They Reign Supreme by elliemcallister

They Reign Supreme ‘Turn your consumers into true believers’

If you know you know

They Reign Supreme

Ellie McAllister FASH30108 N0557248 Word count: 8,594

1 Preface 3 Introduction

Part 1 6

Part 2 20

Supreme 29

Consequences of Cult Followings

Con tents 55

Reconnect the Disconnected 69

Route to Consumer Fig 1, Brand Bench, Ellie McAllister, 2017

The Original 97

Consumer Journey 109

Fig 2, Hello My Name is, Ellie McAllister, 2017

sheep.

Fig 3, Brands are Spheres, Ellie McAllister, 2017

Investigating the world of cult branding, the brands that have been able to develop a cult-like following and the consequences of this - in reference to skate brand Supreme

Preface

This report will focus on cult brands and their ability to gain their devoted followers through their products, collaborations, beliefs and ideologies. The concept of cult branding was first introduced to me through an I-D Video, The History of British Style Tribes, which focussed on Supreme kids and online style. In the video, a young man, Louis explains his deep admiration for streetwear brand Supreme by how they bring together fashion, music and art. As his interview went on, his extreme dedication to Supreme was clear. He seemingly developed many of his interests from who and what Supreme told him was interesting. With this, he closely and meticulously followed their collaborations with artists and famous figures, from listening to their music, to watching the films referenced on Supreme products, ‘I found some of these people just through Supreme and then just bought their CD’s or searched them up on the Internet’ (Louis in ID, 2015). Musicians such as 36 Mafia, Dipset and Lou Reed, who hit the heights of their careers in the 80’s and 90’s. The Supreme Rizzoli book was where he took most of his inspiration, using it as his bible, following it closely in order to deepen his connection to the brand and its culture. With this, this report will advance, looking further into brands that are able to captivate their audiences and lead them to make decisions about their identity.

‘People live in groups… From the earliest known history, people have lived together in families, clans and tribes’

Introduction

Fig 4, People Live in Groups, Ellie McAllister, 2017

(Atkin, 2005)

This report will explain the manifestation of cult branding and the effect this can have on individuals, looking deeper into consumer psychology. Looking into the sociological aspect, being a part of the exclusive world of a cult brand community can cause a consumer to become reliant on a brand or product. It produces a ‘master and slave’ relationship, explained by German philosopher Georg Hegel (Patten, 1999) where a consumer can become enslaved to the product due to its status and how they believe the product will create their personal sense of identity. As well as contingent identities, similar to religious cults that create their own selfcontained ‘bubble’, brands are also able to construct their own version of a cult. They can consequently push their consumers to form strong connections with one another, creating ‘a sense of responsibility and mutual dependence’ (Atkin, 2004). This report will investigate how these fortunate brands are able to gain this powerful status and the consequences this can lead too, such as issues within a brand’s community.

Part One

Around for centuries...

Cults have been around for centuries, while the definition of what a cult is extremely difficult to pin down; every cult is different. This can range from the extreme religious groups that have adapted their own radical views on traditional spiritual beliefs and practices, to those who have crafted their own religious organisations. From the Manson family to Scientology, outsiders can view them as dangerous and something to be feared. Although this is usually a result of them being unfamiliar and not fully understood (Dillon an Richardson, 1991). According to clinical psychologist Margaret Singer, cults have three fundamental components: usually revolving around an individual that feel they has been chosen to fulfill their own religious purpose; they then employ a strict approach to their groups members, and with their charismatic personalities, they are able to fully control their followers and use them for their own personal gain (Singer & Lalich, 1995).

Fig 5, Worthy Of Acceptance, Ellie McAllister, 2017

Fig 6, Key Rules, Ellie McAllister, 2017

Moving on...

Moving on from the more traditional sense of the word, that has long been associated with religion, ‘cult’ is also commonly used when referring to brands that have been able to develop a dedicated following, which can lead their consumers to look or act a certain way. As explained in The Power of Cult Branding, ‘brands are spheres of influence’, that can also develop further to become a critical part of a consumer’s life (Bueno and Ragas, 2002). They can attract a high degree of consumer loyalty to which an individual will not only purchase and use their products or services, but they will continue to do so devotedly as a way of demonstrating their love and trust in the brand. How a brand is able to develop such a deep relationship with their consumers is something that many brands will never achieve. Being a cult brand is not merely due to popularity amongst consumers, it is much more profound than this. According to Bueno and Ragas, there are seven

rules a brand must abide by in order to gain a cult following. (See figure 6) When analysing some of the key rules to follow, the first one is fundamental in what can attract a consumer to invest their time and energy into a brand. Many consumers often pride themselves on their nonconformity, looking for ways to be different and to stand out amongst a crowd of people. Whereas number 6 explains how a cult brand should be ‘inclusive’ so consumers then align themselves with brands that promote exclusivity, such as Harley-Davidson, which is labelled as ‘not for everyone’ (Atkin, 2004). With a brand that is mainly about being a nonconformist, by being a part of their culture, they are actually conforming (Atkin, 2004). Even a brand such as Apple, whose 1997 ‘Think Different’ campaign promoted the idea that by using an Apple product a consumer would become more of an individual (Sunset, 2008), whereas they are actually only following the crowd of obsessive Mac users.

Authenticity is key to a brands ability to gain a strong following that will not falter at the first hurdle; it is these brands that are able to gain the outcome of a cult. The meaning of being authentic is described as, ‘worthy of acceptance, authoritative, trustworthy, not imaginary, false or imitation conforming to an original’ (Cappannelli and Cappannelli, 2014). If a brand is able to demonstrate these values to their consumers, it will be immensely beneficial in improving their consumer dedication. Professor of Fashion Enterprise, Michael Beverland examines the term of ‘authenticity’ in his book, ‘Building Brand Authenticity’. He looks deeper into Apple and another cult brand, Jack Daniels as authentic brands. Jack Daniels has long held a high position within the whisky market and has become somewhat of an icon. Meaning, they ‘have the power to maintain a firm hold in the marketplace for many years.’ These iconic cult brands ‘succeed because they forge a deep connection with the prevailing culture.’ (Beverland, 2009). However, some consumers can be less than authentic, only interested in the brand because of the notoriety that comes along with it. This is an issue that many cult brands face.

Fig 7, Authenticity is key, Ellie McAllister, 2017

Authenticity is key...

Harley-Davidson Case Study

What is it? Since its creation Harley-Davidson has been the most recognisable name in the motorcycle industry. The brand has overcome many obstacles in its lifetime however has managed to become one of the largest motorcycle manufactures in the world, promoting ideals of ‘freedom and non-conformity’ (Ragas and Bueno, 2002). The Brand Essence ‘Fulfilling dreams of personal freedom is more than a phrase. It’s our purpose and our passion. We bring a commitment. Exceptional customer experiences to everything we do – from the innovation of our products to the precision of our manufacturing – culminating with our strong supplier and dealer networks. We are Harley-Davidson.’ (Harley-Davidson, 2017)

Their following is large and diverse. As put in The Origin of Brands, ‘Harley-Davidson sells a lot of motorcycle jackets to people who don’t drive motorcycles.’ (Ries and Ries, 2004) The brand’s following is no longer made up of majority motorcycle riders, but people who wish to embody the same characteristics as those of the brand. They promote an exclusive community that allows an individual to be free and empowered, and with this attract consumers from all ages, races and backgrounds.

Fig 8, Harley-Davidson, Ellie McAllister, 2017

Their following

‘Mac users can be extremely cool. It’s a lifestyle thing. Mac users tend to be part of the liberal, freethinking counterculture. They dress well, look good, and have discerning taste. Mac users are creative. A lot of highly creative people fire up their Macs every day to shape our culture’ (Kahney, 2006)

Fig 9, Apple of Their Eye, Ellie McAllister, 2017

Apple of their eye...

Apple is a perfect example of a cult brand that pride themselves on being able to capture an audience and hold onto them through their high quality, design-lead, innovative products. Their consumers and the fierce loyalty they demonstrate to the brand are unlike that of any other tech brand out there. Consumers value Apple and their products for what they symbolise, just as much as the service they provide, it all leads back to a brands ‘identity value’ (Holt, 2004). And with an Apple product, this can immediately signify a creative identity. Acting as a vessel of self-expression, one Mac user claims using a Mac made him feel ‘more creative, more himself’ (Hold, 2004). Not only is it the products like the Mac that have aided in the increase of brand appeal, but it is also their attitudes towards a certain way of life that makes consumers want to be a part of the Apple community. According to one student in The Culting of Brands, not only can the products help with brand appeal, but more so it is Apple’s ‘certain way of thinking’ that is so attractive (Atkin, 2004). There is a certain fantasy surrounding Apple that consumers cannot help but feed into. Musician Barry Adamson describes the Mac hysteria as an addiction when he told the Guardian, ‘They shouldn’t call it Mac. They should call it crack!’ (Adamson in Kahney, 2006) Apple slowly became their own subculture within technology and the consumer communities resembled that of a new-age religion, with the late Steve Jobs being the ‘charismatic cult leader’ whom they worshipped (Kahney, 2006).

