Vinti Andrews Live Project

LIVE PROJECT PROPOSAL

LIVE PROJECT PROPOSAL

Word Counts: 7770 words

By: Laurence Bell Josef Mayfield Wing Yan Chow (Coey) Chia-Yun, Chen (Elina) Hsin-Yu, Shih (Cora) Deng Qiuyi (Fiona) Liu Xin (Shinnie)

N0718754 N0717969 T0001707 N0707650 N0707006 N0670421 N0718298

ACKNOWLEDGEMENTS

Foremost, we would like to express our sincere gratitude to our live project tutor, Yuri Siregar for the support and time given to our project and research. By having his guidance and recommendations, we can work smoothly throughout every step of our project, especially for the presentation and report writing.

Besides our tutor, we would also like to thank Vinti Tan and Paul Andrews, the founders of Vinti Andrews, for their help throughout this project and spent the time to attend our interview.

Finally, we must owe all the people gratitude for helped us work on this project. This accomplishment would not have been possible without them. Thank you!

From: Laurence, Josef, Coey, Elina, Cora, Fiona & Shinnie

CONTENT & ROLES ABSTRACT

Page 2

(COEY & ELINA)

01

INTRODUCTION

Page 3 - 4

(ELINA)

02

BRAND ANALYSIS

Page 5 - 6

(FIONA)

03

CURRENT SITUATIONS OF VINTI ANDREWS

Page 7 - 8

(SHINNIE)

04

LITERATURE REVIEWS

Page 9 - 12

(COEY & ELINA & CORA & LAURENCE)

05

CASE STUDIES

Page 13 - 14

(JOSEF)

06

METHODOLOGY

Page 15 - 16

(CORA)

07

FINDINGS

Page 17 - 18

(LAURENCE)

08

EXECUTIONS & RECCOMMENDATIONS

Page 19 - 22

(JOSEF)

09

CONCUSION & REFLECTION

Page 23 - 24

(COEY)

10

REFERENCE

Page 25 - 27

11

BIBLIOGRAPHY

Page 28

12

LIST OF FIGURES

Page 29

13

APPENDIX

Page 31 - 44

FINALIZE & REPORT LAYOUT

(COEY) (COEY)

ABSTRACT

By: Coey & Elina

Rational: Vinti Andrews is a London-based fashion brand which needs additional developments on the marketing and promotion strategies. However, they are facing financial problems which may affect their marketing plans. Thus, as mentioned in the introduction, it shows that the experience has become the major point to influence consumers’ purchase decision and it is a well-worth considerable opportunity for Vinti Andrews. Since the experiential consumption had been applying to the new marketing strategy, it will be quite beneficial for Vinti Andrews to increase their brand awareness and customer interaction, strengthen brand image and consumer engagement, and rebuilt their build image to develop and launch a new mobile application.

Aims & Objectives: Therefore, our team is required to work on this live project, which aims to increase Vinti Andrews brand awareness and consumer engagements through a digital mobile strategy.

There will have three research objectives to achieve our goal of this project, including to Investigate what consumers want and needs from an app experience; researching on consumers habits by using apps and mobile; to develop the mobile interaction framework for Vinti Andrews.

Keywords: Vinti Andrews, Brand Awareness, Mobile Interaction, Mobile Usage, Customer behaviour, Digital Marketing, Creation of Marketing Content Paper Type: Group Live Project Proposal Report

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01 INTRODUCTION

Consumers are becoming more confident and familiar with digital interaction, particularly in mobile devices, and online purchases. This phenomenon generates more potential opportunities to create values for consumers through the mobile phone marketing which is also known as m-marketing (Anckar and D’Incau, 2000; Andrews, Drennan and Russell‐Bennett, 2012) The values of mobile marketing are involved the advertising (Russell‐ Bennett, 2012), practical/services (Vatanparast, 2010; Russell‐Bennett, 2012), interactive, functional, experiential (Houston & Gassenheimer, 1987; Grant and O’Donohoe, 2007; Russell‐Bennett, 2012) and personal relevance (Russell, 1998; Addis and Holbrook, 2001; Hackley and Tiwsakul, 2006). Based on the values of M-marketing and the theory of consumption values, it shows that the digital interaction focus more on the progress of understanding, communication and experience for the users instead of normal marketing strategy, which is more focusing on the end with persuasive purchase and the experiential consumption does really enhance the value of M-marketing (Andrews, Drennan and Russell‐Bennett, 2012). This new version of marketing is emerging and the marketing strategy focuses more on how to satisfy customer’s expectations through the experiential consumption/services (Addis and Holbrook, 2001). In today’s world where experience becomes the product, digital experiences are what consumers expect and consume. In additional, the personalization is also the main concept of the experiential consumption, consumers expect retailers to remember their personal details, previous order history and their preference of contact methods (Holbrook, 1994). This states that the demands of personalised service, access and memorable purchase experiences are also being part of the interaction, which is also related to the experiential consumption here. Thus, the theory of experiential consumption will be adopted to the following content of this project.

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By: Elina

Fig 1

02 BRAND ANALYSIS

By: Fiona

The current activities of Vinti Andrew's marketing communication strategies are Customise Nike, celebrity endorsement, trade show. And their future plan will be to increase the brand awareness to the public.

First of all, Vinti Andrew has collaborated with Nike a few years before. During the collaboration, they got the permission to customise with products from Nike and exported them to Japan. According to a survey, more than 35% of U.S. online consumers are already interested in customizing product features or in purchasing build-to-order products that use their specifications, in 2001 (Gownder, 2011). Psychologists have determined that those customers can express themselves with public goods (such as clothing, cars, jewelry, or even PCs) that reflect their unique design. Ultimately, these psychological benefits translate into a higher willingness to pay into loyal, repeat-purchasing customers (Gownder, 2011).

Secondly, Vinti Andrew has done a few sponsorships with celebrities, including Jess Glynne and Jack Garratt. Jess Glynne as a English singer and songwriter rose to prominence as a featured artist on Clean Bandit's Grammy Award-winning single "Rather Be" and Route 94's "My Love", both of which reached Number One on the UK Singles Chart in 2014 (Wikipedia, 2017). Jack Garratt is also a British singer, songwriter and multi-instrumentalist from Little Chalfont, Buckinghamshire (Wikipedia, 2017). It is one of the widely used promotion methods by sponsoring popular singers and asking them to share the messages and products. According to a Marketwatch claim in Social Media Week, endorsement can encourage an increase in sales by 4% , because the brand value can be increase by promotion ofcelebrities is immediate and palpable (Steve,2016). Furthermore, the studies above have shown that advertisements which used celebrities as the model (either singer or movie star or key opinion leaders nowadays) may become more attractive and gain purchasing impulses by the public (Steve,2016).

Moreover, Vinti Andrew has participated in trade show. Trade shows are able to offer further developing and promotion opportunities for companies, including meeting potential customers, finding new and better ways of doing business and building a more impressive reputation within an fashion industry. According to data from the Center for Exhibition Industry Research (CEIR), on average, 76% of attendees ask for quotes and 26 percent end up signing purchase orders. 72% of visitors said that trade shows may influence their buying decisions and 64% of them will share their experiences to at least 6 people. In additional, trade shows can regard as an important lead generation or brand awareness channel (Leybovich, 2012). In general, they do not have an immediate impact on profits. However, if the exhibit program is well planned, they can play a role for building the company's reputation, specially for the new brands. In this case, trade shows may help Vinti Andrew to get in touch with thepotential customers, offered a lot of chances for boosting business and started its path in fashion industry.

