How does retail empire Topshop connect with its fashion consumers through digital displays and how will they continue to evolve in the future?
Hannah Briggs 13000258 Project Research: DE0929 BA (Hons) Fashion Communication Northumbria University
Contents
Introduction
// 3 - 4
Methodology
// 3 - 4
1.0 The Rise of Technology in Retail // 5 - 8 2.0 Topshop’s Digital Empire
// 9
2.1 London Fashion Week
// 10 - 12
2.2 Christmas Topshop 2015
// 13 - 16
3.0 Changing Consumer Behaviour // 17 - 18
Figure 1. Michael Manning Digital Displays (2014)
4.0 The Future of Fashion Consumerism in the Digital Age
// 19 - 21
Conclusion
// 22 - 23
References
// 24 - 25
Image References
// 26
Bibliography
// 27 - 28
Introduction Figure 2. Nakamura, Y. The Clock of Light This study will investigate the impacting power of digital displays and how retail empire Topshop, intend to utilize telecommunications resources to connect with their consumers. This will ensure that they are ahead of competitors in the future. These advanced digital displays cover a wide spectrum of areas, from mobile, laptop and tablet screens, to store windows with installed LCD screens. Through focusing on the concept of multi-channel retailing and social media marketing techniques, this will reflect on consumer buying behaviours and the constant need for personalisation. The ideology is to offer the consumer a digital alternative within brick and mortar stores, other than their own mobile device. The main objective of this study will be to explore what it means to use digital displays against the average consumer, and how this could be beneficial to brands, such as Topshop. This subject area is highly important to critically analyse, because as technology progresses at an increasing rate, the concept of digital signage will be paramount to changing the in-store environment and in turn, the overall shopping experience. In 1964, Topshop were once just an extension of the Peter Robinson Ltd department store, but over the years have since expanded transnationally and become the high-street market leaders, especially with the use of innovative technology. Making their mark at key events such as London Fashion Week and using clever social media ploys to connect with their consumer, Topshop have become the brand to watch. However, there is still much more than can be done with using digital displays, in order to evolve for the future and to ensure that they, as a brand, are ahead of the curve in the challenging, digital age. Topshop were chosen, purely because not only are they utilizing digital in the correct way, the brand also has the potential to take it the next level, through new ideologies and recommendations. This project research will firstly look at the broad area of technology and its development into retail, from its early rise to the present stage. Topshop will then be introduced as the main part of the investigation, before then reaching changing consumer habits, futuristic possibilities and intelligent display technologies within the fashion retail world.
Methodology As part of this study, extensive primary and secondary research have been undertaken, to consider a more in-depth and broad understanding of digital displays, with the effects of consumerism towards Topshop. Primary research comprises of an interview from industry professional Clare Merrick, Digital Designer at Topshop HQ and another interview, with Chungaiz Khan Mumtaz, previously the Global Head of Digital Marketing at Topshop, to gain a behind the scenes insight into how Topshop operates from two different, valuable perspectives. In addition to this, an online survey has been launched to gather further responses across different social media platforms, aimed at regular Topshop consumers. This is done to ensure all viewpoints are put across, not just those of Topshop’s professional sector; therefore no prejudice will be in the study. As part of the secondary research, there will be a more interpretivist approach, to gain theory and apply arguments from existing literature of academic authors, such as Krafft and Mantrala, Gini Frings, Johnny Tucker and more. There will also be further insight from other material sources, with websites, journals and news articles comprising parts of the secondary research process. Analysis of specific data from Mintel was also used to gather information on the topic. In terms of internet resources, there will be legitimate authors from renowned publishers, such as the Financial Times, The Guardian and Drapers, this is done to ensure and guarantee authenticity.