Cult brands can become a critical part of a consumers life

Brands with â&#x20AC;&#x2DC;identity valueâ&#x20AC;&#x2122; become a part of a consumers identity

It takes more than just being a popular brand to gain a cult following

Consumers are attracted to brands that are different

Consumers want to be part of brands that promote exclusivity

Part Two

Why we buy...

Why we buy is a common question amongst brands as it is an essential piece of knowledge that allows them to know exactly how to entice their ideal consumer. If something is plausible, impressive and viewed as an ideal way of thinking, consumers are willing to treat it as the truth (Graves, 2011). This creates a combination of both reality and fantasy, of what a consumer may truly believe about a brand or what they choose to believe. The brand itself can greatly influence purchase decisions, as when a consumer is already so deeply involved, it is simple for them to sell any product. They will purchase it just for the sake of owning yet another item from their beloved brand.

Looking at Maslow’s Pyramid – the hierarchy of human needs (see appendix, page 64), this demonstrates the theory of human motivation, developed by American psychologist Abraham Maslow. It takes us up the ladder of selffulfilment. Whereas there was no figure reference within the original paper, in order to simplify the process, Maslow’s hierarchy has been illustrated using a triangle shape or symbol (Kremer and Hammond, 2013). In terms of cult branding, a consumer’s motivation for attaching him or herself to a brand sits amongst the third and forth sections of the triangle: the need to be loved and to belong within a group, as well as the need for esteem, as we want others to respect us. (BBC, 2013)

From the very beginning...

However, there are issues that arise when talking about this topic and they can show the negative effect on a consumer’s personal identity, which happens when they decide to attach themselves to a brand. As explained in Henri Tajfel’s Social Identity Theory, ‘a person’s sense of who they are (is) based on their group membership (Mcleod, 2008). Tajfel suggested that the community or group to which someone belongs to has a direct effect on their self-esteem. In order to enhance this, they increase their self-image by promoting their community/group. Studies showed that members of certain groups were most likely to favor other in-group members, rather than that of out-group members, both whom they may have had no previous connections with (Reicher, Spears and Haslam, 2010). This evidences how ones perception of a person can change depending on the community they align themselves with, as well as a person’s instinctive nature to stay fiercely loyal and protective of their community.

‘A person’s sense of who they are (is) based on their group membership’ (Mcleod, 2008) Fig 10, Cult Branding x KAWS, Ellie McAllister, 2017

From the very beginning individuals have observed and imitated the actions of others. As mentioned in Unconscious Branding, it is our ‘mirror neurons (that) give humans not only the capacity for shared experience and better understanding but also the ability to learn through imitation, enabling the cultural transmission of ideas and experiences’ (Van Praet, 2012). By mirroring the actions of another, we seem to believe it validates our behaviour and makes us feel we are part of something much larger than ourselves. Research has shown that an individuals reasons for committing to a brand often describe profound urges to belong and to feel secure within a community. The creation of consumer communities is an important aspect of a brands cult-like status; these often accumulate online, as there is greater accessibility to meet and communicate with other brand devotees from other areas of the world. ‘Consumer communities’ work. They make brands come alive’ (Bueno and Ragas, 2002). In the case of Harley-Davidson, these communities are said to have helped save the company, thus demonstrating the power of cult branding.

A brand can greatly influence a consumers purchase decisions

A consumers motivation for attaching to a group comes from the need to belong

A brand community can have a direct effect on a consumers selfesteem

Consumers can become fiercely loyal and protective over their community

Brand communities often accumulate online due to the greater accessibility to others

In conclusion

The next part of this report will lead onto a more focused look at a brand that has been able to grow into one of the most well known streetwear brands at the moment. It will be focusing on the streetwear brand Supreme for the main reason of it being a perfect example of how cult branding can have both a positive and negative affect on a brands reputation amongst consumers. The brands recent activity and their sudden increase in popularity have split opinions within the industry on whether they are still deserving of their title as the driving force within streetwear. However, their ability to create strong communities between their consumers and influence not only the way they dress, but the way they think and act is incredibly intriguing. And so looking deeper into this particular brand will be an extremely useful tool when thinking about the concept of cult branding.

Supre

The Chanel of downtown streetwear...

Fig 11/12, Supreme London, Ellie McAllister, 2017

Supreme has long been known by the streetwear elite as a must-have brand to own if they wish to be taken seriously by other streetwear influencers. Originating from New York, the brand has since taken over the world, placing its stores in the street-style capitals of the world. The brand’s following has grown significantly and is dubbed the ‘Chanel of downtown streetwear’ (Business of Fashion, 2012a). When rapper Tyler the Creator took to the stage at the 2011 MTV Video Music Awards after winning Best New Artist, the only logo on show was that on his Supreme camp cap. It will have been one of the first times the Supreme brand has been seen on national and global television, watched by teens everywhere. He was dressed in his usual street aesthetic, which is taken from ‘a big chunk of skateboard culture and urban hip-hop’ (Business of Fashion, 2012a) much like that of the youth of today. As quoted in a Complex News documentary, ‘it’s difficult for anyone to put into words what makes Supreme so desirable, but it has without a doubt transcended it’s skateboarding roots and become the standard of contemporary cool.’ (Complex New, 2015)

Fig 13, The Standard of Contemporary Cool, Ellie McAllister, 2017

(Interview with Adam, 2016)

Fig 14, Pass It Down on A T-shirt, Ellie McAllister, 2017

The brands press-shy founder James Jebbia first founded legendary skate shop Union before he spent time at another popular street clothing brand Stussy. He went on to open the first Supreme store on Lafayette Street, NYC in 1994. Before the name Supreme became largely known around the world, it started off from very humble beginnings, catering mainly to skateboarders for the first few years of its existence. However Supreme’s success was unstoppable, due to a heavyweight branding strategy that grounded itself with a strict sense of hometown pride. They would feature skate decks with the work of New York’s greatest artists such as Jeff Koons

(Hawgood, 2016), giving other creatives within the community a new platform to display their work. This added to the authenticity of their products and brand, as it allowed consumers to connect to Supreme on a deeper level. Not only this, but the brand also collaborated with other well-known artists and musicians outside of New York and the United States. ‘Yeah, we’re a New York brand, but we’re a world brand now, too’ (Jebbia in Hawgood, 2016). This included Manchester’s own Morrissey from the 80’s rock band, The Smiths. With this, Supreme soon became a ‘melting pot of culture’ (Hansen in Complex News, 2015).

1989 - 2000

2002 - 2010

2011 - 2017

1989 James Jebbia opens Union NYC 1991 James Jebbia helps launch Stussy 1994 Supreme opens on Lafayette Street NYC Calvin Klein filed suit against Supreme for putting box logo stickers on their Kate Moss ads First box logo tee release – inspired by Barbra Kruger 1995 Supreme films promotional video about skateboarding in NYC Supreme classic logo release – inspired by Andre Courreges 1996 Supreme x Vans Old Skool collaboration 1998 Opening of Supreme Daikanyama, Tokyo Opening of Supreme Osaka, Japan Opening of Supreme Fukuoka, Japan Supreme x Brooklyn Machine Works bicycle 2000 Supreme create Louis Vuitton monogram skate deck Receive cease & desist order from Louis Vuitton

2002 First Supreme x Nike collaboration 2004 Opening of Supreme LA Kate Moss t-shirt release 2005 Supreme released their first ‘photo’ tee – Raekwon photographed by Kenneth Cappello 2006 Opening of Supreme Harajuku, Tokyo 2007 First Supreme x The North Face collaboration Receive cease & desist order from the NCAA 2008 Supreme Kermit the Frog tee – photographed by Terry Richardson Opening of Supreme Nagoya, Japan 2009 First official in-house lookbook Receive cease & desist order from NHL 2010 Supreme x Rizzoli book release

2011 Opening of Supreme London Campaign with Lady Gaga Tyler the Creator accept his VMA award wearing Supreme 5-panel hat 2012 James Jebbia’s net worth estimated at $40 million Opening of Supreme Shibuya, Tokyo 2013 European webstore opens 2014 Supreme x Nike Air Foamposite One collaboration 2016 The Supreme brick Opening of Supreme Paris 2017 Supreme x Louis Vuitton collaboration

History of Supreme

Fig 15, History of Supreme, Ellie McAllister, 2017

an interview with Business of Fashion, ‘I want to do something where a young kid shopping with his parents might be like, ‘Mum, maybe you shouldn’t come in this store with me.’’ (Jebbia in Hawgood, 2016). Looking to the older consumers for whom Supreme represented their youth, it has clearly become increasingly more of a mainstream product. In the same questionnaire, when asked to sum up Supreme in one word 576 people (35%) answered with the word ‘hype’, meaning ‘a fad’. ‘A clever marketing strategy where a product is advertised as the thing everyone must have, to the point where people begin to feel they need to consume it.’ (Urban Dictionary, 2003) This showed the brands development from a small skate shop in Lower Manhattan to an internationally known brand desired by ‘hypebeasts’ everywhere.

