Paul Smith - Context

L U A P H T I PS

EMILY DRINKELD N0560145

Fig.1 Paul Smith ProямБle

CON TEXT

“

Fig.2 Paul Smith at Japan Fashion Week, 2012

01.

Smith is no conformist his whole business is based on the premise of doing things differently.

- (HISCOCK, 2001)

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03.

The Vis Shakers

Consumer #2

Introducing PS by Paul Smith

Changing the Game:

The Mid-Niche Loyalists

Consumer #1

SWOT Analysis

An Introduction

05 07 09 15 19

04.

References, Bibliography & Image Referencing

Referencing

Creative research & Methodology

Primary Research

The successful spheres of social

From the Outside, In

Connecting brand and consumer

The Social, The Consumer & The Brand

The appropriateness of Social Media

A Visual Understanding

23 27 29 31 34

Contents.

05.

Paul Smith is arguably one of the most recognisable yet unorthodox brands to evolve from the UK. His in-store visual merchandising and overall customer experience mimics his own refreshing modesty and maverick personality. However, sales fell to £191 million from £209 million last year as the brand suffered from designers who appealed to a younger clientele, and in the biggest part of the business sales fell 11.3 per cent to £95 million from £107 million (Steiner, 2015). As the current highend market swells and gives way to a surge of younger designers, the question of whether such a classic, heritage-based brand can survive such expansion arises.

Fig.3 Andrew McNaughton Paul Smith print Fig.4 Paul Smith Portrait by Neil Bedford

06.

S

W

British Heritage

Lack of youth culture

Quirky

Misinterpretation of brand if not researched

Traditional

Set in his ways

Loyal Customer Base

Weird eccentricities of Paul Smith character not reflected enough in online presence

Strong sense of identity & brand direction Simplicity in tradition

Niche, Eclectic taste

Break from traditional habits

Loss of loyal customers if too experimental

Use technology as opposed to fighting it

Crossing the boundary between eccentric and OTT

Involve a wider culture to match brand values of Paul Smith, e.g. music genre and subculture

Staying on brand and not over-developing

Produce social media with sense of character

Appealing to a younger consumer without losing traditional values of the brand

O

T

PS becoming accessible without changing Paul Smith’s position in the market

07.

Fig.5 Paul Smith at the Hello My Name Is Paul Smith Exhibition, 2016

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Fig.6 Angelo Gallamini Rimini, Italy by Ari Seth Cohen

09.

the midniche loyalists

Introducing the brand loyal, anti-crowd older generation who keep the Paul Smith brand alive through their small eccentricities and big character.

Consumer Variables

This consumer is predominantly white and of middle or upper-class, generally at a later lifestage (Posner, 2011); either exiting the ‘prefamily’ stage, engaging within the ‘family’ life-stage or about to enter an early ‘empty nesters’ stage. Generally wealthy enough to buy mid-luxury brands focused on being high quality, they opt for Boden when buying highstreet and mix this with their older pieces.

They buy less frequently and are extremely brand-loyal – they know which brand stories are similar to their own tastes and so stick to them in order to achieve a defined classic look, choosing an in-store experience or straight-forward online buying process.

Consumer Trends

PERFECT PIECES – This trend takes into consideration the consumer who looks at quality items over quantity; classic pieces combined with high quality basics and investments in statement items.

ADDICTED TO NICHE – Somewhere inbetween being one-of-a-kind in society and blending in, these consumers want to be ‘one of the few’. Brand ideals, story and message are important to this consumer.

(Posner, 2011)

Curve of Innovation

Within the diffusion of innovations (Rogers, 1995), the original Paul Smith line consists of some early adopters but mainly the early majority. This represents the main bulk of people who adopt a trend as it begins to gain popularity within society, just before it noticeably hits the mass market.

Fig.7 Curve of Innovation showing Early Majority, 2016

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Fig.9 Stylish Senior, 2016

Fig.9 Eric Rutherford via Instagram, 2016

Fig.8 Stylish Senior, 2016

01.

Fig.10 Ari via Instagram, 2016

“The world is so oversupplied; not just fashion, everything.

There’s too much stuff out there and for us it’s how you have relevance in an overcrowded world.”

