I can confirm that this work has gained ethical approval and that I have faithfully observed the terms of approval in the conduct of this project. Signed: Emily Rhodes Date: 13/05/2020
EMILY RHODES: N0728450 WORD COUNT:
1. Introduction
5. The Market
1.1 Introduction P3-4 1.2 Rationale P5-6 1.3 Aims and Objectives P7-8
5.1 Market Analysis P39-40 5.2 App Market Health P41-42 5.3 App Market Drivers P43-44 5.4 Gaming Skins Market P45-46 5.5 Gaming Skins Market Drivers P47 5.6 Market Trends P48 5.7 Market Challenges P48 5.8 Market Readiness P49-50 5.9 Competitive Analysis P51-54 5.10 Brand Positioning P55-56 5.11 Four Actions Framework P57-58 5.12 Porter’s Five Forces P59-62
2. Methodology 2.1 Data Collection Methods P11-12 2.2 Primary Methodology P13-14 2.3 Secondary Methodology P15-16
3. The Opportunity 3.1Stage 1 Insights P19-20 3.2 The Problem P21-22 3.3 The Business Opportunity P-23-24 3.4 Initial Concept Testing P-25-26
4. The Big Idea 4.1 Concept Summary P29-30 4.2 The Business Model P31-33 4.3 Business Objectives P34 4.4 Final Concept Testing P35-36
6. The Consumer
6.1 Value Proposition P65 6.2 Consumer Analysis P66 6.3 Customer Personas P67-70
7. Branding 7.1 Brand Heart P73-74 7.2 Brand Pyramid P75-76 7.3 Brand Guidelines P77-80
8. Strategy
11. Management
8.1 Marketing Mix P83-94 8.2 TOWS Analysis P95-96 8.3. Growth Strategies P97-100
11.1 Risk Analysis P139-140 11.2 KPI’S P141-142
9. Communication
9.1 Communication Objectives P104 9.2 AIDA & DRIP P104-106 9.3 Instagram P107-110 9.4 Wesbite P113-114 9.5 Email Marketing P115-116 9.6 Launch Campaign P117-118 9.7 Influencers P119-120 9.8 Brand Ambassadors P121 9.9 Refer a friend P122 9.10 B2B Marketing P133 9.11 Year 2 & 3 Marketing P124
10. Finance 10.1 Start-up Costs P127-128 10.2 Sales Forecast P129-130 10.3 Profit & Loss P131-132 10.4 Cashflow & Sensitivity P133-134 10.5 Marketing Budget P135-136
12. Conclusion
12.1 Conclusion P145-146
13. “The boring bit” 13.1 References P147-150 13.2 Bibliography P151-166 13.3 Image References P167-174
1.
1. 1.
introduction 2.
‘‘
.”
‘ (McDowell, 2019)
Whilst fast fashion has revolutionised the way society consumes clothing (James, 2019), the pressing need to address its environmental cost, coupled with the new digital age, highlights that the physicality of fashion may be outdated. Whilst digital fashion offers a positive solution, other than trial collections and auction pieces, its applicability to the mass market is less clear. Prior to this report, an extensive research project explored the fashion consumption behaviours of Generation Z consumers. This report will propose an innovative business concept, for the digital clothing market, based upon the key insights highlighted in Stage 1. The key areas for opportunity will be explored to develop the chosen concept, and the current market will be analysed to ensure consumer and market readiness. The strategic direction and financial feasibility will then be presented to project the success and longevity of the business.
3.
4.
Prior research concluded that the current understanding of sustainable fashion avoidance, in Generation Z consumers is lacking, and that little is published in terms of explaining the external factors behind the sustainable fashion attitude-behaviour gap. Stage 1 provided insight into these external factors, and highlighted that considerable interest towards purchasing fashion more sustainably exists. However, at present no brands provide this, whilst meeting the external factors, providing an opportunity for an innovative business concept. The report has followed the SOSTAC framework (Appendix 1), building upon the available research, to create a detailed and accurate marketing plan that reflects the needs of the market place. The process provided clear steps so the proposal can be easily communicated and implemented to achieve its goals.
5.
6.
7.
aim To build upon Stage 1 research insights to realise an innovative yet viable business concept, that utilises comprehensive customer and market research, to provide an alternative mode of fashion consumption.
objectives 1. To critically analyse the entry markets, considering the macro and micro forces impacting these, to evaluate the attractiveness and sustainability of the concept. 2. To present a well-designed strategic business plan that aligns its objectives to fulfil the needs of the target consumers. 3. To create a strong brand identity that appeals to the target market, through comprehensive brand guidelines. 4. To understand the internal, external and financial risk and rewards of scaling the concept to the mass market, to inform a realistic growth plan. 5. To propose carefully selected marketing communication activities that successfully targets the intended users, to ensure a profitable business concept.
8.
2. 9.
10.
INDUSTRY INTERVIEWS
4.
4.
ective met o bj
ective met o bj
m
FOCUS GROUP
5.
o b
et
primary
ct je
ive
obje c t ive
met
2.
obje ct ive
t e me
et
ONLINE SURVEY
tiv c je
m
o b
EMAIL RESPONSES
3.
4.
INSTAGRAM POLLS
INFORMAL GROUP DISCUSSION
11.
JOURNAL ARTICLES
ective met o bj
ct je
m
ONLINE BLOGS
2.
o b
et
secondary
ective met o bj
ive
obje c t ive
met
5.
obje ct ive
t e me
et
BOOKS
tiv c je
4.
m
o b
1.
GOV REPORTS
5.
1.
WEBSITES
NEWSPAPER ARTICLES
12.
what?
which? Quantitative
why? To gain insight into consumer attitudes and behaviour regarding fashion consumption and social media, as well as gauge existing awareness around the concept of digital fashion.
Qualitative
As a traditional face-to-face focus group was no longer feasible, an online video focus group was undertaken instead. Its purpose was to gain feedback on the chosen concept, to ensure successful targeting of the target market and understand attractiveness.
Qualitative
To gather initial consumer feedback on 3 preliminary ideas, the ‘rose, bud and thorn’ technique was undertaken. Each person analysed what they believed to be a positive and negative aspect of the ideas, and identified an opportunity for growth helping to reach a final concept.
Qualitative
As a pioneer in the field of digital fashion, Matthew Drinkwater was interviewed to gain expert feedback on the final concept, and provide insight into the resources required to ensure its commercial viability.
Qualitative
Two experts in the field of digital fashion and fashion innovation were approached, to gather industry feedback on the commercial feasibility of the concept.
Quantitative
To understand consumer preferences regarding the brand's image, to be confident that its visual approach would appeal to the chosen target market.
13.
advantages & limitations online survey
email interviews
The survey meant a large sample of data could be obtained quickly and at minimal cost (R, Evans and Mathur,2005). Although, as the survey was posted on specific social media channels the data is immediately limited to people who have social media and is likely to give more favourable feedback than those whose don’t use social media, limiting its representativeness. However, as the concept is a digital-only business, it is especially aimed at social media users and so assumptions can be confidently made from the data. Furthermore, posting a survey online means there is little control over who completed it. Data from nonGen Z consumers could be included in the results, affecting the successful targeting of 18-24-year-olds. To overcome this, subsequent qualitative methods were conducted directly with the target market.
As face-to-face feedback was infeasible, email provided a practical alternative, that overcame geographical and financial barriers (Hawkins, 2018), to collect the data quickly. It increased the likelihood of responses, as participants could respond at their convenience. However, as emails often produce concise answers (Hawkins, 2018), vital information may be missed, inhibiting the quality of the data leading to flaws in the concept. Furthermore, emails excluded the opportunity to probe respondents to expand their answers into more detail, so the reasoning behind these could be fully understood. Therefore, answers could be driven by an ulterior agenda and conclusions drawn from these may be inaccurate. To mitigate this online video interviews were subsequently undertaken.
industry interviews
focus group As all participants were University students, results are only representative of one group of the Gen Z population, which could affect the wider generalisability of the results. However, as they were all at the same life stage, participants shared commonalities (Citizen’s advice, 2015), decreasing the pressure to conform, and so increasing the likelihood of accurate results. On the other hand, the focus group was ‘ready-made’ as participants were an existing group of friends, and so participants were likely to have similar views on life experiences and have similar backgrounds. Therefore, the data is not from a diverse range of participants limiting its repetitiveness.
group discussion This method meant flaws in the concepts could be analysed quickly (Mitre, 2020) to avoid future difficulties. Furthermore, new insights could be gathered from like-minded individuals on how to improve the chosen idea ensuring a strong final concept.
14.
This overcame the limitations presented in the email interviews, as it allowed active engagement with the interviewee, to collect information-rich responses and uncover the motive behind these. However, as an expert actively working with brands on similar projects (Appendix 4), Matthew may have omitted important details surrounding the technological processes required for the concept, to protect existing partnerships and avoid a conflict of interest. The data may therefore not be reflective of reality leading to flaws in the concept.
online poll Online polls meant a variety of images could be presented to gather consumer data on preferences quickly. However, as participants could only vote on their favourite, they could not explain the reasoning behind their choice, which could affect the success of the visual approach in different scenarios.
what?
why? To analyse studies on clothing consumption behaviour to inform the business plan and give strategies academic grounding.