Speaking of the brand's prospect, Vinti Andrew has to focus on marketing strategies and marketing communication strategy to raise the brand awareness in the public and optimise customers' experience. Brand awareness is the likelihood that consumers recognise the existence and availability of a company's product or service (Macdonald, 2015); in additional, it is beneficial to keep customers royalty and sustain business ongoing. By creating brand awareness, it will be one of the key steps for promoting product, especially when the brand have to differentiate similar products and services from its competitors (Macdonald, 2015). Optimizing customer experience is an important way to raise brand awareness and is about focusing online and offline. More specifically, it is about creating an unified experience for people at every stage of their journey with your business such as information perception or entertainment (Macdonald, 2015). Lastly, developing the communication strategies such as pay close attention to their website and social media performance can enhance customers to remember the brand.

Fig 2

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03 CURRENT SITUATIONS OF VINTI ANDREWS

By: Shinnie

1_ PHYSICAL STORE

3.2 ONLINE PLATFORMS

The interior design of the Vinti Andrews's store (see fig1) is clear at a glance, and all the products have been displayed in a very organized fashion by hanging the clothes on one of the side in store, and the bags, accessories and skateboards are displaying in the opposite and middle positions. In additional, Vinti Andrews have an iconic product — the handcraft dog (see fig2 and 3). Those dogs are handmade by the founders of this brand, Vinti Tan and Paul Andrews. And they have become the tools to attract people visiting the store by displaying near the shop window area.

Apart from the physical store, Vinti Andrews has put efforts on creating the contents of their online platforms. They currently have two separate websites; one is for the brand's information and lookbooks (see fig 4), the other one is for online shop (see fig 5). However, those two websites are often confused by the people, due to the searching results from Google.

According to their latest update of the official website, they have add the links to the social media platforms (including Facebook, Instagram and Twitter) on the homepage, so the customers can access to those platforms more easily than before. Moreover, the brand information on the website is clearer and easier to find.

Fig 3

However, there may have a few problems on the arrangement of the items display. The distances between each clothing items are too close with each other, which makes the consumers difficult to find what they might like. And some of them are not carefully classified, so the clothes should be segmented neither by colors nor series collection.

Presently, they are using a online platform called tictail for their online shop.

Vinti, the founder of this brand has mentioned in our interview, they have a sharply increase of sales after the promotion from tictail, by selling 60 jumpers in 3 weeks. Due to this experience, they have noticed the importance and effect of e-commence platforms; and leads them to get started on the cooperation with another online marketplaces (Lyst and The Outnet). In additional, they are going to sell their products through one of the popular high-street brands Urban Outfitters soon.

For the issues on instagram, they have only got around 400 followers currently.

Therefore, they have distribute postcards in store to attract more followers, but the effectiveness is questionable. Also, the contents and images style on the Instagram could be improved, however they prefer more images than words.

For the Facebook page , they have got nearly 4,500 followers; and 450 followers on their Twitter account. Thus, the main thing for Vinti Andrews to do on the social media platforms is to attract more followers and increase the awareness from public. After increasing the people's attention on the brand, they can make further actions with the brand.

Fig 4

Fig 6

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3.3 COMMUNICATION STRATEGY: PUBLIC RELATIONS & MARKETING Public relations and marketing are the worst areas for Vinti Andrews. They have hired a public relations agent currently, but there are still a lot of areas to improve. Undeniable, public relations costs money, and financial problem is one of the main issues that Vinti Andrews is facing.

3.4 CELEBRITY ENDORSEMENT Vinti Andrews has done sponsorships with the celebrities, such as Jess Glynne and Jack Garratt. However, there may have a few communication problems happened, therefore Vinti Andrews have not received any responses (such as hashtags or mentions) at the end. So, Vinti Andrews have stopped on the sponsorships now for avoiding the same problem happens.

Fig 5

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04 LITERATURE REVIEWS

By: Coey & Elina & Cora & Laurence

4.1 DIGITIAL SAVVY CONSUMER (Laurence)

4.2 MOBILE ENGAGEMENT (Cora)

The savvy consumer is considered to be literate in marketing and advertisement, capable of using technology and has a sense of confidence in the purchasing process. They obtain a sense of competency in terms of practical skills and acquiring knowledge to respond to a fluctuating environment. Uncles (2008) states that knowing that todays consumers are not a fixed target and acknowledging that they are more aware are important principles when approaching consumers with marketing strategies (Uncles, 2008).

The innovation of the internet changed the way consumers communicate and learn about products and how they go about purchasing them (Jiang, 2009). In turn the internet has become an important platform for information (Hanna, Rohm and Crittenden, 2011). This information has allowed consumers to become more savvy in their purchasing behaviour. As we see the growth in media and magazine availability, the coverage it provides for fashion has contributed towards consumers being more aware of fashion. (Barnes et al., 2007; Doyle et al., 2006) These aware consumers are more conscious of price, standard of service, product quality and product origin, which could suggest that consumers could be more reluctant to make a purchase without researching other offers or products beforehand and potentially has decreased the amount of impulse buyers.

According to Cachon and Swinney (2009) there are three types of consumers: 'myopic' consumers who always buy products at their full initial price; 'bargain-hunting' consumers who always buy products in the sale or when discounted; and 'strategic consumer who strategically choose when to buy a product.

As technology advances, consumers in general have become more so than ever connected to information. In a sense they have become interconnected, economically and socially (Hanna, Rohm and Crittenden, 2011). According to Pew Research Center's Spring 2015 Global Attitudes Survey there has been an increase in internet and smartphone users' in emerging and developing nations. This research suggests that there is a wider spectrum of users and that information is becoming more accessible (Poushter, 2016). With this being said Nie and Erbing (2002); Ahuja, Gupta and Raman (2003) found that over half of internet consumers use the internet for product information. Kowatsch and Maass (2010) state that succinct information is a crucial factor for consumers when making a purchase, this could be a factor for the observed increase in Internet and mobile users who require information on the go (Church and Smyth, 2009). However this information is not always actively sourced, Ahuja, Gupta and Raman (2003) state that information gathering also occurs passively through exposure to advertising, thus consumers are becoming more information savvy unconsciously.

The development of technology is growing fast and creates the popularity of owing mobile devices around the world, especially the smartphone has changed the way people live and forced brands to reset the marketing strategy. According to Schadler (2013), building and delivering great mobile experiences will take an important role in the customer engagement strategy for the next 10 years. His idea represents that successful mobile engagement has potential to bridge the gap between brands and customers. Mobile engagement can be defined as “those working in mobile emphasized that they all are about makingvaluable connections with mobile users to build loyalty or create content (Sonderman, 2014).” In addition, Sonderman (2014) also indicates that the engagement includes contributing and amplifying content from a mobile device, providing long-term loyalty and creating cross platform interaction.

In conclusion, savvy consumers are literate in marketing and advertisement and are capable of using technology as a tool. They are competent in areas of practical skills, acquiring knowledge and responding to changing environments.

Consumer have become interconnected, economically and socially through technological innovations. As the amount of mobile and internet users increase consumers are being exposed passively to information through the media, magazines and social media and thios is how consumers are becoming more savvy unconsciously.

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Contributing and amplifying content from a mobile device There are ninety-one percent of mobile users will close a site or an app if it does not satisfy an immediate need, which means your carefully-crafted content may not be seem if mobile users think it is irrelevant (Hinkle, 2016). Bacon(2016) also mentioned that the irrelevant content will annoy and interrupt customers’ mobile experiences. However, both Hinkle(2016) and DeMers(2013) points out that analyzing and auditing site data and customer behavior are beneficial for contributing correct content. The great and deep understanding of your audience’s mobile habits will make your content more convincing (DeMers, 2013). Therefore, designing the relevant and attractive content is a key driver for a successful mobile engagement.

Providing long-term loyalty Creating mobile engagement is beneficial for a brand to promote long-term loyalty with their customers. Mobile-up loyalty will make the brand’s best customers feel different through providing exclusive experiences, interactions and products (Schambach, 2016).