Fig 16, Questionnaire Results, Ellie McAllister, 2017

Having gained a new youth following over the past two to four years (made up of late Millennians through to Generation Z), the brands essence is no longer for skateboarders, by skateboarders. With popularity comes an increased cohort of youth consumers, who have grown up fully immersed in the Internet age. In a recent questionnaire I carried out, with over 1600 respondents, which I posted on a Supreme discussion group on Facebook, 951 (59%) of respondents were under the age of 18 (see appendix, page 44). It may be slightly judgemental to assume these new generations are materialistic, however they know better than any age group who and what is considered ‘cool’ and ‘interesting’ in today’s society. They are willing to pay a price to own it, usually with their allowance, as they aren’t yet old enough to work. As James Jebbia is quoted, saying in

e e e e e e e e e e e e e

Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype

Hype Hype Hype Hype Hype Hype Hype Hype Hype 576

Hype Hype Hype

Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype Hype

‘I’m an old face now... they treat me like a human being’

Fig 17/18, Ejder Store, Complex, 2016

Cult brands also encourage a new way of thinking and openness amongst their devoted staff, passionate about their core values (Beverland, 2009). A staff of like-minded individuals that understand the brand, promotes and markets it in a way that the brand would expect. ‘The people I work with is what gives the store its personality, they treat it like it’s their own.’ (Jebbia in Hawgood, 2016) This in terms of Supreme however, can lead to an issue between the brand and the consumers who visit their stores. By promoting a carefree attitude, it has since developed into the staff being in their own ‘Supreme bubble’, rarely acknowledging a customer’s presence, as found in primary research. In the same questionnaire, as mentioned previously, there was an alarming amount of comments made about the professionalism of the staff, particularly at the London store.

Some claim the staff to be ‘judgemental’, ‘rude’ and generally ‘uninterested’. One comment talked about how they seemingly pick and choose who to talk and interact with. This was backed up by an interview conducted with Supreme fan of over 20 years, Adam (see appendix, page 36). When quizzed about his experience at the store, mentioning the comments made on the questionnaire, he responded ‘Yeah, Supreme are notorious for being unhelpful and awkward… I’m an old face now, they do say hello when I walk in and treat me like a human being. Wasn’t always like that.’ Although Adam has been a frequent visitor to the London store since the opening in 2011, he has been able to prove himself. With the brands essence about being authentic, all the staff want is that their customers too are authentic Supreme devotees, like themselves.

Left: Fig 19, The Supreme S, Ellie McAllister, 2017 Right: Fig 20/21, Supreme x Louis Vuitton, Complex, 2017

In early January 2017, it was leaked to the public that a Supreme x Louis Vuitton collaboration was to be unveiled and it caused a massive buzz amongst Supreme consumers, industry professionals and online fashion and lifestyle platforms, such as Highsnobiety and Hypebeast. It was after Louis Vuitton’s Artistic Director posted (then deleted) a mash-up sticker on his Instagram account. The collaboration marked a clear turnaround for the two companies after a legal dispute arose in 2000 when Supreme released an unauthorized skate deck incorporating its logo into Louis Vuitton’s iconic monogram (Pearson, 2017). The collaboration was met with mixed opinions from outsiders, with Dazed Fashion Features Editor Emma Hope Allwood describing the merger as ‘something dreamed up by a feverish hypebeast with loads of their parents cash to splash.’

(Allwood in Amarca, 2017) However some were a little more positive, as streetwear influencer KicksTQ states, ‘Streetwear brands are now being recognized internationally and worn by some of the most public figures worldwide. This global recognition is well warranted.’ (KicksTQ in Amarca, 2017) On the Supreme Facebook groups, devotees were asking each other whether this is the end of Supreme as they know it (see appendix, page 60). With this newly found recognition from Fashion’s top influencers, this goes against the ‘Trickle-Down’ theory (see appendix, page 67), developed by sociologist Georg Simmel. It suggests that trends emerge from the upper market and trickle down to the masses. However it has since been updated to demonstrate how trends and styles can also ‘bubble up’ from street culture (Chadha, Husband and Husb, 2006).

The Supreme Bubble

the authenticity of an item or sell products. In order to keep their thousands of members in toe, the administrators employ a strict three strike system for anyone who breaks the rules of the group, outlined in their description box. In an interview with Highsnobiety, admin’s Adam Rose, Ben Hitchborn and Lew Lower talked about the reasons for the groups launch, when in 2012, ‘founding members Adam and Peter discussed the distinct lack of a UK market for Supreme compared to the States’ (Rose in Contributor, 2016), with its initial purpose to incorporate both the discussion aspect with the buy and sell. ‘At first it was a lot more selling than discussion, but with each season it grew into more of a community.’ (Lower in Contributor, 2016)

Fig 22, Suprtalk, Ellie McAllister, 2017

Supreme communities can largely be found on the Internet, over many social media platforms and forums. This is how Supreme fans communicate, discuss up-coming drops, show off their extensive Supreme collections, as well as buy, sell and trade their Supreme items with other brand enthusiasts. Facebook, where many of these Supreme communities exist with accessibility for everyone, is where the Supreme communities thrive. Here you can find any piece of information you wish to know about the brand, through their consumer’s wide-range of knowledge. The SupTalk UK/EU group has one of the biggest followings for a streetwear community you will find on Facebook and is the biggest Supreme selling market in Europe. With over 87,000 members, it is a hub of all things Supreme. Anyone accepted into the group can start a discussion, ask for a price, check

Fig 23, Safe, Ellie McAllister, 2017

Mutual respect

Through the creation of the group and its community base, came the creation of more consumer relationships, built on a mutual understanding and respect for one another. In an interview conducted with Alex, an American member of Suptalk UK/EU, he talks about the respect between members stating ‘the UK group reason with one another more and respect the idea of working hard for whatever dollar amount, to be able to afford the desired Supreme item.’ He also outlined a few differences between the European and the US groups that he is also a member of. He mentions how the UK/EU members are ‘more active when it comes to conversing and connecting with fellow Supreme buyers. It seems like a tighterknit community.’ Not only this, but ‘People tend

Fig 24, Supreme Skateboarder, Ellie McAllister, 2017

to look out for one another more’ (see appendix, page 38). I have also observed this myself since becoming a member of the group. If someone is ripped off by another member, the group will make sure the issue is resolved and if not, make it so people know not to do business with that individual again. They also trust each other’s knowledge of Supreme products and will ask for a price check on an item that they intend to sell and even the authenticity of a product they are looking to buy, if they’re not sure themselves. This demonstrates first hand the point made earlier within the report, that in-group members will do whatever they can to help and protect one of their own.

