AllSaints Limited x Copenhagen Alexa
Carrie
Shannon
contents
fig 1. Campaign front cover, 2017 fig 2. A Girl With Layers, 2017
01
02
03
04
05
06
intro
consumer
context
creative concept
big idea
route to consumer
intro 01
conscious consumption
‘The context of luxury is shifting. There is not one definition but many.’ (WGSN, 2015) A more considered approach to what consumers buy and where they buy it from has become an identified luxury trend and social conversation of today. This new form of luxury, identified by LS:N Global (2017) as ‘Conscious Consumption’, has expanded rapidly in 2017, where quality becomes a matter of who makes your products and how they are made. In the fashion industry, brands have realised that there is a ‘segment of consumers who prefer to buy fewer things that will last longer as opposed to constantly purchasing things that they will throw away shortly thereafter.’ (McHugh, 2017; See Appendix. 2f) With this in mind, brands have started to become more honest and upfront as well as disclosing details of the product’s lifecycle in order to build a more transparent relationship between brand and consumer. fig 3. Boy Got Troubles, 2017
context 02
why AllSaints Limited? fig 4. There’s Lots To See, 2017
fig 5. AllSaints Limited, 2016
AllSaints Limited’s focus on craftsmanship, through understanding and acknowledging where materials are sourced from, plays a significant role in conscious consumption. ‘The beauty of craft, and the skill of the maker, will become an increasingly important point of difference for products.’ (WGSN, 2016) Therefore, by selecting the new luxury line of AllSaints, the idea of conscious consumption will elevate the brand’s current values of craftsmanship as well as reaching a new ethical consumer that already believes in a more considered buying approach to fashion. Moreover, AllSaints Limited, as the name suggests, comprises of garments made in strictly limited
numbers, which appeals to consumers who have an abundance of choice within the fashion landscape. As AllSaints Limited is an innovative and emerging segment of the brand, it’s essential to push the collection even further so that it excels as a brand in its own right and is recognised as competition to aspiring luxury competitors such as Alexander Wang, Saint Laurent and Rick Owens. The existing collection was exclusively showcased on Selfridges’ International Luxury Designer floor in London alongside high-end labels such as Givenchy, highlighting its potential to succeed within the luxury fashion market.
Burberry is an example of how a luxury British fashion brand has created a popular experience based around the idea of craftsmanship. ‘Burberry Makers House’ was a weeklong pop-up event that revealed different stations and spaces where makers demonstrated various crafts and techniques. (Morby, 2016) Christopher Bailey, Creative Director of Burberry, believes that ‘people are as interested in the story as they are in the finished thing.’ (Williams, 2017) Therefore, the importance of such a well-known fashion brand taking this concept forward highlights the new wave of consumers that desire more than just a finished product. This was further reinforced by Mark Dunne, AllSaints Store Manager in Nottingham, who suggested that William Kim, CEO of the brand, bought a new luxury aspect to AllSaints in 2012 after leaving his previous position at Burberry. (Dunne, 2017; See Appendix. 4a) Consequently, by combining values in craftsmanship and new definitions of luxury, AllSaints Limited has the potential to promote conscious consumption through a new campaign, which is increasingly important in today’s post-truth society. fig 6. Burberry Makers House, 2017
why Copenhagen?
fig 7. Ikea Space 10, 2016
Danish consumers are hailed as being some of the cleanest and responsive on the planet, therefore taking the concept of conscious consumption with AllSaints Limited into the capital, Copenhagen, is a natural progression. With competitors such as Acne, Alexander Wang, The Kooples and Saint Laurent already obtaining a presence within the area and more moving across each year, the opportunity and importance of AllSaints Limited creating a base within the city grows exponentially. Danish customers are recognised as early adopters especially within the tech and the fashion industry. This means that they would be more open to new ideas and products, therefore by taking the lesserknown side of the brand into the area, the concept would be adopted swiftly and consumers would be more lenient to the change in how we buy fashion.
fig 8. COS unisex sneakers, 2016
fig 9. Acne store in Illum, 2015
Furthermore, the Danes have money to spend. Recognised as one of the wealthiest countries in the world by The Economists’ ‘World in Figures 2017’ means that consumers have an abundance of disposable income. This creates a new opportunity to bring forth the luxury side of the brand. Paired with an ever-growing fashion week, the city is host to a plethora of recognised and emerging influencers. These individuals have the potential to push through the concept of conscious consumption, with the overall aim of not only influencing Danish consumers but also surrounding countries such as Norway and Sweden - similarly to when AllSaints took the brand into Japan and consequently attracted a large Chinese consumer base. With an innovative concept and brand to match, the opportunity and potential of the move positions AllSaints as a pioneering luxury retailer within a market whose values align perfectly.
fig 10. Acne store in Pilestræde, 2012
why conscious consumption?
fig 11. GFW Collection, 2012
There is a growing number of individuals, communities and brands who are taking a stand against fashion waste and creating a social movement that inspires consumers to re-use, re-pair and re-think their buying habits. This was highlighted in the recent documentary, ‘HyperNormalisation’, created by Adam Curtis in 2016, which underlined our immunity to 21st Century horrors within consumerism. Another recent documentary that focuses on conscious consumption is ‘Minimalism: A Documentary About the Important Things’, created by Matt D’Avella in 2016, where Joshua Fields Millburn and Ryan Nicodemus, also known as The Minimalists, educate the viewer on how we are constantly bombarded with unnecessary ‘stuff’, resulting in mass consumerism and the rise of ‘stuffocation’.
where else are we seeing conscious consumption?
Patagonia is pioneering the concept of conscious consumption by actively encouraging customers to buy less and reuse more. This then memorably markets the quality of its products and a more transparent relationship is built between brand and consumer. (See Appendix. 5a)
fig 12. Patagonia Black Friday, 2011
fig 13. Everlane Transparency, 2016
Everlane See Appendix. 5b
fig 14. H&M Conscious Collection, 2016
H&M
See Appendix. 5c
fig 15. Piaule Limited Towel, 2016
Piaule See Appendix. 5d
Within the fashion industry, the immense pressure to produce quick innovative ideas has meant that some of our most iconic creatives have quit their high profile roles, such as Raf Simons and John Galliano. Shannon Whitehead, a minimalist fashion designer, explains how we walk in a cycle of 52 ‘micro-seasons’ a year in the fashion industry, whereas in the 1960’s, we only considered 2-4 seasons a year: spring/summer and fall/winter. (D’Avella, 2016) Evidently, there is a need to slow down the fashion process and product lifecycle
in order to ‘value’ items more so that garments are seen as keep-sake pieces and not as flippant trends. With this thought in mind, an online survey was conducted to further understand perspectives of ‘value’ within other design sectors, ranging from art and jewellery to furniture and fashion.
fig 16. Raf Simons leaving Dior, 2015
78% quality
60% quality
40%
method: online survey with 82 respondents purpose: to understand perspectives of value within different design sectors outcome: quality is less important in fashion insight: there is a need to reimagine the meaning of value in fashion & a need to realign the industry with other design sectors
quantity
22% quality
Art
Furniture
73%
68%
quantity
quality
32%
quantity
27% quality
fig 17. Quality or Quantity infographic, 2017
Jewellery
Fashion
big idea 03
so, what’s the big idea? to re-imagine the meaning of ‘value’ in 2017 through All Saints Limited, by challenging perceptions of where fashion sits within the broader design landscape. fig 18. Stay Grounded, 2017
consumer 04
fig 19. Kickin’ Back, 2017
Before introducing the consumers, it’s important to understand the reason for extending the AllSaints Limited line into Copenhagen with not just womenswear but also menswear. This is due to the fundamental existing male consumer within the original AllSaints brand. Through conducting in-store interviews around the UK, this idea was validated by the Manager of the Flagship Store in Spitafields, London. ‘There are definitely more men than women - our mix is 70:30. We still sell to women but our sales are predominantly 70% male.’ (Westley, 2017: See Appendix. 4c) Therefore, it is crucial for the campaign launch to reach the male consumer as well.
consumer #1: urban dweller Jordan | 24 | Copenhagen | freelance writer | city explorer
fig 20. Urban Dweller, 2017
consumer #2: conscious creative Irene | 42 | Copenhagen | painting + interiors | mother of two
fig 21. Conscious Creative, 2017
consumer #3: loyal influencer Anthony | 29 | Copenhagen | visual merchandising | family man
fig 22. Loyal Influencer, 2017
innovators
early adopters
early majority
fig 23. Rogers’ Diffusion of Innovation theory (1962)
late majority
laggards
creative concept 05
fig 24. Wrapped in Sheepskin, 2017
Yarns are Italian, the black, fray-hemmed jeans are handcut, the sheepskin is fulllength and light, with laser-cut shoulders for streamlining, and leathers across the brand are sourced ethically. (Armstrong, 2016)
fig 25. AllSaints Limited DNA, 2017
fig 26. Concrete Architecture, 2016 fig 27. SE / skĂĽne collage, 2016
By unpicking the current AllSaints Limited DNA, diverse ranges of materials were discovered.
