Figure 1
CONTENTS
Executive summary 1 2 Industry Situation/ Macro Environment : PESTLE analysis 3 - 6 Brand Analysis : Brand Onion 7 8 Brand Analysis: Brand Positioning Map 9 10 Micro Marketing Environment : SKÅDESPEL SWOT Analysis 11 - 12 Consumer Profile 13 14 Competitive Situation : Alain Mikli SWOT Analysis 15 - 16 Competitive Situation : CUTLER AND GROSS SWOT Analysis 17 - 18 Integrated Promotional Strategy 19 22 Marketing Mix : 7 P’s 23 24 Shoot Visuals : 25 26 Three Year Business Plan 27 32 Online Visual Content 33 34 Summary 35 36 Bibliography 37 38 Image List 39 40
Figure 2
Figure 3
EXECUTIVE SUMMARY
Introducing Skådespel: Swedish for spectacle, English by design. This new unisex eyewear brand relies on mid-century 60’s and 70’s Scandinavian interior design by Charles Eames,Vladamir Kagon and Alvaar Alto to inspire shape, form and structure. This report will cover all aspects of marketing for the brand including where Skådespel sits within the current market. Using a series of SWOT analysis’ for both Skådespel and its competitors, taking into account all strengths, weaknesses, opportunities and threats, showing clear comparisons to current and well established eyewear brands. This report will also discuss future objectives, promotional strategies and the brands identity consisting of ethos, personality, actions and values to give an underlying vision of Skådespel’s beliefs and promises along with how these are reflected to the consumer. A five year business plan will also be formulated detailing figures and future plans for Skådespel to become a, wellestablished brand within the market. The market will also be analysed in all aspects including; political, environmental, social, technological, legal and economic factors. The consumer will also be analysed creating a profile of their possible interest’s, age range and style preferences, shown visually through a pen portrait. Throughout this report references will be also made from reliable sources such as Mintel and LSN global to back up all evidence and support statements made.
1
Figure 4
2
INDUSTRY SITUATION PESTLE ANALYSIS
P
o
l
i
t
i
c
a
l
- Import/Export duties e.g. prices may rise for importation and exportation. Rise/Fall in VAT. - Risk of further political turmoil; could have political implications for business. - Data protection Law; customer information database not passed onto third parties. - Import/Export restrictions defined by leaving the EU which is ongoing.
E
n
v
i
r
o
n
m
e
n
t
a
l
Use of recyclable materials; kind to the environment. Business policy supporting sustainable growth. Global warming affecting the environment; consumers more interested in buying into a product that is eco-friendly. - Modern Slavery act; not employ someone without a national insurance number, not employ someone and not pay them. - Changes in weather patterns across the UK affecting sales figures according to a report on Reuters by Milliken & Costa (2016) ‘British retail sales suffered their sharpest monthly fall in six months in June, but stores said bad weather rather than Brexit was to blame, leaving open the question of how big a hit the vote to leave the European Union will deal to the economy’. - Changes in weather conditions such as more rainfall across the UK may affect choices to wear glasses in bad weather, e.g. rain may make it more likely for people to wear contact lenses than glasses, especially if their career involves being outdoors.
3
S
o
c
i
a
l
- Changes in consumer trends e.g. less fashionable to wear glasses, leading to more people wearing contact lenses. Changes in lifestyle trends. - Ageing population from the board; older generation have more money to spend than younger generation. New emerging brands on the market selling a similar product at a cheaper price point affecting sales. - Mintel (2017) ‘Some three quarters of all those with a prescription had bought something in the last year, highlighting a high level of activity in the market as a whole, spectacles dominate purchasing patterns’. - Mintel (2017) ‘Opticians are succeeding in selling more than one type of product to their customers. In part this is influenced by buy-one-get-one-free or similar special offers. This highlights the opportunity to encourage multiple purchases, perhaps giving people more ideas about buying a range of styles so that they can team up their glasses with different outfits, or change their eyewear for different occasions or activities’.