Figure 3. Rebecca Minkoff Store (2014) 4
Chapter 1.0 The Rise of Technology in Retail
Since the beginning of the 21st century, we have seen technology surpass expectations and develop strategically into retail environments. The digital age has acted as a catalyst for the retail sector to grow and innovate. Professors Agrawal & Smith (2008) reinforce this, by suggesting that “the IT revolution in the past 15 to 20 years has allowed retailers to develop comprehensive data bases” containing information such as customer names, items purchased, and social media associations and with the advent of Big Data, statistical analytics has provided the industry with a valuable insight into consumer spending patterns. This means that parts of the fashion industry has been able to use this new source of information to adapt accordingly to changing societal factors, which could potentially affect sales and consumer outreach. With the introduction of web 2.0, it brought along the concept of e-commerce. This has been the most significant and notable change to date, disrupting the traditional circulation channels of retail. It caused a dramatic shift in the way stores were originally run as they could no longer rely on the conventional forms of print and broadcast media to appeal to their target market. Kesteloo & Hodson (2015) appeared to suggest that “since 2000, fully three-quarters of retail sales growth has occurred through online channels” and according to Lisa Kelly (2014) from Computer Weekly, “21% of all sales in the UK are now online, and this figure is on an upward trajectory as the digital revolution makes its mark in retail”.
56.10% [would use these digital displays and other electronic aids to assist their purchase in-store]
68.23% [believe it adds an experiential value to the store]
The growth of online sales is fast exceeding those of traditional brick and mortar. As a result, retailers need to accept the concept of technology combining with retail and keep up with the rise of sophisticated shoppers, in particular, the millennials, whom are completely changing their thought process when making an initial purchase. Lewis (2014) stated that “Today, 72% of those millennials research and shop their options online before going to a store or the mall”. Therefore, many leading retailers are now assessing the situation, by investing in digital displays to meet the ever-increasing demands of this impatient consumer. This is done to ensure that the in-store experience complements customers’ online experience. Interestingly, after launching an online primary research survey it was revealed that 56.10% of respondents would use these digital displays and other electronic aids to assist their purchase in-store, and 68.23% believe it adds an experiential value to the store, making it a more engaging experience (see Appendix A).
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In April 2015, Drapers’ conversed about the impact of technology in the retail sector. According to (Rogers, 2015) they were debating about how “visual merchandising specialists are using in-store technology, flexible environments and concept spaces to create retail theatre. Rather than declining in the digital age, the in-store environment is rising up the retail agenda.” In this sense, the physical and digital environment are blurring, and becoming an immersive spectacle for the consumer. Touch-screen monitors are being implemented into stores, and smartphone devices are sharing social media information instantly from the retailer’s location. This is where the realm of online meets physical reality. This ideology is bringing brands to the future, and making them seem more relevant and exclusive - making a simple purchase now has an added experiential value to it. Burberry were one of the first pioneers to address this sudden change of digital interaction, by harnessing the power of social media, live streaming their shows, and transforming their flagship store into a world of unparalleled digital-meets -physical technology. Creative director Christopher Bailey recognised the correlation between the successes of technology combining with fashion, which allowed Burberry to propel them firmly against the luxury market, without having to purchase expensive advertising (Blanks, 2015). The Regent Street store was the difference that Burberry needed to stand out, and it connected with people that entered in numerous ways, whether it was a consumer with the intent of making a purchase, or simply a shopper merely seeking the exclusive experience. From digital displays to state-of-the-art audio sound systems, it is innovative and clever. RFID tags were also chipped onto clothing, which when taken into the changing rooms, the mirrors would change and show information about that product. This takes the customer by surprise, and encourages that all important purchase. On the other hand, although the convergence of retail and technology currently seems to be working to an advantage for many brands, this could potentially reach a point of oversaturation in the future. For example, as more retailers adopt this method of attracting consumers through digital resources, it could eventually lead to too much choice for the consumer to acknowledge. (Benady, 2014) stated that “The challenge of selling to customers across so many different touchpoints – mobile, website, in-store or through social media – is that the brand can become splintered and lose its consistency”. Therefore, retailers need to focus on distributing its promotional techniques through Omni-channel strategies, without being too invasive.
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Figure 4. De Jong, D. Fashion Boutique.