Focusing on light concrete greys that contrast with neutral tones, as well as the juxtaposition of solid structures with heavy multi-layering, a combination of minimal styling and a more DIY hands-on approach is formed. The multilayering elements represent the brand’s focus on craftsmanship and the simplistic structures signify a Scandinavian aesthetic that will be introduced into the design recipe.
fig 29. Barcelona Pavilion
A ‘less is more’ tone of voice is added through exploring art movements and universal design styles, such as Bauhaus and Swiss International Design. Both concepts complement each other through having similar ‘design rules’ that reach a wider audience by either making graphic design more scientific or by adhering to the ‘form follows function’ rule. The concept of conscious consumption currently targets a segment of consumers who are aware of the impacts that their buying habits have on the environment, meaning that a narrative around ethical trading and sustainability is formed. Therefore, by creating a design recipe that is influenced by art movements that focus on inclusivity, the concept of conscious consumption will eventually reach a wider audience. With this in mind, the aim is to challenge perceptions of how the concept is communicated, ultimately creating a more contemporary aesthetic through using bold graphical elements and typography that contrasts against the current tone of voice that represents craftsmanship.
fig 28. Minimal poster
so in summary... Craftsmanship is represented through the use of multi-layering as this symbolises a more hands-on approach to the aesthetic. Aqua blue tones are added to AllSaints Limited’s existing earthy palette to add a Scandinavian touch, while signifying trust and transparency. In terms of typography and layout, elements of Swiss International Style and the Bauhaus movement create a more inclusive concept of ‘luxury’ through universal branding and a minimal approach to design.
fig 30. Rock Won Presbyterian Church, 2013 fig 31. Look and feel moodboard, 2017
Alisa Aiv
Hepworth, Wakefield
Lauren Marsolier
COS: Kato Junpei (2015)
fluid + natural + minimal + calm + still shots + clean + pure + silence + concrete + gentle + skin + craft
The first stage of the campaign positions the models against valuable commissioned art pieces, as part of a local collaboration, in order to coincide with the idea of realigning design sectors. This ultimately elevates the garments as though they have been exhibited in a museum, signifying both importance and value. The use of podiums showcase the garments as luxury pieces and the still posture of the models mimic that of a statue, representing elegance and significance and consequently highlighting the quality of the brand’s products.
fig 32. Campaign #1, 2017
The second stage of the campaign consists of AllSaints Limited garments juxtaposed with valuable art pieces. The message communicated is that the garments are as valuable as the hand-crafted art pieces, emphasising the conscious lifestyle that AllSaints Limited is promoting – it’s not just a fashion brand. The idea of positioning the garments next to valuable art pieces was validated by well-known fashion designer JW Anderson through his exhibition ‘Disobedient Bodies.’ (See Appendix. 2e) The exhibition, held at the iconic Hepworth Gallery, took place a month after the big idea came to fruition, supporting the concept of blurring the lines between design sectors. Using a Polaroid style keeps the brand on-trend in relation to challenging composition and layout within fashion campaigns. A Polaroid picture also captures a more valuable moment in time, which is increasingly important in today’s fast-paced, ‘buy me now’ culture.
fig 33. Campaign #2, 2017 fig 34. Campaign #3, 2017
route to consumer 06
The marketing strategy will use specific communication tools in order to reach the consumer when they are most receptive. Firstly, in order to create an integrated marketing campaign (imc), key aims and objectives need to be established.
aims: to tell the consumer about a new product/service to change perceptions about consumerism to reposition the brand in the premium, luxury market
objectives: by promoting the AllSaints Limited launch event by reimagining the meaning of value by highlighting the brand’s values of craftsmanship
fig 35. Amidst Nature, 2017
reaching the consumer ‘Innovation is not just an investment in product enhancement or customer experience; innovation is an investment in your customer’s future — a human capital investment in who your customers really want or need to become.’ (Schrage, 2012) With this in mind, AllSaints Limited adopting conscious consumption within Copenhagen will inevitably lead to consumers becoming more considerate when buying. Furthermore, through reimagining the meaning of value by blurring the lines between design sectors, consumers will essentially become more creative, more cultured and more connected. However, in order to design a more ‘valuable’ consumer through investing in their future, AllSaints Limited needs to understand what they are doing day-to-day already. Therefore, insight into a day in the life of a consumer is also necessary for achieving a fully integrated marketing campaign and to pinpoint when and where the campaign can be promoted.
fig 36. Nostalgic Fever, 2017
fig 37. Day in the Life #1, 2017
fig 38. Day in the Life #2, 2017
fig 39. Day in the Life #3, 2017
what do we want them to do? generate word of mouth and awareness of brand brand loyalty: continue to invest in brand share and recommend brand and message
where can they be reached? through influence from bloggers and real people through combination of digital and outdoor marketing through current creative community in Copenhagen
when will they be most receptive? morning and evening: social media outdoors: journey to and from work and events unwinding: Lagom, Delayed Gratification, Hole & Corner
why should they listen and trust us? AllSaints’ core brand does not have a current presence in Copenhagen, therefore it is vital to underpin why AllSaints Limited will be successful in its launch without its core brand’s presence in the region. Ultimately,
fig 40. Tear Me Up, 2017
AllSaints Limited stems from a globally recognised brand that is taking a new direction towards more conscious buying, in turn attracting existing AllSaints consumers and new, more ethical consumers who buy more consciously by nature. Moreover, AllSaints Limited has the potential to sit alongside aspiring competitors, enabling the line to be positioned in the luxury market. This means that the AllSaints brand is then present in both the premium high-street and luxury market, appealing to a wider range of consumers with their different product and price offerings and consequently benefitting both the brand’s reach and profits.
communications timeline Campaign is launched: digital & physical
Interactive clothing label: use VR to explore journey of product
Concept store launches in Vesterbro
‘3 Days of Design’ influencer engagement June 2017
July 2017
Social media teasers
E-newsletter: showcasing upcoming artists & designers
Aug 2017
influencer engagement Sept 2017
Oct 2017
Nov 2017
Product: reviews & recommendations
Event launch: duration is 1 week Guerrilla marketing: artists in Vesterbro CFW
consider
evaluate
buy
enjoy
bond
what’s the message? ‘All communications must project a coherent, single voice which reflects and reinforces an ongoing brand storyline to which target audiences can connect and help to cocreate.’ (Dahlen et al., 2010). The message that the campaign aims to promote throughout is: quality over quantity in the fashion industry is increasingly important in 2017’s throw away culture. This message will be introduced and repeated throughout all communications, from the teaser launches to keeping AllSaints Limited consumers in the loyalty loop.
fig 41. Talk To The Hand, 2017
before: social media
fig 42. Social media teaser, 2017 fig 43. AllSaints Limited Instagram, 2017
#DoYouValue
212
244k
367
posts
followers
following
In order to effectively sow the seeds of awareness for AllSaints Limited in Copenhagen, teasers will be launched which reveal elements of the campaign alongside the caption ‘What does value mean to you? #comingsoon.’ ‘The key to a good teaser campaign is all about giving a little without spoiling the surprise’. (Shousha, 2017). Over the course of a month, the teasers will be released across AllSaints Limited’s social media channels to create a hype around not only the brand, but the campaign and event launch too. As more teasers are revealed and more interest gathers, ‘#DoYouValue’, will be introduced wth the aim of creating a social conversation around the launch that not only acts as a way of measurement but also a catalyst to get audiences talking about the brand concept. Teaser success has been validated by the likes of Kanye West’s Yeezy campaign, which revealed elements of the show being slowly fed to audiences over social media, ultimately creating a huge wave of hype and awareness around the launch.