(Complex News, 2016)

Fig 25, A fucking Crowbar, Ellie McAllister, 2017

Dedicated to the cause

Supreme consumers demonstrate their dedication to the brand season-to-season, drop after drop. Not by merely purchasing the brand products, but the extensive lengths they go to in order to stay true to the brand. Every Wednesday afternoon, fans start to congregate outside the Supreme stores, securing their place in the queue ready for the stores opening Thursday morning. By the following morning, it is likely to have grown around the block with eager consumers ready to spend their money. Complex News release YouTube videos from the previous drops of interviews with people in line at the NYC store, asking them what they were able to get their hands on and their motivations for waiting for such a long period of time. Some of the people asked had been waiting since 8am the previous day. In one video however, it highlighted the issue of consumers purchasing items purely for the sake of owning Supreme. It was at the first drop of the Spring/Summer 2016 season, where the Morrissey photo T-shirt was being released. Many of those

Fig 26, Supreme Brick, Ellie McAllister, 2017

waiting in line had no idea who Morrissey was, one individual also though he was waiting for a T-shirt of Mitt Romney, not Morrissey. ‘I’m trying to get this t-shirt of Mitt Romney.’ (Unknown in Complex New, 2016) The Supreme Brick is another excellent example of how dedicated their consumers are to the brand. The brick, with the Supreme logo printed on it, was sold online and in-store as part of the F/W 2016 collection and it sold out immediately. The next day, it was on eBay selling up to $1000 (Khomami, 2016). By selling out, that alone shows how must-have, any and all, Supreme products are but no-one would have expected them to make and stock a brick. It went viral and enhanced the desirability of owning such a novelty product. ‘It’s become a bit of a running joke in the streetwear community, and it’s a great way for Supreme to mock (and validate) haters’ claims that people will buy anything with a Box Logo on it.’ (Leach, 2016)

Celebrity endorsement is a useful tool when promoting a brand

Supreme implements a strict sense of hometown pride leading consumers to view them as authentic

A new wave of youth consumers is driving brand popularity up leading to a higher demand on products

Supreme communities are largely found on the internet, used to connect to others and create conversations around different aspects of the brand

Group administrators employ a strict list of rules for members to abide by

Consumer relationships are built on mutual understand and respect for one another, with in-group members willing to protect their own

Some Supreme consumers purchase products purely for the name as shown when looking at the â&#x20AC;&#x2DC;Supreme brickâ&#x20AC;&#x2122;

Consequ

Fig 27, Supreme Bot, Ellie McAllister, 2017

Being a cult brand brings consequences, that the brand themselves and their consumers have to face and overcome in order to stay true and loyal too each other. The lack of availability of products is caused by increased demand on already very limited stock. This causes an upheaval amongst consumers who must now rely on resellers in order to get their hands on product. Even purchasing from the online store, which is maybe even more difficult to master, is pointless unless you have a bot which are ‘operated internally by the online stores themselves to run a suite of tests every time the site’s code is updated, making sure the store is running in top shape.’ (Danforth, 2017) In essence, these bots can be used to instantly purchase items for you by running an automated add-to-cart scenario and then checking out. As well as resell, counterfeit products are also able to find their way into the mix and get resold on to unsuspecting consumers for a premium price. In my interview with Supreme fan Adam, he also talks about how the consumer base has changed over the past few years and with this he finds it much harder to get ahold of the products he wants. Due to cult branding and a brand’s increased popularity, it is easy for a consumer to get burned by being a part of the Supreme community.

Fig 28, Reseller Definition, Ellie McAllister, 2017

59 60

Reselling

‘From the jump, the brand has kept its inventory limited, releasing its product in small exclusive runs. With a limited supply and an insane demand, Supreme is the most resellable clothing brand in the world’ (Complex New, 2015) Supreme are renowned for their limited stock, which is never reproduced. According to Jebbia, the reason behind the short runs ‘is that we don’t want to get stuck with stuff that nobody wants’ (Jebbia in Hawgood, 2016), which not even the interviewer seemed to believe. He may never want to admit the true reason. However, no matter what the true reason may be, limited stock is a sure way of creating anticipation for a products release. Reselling becomes a much larger issue when a brand produces products that everyone wants, but not necessarily everyone can have. This being a direct result of a brands increased popularity. This being the cause of the around the block lines every drop day, you have to be prepared to wait in order to get the item you want or risk paying the premium from a reseller. Results from a questionnaire showed over 69% had previously bought Supreme items through a reseller (see appendix, page 46) and they expressed mixed opinions on the subject. Some understand that it is a ‘necessary evil’ if they’re to get ahold of the product they want, however others expressed very negative feelings towards resellers and how they ‘ruin the brand’ and ‘ruin it for everyone else’.

In the Complex New documentary ‘Sold Out: The Underground Economy of Supreme Resellers’, they delve into the world of resell, interviewing the top Supreme resellers of the moment. Many sell through their anonymous accounts, refusing to have their faces shown on camera due to the length Supreme go to in order to tackle the reselling issue. As one reseller, who chose to reveal his identity in the documentary stated, ‘They’re scared of the store, they’re scared of the repercussions’ (Andre in Complex New, 2015). The stores limit the amount of products an individual can purchase, usually only one of each item is allowed. Also, quite often, if you are known to the staff as a reseller they will not sell you a size medium as that is the most resellable size, especially if you are larger than a size medium. Resellers then enlist people, usually under 18’s to queue for them in order to get ahold of more product and the smaller sizes. (Complex News, 2015) It can be a very comprehensive business and can see the prices of rare Supreme products heightened as much as 1200% above the original retail price.

Counterfeit

‘Being counterfeited is a symptom of success’ (Patrizio Bertelli, 2006)

The legal fake is a much larger issue that affects not only Supreme, but most fashion brands that are considered to be high demand. In the book, The Cult of the Luxury Brand, the writers go into depth when speaking about the ‘genuine fake’ and its affect on the product sales. The Worlds Customs Organisation estimates annual sale of all counterfeit goods is worth $540 billion globally (Chadha and Husband, 2006). The CEO of Prada, Patrizio Bertelli, talks about how being ‘counterfeited is a symptom of success. If we weren’t copied and counterfeited it would mean that the… labels weren’t desirable.’ (Bertelli in Chadha and Husband, 2006) Supreme has this issue on almost a daily basis on sites used to resell items, such as Depop and EBay, with no way of checking the authenticity or quality of the product it is very easy to get scammed. As

mentioned earlier, when talking about the legal dispute between Supreme and Louis Vuitton, it is also very easy for brands to copyright other people’s work, logos and designs. In the ‘Faking It’ exhibition at the Fashion Institute of Technology in New York, it explored the world of counterfeit fashion as well as brands such as Moschino, who have come into conflict with companies such as McDonald’s and Graffiti artist, Rime, over copyright issues. This leads me back to Supreme, with counterfeit brand ‘Supreme Italia’ which for years has been exploiting a technicality that sees Supreme’s owner James Jebbia yet to claim the rights to the brand’s name (Campbell, 2016). Counterfeiting and the issue of reselling are both majorly impacting on Supreme’s brand-consumer relationships in a negative way.

Reselling is a direct result of a high demand on limited stock

Limited stock is a simple way of creating anticipation for a products release

This leads to Supreme consumers relying on resellers to get products

Supreme consumers expressed negative opinions towards reselling and how it can ‘ruin the brand’ and ‘ruin it for everyone else’

The legal fake affects most fashion brands considered to be in high demand

There is no way of checking authenticity or quality through online purchases

The issue of reselling and counterfeiting are both majorly impacting on Supreme’s brandconsumer relationships

In conclusion, for centuries cults have been able to engage with individuals and bring them into their inner circle, where they are able to manipulate their following to do whatever they say and being a cult brand means becoming a force of nature. Cult brands have the platform to promote and sell their products to consumers without the worry of the products being less than successful. They know their dedicated fans will do whatever they can to stay within the brands community. But with this power there are consequences, they can damage the brands reputation and cause a rift between them and their consumer base. Reselling is a growing issue for brands like Supreme whose fairly affordable products are being sold on for more than 3x the price. They do what they can to combat the problem and try to put a stop to it, however my research has clearly shown that more must be done in order to help end the extortion.

Fig 29, Cult Branding, Ellie McAllister, 2017

end the extortion.

Reconnect the Disconnected

Problem and Aim 73

The Big Idea 75

Con tents The Need 78

Testing 79

Problem and Aim, Ellie McAllister, 2017

Reselling culture is making it too difficult for fans to purchase products and so feel disconnected from the brand.

Fig 30,

Problem

Aim To make fans feel involved and connected to the Supreme brand.

Reconnect the disconnected Supreme consumer through an event that will tackle the issue of resell culture

The Need

The need for an event such as this is due to the heavily inflated costs of Supreme products when they are resold on through resellers. These resellers take advantage of the high demand for products that are already extremely limited, knowing consumers will pay their prices in order to own Supreme. This has lead to many Supreme fans losing faith in the brand and the community. With this, a trading event will help tackle the issue of reselling and help reconnect the consumer and the brand, as well as

Fig 31, Swap Meet brainstorm, Ellie McAllister, 2017

the community.