- Paul Smith for Evening Standard, 2016

Fig.11 Paul Smith X John Lobb, 2012

Fig.12 PS by Paul Smith (edited), 2016

Changing the Game ‘As a complement to the first line Paul Smith collection, PS

by Paul Smith is the new youthful second line that builds on the same core values of confident colour, unique print and sharp tailoring.’

(Paul Smith website, 2016)

The 12 independent lines created to cater to independent stores have been cut down to two; the original Paul Smith line and a new PS by Paul Smith dedicated to making the brand more approachable and wearable to a younger, more innovative consumer. Carefully designed silhouettes are matched with confidence and uniqueness in print expected of that of a Paul Smith collection, and playful twists are engrained into traditional design to weigh evenly with a core sense of humour which is undoubtedly on-brand. Paul Smith once told Business of Fashion “It’s always about today and tomorrow.

Nobody cares how good you used to be” and this statement couldn’t becoming more true today.

“It is difficult for brands to be everything to everyone, to stand for something that appeals to one demographic while not offending another” – FutureLab Trend Talk 2016 Through refining his collections, there is a clear separation between original and new clientele, reigning true to his original appeal. This combined with a more accessible price point and bold use of the revamped and unfussy logo separates the collection from original Paul Smith.

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Fig.13 PS by Paul Smith, 2016

Fig.14 PS by Paul Smith, 2016

The Vis Shakers

Fig.15 Dent De Man Shoot (edited), 2016

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‘Forms of communication that require longer periods of concentration are increasingly less relevant to members of Gen Viz, who prefer highly visual formats’ - FutureLab

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Fig.16 Dent De Man, 2013

Fig.17 Brian C via Instagram, 2016

Fig.18 Dent De Man, 2013

21.

Fig.19 Karlmond Tang via Instagram, 2016

Consumer Variables

Gen Vis is considered more of a mind-set rather than a particular age, as attitudes can ripple far beyond the age group that gave rise to them (FutureLab, 2016). However, in terms of this consumer being an early adopter, they tend to be younger than that of the original Paul Smith range. Representing the visual-first, early adopter culture of tomorrow, Hispanic, African American, Asian and multiracial teenagers make up 47% of Generation Z (US Census Bureau).

The targeted life-stage for this consumer is pre-family (Posner, 2011), and their diligent, digital-based social life means they place value on being esteemed within society, accomplished through opposing norms and standing out. Advancing from the Mid-Niche Loyalists, they encompass the same brandloyal behaviour and similarly remain faithful to mid-luxury brands mixed with bold design and silhouettes.

Consumer Trends

THE LIPSTICK EFFECT – This trend is noticeable however does not define them.

Due to generational circumstances, they could still be in study and so have less of an income. Combined with that of The MidNiche Loyalists and ‘Perfect Pieces’, they opt for cheaper trend pieces in conjunction with more expensive statements.

FAHSION ONLINE – The main difference between this consumer and his loyal elders is that Generation Vis are more willing and able to shop successfully online (online retailers such as ASOS reported sales up 104% in the year ending March 2009). Through the way in which the web has democratized fashion, a much wider range of consumers are able to shop online. (Posner, 2011).

Curve of Innovation

The Vis Shakers sit in the Early Adopters on the curve of innovation (Rogers, 1995), absorbing trends and incorporating them into their already established style. This consumer absorbs new ideas and appreciates change, mixing their artistic style with a current twist.

Fig.20 Curve of Innovation showing Early Adopters, 2016 Taking this consumer into consideration there is an unmistakable void in the digital presence for the PS line. The simplification in clothing lines will contribute to a healthier profit, however this lack of direct consumer interaction is missed opportunity, especially when this digital world directly influences the consumer decision-making process.

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A Visual Understand Paul Smith is an incredibly visual brand. Many can identify a Paul Smith ensemble by key visual codes such as the classic stripe. Amongst the different platforms which could be used to promote the PS by Paul Smith range, visually-driven platforms are the most successful.

23.

ding

Fig.21 Paul Smith rug, 2016

24.

“The fashion industry has been at the forefront of using social media to launch new ranges and generate discussion and excitement.