For instance, Sephora’s ecommerce loyalty app offers their members exclusivity and status-based rewards by registering for their rewards program. It was known for its benefits such as trial-sized cosmetics, annual birthday gifts, and even invitations to parties and events (Castle, 2015). Besides, Sephora also leveraged in-store collateral with different mobile apps in order to strengthen their mobile loyalty program (Johnson, 2013). Therefore, giving exclusive surprise and integrating functions might attract customer keep using the app and raise the long-term loyalty.

Creating Cross-platform interaction Digital strategy becomes more and more important for businesses due to the popularity of using social media. Sonderman(2014) mentioned that “using social media to connect with other people is the most popular purpose of smartphone app usage other than gaming.” Analyzing social conversation across platforms is beneficial for creating hyper-relevant content. On the other hand, according to Papandrea(2016), Brands need to create the contents and information which can answer users questions on social media and mobile apps because younger generation tends to obtain customer service from it. It seems that creating impressive contents and achieve customers’ expectation on different social media platforms and mobile apps has potential to recruit much more younger customers. For instance, Tommy Hilfiger and Burberry both launched their Chatbot function on Facebook Massengers (Papandrea, 2016). It allows customers to communicate with bot about brand’s collection. Besides, Twitter also launched Chatbot function by the end of 2016 and the brands such as Spotify, Tesco and Airbnb began to use it (Eng, 2016). Social media is closely connected and inseparable with mobile devices. As a result, creating cross-platform interaction might help the brands to reach more audiences and increase the brand awareness.

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4.3 Digital Consumption (Elina)

4.4 Creation of Content Marketing in the Fashion Industry (Coey)

Consumption Style Nowadays, lifestyle has strongly affect the consumers’ purchase behavior and consumption style and it leads people’s consumption style from traditional to ‘postmodern’ (Wilska, 2003). The meaning of consumption for the young generation is not only referred to the physical products and services, but also can mean selfexpression, individual identity-formation, creativity, or art (Giddens, 1991; Du Gay, 1996; Gabriel & Lang, 1996 cited in Wilska, 2003). According to the research of Wilska (2003), it states that new technology now has taken an important part in people’s daily life, and these new technologies also have become the main information and communication methods for the young generation (Wilska, 2003). The digital mediasand mobile technology can help the brand to strengthen communication, information delivery and the connection between brands and consumers. This phenomenon is called digital revolution and there are more and more traditional businesses imply digital technologies into their business models based on the changing of consumption behaviors (World Economic Forum,2016).

Content marketing is a method for the brand to create channels and share theirmessages to the current and potential customers, it can be the form of blog posts, infographics, videos or any other format that can attract the target audience and get the people feel interested to the brand. Apart from the traditional marketing mix, some of the key characteristics of digital content marketing have also outlined by the upcoming marketing trends and consumers’ behaviour. Rowley (2008) stated that information is integral to marketing; the information or messages through marketing communications may able to influence the audiences or customers’ behaviour.

Digital Marketing Through the improvement of society, technology started to play an important role in people’s daily lives. Due to the technology, it brings up the digital marketing in any industry, leads to the new generation of product, changes the way of advertising and also keeps up the customer's expectations (World Economic Forum,2016). However, technology adoption is not only focused on the productivity-oriented technologies and the development of innovative but also creating the enjoyment-oriented environments for the users and concentrating on the customer experience (Turel, Serenko, and Bontis, 2010). Based on the technology adoption, digital consumptions minimize the boundaries between virtual consumption, customers experience and services (Denegri‐Knott and Molesworth, 2010). At the same time, digital consumption also offers customer more opportunities and usabilities to increase the consumer’s emotional value (Denegri‐ Knott and Molesworth, 2010) and consumption value (Turel, Serenko and Bontis, 2010) through user’s experiential and playful practice. The using experiences, hyperpersonalization, and ownership toassess are three main areas to effectively meet customer’s expectations and increase the consumption value in the digital economy rather than just simply offering products or services (Wilska, 2003; World Economic Forum, 2016). The interactivity has become one of the most essential element to access digital marketing. The interactive marketing focuses more on building individual relationships with users to manage and develop the new marketing (Blattberg and Deighton, 1991; Lombardand Snyder-Duch, 2001), and the communication in the IMS will be two-way between the marketers and users (Bezjian-Averyat el, 1998). According to the concept of IMS, interactivity provides consumers more controlling authority and different opportunities to receive the information from the marketers, therefore the advertising will be delivered more targeted and personal to the users (Blattberg and Deighton, 1991; Lombard and Snyder-Duch, 2001). Through the using process and choosing the different user interfaces such as lookbook, lifestyle or even languages and regions, it can help customers to feel the usage is personalized which can increase the engagement and purchase willingness (Lombard and Snyder-Duch, 2001).

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The importance of customer interaction In this era, mobile usage, personalisation and authenticity have become morefocused in a content marketing strategy for the fashion industry (Papandrea, 2016). In additional, Papandrea also mentioned that there are more customers nowadays will expect to receive additional interaction from the brand and looking to be inspired, entertained and informed, such as Click-and-Shop Content, blogs and data-driven emailing.

Furthermore, Marks (2016) has summarised the five main elements and levels of content marketing for the fashion brands,including overtly promotional content, the blogs promotion, creating unique content, audience engagement or interaction and combining all contents or promotion trend together. Therefore, the information above may allow us to know that the upcoming marketing trends for the fashion industry will mainlyfocused on the interaction between the brands and customers.

Being visual On the other hand, visual content of the communication channels and promotion methods is become prevalent to increase the attention from current and potential customers; images, infographics, videos, memes and GIFs have been widely used by the brands and marketers in those years (Morrison, 2017). In additional, Gramble (2016) indicated the media and consumer communication channels nowadays are not making things easier, moreover the content on magazines or newspapers in both print and web formats are becoming increasing visual. Narrowly speaking, providing visual contents on promotion and communication use has a lot of benefits. Manic (2015) has mentioned the visual contents such as illustrations, comics and videos are a kind of excellent methods for the companies to deliver the messages to the customers, and also those methods are able to become a storytellers to let the brands to tell their stories to the target audiences.

The importance of the transparency for a brand Over the past several years, increasing the brand’s transparency has become a trend in the retail industry, there are more people will start aware on the stories behind the brands apart from the product itself, and lifestyle also becomes an invisible product, which is the psychological statisfation. By offering a compelling and unique stories, the brands can deliver their tone-of-voice and message to their customers easily. Thomas (2012) mentioned the reasons that lead storytelling become one of the essential elements in branding in his blog article. He thinks that stories can produce experiences and they may increase the impression of the brands in the audiences’ heart; also stories can help the brands to work on their brand analysis and positioning more easily; moreover, stories are most likely to be shared among the people and able to motivate the audiences to achieve the brand’s goals.

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05 CASE STUDIES

By: Josef

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Competitor Analysis 1 – Maison Kitsuné Founded in 2002 by Gildas Loaëc and Masaya Kuroki, a trip to Japan inspired both co-founders to create a coherent concept uniting their passions of fashion and music. This concept would be used as a platform to establish a Fig14 one-of-a-kind brand.

Based in Paris, the label continues to exhibit its contemporary vision fusing the influence of Tokyo and traditional Parisian elements. Collections are created for both men and women and often include simple and classic pieces providing a sense of timelessness, yet the bold mix of colours, prints and materials position them firmly within the zeitgeist.

Since its inception, Maison Kitsuné has consistently grown year on year, their products are stocked in over 300 stores worldwide and they operate nine standalone boutiques (four in Paris, two in New York, two in Tokyo and one in Hong Kong). In terms of online selling, they are stocked by hundreds of global retailers and operate a very comprehensive and modern website.

In 2013 the brand added a new concept, the Café Kitsuné. With two in Paris and one in Tokyo, their purpose is to provide an eclectic mix of fashion, music and design. These locations pay tribute to many of the brands core values and effectively convey their unique ethos.