Journal articles
bookS
To gather successful marketing theories and models to analyse the current market environment and support strategy development.
newpaper articles
To gain insight into the socio-economic and political affairs, occurring in local and global society, to analyse how these will impact the business concept and form subsequent strategies.
government reports
To collect official statistics regarding UK clothing consumption and current sustainable fashion strategies, to accurately inform the business plan.
websites & BLOGS
To fill any gaps remaining in the research after previous methods had been exhausted
15.
advantages & limitations Journal articles often undergo multiple reviews before publication, although this increases the credibility of the data, it is a time consuming process (Shuttleworth, 2020), meaning the research may no longer be as relevant to the current landscape, affecting the successful targeting of consumers. To mitigate this recent articles such as newspapers were also analysed. Similar to journals, books are often written over long periods of time (CQUniversity, 2019) and may not be an accurate source for current information. However, as they were used for a source of traditional theories and models, these are likely to remain the same over time, meaning they are still a valid. Despite providing up-to-date information, newspapers are often politically bias towards a certain party. BBC News was the primary source and although publically owned, Brexit reporting highlighted bias towards the right (Deacon et al, 2016), meaning it may contain conservative propaganda limiting its reliability. Government reports can contain optimism bias, portraying a country and it’s government in a positive light to avoid public criticism. Policy weaknesses may not be disclosed or their benefits may be exaggerated, limiting the data’s accuracy. However, they provide the most accurate source of statistics, due to the manpower behind collecting them. Although these provided the quickest way to gather a wealth of research outside the primary scope, there are little regulations regarding content (GOV.UK, 2018). Information may be bias towards the authors opinions limiiting the accuracy of the data, however using these to enhance previous methods means conclusions can still be drawn.
16.
3. 17.
18.
The social gratification received from posting a new outfIt on Instagram is a significant driver in the over-consumption of fashion among Gen Z consumers.
Individual style and convenience are crucial to Generation Z consumers and often outweigh environmental concerns for the planet.
(Rhodes, 2020)
19.
Consumers are unaware of the effects of their consumption and believed environmental damage of fashion is purely production, highlighting a need for consumer education.
Instagram influencers facilitate impulse buying, providing an explanation as to why high proportions of Gen Z wardrobes are unworn.
A strong consumer demand for honesty and transparency across the fashion industry regarding production and consumption.
20.
Strong consumer beliefs exist that price is the main controlling factor in fashion purchases.
fIgure 1 (Figures sourced from Wrap, 2020)
21.
Prior research highlighted that whilst Gen Z consumer possess a desire to shop fashion more sustainably, a gap exists between their intention to purchase, and actually purchasing sustainable fashion, due to external factors (Rhodes, 2020). Gen Z use fashion to express their personal identity, particularly on Instagram. The social gratification received when posting a new outfit, has produced a reluctance to been seen in the same outfit twice (Rhodes, 2020), driving over-consumption, shortening garment lifecycles and creating huge amounts of waste (Figure 1). Coupled with the cheap cost and convenience of fast fashion (James, 2019), these factors are surpassing the consumer’s environmental concerns when purchasing.
Gen Z’s reluctant attitude to be seen in the same outfit twice, on Instagram, is fuelling over-consumption.
Likes and Comments on social media provide social gratification for Gen Z. If these decrease because viewers have seen the outfit before, the social gratification stops.
A solution must enable the social gratification of a new purchase whilst minimising waste. 22.
Trying to persuade consumers to buy less clothing will not be effective in reducing over-consumption, as it doesn’t provide the social gratification of a new purchase. A solution must provide this, whilst minimising the environmental cost if it is to be successful with Gen Z consumers. This presents an opportunity for a clothing brand that provides consumers with access over ownership, extending the lifecycles of garments and offers “insta-worthy� brands and styles. The research highlighted that consumers lacked knowledge surroudning the direct effects of their fashion consumption (Rhodes, 2020), so if DRESSD is to encourage a change in consumption behaviour, an education element must be present.
23.
24.
subscription
‘pre-loved
digital
A brand extension where consumers can rent a limited number of outfits, from brands specifically targeted to them, for a reoccurring monthly fee.
Where consumers can buy second hand items directly from a section of a brands website. They print free returns label to send their unwanted items back to the brand in exchange for discount codes.
Where consumers can purchase virtual outfits, from their favourite brands, specifically for social media.
25.
“
Virtual clothing is something I’ve never heard of, but when explained, it fulfils everything I’m looking for in terms of fashion right now.” -Participant 5 (Appendix 2)
Based upon the Stage 1 insights, three concepts were generated to fulfil the business opportunity, and were presented to the target consumer for initial feedback (Appendix 2). The ‘Pre-Loved’ concept was well received with the group and was something they would personally use. However, the concept was quickly dismissed due to its lack of growth potential and long term monetisation. ‘Digital’ received significantly positive feedback and will be carried forward as the final proposal. However, until the concept of digital fashion was explained, consumers were not aware of it, showcasing an innovative concept but one the market may not be ready for. To be successful, brand communication must focus on building consumer awareness of digital fashion and its functionality, otherwise consumers will not be motivated to purchase. The ‘subscription’ aspect, of concept one, highly appealed to the group and so will be included in the final offering.
26.
4.
4. 27.
28.
29.
DRESSD is the world’s first digital clothing app, that provides clothing specifically for Instagram, enabling consumers to have fun with clothing without producing waste. Aimed at Gen Z consumers, the app functions as an online shop for virtual garments, retailing pieces from the latest brands to household names. Focusing on shifting consumption attitudes and behaviours of 18-24 year olds, DRESSD aims to change the way people think about fashion.
30.
“
The most effective way to increase the likelihood of action are to make it easy and fun and to make unhealthy behaviours more difficult.
- Juarez, 2018
31.
The subscription business model has been disrupting business across all sectors in recent years (Rhodes, 2020), stagnating traditional retail models. DRESSD will tap into this and operate as a subscription model to offer access over ownership to its consumers. DRESSD can then limit the number of garments accessible to customers, at any given time, to avoid having to constantly upload new items. It will also prevent Gen Z’ s habitual over-consumption (Rhodes, 2020) to help change the way they think about fashion. A website, acting as an educational hub, will be pivotal in achieving this as the lacking knowledge of the detrimental effects of clothing consumption, among Gen Z consumers, was highlighted as a significant barrier in the adoption of sustainable fashion. Although knowledge alone is not enough to change behaviour (Juarez, 2018), combining this with an app where consumers can easily fulfil their fashion needs (Key Insight 1 & 2, page 15) should motivate positive changes in behaviour.
32.
revenue streams 1-3 .4% 2 7 15 .4
%
4-6
DRESSD will launch with two revenue streams of different tier subscriptions. As the app functions in conjunction with Instagram, the quantity of each subscription has been based on the Instagram post frequency of the target market. creator subscription A standard subscription where consumers can access the digital clothing basics with 3 garments a month. innovator subscription A standard subscription where consumers can access the digital clothing basics with 3 garments a month.
Instagram Posts per month (Appendix 3)
business structure DRESSD will register as a Limited Company under companies’ house so that the business and its finances are legally separate from the directors (GOV.UK, 2020). This will limit the financial risk to investors, as no one will be personally liable, increasing the likely hood of recruiting future shareholders. 33.
business objectives To become the UK market leader for digital fashion and retain this over 3 years. To grow sales by 35% year-on-year through strategic marketing initiatives. To diversify the brand offering over 3 years to aid in customer retention.
34.
“
“
I would definitely use this, I like the idea of trying out new styles of clothes that I wouldn’t usually wear, I’m the sort of person to only wear an outfit once, so this is perfect for me.
Yes! I would definitely use a service like this if I could have a trail before had a trail beforehand to see how it worked and what was available, I very rarely wear an outfit more than once so it would be beneficial for me and also a cheaper alternative
pa r
pa r
) x6 i tici d pant 1 (appen
) x6 i tici d pant 2 (appen
To understand the attractiveness of the concept, the idea was discussed with female Gen Z consumers aged 20-22.
35.
The concept was also discussed with industry professionals, who expressed an interest in assisting with development. This strongly validated the concepts commercial feasibility and viability.
“
“
This looks like a great idea and is something that a lot of people have been looking at for a while… If you do decide to ever go ahead with this, please do get in touch with us once you have an MVP in place we can hopefully help you to scale your idea.
M oi nR o be
It looks great, there’s been quite a lot of people looking at that idea and it’s something were really interested in doing right now.
M
5) x i d en rts-Islam (app
36.
at th ew D
e rinkwater (app
ix nd
4)
5. 37.
38.
A PESTLE Analysis (Appendix 7) has been used to analyse the external market environment. The most relevant factor from each category has been selected to provide an understanding of the threats and opportunities impacting DRESSD, and how these can be acted upon. THREATS THREAT BUT OPPORTUNITIES OPPORTUNITIES
THREAT:
BRAND IMPLICATION:
ENVIRONMENTAL: The March 2020 budget revealed a billion-pound package for environmental measures (BBC NEWS, 2020). However, they lack urgency considering the UK is currently off target to meet its upcoming carbon budgets (TheCCC).
With sustainability at the heart of DRESSD it welcomes the new regulations as they force business to become more environmentally aware. However, tighter more radical policies are anticipated in the Autumn budget to help meet net zero targets. It is crucial that DRESSD follows these and aligns itself accordingly.
LEGAL:
From 1st April 2020, the National minimum wage increases for all age brackets, 25 and over is now ÂŁ8.72 per hour (Gov. co.uk ,2020), an increase of 51p.
DRESSD must factor this in to its strategy when considering how many people to employee and account for this in its finances. The brand must constantly be aware of the changes to the minimum wage to ensure it is always paying its employees fairly. 39.
ECONOMICAL:
The rental clothing market has seen significant growth over the last few years and this is expected to continue (Felstead and Halzacl. 2019).
SOCIAL:
The ‘Who made my clothes?’ movement has gained significant traction among consumers in 2019 (Blanchard, 2019), bringing about wide spread demand for transparency from brands about their supply chains and across the industry. TECHNOLOGICAL: Two-thirds of CEO’s are now focusing on digital strategies (Gartner, 2019).
POLITICAL:
The UK left the European Union in January 2020, but still abides by EU trading relationships until the end of the transition period(BBC News, 2020). No deal could mean new checks and tariffs are enforced on goods leaving and entering the EU.
Although rental services pose a threat to DRESSD as they fulfil similar consumer needs, their growth is beneficial for the brand as it proves consumers are favouring access over ownership increasing the likelihood of DRESSD’s success. They also do not provide a completely digital or sustainable solution due to transport pollution and end of life garments. Brands who are non-complaint or are seen to have un-sustainable/unethical supply chains may risk consumer backlash. As sustainability is integral to DRESSD ethos this should have little direct impact. However, if DRESSD is seen to be working with these brands it contradicts DRESSSD values and authenticity may be lost among consumers.