More brands including ASOS, H&M and Burberry are using Snapchat and posting on it several times per week.�

Instagram has the highest potential of communication effectiveness;

97%

of users have interacted with brands

daily

80 million photos shared

Users grew by

3 14% percentage points from

in February 2015

25.

– Mintel, 2016

The primary device tweens are using to access social media is the smartphone, meaning that going forward social media networks have to prioritise their mobile experience above other devices (Mintel, 2016). The bubble-up impacts of technology on the twenty-somethings of this era are unmistakeable. The ambitious nature of younger generations mimics their comfort with growing technology, with 61% of high school students preferring the idea of being an entrepreneur, not an employee (Milennial Branding, 2016). Creative messaging is proving more popular and the prospect of creating moods as opposed to direct messaging within branding is an intriguing way of opening a brand to more varied, versatile custom.

“Visibility is key in this era because we live in a world of images. If you don’t see yourself represented, you don’t feel like you are part of a landscape. It’s like you don’t exist.”

– Petra Collins, Founder of The Ardorous

26.

Fig.22 Paul Smith Harpers Bazaar, 2016

The Socia The Consumer & The Brand.

“Every second they are tempted by the next best thing.

Brands need to take risks and engage in an experimental way.”

– Michael Carey, executive vice-president, Fluent Group

27.

al, Within social media it is easier to appropriately define the target audience for a given advertising message, with full understanding of prevalent social trend and habit among age brackets and sociocultural environments (Bernard Okhakume for Leadership Newspaper, 2016). As social media continues to flourish for the individual, the next organic step for online platforms is for the collective; thus branding. Young adults are proven to be amongst the most susceptible to social media campaigns, suggesting that brands seeking to target younger audiences must give them an even bigger role in future campaigns (Mintel, 2016). As they continue to diversify and grow, the longevity of consumer engagement does too.

r,

Fig.23 Paul Smith website, 2016

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From the Outside,

Fig.24 Aeroplane, Criss Cross Travel, 2016

29.

TV/film productions regularly release behindthe-scenes content and fans regularly respond with creative content which can be highlighted on official social media accounts to keep a strong relationship between productions and their most passionate fans. The Walking Dead and American Horror Story’s Instagram accounts are good examples of shows using these methods effectively. In November 2015, the Social Times proclaimed that ‘Instagram is the modern day travel agent’ as imagery is a central part of travel research and planning. US research by the travel dating site Miss Travel, involving 79,000 people, found that almost half (48%) of Instagram use it to select travel destinations, while over one third (35%) use it to discover new places. Instagram is one of five most popular social platforms used by travel and tourism brands, and National Geographic has one of the largest followings on Instagram with 12.8 million followers. Additionally, the way beauty brands boost awareness via online channels has evolved in recent years, with consumers rewarded with prizes, special offers and exclusive content in return for social media posts. Finally, it will be essential to engage potential consumers and further develop existing customer relationships within the automotive market. The internet and social media provides an ideal platform for car brands to do so in the coming years. (Mintel, 2016) The question remains; is there a way that could Paul Smith could increase the knowledge of the PS by Paul Smith range, particularly online, while still reflecting his own kooky personality and inverted tailoring?

30.

In.

primary research

Within primary research, I would need to determine the effects on social media and the digital world in relation to different audiences, and whether or not this would be beneficial for Paul Smith and the PS range. I could achieve this through changing system 2 thinking to system 1, whereby the conscious, calculative and controlled brain becomes the unconscious, associative and emotional (Graves, 2010). This can be achieved through the consideration of priming, whereby participants may be prepared for particular questions, and the factor of memory as we think less than we think we think, and often make things up in the place of memories to fill a void. As well as this, ‘hot’ moments could be used in order to gage a more system 1 response. This is because it will provide a response in the moment, as opposed to a thought out, rational one. Therefore, this emotionallydriven and excitable response means that we can find accurate and true representations of how consumers feel and react to existing social media and the Paul Smith brand.

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Final word count: 1840

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REFERENCES Barker, A. (2016) Streamlining collections, Paul Smith reveals own fashion calendar fix.

