Finished traid document by Emily Thompson

TRA

Emily Sanders Emily Thompson

1,005 words 0. Critical Path 0.1. Introduction

1,098 words

Rosie Buckland

1,020 words

Rosie Homewood

1,087 words

1. Where to Start 1.1. Methodology 1.2. Who are Traid? 1.3. SWOT Analysis 2. Research 2.1. Survey Analysis 2.2. Consumer Profile 1 2.3. Consumer Profile 2 2.4. Consumer Tracking 2.5. Behaviour Change and Generation Y

Suzanne Pegington 1,064 words

CONTENTS

Total: 5,274

3. Inspiration 3.1. Case Studies 3.2. Whats Happening Now? 3.3. The Graffiti Trend 4. The Idea 4.1. Strategy 4.2 The Big Idea 4.3. The Creative Idea 4.4. Executions 4.5. PR and Social Media 4.6. Testing Our Idea 4.7. Maintaining The Momentum 4.8. Conclusion 5. Evidence 5.1. Illustrations 5.2. References 5.3 Bibliography 5.4. Emails 5.5. Appendix

Stage 1

Stage 2

Further brainstorming Begin to form ideas

Stage 3

Primary Research (consumer profiles and tracking) Look at case studies

Stage 4

Finalise idea

Stage 5

CRITICAL PATH

Further research into idea Check idea with focus group and tutors and change if neccessary

Stage 6

Split the report into sections Complete writing and infographics

Stage 7

Decide on visuals and create layout

Stage 8

Put writing and visuals together to make final report

INTRODUCTION

Brainstorm ideas Begin primary research

Working with the charity Traid, this report aims to distinguish a tangible marketing strategy and campaign that will successfully encourage people to donate their unwanted clothes.

Rosie Buckland

WHERE TO START?

Methodology 7

Rosie Homewood

In order to investigate all relevant areas of information and activity to help inform our final campaign, we have carried out a number of different methods of primary and secondary research. Our research has enabled us to analyse the interests and demands of the current (as well as the future) consumer so that we can deliver a campaign that will not only successfully engage this target demographic but additionally change their attitudes and behaviour towards donating clothing in the long term. P R I M A R Y

R E S E A R C H

Online Questionnaire An online questionnaire was created on Survey Monkey, providing a concise and straightforward way to analyse participantâ&#x20AC;&#x2122;s knowledge of Traid and other clothing charities. It also allowed us to gain an insight into their general attitude towards the donation of clothing and what motivational aspects might encourage them to donate. Individuals of both genders and varying ages were encouraged to complete the survey due to our initial research coveting a generalised overview of responses which weâ&#x20AC;&#x2122;d then analyse to produce subsequent research tailored more specifically around the target consumer/campaign idea. Focus Group A focus group was carried out with six participants consisting of four females and two males, all of whom were in the Generation Y category between the ages of 18 and 35. The participants were placed in an interactive group setting and were briefed about the Traid project before being asked to fill out consent forms. Questions were then asked around the subject of the campaign and participants were free to talk with other group members, sharing opinions on the subject matter. The focus group allowed us to gain a more detailed and specified insight into the perceptions of our target consumer, providing us with invaluable feedback and information about the potential market acceptance of the campaign.

Consumer Profiles Consumer profiles were created on two individuals, one female and one male, both aged 21. The individuals were photographed and asked key questions regarding their lifestyle, preferences, product usage and consumer behaviour etc. This allowed us to develop a more in depth awareness of the Generation Y consumer so that aspects of our campaign could be tailored in a way that would suit them. Consumer Tracking Consumer tracking was completed on a typical gen-Y individual in order to specifically analyse technological interaction and usage on a day to day basis. This information was then considered in our campaign to help us engage the gen-Y individual through social media channels. S E C O N D A R Y

R E S E A R C H

Multiple sources were used during our secondary research in order to gain further understanding and knowledge surrounding our brief. Information was sourced from internet sites, online reports, books and print media in order to gain credible data, facts and general information to justify our ideas and demonstrate our inspiration. Magazines, advertisements, and internet images were also used as forms of visual information. Our secondary research has allowed us to explore the ways in which the current advertising market is operating and to identify any trends or successful methods currently being utilized by other brands. Additionally, converses with the chosen artist Matt Moore as well as the ASOS corporate responsibilities team via e-mail have provided us with invaluable responses to strengthen our campaign proposition.

who are traid?

TRAID: Textile Recycling for Aid and International Development. Traid focuses on protecting the environment by stopping clothes and shoes going to landfill and encouraging people to buy second hand, this then funds their overseas projects to reduce world poverty, and their education programme, informing people about all of the above issues. They focus far more on climate change and the good they can do by encouraging people to donate and buy second hand, than other charities such as Oxfam. They work around the fact that if you buy a second hand piece of clothing then there is sixty percent less chance you will buy a new item. Traid’s policy is to ensure that all aspects of the business, from its textile collections to its internal head office and retail activities, have the least harmful effect on the environment. They just need more good quality donations, because only fourteen to eighteen percent is currently re-saleable in the UK.

Traid are making themselves different from other clothing charities by running a bespoke clothes collection service and creating their own clothing line Traid Re-made. Traid shops are also trying to set themselves apart, by targeting their surroundings and creating a nice environment to shop in. Their use of social media reflects their tone of voice, and their brand image. On their Facebook page they keep people up to date with what is happening in their stores, as well as showing an interest in any relevant news stories. They show a fun side by posting content such as videos that are funny but have a serious message and support other charities such as Green Peace. They tweet regularly and use their twitter to promote the Traid Re-made range as well as the work they are doing with schools and raising hype about any valuable items they may have coming into a store. Unfortunately they have quite a low following on twitter and few likes on Facebook, but there is room for these platforms to get people’s attention with the right campaign. They are very limited to London at the moment, but have a whole range of projects that they are working on such as, Labour Behind the Label - Addressing the causes of mass fainting in Cambodian garment factories, GoodWeave – funding them with £180,000 to introduce a new certification standard for handmade rugs to end illegal child labour in the sector and Pesticide Action Network UK where Traid has funded them to build the capacity of cotton farmers growing cotton without using dangerous pesticides. It’s a tough market though; fighting to keep clothing banks secure, councils trying to take profit from banks, and competing with well-known charities such as the British Heart Foundation and Oxfam who want the same spot for their banks. Traid’s clothing banks therefore have to do the talking, and create attention for them.