As more companies focus on digital solutions, DRESSD must closely follow technological advancements and utilise the newest soft wear to continually innovate the user experience. DRESSD’s strategy must be adapted to retain its USP and stay ahead of the competition.
As DRESSD functions at an all-digital capacity the finalised trade deals will have little impact on the brand directly as no physical trading occurs. However, as DRESSD relies on collaboration with fashion brands, if they are struggling due to these, they will be less likely to take part in new projects and therefore the ability of DRESSD to bring brands on board may be impeded, limiting the range offered. 40.
Figure 2 £1.9B
2014 2015 2016 2017
2018 2019
Figure 3 £3.6B
2020 2021
2022
The mobile app market saw strong growth between 2018 and 2019 up 33% (Figure 2) as consumers are downloading apps more frequently and are more willing to pay upfront for in-app purchases (Emmanuel, 2019). This is set to continue with a rise of 83% projected between now and 2024 valuing the market at £3.63 billion (Figure 3). Although the market is past the exponential phase (Figure 2), its continued positive growth provides strong market conditions for launch. However, the majority of app users are quick to delete apps they aren’t regularly using (Emmanuel, 2019) suggesting that apps often have a high turnover rate. To avoid this, DRESSD must be able to easily integrate into the user’s daily lives, by implementing a strong communication strategy, to ensure users are continuously engaged along the consumer journey.
2023 2024
41.
Figure 4
+807%
+8.3%
Figure 4 illustrates that paid apps have seen the strongest growth across app categories up 807% from 2018. Free apps with in-app purchases have also experienced significant growth up 28.5%. As paid apps with in-app purchases grew the least (Figure 4), it is clear consumers are less inclined to pay multiple times. As DRESSD is a subscription model, the different tiered subscriptions will be purchased inside the app, meaning the app must be free to download if it is to be successful among consumers.
+28.5%
ÂŁ ÂŁ
42.
Being the first digital natives (Francis, T., Hoefel, F., 2018), Gen Z are driving app market growth as they define the world through mobile. Using apps across all aspects of life from shopping to socialising to banking (Emmanuel, 2019), they engage with non-gaming apps 30% more often than the rest of the population (App Annie, 2019). It is clear DRESSD is more likely to be adopted by this demographic and communication efforts should be targeted specifically to meet their needs.
43.
This worldwide penetration of smarts phones has been instrumental in driving app market growth, with global smartphone users surpassing three billion (O’Dea, 2020), it provided an opportunity to monetise through mobiles. As phones enabled access to the internet anywhere, apps provided a secure and easy way for consumers to access daily life. Although smart phone sales have begun to level off (O’Dea, 2020), the introduction of 5G phones is likely to reignite growth, improving the functionality of apps creating new capabilities.
44.
As the digital clothing market is still in its early stages (Appendix 8) limited data exists about its health and size. However, the gaming skins market is similar in that it involves trading virtual garments. Although for avatars instead of consumers, they are purely cosmetic and provide no improved game function (Emmanuell, 2019), meaning they can be analysed to give insight into the digital clothing market’s potential.
45.
The gaming skins market has been experiencing significant growth in recent years valued at $30billion in 2018 it is set to continue. Projected to surpass $50 billion by 2022 (Juniper Research, 2018), it has been fuelled largely by the adoption of Free-to-Play models (Koksal, 2019), demanding new revenue pathways. The popularity of trading virtual fashion in terms of real-life brands, has been showcased through successful collections such as Louis Vuitton for League of Legends and Karl Lagerfeld in Kim Kardashians Hollywood game, which has generated more than $240 million in sales since its launch (McDowell, 2019). Although the market has a long way to go in terms of decentralising trading (WAX.io, 2017) and regulation, it proves that consumers are already willing to spend significant amounts on digital assets. If outfits for avatars can be effectively monetised, digital clothing has the potential to succeed beyond gaming.
46.
The free-to-play revenue model recently adopted by games is significantly driving market growth (AndroitMarketResearch, 2019). By lowering this barrier of entry to users, more players can access the game. The more saturated gameplay is the more likely players are to want to stand out, increasing consumer spending on personalised gaming skins. If DRESSD was a free-to-download app with in-app purchases it can lower its consumer entry and increase the likelihood of purchases.
47.
As the digital fashion market is yet to be fully established (Appendix), at present no market trends exist. This presents an opportunity for DRESSD to pave the way for following brands and set the market tone. DRESSD aims to showcase that rapid advancements in technology can be utilised to disrupt the current industry and that this is essential is fashion is to have a sustainable future.
Whilst the potential of digital fashion is becoming more apparent to brands, it is important to note, that traditionally fashion designers are not trained in 3D modelling and sampling (McDowell, 2019). This makes it difficult for digital fashion to be mass-produced, as limited designers cannot keep up with mass-market demand, inhibiting market growth. However, the 3D digital design package currently implemented at some universities is expected to be integral to the curriculum in 3 years (Mitre, 2019). If more 3D designers are trained, the capacity for digital clothing increases, providing opportunity for growth. Despite this, market growth potential is restricted by the accessibility of the technology required to streamline the process, until this is widely available digital clothing will remain a niche. 48.
Figure 5 =10%
Aware of Digital Fashion
Would use Digital Fashion
The graph shows that although the concept of digital fashion is relatively new (McDowell, 2019), consumer awareness is low, as 30% of survey participants were aware of digital fashion. However, 82.9% agreed they would use it in the future. In contrast, when shown the Carling’s digital collection nearly two-thirds said they would not be interested in using it, due to wait times between purchase and the final image and the selection of styles available (Appendix 3). To mitigate this, DRESSD must invest in technology that can apply the virtual garments instantly, to eliminate wait times, and stock styles from brands popular with Gen Z consumers. It is essential that DRESSD tailors its offering specifically to the target consumer if it is to fill the gap in the market and capitalise on the high consumer interest.
49.
Figure 6 Early Majority
Late Majority
Early Adopters Laggards
Innovators
Customers 2.5%
13.5%
34%
Time
34%
16%
The Digital Clothing market is currently in the early adopters’ stage (Figure 6) as although general consumer awareness is low, when informed about the concept, a large proportion are interested in using it (Appendix 3). Although Carling’s digital clothing collection ‘sold out’ in the first week of launch it was largely purchased by influencers (Carlings, 2018), suggesting it may be seen as unattainable by the average consumer. If DRESSD is to overcome this, its communication strategy must focus on raising consumer awareness and showcasing the accessibility of digital fashion, which is currently not offered. However, further research has found this is because existing technology is not currently equipped to support the trend to the mass market (Semic, 2019). Lead times to create 3D garments are not yet compatible with mass demand (McDowell, 2019) incurring high costs for a business. As technology develops the process is likely to be streamlined, but this is heavily reliant on technological advancements. To alleviate this DRESSD will work with The Fashion Innovation Agency, who already possess the means to help commercially scale the idea (Appendix 4). 50.
A Competitive Universe Analysis was used to understand the current competitive landscape, so DRESSD can clearly differentiate its offering. Although the brand has no direct competition, varying levels of competitors have been visualised to understand where DRESSD sits within the market and to illustrate its USP. 51.
Level 1 competitors were identified as those who provide a similar service to DRESSD. The Fabricant is the world’s first digital fashion house (TheFabricant, 2020) however, they only develop digital couture bringing in over $25,000 (McDowell, 2019) due to the cost of creating end-to-end digital garments. Whereas, Carling’s digital collection was a temporary experiment not for profit. A second drop was scheduled but never executed, suggesting the cost of development outweighed the payoff. Although these brands both offer a digital clothing service, they are not direct competitors as neither cater to mass-market demand, unliked DRESSD.
Level 2 competitors were identified as those who fulfil similar needs to DRESSD, however, they are not level 1 competitors as they still function at a physical capacity. Second-hand platforms, like DEPOP, and rental brands, like Hirestreet, provide a sustainable consumption alternative by extending the life cycle of garments. Despite this, they are not completely sustainable, as the transport from delivery still has an environmental impact presenting an opportunity for brands to go further.
Level 3 competitors were identified as those who do not possess any similarities to DRESSD but are the target consumer’s main source of fashion consumption Rhodes, 2020. Although fast fashion brands provide no sustainable alternative, they present significant competition in that DRESSD must persuade consumers to shift their consumption from these, if the brand is to be successful. 52.
price point:
price point:
price point:
-Starting from £25,000
-$10-$30
-Seller determined. -Selling fee. -Paypal fee.
offering:
offering:
offering:
-World’s only Digital Fashion House, offering phy-digital experiences and digital coture.
-First digital clothing collection specific for social media.
-Peer-to-peer social shopping app. Buy and sell unique items from around the world.
needs met:
needs met:
needs met:
-A new and innovative concept.
-Sustainable consumption alternative. -Innovative concept.
-Sustainable consumption alternative. -Lower prices than direct from brands.
strengths:
strengths:
strengths:
weaknesses:
weaknesses:
-Temporary collection. -Digital designers had limited capacity as items were manually fitted. -High prices for one digital garment.
-High selling fees. -Consumers often scammed. -High volume off app fault complaints.
-Building awarness of digital fashion. -Pathing the way for other digital fashion brands. -Provides digital experiences for brands without the capacity.
weaknesses: -Unable to cater for mass market demand.
-Zero negative envionrmental impact. -Innovative concept. -’Sold out’ within a week. -Unisex collection.
53.
-Extend garment lifecycles. -Provides a platform for niche designers and independent sellers.
price point:
price point:
price point:
-£8 for 4 day rental - £172 for 16 day rental. -Rental fee.
-£2-£90. -Student Discount. -Frequent Sales.
-£2-£400. -Student Discount. -Permenant Sale Section.
offering:
offering:
offering:
-Women’s occasion wear, from luxury designers, available to rent at a fraction of the price.
-The latest womens fashion. A wide range of styles at great prices.