Testing the Big Idea

Brings community together (Networking)

People may not want to let go of past products

Easy for people to access

People may not want to trade their item with another

No money exchanged Consumers are able to try products

High transport costs

Fig 33, Big Idea SWOT, Ellie McAllister, 2017

Fig 32, Who What When, Ellie McAllister, 2017

Can get past products

Could work for other cult brands

People could bring fake products

Could expand into online

Product could be sourced elsewhere

Could expand globally

Swap - Meet The names origins...

Fig 34/35, Swap-Meet album cover, Ellie McAllister, 2017

Swap-Meet is the brands name as well as the brands function. Simply put it does what it says on the tin, there is no hiding what the brand is or does. The name needed to be short and memorable. In order to cater to multiple brands the name had to be something neutral that could morph itself to any streetwear brand. Swap meet is a more commonly used phrase in the US as a place for people to trade items with one another. Although it is a British brand, most streetwear brands were created in America with Supreme and Stussy to name just two. They soon developed themselves to suit both a US and a UK market. If the brand was to expand globally as is intended, the Swap-Meet name will have a particular resonance with US consumers.

Inspired by the tropical glitch trend currently circulating social media, it is a mix of tropcial colours and digitally created glitches and inverted colouring (See appendix, page 91)

Fig 37, CD covers, Yimmy Alkane, 2017

Fig 36, Brand inspiration, Ellie McAllister, 2017

Creative Concept

Route to consume

Introduction 89

The Brand and itâ&#x20AC;&#x2122;s Purpose 92

The Original 97

Consumer Journey

Con tents 109

The Event 121

Brand Trust 129

Consumer Actions 131

The Future 133

Introduction

Not wanting to veer away from the strong ideologies of Supreme’s brand essence, which is very focussed on being authentic, the route to consumer plan will keep this core value in mind when marketing to the consumer. Mixing that with Swap-Meet’s aim in assisting streetwear brands to tackle the reselling issue, the target consumer will be more inclined to become involved with the event. Remembering consumers want to be apart of a brand that is different and has a strong sense of self. The aim of the Swap-Meet brand, and its product trading events, is to try and take control of the issue of the resell culture that is a direct result of cult branding. The brand’s goal is to restore the consumer’s faith in brands and increase satisfaction by confirming their expectations (Belanche, Casaló and Guinalíu, 2013), allowing them to trade products fairly. In order to rebuild damaged relationships between consumer and brand, a trade only event is a simple and effective way for consumers to come together as a community. With the shared interest of gaining a new product, it encourages ‘prosocial behaviour’ (Algesheimer, Dholakia and Hermann, 2005)

Fig 38, Hello my name is Swap-Meet, Ellie McAllister, 2017

Throughout the report it has become clear that Supreme consumers will dedicate time to interacting with one another using platforms such as Facebook, which provide opportunities for sharing and learning (Kraut, Resnick and Kiesler, 2011). It also comes with its benefits such as exchanging information about Supreme and to buy, sell or trade products. The creative, Gary Hoff, stated, “Mobile is a great tool. 50% of online transactions will be mobile in the next five years, but it’s not the answer to everything. There are so many different, exciting types of touch-points” (Hoff, 2015). An event such as this is an example of one of those different types of touch-points. This enables the consumer to connect at a deeper level, as well as enabling them to meet each other offline. Facebook and Instagram are essential tools used to target the consumer; with Instagram alone having over 400 million active users (Smith, 2016). Already established connections within Supreme Facebook communities are used, particularly ‘Suptalk UK/EU’, with their 87,000+ members as of February 2017, and growing daily. As the Swap-Meet events initially take place in the UK, this is an ideal group to take advantage of, as it is largely occupied with UK Supreme consumers.

‘The building of good will, of truth, of integrity, all have very pragmatic business consequences which are very desirable in relation to customers.’ (Maslow in Scott and Bueno, 2014)

The Brand and its Purpose

Swap-Meet is more than just a brand, we are a community. A community that wants to rid the streetwear market of high reselling cost. We promise to provide a safe and effective space for streetwear enthusiasts to trade products with one another, to grow as a community and treat each other with the respect you deserve. We are more than just a

Fig 39, The brand and itâ&#x20AC;&#x2122;s purpose, Ellie McAllister, 2017

brand, we are Swap-Meet.

Fig 42, Swap-Meet brand sticker, Ellie McAllister, 2017

Fig 40/41, Swap-Meet logo, Ellie McAllister, 2017

Brand Mock-Ups

The Competition Solepreme Con

Fig 43, Solepreme Con London, Ellie McAllister, 2017

When looking into competitors that could rival Swap-Meet, Solepreme Con was the only established Supreme convention visible at the moment, with the founder (a senior in high school) being featured anonymously in the Complex documentary about Supreme reselling. At the convention, people can buy, sell and trade Supreme products. This instantly reveals an issue with the event as people can not only trade products, but they can also sell. This leads us back to the issue of reselling. Another downside to Solepreme Con is that it is a New York based convention with most of the events taking place in New York City, thus making it less accessible for UK consumers to be able to attend and participate in the event However, there was a Solepreme Con event held in London in 2016 and it was relatively unsuccessful. The founder of the convention is seemingly is not very popular amongst the Supreme community due to his high reselling costs. One Reddit user suggesting he would have only attended to cause damage, ‘I would’ve spilled a gallon of coffee all over his bogos (box logo t-shirts)’ (Reddit user, 2016). Also, as the event was held in London, it would only have been accessible to people who live in and around the capital city. Solepreme Con also lack an online presence, with the exception of a Facebook page which hasn’t been updated since August 2016, and with just 450 likes. Solepreme Con does have a website however it contains no event information since August 2016. (See appendix, page 31)

The Origina

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The Consumer

Fig 44, Consumer profile, Ellie McAllister, 2017

Fig 45, Diffusion of innovation, Ellie McAllister, 2017

The Original

Supreme fan of over 20 years, Adam (see appendix, page 36), first spotted the brand when Adam Yauch from Beastie Boys interviewed the Dalai Lama in 1995 wearing a Supreme coach’s jacket and he wanted it. Alas he never got it. With this, he would be placed in the early majority on the Diffusion of Innovation (fig) after he was made aware of the brand from an early adopter (Adam Yauch). For him, when he was younger, the celebrity endorsements were important but now, not at all. His love for the brand has grown beyond that. In an interview I carried out with him, he described skateboarding, music, art and fashion as being ‘the four pillars of my

life for years’, all of which are exactly what Supreme represents. He openly admits that if the collaborations were not as good, he would have left the community in the last two years. This is due to the younger consumer base and the competitive nature that they have brought to the brand. Before the London store’s opening, ‘the hype was real but manageable… people took care of each other. Now with people only buying to sell, I miss out on a lot.’ He still wears his collection of Fuct, Xlarge and Stussy from ‘back in the day’. Adam, with his genuine love and dedication for Supreme and streetwear fashion in general, is why Swap-Meet exists.

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Long time fan of Supreme since 1995

Older than usual Supreme consumer at 40 years of age

Extremely easy to communicate with

Feels less of a connection to the brand in recent years

Strong connections to London streetwear brands

With a weekday job he is unable to attend drops

Viewed as authentic by Supreme staff Possess great knowledge of streetwear brands

Fig 46: Consumer SWOT, Ellie McAllister, 2017

Strong connections within the Supreme community online

Can use his connections to online communities to get a hold of products for a fair price Can use his relationships with Supreme staff to save items

Other streetwear brands are connecting to him much better than Supreme Resellers have left him less inclined to purchase Supreme products due to the extreme cost Resellers have made it hard for him to purchase products direct from the Supreme due to lack of availability

103

‘As WU say, Cash Rules Everything Around ME’

Fig 47, Dollar dollar bills y’all, Ellie McAllister, 2017

Adam Taylor-Foster in reference to reselling (See appendix, page 36)

104

Inspirations:

Influences:

Art and music My partner

The world of art and design

Interests:

Weekend Activities:

Fashion Football Cooking Record collecting

Shopping Going to gigs Skateboarding Listening to music

Facebook Group Memberships:

Brands you feel connected too:

The Basement Bape Talk UK/EU Noah NY EU/UK Patta Talk UK/EU Supreme OG Talk

CDG Gosha Noah M+RC Noir Undercover

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A Day in the Life, Soho

Fig 48, A day in the life, SoHo, Ellie McAllister, 2017

Frequently used social media:

Working in the city makes LinkedIn a necessity to stay on top of what is happening within the Industry. Instagram is the dominant of their media habits; following their favourite artists and photographers, using it to express their creativity through the images they take. These are then shared on Facebook, where they are able to keep up to date with their friendâ&#x20AC;&#x2122;s current affairs, and occasionally join in discussions on their brand community groups, as well as keeping up to date about the products their favourite brands are creating and currently stocking.