Available at: https://www.businessoffashion.com/articles/intelligence/streamlining-collections-paul-smith-reveals-own-fashion-calendar-fix [Accessed: 22 October 2016].

Flynn, P. (2016) Paul Smith on David Bowie and earning his stripes. Available at: http:// www.standard.co.uk/lifestyle/esmagazine/paul-smith-on-drugs-bowie-and-earning-hisstripes-a3199566.html [Accessed: 19 October 2016].

FutureLab, The (2016) The Student Briefing Lecture. Available at: Broadway Cinema Nottingham [Accessed 26 October 2016] Graves, P. (2010) Consumerology: The myth of market research, the truth about consumers and the psychology of shopping. Boston: Nicholas Brealey Publishing.

Hiscock, J. (2015) BRAND MASTERS: Paul Smith - different cloth. Available at: http://www. campaignlive.co.uk/article/56021/brand-masters-paul-smith---different-cloth-paul-smithtalks-jennifer-hiscock-success-non-conformity-bring# [Accessed: 17 October 2016].

Mintel (January 2016) Beauty Online www.mintel.com [Accessed 25 October 2016] Mintel (September 2016) Fashion: Technology and Innovation www.mintel.com [Accessed 25 October 2016] Mintel (September 2016) Media Consumption Habits www.mintel.com [Accessed 25 October 2016] Mintel (May 2016) Social and Media Networks www.mintel.com [Accessed 25 October 2016] Mintel (June 2012) Social Media: Automotive www.mintel.com [Accessed 25 October 2016] Mintel (July 2016) Teens’ and Tweens’ Technology Usage www.mintel.com [Accessed 22 October 2016] Mintel (August 2013) The Impact of Social Media on Tourism www.mintel.com [Accessed 25 October 2016] Okhakume, B. (2016) Advertising and social media. Available at: http://leadership.ng/columns/552624/advertising-and-social-media-4 [Accessed: 18 October 2016].

Posner, H. (2011) Marketing fashion. London: Laurence King Pub. Smith, P. (2016) AW16 PS by Paul Smith advertising campaign for men and women. Available at: http://www.paulsmith.co.uk/uk-en/shop/stories/aw16/ps-by-paul-smith-advertising-campaign [Accessed: 21 November 2016].

Steiner, R. (2015) Designer Paul Smith shakes up battered fashion empire. Available at: http://www.thisismoney.co.uk/money/news/article-3356546/Designer-Paul-Smith-shakesbattered-fashion-empire-saying-firm-needed-kick-backside-latest-figures-pre-tax-profitsdown.html [Accessed: 17 October 2016].

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BIBLIOGRAPHY Unknown (2010) 50 fashion Websites (+20 new sites). Available at: http://www.awwwards. com/50-fashion-websites.html [Accessed: 1 November 2016].

Unknown (2016) Paul Smith casually launches PS by Paul Smith. Available at: http://butterboom.com/fashion/new-casual-fashion-ps-by-paul-smith/ [Accessed: 11 October 2016].

Accidental Creative (2016) PodcastL The Value Of A Good Story With Paul Smith. Available at: http://www.accidentalcreative.com/podcasts/ac/podcast-value-good-story-paul-smith/ [Accessed 18 October 2016] Barker, A. (2016) Streamlining collections, Paul Smith reveals own fashion calendar fix.

Available at: https://www.businessoffashion.com/articles/intelligence/streamlining-collections-paul-smith-reveals-own-fashion-calendar-fix [Accessed: 22 October 2016].

Carlson, C.L. (2016) Department store shares get a boost from upbeat Macy’s and Kohl’s.

Available at: http://uk.fashionnetwork.com/news/Paul-Smith-is-latest-designer-to-work-withApple-Music,721129.html#.WCYUBnecZ6- [Accessed: 25 October 2016].

Cartner-Morley, J. (2005) Paul Smith shortens and sharpens classic English look. Available at: https://www.theguardian.com/uk/2005/feb/15/expertopinions.fashion [Accessed: 26 October 2016].

Cropp shop online Available at: http://www.cropp.com/pl/en/ [Accessed: 1 November 2016].