Chapter 2.0 Topshop’s Digital Empire Arcadia, the conglomerate of Topshop, begun to delve into this new and exciting era of digital technology, and was seen as being the first high-street brand to rival the likes of Burberry. Topshop state on their website, “Our brands innovative look sets an unrivalled merchandising standard on the high-street. Our customers in-store experience has to compete with innovations online, so our teams are constantly revolutionising our instore design and reinventing the way our customers shop with us”. One of their first noticeable transitions into the digital realm was when they decided to take the approach of online engagement, by live streaming the 2012 fashion show on their website. In real time, an interactive window would appear, and allow the active user to browse diverse colour selections before purchasing what they liked, without momentarily thinking about it. This engagement resulted in huge exposure, with 200 million people viewing the show in over 120 countries, resulting in time spent and on-going ‘clicks’ on Topshop.com” (Enright, 2012). This example shows the success that technology & fashion has succumbed to, allowing users to access a wealth of information. Furthermore according to Arcadia’s financial results, Topshop’s E-Commerce sales grew by 22% by the end of that year (Arcadia, 2012). Over the years, Topshop has developed itself immensely as a brand, progressing beyond the barriers of physical vs digital realities, through visual merchandising, social media activity and digital displays. Retail theatre is part of their image, and they are constantly changing it to match consumer’s desires. An important aspect is the store windows, as these connect with customers and entice them into that particular store. Tucker (2003) suggested that “The worlds of theatre and window display are inextricably linked; audio-visual display in visual merchandising is coming increasingly to the fore, with elements being well-established in store, and beginning to dominate windows.” Arcadia Visual Director Tim Whitmore said that “the windows that front it all and many of the internal displays are changed every four weeks. It’s six in other branches, and that Arcadia chief executive Ian Grabiner is constantly asking: “What are you going to do next?.” This shows how Topshop reiterate their brand dominance, by asserting themselves visually. Other brands have also begun to experiment with using the stage of a store window, as a foundation for technology intercepting the customer’s buying behaviour. Adidas launched a window shopping experience, with screens to browse the product from the outside. Without having to even download an app, customers were able to use a URL link and one time pin to connect their smartphones to the window in real time. Creative Director behind the process, Martin Mohr, said “this attracted 90% of the streets attention when someone would play with it, resulting with 1 in 4 going actually into the shop”. Another interesting point to add is that Mohr suggested that “Smartphones are the first screens” (Adidas Case Study 2014). In this case, retail brands could try attaining potential consumers’ attention away from their mobile devices, by speaking their ‘language’ and offering a digital alternative.
Figure 5. Topshop LFW Window (2013)
2.1 London Fashion Week During September 2014, Topshop recognized digital window innovations, and experimented with the use of store-front windows for their Unique fashion show. Instagrammers were able to broadcast their individual posts on an interactive digital screen, which the retailer launched in its Oxford Street flagship store window using #TopshopWindow. Shoppers on the street could then manipulate the display like they would do with a tablet, opening and enlarging tiles on screen (Goldfingle, 2014). Therefore, the brand is cleverly connecting to its consumers through During 2013, Topshop recognized digital window innovations, and experimented with the use of transmissions on digital displays, involving the general public as the action happens. store-front windows for their Unique fashion show. Instagrammers were able to broadcast their individual posts on an interactive digital screen, which the retailer launched in its Oxford Street Clare Merrick, digital designer at Topshop (see Appendix B) reinforces the brands digital flagship store window using #TopshopWindow. Shoppers on the street could then manipulate success, by claiming that “Topshop ensures all digital displays in-store, online, throughout the display like they would do with tablet, opening and enlarging tilestoonitsscreen (Goldfingle, affiliate banners are consistent, and athis is how I believe it connects customers, with 2014). Therefore, the brand is cleverly connecting to its consumers through transmissions on consistent creative”. This shows that Topshop is using digital displays at the up-most capability, displays,with involving the generalthrough public as the actionadvertising. happens. Merrick also stated that bydigital connecting their customer consistent “Topshop’s digital presence is huge. It’s not only an ecommerce site but offers strong editorial content, and our tests show that this engagement helps drive sales. This is where we really stand out in the market, as we excel in the type of content we host. From our weekly features, to big campaign launches, great aesthetics, duel activity in store and online and events such as London Fashion week – this all contributes to Topshop’s multichannel success.”
