1 Relaunch brand audit
Indroduction “There was nothing between baby clothes and adult clothes before BIBA came along” Mollie Parkin (Jannaludlow.co.uk, 2017)
BIBA (named after founder Barbara Hulanickis younger sister) truly began in 1964 when the BIBA postal boutique. After years of struggling to make sales success came about when fashion promoter Felicity Green promoted a BIBA sugar pink gingham dress, the fact a similar item had been seen on Brigitte Bardot on her wedding day. It’s no wonder that this sickly-sweet wonder began to draw in orders the likes of which BIBA had never seen before, the dress sold so well that they factory ran out of fabric before all the orders could be made! Hulanicki was born in Poland but later moved with her family to the Holyland where they stayed during the 2nd world war, the thing that promoted them moving to England was the murder of her father (Witold) by Zionist terrorists. Barbara was inspired by her scary aunt Sophie whose obsession with clothes and jewellery and her passion for detail were everlasting in their influence, Hulanicki found her scary due to her formidable nature and ability to speak her mind whether the words she said would upset someone of not. Another influence on the “BIBA look” was Audrey Hepburn appearing in Sabrina Fair, a woman who perfectly fitted into the BIBA mould of having the long limbs and big dolly eyes. (Baker, 2006) When starting the brand, Hulanicki had very strong ideas about who she was making the clothing for, “I didn’t want to make clothes for kept women…I wanted to make clothes for people in the street” (Baker, 2006) This brand was never started for women with large amounts of money who wouldn’t be relatable to the cool girls of the now. She succeeds with this when presenter of Ready, Steady, Go (a popular tv show at the time) and Queen of the Mods Cathy McGowan and singer Cilla Black became huge fans of her and of the BIBA brand, McGowan said in her feature for RAVE magazine “Barbara Hulanicki’s designs are really crisp! But Cilla and I agree, she’s a problem. Why? Because she’s so good we’d like to keep her to ourselves - our “secret” dressmaker. On the other hand, she deserves to be wider known. We just have to tell people about her.” (JANE, JANE and profile, 2017) These two women where exactly what was needed to sky rocket BIBA into the stratosphere. They were the cool girls of the time and whatever they did people wanted to follow, a huge theme of the era was people wanting to be n with the in crowd, BIBA allowed that dream to be a reality. Especially with its access products and prices, Hulanickis husband Fitz-Simon calculated that with an average weekly wage of 9 pounds, a girl would spend £3 on rent, £3 on food, and the final £3 on clothes (Hulanicki and Pel, n.d.). Therefore, BIBA’s products would be to be priced in such a way that this girl earning an average wage would want to be spending her last £3 on their clothing or accessories whether that be though the postal service at the start or when the first store was opened on Abingdon Road the key was accessibility the workers looked like the customers and the workers looked like long, big eyed modes from the famous BIBA illustration. When the big BIBA store opened in 1973 the range of products the brand sold increased dramatically. Big BIBA was so big that every floor had its own theme, for example the children’s floor had its own storybook village, the music department had a giant record player, the food department was filled with giant tins displaying the food, nightwear and lingerie were sold in a leopard print boudoir and possibly the most famous room in the building was the rainbow room restaurant. Overall the theme of the building was dark and glamorous, this store become one of the most visited attraction in London drawing in over 1 million customers a week. (Messy Nessy Chic, 2017) The bricks and mortar element of this brand was truly its most important aspect as people came not only for the items inside the shop but for the experience of visiting a store like Big BIBA. Therefore, a key element of relaunching the brand would seemingly lay in how the products are sold and that creating an experience for the customer though exceptional brand touch points before they’ve even got around to choosing and purchasing a product would be important to the success of this brand.