This shows that Traid, although quite an innovator, is not well known. They have a distinctive individual style but not the brand awareness that they need. Charities like The Salvation Army and Age UK are well established and people are far more aware of their causes but they are not innovators or unique in their tone of voice. Brands like Oxfam and Cancer Research are the most well established charities because they keep themselves current and people are well aware of the causes they are helping. Traid has the individuality and tone of voice to be very successful, but needs to make its causes more widely known, and make itself much more visible in a very crowded market.

Fig. 1. Perceptual Map, 2013 Suzanne Pegington

SWOT

From carrying out a SWOT analysis we have been able to identify opportunities for Traid that have given us starting points for our initial ideas. One main area that we will be focussing on is to find a way that will make the clothing banks easier to maintain. Another idea to come out of this research is the idea of creating further brand awareness. This could be done a lot through social media as this is popular and cheap way for brands to communicate with their consumer, which is also at an alltime high at the moment. Following on from this, the campaign will need to be targeted to the social savvy consumer, and as communicators, we will have to find an innovative way to get these consumers involved and wanting to recycle.

Strengths: Traid is a well established and successful charity with clothing banks all across the UK. The charity provides a public benefit through recycling clothes in order to reduce waste, consumption and our carbon footprint. As a brand, Traid has built close relationships with retailers including Timberland, Liberty and Burberry to receive their faulty clothes rather than the retailers throwing them away. For example, Topshop give Traid nearly a thousand pieces over the period of a month. All eleven Traid shops in London are successful as they know the area’s consumer well resulting in Traid making more money than other charity shops. Traid runs a well-built education programme, which is successful in teaching children about the importance of recycling. Weaknesses: From our own devised primary research, we can see that Traid isn’t a charity that many people know about. We found that charities such as Oxfam and British Heart Foundation are much better known. One reason for this could be that there are only Traid shops in London, which results in Traid losing out on business that the rest of the UK may bring. Clothing banks are beginning to prove hard to maintain as people have been seen to steel from and vandalise them (see figure...) At the moment, although Traid have social media platforms, they do not have a large amount of like or followers and therefore do not have much of an online presence in comparison to other charitable organisations. Opportunities: There is an opportunity for the charity to expand even further across the country. With their three-year plan to open more Traid shops in London, there could be an opportunity to open some in other parts of the UK in following years to come. Something could be done about the issue of maintaining clothing banks, either a new design or a way that would change people’s behaviour towards them. Another opportunity is for Traid to create further brand awareness through sources like R.A.G at universities which could work through their education programmes, essentially spreading the awareness as well as getting more people involved. Threats: The general public may already be loyally in support of other charities and may already be daonting clothing in their preferred way by, for example, donating clothes to their local charity shop. Traid would have to think of a way to actually change people’s behaviour. Furthermore, there is only so much that a charity like Traid can do. There isn’t a lot of money to spend on advertising or new technologies and therefore the public would need a good reason to recycle with Traid as opposed to already well known and trusted charities like Oxfam. (Lyla Patel, 2013) Fig. 2. Swot Analysis. 2013 Emily Thompson 12

research

survey analysis

Fig. 3. Own Infographic, 2013

Our survey results reveal that in general, the public are not aware of Traid and the humanitarian aid it provides and are only knowledgeable of longer established charities such as Oxfam, Cancer Research and Red Cross etc. It is apparent that individuals are interested in supporting charities, with 52% shopping in charity shops and a substantial 72% donating their clothes to charity shops, however the main reason behind not using clothing banks is because they are simply not aware they exist or know where they are situated. When asked what would encourage them to donate their clothing, a large proportion said they would like to get something back as well as knowing how their donations are personally helping the charity. Our results aided us in creating a campaign that addressed these issues, to not only make it easier for the general public to get involved with and support Traid but to actively engage and entertain them too.

Rosie Homewood

consumer profile 1

NEIL:

This is an example that some people do wear everything that they own. It also shows that someone from our target age group is donating their clothes, and to a specific cause, that they know and care about. Perhaps it is just a case of making the consumer care about the cause enough, that they want to donate.

Suzanne Pegington

Fig. 4. Own Image, Neil, 2013

consumer pro file 2 21

KAYLEIGH: She buys when she sees something that she likes, so perhaps she could be persuaded to buy more second hand items, and in doing so this might stop her buying new items. She admits to owning a lot that she doesn’t wear and does use charity bags as well as taking things into charity shops, but not clothing banks. They don’t seem to be the obvious choice for our consumer. She wants to support a charity but can’t afford to give money and she collects T-shirts. This is the kind of consumer we are targeting, we need to put Traid on their radar, and remind them that giving doesn’t necessarily mean money.

Suzanne Pegington

Fig. 5. Own Image, Kayleigh, 2013

consumer tracKING 23

Lily is an avid user of social media and has accounts with numerous different channels including Facebook, Twitter, Instagram, Pinterest, Blogger and Linkedin. Although unaware of it, she spends up to 7 hours a day online, and admits to checking her Facebook whilst eating, watching TV and even in the bathroom. On average, she tweets 5 times a day, yet continually updates her Twitter feed to check on her favourite celebrities or brands. Lily follows brands who have a high following, demonstrating that she is easily influenced by word of mouth marketing which social-media marketing is driven by. Making Lily aware of Traid on any one of these social media platforms will confirm Traidâ&#x20AC;&#x2122;s credibility and promote brand engagement.

Rosie Homewood

Fig. 6. Own Image, Lily, 2013.

Behaviour Change & Generation Y 25

W H O

A R E

G E N E R A T I O N

Y ?

They’ve been labelled The Millennials, The Tech /Net/Digital Generation, Boomlets and Echo Boomers, but who exactly are Generation Y? Aged between 18-35, this excessively large demographic cohort are who we aim to directly involve in our Traid campaign. Therefore it is crucial we have a thorough understanding of the general characteristics our consumers hold in order to market and connect with them successfully. When it comes to defining this generation there is a lot of conflicting information but during our research we found these particular traits came up frequently.