2.1 London Fashion Week
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Clare Merrick, digital designer at Topshop (see Appendix B) reinforces the brands digital success, by claiming that “Topshop ensures all digital displays in-store, online, throughout affiliate banners are consistent, and this is how I believe it connects to its customers, with consistent creative”. This shows that Topshop is using digital displays at the up-most capability, by connecting with their customer through consistent advertising. Merrick also stated that “Topshop’s digital presence is huge. It’s not only an ecommerce site but offers strong editorial content, and our tests show that this engagement helps drive sales. This is where we really stand out in the market, as we excel in the type of content we host. From our weekly features, to big campaign launches, great aesthetics, duel activity in store and online and events such as London Fashion week – this all contributes to Topshop’s multichannel success.”
Figure 6. Inition Virtual Reality: Topshop (2014)
As part of London Fashion Week, Topshop connected further with its fashion consumers, by harnessing the use of digital displays and virtual reality technology. For their AW15 catwalk show, Topshop teamed up with Inition to create a virtual experience of being in the front row, when in fact, 5 winners were watching it being transmitted through Oculus headgear, while being sat in Topshop’s front window. Inition stated on their website that “The virtual reality experience allowed people even more access than official show attendees sitting in the Turbine Hall – we pulled in multiple media streams of the live environment including two streams of live HD from the front row and backstage. A time-lapse of the set build and 360° stills were also brought into the environment so that viewers could explore.” In addition to this, visitors within the Oxford Street flagship store could re-play the event three days after on-demand. Therefore, this encourages consumers to enter and be inspired to make a purchase from the immersive experience. Topshop’s virtual reality catwalk also relates to the Mintel trend Experience Is All. Sender (2014) appeared to suggest that the “trend is not about countering online sales, but rather turning shops into enjoyable experiences that promote purchases – either in-store or remotely. Shops are windows and adverts as much as places to purchase stock and they need to extend the time people spend there as well as the frequency of their visits”.
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Figure 7. Inition Topshop (2014)
2.2 Topshop Christmas 2015 For any retailer, the run up to the festive season is a prime focus of the year, with brands optimizing carefully planned updates and strategic promotional techniques. Tucker (2003) stated that “the period leading up to Christmas and the holiday season itself, is a time of massive sales and no company can afford to get it wrong.” Topshop ensure that all runs smoothly when it comes to their own Christmas campaign, both in-store and online. Clare Merrick (see appendix B) stated that “Usually we would post out teaser videos on such platforms like Instagram, Facebook and Youtube of our Christmas campaign, to start engaging customers with the campaign story. This will marry up with in-store, and be on our large digital window displays at our flagship on Oxford Circus.” This shows that everything consecutively ties together both online and offline, which is vital at a crucial revenue time such as Christmas.
Figure 9. Topshop Pinterest Online (2013)
It is also worth working with other brands as a synergistic approach, to create a better outcome. For example, during Christmas 2013, Topshop utilized the power of social media with Pinterest, as a campaign both online and in-store. The most probable reason for using this platform is that 35% of Pinterest users under 35 buy an item instore after pinning (Media Zest). In conjunction to this, according to an article by Miranda McMinn for The Guardian, (2002) Jane Shepherdson, Brand Manager at Topshop, stated that their “official target market is 15-to-30 year old women.” Consequently, collaborating with Pinterest works in their favour, as it shows that their target market will possibly purchase products from them.