fig 44. Boy Got Troubles Again, 2017
before: advertising
Copenhagen, Summer 2017
fig 45. 3daysofdesign, 2017
‘3daysofdesign is an annual event that draws journalists, buyers and design enthusiasts from around the world to Copenhagen to experience a new and refreshing look on the industry, presented in a unique collaboration between top companies and designers.’ (3daysofdesign) Here, AllSaints Limited will showcase the launch of the campaign and promote the collaborative event at the show with the aim of standing out as the only fashion brand exhibiting at what is considered as one of the most influential design events in the Danish calendar. Being at the event will further promote the core campaign message of realigning the fashion industry with other design sectors by exhibiting the garments as pieces of art alongside other crafted products. 3daysofdesign will also allow AllSaints Limited to utilise the consumer base present at the event and attract them to the collaborative campaign launch which will in turn, create awareness and generate a social conversation.
fig 46. Faaborg Chair, 2016
before: Copenhagen Fashion Week fig 47. CFW, 2017
Due to the success of AllSaints in Japan at Tokyo Fashion Week 2016, that equated in the brand attracting a wider audience from surrounding countries such as China, the campaign launch will be advertised at Copenhagen Fashion Week 2017. The presence of the brand, and the concept being promoted, will create a stir in the way that buyers and fashion enthusiasts perceive 2017’s throw away culture. Will Beedle, Creative Director of AllSaints stated, ‘launching the latest chapter of the brand’s global journey in Japan at Tokyo Fashion Week is both exciting and inspiring.’ (Hendriksz, 2016) This means that although AllSaints rarely show an interest in traditionally popular fashion weeks like London, New York and Milan, the introduction of the brand in a new location at an emerging event will make a bold impact. However, AllSaints Limited won’t be committing to a catwalk or trade stand; instead they will be promoting the message through outdoor advertising around the city during the event to make both locals and fashion enthusiasts aware of the brand. This will create a conversation around the importance of slowing down the fashion cycle by creating more restricted numbers, which is exactly what AllSaints Limited does.
fig 48. AllSaints TFW, 2016
during: the event fig 49. Event mock-up, 2017
fig 50. AllSaints Limited, 2017
The mock-up of the exhibition design corresponds with the nature of the campaign, where AllSaints Limited garments are paired with hand-crafted art pieces in order to blur design sectors and ultimately reimagine the meaning of ‘value’. The exhibition, which is temporary and lasts for just one week, consists of artists narrating the story and the craft behind each of their pieces through the use of directional speakers as guests move around the space. The sociable and networking area at the bar encourages guests to engage around the topic, before drawing attention to the ‘memorable sharing moment’: the show-stopper leather jacket.
https://vimeo.com/217195280
Architectural Designer and collaborator Eddie Welham describes the intimacy of the moments where guests interact with the pieces, which hang at eye-level: “Floating display cases and plinths elevate the artefacts held inside, creating a ‘value’ to them. The coats suspended from the ceiling sway as visitors walk by, creating an ephemeral moment between the visitor and the object.” (Welham, 2017: See Appendix. 8d) The overall aim of the event is to take guests on a journey of craftsmanship, where they discover not only how the art pieces were constructed, but even gain insight into the skill behind the creation of the garments.
how can it be shared? The iconic retro TV’s, which form part of the AllSaints Limited brand DNA, display a live Twitter feed where guests can interact and tweet during the event. The interactive element is implemented through creating a conversation around ‘what does value mean to you?’ by using the hashtag #DoYouValue. This in turn allows guests to join the social conversation, have their say and even contribute their own personal touch before leaving the event, which memorably markets the brand message.
fig 51. Still Kickin’ Back, 2017
how can success be measured? The success of the event will be measured by creating a Google alert which means that email notifications will be sent each time Google finds new results in relation to AllSaints Limited and/ or the event. The intended outcomes of the launch event include both media coverage and increased brand awareness, through inviting influential people, journalists and well-connected individuals.
fig 52. Experience model, 2017
empower
create stories people want to share
influence
have the right people share it
reach
broaden the campaign reach
results
increase campaign efficiencies
during: guerrilla marketing map of Vesterbro, Copenhagen Skydebanehaven
Sommerlund
Dgi Byen
Oksnehallen Kyoto V1 Gallery Litauens Plads
Kodbyen Meatpacking District
Enghave Plads
Carlsberg Area
fig 53. Vesterbro map, 2017
Bjørn Nørgaard Sculptor
Milia Laurila Visual artist
Thierry Geoffroy Conceptual artist
Conor Harrington Street artist
Troels Carlsen Painter
Jeppe Hein Sculptor
Helen Frik Sculptor
Søren Pihlmann Fine artist fig 54. Artist collaborations, 2017
Throughout the week-long duration of the collaborative launch, AllSaints Limited will be attracting audiences outside of the event through guerrilla marketing around the area of Vesterbro, the Shoreditch equivalent in Copenhagen, where the brand’s consumers spend most of their time. Scattered around the neighbourhood will be eight local artists who will be creating street art pieces based around the question ‘what does value mean to you?’, which aims to further blur design sectors. The presence of eight artists coincides with the statement that ‘Once is chance, twice is coincidence, third time is a pattern.’ (Silva, 2008) meaning the more consumers view something, the more they are likely to take note of the message and engage with it. Alongside the art pieces will be ‘#DoYouValue’ which encourages passers by to engage with the social conversation online and will also allow them to discover the launch event. By creating an experience all over Vesterbro through local artists, the brand not only builds a community of creatives and allows for more interactivity with the campaign but also attracts a wider audience base to the launch event. Finally, this experience allows for consumers to be able to value access over ownership.
after: influencer engagement
sharing your content through influencers is found to increase conversation rate by at least 3-10 times. (Musefind, 2016)
fig 55. A Girl With More Layers, 2017
Nearly 70% of millennials use ad blockers, so the way to reach them is to provide content they want from people they trust. (Mediakix, 2016) With the majority of our consumers falling into this generation, it is crucial to understand how using influencer engagement can enhance the promotion of the campaign. With a growing distrust of governments and large corporations, millennials prefer to gain a valued opinion from people they trust, be them friends or online influencers. They want authenticity and a deeper reason to support a brand. ‘Digital influencers have proven that they have become more powerful, as consumers find them more credible than traditional celebrities,’ (Musefind, 2017) with ‘92% of consumers trusting an influencer more than an advertisement or traditional celebrity endorsement.’ (Musefind, 2016) AllSaints already have an existing micro-influencer strategy; therefore by categorising chosen influencers into Local Heroes, Niche and Power, the campaign will reach a large number of followers, without feeling too distant to the consumer.
influencer match tool: AllSaints Limited In order to match the right influencers to AllSaints Limited, an industryrecognised tool has been used, which matches brand values with personality traits and values and beliefs of the individual. This is how AllSaints Limited looks on the diagram, with values such as ‘indulgent’, ‘craft’ and ‘premium’ rated very high and values such as ‘humorous’ rated considerably low.
premium creative
modern
craft
humorous
indulgent
intelligent approachable fig 56. AllSaints Limited IMT, 2017
influencer match tool: Alexander Gram
3719
premium creative
modern
craft
humorous
indulgent
intelligent approachable
fig 57. Alexander Gram IMT, 2017
60% match
influencer match tool: Laura Tonder
14.3k
premium creative
modern
craft
humorous
indulgent
intelligent approachable
fig 58. Laura Tonder IMT, 2017
85% match
influencer match tool: Isabella Thorsden
105k
premium creative
modern
craft
humorous
indulgent
intelligent approachable
fig 59. Isabella Thorsden IMT, 2017
70% match
evaluate
after: brand loyalty According to Ivan Mazour, chief executive and cofounder of Ometria, a marketing platform specialising in personalisation, consumers will soon abandon brands that don’t offer personalised content: brand loyalty is no longer a given, it has to be earned. (Mazour, 2016) Therefore, in order for consumers
to continue interacting with the brand, it is essential that more than just a finished product is provided, which is especially important when entering unfamiliar culture. Brand loyalty will not only be generated through ongoing ‘keeping in touch’ tools, but also through offering a new conscious lifestyle that contributes to revolutionary cultural change.