Figure 5
4
INDUSTRY SITUATION PESTLE ANALYSIS//CONTINUED
T
e
c
h
n
o
l
o
g
i
c
a
l
- Greater use of technology; the claim of more people willing to buy products online is supported by Westgarth (2017) ‘2% of all, but 6% of both ABs and 25-34s, who purchased glasses or contact lenses in the last year bought from an online seller. - Mintel estimates that altogether online selling accounts for 3.4% of the market, by value’. Suggesting that most eyewear sales are made online, meaning that a website will be more beneficial to sales figures rather than stores. - Mintel (2017) also suggests ’30% of those who need eyesight correction agree that the quality of spectacles bought online is as good as bought in an optician, while 60% agree that buying spectacles online saves a lot of money’. - A report on Fortune by Farber (2016) claims ‘The survey, now in its fifth year, polled more than 5,000 consumers who make at least two online purchases in a three-month period. According to results, shoppers now make 51% of their purchases online, compared to 48% in 2015 and 47% in 2014’. - The report also discussed ‘As online shopping accelerates, so does the use of smartphones to make purchases. The survey showed that 44% of smartphone users made buys through their devices, compared to 41% a year ago’. Suggesting the use of technology as a means of sales is rising significantly each year suggesting it will only continue to rise. - Higher usage of social media platforms as a form of marketing strategy e.g. promotions and competitions on twitter, Instagram and Facebook pages. - Hacking; increased risk of cyber attacks . - New software for logistics; delivery to the customer; Integrated omnichannel (online and offline linked) examples of delivery companies; JDA, GS1, HSO (distribution and logistics). - Statistics on Mintel,Westgarth (2017) show ’25-34s (44%) and ABs (38%) are also most inclined to agree that self-testing their eyes with an app appeals to them’. This indicates that use of an app would be very beneficial to eyewear brands, this would also be convenient for a lot of consumers who have busy lives and don’t have the time to go to stores to have an eye test. 5
Figure 6
E
c
o
n
o
m
i
c
- BREXIT e.g. uncertainty across the UK of future means people are less likely to spend. - Unemployment inflation energy e.g. higher numbers of unemployment; less disposable income. Consumer Prices Index (CPI) continues to rise while salaries remain the same; less disposable income. Leaving the EU may affect VAT and Import/Export duties. - Exchange rates may affect imports and exports of materials worldwide & shipping to consumers overseas. Political uncertainty; aware of negative impact of debt; less likley to spend money on luxury products. - Rise in unemployment could mean more people out of work and finding it harder to get jobs resulting in less disposable income. According to retail research (2016) ‘Employers in this economic cycle have proved much less willing to make staff redundant than in previous economic cycles, but may now use Brexit as an excuse to eliminate employees because of weaker demand and higher costs. The widespread availability of contract, temporary and part-time workers should enable retailers to operate with fewer permanent staff, as will the expected growth in retail automation and outsourcing of functions’.
L
e
g
a
l
- Copyright protection e.g. glasses designs protected from being stolen. - Legal protection of website. - Company law; ethical treatment and working conditions. - Health and safety of materials used, British standard of quality accepted. - Modern Slavery act; e.g., not employ someone without a national insurance number, not imply someone and not pay them. - Modern Slavery act; referring to business supply chains. -Legal rights to publish content off and online including images of models. - According to retail research (2016) ‘During the referendum debate, much anxiety was expressed about any diminution of workers’ rights, consumer rights and product standards after Brexit’. This point could be placed under legal or economic factors as is about legal protection of workers while economic issues such as the quality control of materials such as wood/ plastics used to manufacture Skådespel eyewear.
Figure 7
6
BRAND ANALYSIS
B E
r
s
a e
s
n
n
d e
c
Skådespel is a contemporary niche glasses brand producing a product that has a unique aesthetic in comparison to anything else that is currently on the market. Combining traditional and contemporary themes the brand will have a strong conceptual and historical framework, therefore, building on the brand identity. With incredibly inventive and dynamic structures Skådespel’s optical lenses are both modern and retro in perspective. B V
a
r
a
l
n
u
d s
e
Connect with consumers through use of technology, through in store interactions such as digital photo booths and iPads available, for purchase and customisation of eyewear. In store music playlist to make consumers have a more relaxed and pleasant shopping experience. Be exclusive yet remaining at an affordable price point. Creating clean and modern styles for a creative consumer. Creating an easily assessable online buying experience. B P
e
r
r
s
o
a n
a
l
n
i
t
d y
Marketing Fashion Posner (2015, p.61) claims ‘Kapferer believes a brand should have a unique selling personality. In this book strategic Brand Management (1992), Kapferer modifies the definition of a USP, changing it to become ‘unique selling personality’. Skådespel promotes itself as quirky, innovative, intelligent, fresh, while keeping traditional elements present. B A &
B
c
r e
h
t
a
a i v
i
o
n o
u
n
r
d s s
Create a product that is individual appealing to both gender types, while taking into consideration user comfort and practicality factors. Skådespel’s designs will combine contemporary and traditional elements, heavily influenced by Scandinavian iconic interior designs to inspire quirky frame structures and colour palette.The product will primarily be sold online, however pop up store openings will be announced within the UK and possibly across some cities around Europe.
Figure 8 7
BRAND ONION
Inspired by key interior furniture designers of Scandinavian and mid century modern themes
Figure 9
Focus on contemporary eyewear designs
Contemporary niche glasses brand producing a product that has a unique aesthetic
Alternative Independent
Quriky
Connect with consumer through in store expeirences
Innovative Creative Stylish Be exclusive yet more affordable than competing brands
Modern Interactive
Create an interative and easily accessible online buying experience
Retro Alternative Inventive
Strong conceptual and historical framework
Intelligent
Innovative
Skilful
Technological Interior design and architectural themes will be seen through small elements of design including framework and structure
Creating new fashionable designs for creative consumer
Extensive use of technology as a means of connecting with consumer
Adventurous
Modern
Fresh
Traditional Scandinavian
Fun
Combining traditional and contemporary themes
Sell primarilty online, however frequent pop up sotre openings across Europe.