-The latest fashion and trends in womenswear, menswear and beauty.
needs met:
needs met:
-Latest styles to be on trend. -Next day delivery for instant gratification and convenience. -Low prices, to buy more for less.
-Next day delivery for instant gratification and convenience. -Diverse range of brands in one place.
strengths:
strengths:
needs met: -Access over ownership. -Luxury items at a lower price. -Sustainable consumption alternative.
strengths:
-Try On Sevice, to increase customer satisfaction. -Extend garment lifecycles. -’The Edit’ creates an intercative community.
-Large customer base. -Successful celebrity collaborations. -Strong social media presence, following + engagment.
weaknesses:
weaknesses:
-Large carbon emissions from high delivery and return rates. -Low social media engagement. -Do not offer refunds = dissatisfied customers. -Only offers occasionwear.
-Significant environmental impact. -Unethical garment production. -Social media channels promote over-consumption. -Low product quality and high return rate.
54.
-Marketplace showcases niche designers. -Share products straight to social media. -Online fit assistant improve customer statisfaction.
weaknesses: - Unethical garment production. -High return rates creating high levels of transport pollution and plastic waste.
sustainable
niche
mass market
unsustainable 55.
Positioning varying levels of competitors has illustrated DRESSD’s USP within the fashion market. As no brands currently offer, sustainable method of consumption, for the mass market, it provides a strong point of differentiation for the brand. Whilst the direct market space is currently unoccupied it is imperative to monitor emerging digital fashion brands if DRESSD is to retain strong market differentiation.
56.
-Clothing waste -Transport pollution -Physical garments
-Selection of choice -Access to luxury designers -Access over ownership
-Price vs physical garments -Environmental Impacts -Use of raw materials
-Social media specific clothing -Guilt free shopping -New consumption behaviours
57.
The Four Actions Framework has been used to illustrate how DRSESD creates value innovation. The brand enters an uncontested market space by eliminating the use of physical garments and the production of waste, by offering digital clothing for social media to the mass market. The competitor analysis and four actions framework clearly illustrates that DRESSED is pursuing a blue ocean strategy, as the current market space is untainted by competition and shows ample opportunity for growth (Appendix 9). However, it is important to note that with rapid advancements in technology (Gartner, 2020), the fashion industry is looking for more digital solutions, meaning there is likely limited time within the blue ocean. DRESSED must continue to adapt and innovate its strategy, utilising the latest technology, if it is to retain its gap in the market and avoid dropping into the red ocean.
58.
power of buyers high
competitive rivalry low
power of suppliers low
Threat of new entry medium
Threat of substitutes medium
Porter’s 5 forces model has been used to analyse the competitive forces impacting the market, to understand how these might impact the profitability of the concept and inform business strategies. 59.
competitive rivalry Competitive Rivalry is low as although there are two other brands functioning within the digital clothing market, DRESSD has no direct competitors due to its USP. The brand holds competitive advantage over its primary competitors by offering an instant service for mass market demand. Whilst level 2 competitors provide a sustainable offerig, they do utilise cutting-edge technology or provide an all-digital solution. Threat of new entrants Due to the current climate, brands are being forced to “engage and experiment with immersive technologies (Roberts-Islam 2020), meaning the possibility of new entrants from both-start-up’s and existing brands is high as they look for ways to digitise fashion. Despite the high initial costs and advanced technology required (Appendix 4) , the growing consumer demand for sustainable fashion solutions will likely see more brands entering the marketplace. Established brands with existing capital expenditure, will be able to overcome these entry barriers more easily than start-ups. However, the increased accessibility of external finance, especially regarding sustainability (Gov.uk, 2019), provides a possible route for entry. Threat of substitutes Whilst other brands exist that provide a sustainable solution to fashion consumption, such as second-hand sites and rental brands, non are completely sustainable as their delivery element still has a significant environmental impact (Davis,2018). 60.
power of suppliers DRESSD sells no physical products and so is not reliant on suppliers, apart from the initial technology. However, partnerships with other brands are integral to the business model. Those brands are heavily reliant on suppliers to produce their garments, which could have a knock on effect for DRESSD. The bigger brands are more likely to have multiple suppliers and strong distribution channels reducing supplier bargaining power. power of buyers Bargaining power of buyers is low as being the only instant digital clothing service within the market, unlike with fast fashion brands, consumers are not able to check and compare prices with others increasing the liklihood of loyalty. However, with an average of 1, 434 mobile apps released on the App Store everyday (Emmanuel, 2019) strong brand awareness must be generated to be able to reach consumers.
61.
The model has highlighted that the entrance of new digital fashion brands to the market is inevitable but is reliant on technological advancements. DRESSD must implement strategies, such as loyalty programmes and new product launches, to remain attractive to consumers, otherwise, the concept risks becoming obsolete. Investment into improving the app’s technology is essential for brand differentiation.
62.
6. 63.
64.
DRESSD HELPS GENERATION Z EXPRESS THEIR FASHION IDENTITY, WITHOUT PRODUCING WASTE, BY PROVIDING THE LATEST TRENDS DIRECTLY FOR INSTAGRAM.
65.
consumer analysis
Consumers such as DRESS TO ADDRESS can be categorised as ‘Early Adopters’ (Appendix 8), who are willing to take risks and seek out new products to try and share with their peers. It is essential to form relationships with these consumers as they are often very active on social media (Interaction Design Foundation, 2020) to voice their options on products. DRESSD can capitalise on this to earn brand awareness and generate new customer acquisition. Consumers such as DRESS TO IMPRESS and DRESS TO EXPRESS like to engage in the latest trends once they’ve been set and can be identified as ‘Early Majority’ (Appendix 8) They embrace innovative products but only after seeking out further knowledge and observing Early Adopters first. DRESSD must focus communications on targeting these consumers, providing reassurance that the brand can benefit them to pursuade them to purchase. 66.
Precise customer personas are essential to effectively align marketing communication to the intended consumers (Revella, 2015). By understanding their needs, communication can focus on how DRESSD solves these, motivating them to purchase.
67.
@chloeboggx
DRESS TO ADRESS Jobs: Only shops fashion sustainably. Wants her clothing to make a statement. Wants to inspire others to change their consumption. Pains: Lack of tranparency from brands. Fashion fashion brands promoting over-consumption. Difficulty finding brands who are stylish and sustainable. Motivations: Willing to pay more for sustainable brands. Supporting ethical and vegan brands. Consuming less plastic.
24 Age
Occupation
68.
Location
Hobby
@emilymather
DRESS TO IMPRESS Jobs: Wants to look good and impress peers. Wants to be seen in designer labels. Wants to keep up with the latest trends.
Pains: Low disposable income limits access to brands and styles. Having to send items back that don’t fit or are poor quality. Waiting for delilveries.
Motivations: Promotional offers or discounts. Looks to influencers for style inspiration. Posting the perfect picture. Brands that offer Pay Later services such as Klarna.
21 Age
Occupation
69.
Location
Hobby
@jamesrozza
DRESS TO EXPRESS Jobs: Wants to buy unique/vintage pieces. Wants to be seen wearing street brands. Wants to be
sustainable but doesn’t want to break the bank.
Pains: Sifting through second-hand sites. The faff of selling unwanted items on second hand sites. Green-washing from highstreet brands. Motivations: Supporting local brands/businesses. Likes brands who stand for more than profit. Finding unique pieces to experiment with.
18 Age
Occupation
Location Hobby
70.
7.
7. 71.
72.
mission
To inspire young people to have fun with clothing, to express their identity without producing waste.
vision
Be the leading brand for digital clothing, changing the way people think about and consume fashion to bring about a more sustainable future.
73.
values
break the mould
make a difference
Clothing has been the same for centuries, we believe in a new way of dressing. We want our consumers to have fun and experiment with new ways of doing things to break convention.
We know our consumers care about the future. We want our customers to believe their actions count and know that they hold the power to change fashion for the better.
be in the know
get involved
We believe in transparency. Fashion can be a grey area and we are committed to educating consumers about the industry and the part they play, so that they can make informed decisions.
We believe everyone should be able to express themselves through fashion. We provide an affordable way to access styles and designers that you otherwise couldn’t before.
74.
brand essence Inspiring, innovative
brand personality honest, friendly, fun
emotional benefIts DRESSD inspires users to have fun with clothing to change their current physical attachment to clothing, by providing clothing specifically for Instagram, consumers can still fulfil the social needs on Maslow’s Hierarchy (Appendix), through the social gratification of posting it directly to the site.
functional benefIts DRESSD provides a clothing collection with no negative environmental impact, meaning consumers can still fulfill their desire for newness and remain on trend without producing waste. The website functions as a trusted source of information surrounding the fashion industry, to responsibly inform consumers choices.
features & attributes A digital clothing app providing virtual styles from real-life brands changing the way Gen Z think about fashion. Educating consumers about the negative effects of their behaviours providing a transparent voice within the industry. A strong social presence to build relationships with consumers and create an online community.
75.
76.
brand font DRESSED Headline
The signature DRESSD Headline has been created specifically for the logo and big headlines. The missing lines are key identifying feature of the brand. This should only ever be displayed in capitals with a 2pt stroke and 30 tracking.
DRESSD Headline
DRESSD Bold
A complimentary headline font for sufficient inserts. Should only be displayed in lower case with a 0.5pt stroke and 30 tracking.
DRESSD Bold
ABCDEFG abcdefg
Avenir Medium
Should only be used only for sub-headings. It is still impactful without taking away from DRESSD fonts.
Avenir Medium
Avenir Book
ABCDEFG abcdefg
Main body text should always be put in Avenir Book, recommended size 9-12 pt. It is clean and easy to read, reflective of DRESSD ethos.