2
Barbara Hulanicki (“Fashion”, 2017)
3
Internal audit & brand positioning Identifying why a brand as vivacious as BIBA failed could seem like a difficult task until you look below the surface of the brand towards the end, the financial burden of opening a store as big as BIBA with the ad hoc fun vibes that Hulanicki and Fitz imagined for their store was unrealistic, therefore when Dorothy Perkins and Dennis Day bought 75% of BIBA in 1969 (dorothyperkins.com, 2017) and the corporate boss tried to take away BIBA’s fun and frivolous nature and turn it into something more commercial and safe Thinking on this, the reason that BIBA began to lose business could be because taking away this fun would alienate the consumer who once went through the doors of this fantasy land to experience something and enjoy shopping for clothing they could afford with their small wage and feel like they were part of the BIBA cult. When Hulanicki left the board after years of disputes over creative control the company quickly folded and was closed by the British Land Company in 1975. People have tried to relaunch BIBA over the years without Hulanickis involvement and she has said that the clothing made in these lines were too expensive and against the original brands essence. (Blog.twmuseums.org.uk, 2017) As the micro environment of the consumer base changed it made it harder for the stock to be sold in the way it used to be. During its final weeks of trading, Some said regarding the closing of big BIBA “It was like someone dying and their clothes were being auctioned off afterwards” and that “Hulanicki found herself forcibly divorced from her own brand” (Baker, 2006) this and the fact that BIBA had never experienced pressure from direct competitors as they’d offered something completely different to anyone else, even Mary Quants Bazaar was beyond what most London girls could afford, so it became less like the BIBA people knew and loved. The main stakeholder becoming Dorothy Perkins also meant that Hulanicki had less control over the creative side of her brand leading to the dilution of the key elements of the store experience for example, clothes were left piled on the floor and after the store ran out of the classic branded carrier bags they simply used bin bags. This lack of detail was worlds apart from the original BIBA and would be something that would be of upmost importance during the relaunch. (“Inspiration: Big Biba of the ‘70s | Illegal Tendr Blog”, 2017)
4
5
Porters 5 forces There is a small threat of substitute as there are not any current brands that could match BIBA for its iconic art deco illustrations. Created by Chris Price, Kasia Charko, Barbara Hulaniki, Malcolm Bird and others, the brands illustrations could not be copied due to copyright laws, therefore, if the customer wants that illustration they can only get it at BIBA. Not only this but withholding the high customer standards that were implemented in the original BIBA stores, the friendly and carefree but helpful nature of staff and the fact they fit in perfectly with clothing and overall theme of the store means the shopping experience would be so unique and immersive that customers would go to BIBA just to be some of the people who get to be part of this unique way to shop. When it comes to there being a threat of new entrants would be high because as 60s and 70s fashion experiences a revival all over the world and especially in the Japanese market where in the fashionable Harajuku district a subculture of 60s fashion is starting to surface and could possibly be a key trend there for 2020. Other brands may however be able to provide similar clothing style online therefore saving the money that would be needed to run the bricks and mortar store, however although online stores such as ASOS can not offer the experience of entering a beautiful store with products that they can browse, feel the quality of and try on the garments, reducing the chance that you’ll need to return an item. Reducing the need to return items means that the carbon footprint of the brand will be smaller as lorries will not be needed to transport the goods around the country. As the world heads towards being more sustainable it’s important for brands to keep up with this trend as a sustainable brand will be able to appeal to a larger target market, especially in east Asia where it’s becoming cool to support sustainable brands. Especially as the average item of clothing is produced over 3 different countries therefore the fact BIBA’s new items would be made in Japan would stop this process happening making BIBA more of a sustainable brand. (Source.ethicalfashionforum.com, 2017) The consumer power rests in if the interest in vintage fashion especially the 60s and 70s stays popular or even increases in popularity over the next 3 years leading up to the relaunch of BIBA. During its heyday BIBA kept hold of its customers by being the face of current fashion, not only this but the products and garments they produced were of a high standard. Therefore, to stay ahead of competition, the products most not only be of affordable prices but also be well made and long-lasting meaning that the likelihood that the consumer will throw away items to buy new pieces from elsewhere is low, again making it less of an environmental issue. The community that would be interested in the relaunch of BIBA are in touch with under currents in fashion and want to be ahead of trends and possibly be setting them. Within Japans popular fashion districts, a resurgence in 60s/Mod fashion is starting to bubble under the surface (Medium, 2017) as small trends begin its likely that the longer the “cool kids” and trendsetters of Harajuku will influence everyone else to embrace 60s fashion.