advocate consider
bond
loyalty loop buy enjoy
fig 60. Loyalty loop, 2017
The event and guerrilla marketing tool is a build-up towards a concept store in Vesterbro, where the A/W17 AllSaints Limited menswear/womenswear collection will be available. To ensure consumers are bonding with the brand after their product purchases from the concept store, an interactive label that uses a virtual reality experience will act as a product takeaway. Reflecting conscious consumption and the allimportant craftsmanship of the brand, the consumer will be able to scan their garment’s label using the QR code. They will then be taken on an immersive journey through the product’s lifecycle, ultimately creating a more transparent relationship between brand and consumer. Having the opportunity to understand where the materials are sourced from creates a narrative behind each product, which is highly attainable due to the limited number of garments available - this in itself is an incentive to initially buy a product. Finally, through using the Google cardboard headset, this not only makes it accessible for others to experience but also ties in well with the ‘craft’ values of the brand. fig 61. Interactive label, 2017 fig 62. Talk To The Other Hand, 2017
Zara Burke, executive of the Digital Marketing Institute, suggests that over half of opened emails are deleted within 2 seconds; in order to prevent this from happening it’s important to start delivering more personalised, targeted and contextualised emails with deeply relevant messages. (Burke, 2016) Campaign Monitor, a platform that specialises in personalised emails, invites and newsletters will therefore be used in order to keep the consumer interacting with the brand on a personal level. Coinciding with AllSaints’ digital nature, a monthly e-newsletter will be received by subscribers, consisting not only of AllSaints Limited’s future collections, but also upcoming artists and designers.
fig 63. E-newsletter, 2017
to conclude...
fig 64. Still Grounded, 2017
To conclude, ‘consumers are sharing and consuming more data than ever before, and they’ll expect ‘conscious brands’ to do the same.’ (Adams, 2014) ‘What does value mean to you?’ isn’t merely a fashion campaign, but a social revolution that inspires consumers to adopt a more conscious lifestyle that expands far beyond the fashion sector. The industry is at a pivotal point in history, where mass-consumerism is at its highest, fashion waste has reached peak levels and there is an overwhelming sense of ‘stuffocation.’ If brands don’t react to this, they risk being dumped with the rest of the forgotten clothes in the landfill. AllSaints Limited have the opportunity to position themselves at the forefront of conscious consumption, with ‘89% of Millennials claiming that they have switched to a brand that had a higher cause.’ (Watz, 2015) There is no better time to adopt this concept in Copenhagen, through a consumer base with perfectly aligned values. In the end, in an age of overflowing landfills and massconsumerism, an age of declining attention spans and endless distractions, an age which rejects the antisocial, the interruption, and the sell, it is innovative concepts that turn heads and hold the imagination.
list of illustrations Fig.1. Own Image (2017). Campaign Cover [photograph]. Fig. 2. Own image (2017). A Girl With Layers [collage]. Fig.3. Own image (2017). Boy Got Troubles [collage]. Fig. 4. Own image (2017) There’s Lots To See [collage]. Fig. 5. AllSaints Limited (2016). AllSaints Limited. [image] Available at: http://www.lola-london.co.uk/images/wclothingt6-1/ ALLSAINTS%20LIMITED---Halo%20leather%20biker%20 jacket--851_2.jpg [Accessed 22 May 2017]. Fig. 6. Burberry (2017). Burberry Makers House Exhibition [image]. Available at: https://cdn.wallpaper.com/main/styles/wp_large/s3/ burberry-henry-moore-makers-house-05.jpg [Accessed 22 May 2017]. Fig. 7. Space10 (2016). IKEA Space10 [image]. Available at: http:// www.ikea.com/ms/img/ads/vitality/ikea_highlight/open_graph_ img/IKEA-secret-innovation-lab_og-img.jpg [Accessed 23 May 2017]. Fig. 8. Cos (2016). Cos Unisex Sneakers [image]. Available at: https://s-media-cache-ak0.pinimg.com/originals/b1/63/a1/ b163a1f0e551c6ea325dacb32e0df09e.jpg [Accessed 23 May 2017].
Fig. 9. Acne Studios (2015). Acne Store in Illum [image]. Available at: http://us.fashionnetwork.com/news/Acne-Studios-testsnew-store-concept-in-Copenhagen,589017.html#.WSVZ8Bi-Kb8 [Accessed 23 May 2017] Fig. 10. Acne Studios (2012). Acne Store in PilestrĂŚde 40 [image]. Available at: http://bozarthfornell.com/case/acne-copenhagen/ [Accessed 23 May 2017] Fig. 11. Avetisyan, T., (2012). GFW collection [image]. Available at: http://1granary.com/central-saint-martins-fashion/photoshoots/1granary-for-i-d-magazine-backstage-of-the-final-graduate-bashow-2012/ [Accessed 23 May 2017]. Fig. 12. Patagonia (2011). Patagonia Black Friday [image]. Available at: http://www.sarahwilson.com/wp-content/uploads/2015/06/ Patagonia_dont-buy-this-jacket.png [Accessed 23 May 2017]. Fig. 13. Everlane (2016). Everlane Transparency [image]. Available at: https://wondersnack.files.wordpress.com/2015/02/everlane-2. jpg [Accessed 23 May 2017]. Fig. 14. H&M (2016). H&M Conscious Collection [image]. Available at: http://www.ecouterre.com/wp-content/uploads/2011/02/h-mconscious-collection-2.jpg [Accessed 23 May 2017].
Fig. 15. Piaule (2016). Piaule Limited Towel [image] Available at: https://piaule.com/products/01-towel [Accessed 23 May 2017]. Fig. 16. Raf Simons (2015). Raf Simons Leaving Dior [image]. Available at: http://www.hintmag.com/post/raf-simons-is-leavingdior-and-may-go-to--october-22-2015-1615 [Accessed 23 May 2017].
Fig. 26. Zeller, S., (2016). Concrete Architecture [image]. Available at: https://unsplash.com/photos/OaSXdU03HIU [Accessed on: 23 May 2017] Fig. 27. Savinova, A., (2016). SE / Skåne Collage [image]. Available at: http://www.designboom.com/art/anastasia-savinova-geniusloci-architecture-collages-02-02-2016/ [Accessed 03 March 2017]
Fig. 17. Own image (2017). Quality or Quantity Infographic [infographic].
Fig. 28. Kleyn, J. Minimal Poster [image]. Available at: http:// designspiration.net/image/842226930/ [Accessed 03 march 2017]
Fig. 18. Own image (2017). Stay Grounded [collage].
Fig. 29. Unknown. (n.d). Barcelona Pavilion [image]. Available at: https://www.e-architect.co.uk/barcelona/pabellon-mies-van-derrohe [Accessed 23 March 2017]
Fig. 19. Own image (2017). Kickin’ Back [collage]. Fig. 20. Own image (2017). Urban Dweller [consumer profile]. Fig. 21. Own image (2017). Conscious Creative [consumer profile]. Fig. 22. Own image (2017). Loyal Influencer [consumer profile]. Fig. 23. Own image (1962). Rogers’ Diffusion of Innovation [graph]. Fig. 24. Own image (2017). Wrapped in Sheepskin [collage]. Fig. 25. Own image (2017). AllSaints Limited DNA [moodboard].
Fig. 30. NAMELESS Architecture (2013). Rock Won Presbyterian Church [image]. Accessed 23 May 2017]. Fig. 31. Own image (2017). Look and Feel Moodboard [moodboard]. Fig. 32. Own image (2017). Campaign #1 [photograph]. Fig. 33. Own image (2017). Campaign #2 [photograph]. Fig. 34. Own image (2017). Campaign #3 [photograph].
Fig. 35. Own image (2017). Amidst Nature [collage].
Fig. 47. Own image (2017). Copenhagen Fashion Week [mock-up].
Fig. 36. Own image (2017). Nostalgic Fever [collage]. Fig. 37. Own image (2017). Day in the Life #1 [diagram].
Fig. 48. AllSaints (2016). AllSaints Tokyo Fashion Week (2016). Available at: https://www.allsaints.com/collections/2016/tokyofashion-week-autumn-2016/ [Accessed on 23 May 2017]
Fig. 38. Own image (2017). Day in the Life #2 [diagram].
Fig. 49. Own image (2016). Screenshot of event mock-up [image].