Avenir Book
77.
brand colours
r: 110 g: 48 b: 242
r: 242 g: 5 b: 226
r: 87 g: 240 b: 157
r: 236 g: 236 b: 236
r: 29 g: 29 b: 27
A strong colour palette is essential to the success of the brand as 85% of consumers believe colour is the biggest motivator in product purchasing (Morton, 2020). Tech companies utilise the colour blue to symbolise trust and intelligence (Guerrero, 2020) and Violet is often used to reflect luxury and imagination. Therefore, DRESSD’s primary colour is a mixture of blue and purple to reflect its technical nature and reinforce the message that sustainable fashion doesn’t have to be boring. Pink and Green have been chosen as accent colours to reflect the sustainability element and provide a sense of playfulness.
logo usage
PRIMARY LOGO
SECONDARY LOGO
The Secondary Logo is the DRESSD E only to be used in white on the DRESSD blue background with a 75% white outer glow.
The Primary Logo is white, only to be used on the DRESSD blue background with a 75% white outer glow.
78.
’ logo usage Do’s
For visability always keep the clear space free from other elements. The D in DRESSD is used.
logo usage Don’ts
No black logo on the DRESSD blue background.
No blue logo on white backgrounds.
No white logo on coloured backgrounds.
79.
tone of voice’ It is essential for DRESSD to have a strong tone of voice, to coherently portrait both the brand’s personality and values consistently across all marketing platforms. DRESSD aims to encourage young Gen Z consumers to have fun with clothing and think differently about their consumption, therefore, communicating bold and inspiring messages is key to encouraging consumers to ‘break the mould’ (Section brand values).
80.
8. 81.
82.
product DRESSD will provide a virtual range of styles from a selection of on-trend designers. A small number of brands will be used for launch, growing throughout the year based on which brands perform well, as consumers revealed they would use digital fashion if it meant they could access designers they otherwise could not afford to (Appendix 3). Garments will be sold via monthly subscriptions that limit the number of available garments per month. However, although DRESSD trades in virtual items, the app itself is the main offering. Where the products can be accessed elsewhere physically, the instant digital service DRESSD provides is not currently offered within the market. Highlighting that as technology is the brands biggest asset, it must be continuously innovated for DRESSD is to retain its USP.
83.
HARRYDANN
Leeds, United Kingdom
20 items found
Puffer Jacket
Track Pants
Track Top
Metallic Joggers
harrydann Trying out the new @dressdofficialuk app. Digital clothes, how cool is that?! #getdressdup view all 12 comments
84.
85.
place As DRESSD provides a digital-only service, the brand will only operate online, and purchasing will be conducted solely through the advanced mobile app. As convenience was a crucial factor to the target consumer when purchasing fashion (Rhodes, 2020), and as Gen Z spend over 4 hours on mobiles every day (Freier, 2019) an app provides the easiest means for purchasing. A corresponding website will also be in place as an educational hub to inform consumers about the negative effects of consumption and the fashion industry, crucial if the DRESSD is to change consumer behaviour (Rhodes, 2020). Although purchasing will not be accessible through this platform, users will be able to sign up for a DRESSD account here, and across all brand platforms, to create an easy registration process essential for successful customer acquisition (Campbell, 2019).
86.
price
revenue stream
price
value to consumers
creator monthly subscription
£14.99
Access to three digital garments a month from the standard collections.
£19.99 £19.99
Access to five digital garments a month, for a cheaper price per garment, than the creator subscription. Garments from exclusive collections and brands, unavailable to creator users, persuading consumers to opt for the higher price tier.
innovator monthly subscription
87.
The target consumer would pay £15-£20 for a monthly digital clothing subscription (Appendix) and so prices have been based around this to increase the likelihood of purchasing. A varied pricing structure was chosen to acknowledge the different need of consumers with the aim to appeal to more buyers. A streamlined billing process is essential to DRESSD’s success, to ensures consumers don’t abandon their baskets, and so payment will be processed through the iOS or Android App store. As it already holds consumer’s payment details, they will not be required to re-enter. them making the process as convenient as possible. Despite a monthly fee, its security and subsequent consumer trust it provides outweighs the cost.
88.
process
brand process When brand partnerships have been secured, their selected garment patterns will be sent over to DRESSD. 3D designers will then use CLO3D digital designing software to create virtual versions of these and list them onto the app. artificial intelligence The instantaneous aspect of the business is what consumers stated would persuade them to use the app (Appendix 6), and so an AI algorithm that can fit the clothing automatically to the image, is essential to the concept. However, although the deep machine learning and computer vision capabilities required for this are available, for a start-up business they may be limited in terms of the capital required (Drinkwater, 2020 Appendix), DRESSD’s partnership with the Fashion Institute of Technology will mitigate this already possess the necessary technology/contacts.
89.
1.
2.
3.
Choose
upload
checkout
Choose your favourite virtual product from the store.
Take or upload an image of yourself.
Purchase your chosen products.
4.
5.
wait
share
Wait for the magic as an AI algorithm virtually dresses you.
Share your image straight to Instagram.
90.
people
The brands DRESSD partner with are integral to the business as they provide the initial garments. Without them no virtual garments can be created to sell, and so it is important DRESSD creates and maintains strong relationships. B2B communications have been factored into the communication strategy to do so. A strong brand-consumer relationship is integral to DRESSD’s success (Friesner, 2014) if consumers do not feel valued they may not be motivated to purchase, and so effective customer service is essential. DRESSD is a technology-driven brand and despite a clear user guide, consumers may still be unsure. A customer service chatbot will be available on both the website and app, adding value by offering any technical support or advice consumers require, to ensure a seamless experience and increase customer satisfaction.
91.
92.
promotion Both owned, earned and paid media will be utilised for brand communication with the primary focus of generating brand awareness and driving app downloads. A balance of these is essential as each method varies in control and credibility (Figure 7). DRESSD must be particularly careful when using paid media as if this content does not relate specifically to the target market and the brand values, the message may lose authenticity and not produce any return on investment.
93.
Figure 7 Levels of Control
high leve l of
dressd
co nt r
ol
les n sa tio mo ro
infLuencer marketing ma dire rk ct eti ng
p
l ita g dig etin rk
ma
p rel ublic ati on s
94.
of word h t u mo
f el o v e l lo w
l ro t n co
A SWOT was undertaken prior, to analyse the brand's internal strengths and weaknesses, and the external threats and opportunities (Appendix 11). TOWS analysis was then used to develop strategic options for DRESSD to pursue DRESSD’s main weakness, as a start-up, is the lack of existing brand awareness. The main focus for Year One should, therefore, be on implementing strategies such as partnering with on-trend brands and working with influencers to promote the brand to their existing audiences. Strategies such as working with designer brands and investing in R&D should be implemented in Year Two and Three, once the brand is established within the market to focus on customer retention.
95.
mini-mini strategy: s/o
maxi-mini strategy: s/t
Partner with designer brands
Create strong brand partnerships Factoring B2B strategies into the communication plan to retain a narrative with brands. Keeping them in the loop with developments, should ensure brands feel valued and maintain partnerships.
Expand the available ranges based off the success of existing brands. Providing luxury items at a reduced cost should increase customer acquisition and retention. partner with key opinion leaders
invest in r&D
As DRESSD aims to encourage change in behaviour, collaborating with individuals with similar knowledge creates authenticity and is more likely to convince consumers.
Utilise the newest technology to continuously innovate the app, providing a seamless experience for customers, to stay ahead of competition and retain USP.
mini-maxi strategy: w/o
mini-mini strategy: w/t
Partner with on-trend brands
working with infLuencers Working with influencers already followed by the target consumer to promote the brand will generate higher brand awareness.
Gen Z consumers are likely to already be following these brands, when they announce their partnership with DRESSD, greater brand awareness will be generated and will reputation validated. Utilise app analytics Analysing what brands perform poorly and terminating these, will decrease the work load of the 3D designers, increase efficiency and ensuring they can always meet current demand.
96.
97.
Year 1: aquisition The first year will focus on raising brand awareness with the target consumers, solely through social media. As consumers revealed they are more inclined to purchase a subscription if they are able to try it out first (Appendix), DRESSD will launch a free trial in the form of an Instagram filter. Consumers can try a limited collection of digital garments that they can post directly to their Instagram stories, generating further brand awareness. Effort will then be focused on driving app downloads and subscriptions through user-generated content. An influencer campaign will be implemented, as Gen Z consumers revealed influencers to be a significant driver behind their fashion purchases (Rhodes, 2020). A brand specific hashtag will be used to create an online community and produce use-generated content. A referral and reward program will also be introduced to encourage new customer acquisitions.
Year 1 will focus raising brand awareness within the market to secure new brand partnerships and increase the available ranges. As consumers dislike being overwhelmed with options when shopping (Rhodes, 2020), the least popular brands will be terminated to ensure the app remains de-cluttered and easy to use.
98.
Year 2: Retention Year 2 will focus on customer retention. The target consumer suggested a reward scheme would incentivise continued use of the app and make them more inclined to continue purchasing (Appendix 6). A loyalty programme will be introduced to encourage customer retention, where with continued purchases consumers can receive perks such as a reduced subscription price or a ‘free garment’. With increased revenue, DRESSD can invest in developing the app and its services with the latest technological advancements. Using Usage feedback to improve customer satisfaction and remain the market leader.
This will focus on diversifying the ranges DRESSD offers. As the brand will be established within the market, partnerships with luxury designers will be secured to offer high end labels on the app. This will provide new offerings for existing consumers facilitating retention, and attract a new customer base.
99.
Year 3: expansion After the success of the luxury ranges, by year 3, DRESSD should be in a stable financial position to further diversify its offering. As bridal/tailoring shopping can be tedious, a section will be created where consumers can try on various pieces before physically purchasing them. As these items are rare occasion pieces, it will not contradict DRESSD’s no waste ethos.
Showcasing its success with luxury designers, DRESSD will look to partner with bridal and tailoring brands which will provide a new platform for many niche designers. 100.
9. 101.
102.
communication objectives
awareness Build brand awareness , obtain 30, 000 Instagram followers in the First Year.
2. 3.
engagement Create brand engagment, secure 5 new brand partnerships within the six months of launch.
traffic Drive App Traffic Achieve a Click Through Rate of 5% on Sponsored Instrgam Posts.