(JANE, 2017)
6
7
Visual Identity Back when BIBA was the biggest store in the UK it was undeniable that Twiggy, Cathy McGowan and Cilla Black were the girls who embodied the BIBA look and contributed to the brand becoming as popular as it was these girls had all the doll like features of the BIBA drawings meaning that when wearing the clothes was the perfect way for the products to be marketed to the consumer. Not only this but the extremely iconic logo and typography meant that it was impossible to see that image and not recognise that it was BIBA. This along with the murky golden and mustard yellow tones often with a black background screamed BIBA. Therefore, it is essential that the original essence of the brand, with its recognisable branding is retained for the brands relaunch, because without the illustrations what makes BIBA stand out from the rest of the 60s and 70s vintage brands is the art deco style that runs throughout not only the logo but also the carrier bags, which were formally plastic but for the relaunch will be made from recycled paper or for a small charge branded canvas totes (which would also be an entry level product). The Yellow/gold tones combined with the Celtic style typography will be a constant theme throughout the store and the branding. BIBA used to offer everything and anything in their store so much so that people sometimes referred to it as “the Willy Wonka’s chocolate factory of fashion” (Messy Nessy Chic, 2017) because of the ridiculous range of products it stocked. You could go from buying homeware to an evening dress to doing your food shop from shelves that looked like soup cans and Great Danes in a matter of minutes, this ambition to sell everything didn’t help with the downfall of the brand as they tried to do everything even though that wasn’t economically viable therefore, in the new store the range of products will be smaller and focused on fashion. Accessories and clothing will be the main products on offer but a café will be included in the layout of the store to encourage people to spend more time in the store. Having a smaller range of products will be better for the business as they’ll be less left over stock and not as high manufacturing cost, this will mean the mistakes made by BIBA in the past that lead to the business becoming bankrupt will not be made again.
(JANE, 2017)
8
9
Brand Onion
10
11
Brand Prisim
12
13
Past failure The brand failed after the opening the Big BIBA store because the running of the store was so expensive and too many people were visiting the store simply to look around, not only this but when Dorothy Perkins took over the majority share of 75% the cooperate bosses tried too hard to make the brand more “sensible” which did not work for BIBA therefore in order to not make the same mistake twice the BIBA relaunch store must be impressive but manageable the penguins that once graced the roof garden of BIBA will have to stay in the past. The store however will be one of the key brand touch points along with the logo and the campaigns, which will be detailed but colourful much like the campaigns of the day. Everything the consumer sees will be quickly identifiable as being BIBA, the website will be simple yet will showcase what the brand must offer, with some entry level available to buy but none of the clothing so that the consumer must visit the store to get the full experience but the brand is still inclusive to people that can’t make it to the flagship store will be able to purchase products. BIBA untimely failed because the corporate bosses at Dorothy Perkins wanted to take away the magic of the store and turn it into any store you’d have on the high-street Hulanicki could not bear to see her vision changed like this so dramatically and therefore left the business. It’s important to note that when relaunching BIBA the magic of the brand must be delivered but in an economically viable way to make sure that the mistakes of the past are not repeated.
(JANE, 2017)
14
External Audit Pestel Political/legal factors: • When it comes to legal trading requirements in Japan items have very specific things they need to have on the label, these are Composition of Fibres, washing label, Water repellence, Name and contact address of the labeller (importer, retailer, labelling operator registered in Japan), Type of materials, Size, Handling Precautions all these things must be included on the label of the garment. This is something important to consider when designing the labels as not to compromise the aesthetic quality of the label, therefore during the design process putting on these essential legal requirements. Environmental: • In Japan, they’re extremely into sustainable living and therefore have a range of recycled plastic materials (Hornyak, 2017) which can be made into either jewellery or fabric for the clothing, they also have large plants that can sustainably recycle plastic just outside the centre of Tokyo which also means that transportation to the city centre will be cheaper and smaller. It’s important for fashion brands entering the market to help keep down the fashion industry’s carbon footprint as it contributes to 3% (850 million metric tonnes) which is put into perspective when one places it against the figure that the whole country of Australia only emit just over 500 million metric tonnes. (Goodonyou.eco, 2017) Not only this but as Japan is an island it would be useful to look into something similar to what Stella McCartney is currently doing with recycled plastic from the sea (Silver, 2017) Social: • Twitter is the leading social media platform in Japan seeing a 14% increase in 2016 after most reports said that it wasn’t proving to be very popular, Twitter’s success is said to be because of “Twitter Japan’s success is largely due to its mobile-friendliness and anonymity among its network” which are two things that are important to the Japanese market. 