Figure 10
All of these components have been shown within the brand onion which Posner (2015, p.158) claims in Marketing for fashion ‘The brand onion is a popular and effective device for showing a concise overview of a brand identity and how it is expressed within strategic actions’. All of the components within this model can then be used as a guideline to ensure that all of these key elements reflect every part of the brand and it’s values.
8
BRAND POSITIONING MAP Figure (12) is a brand positioning map formulated to show where Skådespel sits in the market along with competing eye wear brands offering a similar product each at differing price points.
£500 PRESTIGE PRICE
Figure 11
LINDA FARROW
CUTLER AND GROSS SKÅDESPEL J F REY
ALAIN MIKLI
MASS MARKET
RAY BAN
LONDON RETRO BOOTS
Harriet Posner (2015) suggests ‘When working on a positioning strategy it is helpful to create a positioning map. This can be used to pinpoint the desired position for a brand and give a visual overview of this position relative to that of competitor brands within the market’. 9
AFFORDABILITY
CK CALVIN KLEIN
Figure 12
EXCLUSIVITY
Figure 13
10
MICRO MARKETING ENVIRONMENT SKÅDESPEL//SWOT ANALYSIS
S
t
r
e
n
g
t
h
s
-Producing unique glasses that differ from anything else on the current market. -Unisex (men’s and women’s ranges to open up market opportunity). -Strong brand identity. -Story behind the brand. -Consistent brand aesthetics e.g. colours and prints remain consistent throughout branding. -Niche brand. -Customisable options e.g. personal engraving and choice of colour ways and materials.
O
p
p
o
r
t
u
n
i
t
i
e
s
Open stores across the UK. Interactive customer experiences within store. - Possibility of opening stores internationally e.g. Scandinavia. Online shipping worldwide. - Collaboration opportunities e.g. public figure creation, allowing product to appear more desirable to consumer. Further use of promotional advertising strategies e.g. produce a film. - Greater use of social media platforms as a means of advertising and interacting with consumer, to build customer recognition and loyalty; customers are more likely to buy into a brand they like and believe in; this can be achieved by creating a strong brand personality and bonding with consumers. Moodie (2015) writing for the guardian suggests ‘A new study shows that when brands invest the time and effort to connect with customers, it pays’. “A consumer is willing to spend more money on your brand if they consider you a meaningful brand,” said Maria Garrido, international marketing director for Havas.
Figure 14 11
Figure 15
W
e
a
k
n
e
s
s
e
s
-High price point as expensive to produce. -Niche brand; many do not appeal to everyone’s taste. -Not everyone has the need for the product as not everyone needs glasses. -Many competitors in this market sector. -Low social media following and interactions as a form of marketing strategy. -New brand on the market. -Not established brand; many customers loyal to current eyewear brands. -No current investors in the brand.
T
h
r
e
a
t
s
Competing brands doing a similar thing. Higher price point than some competitors. Niche brand; small market sector. Not mass market produced. New emerging brand to the market, many competitors with loyal customer base. - Lack of financial investment and funding to start up company e.g. pay for materials, future store openings, apps and printing of promotional look book. - Redsicker (2014) suggests ‘Since the 2008 recession, consumers have become more sceptical of businesses and more cautious with their own spending’.This will therefore be a threat to a start up business and the likelihood of consumers spending money on a luxury product.
12
13 Figure 17
Figure 20
Figure 23
Figure 18
Figure 21
Figure 24
Figure 22
Figure 19
Figure 16
CONSUMER PROFILE
Figure 25
Figure 26
- Loves to travel to new places. Enjoys cooking using fresh organic produce. Active lifestyle. Enjoys city life. Intelligent. Affluent. - Works and lives in the city. - Takes pride in surroundings. Loves Scandinavian lifestyle interiors. - Creative eye for design. - Has creative eye for interiors. - Aged 25-35 years old. - Man/Women (Unisex brand). Believes in being kind to the environment. - Uses natural cosmetics that are kind to skin and environment.
Figure 27
14
COMPETITIVE SITUATION ALAIN MIKLI//SWOT ANALYSIS
S
t
r
e
n
g
t
h
s
Well established brand. High end, handmade product. High quality durable product. Loyal customer base. Appeals to many generations. Large range of glasses e.g. reading glasses and sunglasses. Unique colours and shapes. - Celebrities such as Elton John, Kanye West wear the product; boosts desirability. Product sold worldwide. - Sold within other stores and brands websites. Exclusive brand.