The way the campaign worked was simple, yet effective. Online, Topshop encouraged users to create a Christmas board with the hashtag #DearTopshop, along with the opportunity to win prizes when participating. Topshop can then see which items are pinned the most, which become promoted within physical stores. Therefore, they are encouraging Pinterest’s market users to shop at Topshop online, and offline they are encouraging their own target market to purchase the ‘chosen by Pinterest’ stock, influencing people to go on back on to Pinterest. The campaign also echoed digitally in store, with giant touch-screens installed and dedicated store staff with iPads, ready to further influence that initial decision to join in on the campaign – so it all comes full circle. In relation to this, Sheena Sauvaire, the Global Head of Communications at Topshop, stated that “This holiday season, our aim was to showcase key products and to facilitate the gifting process. Pinterest, being a strong visual platform, was the ideal platform as it allows our customers to collect products and inspirations to share with family and friends. Add the physical component, and we are creating true ‘social shopping’ during the festive period”. This in itself shows an expanding social outreach, with Topshop working to satisfy their customers in various methods, while gaining followers and obtaining digital acceptance. Figure 8. Topshop Pinterest (2013) 13
In 2014, their digital expansion progressed to focusing upon their own website presence. Topshop orchestrated a slightly more low-key campaign, named ’24 days of Christmas’. This centred on receiving an activation code or reward every day of December, which translates into prizes at the physical flagship store at Oxford Street. Looking at the present day, throughout November 2015 Topshop has been releasing ‘breadcrumbs’ leading up to their Christmas campaign, which was primarily done within their e-mail newsletter system. Likewise, this can be seen as a digital display format, to connect to their consumer from the comfort of their own home, whether they are viewing it through a laptop display, mobile device or tablet.
Figure 11. Topshop Gift Edit (2015)
The launch of their gift edit was one of the first multi-channel pushes into this year’s holiday season, with inspirational mood-boards of different personas to entice their loyal consumers to make a purchase. They have also been utilizing their social media channels, by offering users the chance to create their own holiday ‘want list’, which directs customers onto the website page. On Topshop’s gift edit section, it states “You can now save your most-wanted Topshop gifts in one place, customise them with stickers and share with friends, family or your partner.” They have advertised this gift edit discreetly, through using bloggers and their own social media following to enhance the popularity of that part of the online website. This is encouraging users from across the digital landscape to interact with Topshop, without it seeming too widely promoted.
16 Figure 10. Holiday Topshop WIsh-list (2015)
Chapter 3.0 Changing Consumer Behaviour
Figure 12. Walkbase & Samsung (2015)
Topshop as a brand are consistently evolving, and have managed to effectively adapt to consumer’s changing habits. This is especially relevant in terms of digital displays e.g. website interaction from computers, mobiles and more. In 2011, Topshop basked in a 20% growth of E-commerce sales, to which CEO Sir Philip Green stated that “People change their habits, now there is a pattern, we’ve got a base and we have to build off that base” Rigby (2011). This clearly shows that even in the early stages of retail-meets-digital synergy, Topshop were beginning to decipher the benefits of using technology and reap the rewards for doing so. Four years later, the company added a string to its bow, by implanting the help of Walkbase, an in-store analytics and marketing business. Valentine (2015) declared that “Walkbase installed its Wifi-based analytics system, which analyses customer movements and dwell times based on their smartphones, at Topshop’s flagship store in London’s Oxford Circus. The system can provide anonymised data on customer behaviour without them logging in to the store’s Wifi network.” This clever tactic exercises control back to Topshop, and optimizes inside information about their customer, therefore, adapting to their ever-changing purchase habits and evolving for the future. In addition to this, Walkbase and Samsung have joint together, by utilizing Samsung’s digital displays and Walkbases’ efficient statistics platform. Otherwise, a solution aptly named ‘augmented advertising’. On the Walkbase website (2015), it states that “Insights