Fig. 39. Own image (2017). Day in the Life #3 [diagram]. Fig. 40. Own image (2017). Tear Me Up [collage].
Fig. 50. AllSaints (2016). AllSaints Limited [image]. Available at: https://www.allsaints.com/lookbook/women/2016/allsaintslimited/ [Accessed 23 May 2017]
Fig. 41. Own image (2017). Talk To The Hand [collage].
Fig. 51. Own image (2017). Still Kickin’ Back [collage].
Fig. 42. Own image (2017). Social Media Teaser [mock-up].
Fig. 52. Own image (2017). Circle Agency: Experience Model [diagram].
Fig. 43. Own image (2017). AllSaints Limited Instagram [mock-up]. Fig. 44. Own image (2017). Boy Got Troubles Again [collage]. Fig. 45. Own image (2017). 3daysofdesign [mock-up]. Fig. 46. Hansen, C., (2016). Faaborg Chair [image]. Available at: http://www.yellowtrace.com.au/3-days-design-2016-copenhagen/ [Accessed 23 May 2017]
Fig. 53. Own image (2017). Vesterbro Map [image]. Fig. 54. Own image (2017). Artist Collaborations [moodboard]. Fig. 55. Own image (2017). A Girl With More Layers [collage]. Fig. 56. Own image (2017). AllSaints Limited Influencer Match Tool [diagram].
Fig. 57. Own image (2017). Alexander Gram Influencer Match Tool [diagram]. Fig. 58. Own image (2017). Laura Tonder Influencer Match Tool [diagram]. Fig. 59. Own image (2017). Isabella Thorsden Influencer Match Tool [diagram]. Fig. 60. Own image (2017). Loyalty Loop [diagram]. Fig. 61. Own image (2017). Interactive Label [mock-up]. Fig. 62. Own image (2017). Talk To The Other Hand [collage]. Fig. 63. Own image (2017). E-newsletter [mock-up]. Fig. 64. Own image (2017). Still Grounded [collage]. Fig. 65. Own image (2017). Campaign Back Cover [photograph].
list of references 3daysofdesign (n.d.). Home Page.Available at: http://3daysofdesign. dk [Accessed 23 May 2017] Adams, T., 2014. ‘Brands must embrace the future of fully conscious consumption.’ The Guardian [online]. Available at: https://www.theguardian.com/sustainable-business/brands-dataconscious-consumption [Accessed 25 May 2017] Armstrong, L., 2016. ‘Why AllSaints is now the grown-up high street store we’ve all been waiting for.’ The Telegraph [online]. [Accessed 23 January 2017]. Burke, Z., 2016. ‘Create Personalised Emails Your Customers Actually “Get”, Want & Read.’ Digital Marketing Institute [online]. Available at: https://digitalmarketinginstitute.com/blog/ create-personalised-emails-customers-actually-get-want-read [Accessed 23 May 2017] Dahlen et al., 2010. Marketing Communications: A Brand Narrative Approach. West Sussex: John Wiley & Sons Ltd. D’Avella, M., 2016. Minimalism: A Documentary About The Important Things. Available via: Netflix. Dunne, M., 2017. Interview with Mark Dunne, Nottingham Store, 6 December 2016.
Hendriksz, V., 2016. ‘AllSaints to present AW16 collection during Tokyo Fashion Week.’ Available at: https://fashionunited.uk/ news/fashion/allsaints-to-present-aw16-collection-during-tokyofashion-week/2016022219494 [Accessed 23 May 2017] Mazour, I., 2016. ‘Brand loyalty is dead: it’s time to get personal or fail.’ Available at: http://www.campaignlive.co.uk/article/brandloyalty-dead-its-time-personal-fail/1393711 [Accessed 23 May 2017] McHugh, N. In: Pearson, S., (shannonpearsoncreative@gmail. com) Research Questions. 14 March 2017. Email to McHugh, N. (nolan@piaule.com) Mediakix | Influencer Marketing Agency, 2016. ‘10 Biggest Influencer Marketing Statistics 2016’ [Infographic]. [online] Available at: http:// mediakix.com/2016/09/10-top-influencer-marketing-statistics-for2016-infographic/#gs.B07g7gQ [Accessed 22 April 2017] Morby, A., 2016. ‘Burberry marries fashion with craft at Makers House.’ Dezeen [online]. Available at: https://www.dezeen. com/2016/10/10/burberry-new-craftsmen-makers-house-fashioncraft-exhibition-london-design-festival-2016/ [Accessed 23 May 2016] Musefind, 2017. ‘The Importance of Authenticity in Influencer
Marketing.’ Available at: https://medium.com/@themusefind/ how-to-make-audience-trusts-your-influencer-marketing15251d4e460b [Accessed 9 April 2017] Musefind, 2016. [video] Available at: https://vimeo.com/169132199 [Accessed 9 April 2017] Schrage, M., 2012. Who Do You Want Your Customers To Become? Boston, Massachusetts: Harvard Business Review Press. Shousha, A., 2015. ‘How To Create the Perfect Teaser Campaign.’ Available at: http://www.payfort.com/blog/2015/12/21/how-tocreate-an-effective-teaser-campaign/ [Accessed 23 May 2017] Silva, D., 2008. Moscow Rules. UK: Penguin Publishing Group. Watz, S., 2015. The rise of the conscious consumer.’ Lynxeye [online]. Available at: http://www.lynxeye.com/the-rise-of-theconscious-consumer/ [Accessed 25 May 2017] Welham, E. (eddiewelham@hotmail.co.uk), 2017. Exhibition Summary, 12 May 2017. Email to: Hubbard, C. (carrie-hubbard121@ hotmail.co.uk). Westley, M., 2017. Interview with Matthew Westley, London Spitalfields Flagship Store, 9 January 2017.
WGSN, 2015. Defining Luxury Report. Available via: WGSN. WGSN, 2016. The Vision A/W 18/19: The Thinker. Available via: WGSN. Williams, E. 2017. ‘Burberry’s Christopher Bailey on experimentation in fashion.’ Creative Review [online]. Available at: https://www.creativereview.co.uk/burberrys-christopher-baileyexperimentation-fashion/ [Accessed 23 May 2017]
bibliography 3daysofdesign (n.d.). Home Page.Available at: http://3daysofdesign. dk [Accessed 23 May 2017] 6S Marketing, 2012. 5 C’s of Social Media Marketing. [online] Available at: https://www.6smarketing.com/blog/5-cs-of-socialmedia-marketing/ [Accessed 20 April 2017] Adams, T., 2014. ‘Brands must embrace the future of fully conscious consumption.’ The Guardian [online]. Available at: https://www.theguardian.com/sustainable-business/brands-dataconscious-consumption [Accessed 25 May 2017] Amed, I., 2016. ‘BoF’s Latest Print Issue: “A Connected World.”’ Business of Fashion [online]. Available at: https://www. businessoffashion.com/articles/editors-letter/bofs-latest-printissue-a-connected-world [Accessed on: 20 January 2017] Amed, I. (2015). ‘How Do You Create Brand Awareness?’ [video] Available at: https://www.businessoffashion.com/articles/basics/ how-do-you-create-brand-awareness [Accessed 7 April 2017] Amed, I., 2016. ‘Sustainability Is Out, Responsible Innovation Is In.’ Business of Fashion [online]. Available at: https:// www.businessoffashion.com/articles/right-brain-left-brain/ sustainability-is-out-responsible-innovation-is-in-copenhagenfashion-summit-environment-nike-patagonia [Accessed 10 February 2017] Anderson, M. (2014). 88% Of Consumers Trust Online Reviews As Much As Personal Recommendations. Search Engine Land [online]. Available at: http://searchengineland.com/88-consumerstrust-online-reviews-much-personal-recommendations-195803
[Accessed 25 April 2017] Armstong, L., 2016. ‘Why AllSaints is now the grown-up high street store we’ve all been waiting for.’ The Telegraph [online]. Available at: http://www.telegraph.co.uk/fashion/brands/why-all-saints-isnow-the-grown-up-high-street-store-weve-all-be/ [Accessed 8 November 2016] Asbury, N., 2015. ‘The Language of Luxury.’ Creative Review [online]. Available at: https://www.creativereview.co.uk/thelanguage-of-luxury/ [Accessed 20 April 2017] Barry, P., 2012. The Advertising Concept Book. London: Thames and Hudson Ltd. BBC, 2016. ‘Slow Fashion: “You can wear my shirts for 50 year.”.’ Available at: http://www.bbc.co.uk/news/av/business-35122104/ slow-fashion-you-can-wear-my-shirts-for-50-years [Accessed 6 April 2017] Beese, J. (2011). Social Media Influences Buying Decisions: ODM Group. Sprout Social [online]. Available at: http://sproutsocial. com/insights/social-networks-influence-buying-decisions/ [Accessed 25 April 2017] Bergström, B., 2008. Essentials of Visual Communication. London: Laurence King Publishing Ltd. Binot, A., 2014. ‘Does The Fashion Industry Need To Slow Down?’ Vogue [online]. Available at: http://www.vogue.com/article/ trendsindustryjean-paul-gaultier-fashion-industry-departure [Accessed 10 January 2017]