Maison Kitsuné’s product offerings aim to provide the perfect balance between tradition and modernity, being a premium fashion label products are priced accordingly. Women’s t-shirts are largely priced between £50 and £100, whilst dresses are priced between £200 and £600.

Maison Kitsuné utilise a multi-channel promotion approach. Due to the nature of today’s fashion industry it is imperative to incorporate an effective digital communication/promotion strategy. Maison Kitsuné have developed a very comprehensive digital presence; their website acts as a hub for their digital activity that coherently links the online store, music label, brand journal, and social media accounts. They have approximately 59,000 followers on Twitter, 246,000 on Facebook and 308,000 on Instagram. The Facebook and Twitter accounts largely focus on promoting the brand’s music based events, however there are also opportunities providing direct links to new collections and sale items. Due to the nature of the platform, their Instagram content is highly visual. There is a much larger product focus, posts mainly consist of lookbook extracts, detailed product shots, video campaigns and design inspiration. Although there is a slight difference in content between the social media platforms, the art direction and brand image is extremely consistent, this level of consistency is also present on the website.

Due to the brand’s strong relationship with music, they also have YouTube, SoundCloud and Spotify accounts where they often share playlists and suggest artists. Music is part of the Maison Kitsuné DNA, providing a strong platform for the brand to gain greater following and exposure. The brand’s music element is cohesively linked with the website, more specifically the event calendar that details all the upcoming Kitsuné club nights.

Maison Kitsuné still utilise traditional direct marketing techniques such as email newsletters, however the ‘journal’ section of the website operates in a similar fashion to a blog. It is regularly updated with insightful information regarding new collections, new music projects and Kitsuné events. It encompasses elements of content marketing and provides consumers with a more enriching online browsing/shopping experience.

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Competitor Analysis 2 – Wood Wood Founded in 2002, Wood Wood is a contemporary fashion brand based in Copenhagen that is currently directed by co-founders Karl-Oskar Olsen and Brian SS Jensen. Whilst growing up, both founders were immersed in many of the sub-cultural activities associated with 1990’s youth culture. Their involvement with street and graffiti culture provided a platform of inspiration Fig16 upon which the Wood Wood brand was conceived.

Today the brand focuses on creating the best possible product that successfully balances style and function. They describe themselves as ‘contemporary streetwear’, often mixing elements of high fashion, sportswear, streetwear, youth culture, art and music to create collections for both men and women. Creative director and co-founder Karl-Oskar Olsen states Wood Wood is much more than just a brand, it’s a style and attitude that is constantly evolving that continues to combine underground and high end elements to create their own unique aesthetic.

Wood Wood operate five boutiques, two in Copenhagen, two in Berlin and one in Aarhus. Each boutique also stocks a selection of other brands such as Nike, Comme des Garcons, Gosha Rubchinskiy and Champion. The other brands accompany the Wood Wood products and ultimately increase the footfall. Wood Wood also operate a Museum store in Copenhagen, a very unique aspect that allows customers to find rare and elusive items from previous collections, the artefacts in the Wood Wood museum are collected from all of their boutiques including products from Wood Wood and other brands. Regarding online selling the brand runs a clean and comprehensive webstore, most the products available to purchase are Wood Wood, however, there is also a carefully selected set of products from other brands. Wood Wood products are also stocked in many physical locations and roughly 50 online locations, the majority of these retailers are located in Europe.

Pricing for Wood Wood products is located toward the premium end of the spectrum. T-shirts and sweatshirts are roughly £50 and £100 respectively, whereas dresses and jackets are priced between £180 and £550.

Wood Wood actively collaborate with renowned global brands. They currently have over 50 collaborations to their name, these include Nike, LEGO, Barbour, Adidas, Champion and Eastpak. Collaborations are an effective way of gaining exposure and promoting their products in different industries and areas of the market that their normal collections do not penetrate. Wood Wood use a mixture of push and pull strategies to promote their products. Push strategies include negotiating with retailers to stock Wood Wood products, whilst pull strategies largely encompass the brand’s digital and social media advertising. Wood Wood operate a Facebook Instagram and Twitter account with approximately 73,000, 135,000 and 12,000 followers respectively. They also have a Vimeo account that includes campaign videos, runway shows and collaboration teasers. There is a good level of consistency between their social media platforms, Facebook and Twitter focus on promoting and encouraging the purchase of new collections and products from Wood Wood and other brands stocked instore/online. They also detail launch events and share Wood Wood related content from other reputable sources.

The Instagram page shares detailed product images of Wood Wood products only, and adds a dimension of endorsement.

Local celebrities and social media influencers (such as stylists) are often pictured wearing Wood Wood products.

Rather than just providing an online location to purchase fashion products, the Wood Wood website also offers some elements of original content. The brand projects are detailed including information on upcoming collaborations and collections. There is also a Muzak section, an on-going series of music mixes created by an international group of Wood Wood associates. The mixes are distributed exclusively on the site and provide consumers with a diverse range of music at least every month.

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06 METHODOLOGY

By: Cora

Research Philosophy

Research Strategies

The aim of this report is to increase brand awareness and consumer engagements through a digital mobile strategy.

In order to understand how consumer was engaged with mobile, this report will research and observe the consumer decision-making process with apps and mobile. Thus, due to the report’s research objective, which is to ascertain the consumer perspective of mobile interaction in fashion industry, interpretivism philosophy, which aims to study and express about the inner feelings of the participants, will be adopted in this report.

Brand Founder Interview Following the access grant to the founder of Vinti Andrews, Vinti Tan, 20 minutes qualitative and semistructured interview was carried out. A semi-structured aims to provide in-depth findings through informal discussions with participants (Collis and Hussey, 2003). This interview method was chosen over unstructured or structured interviews, because this report intends to get basic understanding about the brand first then more deeply focus on their mobile engagement objectives by asking specific questions.

The interview questions in the semi-structured interview are in appendix. The themes utilized in this report were derived mainly from the literature review and were crucial in developing the questions that were raised during the study.

Research Approach Qualitative research is related to an interpretive philosophy which is based on naturalistic approach of data collection such as interviews and observations. (Denzin and Lincoln, 2005). Using qualitative research such as open-ended questions and interviews allows researchers and practitioners to understand how individuals are doing, what their experiences are, and recognize important antecedents and outcomes of interest that might not surface when surveyed with pre-determined questions. Hence, this report will take qualitative research for better understanding consumer perspective with mobile.

In addition, because this report will gather information and focus on describing a phenomenon in a deep comprehensive manner, inductive approach, which starts with the observations and theories and associates with the end of the research process as a result of observations (Goddard, 2004), will be adopted in this report.

Competitors Case Study This report would adopt a case study strategy in identifying successful drivers of mobile engagement from competitors. Eisenhardt and Graebner(2007) assets that case study strategy will be useful if you wish to gain a rich understanding of the research perspective and the processes being enacted. Therefore as this report aims to develop the mobile engagement strategy through understanding consumer needs and behavior, a case study would be effective. In addition, French brand Maison KitsunĂŠ and Denmark brand Wood Wood were defined as two key competitors for Vinti Andrews.

Users Interview and Focus Group The interaction of participants in interview situation will help researchers to create knowledge because human interaction and negotiation is seen as basis for the creation and understanding of social life in interpretive approaches (Edwards and Holland, 2013). Therefore, users interview and focus group was adopted in this report in order to observe how consumer aware of the brand and what elements impact their purchasing decisions. Besides, these two strategies were helpful for identifying the current facing issues of Vinti Andrews. Furthermore, the thoughts from focus group participants about the developing visuals and ideas are beneficial for establishing mobile engagement strategy.