O
p
p
o
r
t
u
n
i
t
i
e
s
- Open more stores worldwide in other big cities e.g. London, New York, Milan. - Use social media platforms to a greater extent to interact with customer, establishing a relationship and achieve a higher following. - Advertisement through celebrity endorsements achieving desirability in the public eye. - Create promotional film advertising product ranges and showing brands aesthetic. - Produce a stylised look book exhibiting the product range. - Improve website navigation making it easier for customers to purchase products on official website. - New product lines e.g. children’s eyewear.
15
Figure 28
W
e
a
k
n
e
s
s
e
s
High price point compared to some other competitors. - Relatively small social media following and customer interaction on social media pages; achieving small numbers of interaction e.g. likes on Instagram photos. - Website is hard to navigate and not very user friendly; no clear pages or ability to view product range on official website. - Small number of stores worldwide only boutiques in Paris, Tokyo, Hong Kong, USA and Helsinki. Niche market sector.
T
h
r
e
a
t
s
Many competitors in this high end market creating eyewear. Fairly high price point. In hard economic times people less willing to buy designer products. Customer loyalty to other designer eyewear brands. - Changes in consumer trends and tastes e.g. less fashionable to wear glasses. - Relatively niche market as not everyone needs to invest in reading glasses.
Figure 29
16
COMPETITIVE SITUATION CUTLER AND GROSS//SWOT ANALYSIS
S
t
r
e
n
g
t
h
s
- Very high social media following and interactions on Instagram. - User friendly website, clear navigation, very modern and minimal reflecting the brands aesthetic effectively. Strong brand image. Loyal customer base. - High end and good quality product range. - Available to purchase on many other brand websites e.g. netaporter, eyewear concierge. - Large product range; many different collections with different themes e.g. round glasses, vintage collection, pantoscopia, optical glasses and sunglasses; opens up market sector to a wider range. - Niche market sector ; Asian fit collection specially crafted for fit on Asian people without nose bridges. - Personalisation section allows users to create glasses that are totally unique with variety of colour ways and materials to choose from. Products can be shipped worldwide; readily available to customers internationally. - Website allows users to reserve products instore to ensure purchase e.g. if product went out of stock. Exclusive and well recognised brand. Well established brand. - Gender neutral; product ranges for both men and women. - Try on at home system; allowing users to return product if not satisfied, without an initial payment.
O
p
p
o
r
t
u
n
i
t
i
e
s
Greater use of celebrity endorsement as a form of advertisement. In store customer experiences. - Open more stores worldwide e.g. other big cities. - Create new product ranges e.g. a kids’ wear range. Greater use of promotional strategies e.g. produce films and look books. More collaborations to boost sales e.g. famous designers and iconic brands. - Consider ethics such as sustainability possibly creating range using eco-friendly materials.
17
Figure 30
W
e
a
k
n
e
s
s
e
s
Many high-end brand competitors selling eyewear. - Small number of stores worldwide. Relatively high price point. Niche market. - Low interaction on twitter e.g. low number of retweets and likes on posts. Not very frequent posts on twitter and Facebook pages. Not eco-friendly product.
T
h
r
e
a
t
s
- Smaller and more personal boutiques. Limited market. - High price point; some people may not be willing to pay this for the product. Many other brand competitors selling a similar product. - New emerging brands on the market selling cheaper product. Copyright of designs; other brands creating similar product.
Figure 31
18
INTEGRATED PROMOTIONAL STRATEGY
Figure 32
V M
e
r
i
c
h
s
a
n
u d
i
s
a
i
n
l g
Future plans for Skådespel include pop up store openings in cities across Europe and Scandinavia, within the stores there will be customer experiences to engage with shoppers using in-store visuals and music matching the brands aesthetic. Instore eye tests will also be available in a digital booth, this will be much like the set up of photo booths, enabling consumers to enter the booth and have their eyes digitally tested without the presence of an optician. This information about their eyes will be uploaded into the system and recorded appropriately for in-store team members to review and order the customers chosen frame, along with their required prescriptive eye lenses, making their very own pair of Skådespel’s. Using the iPads within the store the customer will be able to personalise their frames with perhaps an engraved initial or colour ways. Displays around the store will showcase many of the unique eyewear designs enabling customers to try on the glasses to select their preference. The store will have a very clean and minimal aesthetic with the brands colourings and patterns, remaining consistent throughout the visual space, this will enhance the brand image.
19
P S
o
t
p
o
-
r
u
p e
Figure 33
Figure (33) shows a perspective view of Skådespel’s pop up store layout, created using Sketch-up and CAD. Inside the store there will be several display cabinets and storage units to hold the stock of glasses, also allowing customers to try on and view their choosen frame in mirrors. Within the far right of the shop are two digital eye testing booths, this will mean customers can get their eyes tested hassle free and will be a much faster system reducing the amount of staff within the store. The customers eye data will be uploaded into the system and once they select their frame this can be sent off to our manufacture warehouse to be made. Frames can also be customised in a vareity of colour ways and engraving options, this can all be carried out digitally within the in store ipads. The rounded counter will be used to make payments and for customers to comfortably try on their eyewear and see if it is to their preference.