Usually found hunting around record shops, looking for a lost classic. Skating to their favourite streetwear stores, while out in the City, for a browse and to say hello to the staff that have become their friends. Attending gigs in a large cohort of close friends, or one on one with a loved one, all demonstrate the consumers keen love of culture, fashion and their strong sense of community. Plus, with their active accounts on social media, used to connect with other like-minded individuals, they are both interested in the physical and the digital, not reliant on one more than the other. London is their stomping ground; with an established job in the City, they regularly pass through their favourite areas, submerging themselves amongst the people and the culture the capital holds.

Fig 49: Social media icons, Ellie McAllister, 2017

Social Media Habits

109

110

Consumer Journey

111

112

Consumer Journey

Target consumer: 21-40 Although the general Supreme consumer is below the age of 18 as shown in primary research (see appendix, page 44), it is the older, more genuine consumer the event will target. Research has shown it is in fact Generation Z (born 1995-2012) that have driven up resell costs of products due to them buying purely to make a profit.

Fig 50, Consumer journey, Ellie McAllister, 2017

Opportunities to connect to this consumer will be in areas in which Supreme consumers regularly frequent. Offline this is generally in the Soho area, where the Supreme UK store is situated. Thursdays are key days in their social calendar; where they can be found in line outside the store waiting for new products to be released. However online, through Facebook and other platforms with the opportunity for discussion, is where a large majority of Supreme fans can be targeted.

Key contact time:

113

114

Fig 51/52, Soho graffiti, Ellie McAllister, 2017

What do you want to say to the consumer?

Swap-Meet posters and brand stickers will be placed around Soho, particularly near to stores where Supreme fans also shop such as Palace, Patta, Footpatrol and other streetwear and sneaker shops in the area. It is typical for streetwear stores to have benches placed outside their stores with people usually taking advantage of this, placing brand stickers on them. This will also be a technique used to promote Swap-Meet’s events. As the campaign moves on, a Graffiti artist will be employed to create a mural to get the event more exposure. With the typical Supreme consumer having an overall interest and appreciation for visuals, it is important they see the event’s promotion translated through artistry, such as Graffiti art. Another focus of campaign will be through social media. Supreme communities are large and extremely active, with multiple new posts being put up on

a daily basis, so it is an ideal area to target the consumer. Using Facebook and Instagram, a strong brand visual essence will be promoted throughout these platforms. It is important that the consumer believes in and respects the brand. The Instagram will be particularly visual as 92% of marketing professionals agreed that ‘visual elements were very important to delivering their consumer marketing initiatives’ (O’Malley, 2016). With this, photography taken of the promotional material around the Soho area will be posted on the page. There will also be a raffle draw advertised on social media that will be drawn on the day of the event with the chance to win a rare Supreme item. The price of the raffle ticket will be £5 and the possibility of winning a Supreme product, without paying the resell cost, will be enough to entice consumers to attend the event.

Fig 55, Instagram mock-up, Ellie McAllister, 2017

Fig 53/54, Facebook mock-ups, Ellie McAllister, 2017

115 116

117

118

“Advertising is powerful even at a very local level” (Barry, 2012)

The advertising campaign for the event will start in the summer at the end of July. Supreme will be a hot topic of conversation around June/July/ August as the highly anticipated Supreme x Louis Vuitton Collection is expected to release on July 17th 2017. Due to the high amount of press and hysteria caused by the leaked information on the collaboration at the start of January 2017 (over 9 million results on Google), Supreme is one of the most talked about streetwear brands of the moment. With that, and the Autumn/Winter catwalk show during Paris Fashion Week, the release in July is sure to make Supreme once again a main topic of conversation during the Summer months. Over a period of six months, the campaign will continue, releasing information slowly so not to be forgotten. Holding the first Supreme event in December is an ideal time for an event such as this. According to Nationwide, their research has shown that an individual in the UK spends on average £645 at Christmas (Nationwide, 2016). Thus, by being able to save money through trading, it will benefit the consumer greatly.

Fig 56, It’s about creating an identity, Ellie McAllister, 2017

Once the consumer is engaged through these specific areas of targeting, the overall purpose of the event needs to be made clear. The brands essence is to promote fairness, respect and a sense of community. This will be demonstrated through the use of Facebook posts on the Supreme community pages, as well as the Instagram bio. There will also be a website created to keep the consumer up to date on specific event information such as date, time and location. It will also state the brand mission statement and the rules and regulations that will be applied at the event.

119

120

Campaign Timeline

Online platforms will launch

The website will launch

Instagram will post imagery that will appeal to the target consumer

Post promotional material on Facebook discussion groups Suptalk UK/EU 100,000 members Supreme OG Talk 9,000 members The Basement 64,000 members

Stickers will around Soho

placed

Skate store benches Lamp posts

Advertising material will be posted on Instagram Will create Facebook

event

Posters will be placed around London highly populated with street culture and streetwear

Fig 57, Campaign timeline, Ellie McAllister, 2017

Soho Bricklane Shoreditch

Event specifics will be posted on the Swap-Meet Facebook and posted on the discussion groups: Raffle teaser Rules and regulations

Specific dates will be revealed

The Event

20th December

No pre-ticket sales ÂŁ10 on the door

Raffle tickets will come on sale on the website Mural will be created by the graffiti artist in Soho

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Rules and Regulations

Each separate event will focus on a different streetwear brand, with the debut event being for Supreme. Travelling annually to cities throughout the UK, this opens the brand up to a new consumer base who would usually not be able to purchase Supreme; this is down to the lack of physical stores, as well as high resell costs. The event will create a safe and legitimate environment, with a collection of rules and regulations, that attendees will need to abide by. Failure to follow the rules may result in a strike or a removal from the event. This is done in order to keep the event fair and safe for everyone, to ensure quality and to add reputability to the brand. With this, there will also be the ability to view and try on products, along with the authenticity checks that will be available. Creating the right atmosphere is also important as it is essential that consumers engage with the entire event and not just the products on offer. As such, the use of music and a bar will give the

consumers another reason to stay and socialise with each other. Thus creating an experience with emotional responses, such as the feeling of fun and brand involvement (Joy and Sherry, 2003; Hoch, 2002). This will be extremely beneficial for cultivating long-term brand relationships (Brakus et al, 2009; Martensen et al, 2007). The debut event will be held in London at a venue in Shoreditch, this being an ideal location due to the areas heavy influence on streetwear fashion and street culture in general. â&#x20AC;&#x2DC;Shoreditch is a formula, a brand.â&#x20AC;&#x2122; (Proud, 2014) It is easily accessible with multiple tube and transport links and is a 5 to 10 minute walk from the nearest train station. Held in the heart of the artist hub, the venues existing clients consist of Nike, Adidas and Vice. On the day of the event, consumers will arrive from 10am onwards. Upon payment at entry, attendees will be given a stamp as proof.

Fig 58, Swap-Meet rules, Ellie McAllister, 2017

The Event

Fig 61, Swap-Meet floor layout, Ellie McAllister, 2017

Fig 59/60, Swap-Meet event mock-ups, Ellie McAllister, 2017

124

Event Mock-Ups

126

Fig 62, Swap-Meet S, Ellie McAllister, 2017

125

Fig 63, AIDAR model, Ellie McAllister, 2017

The events will eventually expand out to other areas of the UK in order to make streetwear more accessible to those who donâ&#x20AC;&#x2122;t live in the London area. However, in order for Swap-Meet to establish itself as a reputable brand and event, launching in London will most likely provide the greatest amount of consumer attendance for certain brands. Also, with it being the largest city in the UK, with an estimated 8.6 million people living in London as of 2015 (BBC, 2015), it would in principle generate the largest amount of footfall. There will be a fee on the door at around ÂŁ10, as it is a charge most people would find extremely affordable and would be more than willing to pay, as there would be no other need to spend money at the event and it gives them the opportunity to trade products free of charge. Preselling tickets for the event was also considered however, due to the issues that arise with the reselling of tickets, this was quickly disregarded and again, makes it more accessible to people to attend on the day.

AIDAR Model

128

Product

Why Supreme?

Since its launch Supreme has ‘been the most desired clothing brand for anyone involved in streetwear.’ (Complex, 2015) and is considered the most resellable clothing brand in the world. According to Complex, Resellers can sell Supreme for up too 1200% the original price depending on the product. The classic box logo t-shirt that retails for £35 can resell anywhere from £200 - £450. This is why Swap-Meet will hold its first event purely for Supreme, giving fans an opportunity to meet up and trade their products. With this, the event will also automatically have an audience of eager fans who will be willing to attend.