The participants for users interview were 2 students studied Fashion marketing, communication and management as master programme in UK. The individual interview started from showing brands official websites and social accounts with the participants. The type of the questions were structured and focused on the following aspects: awareness of the brand, first impression of brands website and social media platform, influences of purchase intention, habits on mobile usage.

The participants for users interview were 4 students studied Fashion marketing, communication and management as master programme in UK. The focus group interview stared from asking specific questions about the habits of using fashion apps with participants, following by asking their preference about new ideas. The type of the questions were structured and focused on the following aspects: first impression of brands website and social media platform, influences of purchase intention, habits on mobile usage, ideas and preferences on fashion apps functions.

Fig17

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07 FINDINGS

By: Laurence

During this project, apart from secondary research, we have done a few primary research in order to receive more information from the current users in the digital market. And here is a summary of our findings.

1_ Digital Consumers When asked whether the participants where digital consumers they were hesitant to answer until the moderator provided a more specific example of a digital consumer's behavior i.e. Consuming information and browsing. A participant mentioned that they use the internet to compare prices before visiting the physical store to make the purchase, another participant agreed with this and commented that they preferred a more physical experience when making a purchase. This finding was also coherent with the results from the interviews and suggests that consumers prefer to make the purchase in a physical store rather than online but they still use the internet as a tool to inform their buying process.

2_ App Users Again, the results were mirrored by the interview results where all the participants stated that they don't use fashion related apps as they find it easier to use the websites even when using their mobile phones. One participant stated that only loyal customers would use an app for purchasing This finding shows how the draw backs of apps such as using up storage and the extra steps can influence where consumers make their purchases.

Also, that purchasing through a brand’s website is easier than through their app.

3_ Specifications of apps Within the results one participant said that if the quality of the photos/videos was poor it would put them off making a purchase all together. Another participant commented that if apps were easier to navigate that they would be more inclined to use them. The findings conclude that the quality of the photography must be of a high standard to encourage consumer to make a purchase and that the app must have a simple linear path which irradiates user confusion.

4_ App incentives A participant recalled a time when 'ASOS' had an app incentive where if the user downloaded the app they would receive a free tote bag, however once they obtained the reward they deleted the app. This suggests that incentives for new users is only temporary and doesn't necessarily lead to app user loyalty.

5_ Life span of Apps All the participants commented that they delete apps if they don't use them frequently enough, also to free up storage space on their devices. This finding suggests that an app should have a daily use to encourage the user to keep the app installed.

Fig18

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08 EXECUTIONS & RECOMMENDATIONS

By: Josef

Website & Social Media Drawn from the primary research findings and the review of current literature, recommendations for Vinti Andrews largely focus on revamping their digital marketing and communication strategy. The strategy largely focuses on mobile engagement and encompasses their social media activity, elements of their website and the development of a mobile app. Although not strictly a digital activity, the recommendations also include brand and collaborative events which will aim to increase brand awareness and build an authentic brand image.

Nonetheless, the event promotion will be heavily incorporated into the Vinti Andrews’ digital strategy, more specifically integrated within their social media channels.

The recommendations are underpinned by an adaption of Holbrook’s theory of experiential value. Sheth, Newman and Gross (1991) state value that motivates consumption behaviour has been credited to a combination of conditional, functional, social, emotional and epistemic utility. However, empirical researchers generally interpret value as a tradeoff between quality and price (Yadav & Monroe, 1993), where “price” extends far beyond money to include investments of time and effort (Babin & Darden, 1995). Nonetheless, it is important to consider that the experience of consumption itself can also be rich in value, perceptions of experiential value are largely based upon interactions involving either direct usage or distanced appreciation of goods or services (Mathwick, et al., 2001). The recommendations are based upon such assumptions, the experiential value of consumption can provide consumers with both intrinsic and extrinsic benefits (Mano & Oliver, 1993). Whilst extrinsic benefits are associated with the completion of a task, intrinsic benefits relate to the fun and playfulness of an experience (Babin, et al., 1994). Holbrook (1994) modified the traditional extrinsic-intrinsic model of experiential value by including a dimension of activity, stating the consumer’s reactive or passive value is derived from their understanding, appreciation or response to consumption. To visualise this Holbrook (1994) suggested a value matrix, adapted by Mathwick, Malhotra and Rigdon (2001) to display four dimensions of experiential value (Fig. 19).

Fig20

Intinsic Value

Extrinsic Value

Playfulness

Aesthetics

Consumer Return on Investment (CROI)

Service Excellence

Active Value

Reactive Value

Fig 19. The four dimensions of experiential value

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In today’s world social media is intertwined into many aspects of day to day life, with approximately 2.789 billion active users (Chaffey, 2017) it represents the largest portion of individuals’ internet usage (Zhu & Chen, 2015). Due to the global impact of social media it can be an extremely cost efficient and effective marketing and communication method for small businesses (Bandyopadhyay, 2016) such as Vinti Andrews. The brand already operates a Facebook, Twitter and Instagram page however they do not implement an effective strategy.

The Twitter account is redundant, for a small brand it’s advisable to close this account and focus their time and resources on Instagram and Facebook, the two most engaging social media sites (Chaffey, 2017).

Findings from the pilot interviews highlighted a clear lack of consistency between each social media platform and the website. Participants were very confused about the brand identity and image. To eradicate this problem it’s imperative to implement an entirely coherent strategy across all digital platforms, and constantly monitor content to maintain an appropriate and consistent brand image. The art direction must also remain constant across platforms to maintain a professional and sophisticated image.

The main objectives for social media marketing/communication are as follows: create awareness of products and services offered, increase brand awareness and manage company reputation, strengthen relationships with users through engagement and provide user support and customer service (Bandyopadhyay, 2016). Vries, Gensler and Leeflang (2012) developed a conceptual framework for the determinants of brand post popularity including vividness, interactivity, informational content, entertaining content, position and valence of comments. Their research indicated highly vivid and interactive posts such as videos and competitions will generate more likes and comments respectively, it also found the share of positive comments on a post will increase the attractiveness of the post to other users. These are factors to consider, what’s more the scheduling of posts is another important aspect. For Facebook, to gain the most exposure it’s best to post between 1 and 3pm (more broadly between 9am and 7pm). Thursday and Friday have the highest engagement rates, activity spikes by approximately 10% on a Friday (Pollard, 2015). In order to build meaningful relationships with customers, posts should occur at least once a day and the brand should actively respond and interact with any feedback from consumers. The same post frequency is required for Instagram, however as it is purely mobile driven the optimum times for posting are slightly different. A survey with social media managers found posting during off-work hours (11am to 1pm/7 to 9pm) gained the most exposure, and although Instagram engagement changes daily weekdays are more suitable for important content (Chacon, 2017).

Changes also need to be made to the current Vinti Andrews website (fig 20). As well as the inconsistent relationship with the social media channels, the pilot interviews also highlighted the unprofessional nature of the website aesthetic.

Concerns were also raised regarding the shopping/browsing capabilities of the website. Participants were put off by the lack of product information and the poor quality of the product images. Furthermore the fact that there is a separate website for purchasing Vinti Andrews products made the participants feel unsure and confused. Similar responses were mirrored in the focus group, poor quality images/videos will put participants off browsing or making a purchase. It’s recommended the website should visually represent the brand identity and clearly link and integrate with the social media channels. To avoid uncertainty and confusion there should not be a separate website for purchasing and each product should have an adequate description with 4-5 professional photos. The primary research also found participants prefer to see the products on a model when they browse.