Bobb, B., 2017. ‘In Copenhagen, a City Filled With Innovative Design, Fashion Is Slowly Catching Up.’ Vogue [online]. Available at: http://www.vogue.com/article/fashion-runway-copenhagenfashion-week-fall-2017 [Accessed 10 February 2017]
Butler, S., 2016. ‘AllSaints defies weather with heavenly financial year.’ The Guardian [online[. Available at: https://www.theguardian. com/business/2016/oct/31/allsaints-weather-financial-year-ukrise-total-sales-fashion [Accessed 8 November 2016]
Botsman, R., 2012. ‘The currency of the new economy is trust.’ TED Talk [online]. [Accesssed 19 January 2017]
Caffyn, G., 2016. ‘Fashion brand AllSaints uses Instagram as a sales channel.’ Digiday [online]. Available at: https://digiday.com/ uk/shoppable-international-inside-allsaints-instagram-strategy/ [Accessed 10 November 2016]
Bowden, G., 2016. ‘Google creates mock store to showcase tech used by AllSaints and Ocado.’ Retail Week [online]. Available at: https://www.retail-week.com/technology/google-creates-mockstore-to-showcase-tech-used-by-allsaints-and-ocado/7007437. article [Accessed 10 November 2016] Bradley, S. (2013). Swiss Design: The Guiding Principles That Influence Flat Design. Vanseo Design [online]. Available at: http:// vanseodesign.com/web-design/ swiss-design/ [Accessed 7 April 2017] Brändle, C., Gimmi, K. and Junod, B. (2014). 100 years of Swiss graphic design. 1st ed. Zürich: Lars Müller. Burke, Z., 2016. ‘Create Personalised Emails Your Customers Actually “Get”, Want & Read.’ Digital Marketing Institute [online]. Available at: https://digitalmarketinginstitute.com/blog/ create-personalised-emails-customers-actually-get-want-read [Accessed 23 May 2017] Business of Fashion and McKinsey & Company, 2017. The State of Fashion 2017 Report. Available via: Business of Fashion. [Accessed on: 20 January 2017]
Campbell, L., 2015. ‘How to hold an art exhibition in your home.’ The Guardian [online]. Available at: https://www.theguardian.com/ lifeandstyle/2015/apr/13/how-to-hold-art-exhibition-your-homeartists [Accessed 20 January 2017] Card, J. (2016) ‘Finding a Product Which Will Market Itself’. The Guardian [online]. Available at: http:// www.theguardian. com/small-business-network/2013/oct/10/captive-media-toilethumour-technological-innovation> [Accessed 1 May 2017] Carter, E., 2016. ‘Your definitive style guide to Copenhagen’s Vesterbro area.’ Available via: WGSN. [Accessed 10 February 2017] Choi, A., 2015. ‘How to make a profit while making a difference.’ TED Talk [online]. [Accessed 12 January 2017] Ciotti, G. (2016). The Psychology of Color in Marketing and Branding. Availabe at: Helpscout.net. Available at: https:// www. helpscout.net/blog/psychology-of-color/ [Accessed 25 March 2017]
Clasen, A. (2015) Why Instagram Is so Important to Millennials. Available at: http://blog.iconosquare. com/instagram-importantmillennials [Accessed 28 April 2017] Crow, D. (2010) Visible Signs: An Introduction to Semiotics in the Visual Arts. 2nd edn. Lausanne: AVA Publishing SA. Cope, J., and Maloney, D., 2016. Fashion Promotion in Practice. New York: Fairchild Books. Dadich, S., 2017. ‘A New Series About the Visionary Designers Who Shape Our World.’ WIRED [online]. Available at: https://www. wired.com/2017/01/editors-letter-february-2017/?mbid=social_fb [Accessed on: 18 January 2017] Dahlen et al., 2010. Marketing Communications: A Brand Narrative Approach. West Sussex: John Wiley & Sons Ltd.
Dunne, M., 2017. Interview with Mark Dunne, Nottingham Store, 6 December 2016. Dyer, G. (1982) Advertising as Communication. New York: Routledge. Egan, T., 2016. ‘The Eight Second Attention Span.’ The New York Times [online]. Available at: https://www.nytimes.com/2016/01/22/ opinion/the-eight-second-attention-span.html?_r=1 [Accessed 22 March 2017] Fill and Turnbull, 2016. Marketing Communications: Discovery, Creation and Conversations, 7th ed. Harlow: Pearson Education Limited.
Darton, J., 2016. ‘The Neighbourhood Store.’ Protein [online]. Available at: https://www.prote.in/journal/articles/theneighbourhood-store [Accessed 22 November 2016]
Geoghegan, J., 2016. ‘DFF: Digital and international key to riding retail storm, says AllSaints COO.’ Drapers [online]. Available at: https://www.drapersonline.com/news/dff-digitaland-international-key-to-riding-retail-storm-says-allsaintscoo/7012646.article [Accessed 8 November 2016]
D’Avella, M., 2016. Minimalism: A Documentary About The Important Things. Available via: Netflix.
Gilding, P., 2012. ‘The Earth is full.’ TED Talk [online]. [Accessed 17 January 2017]
Diamond, C., 2016. ‘Review of MNG Society Presents: William Kim, CEO of AllSaints.’ St-art Magazine [online]. Available at: https://www.st-artmagazine.com/fashion-1/2016/3/25/review-ofmng-society-presents-william-kim-ceo-of-allsaints [Accessed 8 November 2016]
Gladwell, M. (2000). The tipping point. 1st ed. United Kingdom: Little, Brown and Company.
Diamandis, P., 2012. ‘Abundance is our future.’ TED Talk [online]. [Accessed 12 January 2017]
Golding, P., et al., 2017. Social Media – New Challenges and Approaches for Communications Research.European Journal of Communication, 32(1), p.3 - p.5. Gower, G. (2014). Marketing to millennials: the rise of content
co-creation. [online] the Guardian. Available at: https://www. theguardian.com/media-network/2014/nov/03/marketingmillennials-content-creation [Accessed 1 May 2017]. Gowing, C., 2016. ‘The rise of micro-influencers: AllSaints’ Cass Gowing on the new influencer marketing strategy to know.’ The Drum [online]. Available at: http://www.thedrum.com/ opinion/2016/07/22/rise-micro-influencers-allsaints-cass-gowingnew-influencer-marketing-strategy [Accessed 14 March 2017] Graves, P., 2013. Consumer.ology: The Truth About Consumers and the Psychology of Shopping. London: Nicholas Brealey. Groves, K., and Marlow, O., 2016. Spaces For Innovation. Amsterdam: Frame Publishers. Gush, C., 2016. ‘Five of the coolest things we saw at Copenhagen Fashion Week.’ I-D [online]. Available at: https://i-d.vice.com/ en_gb/article/five-of-the-coolest-things-we-saw-at-copenhagenfashion-week [Accessed 10 February 2017] Hartman, E., 2017. ‘Does the News Make You Want to Live in Pajamas? Danish Designers Are on It.’ Vogue [online]. Available at: http://www.vogue.com/article/pajama-dressing-sleepweartrend-copenhagen-fashion-week-fall-2017-street-style [Accessed 10 February 2017]
news/fashion/allsaints-to-present-aw16-collection-during-tokyofashion-week/2016022219494 [Accessed 23 May 2017] Hess, J., and Pastorek, S., 2014. Graphic Design For Fashion. London: Laurence King Publishing Ltd. Hetter, K., 2016. ‘World’s 10 Happiest Countries in 2016.’ CNN [online]. Available at: http://edition.cnn.com/2016/03/16/travel/ worlds-happiest-countries-united-nations/index.html [Accessed 10 November 2016] Hickey, S., 2016. ‘The innovators: slow fashion that cuts waste and lasts longer.’ The Guardian [online]. Available at: https://www. theguardian.com/business/2016/may/08/the-innovators-slowfashion-zero-waste-movement-designer-dan-vo [Accessed 16 March 2017] Hieatt, D. (2014) Do Purpose: Why Brands with a Purpose Do Better and Matter More. United Kingdom: The Do Book Co. Hobbs, J., 2016. ‘Autumn/Winter 2016 Ready-To-Wear: AllSaints.’ Vogue [online]. Available at: http://www.vogue.co.uk/shows/ autumn-winter-2016-ready-to-wear/allsaints [Accessed 8 November]
Hegarty, J., 2014. Hegarty on Creativity: There are no rules. London: Thames & Hudson Ltd.