103.
Primary Research highlighted the importance of differentiation in an industry seen to be saturated and repetitive (Rhodes, 2020). As DRESSD is entering a new market, little competition exists, however it is clear a unique brand message is essential to instil positive brand perceptions among the target audience. The AIDA & DRIP models have been used to support the marketing communication plan by analysing the cognitive stages consumers experience during the purchasing process (Hanlon, 2019). Marketing activities can then be aligned accordingly to achieve maximum success with the target consumer and encourage purchasing.
104.
awareness Social media channels will be used to generate brand awareness prior to and after launch. A ‘free trial’ Instagram filter will be the primary focus, to encourage consumers to share the brand experience to their peers, producing user generated content and subsequent organic brand awareness.
INTerest The filter should spark consumer interest into discovering what else DRESSD offers. Further generated through sharing consistent exciting content across social platforms, that resonates with Gen Z’s need to express their fashion identity, incorporating both owned and earned content.
Desire Promoting the brand values and positive impacts of use, will prompt consumers to interact with the brand, and encourage a positive change in consumption behaviour. An influencer campaign will create an online community.
action These actions should drive traffic to DRESSD’s online platforms where the, easily accessible, app registration links should encourage consumers to download the corresponding app to their smartphone. A referral and reward scheme will then be in place to further drive downloads.
105.
The brands USP of expressing your fashion identity online without producing waste, using cutting edge technology.
The brands values seamlessly across all social platforms to ensure authenticity and reassure consumers.
Differentiate
Reinforce
inform
Persuade
Gen Z consumers about the damaging effects of their current consumption habits and how DRESSD’s unique proposition mitigates this, through the brand’s website and social media channels.
Consumers to have fun with clothing and re-consider consumption as they know it, through brand ambassadors and rewarding loyalty.
106.
As DRESSD can only be used in conjunction with Instagram, it will be the primary method for connecting with the core audience. Research found that 70% of Instagram users are more likely to purchase through their phone than non-users (Smith, 2019), thus highly beneficial for DRESSD as trading only occurs through the mobile app. Although the figures on Instagram’s targeting success, among Gen Z consumers, vary by source, it’s consistently high engagement rates (Instagram, 2020), provide the ideal platform for communication. DRESSD will post consistent bright and bold imagery to ensure a strong brand identity, creating a recognisable brand image. A mixture of created and Usergenerated content will be used, to create an online community that reiterates the brand’s values, encouraging others to change the way they think about clothing. DRESSD will aim to post three times a day, to achieve the best engagement rates (Davis, 2020), whilst being careful to not overwhelm consumers. 107.
108.
created content Section 6.2 Market Health, highlighted the importance of a strong communications strategy in engaging with consumers along their customer journey. Coupled with personalised emails, brand Instagram posts will communicate new app updates, features and collections, to provide new offerings for users and encourage retention.
user generated content UCG will take a consumer-centric approach, sharing users posts in an ‘outfit of the week’ feature. This will encourage users to mention the brand, creating organic brand awareness and in turn an authentic brand image, aligning with the consumer demand for transparency (Section 3.1 Stage 1 insights). This will be achieved through a unique branded hashtag, which will build an online community and make content easily identifiable.
109.
instagram adverts Instagram and Facebook adverts will be used to generate brand awareness outside the brands authentic reach and motivate app installs. Video adverts will showcase the app in use, with a call to action to the app download page. Whereas, well performing brand posts will be promoted, with a call to action link to the DRESSD Instagram page.
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110.
111.
112.
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113.
DRESSD was formed to provide a sustainable solution to fashion over-consumption and waste. However, although Gen Z consumers increasingly care about sustainability (Rhodes, 2020), many do not consider it when purchasing (Appendix 3). Price and individual style are of more importance (Section 3.1 Stage 1 insights). Therefore, utilising key insight 3 (Section 3.1 Stage 1 Insights), the brand website will be used to educated consumers about the environmental cost of fashion over-consumption to encourage changes in behaviour. Whilst social channels will drive traffic to the website, their primary focus will be on DRESSD’s price and style offerings, to drive subscription sales. The website will have an account creation section and app download link, to ensure a seamless registration process, to better favour customer acquisition. Personalised retargeting Cookies (TargetInternet, 2020) will be utilised on the website to deliver targeted digital marketing. When a user visits the website, DRESSD’s app adverts will then be displayed on other websites they visit encouraging them to purchase.
114.
Email marketing will form a crucial part of the communication strategy, providing personal communication with users at every stage of their consumer journey. Identified as a crucial element of app retention in section 6.2 App Market Health. Sign up for our newletter below and recieve 10% off your first DRESSD subscription.
A strong email list is essential to the success of this method (Perriconne, 2020), and so every brand interaction will facilitate registration. Users will be required to enter their email when creating a DRESSD account, and website visitors will be offered 10% off their first subscription, for signing up to the mailing list.
Subscribe
To view our privacy policy click here X CLOSE
115.
Emails will be used to interact with lapsed users by monitoring uninstall rates. When a user has uninstalled the app, an email will be sent explaining why they should stay and how it will benefit them. This should make consumers feel valued and compel them to re-install. All emails will be personalised and contain a call to action, such as a direct click through to the app download link for potential or lapsed users, or a link to exclusive features for existing users. Emails will run alongside Instagram content, to promote the launch of new collections or features to keep consumers engaged. Utilising app data, to create personalised collections specific to each user, for a significant ROI. A monthly newsletter will be sent informing consumers about environmental fashion news to further educate consumers. 116.
freemium filter The target consumer stated they would be more likely to pay for a subscription if they had the option to try it for fee first (Appendix 6), and so a freemium model will be used as a customer acquisition tool. A month before launch, DRESSD will launch an Instagram filter that will act as a free trial, where consumers can try on a limited selection of virtual garments before purchasing a subscription. This will help widen the top of the funnel (Figure) and aid in retention (Campbell, 2019). However, the freemium model will strictly be used for initial acquisition and not as a pricing model, as DRESSD could not survive to wait until customers upgraded their subscription to derive revenue, do its high startup costs and overheads (Page 127 ).
117.
#
getdressdup The DRESSD app will launch in April following Earth month to reiterate the brand’s sustainability ethos. A strategic Instagram campaign, utilising influencers, will be launched to generate widespread brand awarenes and drive app dowloads, as they were found to significantly drive purchase behaviour with the target market. The campaign will focus on the branded hashtag #getdressedup, showcasing influencers in digital clothing outfits, to attract consumers and create an online community. The hashtag will be promoted after launch to continuously encourage consumers to share their virtual outfits and experience with the brand.
campaign overview NAME
Get DreSSD uP
HASHTAG
#getdressdup
PLATFORM
Influencers on Instagram.
DURATION
2 posts a month per influencer for 2 months (10 per month).
KPI’S ACTIVITY
Hashtag use Frequency, Instagram Followers, Brand Mentions, App Downloads, Website Traffic. 5 Influencers, chosen based off relevancy and audience, will be given free access to DRESSD Innovator Subscription to try virtual garments. They will be encouraged to share their experience with the app using the branded #, to generate a buzz around the brand and create a discussion that sustainable fashion doesn’t have to sacrifice style, a key issue highlighted in Section 3.1 Key Insights.
118.
The chosen campaign influencers were selected by analysing their engagement rates, demographic and content, to ensure these align with DRESSD’s values, to create authentic storytelling that the consumer will relate too. As males are less likely to follow Influencers only one male influencer has been chosen to improve ROI.
119.
120.
brand ambassadors Early adopters were identified as consumers DRESSD should form relationships with, to capitalise organic brand awareness. They are often key opinion leaders, identified as people essential to portraying DRESSD’s ethos and motivating changes in consumption behaviour (Tows). These consumers will, therefore, be recruited as brand ambassadors. A dialogue will be formed, using their feedback to improve current communication tactics.
121.
Friends and family were found to be the secondary driver, after social media, behind the consumer’s fashion purchases (Appendix 3), highlighting an opportunity to incentivise word of mouth. Implementing a referral and reward scheme should effectively drive consumer acquisition, as it has already proven to be successful in purchase motivating and will generate further brand awareness. The landing page will be displayed after users complete their first subscription purchase, tailored as a means of gratitude towards the user. If consumers believe they are appreciated, the more likely they are to engage with the brand.
122.
Creating and maintaining strong brand partnerships was identified as essential to DRESSD’s success. To do this a comprehensive b2b communications plan has been implemented. To get brands onboard DRESSD must communicate its value proposition and explain how partnering with DRESSD will benefit them. A promotion video will be produced for LinkedIn to generate brand awareness within the professional market. Video campaigns increase engagement 3-4x more than still images (LinkedIn, 2020), so a video is more likely to be successful in securing partnerships and is worth the high production costs (Page 135). The video should showcase the functionality of digital clothing, as well has to emphasise how it can provide a low-risk revenue channel for brands and provide them with a sustainable route. The video will then be promoted via sponsored posts on liked inn to reach a wider audience and increase the likelihood of lead generation. Subsequent brand linked in will be promoted. Email marketing will be used to inform brands of business developments to keep them in the loop and make them feel valued.
123.
Communication activities for subsequent years are dependent on the success of year 1 and assuming targets are met. Year 2’s focus is retention and so communications will focus on launching the loyalty scheme through email, and promoting new luxury collections on social media. As year 3’s focus is expansioncommunications will focus on B2B with niche designers to create a tailoring/bridal platform.
124.
10. 125.
126.
activity
cost
Business registration
£12
app development
£80,000
website development
£2,000
paymet processing
£99
technologial equipment
£1,231
first months rent
£3,764
broadband
£65.50
Wages
£5,240
utilities
£368
initial marketing
£20,538
insurance
£301
trademark
£200
total start-up costs
£113,819
total investment
£115,000 127.