Fig 64, Why, why, why, Ellie McAllister, 2017

Swap-Meet trading event that’s main focus is to help streetwear consumers combat resell costs

Place After evaluating the ideal locations to target the ideal consumer in order to convert them from potential into an actual consumer. SwapMeet will be promoted in the locations highly influenced by street culture and streetwear

Promotion Through an integrated marketing campaign through the medium of print and social media promoting the swap meet service

Price This is one of the key aspects of the brand as the event is for trading only and so consumers only pay a small entry fee into the event, this being a promotional tactic alone

Fig 65, The four p’s, Ellie McAllister, 2017

127

129

130

Brand Trust

Before now, Supreme consumers believed purchasing from a reseller was a â&#x20AC;&#x153;necessary evilâ&#x20AC;? (see appendix, page 50), if you were unable to attend the store on drop days due to living outside London the only option is to buy through a reseller. In the last two years people have taken advantage of this and charge extortionate prices for products they know people will buy. Swap-Meet believes genuine fans of the brand

Fig 66, Brand essence, Ellie McAllister, 2017

Swap-Meet is for the consumer. The event has just one main purpose, to combat the issue of reselling to make it fair and affordable for fans of streetwear brands to get a hold of new products without the unnecessary cost. Measures taken at the event, such as authenticity checks and by disallowing buying and selling of products will help solidify the consumerâ&#x20AC;&#x2122;s trust in the brand, as trust is an important factor developed from consumer satisfaction (Song, Hur and Kim, 2012).

Brand Essence

131

132

Instagram Share photoâ&#x20AC;&#x2122;s they have taken of the promotion material on social media, such as the graffiti art and the posters and stickers found around Soho with the # found throughout the campaign

What actions do you want the consumer to take?

Facebook Start a discussion around the event on the Supreme community groups and with the novelty of the event and Supremeâ&#x20AC;&#x2122;s name being attached to the brand will hopefully aid in this, by creating a conversation. They will also be able to connect with others who may be attending the event and arrange to meet. Word of Mouth Share the event with other Supreme fans while waiting in line on Thursdays, or with others who they know and that share their love of Supreme. Website Use the website to find out more information on the event. Familiarise themselves with the aim of the event and its purpose as well as the rules and regulations that will be in place. Also purchase a raffle ticket for a chance to win during the event. Event Come to the event and trade their products with other like-minded individuals and use the opportunity to socialise with each other offline and make strong connections.

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Fig 67, Brand ruler, Ellie McAllister, 2017

Coming up to the first Swap-Meet event, the success of the brand and the event will be measured through the amount of raffle tickets purchased before hand, also though the amount of promotional imagery posted onto social media. On the day of the event, the number of attendees and the amount of products swapped will demonstrate the events success on the day. This will then lead us onto the future of the brand and how will expand.

Fig 68, The future, Ellie McAllister, 2017

Measuring the Brands Success

In the future, Swap-Meet hopes to gain a strong consumer base that trust in the brand and will continue to stay faithful by attending the annual events. Through the variety of brands featured at future events the consumer base will hopefully expand beyond just Supreme fans to streetwear enthusiast in general. Possible brands for future events will include Palace, Bape and sneakers. SwapMeet also hopes to gain coverage from meÂŹdia outlets such as Hypebeast and Highsnobiety, that are considered the go-to for news on streetwear fashion. This would help the brand gain a larger momentum moving forward. There is also the opportunity to expand the brand online; to create a platform for streetwear consumers to trade products with Swap-Meet as the middle man, so trading is carried out safely.

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Complex News (2015b) ’Sold out: The underground economy of supreme resellers’: Full-length. Available at: https://www.youtube.com/ watch?v=pUNc0C03trk (Accessed: 18 October 2016). Complex News (2016b) Here’s what happened at supreme’s First drop of the spring/summer 2016 season. Available at: https://www.youtube.com/ watch?v=kS-AnD3bQtQ (Accessed: 11 November 2016). Contributor (2017) Meet the Admins behind SupTalk UK/EU. Available at: http://www. highsnobiety.com/2016/05/19/supreme-facebookgroup/ (Accessed: 5 March 2017). Danforth, C. (2017) Sneaker Bots: How do they work? Available at: http://www.highsnobiety. com/2016/04/27/sneaker-bots-how-do-they-work/ (Accessed: 5 March 2017). Dillon, J. and Richardson, J. (1991) ‘A politics of representation analysis of social construction of the term “cult”’. Graves, P. (2010) Consumerology: The myth of market research, the truth about consumers and the psychology of shopping. Boston: Nicholas Brealey Publishing. Hoff, G. 2015. Brand Storytelling. [user generated content D&AD] Future Learn. 22 May 2015. Available at: https://www.futurelearn. com/courses/brand-storytelling/0/steps/11301 (Accessed 20 March 2017) Hoff, G. (2015). Mapping the audience journey - Storytelling in Advertising - D&AD. [online] Future Learn. Available at: https://www. futurelearn.com/courses/brand-storytelling/0/ steps/11301 [Accessed 23 Apr. 2017]. Holland, B. (2015). Miles Herndon Indianapolis Branding Agency. [online] Miles Herndon. Available at: https://milesherndon. com/blog/building-brand-identity [Accessed 23 Apr. 2017]. Holt, D.B. (2004) How brands become icons: The principles of cultural branding. Boston, MA: Harvard Business School Press. Hawgood, A. (2016) BoF exclusive | James Jebbia on taking supreme global. Available at: https://www.businessoffashion.com/articles/ bof-exclusive/james-jebbia-supreme-global-paris (Accessed: 5 March 2017). Jeffrey, S., Bueno, B. and Maslow, A. (2017). cultbranding.com - Cult Branding - Page 17. [online] Cultbranding.com. Available at: http://cultbranding.com/ceo/page/17/?rd=CBW [Accessed 22 Apr. 2017]. Joy, A. and Sherry, Jr., J. (2003). Speaking

of Art as Embodied Imagination: A Multisensory Approach to Understanding Aesthetic Experience. Journal of Consumer Research, 30(2), pp.259282. Kahney, L. (2006) The Cult of Mac. San Francisco: No Starch Press. Khomami, N. (2017) Red clay brick selling for up to $1, 000 on eBay. Available at: https:// www.theguardian.com/technology/2016/sep/30/ red-clay-brick-selling-for-up-to-1000-on-ebay (Accessed: 5 March 2017). Kraut, R., Resnick, P. and Kiesler, S. (2011). Building Successful Online Communities: Evidence-Based Social Design. 1st ed. Massachusetts: MIT Press. Kremer, W. and Hammond, C. (2013) Abraham Maslow and the pyramid that beguiled business. Available at: http://www.bbc.co.uk/news/ magazine-23902918 (Accessed: 4 March 2017). Leach, A. (2016) Supreme’s brick: 8 reasons they made it. Available at: http://www. highsnobiety.com/2016/08/18/supreme-brick/ (Accessed: 18 October 2016). Louis, I-D (2015) Street sound and style: episode eight supreme kids and online style. Available at: https://youtu.be/BtJJIluwIOw (Accessed: 14 February 2017). Martensen, A., Grønholdt, L., Bendtsen, L. and Jensen, M. (2007). Application of a Model for the Effectiveness of Event Marketing. Journal of Advertising Research, 47(3), pp.283-301. McLeod, S. (2008) Social identity theory. Available at: http://www.simplypsychology.org/ social-identity-theory.html (Accessed: 4 March 2017). Nationwide (2016). The Average Spend On Christmas Gifts | Nationwide. [online] Nationwide.co.uk. Available at: http://www. nationwide.co.uk/guides/news/articles/2016/12/ the-average-spend-on-christmas-gifts [Accessed 23 Apr. 2017]. O’Malley, G. (2016). Instagram’s Popularity Pushes Brands Toward More Visual Marketing. [online] Mediapost.com. Available at: https:// www.mediapost.com/publications/article/267898/ instagrams-popularity-pushes-brands-towardmore-v.html [Accessed 24 Apr. 2017]. Patten, A. (1999) Hegel’s idea of freedom. Available at: https://books.google.co.uk/ books/about/Hegel_s_Idea_of_Freedom. html?id=2t7nCwAAQBAJ&redir_esc=y (Accessed: 13 February 2017). Pearson, D. (2017) Supreme & Louis Vuitton’s rumored collaboration may have leaked. Available at: http://www.highsnobiety.

