women will be successful as their product

they welcomed promotion. Influencer marketing was

and service recommendations will resonate with the

the obvious solution, as the consumers would have to

target consumers like the recommendation of a friend.

Having researched the power of marketing in unexpected

discovered in the segmentation of the consumer was that

locations, I wanted to incorporate it into Indivia's marketing

they were either moving, had just recently moved, or were

strategy. Finding a location that was frequented by

looking to move. Directing me towards low-cost furniture

the target consumers that would allow for additional

giant IKEA, I then discovered recent collaborations

promotion began in a review of the target consumers

between other brands such as Adidas and Tom Dixon,

behaviour and lifestyle. Consulting the consumers to gain

indicating that the brand was receptive to such

an understanding of the places they visited, I was able to

propositions.

piece together a clear day-in-the-life and explore potential

great

options for promotional activities. One clear distinction

association,

reach

Providing and the

the

the

perfect

advantage

collaboration

location, of

was

for

unexpected determined.

Uncovering the success of station advertising, I set out to

video cameras and projection to super-impose sheep onto

develop a truly multi-sensory experience that would break

the consumers. However, research into cost soon resulted

the monotony of the target consumers' commute, initiating

in the alteration of the idea as the return on investment

a positive association with the brand. Combining art and

was poor due to the high initial cost. Instead, the idea was

music to create a truly unique experience, art installations

refined to contain it to a specific area, a model train carriage

that could inspire were considered. Focusing on mimicking

showing sheep filing out. Juxtaposing with the Indivia girl,

the consumers as herds of sheep moving mindlessly through

dressed boldly and powerfully, this campaign incorporated

the station, I toyed with the idea of creating a paddock

both the brand message with an engaging multi-sensory

on the station concourse, with flooring and lighting, using

experience, drawing in the target consumers' attention.

FIG 282

FIG 283

FIG 284

FIG 285

An attempt to stand out from the mundane print advertisements

currently

displayed

in

stations,

but

in a manner that appealed to or attracted the target consumers'

attention.

As

luxury

aspirationalists

who engage with luxury brands on social media and through fashion publications, they are well versed in the stylisation and presentation of luxury fashion advertisements. A recent trend in the featuring of exotic animals in these advertisements presented the opportunity to replicate this in some manner, appealing aesthetically to these luxury aspirationalists. However, direct replication would introduce false connotations with

the

brand;

therefore

a

satirical

approach

would relay similar visual appeal whilst establishing a campaign message aligned with the brand ethos.

FIG 286

FIG 287

V #UNLEASHYOURINDIVIA V

FIG 288-299 /// ABOVE FIG 300 /// COVER

V N N V CA RO LINE HELEN DAVIE S N ST UD EN T N O. 2010 0 9275 V S D16 C HD @ LEED S. AC . UK N UNI VER S I T Y O F LEED S V N V N FA S HIO N M A RKE T IN G 5 47 7

WORD S N D E SN337 0 V M AY 201 7

# UNLE

150

V /// C R E A T I V E

V

S H YO URI

N DE VELOPMEN T

N

D I VI

V