Dezeen (2010) Dezeen Podcast – Paul Smith. Available at: http://www.dezeen. com/2010/05/19/dezeen-podcast-paul-smith/ [Accessed 20 October 2016] Flynn, P. (2016a) Paul Smith on David Bowie and earning his stripes. Available at: http:// www.standard.co.uk/lifestyle/esmagazine/paul-smith-on-drugs-bowie-and-earning-hisstripes-a3199566.html [Accessed: 19 October 2016].

Giorgio 1958 (2016) Available at: http://www.giorgio1958.com/en/home.html [Accessed: 1 November 2016].

Graves, P. (2010) Consumerology: The myth of market research, the truth about consumers and the psychology of shopping. Boston: Nicholas Brealey Publishing.

Hall, J. and Dazed (2016) Paul Smith on music, carnival and his friendship with Bowie. Available at: http://www.dazeddigital.com/fashion/article/32614/1/paul-smith-on-music-carnivaland-his-friendship-with-david-bowie [Accessed: 1 November 2016].

Hiscock, J. (2015) BRAND MASTERS: Paul Smith - different cloth. Available at: http://www. campaignlive.co.uk/article/56021/brand-masters-paul-smith---different-cloth-paul-smithtalks-jennifer-hiscock-success-non-conformity-bring# [Accessed: 17 October 2016].

Okhakume, B. (2016) Advertising and social media. Available at: http://leadership.ng/columns/552624/advertising-and-social-media-4 [Accessed: 18 October 2016].

Paul Smith (@paul_smith) Instagram photos and videos (no date) Available at: https://www. instagram.com/paul_smith/?hl=en [Accessed: 21 October 2016].

Paul Smith (@paulsmithdesign) Instagram photos and videos (no date) Available at: https://

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www.instagram.com/paulsmithdesign/ [Accessed: 21 October 2016].

Posner, H. (2011) Marketing fashion. London: Laurence King Pub. Sarwar, U. (2016) Paul Smith changes it up for A/W’16. Available at: http://attitude.co.uk/ paul-smith-changes-it-up-for-aw16/ [Accessed: 22 October 2016].

Sharkey, A. (1999) The very height of fashion: Profile: Paul Smith. Available at: http:// www.independent.co.uk/arts-entertainment/the-very-height-of-fashion-profile-paulsmith-1119906.html [Accessed: 1 November 2016].

Smith, P. (2016) AW16 PS by Paul Smith advertising campaign for men and women. Available at: http://www.paulsmith.co.uk/uk-en/shop/stories/aw16/ps-by-paul-smith-advertising-campaign [Accessed: 21 November 2016].

Stambor, Z. (2016) Why 76% of retailers are spending more this year on social media marketing. Available at: https://www.internetretailer.com/2016/09/29/why-76-retailers-are-boosting-their-social-media-budgets [Accessed: 1 November 2016].

Steiner, R. and Rupert+Steiner+for+the+Daily+Mail (2015) Designer Paul Smith shakes up battered fashion empire. Available at: http://www.thisismoney.co.uk/money/news/article-3356546/Designer-Paul-Smith-shakes-battered-fashion-empire-saying-firm-needed-kickbackside-latest-figures-pre-tax-profits-down.html [Accessed: 17 October 2016].

TED (2010) Nicholas Christakis: The hidden influence of social networks. Available at: https:// www.youtube.com/watch?v=2U-tOghblfE [Accessed: 28 October 2016].

TED (2016) Let’s design social media that drives real change | Wael Ghonim. Available at: https://www.youtube.com/watch?v=HiwJ0hNl1Fw [Accessed: 19 October 2016].

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IMAGE REFERENCES Fig.1: ES Magazine (2016) Available at: http://www.standard.co.uk/lifestyle/esmagazine/paulsmith-on-drugs-bowie-and-earning-his-stripes-a3199566.html (Accessed: 25 November 2016).

Fig.2: (2012) Available at: http://tokyofashion.com/paul-smith-2012-ss/ (Accessed: 25 November 2016).

Fig.3: McNaughton, A. Available at: http://fineartamerica.com/featured/paul-smith-andrew-mcnaughton.htmlps (Accessed: 25 November 2016).