Fig. 7. Own Image, ‘Y’, 2013

Rosie Buckland

GENERATION Y DNA TECH-SAVVY Emailing, texting, using social networking sites are the preferred method of communication. Having grown up with technology, generation Y are constantly synced into technology, 48% check their Facebook when they wake up, 28% check whilst still in bed. Even when watching TV, 80% are using 2 or more devices simultaneously. BORN TO PERFORM With generation X for parents, generation Y have been pampered. They are confident, ambitious, enterprising and They wish to excel in life from a very early age. The likes of and Mark Zuckerberg are examples of teen generation Y

nurtured and self-conscious. Justin Bieber entrepreneurs.

We’ve added these key elements to our marketing strategy to ensure we can make a continuing change in getting generation Y to recycle.

Competition: As our research on Gen-Y shows, this group responds well to environmental causes if there is an incentive for them to be involved.

Positivity:

An inspiring campaign can inspire others to make a change. Feedback: Feedback can keep the motivation after the initial promotion of the campaign has stopped.

TEAM-ORIENTED Always yearning for feedback, they are loyal, committed and always look to be included and involved. Gen Y are keen to be a part of something larger than themselves. They want to be successful and belong to a cause. Everything they do must have meaning and purpose. FAMILY-CENTRIC Yes they long to be successful in the corporate world but only if the hours are flexible and suited around their home life. For generation Y family always comes first so they seek a balanced work and home life. According to a survey* 77% of students nationwide say “raising a family” is an “essential” or “very important” life objective. (College Board USA, 2011)

Fig. 8. Coachella, Online, 2013

ENVIRONMENTALLY AWARE With the confidence that anything is possible, gen-Y really want to make the world a better, safer place. They notably put this thinking into practice with brands. According to the Creative Artists Agency (CAA, 2012) “young consumers are placing much greater importance on characteristics like “sustainable” and “eco-friendly” from 2007-2012” For example, when asked who can make the biggest difference in the world, 22 percent named Apple, behind President Obama (44 percent) and followed by Oprah (14 percent). Although Generation Y’s intentions are there, they need a touch of personal gratification in order to really embrace sustainability. “It’s all about economic motivation, while people want to do the right thing – they want to save the world, particularly Gen Y – they need an extra incentive on top of motivation” (Clay Voorhees, MSU assistant professor of marketing and lead faculty researcher)

Rosie Buckland

Inspiration

case studies 33

‘I T ’ S N I C E T H A T‘ It Nice That is a unique magazine which prides itself of ‘championing creativity across the art and design world’. The publication uses original and engaging work from well known, established names as well as exciting, up and coming newcomers. We chose to look at ‘Its Nice That’s first ever collaboration with a brand, which was ASOS in 2011. The magazine produced limited edition T-shirts working with 10 up and coming illustrators which ASOS sold on their online website. When a buyer bought one of these T-shirts (see figure 1) they would also get a limited edition print. Some of these new talented designers included Rob Matthews, Sophie Kern, Owen Gatley and Greg Eason. (Alex Bec, 2011.) This case study gave our group an initial idea of using up and coming artists to be at the forefront of our campaign in order to best relate and interact with our consumer. This idea would make a good PR story and help to create a buzz around our campaign. We also thought that using these talented new comers, the whole look of ‘Traid’ could be reformed, the clothing banks, the website and social media so that a cohesive look is carried throughout.

Fig. 9. It’s nice that for ASOS, online, 2013

Emily Thompson

Fig. 10. It’s nice that designs, online, 2013

Fig. 11. It’s nice that campaign, Online, 2013

EDDING WALL OF FAME

Fig. 12. ‘Wall of Fame’ Advertisment, 2011

For its 50th anniversary in 2011, the pen manufacturer Edding wanted to create a unique online branding experience that brought the brand to mind for illustrators and creative types alike. They created a live interactive digital canvas project called ‘The Edding Wall of Fame’. The concept was a creative online environment where young artists and professional illustrators came together to meet, compete and collaborate with one another on what eventually became one of the largest pieces of artwork ever to be produced. The user-generated content was used for print ads, visualising the creativity behind every Edding and the people who use them. The live drawing board featured eight pens to draw with and illustrate together in real time, and the implementation of the ‘share’ mechanism meant that users could directly mark their drawings on the wall to share, forward and post via Facebook, Twitter and e-mail. Countless mentions via social networks boosted awareness of the campaign and over the course of the project, there was over 300,000 individual drawings submitted. This unique creative web experience enabled individuals to be entertained, inspired and involved, and it catapulted Edding from a lesser known, primarily offline brand into a digital phenomenon and pioneer in online brand campaigning. The huge success of this case meant that it became a significant source of inspiration for our Traid campaign. Using creativity as a key tool in our campaign is a simple and cheap way to engage consumers aesthetically by providing them with a stripbacked, genuine concept to enjoy and get involved with. Additionally, the use of social media as a promotional tool is fundamental in our campaign. Edding’s case has shown that if the purposed consumers are targeted with an interesting concept and/or content from the brand, there can be a resonate effect across all online platforms. As a charity, Traid have little budget for advertising and promotion, therefore social media serves as a relatively inexpensive platform for Traid to implement marketing campaigns. 35

Rosie Homewood

Fig. 13. Bangladesh Factory Disaster, Online, 2013

HOW MANY MORE TIMES WILL WE BE ABLE TO IGNORE IT? Multinational clothing retailers have been panicking after the recent disaster in April in a garment factory in Bangladesh killed over one thousand people. This saw a massive international outcry for retailers to take responsibility for the safety of their workers. These retailers have been considering alternative places where they could move production to, Cambodia being one of those places. Now a raised storage area has collapsed at a footwear factory in a Cambodian village, killing at least two workers, injuring twelve more and underlining global worries about factory safety in poor countries. This is just a reminder that these kinds of workplace disasters are not confined to Bangladesh. “It is inherently unsafe and dangerous to work in. As long as workers are marginalized and deprived of their basic rights, the situation will not improve.” said Tessel Pauli, a spokeswoman for the Clean Clothes Campaign, an anti-sweatshop group based in Amsterdam. Workers at the factory, called Wing Star Shoes, were making shoes for Asics, an athletic shoe company based in Kobe, Japan. Popular with runners, Asics has been particularly successful in the United States, where it emphasizes corporate responsibility. We see it in the news far more often than should be acceptable, but it’s not an issue that effects our everyday lives, it’s so far away from us that it’s difficult for it to seem relevant. With it being such a big issue highlighted in the news of late, this would be a good time to act upon it and use this publicity of a workplace disaster, because many disasters do go unreported. We need to bring this kind of thing closer to people, but via a channel that they can relate to, we need to make it worth their time and effort to do something about it.