A free try on at home service will be available to the customer allowing them to simply try on their eyewear at home and return if not suited without a fee, however if the customer is happy with their purchase they can let the Skådespel team know via email or on via their online account, and the payment will be taken from their account shortly after notifying the team at Skådespel. The brands website will follow the same aesthetic, and pop up events will change location frequently across large European cities to expand the market and make the product readily available to more individuals. The customer will get a free eye test with us on their first visit, this will attract more people to connect with the brand and establish a relationship between brand and consumer. The individuals prescriptive eye lens data will be stored in the system, this will mean that the customer will no longer need to come into store and can simply use their online account to purchase their eyewear. This process will be a much more convenient allowing consumers to access their personal data within the comfort of their own home.
Figure 34
20
INTEGRATED PROMOTIONAL STRATEGY //CONTINUED
A
p p
Future plans for Skådespel to introduce an app after the first year of sales has been considered, however this will require financial stability and brand establishment, in terms of funding, in order for an app to be successfully produced. Grabowski (2016) claims ’According to the report by Kinvey, organisations spend an average of around $270k to develop an app’. The app will allow users to view our online look book showing all eyewear designs on stylised models in a fashion styled photoshoot. The app will have a mid-century modern Scandinavian theme running through its pages from colouring to print and illustration designs, the app will also allow users to customise their very own pair of glasses and then view them on their face through filters much like snapchat. Their face will be detected and the glasses will be visible on the screen on their face via the smart phones front camera, this will give the consumer an indication to how the eyewear design will look on their face and make help them make their decision before purchasing the product. C
u
s
t
o
m
i
s
i
n g
The customisable options will include a number of colour ways from the brands colour palette, including shades of brown, green, grey, orange, beige, stone and yellow. Personalisation will also be an option, meaning an engraved initial can be placed on the glasses allowing consumer to make their eyewear design totally their own creating a more special feel to the product.
21
Figure 35
22
MARKETING MIX 7 P’S
P
P
r
o
d
u
c
t
- Contemporary optical eye wear, Scandinavian themes and colour palettes, architectural structures to frames, lightweight and dynamic. - High quality use of materials - First launch of three different initial designs each with a different name and shape. Customisation options e.g. name engraving and colour choices from the brands palette.
i
c
e
£200-£250 cheaper price than competitors. - Designs vary in price slightly according to amount of materials used and the shape of the product e.g. greater use of material, larger lenses size or a more dynamic shape so price point is slightly higher than the other designs. P
l
a
c
e
Online website - E-commerce platforms. - Pop up store opening events offering an initial free digital eye test.
P
Figure 36
r
e
o
p
l
e
25/35 year olds. - Unisex product range. - Collaboration and co creation with consumers. - Staff opportunities for online sales; primarily styling, marketing and digital roles also temporary staff employment needed within pop up store openings. - Celebrity endorsement and collaboration with people to get a face for the brand to create recognition.
Figure 37
P r o m o t i o n Designer brand collaborations e.g. Linda Farrow establish a strong relationship with well known brands for a potential to sell product ranges within this brands stores or website. Possible celebrity endorsement to show a face for the brand to get widely recognised. - Sales promotions, buy one pair of eyewear get second half price, marketing strategy used by many other opticians as a means of promotion. - Use of social media campaigns, e.g. use of visual imagery to advertise product and show brand progression especially as a startup brand, use competitions as a form of driving more traffic to the website. - Money savings on eyewear ranges, e.g. many opticians use offers such as buy one pair get the second half price.
Figure 38
23
P E P
r
o
c
e
s
s
- Digital in store eye tests. - Future plans for eye tests within an app, stores all customers’ information in their own account and can be updated for future use. - Worldwide shipping at 3-5 working days from door to door, with faster delivery options available across the UK at a slightly higher price point. - In store and online customisation available through use of website and interactive in-store technologies such as iPads, allowing consumer to customise eyewear according to preference, from colour ways, frame design and engraving available e.g names. - Try on at home service available from pop up stores and online, one week given for consumer to test product at home and see if they like the chosen frame design and the way the glasses sit on the face along with the chosen colour way is suited to their tastes. This done at no extra cost and when the customer has chosen if they are happy with the eyewear the payment can be made online by logging into their personal Skådespel account. - Exchanges and refunds can be made within 28 days, which is the standard legal policy, this can be completed by sending product back and will be processed within 5 working days, placing the money back into the customers account.
h v
i
y
s d
i e
c n
a c
l e
- Three iconic eyewear designs with brown leather cases to protect against damage. - Marketing extras; price tag labelling, printed duster cloths to clean eyewear with a series of 4 sticker designs with Skådespel’s own prints and logo to seal all packaging and given as freebies in store and delivered with online purchases. - Website & possible social media platforms as a form of advertisement. - Packaging to deliver glasses to customers, e.g. cardboard box with product inside wrapped in printed tissue paper to protect product from damage, tote bags with printed logo, when purchases are made in store. Brand promotional material including Business cards, headed letter paper to invoice clients and pasted on the bottom of every email, pens with branded logo printed on given as freebies in store and posted with glasses. - Small items such as this can be used in consumer’s daily life and will make sure that they remember the brand and build upon the brands image.