including the paths customers take what they look at and when they arrive, form the basis of behaviourbased shopper profiles. The profiling data is then used to sell advertising on digital signage instore based on the profiling information, giving control back to the retailers on how they sell their digital media.” Therefore, as Topshop are already working with the company, it won’t be long before they begin implementing these digital displays to connect with their own fashion consumers in stores. In addition to this, people need to feel relaxed rather than compelled to use these digital displays. Krafft & Mantrala (2006) argued that “consumers evaluate usability based on expectations of look and feel. These expectations may form on the set of sites where they spend most time, e.g. many mainstream internet portals”. So, by adapting the format of familiar online websites, Topshop could alter their displays in this way to form an alternate solution. Kraft & Mantrala also suggested that “Several factors contribute to the potentially high impact of digital signs, highresolutions, animations and high quality graphics can also enhance visual appeal.” It could make consumers feel more at ease when using them, and adhere to the concept of store technology becoming more personalized. 17
Figure 13. Samsung & Walkbase Announcement (2015)
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Chapter 4.0 The Future of Fashion Consumerism in the Digital Age Consumerism within the fashion retail sector is constantly shifting and adapting to the everchanging digital environment. Retailers should provide consumers with a seamless shopping experience, whilst coinciding with latest, technological innovations. This is done by ultimately ensuring that they are asserting differentiation within the marketplace. There are numerous ways in which this could potentially occur in the future; judging from what is currently happening, and how that could then develop. For example, the concept of multi-channel retailing is the focused trend prevailing in the retail world. Schramm-Klein (2003 cited by Krafft & Mantrala 2006, p. 221) suggested that the term “multi-channel retailing is a new way of referring to an old theme.” This means that it used to be seen as just brick and mortar stores using catalogue sales as a form of outreach. Today, the definition comes from using online through laptop, tablets and mobile devices, (all seen as digital displays) as an advertising platform and sales solution. Brands are relying on this communication strategy to connect to their consumer, as it’s an important tool to use to not only advertise, but to also provide the opportunity to create a conversation amongst one another. Frings (2008) reinforces the aspect about today’s multi-channel retailing, by suggesting that “A variety of communication systems provide fashion business executives and consumers alike with up-to-the-minute fashion information. Accurate, timely, and useful communications are critical to the success of fashion companies.” Therefore, this means that the use of telecommunications across a wide variety of channels through displays plays a key role in brand digital marketing towards the future.
Figure 14. The New Landscape (2014)
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Yet on the other hand, according to the Land Securities Retail Report, it suggests that “While the ongoing evolution of multichannel retailing has opened new growth opportunities, it has undoubtedly increased complexity for the consumer and retailer alike. However, with more consumers using multiple channels to buy, it is increasingly critical that they are offered a seamless experience without inconsistencies between channels – a challenge most retailers are yet to crack”. To counteract this, there is the option of using omni-channel strategies, which is slightly different from multi-channel retailing. Forbes article (2014) suggested that this “makes the days of buying and receiving products through different channels (online, brick and mortar or even mobile) a thing of the past. Now that retailers are finally integrating these channels, consumers can buy what they need and choose how they get it.” A prime example of this would be ‘Click and Collect’, which Topshop currently offer. This entitles the user to purchase a product from their own digital display screen (e.g. Laptop, mobile, tablet) and then pick it up, in-store. This is therefore encouraging the consumer to visit the physical store and be tempted to make another purchase, all from using Topshop’s digital signage of the website before-hand. In the future, more stores could use innovative strategies like this, to integrate the digital with the physical, rather than opposing it.