Fig. 14. Cambodian Factory Collapse, Online, 2013 37

Suzanne Pegington 38

‘G R E E N H A N D E D P R I Z E P A T R O L’

Fig. 15. Green hand, Online, 2013

Charlotte, America has come up with a strategy to become one of the most sustainable cities by introducing their new campaign named ‘I got caught green handed’. This three-month campaign consists of rewarding people with grocery gift cards and green foam hands for people in Charlotte who take their time to recycle. The city has installed 15 new community recycling bins, and whoever gets caught recycling in these new bins will be the ones rewarded. Not only is this competition between cities good fun, it is also a good way to encourage the young to recycle. With other cities in America, like Cleveland, Ohio, fining residents for not recycling, this shows that Charlotte have a goal which is positive, fun and getting something back from their community. (Trey Granger, 2010.) This case study inspired our idea to give something back to our consumers from recycling. It showed us that being rewarded for your efforts is definitely something that we need to think about and include within our campaign.

Emily Thompson

Fig. 16. I Got Caught Green Handed’ campaign photogrpah, 2010

McCAIN BUS STOP CAMPAIGN In 2012 McCain created a multi-sensorial campaign that could be experienced in 10 different locations around England. The campaign was put in place to promote their new ready-made jacket potatoes. The campaign was featured in bus shelters which were fitted with 3-D fiberglass jacket potatoes. When the button on the bus stop was pressed the jacket potato heated up and emitted the scent of a justcooked jacket potato. In addition to this, money-off vouchers were dispensed from the bus stop that could be used to purchase the potatoes at local stores. Rebecca Clay of PHD said that; “In the chilly month of February, we hope that the warm, fresh-baked smell of jacket potatoes and the first ever bus shelter voucher dispenser will bring a smile to cold faces.” (McCabe, 2012) This campaign encouraged consumers to interact with McCain and persuaded them to purchase their new product with the distinctive scent of a freshlymade jacket potato and the money-off vouchers. The interaction and innovation used within this campaign made it stand out from the densely populated landscape of similar advertisements we see in most cities today. An integral feature of this advertisement that we could insert into our campaign is the concept of fun or the ‘fun theory’, which incorporates the idea of gamification in order to encourage consumers to interact and take part.

Fig. 17. McCain Advertisement, 2012.

Emily Sanders 40

What's happening now?

Fig. 18. Own Trend Moodboard, 2013

The Graffiti Trend

Fig. 19. RC murals, Online, 2010

During our initial research, we discovered that every clothing bank we encountered had been graffitied on. Often graffiti is a sign of neglect and vandalism so we wanted to turn something that appears quite negative, suggesting a lack of respect and neglect to the public, and turn it into something positive and to be celebrated. If Traid were to directly respond to this issue by decorating the banks with urban art, they would be showing that they are a brand aware of the social elements around them and therefore are connected to society. The bright urban artwork would also serve its purpose of drawing attention to the banks, another crucial aspect in the encouragement of recycling as we found that the banks are often overlooked from our primary research. Once deemed a crisis for the councils, having to scrub clean the walls adorned with teenage boy’s names sprayed all over, Graffiti is no longer such a dirty issue. With the growth of graffiti culture originating from New York in the late 70s, pioneered by Jean-Michel Basquiat, there has been an on-going debate as to whether graffiti should be considered an actual art form. Banksy and his satirical street art has taken graffiti from the underground to the mainstream in the UK. Notably one piece of his sold for £102,000 under auction. Influenced by the art market’s taste for graffiti,

‘The Banksy effect’ is growing and now brands want to be involved. The professional graffiti art company, ‘Graffiti Kings’ have created art for Adidas, Groupon and Nokia. Even designer labels are looking to add a street element to their luxury status. To celebrate the reopening of the newly-renovated boutique in Soho, Chanel installed an interactive LED video wall that allowed consumers to virtually graffiti and directly interact with the Chanel brand. The marketing scheme gained international attention and gained press attention from The New York Times and Vogue. Modern graffiti has also become a popular tool amongst social and political activists. It’s an affective, free way of letting an individual display their thoughts, ideas, theories in the public domain. Therefore Traid using urban art would be a great method of raising awareness about environmental issues to our target market, a generation who are easily inspired by art. In 2012, research revealed that ‘creativity is a brand’s best weapon’ (Smith, 2012). Certainly when you try to impress Generation Y. Brands should be relevant and interesting for them. Brands have to inspire them.

Rosie Buckland

Fig. 20. Own Graffiti Moodboard, 2013

“Everyone who sees it receives the same message — even those who don’t necessarily want to receive it.” Angie Bagela, women’s right activist.

Rosie Buckland

The idea

OUR STRATEGY:

OUR Big Idea:

Encourage and promote behaviour change in generation Y, having them perceive recycling as an integral part of their daily life, advocating a sustainable future. 51

Rosie Buckland

Using established artists to spearhead a campaign that engages the Y generation and encourages them to donate their clothes through their participation in online social media competitions. It will gain positive press coverage and draw attention to Traid via a channel that generation Y can relate to. It will create a buzz and excitement around the clothing banks, give Generation Y something back, and most importantly facilitate the donation of clothes in building awareness of Traidâ&#x20AC;&#x2122;s aims, objectives and values. Suzanne Pegington

Fig. 21. Giles Deacon, ‘Debbie’, Online 2012.

The Creative Idea

The creative idea invites participation and endorsement from established artists to design Traid banks, t-shirts and other publicity materials. It interacts with the consumer through competitions and social media and involves an innovative collaboration with ASOS to build awareness of Traid.