Initial Investment of £120,000 is required to cover the initial start-up costs and ensure successful implementation of the concept. Technology is a vital element of DRESSD, and so app development is a significantly high cost. This is to ensure development is of the highest standard and utilises the latest technology to meet the brands USP. Various funding sources were compared (Appendix 12) and the best three were selected. - Start-up Loan - Crowdfunding - Friends and Family (Love Money) Multiple sources of investment have been chosen to split the costs into manageable chunks, increasing the likelihood of success and minimising withdraw risk.
government backed start-up loan £25,000
crowdcube equity crowdfuning £80,000
love money £10,000
Specifically, available for businesses under 2 years old, DRESSED will apply for the maximum loan amount of £25,000. Repayable with 6% interest over five years and no application fee (Gov.uk, 2020). This was selected for the free business support and 12 months of mentoring for successful applicants, beneficial for DRESSED as it establishes itself within the market.
Crowdcube equity funding will be used for the bulk of the investment, due to its data-driven support for UK start-ups and its fast access to capital (Crowdcube, 2020). With the average raise size of £580,000 (Crowdcube, 2020), DRESSD will offer 5% equity, for a significantly smaller amount of £80,000.
Personal investment of 10% will be raised with help from family and friends, with no fixed repayment terms.
128.
£14.99 year 1
apr
may
jun
jul
aug
sep
oct
nov
dec
jan
feb
mar
sales new
1500
1800
2070
2484
2931
2638
2242
2807
2569
2613
2927
2781
churn 10%
0
180
207
248
293
264
224
281
257
261
293
258
sales net
1500
1620
1863
2236
2638
2374
2018
2526
2312
2352
2634
2523
revenue
22485
24284
27926
33518
39544
35586
30250
37865
34657
35256
39484
37820
year 1
apr
may
jun
jul
aug
sep
oct
nov
dec
jan
feb
mar
sales new
375
450
504
605
726
653
731
915
778
791
886
842
churn 10%
0
45
50
61
73
65
73
92
78
79
89
84
sales net
375
405
454
544
653
588
658
823
700
712
797
758
revenue
7496
8096
9075
10875
13053
11754
13153
16452
13993
14233
15152
15152
£19.99
total 14.99
total 19.99
net sales
26596
net sales
7467
revenue
£398674
revenue
£149265
129.
A detailed Sales forecast has been conducted for all 3 years of business, to project the estimated revenue of the concept (Appendix . Year 1 has taken a top-down approach, basing sales on how many of the target consumer DRESSD can reach through its main marketing channel of Instagram ads (Appendix). -Sales increase by 20% in May due to the launch campaign. -Sales increase by 20% July-August due to a summer campaign. -Sales increase by 25.2% in November aligning with last years Black Friday success for fashion brands. -Although sales usually decline in January for fashion brands, sales increase by 12% due to the implementation of a Referral and Reward Programme.
year two: total 14.99
total 19.99
net sales
34381
net sales
11048
revenue
£515372
revenue
£220850
year three: total 14.99
total 19.99
net sales
48888
net sales
15707
revenue
£732831
revenue
£313983
Year 2 and 3 sales forecasting were based upon the minimum monthly sales required to reach DRESSD’s target of growing 35% year-on-year. An equal base figure was assigned to each month, that was then adjusted to allign with the planned marketing activity. Churn rate has dropped to 8% due to the retenion strategies implented in year 2.
130.
year 1
apr
may
jun
jul
aug
sep
oct nov dec
jan
feb
revenue
29981
32380
37002
44392
52597
47340
43403
54317
48650
49489
55416
52972
v/c 30%
8994
9714
11101
13318
15779
14202
13021
16295
14595
14847
16625
15892
164383
gross profIt
20987
22666
25901
31074
36818
33138
30382
38022
34055
34642
38791
37080
383556
aPP Development
80000
web Development
2000
547939
80,000 2000 1091
app maintainence
mar total
1091
1091
1091
1091
1091
1091
1091
1091
1091
1091
12001
27
27
27
27
27
27
27
27
27
27
27
297
rent
3229
3229
3229
3229
3229
3229
3229
3229
3229
3229
3229
3229
38748
business rates
535
535
535
535
535
535
535
535
535
535
535
535
6420
utilities
368
368
368
368
368
368
368
368
368
368
368
368
4416
broadband
66
57
57
57
57
57
57
57
57
57
57
57
693
6640
6640
6640
6640
6640
6640
6640
6640
6640
6640
6640
79680
869
869
869
869
869
869
869
869
869
869
869
10428
web maintainence
wages
6640
clo3d softwear
362
equipment rent
869
insurance
301
301
trademark
200
200
362
1000
1000
marketing
20538
15538
550
2230
2230
550
550
2230
550
3248
3371
550
52135
payment proc.
99
99
99
99
99
99
99
99
99
99
99
99
1188
BUsiness reg.
12
total o/h’
115219
28453
13465
15145
15145
13465
13465
15145
13465
16163
16286
14465
289881
net profIt
-94232
-5787
12436
15929
21673
19673
16917
22877
20590
18479
22505
22615
93675
breakeven
-94232
-100019
-87583
-71654
-49981
-30308
-13391
9486
30076
48555
71060
93676
accounting
12
breakeven
131.
A thorough Profit and Loss Account has been conducted for year 1 to understand the brand’s financial feasibility. Despite high start-up and development costs, DRESSD becomes profitable within 8 months of trading and will be able to begin paying back the initial investment within the first year. App development is a significantly high cost due to its highly technical nature. Cutting-edge technology is essential to DRESSD’s USP and so advanced development is imperative. To retain its gap in the market, DRESSD must continue to innovate its processing, and so the app and website development has been assigned 15% of the total development cost to cover this. As the business is technological reliant, DRESSD will rent technology instead of buying it outright, a cost-effective way to always have the latest equipment. Furthermore, speed is essential in ensuring all technology runs efficiently and improving capacity, and so the fastest broadband has been chosen to facilitate this.
profIt & loss year 2 & 3 overview year 2
year 3
revenue
736219
1046813
v/c 30%
220866
314044
gross profIt
515353
732769
app maintainence
26184
26184
web maintainence
648
648
rent
38748
38748
business rates
6420
38748
utilities
4416
4416
broadband wages clo3d softwear equipment rent
684
684
96480
140160
362
362
12504
18072
insurance
301
301
accounting
1000
1000
payment proc.
1188
1188
marketing
69080
78912
total o/h’s
258095
317095
net profIt
257258
A detailed Profit and Loss Account for years 2 and 3 was also conducted (Appendix 19) to ensure the strong financial position can be maintained. Aligning with the growth strategies, DRESSD will recruit further staff and 3D designers, improving capacity to meet growing demand. App and website maintenance has been doubled to improve app functioning and introduce new features.
415674
132.
investment £110,000
year 1
apr
may
jun
jul
aug
sep
oct nov dec
jan
feb
mar
gross profIt
20987
22666
25901
31074
36818
33138
30382
38022
34055
34642
38791
37080
total o/h
115219
28453
13465
15145
15145
13465
13465
15145
13465
16163
16286
14465
net profIt
-94232
-5787
12436
15929
21673
19673
16917
22877
20590
18479
22505
22615
closing cash balance
20768
14981
27417
43346
6519
84692
101609
124486
145076
163555
186060
208675
low cash
start repaying investment
A detailed cash flow forecast for the first year has been produced to understand where the business will require investment and understand when the investment will be able to be repaid. May has the lowest cumulative balance due to high development and launch marketing costs. An initial investment of £115,000 is required to cover this. DRESSD will seek a Government-backed startup loan, of £25,000 to partially cover initial costs, which the brand can begin repaying in August. 133.
high cash
year 1
best case -20% sales +20% sales
revenue
547939
438351
657527
v/c 30%
164383
131506
197260
gross profIt
383556
306845
460267
total o/h
289881
289881
289881
net profIt
93675
16964
170386
revenue
736219
588975
883463
v/c 30%
220866
176693
265039
gross profIt
515353
412282
618424
total o/h
258095
258095
258095
net profIt
257258
154187
360329
revenue
1046813
837450
1256176
v/c 30%
314044
251235
376853
gross profIt
732769
586215
879323
total o/h
317095
317095
317095
net profIt
415674
269120
562228
year 2
year 3
To understand the financial sensitivity of the concept, analysis has been undertaken to understand what impact a 20% increase or decrease in sales will have on long term profit. DRESSD can then prepare contingency plans to ensure the business retains a comfortable financial position. The model shows that the business is highly sensitive, as, with a decrease in sales by 20%, DRESSD’s first-year profit drops by £76, 711. However, even with a significant drop in sales, the business remains profitable, proving the high financial risks are worth the reward. 134.
year 1-3 marketin budget activity
year 1
year 2
year 3
Instagram posts
free
free
free
Instagram ads
11760
18144
24416
InfLuencers
26616
37136
37136
promotional video
5000
5000
5000
emails
free
free
free
linked in sponsored posts
6600
8800
12360
refer a freind
2159
n/a
n/a
kols
free
free
free
total
52135
69080
78912
135.
The marketing budget for each year is roughly 10% of the gross profit for each year. A significant amount is spent on influencers as they have been proven to drive purchase behaviour for the target consumer (Rhodes, 2020) However, they will only be used for the launch campaigns where they have the best chance of creating high ROI. Instagram and LinkedIn ads increase by 35% year on year to correspond with the sales target.
136.
11. 137.
management 138.
A thorough risk assessment has been conducted to understand the internal and external factors that could impact the brand so DRESSD can implement suitable preventions.
HIGH RISK MEDIUM RISK LOW RISK
risk factor
impact
mitigation
Consumer Demand (External)
Failure to keep up with the latest fashion trends and changes could lead to a loss of retention and contradict the brands innovative brand image.
-Having in house 3D designers means new products can be created and uploaded quicker than using an agency. -Product range planning ensures sufficient product offering and analysing app data to understand what brands perform well, to create partnerships with similar brands and cater to consumer’s needs. -Reducing the amount of garments customers can purchase in a certain time frame, means garments do not have to be continuously uploaded and demand can always be met.
Competition (External)
Advances in technology may mean competitors are able to offer like-forlike services and leverage market share.