Figure 15. Blackmore, J. iBeacons (2013) Also, a key factor is how digital displays are used, as not just screens to entertain the consumer, but also a way for the retailer to discreetly receive sensitive information. As time goes on and technology develops, there have been predictions that these digital displays will consist of light projected on to glass, with constantly streamed content and smart interactivity. However, currently many businesses may use digital displays and Beacon technology to not only track customer movements, but to greet them with information while within the store, by using their name and thereby, becoming more personalized. However, this could potentially deter some customers, as it could be seen as too invasive and forced. Chungaiz Khan Mumtaz, previous Global Head of Digital Marketing at Topshop, reinforces the idea of being careful and discreet with the use of digital displays. Mumtaz (see Appendix C) stated “how would you actually feel if the digital display was talking to you. You could feel quite invaded in terms of your information - you’re suddenly part of a huge digital display, with others watching you being talked to, so it’s quite embarrassing. There’s actually something much more subtle and clever which can be done, which is to feed the information out without being personal”. This is where the Walkbase & Samsung collaboration becomes relevant, to use real-time, big data analytics to make informed decisions about the customer entering your store. He goes on to explain this creative strategy, by suggesting that “the information behind the data catcher, for example, we know that there is more people interested in denim than floral, so if we changed the digital displays to denim, that would drive the same sort of impact, but without being invasive and have that emotional space. Generally, looking at virtual reality, looking at the store experience, what’s more interesting, is to change entirely the rules of retail and look at how we can interact with people”. The use of intelligent screens is a prominent idea, as it feeds information directly back to the retailer, without making the consumer feel uncomfortable. The retailer can then instantly change the screens to fit to the consumer, naturally influencing them to pursue a particular product – hence making the store experience more enjoyable. Intelligent screens could also be used in a different way, Mumtaz believes that Topshop’s future could hold promising potential if they utilized technology further as other brands have done. For example, he stated that “What is interesting is Burberry’s digital display, if you came up to a mirror with a handbag, an RFID tag would trigger content on to the mirror, with video content about the product. I think that’s smarter, rather than putting a video of a catwalk in your face” (see Appendix C). This is again, using technology but without being too invasive and forcing the consumer to interact with it.
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Conclusion All in all, as the physical and digital environments collide together, retail spaces must conform and address this change. By implementing digital displays into stores, customers can become accustomed to recognizing these screens, which have similar formats to their own smartphone devices. As previously mentioned, the smartphone device is the ‘first screen’, and brands need to take attention away from these devices, by supplying a digital alternative in-store to primarily focus upon. This can be done in a multitude of ways, through working with omni-channel strategies, social media brands and digital marketing companies, to entice the customer into the physical store, initially from their own home display. Brick and mortar stores must work with technology, as to seduce the ever-challenging consumer in the digital age.
Although Topshop are utilizing these digital displays in various ways to connect to their fashion consumers, in order to evolve for the future, the brand should realize the further potential that these displays could hold. As previously mentioned, the creative ideology of using intelligent digital displays to enhance a consumer’s experience is an interesting concept, and one which Topshop could adopt into their future digital-based plans. It is a subtle form of a digital alternative for the customer, offering comfortable familiarity and diversity before making a purchase. The main objective is to refrain from being too invasive on the consumer, and use information discreetly to alter the in-store environment, as to create a more seamless and enjoyable shopping experience.