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Mobile App & Events Due to the meteoric rise in mobile engagement and digitally savvy consumers, another recommendation is to develop a mobile app. Unlike many fashion apps currently available to download, the focus of this app is not to purely provide an optimized platform to purchase Vinti Andrews products. Relating back to the theory of experiential value, the focus of the app is to provide consumers with meaningful content that provides them with both intrinsic and extrinsic benefits. This ties in with elements of content marketing and brand storytelling visited in the literature review. Findings from the focus group helped inform the specific functions of the app and the nature of the content. Participants found an app that only allows purchasing is only suited to loyal customers, this is not suitable for Vinti Andrews (a brand trying to raise awareness and gain more customers). Many apps will provide an incentive to encourage user downloads, however responses from the focus groups weren’t particularly in favour of such a strategy, they felt it has the potential to devalue the perceptions of a premium brand such as Vinti Andrews in return for no guarantee of app user loyalty. Participants all agreed that they are put off downloading apps due to storage, if apps do not have a daily use they will be deleted in order to free up space on their mobile device. This highlights the necessity of new engaging content on a regular basis. The proposed mobile app will combine lifestyle aspects to provide users with an engaging platform that they can tailor to their own preferences. It will feature an interactive rip function that will allow users to tear away categories they do not want to see. Popular categories gathered from the focus groups include, street style, trends, film & music, travel and interviews with industry creatives and influencers. The app will also give detailed insight into the inner workings of the brand and describe what influences their collections, this will be in the form of behind the scenes videos, images and blog posts. This will help to develop meaningful relationship with customers, allowing them to connect with the brand on a more personal and intimate level. Engaging content is imperative, examples have been made using lenticular depth of field images and gifs as creative styles executed successfully can increase the effectiveness of mobile apps (Belman, et al., 2011).

The final recommendation is to engage in collaborative and brand events. Event marketing is a valuable technique in generating brand awareness and building an authentic brand image (Gupta, 2003). The brand is often inspired by music, it is possible for them to collaborate with up and coming artists and local record labels or sponsor specific club nights in line with their brand image. Events of this nature often require less investment than many traditional advertising techniques but have the potential to reach larger audiences through word-of-mouth mechanisms and possible media coverage (Zarantonello & Schmitt, 2013). Furthermore, the more creative and original the events are the higher the chance of being shared by a larger audience (Rinallo, 2011). Event information can be effectively dispersed via social media channels, the brand website and mobile app. This ensures all aspects of Vinti Andrews’ marketing and communication are incorporated into their digital strategy.

Fig21-22 Our Mobile App Design

Fig23 Mockup of Instagram Post

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09 CONCUSION & REFLECTION

23

By: Coey

Conclusion of the report

How we worked as a group

Retail and technology elements will become more inseparable in the future; the brands can attract more customers by evolving high -technology elements and into physical stores, such as creating omnichannel shopping platforms and personalise shopping experiences or purchase advice (Vend, 2017). In the light of technological advancement, consumers nowadays are being more digitally savvy and rely on the experiences from mobile usage; therefore, developing the mobile interaction framework and improving the customer experience has become one of the top priority in fashion marketing and branding plans.

For this project, we have done plenty of secondary research which focused on the theories and information that related to mobile interactions and customer behaviour, also researching the digital marketing and creation of marketing contents trends in fashion industry. Apart from the secondary research, our group have also worked on a few primary research, including focus group and interviews, to have a deeper knowledge of the customer behaviour and mobile usage habits. At the end of this report, we have provided a few recommendations that related with developing the mobile interaction framework for Vinti Andrews, including social media platforms development and creating a mobile app.

In the purpose of maximising our efficiency, we had divided up our job role before get started the research. Then we will keep on checking and giving feedback to each other during meetings and tutorials. In additional, we have also created a weekly group diary to keep tracking on our working progress.

Apart from tutorials every week, we will arrange additional meetings every week according to our work progress and needs. Other than that, we have created a WhatsApp group and Dropbox between ourselves to make it easier for us to share ideas and information during the spare time.

We have learnt a great deal on current marketing trends and improved our design and communication skills from the project. However, we still encountered a few problems in the group, but we were able to pin them down in time and resolved in the end.

Therefore, this project has given us a great experience on working as a group and additional practices for future projects.

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12. LIST OF FIGURES Fig1. Unknown Title. Source: https://unsplash.com/collections/165911/digital-marketing?photo=pb_lF8VWaPU (Photo by Gillies Lambert) Fig 2. Vinti Andrews Poster. Source: Vinti Andrews’s Official Instagram.

Fig 3. Physical Store of Vinti Andrews. Source: https://www.google.co.uk/maps/place/ Vinti+Andrews/@51.5246234,-0.0734984,3a,75y,324h,90t/data=!3m8!1e1!3m6!1sVPZcunisEMAAAQvvcz4tg!2e0!3e2!6s%2F%2Fgeo2.ggpht.com%2Fcbk%3Fpanoid%3DVPZcunisE-MAAAQvvcz4tg%26outp ut%3Dthumbnail%26cb_client%3Dsearch.TACTILE.gps%26thumb%3D2%26w%3D129%26h%3D106%26yaw%3D 324.59085%26pitch%3D0%26thumbfov%3D100!7i10000!8i5000!4m5!3m4!1s0x0:0x33065374b5ce440b!8m2!

3d51.524652!4d-0.073523!6m1!1e1 Fig 4. The Just-Do-It Dog by Vinti Andrews and Nike . Source: http://parkbenchstudio.blogspot.co.uk/2012/07/dogshoes-and-dog-art.html Fig 5. Shop windows of Vinti Andrews. Source: https://tictail.com/s/vintiandrews Fig 6. Official website of Vinti Andrews. Source: http://vintiandrews.com Fig 7. Official online shop website of Vinti Andrews. Source: http://shop.vintiandrews.com Fig 8. Smartphone Ownership and Internet Usage continues to climb in emerging economies. Source: Pew Research Center (2016) Fig 9. Unknown Title. Source: https://www.kent-teach.com/Blog/post/2014/07/22/A-Worldwide-Classroom-Getstarted-with-digital-media-for-learning.aspx Fig 10. Unknown Title. Source: https://www.provenance.org/news/movement/trust-digital-age/ Fig 11. Unknown Title. Source: Pinterest Fig 12. Unknown Title. Source: Pinterest Fig 13. Maison Kitsuné. Source: Own Image.

Fig 14. Maison Kitsuné. Source: http://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/maison-kitsune Fig 15. Wood Wood. Source: Own Image.

Fig 16. Wood Wood. Source: http://www.woodwood.com/collections/SS17 Fig 17. Iphone 4s with Brown Diary. Source: https://picjumbo.com/iphone-4s-with-brown-diary/ (Photo by Viktor Hanacek) Fig 18. Unknown Title. Source: https://picjumbo.com/man-browsing-on-his-iphone/ (Photo by Viktor Hanacek) Fig 19. The four dimensions of experiential value. Source: Mathwick, Malhotra and Rigdon (2001) Fig 20. Current Website of Vinti Andrews.

Fig 21. App design. Source: Own Images Fig 22. App design. Source: Own Images Fig 23. Mockup of Instagram Post. Source: Own Images.

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13. APPENDIX

By: Coey

13.1 Critical Path 13.2 Transcripts for interviews & focus group 13.3 Methodology table 13.4 Moodboards 13.5 Mobile app design 13.6 Logo Development

13.1 CRITICAL PATH

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13.2 TRANSCRIPTS FOR INTERVIEWS & FOCUS GROUP (1) INTERVIEW WITH VINTI ANDREWS FOUNDER

(2) INTERVIEW WITH PROTENTIAL CUSTOMERS

DATE: 26/1/2017

(NIKO) DATE: 17/2/2017

Tell us about your brand VA: We started in 2002, after I graduated from my MA and we started with Re-make. Because when we started we didn't have much money so we bought clothes from second hand stores and cut them up.

Where did you get inspired initially?

VA: We started by cutting up clothes, having fun doing it. Taking ideas from the street. However now you can’t tell as different styles have merged. Before you could see certain groups, like goth or this or that.

We just got inspired by the movement of the culture and the music. That time was electro music.