Holth, M., 2016. ‘A-COLD-WALL* Unveils a New Furniture and Clothing Installation at Copenhagen Fashion Week.’ High Snobiety [online]. Available at: http://www.highsnobiety.com/2016/08/12/acold-wall-ciff/ [Accessed 10 March 2017]
Hendriksz, V., 2016. ‘AllSaints to present AW16 collection during Tokyo Fashion Week.’ Available at: https://fashionunited.uk/
Hosie, R., 2016. ‘How Donald Trump’s Victory Will Change How We Dress..’ The Independent [online]. Available at: http://www.
independent.co.uk/life-style/fashion/donald-trump-fashion-theway-we-dress-extravagant-theatrical-lidewij-edelkoort-a7431701. html [Accessed 22 November 2016]
or fail.’ Available at: http://www.campaignlive.co.uk/article/brandloyalty-dead-its-time-personal-fail/1393711 [Accessed 23 May 2017]
Hsieh, V., 2017. ‘Sooo... Gucci is making memes now.’ Dazed [online]. Available at: http://www.dazeddigital.com/fashion/ article/35181/1/gucci-s-making-memes-now-tfw-gucci-williamcult-alec-soth-polly-nor [Accessed 18 March 2017]
McHugh, N. In: Pearson, S., (shannonpearsoncreative@gmail. com) Research Questions. 14 March 2017. Email to McHugh, N. (nolan@piaule.com)
Houndslea, T., 2016. ‘First look: AllSaints launches pop-up in Selfridges.’ Drapers [online]. Available at: https://www. drapersonline.com/news/first-look-allsaints-launches-limitedcollection-pop-up-in-selfridges/7013068.article [Accessed 8 November 2016] Kilbourne, J. (2000) Can’t Buy My Love: How Advertising Changes the Way We Think and Feel. New York: Simon & Schus-ter Adult Publishing Group. Lantz, J., 2016. The Trendmakers: Behind the Scenes of the Global Fashion Industry. London: Bloomsbury Publishing. Lonely Planet, 2016. ‘Best in Travel 2017: Top Countries.’ Available at: https://www.lonelyplanet.com/best-in-travel/countries [Accessed 8 November 2016] Marfil, L., 2016. ‘AllSaints to Launch Concept Range at Selfridges.’ WWD [online]. Available at: http://wwd.com/fashion-news/fashionscoops/allsaints-launch-concept-range-selfridges-10675704/ [Accessed 10 January 2017] Mazour, I., 2016. ‘Brand loyalty is dead: it’s time to get personal
Mediakix | Influencer MarketingAgency. (2016). 10 Biggest Influencer Marketing Statistics 2016 [Infographic]. [online] Available at: http:// mediakix.com/2016/09/10-top-influencer-marketing-statistics-for2016-infographic/#gs.B07g7gQ [Accessed 22 April 2017] Meerman Scott, D., 2015. The New Rules of Marketing & PR: How to Use Social Media, Online Video, Mobile Applications, Blogs, News Releases, and Viral Marketing to Reach Buyers Directly. 5th ed. Hoboken, New Jersey: John Wiley & Sons, Inc. Mellery-Pratt, R., 2017. ‘Finding a New Angle on Fashion Week.’ Business of Fashion [online]. Available at: https://www. businessoffashion.com/articles/global-currents/finding-a-newangle-on-fashion-week-stockholm-fashion-week-copenhagenfashion-week [Accessed 10 February] Mickiewicz, M., 2015. ‘What Are The New Millennial Values?’ Protein [online]. Available at: https://www.prote.in/journal/articles/whatare-the-new-millennial-values [Accessed 22 November 2016] Millennials: Fueling the Experience Economy. (2014). Eventbrite [online]. Available at: http://eventbrite-s3.s3.amazonaws.com/ marketing/Millennials_Research/Gen_PR_Final.pdf [Accessed 9 April 2017]
Mintel, 2017. ‘Executive Summary: Digital Advertising.’ Available via: Mintel.
Noble, I., and Bestley, R., 2011. Visual Research, 2nd ed. London; New York: AVA Publishing.
Moore, C., et al., 2010. Flagship stores as a market entry method: the perspective of luxury fashion retailing. European Journal of Marketing, 44(1/2), p.139 – p.161.
Openshaw, J., 2015. ‘Luxury: New Aesthetic.’ LS:N Global [online]. Available at: https://www.lsnglobal.com/opinion/article/18185/ luxury-new-aesthetic [Accessed 10 February]
Morby, A., 2016. ‘Burberry marries fashion with craft at Makers House.’ Dezeen [online]. Available at: https://www.dezeen. com/2016/10/10/burberry-new-craftsmen-makers-house-fashioncraft-exhibition-london-design-festival-2016/ [Accessed 23 May 2016]
Ormiston, R. (2014). 50 art movements you should know. 1st ed. Munich: Prestel.