As Traid is a charity, we have to consider the resources that are available to them which differ from bigger brands such as those in our case studies, e.g. McCain and Edding. Traid does not have the resources and budget to create multi-million dollar advertising campaigns, therefore, our aim is to create a campaign that can be as exciting and successful as these bigger brands, but in a more realistic and affordable way. We have established through research that clothing banks are generally vandalised, and rather than ignoring this fact, we decided to play on this social issue and send a positive message back to society by using established street and graphics artists to design a number of Traid clothing banks, t-shirts and accompanying publicity materials. By using these artists, we have created positive endorsers for identification of Generation Y. By avoiding the use of ‘typical celebrities’ we have created fewer risks for the image of the brand. Matt Moore is our first chosen artist not only because he is one of the most prolific visual artists nowadays but also due to his background/speciality in the art of graffiti. Matt works across disciplines, from colorful digital illustrations in his signature “Vectorfunk” style, to freeform watercolor paintings, and massive aerosol murals. He has collaborated with huge brands such as Coca Cola and his bold aesthetic and ‘do it your-self’ ethic is perfect in engaging the Y generation. The Traid banks will test whether our initial idea will stand out. We are expecting it to draw attention and ultimately plant the inception of the donation of clothes at that moment. The use of artists work on clothing banks may create a landmark for that area; such similarities can be drawn from the telephone boxes which were designed by renowned artist Giles Deacon for the BT Artbox exhibition in London. Overall, our aim is to make these clothing banks iconic.

From our primary research, we have established that a core reason behind individuals not wanting to donate their clothes via a clothing bank is the fact that they are not aware of how they are helping or where their clothing is being taken. Therefore, ensuring donators receive information telling them this information is vital. This comes in the form of a QR code incorporated in the designs of the banks and T-shirts which, when scanned, ensure donators receive a personal email telling how they’re helping Traid. To entice the involvement of generation Y in the donation of clothes, an incentive or attraction must be used as a tool for persuasion. The idea of giving something back to the consumer would create the incentive for consumers to continue to donate their clothes to Traid. However, as we wanted to ensure and reiterate the persuasiveness of our campaign, we knew artists would need to be implemented further into our idea. From this, we created another two incentives: a competition and a collaboration. Consumers would have the opportunity to win limited edition t-shirts designed by artists as an encouragement to recycle clothes. This use of competitions through social media, will undoubtedly create a consumer ‘buzz’ and create further engagement. The collaboration was decided to be with the renowned online retailer, ASOS, to provide further awareness to Generation Y. What is most important to be considered, is for Traid to be associated with a well-known brand and given that they are from a time where everything is branded, they are likely to respond differently than previous generations (Merrill (1999) in Lazarevik, (2007)).

Fig. 22. Maxim, ‘The Cure, Online,’ 2012.

Outside of London, the awareness of Traid is scarce which is in contrast to ASOS thus increasing its reliability and trustworthiness. A very good example of a situation where this has also been successful is when ‘Red Nose Day’ collaborated with Sainsbury’s in order to increase sales and raise awareness. This was effective in encouraging sales of red noses particularly for children. In the consideration of the design of the t-shirts, we took inspiration from the ‘It’s Nice That’ range we looked at as one of our case studies. Our designs would be unisex so that they appeal to both markets and target as much of Generation Y as possible. With the rise in popularity of unisex clothing this would be particularly appealing for our generations Y’ers. As Pollitt states; “If it’s a good product it doesn’t matter who it’s for, people buy into the ideals of the label,” Pollitt (2012) in Safe, G. 2012 in Raising Brand Equity in Generation Y. This is another good reason to collaborate with a brand such as, ASOS. If people like the brand and what it stands for then any consumer may be willing to buy into it. A good example of a retailer that does this is American Apparel proving that fashion is becoming less gender specific which is why we think it is appropriate and necessary to release the Traid t-shirts as a unisex buy. Our creative idea and collaboration would create more brand awareness around the charity Traid and encourage Generation Y to get involved. Again, this will be giving something back to the consumers and will open the floodgates to charities to be viewed from a more creative and innovative perspective.

Fig. 23. ‘It’s Nice That for ASOS’ Advertisement, Online, 2011

Emily Sanders

For the campaign to take place we had come up with a number of executions for how the process will work as a whole:

Executions

CLOTHING BANK:

The Traid clothing banks based around the UK will be re-designed with Matt Mooreâ&#x20AC;&#x2122;s street art graphics that he would have designed for Traid. The brief given to Matt Moore would include the necessity to design graphics that will help turn vandalism and graffiti on the banks into a positive, as a celebration of street art. Once all the limited edition T-shirts have been sold/given away and the target for recycling has been met, another graphic, designed by an artist will be released and these banks will be redesigned with the new graphic. We decided to use this approach as it is cheap and realistic, and eye catching. As well as the graphics, a QR code will also be placed on the bank. This QR code helps to bring the whole campaign together. From the primary research that was conducted, we noticed that individuals would be more likely to donate their clothes to charity if they knew how they were personally helping. When this QR code is scanned, the donator is taken to Traidâ&#x20AC;&#x2122;s competition page where they are able to enter their email address before personally receiving an e-mail explaining how they are directly helping in the UK as well as globally.

Fig. 24. Own Mock Up of Clothing Bank, 2013

Emily Thompson 58

THE T-SHIRT:

ASOS:

Our second execution that we propose for Traid is to make stylish, young and simple Fig. 25. Own Mock Up of T-shirt 1, 2 & 3, 2013 T-shirts out of recycled materials that will also have the artist’s exclusive street art printed on. These T-shirts will be sold in the Traid shops in London, as well as on the ASOS website. From this, Traid will gain awareness from consumers that shop on the ASOS website due to it’s huge following and online presence. These T-shirts will also gain interest from street art fans that will be able to buy these limited edition T-shirts easily online. Like the Traid banks, once the first edition of T-shirts are sold, and the Traid target is reached, a new batch of artist designed T-shirts will be released. These T-shirts will be sold at the retail price of £25. Our reason for this is because they will be made out of quality, recycled materials, which are limited edition. Therefore, this gives consumers an incentive to take part in the competition.