Figure 39
24
25
Figure 40
Figure 41
26
Year one Launch 500 more eye wear designs on website.
Start up website selling product range (first initial three designs of optical eye wear; Syn, Ljus & Belysa).
Shoot promotional imagery of models wearing product range which will be used for visual branding and within the website to promote product range.
Contact glasses and eyewear prescrition lense manufactuers, to establish relationships in order to produce eye wear ranges in future.
Apply for government backed start up loan to fund a new business borrowing between £500 and £25k, which is available for entrepreneurs who are starting a new business and need some funding to bring their plans to life.
BUSINESS PLAN
Build loyal following through regularly posting on social platforms (Instagram) showcasing visual imagery.
Approach online and store stockists such as Linda Farrow and Cutler and Gross to sell Skådespel optical range.
Launch first 100 pairs of Skådespel glasses online, sold at £200-£250 retail price.
Start up social media platforms e.g. Instagram to get publicity show what is to come for Skådespel.
Contact with bank and present business plan for investment funding back. Enterprise scheme loan to fund new business (Government back start-up loan).
Figure 42
27
F
Figure 43
28
BUSINESS PLAN
Posters placed in billboards around cities initially London to get brand recognition.
Creation of app allowing consumers to purchase product on their smart phones and customise their very own pair of Skådespel eye wear.
Promotional film campaign and photo shoot created and published on website and social platforms.
Approach niche lifestyle publications for paid advertisements of Skådespel eye wear, showing promotional photo shoot of models wearing the product range. Figure 44
29
Year Two
Promotional offers released online and posted on social media e.g. one get one half price / buy one get one free to increase sales and drive traffic to website.
//CONTINUED
Launch the new collection of unisex eye wear ranges from the designs created (3 new eye wear designs).
Regular posts updated on social media to gain a high following of loyal consumers.
Launch competitions on social media and website e.g. get free pair of eye wear by sending Skådespel an image of person wearing their favourite pair of the brands glasses.
1000 pairs of eye wear realised for purchase online and sold to independent brands for sale.
Figure 45
Figure 46
Figure 47
30
Year Three
BUSINESS PLAN //CONTINUED
Start eye 2000 eye wear designs released from both collections as double the income of sales from year one.
Collaborate with public figures in order to promote SkĂĽdespel and boost desirability of the brand in the consumers eye.
Engage with respected vintage Fashion bloggers to advertise the brand and report to public on the design collection.
Pop up store openings across London for limited time only, moving location regularly to make product readily available to more people opening up the market sector with free initial eye tests in store for consumers. Figure 48
31
plans for future wear ranges.
Pop up store launches across cities in Europe allowing product to be available in more countries therefore increasing sales.
Employ social media and e-commerce paid interns to manage the work load and help young people to gain industry experience.
Contact charity Fashion fundraising events to gain press recognition.
Approach further stockists across Europe and introduce worldwide shipping to the website.
Figure 49
32
ONLINE VISUAL CONTENT
Figure 50
Figure 51
33
Shown are website mock ups for Skådespel demonstrating all of the stages of the online buying experience, when shopping with Skådespel. The first screen is showing the drop down menu which appears on screen when clicking on the menu section, next is the shopping mode where the customer can change their colour preference by clicking on the colour they wish followed by the part of the glasses they would like to change the colour of. The other mac screens are going on to show different angles of the glasses which allow customer to move the glasses 360 degrees and view them at any angle, drop down text gives all information on the eye wear for example how to upload personal prescriptive lens data and other details such as materials, sizing and Skådespel’s return policy. A mock up of the online look book has also been created presenting a series of visuals from the photo shoot, each of Skådespel model wearing the optical range in a series of colour choices. Lastly an about us page has been created detailing all information on the brands ethos and Scandinavian influences along with information regrading future plans to set up pop up stores across the UK.