Mortimer, N., 2016. ‘How AllSaints is shifting its strategy to focus on products.’ The Drum [online]. Available at: http://www.thedrum. com/news/2016/05/24/how-allsaints-shifting-its-strategy-focusproducts [Accessed 10 November 2016] Musefind. (2017). The Importance of Authenticity in Influencer Marketing. Available at: https://medium.com/@themusefind/ how-to-make-audience-trusts-your-influencer-marketing15251d4e460b [Accessed 9 April 2017] Musefind, 2016. [video] Available at: https://vimeo.com/169132199 [Accessed 9 April 2017] Newark, Q., 2007. What is Graphic Design? Switzerland: RotoVision. Newman, D. (2015) ‘Research Shows Millennials Don’t Respond to Ads’. Forbes [online] Available at: http:// www.forbes.com/ sites/danielnewman/2015/04/28/research-shows-millennials-dontrespond-to-ads/#f1b1a835599e [01 May 2017]
Ough, T., 2016. ‘Handbags and Japan launch help AllSaints earnings swell.’ The Telegraph [online]. Available at: http://www.telegraph. co.uk/business/2016/10/30/handbags-and-japan-launch-helpallsaints-earnings-swell/ [Accessed 8 November 2016] Peleg, D., 2015. ‘Forget shopping. Soon you’ll download your new clothes.’ TED Talk [online]. [Accessed 17 January 2017] Percy, L., 2008. Strategic Integrated Marketing Communications. Oxford; Burlington: Elseview Inc. Poelking, J., 2017. Print marketing remains popular for luxury brands - 25th April 2017. Available via: Mintel. [Accessed 27 April 2017] Posner, H. (2011). Marketing Fashion. 1st ed. London: Laurence King. Raymond, M. and Martin, R. (2010) The Trend Forecaster’s Handbook. London: Laurence King Publishing. Ro, L., 2016. ‘Six furniture designers play a game of musical
chairs for fashion brand COS.’ Available at: https://www. curbed.com/2016/12/13/13941824/cos-musical-chairs-furnituredesigners-holiday-lernert-sander [Accessed 10 March 2017]
move.’ Dazed [online]. Available at: http://www.dazeddigital.com/ fashion/article/33360/1/allsaints-creative-director-on-the-brandsnew-move [Accessed 29 November 2016]
Ruiz, J., 2017. ‘Standing Out By Telling Stories – 1st May 2017.’ Available via: Mintel. [Accessed 9 May 2017]
Statista (2017). Global Social Media Statista [online]. Available at: https://www.statista.com/statistics/272014/global-socialnetworks-ranked-by-number-of-users/ [Accessed 12 April 2017]
Santander, (n.d.). ‘Denmark: Reaching the Consumer.’ Available at: https://en.portal.santandertrade.com/analyse-markets/denmark/ reaching-the-consumers [Accessed 10 November 2016] Schrage, M., 2012. Who Do You Want Your Customers To Become? Boston, Massachusetts: Harvard Business Review Press. Sender, T., 2017. ‘Young Millennials drive interest in sustainable fashion - 28th April 2017.’ Available via: Mintel. [Accessed 27 April 2017] Shin, N., 2016. ‘Must-Touch Porcelain Tableware by Piaule.’ Available via: Cool Hunting. [Accessed 21 March 2017] Shousha, A., 2015. ‘How To Create the Perfect Teaser Campaign.’ Available at: http://www.payfort.com/blog/2015/12/21/how-tocreate-an-effective-teaser-campaign/ [Accessed 23 May 2017] Silva, D., 2008. Moscow Rules. UK: Penguin Publishing Group. Splashthat.com. (2017). Infographic: What Do Millennials Want from Brand Events?. [online] Available at: https://www.splashthat. com/resources/millennialz [Accessed 1 May 2017]. Stansfield, T., 2016. ‘AllSaints’ creative director on the brand’s new
Szmigin, I. (2003) Understanding the Consumer: Being and Buying in the New Century. United Kingdom: Sage Publications. Tamer Cavusgil, S., et al., 2017. International Business: The New Realities, Global Edition, 4th ed. Essex: Pearson Education Limited. Terror, D. (2009). Lessons From Swiss Style Graphic Design. Smashing Magazine [online]. Available at: https:// www. smashingmagazine.com/2009/07/lessons-fromswiss-stylegraphic-design/ [Accessed 7 April 2017] The 2016 Bond Loyalty Report. (2016). Bond Brand Loyalty [online]. Available at: http://info.bondbrandloyalty.com/hubfs/ Resources/2016_Bond_Loyalty_Report_Executive_Summary_ US_Launch_Edition.pdf [Accessed 27 April 2017] The 2017 Deloitte Millennial Survey. (2017). [online] Deloitte. Available at: https://www2.deloitte.com/content/dam/Deloitte/ global/Documents/About-Deloitte/gx-deloitte-millennial-survey2017-executive-summary.pdf [Accessed 1 May 2017]. The Community Report, 2016. Available via: Protein. [Accessed 4 January 2017]
The Play Report, 2014. Available via: Protein. [Accessed 4 January 2017] The Economist, 2016. ‘Emerging markets: The unloved bounce.’ The Economist [online]. Available at: http://www.economist. com/news/finance-and-economics/21698268-recovery-emergingmarkets-looks-fragile-all-handful?zid=295&ah=0bca374e65f2354 d553956ea65f756e0 [Accessed 10 November 2016] The Economist, 2016. ‘GDP forecasts The fastest shrinking and growing economies in 2016.’ The Economist [online]. Available at: http://www.economist.com/news/economic-and-financialindicators/21684788-fastest-shrinking-and-growing-economies2016-gdp-forecasts [Accessed 10 November 2016] The:Future:Laboratory, 2017. ‘The Age of Re-engagement Report, 2017.’ Available via: The:Future:Laboratory [Accessed 18 March 2017] The:Future:Laboratory and Trend Boutique, 2016. Backlash Culture Trend Briefing. [Trend Briefing, Broadway Cinema, Nottingham]. 26 October 2016. Townsend, J. et al., 2009. Getting to Global: An Evolutionary Perspective of Brand Expansion in International Markets. Journal of International Business Studies, 40(4), p.539 – p.558. Trehan, K. and Maan, G. (2012) Teaser Campaigns: An Effective Advertising Execution for Varied Goods, Services and Ideas. Mass Communication & Journalism [online]. Available at: http://www.omicsgroup.org/journals/teaser-campaigns-aneffective-advertising-execution-for-varied-goods-services-and-
ideas-2165-7912.1000138.pdf [Accessed 01 May 2017] Todor, R., 2014. The Importance of Branding and Rebranding for Strategic Marketing. Bulletin of the Transilvania University of Brasov. Economic Sciences, Series V; Brasov 7.2: p.59 - p.64. Trotter, C., 2016. ‘What Is A Concept Store?’ Insider Trends [online]. Available at: http://www.insider-trends.com/what-is-a-conceptstore/ [Accessed 10 February 2017] Tuck, A. and Tarditi, S. (2016). The Monocle guide to better living. 5th ed. Berlin: Gestalten. Vanden Bos, P. (2010). How to Plan a Product-Launch Event. Available at: https://www.inc.com/guides/2010/06/planning-aproduct-launch-event.html [Accessed 23 April 2017] Virgin, 2016. ‘Meet the conscious consumption pioneers.’ Available at: https://www.virgin.com/entrepreneur/meet-the-consciousconsumption-pioneers [Accessed 10 November 2016] Virgin, 2016. ‘The world’s best start-up hubs: Oslo, Norway.’ Available at: https://www.virgin.com/entrepreneur/the-worldsbest-start-up-hubs-oslo-norway [Accessed 10 November 2016] Walker, A., 2016. ‘Finland: The Sick Man of Europe?’ BBC [online]. Available at: http://www.bbc.co.uk/news/business-35656150 [Accessed 8 November 2016] Walker, M. (2015). 35 Event Trends for 2016 as Predicted by the Experts. Eventbrite UK Blog [online]. Available at: https://www. eventbrite.co.uk/blog/event-trends-2016/ [Accessed 24 April 2017]
Watz, S., 2015. The rise of the conscious consumer.’ Lynxeye [online]. Available at: http://www.lynxeye.com/the-rise-of-theconscious-consumer/ [Accessed 25 May 2017]
via: WGSN.
Weber, L. and Henderson, L.L. (2014) The Digital Marketer: Ten New Skills You Must Learn to Stay Relevant and Customer-Centric. United States: Wiley.
WGSN (2016). Elevated Engagement Confirmed – Four Case Studies. Available via: WGSN.
Welham, E. (eddiewelham@hotmail.co.uk), 2017. Exhibition Summary, 12 May 2017. Email to: Hubbard, C. (carrie-hubbard121@ hotmail.co.uk).
WGSN, 2015. Defining Luxury Report. Available via: WGSN.
WGSN (2016). The Attention Economy. Available via: WGSN. WGSN (2016). The Vision A/W 18/19: The Thinker. Available via: WGSN.
Westgarth, J., 2016. ‘Furniture Retailing – UK – July 2016.’ Available via: Mintel. [Accessed 27 April 2017]
WGSN (2016). Top 10 – Key Ideas 2016 Report. Available via: WGSN.
Westley, M., 2017. Interview with Matthew Westley, London Spitalfields Flagship Store, 9 January 2017.
Whitford, F. (1984). Bauhaus. 1st ed. London: Thames and Hudson. World Economic Forum (2016). ‘Which are the world’s fastestgrowing economies?’ Available at: https://www.weforum.org/ agenda/2016/04/worlds-fastest-growing-economies/ [Accessed 10 November 2016]
White, K., 2016. ‘Time to throw away our throwaway culture.’ EcoBusiness [online]. Available at: http://www.eco-business.com/ opinion/time-to-throw-away-our-throwaway-culture/ [Accessed 10 March 2017] Williams, E. 2017. ‘Burberry’s Christopher Bailey on experimentation in fashion.’ Creative Review [online]. Available at: https://www.creativereview.co.uk/burberrys-christopher-baileyexperimentation-fashion/ [Accessed 23 May 2017] WGSN (2016). A/W 16/17 Artisan Macro Trends. Available via: WGSN. WGSN (2016). Brands To Watch – Slow Fashion S/S16. Available
Yotka, S., 2017. ‘The Future of Fashion? For U.S. Graduates, It’s All About Sustainability.’ Vogue [online]. Available at: http:// www.vogue.com/article/cfda-future-of-fashion-graduateshowcase-2017 [Accessed 25 May 2017]
fig 65. Campaign back-cover, 2017
Alexa Boldy
Carrie Hubbard
Shannon Pearson