What is the age range of your target market?

VA: We are targeting from teenagers up to thirty, late twenties.But after opening the shop im quite surprised we get customers up to 65 years old. Its wider than we thought.

What is your typical customer?

VA: More so in the twenties and thirties. Mainly locals also tourists. We get asian customer, English customer and the European, American, Australia. The 65 year old people who buy the products are still quite trendy, they still want to be young.

Where do you get inspiration from for your products?

VA: We realized that we have to be on the trend, because if you just go off and do what you want in your creation without following the trend whilst you are not in a position to be a trendsetter because you haven't got the marketing power. If you are too early or too behind its not good so you have to look around see what people are doing and do research, but not do what has already been done by other people as there is no point in copying. Our style is a little bit of sport elements to it, we like to take the street and the sport and then the high fashion and merge them together.

What products do you mainly focus on?

VA: At the moment we are focusing on the womenswear, we used to do menswear but we stopped as we wanted to enjoy it rather than stressing about too much work. Also the womenswear sells better, men's are very brand focused and very loyal to certain brands, like Palace, and Carhartt is like a Carhartt boy. With women they aren't so brand loyal.

Do you think you will ever go back to doing menswear?

VA: Maybe at some point.

What about the accessories?

VA: Accessories are not ours, we only do backpacks. More so quirky backpacks, mainly for press reasons.

What do you expect for the brand within the next year?

VA: We need to work on the marketing, the reason why we still survive is our products. Also because a lot of buyers like the products even though we don't do shows or we are not a famous brand. With fashion its ups and downs with sales. So marketing is our weakness, marketing needs lots of money. Minimum they charge is £1000 a month.

What are your current objectives for the brand?

VA: We have a new agent at the moment and they are also doing PR, so they are staring doing PR in Paris. It’s the first time we have had PR. We are planning to hopefully have a second store, who knows if we find the right location and budget. I hope to do it in London first, learn the trade because we have never done shop trade.

Where do you sell most of your products?

VA: We don't sell much in wholesale terms, but we used to sell a lot to Japan for the past 10 years since we started we were quite famous. The problem with wholesale is that it's easy to start but hard to maintain. As to maintain you need a lot of marketing, with powerful marketing a shop can buy from you for a few seasons and then drop you. If you sell to really big shop smaller shops follow suit but then after a few seasons a new brand comes in. This is why we opened the shop to change our strategy.

How do you communicate your brand's message?

VA: We need to update our website, our Instagram isn't doing very well, god knows why. Maybe because we aren't doing shows and presentations.

Have you considered having celebrity endorsements?

VA: Yeah, we gave out our stuff before to Jess Glyn. These people wear them and take photos but don’t tag you in the photo. Recently we lent out some clothes to Jack Garratt but he didn’t mention us so we don’t like doing that.

What do you want to achieve through your website?

VA: Imagery is really important, but we start the started the imagery in 2012 as we were only selling to Japan. We use an online shop called tictail and recently they promoted one of our items on their Facebook page and we got lots of sales. We sold 60 of that jumper in 3 weeks.

1. Are you aware of Vinti Andrews?

No. 2. What is your first impression of the website?

Because the style of the brand is not quite attractive to me, so I have just looked through the women and accessories items. The layout of the websites are casual, some of the pictures will show by a model picture, some of them are just the item itself, so they are not in the same styles. Also, the products details are not enough, such as there are no models are presenting the items or have not shown the sizes or details of the products. However, the website is quite user-friendly, and it is easy to find things. But to by honest, the photos of this brand are not professional, the models and lighting are not attractive enough for me to purchase the products.

3. What influences your purchase intention? (Price / Style /Visual Layout / Product Information / Customer Service) Visual Layout > Style > Price > Product Information > Customer Service There are many fashion brands website nowadays. Therefore, I think the first impression is important for a brand. When I look at a website in the first time, if the layout can attract me, I would like to continue to look more.

4. How would you describe the products?

Their products are quite common, and it can found in any other brands. Also, the products have mixed all together and have not divided into several collections. Moreover, the prices of the products are a bit high than the other high street brands, which sell similar products.

5. Do you partake in any activities or use apps related to fashion brands?

I have used “SIZE”. But I will look at the items through the apps then buy the products through the websites.

6. Is there anything in particular that stands out from the website/social media channels? (positive & negative) I am a bit confused on why there are two different websites for this brand. And the pictures on the Instagram have done better than the website; however, the styles of those two platforms are not unified enough. In additional, that will be better if there will have a product link under photos from Instagram.

7. What sort of experience would you expect from a fashion brand mobile app?

It should be user-friendly and easy to buy. Also, a clear layout is important. If the security of the mobile app were safe enough, I would try to use the mobile app to purchase the items. Moreover, if it were an app from bigger brands, I would use the app and follow the content within the app; but if it was a less well-known brand, I think the brand only have to put effort on refining their products.

8. Would you purchase from Vinti Andrews?

No, because their pictures on the website homepage cannot attractive me.

(LUCY) DATE: 17/2/2017 1. Are you aware of Vinti Andrews?

No. 2. What is your first impression of the website?

I think the style of this brand is a bit messy, and I am not sure what style and main inspiration for the product collections do the brand want to show, but maybe a bit of street style. Also, the style from the website and Instagram are entirely different and make me a bit confused.

3. What influences your purchase intention? (Price / Style /Visual Layout / Product Information / Customer Service) Because I am a student, therefore I think the price would be the most important. And then the styles and product information will be second important.

4. Do you partake in any activities or use apps related to fashion brands?

I seldom use mobile apps that related fashion brands, instead of Taobao. Because I can go to the website to purchase the items, and I do not like to make my mobile too messy with a lot of useless apps.

5. Is there anything in particular that stands out from the website/social media channels? (positive & negative) Some images from the Instagram are quite good. But there is no any link under the Instagram photos, so I am unable to find the products from the website. In additional, the picture quality is awful.

Do you want your website to have more than one function?

VA: Definitely, our new website will be updated in February, so we are going to have blog page with a link to the online shop.

6. Do you prefer the products are shown on the models’ body or taken on the floor?

I prefer the products are taken pictures on the floor.

With your social media do you have any staff members that run the platforms?

VA: We do a lot of it ourselves. It's expensive to employ people.

7. What sort of experience would you expect from a fashion brand mobile app?

Maybe, the app can show their content as a lifestyle daily.

Have you found and obstacles with your social media?

VA: I think to get follower, we have been giving out postcards but we have only got 200-300 followers.

8. Would you purchase from Vinti Andrews?

Maybe, but I prefer to go into the store and feel the products first.

If you were to have a mobile app what would you want it to do?

VA: Online shop really. What do you guys think?

Joe (one of our members): I think something like a blog that provides information about the brand, what is going on. Something to engage the with the customer.

VA: For our Instagram as an example we don’t say much with the image is that a bit disappointing.

Joe (one of our members): A lot of Instagram pages put a link in the bio.

VA: We do have information about the brand on the website but is that enough.

Yuri (tutor): Sometimes it doesn’t have to be directly linked to the brands.

VA: Recently I noticed a lot of brand's websites are very shop focused, we will have to update our online shop with another online shop provider.

9. What apps will you use on your phone? (not just only fashion style) Nothing particular. But some apps related travel, cooking and music. And an app that used to edit photos, called VSCO.

Do you participate in any pop up shops or events?

VA: No, the bloody British fashion Council don't really support us. We used to do trade shows but they are kind of for beginners that’s how buyers see it. Pop up's are really expensive, if we want to do a presentation we can just use our shop. If you want to get into the big fashion magazines you have to keep doing presentation but again that costs a lot of money. It's cheaper doing a shop.

Who are your competitors?

VA: Oh so many right? There are always new brands coming out. You get a few that spread out but a few die out. Our competition is all the hype brands, well known brands.