References
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Figure 16. Topshop Multi-Channel Retailing. 24
Image References Land Securities Retail & Retail Week Report. Available at: http://www.landsecuritiesretail.com/media/18900/fashion-insight-report-final.pdf (Accessed: 20 November 2015) McMinn, M. (2002) Do I look My Age in This? Available at: http://www.theguardian.com/theobserver/2002/oct/13/featuresreview.review (Accessed: 15 December 2015) Media Zest. Topshop & Pinterest Interactive Christmas Gift Guide. Available at: http://www.mediazest.com/work-topshop-pinterest.php (Accessed: 15 December 2015) Rogers, C. (2015) Drapers Roundtable. Available at: http://www.nexis.com/results/docview/ docview.do?docLinkInd=true&risb=21_T22965923503&format=GNBFI&sort=BOOLEAN&startDocNo=26&resultsUrlKey=29_T22965923507&cisb=22_T22965923506&treeMax=true&treeWidth=0&csi=355080&docNo=31 (Accessed: 8 November 2015) Rigby, C. (2011) Topshop Owner Arcadia Group to ‘Rebalance’ Stores and Internet. Available at: http://internetretailing.net/2011/11/topshop-owner-the-arcadia-group-to-rebalance-stores-and-internet/ (Accessed: 10 November 2015) Sender, T. (2014) Clothing Retailing Report 2014 - Who’s Innovating? Available at: http://academic. mintel.com/display/719984/?highlight#hit1 (Accessed: 10 October 2015). Smith, Loulla (2013) Topshop Creates Personalised Christmas Gift Guide on Pinterest. Available at: http://www.marketingmagazine.co.uk/article/1219744/topshop-creates-personalised-christmas-gift-guide-pinterest (Accessed: 12 December 2015) Tucker, J. (2003) Retail Desire: Design, Display & Visual Merchandising (Mies: Hove; RotoVision) Valentine, M. (2015) Topshop In-store Analytics driving format changes. Available at: http://www.retaildesignworld.com/news/article/560283b84b73d-topshop-in-store-analytics-driving-format-changes (Accessed: 28 November 2015) Walkbase (2015) Walkbase and Samsung Launch an augmented advertising solution for British Retailers. Available at: http://www.walkbase.com/press/walkbase-and-samsung-launch-an-augmented-advertising-solution-for-british-retailers (Accessed: 28 November 2015)
Figure 1. Manning, M. Digital Displays (2014) [image] At: http://www.billbradygallery.com/michael-manning-bbkc/ (Accessed on: 10.12.15) Figure 2. Nakamura, Y. The Clock of Light [image] (Accessed on: 10.12.15) https://www.flickr.com/ photos/arjanrichter/8325910754 Figure 3. Rebecca Minkoff Store (2014) [image] (Accessed on: 10.12.15) http://www.fastcompany. com/3035229/the-smart-dressing-room-experiment-how-irl-shopping-is-getting-less-private-butmore-persona Figure 4. De Jong, D. Fashion Boutique. [image] (Accessed on: 10.12.15) https://www.pinterest. com/pin/179581103868536758/ Figure 5. Topshop LFW Window. (2013) [image] (Accessed on: 12.12.15) http://www.mediazest. com/work-topshop-london-fashion-week.php Figure 6. Inition Virtual Reality: Topshop (2014) [image] (Accessed on: 12.12.15) http://www. strawberrysoup.co.uk/topshop-fashion-show-in-virtual-reality/ Figure 7. Inition Topshop (2014) [image] (Accessed on: 12.12.15) https://www.inition.co.uk/topshop-goes-virtual/ Figure 8. Topshop Pinterest (2013) [image] (Accessed on: 12.12.15) http://hmvm.co.uk/filter/JCrew Figure 9. Topshop Pinterest Online (2014) [website] (Accessed on: 12.12.15) http://www.hooggy. com/FR/Newsletter-560.awp Figure 10. Holiday Topshop Wish-list (2015) [website] (Accessed on: 12.12.15) http://flutteringlashes.com/the-topshop-gift-guide/ Figure 11. Topshop Gift-Edit. (2015) [website] (Accessed on: 12.12.15) http://milled.com/Topshop Figure 12. Walkbase & Samsung (2015) [image] (Accessed on: 14.12.15) http://www.walkbase.com/ blog/retailers-can-now-use-samsungs-in-store-digital-screens-to-analyse-customer-behaviour Figure 13. Walkbase & Samsung Announcement (2015) [image] (Accessed on: 14.12.15) http:// www.geomarketing.com/walkbases-wi-fi-data-network-to-power-analytics-for-samsungs-in-storedigital-screens Figure 14. The New Landscape (2014) [image] (Accessed on: 14.12.15) https://www.linkedin.com/ pulse/20141003114420-127032-omnichannel-marketing-the-new-normal Figure 15. Blackmore, J. iBeacons (2013) [image] (Accessed on: 14.12.15) http://www.retail-week. com/innovation/comment-what-are-ibeacons-and-why-should-retailers-care/5055883.article
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Figure 16. Topshop Multi-Channel [image] (Accessed on 14.12.15) http://www.techdept.co.uk/ case-studies/topshop-tumblr
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