Figure 52
Figure 54
Figure 53
Figure 55
34
SUMMARY
To conclude, Skådespel will sit in the lower end of the luxury eye wear market sector, providing a product that is unique and creative with customisable options available in a range of different materials including plastics and coloured woods. Skådespel eye wear will retail at an affordable price in this market sector from £200-£250 depending on frame selection and customised designs. Skådespel has successfully identified the gap in the market and filled it with a product that is unique from anything else on the current market, curated from Scandinavian furniture by iconic designers including Charles Eames + Vladamir Kagon + Alvaar Alto, inspiring the shape and architectural design element of the framework, the earthy colour palette has also been influenced by Scandinavian design to build a strong brand image that reflect the brands ethos. This gap in the market has been identified using a variety of tools such as 7 P’s, SWOT analysis’ for the brand along with competitors. A brand positioning map has also helped to pin point the market sector. All of these factors have been analysed allowing Skådespel to create high quality unisex niche eye wear combining traditional and contemporary themes with architectural influence. An initial two year business plan has also been formulated to evidence the progression of Skådespel entering into the fashion market as a start up brand.
35
Figure 56
36
BIBLIOGRAPHY
R
e
f
e
r
a
n
c
e
s
Farber, M. (2016). Consumers Are Now Doing Most of Their Shopping Online. [online]. Available from: http://fortune.com/2016/06/08/ online-shopping-increases/ [Accessed on 09 April 2017] Grabowski, P. (2016). How Much Does It Cost to Build a Mobile App?. [online]. Available from: https://buildfire.com/does-cost-build-mobile-app/ [Accessed on 02 April 2017] Milliken, D. Nicolai da Costa. A. (2016). UK retail sales suffer biggest fall in six months, no EU effect reported. [online]. Available from: http://uk.reuters.com/ article/uk-britain-eu-economy-idUKKCN1010UE [Accessed on 05 April 2017] Moodie, A. (2015). Consumers are more likely to spend money on companies that care, a new study finds. [online] Available from: https:// www.theguardian.com/sustainable-business/2015/may/01/samsung-ikeameaninful-brands-google-visa-microsoft-havas [Accessed on 14 April 2017] Posner, H. (2015). Marketing Fashion. London: Laurence King Publishing Ltd. RedSicker, P. (2014). 5 Ways You Can Influence Consumer Purchasing Decisions: New Research. [online] Available from: http:// www.socialmediaexaminer.com/5-ways-brands-can-influenceconsumer-purchasing-decisions/ [Accessed on 20 April 2017] Retail Research (2016). UK Retail after Brexit. [online]. Available from: http://www.retailresearch.org/brexit.php [Accessed on 05 April 2017] Westgarth, J. (2017). [online]. Available from: http://academic.mintel. com/display/818345/?highlight#hit1 [Accessed on 12 April 2017] Westgarth, J. (2015). [online]. mintel.com/display/730196/?highlight
Available [Accessed
from: http://academic. on 12 April 2017]
Westgarth, J. (2014). [online] Available from: http://academic.mintel. com/display/696174/?highlight#hit1 [Accessed on 15 April 2017] Westgarth, J. (2014). [online] Available from: http://academic.mintel. com/display/818399/?highlight#hit1 [Accessed on 15 April 2017]
37
B
i
b
l
i
o
g
r
a
p
h
y
Bruggink, J. (2013). More than 6 in 10 people wear glasses or contact lenses. [online]. Available from: https://www.cbs.nl/en-gb/news/2013/38/more-than6-in-10-people-wear-glasses-or-contact-lenses [Accessed on 04 May 2017] Jordan, A. (2015). Never Fall Out Of Fashion With Endless Eyewear Subscription Service. [online] Available from: h t t p s : / / w w w . l s n g l o b a l . c o m / b e h a v i o u r s / article/17192/never-fall-out-of-fashion-with-endlesseyewear-subscription-service [Accessed 18 April 2017] Kinvey (2014). Enterprise Mobility Survey. [online]. Available from: http://resources.kinvey.com/docs/State+of+Enterprise+M obility+Survey+2014+-+Kinvey.pdf [Accessed on 04 May 2017] Mickiewicz, M. (2017). Test Your Eye Prescription With An Iphone.[online] Available from: https://www.lsnglobal.com/briefing/article/20188/snap-on-the-go https://www.lsnglobal.com/briefing/article/21352/test-youreye-prescription-with-an-iphone [Accessed on 27 May 2017] Thornton, N. (no date). ILL.I OPTICS. [online]. Available from: http://www.harveynichols. com/news/2014/12/05/ill-i-optics-by-will-i-am/ [Accessed on 02 May 2017] Walker, D. (2014). Spectacular Space: Online Glasses Shop Pops Up In Amsterdam [online]. Available from: https://www.lsnglobal. com/briefing/article/16010/spectacular-space-online-glassesshop-pops-up-in-amsterdam [Accessed on 20 April 2017]