Emily Thompson

Fig. 26. Own Mock Up of ASOS Website, 2013

Our main competition and social media status will be through Instagram. The competition will be put in place in order to create a buzz and awareness on social media and for consumers to ‘tag their traid’ to win a free artist designed T-shirt. Firstly, the donator will see the competition advertised either through Traid, ASOS or by scanning the QR code on the bank. As soon as the donator scans this QR code they have to enter their email address before continuing. This process means that Traid have collected their key consumer’s details, allowing them to target these individuals via email with further donating or fundraising initiatives. Once their email address has been registered, they will be directed to the Traid Instagram page where they will be able to upload a picture of their donated items and of them at a UK Traid bank. Along with this, they will have to provide their name and the hashtag ‘#tagyourtraid’ to be entered into the competition to win a limited edition T-shirt. The winners will then be picked at random and contacted via email with an example code ‘TAGYOURTRAID4467’ to redeem their free T-shirt via the ASOS website.

Fig. 27. Own Mock Up of ASOS Checkout, 2013 60

FURTHER COMPETITIONS: During the process of the competition, Traid would utilise the tagging mechanism on Instagram allowing them to collect donators data regarding the area in which they have used the bank or uploaded their picture. Traid would then reveal a ‘live’ infographic on their competition page named ‘Traid’s Greenest City’ which would visualise the areas in the UK that are receiving the most donations. Additionally, donation volumes could be established through the amount of donations collected at each bank. The average would be worked out from how many people live in the city as well as how many banks there are in the area. The city that have recycled the most would get something in return, which would appeal to the ambitious and team-orientated nature of generation Y. This could be in the form of a large canvas wall put up in city that invites individuals to draw and express themselves visually, celebrating art work and creativity. The Traid canvas would be published on Facebook and Twitter so that city residents can then tag themselves or ‘retweet’ the picture, gaining further online interest. This gives the feeling of being part of something, as well as receiving a prize for going to the effort of recycling.

Fig. 28. Own Traid Website Mock Up, 2013

Emily Thompson 62

PR & Social Media 63

We established from our consumer research that the gen-Y consumer is tech savvy, an avid user of social media and easily influenced by media elements. Therefore, the key concept of our PR strategy is to build brand engagement through social media channels. There will be a press release and launch as this is mandatory in the unveiling of the banks and putting a face to the name of the artist, yet the majority of the PR will be achieved purely online. This is not only only suitable for Traid budget wise, but also ideal in helping them increase their online presence/following and into the wavelength of the younger generation. Through social networking, Traid will be able to directly reply to those who participate in the competition through their hashtags, and the live info-graphics will also provide continual feedback and encouragement which through research weâ&#x20AC;&#x2122;ve found is a key element promoting behaviour change. Additional visual hints and clues about future artist collaborations on their Facebook and Twitter will spur the consumer into donating more in order to reach Traidâ&#x20AC;&#x2122;s target.

Fig. 29. Own Facebook Mock Up, 2013

Rosie Homewood 64

The order of the campaign is as follows: 1. Two weeks prior to the unveiling of the banks and the start of the first competition, the three representatives - Traid, ASOS and Matt Moore provide hints and clues about the campaign via social media sites. 2. The press launch takes place in London with the unveiling of Matt Moore’s clothing bank, with Traid and ASOS spokespersons in attendance as well as the artist himself. Details of the campaign and the competitions are released and ASOS/Traid exhibit the T-shirt online. 3. A day after the press placed around the country of ‘who can spot the

T W I T T E R E X AM P L E S :

launch the banks are and the competition banks first?’ begins.

4. A week after all the banks have been distributed, Traid formally identify their locations online and the 10 individuals who spotted the banks first are identified and sent a code to redeem their Matt Moore T-shirt via ASOS. 5. The

‘#tagyourtraid’

competition

then

begins.

6. The live info-graphics are set up on Traid’s competition page, one visualising which area of the country is donating the most, and the other visualising how donations are increasing towards Traid’s end target. 7. Each day of the competition, a donator and participator in the competition is chosen at random and sent a code via e-mail to redeem their T-shirt on ASOS. 8. Traid continually tweet to engage/encourage individuals, as well as letting them know how they are helping the charity. 9. When the target is in sight, Matt Moore, Traid & ASOS start to release snippets of the new bank/Tshirt design online to encourage more donations. 10. Once the target has been reached, newly designed banks and T-shirts will released and a new target by Traid will be

Fig. 30. Own Twitter examples, 2013

the be set.

11. The winning area/city receives the canvas wall to decorate as a community, with press coverage and social media mentions. 65

Rosie Homewood 66

During our focus group, we asked the participants 6 questions that can be seen in the appendix. Results from this prove that our idea has a strong concept with a positive benefit for people their age.

Furthermore, to test the credibility of our idea we decided to send some emails out to the potential clients that we have decided to use in our campaign.

Testing our Idea

Are you interested in supporting charities? If not, why?

Hi,

I’m interested, but if someone came up to me in the street, my first answer would be ‘i’m busy’ just out of habit. Anyes, 20.

What is your opinion of our idea? Yeah, it’s good that you are using a well known brand, makes it easier for lazy people like me to do my part for charity - James, 20.

If you saw a QR code on the t-shirt would you take your time to scan it? I think if one of my friends had it on and it wasn’t a stranger in passing, i would take the time to scan it Hannah, 20.

FROM MATT MOORE: Hi Guys.

Cool initiative. Is this a “hypothetical” request ?

Or are you ready to hire me to make graphics for your client ?

I may be interested once I know more about the context, details, other artists involved, press spin strategy, intentions with my name celebration/leveraging, artwork(s) timeline, and of course your budget for my work and usage rights to my name.