40% of users said to have increased the time they spent on twitter in 2016, unsurprisingly the largest bracket age wise is teens and twentysomethings. Instagram was new to Japan in 2015 ad is still therefore building up its user basis, it’s the social media experiencing the largest growth and was boasting 12 million users by the end of 2016. The Japanese consumer base are enjoying this new social media and as this growth is likely to increase by 2020 Instagram will have taken over Twitter as Japans most popular social media, which means it would be wise to create an Instagram base for BIBA’s relaunch to make sure that the brand gets the maximum exposer possible. (Humble Bunny, 2017) Technology: • As Japan has always been a front runner when it comes to technology therefore it will be important to include an element of technology in the running of the store for example, there could be a VR experience in which customers could experience London in the 60s. As Britain in the 60s is a popular theme in this part of the world with many people in the country still viewing Britain as being like this still (The Independent, 2017) the symbols of the UK have frozen in this period, with Union Flags and red phone boxes seen as the best of British. With VR café’s and even Spin classes using VR sky rocketing in popularity (Time Out Tokyo, 2017), adding this feature to a shop would help bring in more customers and therefore potentially help build sales. Economy: • The Japanese economy has been improving for 4 months on end which signals to the second biggest economic growth in the post-war period (Anon, 2017) if this pattern continues then by 2020 Japan should experience the best economy it’s had in years launching now of possible economic security would mean that the consumers ability to indulge in the products would be greater. Especially as Japanese women earn less than men it’s important to open the market to these women.
15
Swot
16
17
Consumer identification The consumer this relaunch will focus on is the young women of Japan who on average earn 30% less than men (Hongo, 2017), they also are beginning to try and break through the glass ceiling and this wave of independence that BIBA provides will be appealing to the women who want to break the tradition to conform to the norm of entering work simply to give you something to do until you meet your future husband and leave to start a family (Joy, 2017). These women are important to the up and coming fashion industry as they have the disposable income to spend on themselves rather than on a family, this new consumer base have their differences to the first customers of BIBA who were also young working women with a bit of money to spare to spend on fashion.
18
19
Recommendations • Tokyo, Japan will be the chosen as the place for the brands relaunch this is because the illustrations from the brand will be extremely popular there due to the cute and colourful nature of them which is something that has always been popular in Japan. Not only this but in the past BIBA was only popular in the UK it had no global reach and launching it in Japan takes the reputation of BIBA around the world, if the brand lasts in Japan it would be worth researching whether launching in China, the USA and then the UK again in the 10 years to follow the relaunch. • The brand will retain the illustrations that have made it so famous in the past in order to hold onto what the essence of BIBA is, they will also be popular with the Japanese market as the styles are both cute yet grown up and would work well on the entry level products that the store will offer. • In order to make sure the Japanese market is excited by this brand it will be introduced as a environmentally friendly brand and will have already thought about the emissions when it comes to making the plastic and transporting the items from factory to store. The main product offer will be plastic jewellery and tote bags as these are items that can be worn every day and are relatively cheap to buy. Therefore, the consumer can build up a collection of these smaller items whilst saving up for the larger items that will be on offer later on. • The prices will be kept at a manageable level in order to be able to cope with rivalry from popular Japanese store like Uniqlo, Muji and Hysteric Glamour. Although Uniqlo and Muji are completely different styles to BIBA they are the most popular brands in Japan and this highlights the fact that BIBA will enter the market with no competition and should therefore pull in customers seeking this kind of style. • Introducing celebrity endorsement from popular young women like Ayo Bambi and Japanese star Peco to perform at the store as another way of drawing in the bright young things of Harajuku into the store to experience what BIBA has to offer them and to buy into an entry level product to start their BIBA obsession. • The experience would walk customers round late 60s/early 70s and the wonderful paintings on Carnaby Street by the likes of Douglas Binder, Dudley Edwards and David Vaughan would come to life and simulate the colourful, flower power nature of the 60s would come alive around the consumer and would lead them round the attractions of the 60s and end at the entrance to big BIBA where items that would be on sale in the physical store would be visible in the displays. This would make the consumer feel like they were buying into a part of the 60s, whether they’re just buying a pair of earrings or a full outfit from the brand.