38
IMAGE LIST
Figure 1 Hargreaves, D. (2017). Skådespel Shoot [own]. Figure 2 - Greenberg. C. (1984). Mid-century modern - furniture of the 1950’s. Figure 3 (2017). [own]. Figure 4 - Greenberg, C. (1984). Mid-century modern - furniture of the 1950’s. Figure 5 - Greenberg, C. (1984). Mid-century modern - furniture of the 1950’s. Figure 6 - Greenberg, C. (1984). Mid-century modern - furniture of the 1950’s. Figure 7 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 8 - Greenberg, C. (1984). Mid-century modern - furniture of the 1950’s. Figure 9 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 10 Hargreaves, D. (2017). Brand Onion. [own]. Figure 11 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 12 - Hargreaves, D. (2017). Brand Positioning Map. [own]. Figure 13 Hargreaves, D. (2017). Skådespel Shoot. [own]. Figure 14 - Greenberg, C. (1984). Mid-century modern - furniture of the 1950’s. Figure 15 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 16 - (no date). Mid Century Kitchen. Available from: https://uk.pinterest.com/pin/450852612686420405/. [Accessed on 05 May 2017]. Figure 17 - (no date). Vintage Polariod Camera. Available from: https:// uk.pinterest.com/pin/218495019399664447/. [Accessed on 01 May 2017]. Figure 18 - (no date). Mid Century Retro Design. Available from: https:// uk.pinterest.com/pin/392728029978330698/. [Accessed on 10 May 2017]. Figure 19 - (no date). Mid Century Bedroom. https://uk.pinterest.com/pin/546342998531551216/. [Accessed on 10 May 2017]. Figure 20 - (no date). Chicken Food Bowl. Available from:https://uk.pinterest.com/pin/29343835053184090/. [Accessed on 06 May 2017]. Figure 21 - (no date). Home Interiors. Available from: https://uk.pinterest.com/pin/569705421597362341/. [Accessed on 06 May 2017]. Figure 22 - (no date). Retro Scandinavian Office. Available from: https://uk.pinterest.com/pin/364017582357060048/. [01 May 2017]. Figure 23 - (no date). Travel Suitcase. Available from: https://uk.pinterest.com/pin/205758276704488857/. [Accessed on 07 May 2017]. Figure 24 - (no date). Retro Book Case. Available from: https://uk.pinterest.com/pin/473159504572979179/. [Accessed on 06 may 2017]. Figure 25 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 26 - (no date). Vladimir Kagon Rocking Chair and Ottoman Circa 1950’s. Available from: http://toddmerrillstudio.com/shop/century/rocking-chair-ottoman-vladimir-kagan-c-1950s/. [Accessed on 20 May 2017]. Figure 27 - (no date). Orange Retro Chair. Available from: https://uk.pinterest.com/pin/284712007667963876/. [Accessed on 12 May 2017]. Figure 28 - (no date). Alain Mikli Logo. Available from: https://www.shadestation.co.uk/prescription-glasses/alain-mikli. [Accessed on 02 May 2017]. Figure 29 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 30 - (no date). Cutler and Gross Logo. Available from: https://www.cutlerandgross.com. [Accessed on 16 May 2017]. Figure 31 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 32 - Hargreaves, D. (2017). Skådespel Eyewear. [own].
39
Figure 33 - Hargreaves, D. (2017). Pop-Up Store Plan. [own]. Figure 34 - Hargreaves, D. (2017). Skådespel Eyewear. [own]. Figure 35 - Hargreaves, D. (2017). Skådespel Shoot. [own]. Figure 36 - Harrgreaves, D. (2017). Skådespel Eyewear. [own]. Figure 37 - Hargreaves, D. (2017). Packaging Idea. [own]. Figure 38 - Hargreaves, D. (2017). Packaging Idea. [own]. Figure 39 - Hargreaves, D. (2017). Packaging Idea. [own]. Figure 40 - Hargreaves, D. (2017). Skådespel Shoot. [own]. Figure 41 - Hargreaves, D. (2017). Skådespel Shoot. [own]. Figure 42 - Hargreaves, D. (2017). Business Plan. [own]. Figure 43 - Hargreaves. D, (2017). Skådespel Shoot. [own]. Figure 44 - Hargreaves, D. (2017). Business Plan. [own]. Figure 45 - Hargreaves. D, (2017). Skådespel Shoot. [own]. Figure 46 - Hargreaves. D, (2017). Skådespel Shoot. [own]. Figure 47 - Hargreaves. D, (2017). Skådespel Shoot. [own]. Figure 48 - Hargreaves, D. (2017). Business Plan. [own]. Figure 49 - Hargreaves, D. (2017). Skådespel Shoot. [own]. Figure 50 - Hargreaves, D. (2017). Skådespel Shoot. [own]. Figure 51 - Hargreaves, D. (2017). Mock -up Website . [own]. Figure 52 - Hargreaves, D. (2017). Mock -up Website . [own]. Figure 53 - Hargreaves, D. (2017). Mock -up Website . [own]. Figure 54 - Hargreaves, D. (2017). Mock -up Website . [own]. Figure 55- Hargreaves, D. (2017). Mock -up Website . [own]. Figure 56 - Hargreaves, D. (2017). Skådespel Shoot. [own].
40