com/2017/01/04/supreme-louis-vuittoncollaboration/ (Accessed: 4 March 2017). Phillips, K. (2010). The criteria for brand essence. [online] Slideshare.net. Available at: https://www.slideshare.net/kirkphillips/ the-9-crit/55-the_criteria_for_brand_essence [Accessed 2 May 2017]. Proud, A. (2014). Why this ‘Shoreditchification’ of London must stop. [online] The Telegraph. Available at: http://www.telegraph.co.uk/men/ thinking-man/why-this-shoreditchification-oflondon-must-stop/ [Accessed 4 May 2017]. Reddit User (2016). {Question} Anyone head out to Solepreme Con today? If so, how was it? • r/supremeclothing. [online] Reddit. Available at: https://www.reddit.com/r/supremeclothing/ comments/32igcr/question_anyone_head_out_to_ solepreme_con_today/ [Accessed 22 Apr. 2017]. Reicher, S., Spears, R. and Haslam, S.A. (2010) ‘The Social Identity Approach in Social Psychology’, in Talpade Mohanty, C. and Wetherell, M. (eds.) The SAGE Handbook of Identities. London: Sage. Smith, K. (2016). 37 Interesting Instagram Stats for 2016. [online] Brandwatch. Available at: https://www.brandwatch.com/blog/37instagram-stats-2016/ [Accessed 24 Apr. 2017]. Singer, M.T., Lalich, J. and Lifton, R.J. (1996) Cults in our midst: The hidden menace in our everyday lives. San Francisco: Jossey-Bass Publishers. Song, Y., Hur, W. and Kim, M. (2012). Brand Trust and Affect in the Luxury Brand–Customer Relationship. Social Behavior and Personality: an international journal, [online] 40(2), pp.331-338. Available at: http://search.proquest.com/ docview/963355262?accountid=14693&rfr_ id=info%3Axri%2Fsid%3Aprimo [Accessed 22 Apr. 2017]. Urban Dictionary (2003) ‘Hype’, in Urban Dictionary. Available at: http://www. urbandictionary.com/define.php?term=hype (Accessed: 4 March 2017). Van Praet, D. (2012) Unconscious branding: How neuroscience can empower (and inspire) marketing. Basingstoke: Palgrave Macmillan. Sunset, B. (2008) Marketing Campaign Case Studies: Think Different Campaign. Available at: http://marketing-case-studies.blogspot. co.uk/2008/03/think-different-campaign.html (Accessed: 14 February 2017).

Figure 1: Brand bench, Ellie McAllister, 2017 (Polaroid) Figure 2: Hello my name is sheep, Ellie McAllister, 2017 (Illustration) Figure 3: Brands are spheres, Ellie McAllister, 2017 (Polaroid) Figure 4: People live in groups, Ellie McAllister, 2017 (Illustration) Figure 5: Worthy of acceptance, Ellie McAllister, 2017 (Polaroid) Figure 6¬¬: Key rules, Ellie McAllister, 2017 (Illustration) Figure 7: Authenticity is key, Ellie McAllister, 2017 (Illustration) Figure 8: Harley-Davidson, Ellie McAllister, 2017 (Illustration) Figure 9: Apple of their Eye, Ellie McAllister, 2017 (Illustration) Figure 10: Cult Branding x KAWS, Ellie McAllister, 2017 (Illustration) Figure 11/12: Supreme London, Ellie McAllister, 2017 (Disposable) Figure 13: The standard of contemporary cool, Ellie McAllister, 2017 (Polaroid) Figure 14: Pass it down on a t-shirt, Ellie McAllister, 2017 (Illustration) Figure 15: History of Supreme, Ellie McAllister, 2017 (Collage) Figure 16: Questionnaire results, Ellie McAllister, 2017 (Polaroid) Figure 17/18: Ejder Store, Complex, 2017 (Photography) http://uk.complex.com/ style/2016/04/heres-a-look-inside-the-new24hourclub-ejder-store-in-london/ Figure 19: The Supreme S, Ellie McAllister, 2017 (Illustration) Figure 20/21: Supreme x Louis Vuitton, Hypebeast, 2017 (Photography) https:// hypebeast.com/2017/1/supreme-louis-vuitton2017-fall-winter-collection-showroom-closerlook

Figure 25: Fucking Crowbar, Ellie McAllister, 2017 (Illustration)

Figure 48: A day in the life, SoHo, Ellie McAllister, 2017 (Polaroid)

Figure 26: Supreme Brick, Ellie McAllister, 2017 (Polaroid)

Figure 49: Social media icons, Ellie McAllister, 2017 (Illustration)

Figure 27: Supreme bot, Ellie McAllister, 2017 (Illustration)

Figure 50: Consumer journey, Ellie McAllister, 2017 (Illustration)

Figure 28: Reseller definition, Ellie McAllister, 2017 (Collage)

Figure 51/52: Soho graffiti, Ellie McAllister, 2017 (Disposable)

Figure 29: Cult branding, Ellie McAllister, 2017 (Illustration)

Figure 53/54: Facebook mock-ups, Ellie McAllister, 2017 (Illustration)

Figure 30: Problem and Aim, Ellie McAllister, 2017 (Illustration)

Figure 55: Instagram mock-up, Ellie McAllister, 2017 (Illustration)

Figure 31: Swap Meet brainstorm, Ellie McAllister, 2017 (Illustration)

Figure 56: It’s about creating an identity, Ellie McAllister, 2017 (Illustration)

Figure 32: Who What When, Ellie McAllister, 2017 (Illustration)

Figure 57: Campaign timeline, Ellie McAllister, 2017 (Illustration)

Figure 33: Big Idea SWOT, Ellie McAllister, 2017 (Illustration)

Figure 58: Swap-Meet rules, Ellie McAllister, 2017 (Illustration)

Figure 34/35: Swap-Meet album cover, Ellie McAllister, 2017 (Graphic)

Figure 59/60: Swap-Meet event mock-ups, Ellie McAllister, 2017 (Graphic)

Figure 36: Brand inspiration, Ellie McAllister, 2017 (Collage)

Figure 61: Swap-Meet floor layout, Ellie McAllister, 2017 (Illustration)

Figure 37: CD covers, Yimmy Alkane, 2017 (Graphic) https://www.instagram.com/yimmy__ alkane/

Figure 62: Swap-Meet S, Ellie McAllister, 2017 (Illustration)

Figure 38: Hello my name is Swap-Meet, Ellie McAllister, 2017 (Illustration) Figure 39: The brand and it’s purpose, Ellie McAllister, 2017 (Illustration) Figure 40/41: Swap-Meet logo, Ellie McAllister, 2017 (Graphic) Figure 42: Swap-Meet brand sticker, Ellie McAllister, 2017 (Graphic) Figure 43: Solepreme con London, Solepreme Con, 2016 (Illustration) https://www.facebook.com/ solepremecon/photos/a.2073834719507696.1073741 828.1931335970424239/2094509930773508/?type=3& theater Figure 44: Consumer profile, Ellie McAllister, 2017 (Collage)

Figure 22: SupTalk, Ellie McAllister, 2017 (Illustration)

Figure 45: Diffusion of innovation, Ellie McAllister, 2017 (Illustration)

Figure 23: Safe, Ellie McAllister, 2017 (Illustration)

Figure 46: Consumer SWOT, Ellie McAllister, 2017 (Illustration)

Figure 24: Supreme skateboarder, Ellie McAllister, 2017 (Polaroid)

Figure 47: Dollar dollar bills y’all, Ellie McAllister, 2017 (Illustration)

Figure 63: AIDAR model, Ellie McAllister, 2017 (Illustration) Figure 64: Why, why, why, Ellie McAllister, 2017 (Illustration) Figure 65: The four p’s, Ellie McAllister, 2017 (Illustration) Figure 66: Brand essence, Ellie McAllister, 2017 (Illustration) Figure 67: Success ruler, Ellie McAllister, 2017 (Illustration) Figure 68: The future, Ellie McAllister, 2017 (Illustration) Figure 69: Have a nice day ashtray, Supreme x Comme Des Garcons, 2016 (Photography) http://m.ebay.ie/itm/SUPREME-HAVE-A-NICEDAY-TRAY-NEW-IN-BOX-ASHTRAY-WHITE-DS/162164364757?nav=SEARCH

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Fig 69, Have a nice day ashtray, Supreme x Comme Des Garcons, 2016

If you know, you know

If you know you know