20
(“BIBA”, 2017)
21
BIBA References Min Kong, H., & Ko, E. (2017). Why do consumers choose sustainable fashion? A cross-cultural study of South Korean, Chinese, and Japanese consumers. Journal of Global Fashion Marketing, 8(3), 220-234. Socha, Miles. (2000). JAPANESE CONSUMERS STILL DRIVE LUXE BOOM.(luxury and fashion market)(Brief Article)(Statistical Data Included). WWD, 2. n-text: (Medium, 2017) Your Bibliography: Medium. (2017). Japanese Street Fashion 2017 — 15 Things You Need To Know. [online] Available at: https://medium.com/@ TokyoFashion/japanese-street-fashion-2017-15-things-you-need-to-know-ab06eabfca39 [Accessed 18 Oct. 2017]. (Baker, 2006) Baker, P. (2006). [Rezension von:] Turner, Alwyn W.: Biba : the Biba experience. - Antique Collectors’ Club, 2004 // Howard, Delisia: In Biba : a graphic romance. - Hazard Books, 2004. (JANE, JANE and profile, 2017) JANE, S., JANE, S. and profile, V. (2017). Ready Steady Go! Cathy McGowan Raves about Barbara Hulanicki (1964). [online] Sweetjanespopboutique.blogspot.co.uk. Available at: http://sweetjanespopboutique.blogspot.co.uk/2012/11/ready-steady-go-cathy-mcgowan-raves.html [Accessed 17 Oct. 2017]. (Hulanicki and Pel, n.d.) Hulanicki, B. and Pel, M. (n.d.). The Biba years. (Messy Nessy Chic, 2017) Messy Nessy Chic. (2017). London’s Lost Department Store of the Swinging Sixties. [online] Available at: http://www.messynessychic. com/2015/07/07/londons-lost-department-store-of-the-swinging-sixties/ [Accessed 17 Oct. 2017]. (dorothyperkins.com, 2017) dorothyperkins.com. (2017). About Us Landing Page. [online] Available at: http://www.dorothyperkins.com/en/dpuk/category/about-us-landingpage-6768911/home?geoip=noredirect [Accessed 17 Oct. 2017]. (EnableJapan.com, 2017) EnableJapan.com. (2017). Hysteric Glamour: Rock and Grunge Style - EnableJapan.com. [online] Available at: http://enablejapan.com/hysteric-glamour/ [Accessed 24 Oct. 2017]. (Nikkei Asian Review, 2017) Nikkei Asian Review. (2017). Japan’s gender wage gap persists despite progress- Nikkei Asian Review. [online] Available at: https://asia.nikkei. com/Politics-Economy/Economy/Japan-s-gender-wage-gap-persists-despite-progress [Accessed 19 Oct. 2017]. (Blog.twmuseums.org.uk, 2017) Blog.twmuseums.org.uk. (2017). BIBA | Tyne & Wear Archives & Museums Blog. [online] Available at: http://blog.twmuseums.org.uk/biba/ [Accessed 17 Oct. 2017]. (Hornyak, 2017) Hornyak, T. (2017). Plastic fantastic: How does Tokyo recycle its waste? | The Japan Times. [online] The Japan Times. Available at: https://www. japantimes.co.jp/life/2017/06/10/environment/plastic-fantastic-tokyo-recycle-waste/#.WejxcPlSzIU [Accessed 19 Oct. 2017]. (Goodonyou.eco, 2017) Goodonyou.eco. (2017). Cite a Website - Cite This For Me. [online] Available at: https://goodonyou.eco/carbon-climate-clothing-and-you/ [Accessed 19 Oct. 2017]. (Humble Bunny, 2017) Humble Bunny. (2017). Japan’s Top Social Media Networks for 2017 - Humble Bunny. [online] Available at: http://www.humblebunny.com/japans-top-social-media-networks-2017/ [Accessed 19 Oct. 2017]. (The Independent, 2017) The Independent. (2017). Little Britain: How the rest of the world sees us. [online] Available at: http://www.independent.co.uk/news/uk/this-britain/ little-britain-how-the-rest-of-the-world-sees-us-2043190.html [Accessed 23 Oct. 2017]. (Time Out Tokyo, 2017) Time Out Tokyo. (2017). Where to experience a virtual reality world in Tokyo. [online] Available at: https://www.timeout.com/tokyo/things-to-do/virtual-reality-in-tokyo [Accessed 23 Oct. 2017]. (Anon, 2017) Anon, (2017). [online] Available at: https://www.japantimes.co.jp/news/2017/09/25/business/economy-business/government-keeps-steady-out-