Please let me know more. Thanks. MWM

TO ASOS:

have noticed you have collaborated with ‘It’s Nice That’ in the past creating something similar and we were hypothetically wondering

if this would be something that ASOS would get involved in as it is charity based? The idea would be a collaboration where ASOS would sell Traid’s T-shirts online to increase consumers awareness of the charity. It is just for our project to mention that this is a realistic proposition for Traid, so if you could get back to us we would be very grateful. Emily Thompson 68

Maintaining the Momentum 69

In order to maintain consumerâ&#x20AC;&#x2122;s interest with Traid, and for people to continue to donate their clothes, a series of collection targets would be established with a new project set by Traid. These targets would be reached through collecting volumes of clothing donated through the clothing banks during the process of the campaign. Once the set target has been reached, Traid will introduce a new art work design which would replace the previous one. With each new project comes a new artist who will produce art work for the banks and t-shirts. Setting these targets will encourage consumers to donate by providing the public with a new incentive to continue to donate their clothes. This project aims to prolong interest in Traid and encourage consumers to keep recycling their clothes well into the future. Furthermore, this campaign has the potential to expand internationally and gain international news coverage for Traid with the collaboration of five multinational artists; Lisa Congdon, Chris Magnusson, Chris Duncan and Maya Hayuk.

Emily Sanders

Fig. 31. Own Moodboard of Potential Artists, 2013

CONCLUSION 71

TO CONCLUDE: This report has presented a tangible and realistic marketing strategy and campaign that Traid could successfully apply, resulting in not only an increased brand awareness and online following but more crucially behaviour change in the form of habitual recycling from the generation that are in charge of our sustainable future.

EVIDENCE

LIST OF ILLUSTRATIONS: Fig. 1. S, PEGINGTON., 2013. Perceptual Map [Photoshop]. Own Image. Fig. 2. E, THOMPSON., 2013. SWOT Analysis [Table]. Own Image. Fig. 3. R, HOMEWOOD., 2013. Survey [infographic]. Own Image. Fig. 4.. S, PEGINGTON., 2013. Neil [photograph]. Own Image. Fig. 5. E, SANDERS., 2013. Kayleigh [photograph]. Own Image. Fig. 6. R, HOMEWOOD, 2013. Lily [Photograph]. Own Image. Fig. 7. R, HOMEWOOD, 2013. ‘Y’ [Watercolour]. Own Image. Fig. 8. M ULLEVOLDSAETER, Coachella Street style, 2013 [Photograph] URL: http://www. marieullevoldsaeter.com/category/outfits/page/3/ Accessed 20th May 2013. Fig. 9. ‘It’s Nice That for ASOS’. 2011. Photograph. [Online]. Available at: http://www. menshealth.co.uk/style/tips/the-tweet-shop-2-june [Accessed 22 May 2013] Fig. 10. ‘it’s Nice That for ASOS’. 2011. Photograph. [Online]. Available at: http://www. notestoafurtherexcuse.com/2011/04/its-nice-thats-limited-editions-for.html [Accessed 22 May 2013] Fig. 11. ‘It’s Nice That for ASOS’. 2011. Photograph. [Online]. Available at: http://www.asos.com/ Men/Men-Landing-Pages/20111114H-Men-Its-Nice-That/Cat/pgehtml.aspx?cid=14566&r=2 [Accessed 22 May 2013] Fig. 12. ‘Wall of Fame’ Advertisement, 2011. Stationary: “Wall of Fame” Promo/PR Ad by Kempertrautmann, Hamburg [Online]. Available at: http://www.coloribus.com/adsarchive/ promo-casestudy/stationary-wall-of-fame-15811555/. [Accessed 9th May 2013]. Fig. 13. (2013) Bangladesh Factory Disaster. At: http://www.demdigest.net/blog/2013/04/238dead-in-bangladesh-factory-disaster-due-to-institutional-failure-of-government/ [Accessed 22 May 2013]. Fig. 14. Cristofoletti, T. (2013) Cambodian Factory Collapse. At: http://www.nytimes. com/2013/05/17/world/asia/cambodia-factory-ceiling-collapse.html?_r=1& [Accessed 22 May 2013]. Fig. 15. Green hand, 2013. Student Portal [Online]. Available at: http://student.klmu.edu.my/ Anonymous/Index.aspx?ReturnUrl=%2Fdefault.aspx Accessed 21/05/13 Fig. 16. ‘I Got Caught Green Handed’ campaign photograph, 2010. Sustainable UMD [Online]. Available at: https://www.facebook.com/pages/SustainableUMD/362704923748834 Accessed 18/05/13 Fig. 17. McCain Advertisement, 2012. McCain Adverts that Smell like Freshly Cooked Jacket Potatoes [Online]. Available at: http://www.huffingtonpost.co.uk/2012/02/07/mccain-advertthats-smell-like-the-real-thing_n_1260259.html Accessed 14/05/13. Fig. 18. Aussie, 2013, [Social network screenshot] URL:https://www.facebook.com/ AussieHair?ref=ts&fref=ts Accessed 9th May 2013. Coca Cola, 2012, [Advertisement] URL:http://shineyourlight-shineyourlight.blogspot. co.uk/2012/04/2012-venue-for-2012-london-olympic.html Accessed 10th May 2013. River Island, 2013, [On-line website screenshot] URL:http://www.riverisland.com/women/ trousers--leggings/leggings/Black-and-white-graffiti-print-leggings-633711 Accessed 10th May 2013. R BUCKLAND, Topshop VM, 2013 [Photograph] Own image. K GRAHAM, 2012, [Album cover] URL:http://buzzworthy.mtv.com/wp-content/ uploads/2012/03/kat-graham-put-your-graffiti-on-me-cover-art.jpeg Accessed 10th May 2013. 77