Where do you place your brand?

VA: Affordability, werability, amongst brands like M6, MSDN that kind of area. Not too expensive.

What is the most important message that you want to get across to your customers?

VA: Creative, affordable, influence by the skate culture and music. Our work is very different, I like to combine texture and his work is more handcraft.

Where do you manufacture your products?

VA: Bali, Indonesia. We do the designs and samples here, then production order is sent to Bali. The materials are sourced from Seoul in South Korea.

What is the brand's biggest crisis? Brand awareness VA: We need to work on our imagery and try to get into the bigger shops again as we were selling 80- 90% of our products there.

Would you ever collaborate with any other brands?

VA: Yes Nike know what we do, we have permission. We used to customize a lot of Nike products and export them to Japan. We got a letter saying that they allowed us to do it.

Do you want to have signage on your windows?

VA: Paul is very too serious, like the Instagram he doesn't want it to be cheesy. He says people who have sale means their business is bad.

Do you want the app to focus on brand awareness or customer connection?

VA: Both, both are very important. Awareness more so as then they can make their own decision after getting to know the brand.

Do you have one logo?

VA: No because Paul doesn't want to stick to one. Personally I would like one logo. We get people saying I can't find the shop because the writing is white and the plastic surround is white.

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(3) FOCUS GROUP

Jasmine: Maybe how quick you can finish an order, really simple.

DATE: 14/3/2017 PARTICIPANTS: Laura, Yvonne, Jasmine, Fiona

Josef: Being able to tailor the app would that be something that eases convenience?

Josef: Thanks for everyone coming by the way. So these are our research questions. How do consumers interact with fashion brands through mobile, what do consumers expect from interactive app experiences through mobile apps.

So to begin with, are you guys digital consumers? We will start with Yvonne and tghen we will work round this way (right to left).

So are you a digital consumer, in terms of reading information, browsing and anything along those lines.

Laura: No I don't like personalisation of things, especially when they know your name.

Laurence: Tailoring in the sense of you are provided with categories that you can choose from.

Laura: not necessarily because I think my preferences change every day.

Yvonne: I think so, I like seeing lots of clothes and products online and I will compare trhe prices online then maybe I will go to the physical store.

Fiona: We like to mix different stuff together, like different styles so im not interested in looking just into one style.

Laura: Not when it comes to shopping, I like to go into store and come out with something but I guess I browse but I don't necessarily buy.

Jasmine: for me my name and my address and some of my orders and my account information so I don't have to log in every time.

Josef: So in terms of consuming to do with fashion?

Josef: So what makes you delete apps on your phone?

Laura: Magazines I suppose.

Yvonne: Sometimes they keep popping up with notification and its quite annoying.

Jo: So you are more magazines as opposed to digital.

Fiona: When I rarely use them I delete them.

Laura: I prefer a more physical experience.

Jasmine: Yeah me too.

Laurence: Why is that?

Laurence: So they have to have a daily use for you to keep using them?

Laura: I guess because I'm older. I like the physical act of going into a store, I don't like the fact that I can't touch the product. You don't know if the fit is right, I'd rather just go and try it on.

Fiona: Yes. If I haven't used it for say a month I will delete it.

Fiona: I only go online to search for the trends and I rarely buy the clothes online but the shop yeah.

Laura: For me it would be seeing the same stuff that is on facebook and especially if the layout is moved around.

Jasmine: I think for me, for the fast fashion brand I would buy it online and for the luxury goods I prefer to follow the social media account and you get the information but if I buy them I would go to the physical store. I would like to see what they post on social media and their campaign, latest collection or what celebrities wear it top give me an example.

Laurence: So if the app was designed daily would that be something that would keep your attention?

Josef: So this is a bit about the brand, it’s a man and a woman from london and they are inspired from street culture, skateboarding, art so that sort of thing. They like to do a lot of recycling with their clothes. These photos here are from their new spring summer collection. So does anyone here use fashion apps on their phones?

Laura: Yeah as that would be something new every day.

Josef: How do you become aware of new apps that are released?

Laura: Do you mean like ASOS?

Jasmine: Recommendation of the app.

Josef: Yeah

Josef: Have any of you been persuaded by 10% your first order for downloading an app?

Laura: I browse ASOS but I don't use the app.

Laura: Not to sound weird but 10% is nothing really, do you know what I mean? Brands are like constantly 10%, 10%, 10% and it doesn’t mean anything as everyone offers that nowadays.

Laurence: Why is that?

Yvonne: Sometimes the customer gets the 10% for downloading the app but then doesn't use it and deletes it after a week.

Laura: I suppose I could use it but I've never downloaded it.

Jasmine: ASOS had a promotion where if you downloaded the app you got a free tote bag but after I got it I just deleted it.

Yvonne: I think for me personally why I don't use apps is because I don't have enough memory on my phone.

(Participants then looked at the Vinti Andrews website.)

Laura: I just don't think about the app because I can just go online.

Josef: What are your first impressions?

Josef: When you say you go online are you using your phone or are you using a laptop?

Jasmine: Personally I prefer the clothes to be on the model rather than the floor.

Laura: Bit of both really, its just easier to go on the website than to download an app.

Yvonne: It needs more image, some other websites all you need to do is move your mouse and more show. More details about the clothes and more views. Where as this one it just front on and then you can zoom but that's it.

Laurence: Is that just purely from an ease point of view?

Laura: Yeah because I don't want an app on my phone as I don't think im a loyal customer to any one store, I don't shop enough at ASOS or Topshop to want to have an app on my phone.

Josef: Jasmine do you use any apps?

Laura: Now that I see the website I prefer the other logo. It matches the style of the clothes Jasmine: The other logo is more high end luxury.

Jasmine: Fashion applications only suited for the very loyal consumer when you buy a certain brand very frequently. Otherwise, I used to have the multi-brand fashion app YOOX and that makes more sense to me. Certain fashion apps take up storage.

Josef: So not just app but when you are using mobile websites do you ever get confused?

Laura: I think it used to be until it got better.

Josef: So do you all browse on your phone on the internet.

Group: Yes Josef: Do you find as opposed to you laptop or computer that its more convenient?

Laura: Its layout is different compared to the website so sometimes it can be confusing.

Laurence: So if the design was consistent would that be better?

Laura: Yes as then you would know what you were getting.

Josef: First of all has anyone ever bought anything using an app?

Group: No Laura: I've always been on the website.

Josef: So on your phones, what apps do you use? Mainly social media or news apps?

Group: Social media Jasmine: Even though we don't buy them we still use their social media.

Josef: What function would attract you to download an app?

Jasmine: I think the quality of the photos.

Laura: I think if it was easier to navigate. Also if it was easier to buy the product in like two clicks that would be good.

Josef: So if an app had that function would you download it?

Laura: Yes Jasmine: Also how frequently they update their app with new items.

Yvonne: A fashion app that had a function where it told you the weather and what you should wear today that would be cool.

Josef: Any more functions?

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13.3 METHODOLOGY TABLE

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13.4 MOODBOARDS

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App Logo

App Mainpage

43 Homepage - Can customize the shortcut of content -

Subscribe the newsletter

Login / Signup Page

Menu Page

About Vinti Andrews

- Editors Pick - Fashion - Lifestyle

Trend Blogs

Contact Vinti Andrews

Helps & Settings Page

- General Helps and Settings for the app - Customize the shortcut of content

Lookbook SS/16

View online

Lookbook SS/17

The users can scan the barcodes on the products tags in store and look for more products details online.

Scan products in-store

Music - Songs suggestions Food - Restaurants and Cafes suggestions Graffiti - Scan graffiti for additional informations & Finding graffiti nearby

VINTI ANDREWS MOBILE APP DESIGN

13.5 MOBILE APP DESIGN 13.6 LOGO DEVELOPMENT

Final Design

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