22
look-japans-economy-seeing-moderate-recovery-fourth-straight-month/#.We4BoPlSzIU [Accessed 23 Oct. 2017]. (Store.hystericglamour.jp, 2017) Store.hystericglamour.jp. (2017). ���i�������ʈꗗ�bHYSTERIC GLAMOUR ONLINE STORE [ �q�X�e���b�N�O���}�[ �I�����C���X�g�A ]. [online] Available at: http://store.hystericglamour.jp/_search/search_result.html?pl_on=10 [Accessed 24 Oct. 2017]. (Japan-guide.com, 2017) Japan-guide.com. (2017). Ginza. [online] Available at: https://www.japan-guide.com/e/e3005.html [Accessed 25 Oct. 2017]. (Silver, 2017) Silver, D. (2017). Stella McCartney’s Clothing Will Be Made From Recycled Ocean Pollution. [online] Observer. Available at: http://observer. com/2017/06/stella-mccartney-ocean-pollution-parley-partnership/ [Accessed 25 Oct. 2017]. (Hongo, 2017) Hongo, J. (2017). Women Earn 72% as Much as Men, and Other Facts on Japan Wages. [online] WSJ. Available at: https://blogs.wsj.com/japanrealtime/2015/02/20/women-earn-72-as-much-as-men-and-other-facts-on-japan-wages/ [Accessed 25 Oct. 2017]. (Joy, 2017) Joy, A. (2017). Pink Collar Workers: The Truth About Japan’s Office Ladies. [online] Culture Trip. Available at: https://theculturetrip.com/asia/japan/articles/pink-collar-workers-the-truth-about-japans-office-ladies/ [Accessed 25 Oct. 2017]. (Mitsukoshi Annual Report 2006) Mitsukoshi Annual Report 2006 , (2017). [online] Available at: http://www.imhds.co.jp/english/ir/pdf/annual_report/mitsukoshi/2006_ar_m.pdf [Accessed 27 Oct. 2017]. (Jannaludlow.co.uk, 2017) Jannaludlow.co.uk. (2017). Biba Everything Else. [online] Available at: http://www.jannaludlow.co.uk/Biba/Everything_Else.html [Accessed 27 Oct. 2017]. (Source.ethicalfashionforum.com, 2017) Source.ethicalfashionforum.com. (2017). Fashion’s Carbon Footprint | The Ethical Fashion Source. [online] Available at: http://source.ethicalfashionforum.com/article/fashions-carbon-footprint [Accessed 29 Nov. 2017]. FASHION’S CARBON FOOTPRINT | THE ETHICAL FASHION SOURCE (“Fashion’s Carbon Footprint | The Ethical Fashion Source”, 2017) Fashion’s Carbon Footprint | The Ethical Fashion Source. (2017). Source.ethicalfashionforum.com. Retrieved 29 November 2017, from http:// source.ethicalfashionforum.com/article/fashions-carbon-footprint FASHION (“Fashion”, 2017) Fashion. (2017). The Telegraph. Retrieved 29 November 2017, from http://www.telegraph.co.uk/fashion/ INSPIRATION: BIG BIBA OF THE ‘70S | ILLEGAL TENDR BLOG (“Inspiration: Big Biba of the ‘70s | Illegal Tendr Blog”, 2017) Inspiration: Big Biba of the ‘70s | Illegal Tendr Blog. (2017). ILLEGAL TENDR. Retrieved 29 November 2017, from https://illegaltendr.com/ blog/2016/11/70s-biba/ JANE, S. SWEET JANE (JANE, 2017) JANE, S. (2017). SWEET JANE. Sweetjanespopboutique.blogspot.co.uk. Retrieved 29 November 2017, from http://sweetjanespopboutique.blogspot.co.uk/search/label/Sarah%20Moon VINTAGE | © PLEASUREPHOTO | PAGINA 63 (“Vintage | © Pleasurephoto | Pagina 63”, 2017) Vintage | © Pleasurephoto | Pagina 63. (2017). Pleasurephoto.wordpress.com. Retrieved 29 November 2017, from https://pleasurephoto.wordpress.com/tag/vintage/page/63/ BIBA (“BIBA”, 2017) BIBA. (2017). Pinterest. Retrieved 29 November 2017, from https://www.pinterest.co.uk/pin/914862395627739/?lp=true
23
cliare pierce 24 b6001670