Nike, 2013, [Photograph] URL:http://www.cooldunkshoesforsale.com/nikes-colorful-dunksgraffiti-explosion-high-tops-camo-shoes-for-men-p-10978 Accessed 10th May 2013. R BUCKLAND, Sports Direct, 2013 [Photograph] Own image. S, SPROUSE, Louis Vuitton 2004 [Advertisement] URL:http://iguccibags.wordpress. com/2009/12/16/louis-vuitton-stephen-sprouse-graffiti-speedy-30/ Accessed 10th May 2013. K, WILSON, Trendsetter magazine, 2012 [Editorial] URL:http://models.com/work/variouseditorials-graffiti-girl-trendsetter-magazine Accessed 10th May 2013. Fig. 19. R CHRISTENSON, RC murals, 2010 [Photograph] Available at :http://rcmurals.com/ about.html [Accessed 12 May 2013]. Fig. 20. Graffiti Kings, Nokia 2013 [Photograph] URL:http://graffitikings.co.uk/graffiti-murals/ Accessed 15th May 2013. A BEIM, ‘Chanel graffiti wall’ 2010 [Photograph] URL:http://www.flickr.com/photos/ tangible/4978897906/ Accessed 15th May 2013. Wow, 2012 [Photograph] URL:http://observers.france24.com/content/20130429-egyptianwomen-street-art-graffiti Accessed 15th May 2013. R BUCKLAND, Graffiti on clothing banks, 2013 [Photograph] Own image. R BUCKLAND, Graffiti on clothing banks, 2013 [Photograph] Own image. Bansky, ‘Exit through the gift shop’ 2010, [Film poster] URL: http://www.deoccupyhonolulu. org/documentaries.htm Accessed 15th May 2013. Tate photography, ‘Street art exhibition’ 2008, [Photograph] URL: http://www. creativereview.co.uk/cr-blog/2008/may/not-so-street Accessed 15th May 2013. Banksy, Woman sweeping under wall, 2010, [Photograph] URL:http://www.thedirtfloor. com/2010/01/30/artist-quote-of-the-day-banksy/ Accessed 15th May 2013. Fig. 21. Giles Deacon, ‘Debbie’ 2012. Photograph. By Steven Dray. Available at: http://www. telegraph.co.uk/culture/culturepicturegalleries/9332418/BT-Artbox-Red-telephone-boxeswith-a-twist.html?frame=2248803 [Accessed 14th May 2013] Fig. 22. Maxim, ‘The Cure’ 2012. Photograph. By Steven Dray. Available at: http://www. telegraph.co.uk/culture/culturepicturegalleries/9332418/BT-Artbox-Red-telephone-boxeswith-a-twist.html?frame=2249416 [Accessed 14th May 2013] Fig. 23. ‘It’s Nice That for ASOS’ Advertisement. 2011. [Online].Available at: http:/www. attitude.co.uk/viewers/viewcontent.aspx?contentid=2527&catid=style&subcatid=style_ news&longtitle=ASOS+SHIRTS+ON+SALE [Accessed 22 May 2013]. Fig. 24. E, THOMPSON, 2013. Mock Up of Clothing Bank [Photoshop]. Own Image. Fig.. 25. E. THOMPSON, 2013. Mock Up of T-shirt 1, 2 & 3. [Photoshop]. Own Image. Fig. 26. E, SANDERS, 2013. Mock Up of ASOS Website. [Photoshop]. Own Image. Fig. 27. E, SANDERS, 2013. Mock Up of ASOS Checkout. [Photoshop]. Own Image. Fig. 28. E, THOMPSON. 2013. Traid Website Mock Up. [Photoshop]. Own Image. Fig. 29. R, HOMEWOOD, 2013. Facebook Mock Up [Photoshop]. Own Image. Fig. 30. R, HOMEWOOD, 2013. Twitter Examples [Photoshop]. Own Image. Fig. 31. M HAYUK, 2012 [Artwork] URL: http://mayahayuk.blogspot.co.uk Accessed 21st May L CONGDON, 2013 [Artwork] URL:http://lisacongdon.com Accessed 21st May C MAGNUSSON, 2013 [Artwork] URL:http://www.rwealone.eu/work.htm Accessed 21st May C DUNCAN, 2013 [Artwork] URL:http://inthemake.com/chris-duncan/ Accessed 21st May 78

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EMAILS: Hi, Hello Matt, We are a group of five second year students studying Fashion Communication & Promotion at Nottingham Trent University and we are currently undertaking a live project with the clothing charity ‘Traid’. Our brief is to create a big idea, creative idea and promotional campaign that encourages people to donate their unwanted clothes to the charity, and to specifically use their clothing banks. We’re interested in using artists with a world-established fan base to be involved with the campaign by designing artwork for the Traid clothing banks. This artwork could then be used on limited edition T-shirts that could be purchased in Traid clothing stores or won during national competitions as a way of raising awareness of the charity. The aim is to attract Generation Yers and engage with them in ways that will change their attitude towards giving clothing to charity.

We are a group of second year Fashion Communication and Promotion students studying at Nottingham Trent. We are currently working on a live brief with the charity Traid to increase the awareness of the brand and usage of their clothing banks. For this, our big idea is to include up and coming artistic talent to redesign Traid’s clothing banks as well as designing some recycled T-shirts with designs from these artists. We have noticed you have collaborated with ‘It’s Nice That’ in the past creating something similar and we were hypothetically wondering if this would be something that ASOS would get involved in as it is charity based? The idea would be a collaboration where ASOS would sell Traid’s T-shirts online to increase consumers awareness of the charity. It is just for our project to mention that this is a realistic proposition for Traid, so if you could get back to us we would be very grateful. Many Thanks,

Hypothetically, would you be interested in getting involved in such a project? Emily Thompson Thank you for your time. Yours sincerely, Rosie Homewood, Suzanne Peggington, Emily Thompson, Rosie Buckland & Emily Sanders

Hi Guys. Cool initiative. Is this a “hypothetical” request ? Or are you ready to hire me to make graphics for your client ? I may be interested once I know more about the context, details, other artists involved, press spin strategy, intentions with my name celebration/leveraging, artwork(s) timeline, and of course your budget for my work and usage rights to my name. Please let me know more. Thanks. MWM

APPENDIX: CONSENT FORMS: CONSUMER PROFILES:

CONSUMER TRACKING:

FOCUS GROUP:

SURVEY:

FOCUS GROUP QUESTIONS : 1. What do you do with your unwanted clothes? 2. Are you interested in supporting charities? If not, Why? 3. What is your opinion on our idea? 4. If there was a chance to win a recycled, artist designed t-shirt from donating your clothes, would you do this? 5. If you saw a QR code on the t-shirt would you take your time to scan it? 6. Is the graffiti wall in your city something that you would go along and get involved with?

GROUP BLOG :

http://agtraidproject.blogspot.co.uk/ The minutes from our group meetings are posted on our blog.