Fig.4: Available at: https://uk.pinterest.com/pin/216032113349872793/ (Accessed: 25 November 2016).

Fig.5: My name is Paul Smith (2016) Available at: http://honeypopkisses.com/fashion-3/my-nameis-paul-smith/ (Accessed: 25 November 2016).

Fig.6: Davidson, L. (2016) Available at: https://www.we-heart.com/2016/05/20/ari-seth-cohen-advanced-style-older-wiser/ (Accessed: 25 November 2016).

Fig.7: The Women’s Code (2013) Available at: http://www.thewomenscode.com/marketing-doesnt-work (Accessed: 25 November 2016).

Fig.8: Stylish Seniors (no date) Available at: http://www.restnova.com/15-stylish-seniors-thatprove-age-is-just-a-number/green (Accessed: 25 November 2016).

Fig.9: Stylish Senior (2016) Available at: https://s-media-cache-ak0.pinimg.com/originals/3b/ b4/16/3bb41610e726e14882e7839011171f00.jpgpink (Accessed: 25 November 2016).

Fig.10: Rutherford, M. (2016) [Instagram]. Available at: https://www.instagram.com/p/BLReJw-B1Ds/?taken-by=mr.rutherfordblue (Accessed: 25 November 2016).

Fig.11: Ari (2016) [Instagram]. Available at: https://www.instagram.com/p/8T8nhmp3t3/?taken-by=stylesudest (Accessed: 25 November 2016).

Fig.12: Lobb, J. (2012) Paul Smith X John Lobb [Leather Laces]. Available at: http://www.luxury-insider.com/luxury-news/2012/08/happy-feet-paul-smith-x-john-lobb (Accessed: 25 November 2016).

Fig.13: PS by Paul Smith (2016) Available at: http://www.mens-folio.com/21511/paul-smith-launchesps-by-paul-smith/#gvb1yRDZBlZHliqY.97 (Accessed: 25 November 2016).

Fig.14: PS by Paul Smith (2016) Available at: http://www.paulsmith.co.uk/uk-en/shop/stories/aw16/ ps-by-paul-smith-advertising-campaign (Accessed: 25 November 2016).

Fig.15: PS by Paul Smith (2016) Available at: http://www.paulsmith.co.uk/us-en/shop/?Pproduct=com.othercommerce.paulsmith.shop.model.ProductGroupVersion-L-80300 (Accessed: 25 November 2016).

Fig.16: B, A. (2013) Dent De Mann Editorial Available at: http://fuckingyoung.es/floral-studio/ (Accessed: 25 November 2016).

Fig.17: Dent De Man Collection (2012) Available at: http://fuckingyoung.es/dent-de-man-springsummer-2013/ (Accessed: 25 November 2016).

Fig.18: C, B. (2016) [Instagram]. Available at: https://www.instagram.com/p/BJwd-uVAspU/?taken-by=imchanism (Accessed: 25 November 2016).

Fig.19: Dent De Man (2012) Available at: http://fuckingyoung.es/dent-de-man-springsummer-2013/ (Accessed: 25 November 2016).

Fig.20: Mond, K. (2016) [Instagram]. Available at: https://www.instagram.com/p/-6pJQaqBmF/?taken-by=karlmond (Accessed: 25 November 2016).

Fig.21: Swirl by Paul Smith (2016) Available at: http://www.therugcompany.com/uk/swirl (Accessed: 25 November 2016).

Fig.22: Fashion News (2016) Available at: http://www.harpersbazaar.co.uk/fashion/fashion-news/ news/a36415/sir-paul-smith-receives-the-legion-dhonneur/ (Accessed: 25 November 2016).

Fig.23: Paul Smith SS16 (2016) Available at: http://www.paulsmith.co.uk/au-en/shop/stories/ss16/ gufram-paul-smith-psycedelic-cactus (Accessed: 25 November 2016).

Fig.24: (2014) Available at: http://crisscrosstvl.com/travel-assistance-1/ (Accessed: 25 November 2016).

Fig.25: Paul Smith SS13 (2013) Available at: http://jomansfield.com/Paul-Smith (Accessed: 25 November 2016).

Fig.25 Paul Smith S/S, 2013