-Detailed competitor analysis has been undertaken to establish DRESSD’s USP, this will be reviewed regularly to remain ahead of market developments. -Continuous R&D to utilise the newest technologies to remain a blue ocean strategy. -Monitor consumers changing to adapt the brand offering to meet demand.
139.
Technical (Internal)
Long buffering times or algorithm faults within the app could mean consumers are dissatisfied with the service and terminate their subscription.
-DRESSD has allocated 15% of the total development cost for app maintenance, upholding a strong relationship with app developments so any issues can be rectified quickly.
Data Security (Internal)
Loss or threat of consumer data to could breach data protection regulations and lead to a loss of consumer trust.
-Securely store personal data in line with the data protection guidelines and PCI requirements. -High security threshold and IT access in place to ensure security.
Finances (External)
Poor business performance or lack of appetite for the sector, may limit cash flow and impede ability to pay back loans.
-Comprehensive market analysis has ensured ideal market conditions for launch. -A detailed budgeting and forecast plan has been produced aligned with industry growth rates, to ensure the financial viability of the business. -Sensitivity analysis to project revenue for a 20% increase or decrease in sales, ensuring the business is equipped for the worst case scenario.
risks Negative Brand Perceptions (External)
Partnering with brands with unsustainable/ unethical supply chains could contradict the brands values, losing authenticity with consumers and damaging the brand reputation.
-Brands vetted against the Fashion Transparency Index to see where they rank in terms of disclose of social and environmental practices before partnerships are secured.
140.
Key performance indicators have been identified to measure the success of implementing the planned communication activities. This will provide insight for future marketing strategies to produce a higher ROI.
141.
objective growth Generate substantial net profit by increasing sales by 35% year on year. Become the UK leader for digital fashion and retain this over 3 years.
key performance indicator Closely monitor app download rates to understand how much these need to increase to meet the sales target. Communication activities can then be adjusted accordingly. Conduct regular competitive analysis to understand DRESSD’s position within the market. Utilise consumer feedback to continuously improve the brand offering
communication Generate strong brand awareness by securing 30,000 Instagram followers within the first year.
Measure follower growth in accordance with marketing activity. Utilise Instgram insights to understand the reach of posts, so the allocated budget for these can be adjusted
Successfully drive traffic to the DRESSD website to encourage consumers to change their fashion behaviour.
Measure click-through rate of online communications to analyse how effectively methods drive traffic to the website.
142.
12. 143.
conclusion 144.
This proposal has effectively realised a disruptive business plan for the digital clothing market based on critical research insights. However, the concept exceeds beyond resolving consumer tensions and provides to ease the damage inflicted by the second most polluting industry on the planet. The main limitation of the concept is securing the technology and finances required to scale the concept effectively. Without a brand partnership with The Fashion Institute, the proposal would not be feasible in terms of instantly ‘dressing’ consumers whilst meeting mass-market demand. Overall, DRESSD is an innovative business concept that meets 21st-century consumer demands. Although digital fashion is unlikely to replace traditional clothing right now, it has the potential to provide a sustainable route for fashion.
145.
146.
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DRESSD LOGO (2020), own image.
Carlings Digital Collection(2020). From: Carlings 2020. Digital Collection [online]. Available at: https://digitalcollection.carlings.com/ [Accessed 7 April, 2020]. Heart Jumper (2020). From: Carlings 2020. Digital Collection [online]. Available at: https://digitalcollection.carlings.com/ [Accessed 7 April , 2020].
Metallic Track Top (2020). From: Carlings 2020. Digital Collection [online]. Available at: https://digitalcollection.carlings.com/ [Accessed 7 April, 2020].
The Problem Infographic (2020), own image.
Instagram Pink (2020), own image.
DRESSD Hand Mock-up(2020), own image. 167.
Instagram Usage Graph (2020), own image.
Businesss Structure Icon (2020), own image.
App Market Actual (2020), own image.
App Market Forecast (2020), own image.
+807% ÂŁ ÂŁ
+8.3%
+28.5%
App Type Icons (2020), own image.
Gen Z icon (2020), own image.
Smartphone driver icon (2020), own image.
168.
Gaming Market Icon (2020), own image.
Free to Play Icon (2020), own image.
Market Readiness Graph 1 (2020), own image.
Market Readiness Graph 2 (2020), own image.
Curve of Innovation Graph (2020), own image.
PrettyLittleThing, promoted on Instagram post (2020), photographed by PrettyLittleThing. From: PrettyLittleThing, 2020. # PrettyLittleThing [Instagram]. Available at: https:// www.instagram.com/prettylittlething/?hl=en [Accessed 17 April, 2020].
TheFabricant, promoted on Instagram post (2020), photographed by TheFabricant. From: TheFabricant, 2020. # TheFabricant [Instagram]. Available at: https://www.instagram.com/ the_fab_ric_ant/?hl=en [Accessed 17 April, 2020]. Carlings, promoted on Instagram post (2020), photographed by Carlings. From: Carlings, 2020. # Carlings [Instagram]. Available at: https://www.instagram.com/carlings_official/?hl=en [Accessed 17 April, 2020]. 169.
Depop, promoted on Instagram post (2020), photographed by Depop. From: Depop, 2020. # Depop [Instagram]. Available at: https://www.instagram.com/depop/?hl=en [Accessed 17 April, 2020]. HireStreetUK, promoted on Instagram post (2020), photographed by HireStreetUK. From: HireStreetUK, 2020. # Depop [Instagram]. Available at: https://www.instagram. com/hirestreetuk/?hl=en n [Accessed 17 April, 2020]. Asos, promoted on Instagram post (2020), photographed byAsos. From: Asos, 2020. # Depop [Instagram]. Available at: https://www.instagram.com/asos/?hl=en [Accessed 17 April, 2020].
HireStreet Logo(2020). From: HireStreet 2020. Home [online]. Available at: https://www.hirestreetuk.com/ [Accessed 14 May, 2020]. PLT Logo(2020). From: PLT 2020. Home [online]. Available at: https://www.prettylittlething.com/ [Accessed 14 May, 2020]. ZARA Logo(2020). From: ZARA 2020. Home [online]. Available at: https://www.zara.com/uk/ [Accessed 14 May, 2020]. Carlings Logo(2020). From: Carlings 2020. Home [online]. Available at: https://carlings.com/en/ [Accessed 14 May, 2020]. The Fabricant Logo(2020). From: The Fabricant 2020. Home [online]. Available at: https://www.thefabricant.com/ [Accessed 14 May, 2020].
drESSD
DRESSD LOGO (2020), own image. Depop Logo(2020). From: Depop 2020. Home [online]. Available at: https://www.hirestreetuk.com/ [Accessed 14 May, 2020]. 170.
xcarms, promoted on Instagram post (2020), photographed by xcarms. From: xcarms, 2020. #xcarms [Instagram]. Available at: https://www.instagram.com/x_carms/ [Accessed 2 May, 2020]. JamesRawsthorne, promoted on Instagram post (2020), photographed by JamesRawsthorne. From: JamesRawsthorne, 2020. # JamesRawsthorne [Instagram]. Available at: https://www.instagram.com/jamesrawsthorne/ [Accessed 2 May, 2020]. emilymatherx, promoted on Instagram post (2020), photographed by emilymatherx. From: xcarms, 2020. # emilymatherx [Instagram]. Available at: https://www.instagram. com/emilycmather/ [Accessed 2 May, 2020].
Instagram Profile Mock-up 1 (2020), own image.
Instagram Profile Mock-up 2 (2020), own image.
Instagram Profile Mock-up 3 (2020), own image.
Brand Values Icon 1 (2020), own image.
Brand Values Icon 2 (2020), own image. Brand Values Icon 3 (2020), own image. Brand Values Icon 4 (2020), own image. 171.
Pink Glowing Coats, promoted on Instagram post (2020), photographed by The Fabricant. From: The Fabricant, 2020. #Pink Glowing Coats [Instagram], 11 March. Available at: https://www.instagram.com/p/B9mgi9jIzE8/ [Accessed 8 May, 2020].
DRESSD App Mock-up (2020), own image.
DRESSD Comms Mock up no iMac (2020), own image.
Customer Process icon 1 (2020), own image.
Customer Process icon 2 (2020), own image.
Customer Process icon 3 (2020), own image.
Customer Process icon 4 (2020), own image.
Customer Process icon 5 (2020), own image. 172.
Chat Box (2020). From: DRESSD 2020. DRESSD Home [online]. Available at: https://dressd.wixsite.com/dressd [Accessed 14 May, 2020]. Chat Box (2020). From: DRESSD 2020. DRESSD Home [online]. Available at: https://dressd.wixsite.com/dressd [Accessed 14 May, 2020].
Promotion Diagram (2020), own image.
Growth Strategy icon 1 (2020), own image. Growth Strategy icon 2 (2020), own image.
Growth Strategy icon 3 (2020), own image.
DRESSD Rocket (2020), own image.
‘DRESSD Insatgram Mockup’ (2020), own image.
‘DRESSD InsatgramAD Mockup’ (2020), own image. 173.
DRESSD Comms Mock up (2020), own image.
DRESSD Instagram Filter (2020), own image.
Jake Stenning, promoted on Instagram post (2020), photographed by Jake Stenning. From: Jake Stenning, 2020. #JakeStenning [Instagram]. Available at: https://www.instagram.com/ jake_stenning/ [Accessed 8 May, 2020]. venetialamanna, promoted on Instagram post (2020), photographed by VenetiaLamanna. From: VenetiaLamanna, 2020. #VenetiaLamanna [Instagram]. Available at: https://www. instagram.com/venetialamanna/ [Accessed 8 May, 2020]. xcarms, promoted on Instagram post (2020), photographed by xcarms. From: xcarms, 2020. #xcarms [Instagram]. Available at: https://www.instagram.com/x_carms/ [Accessed 8 May, 2020].
monmccallion, promoted on Instagram post (2020), photographed by monmccallion. From: monmccallion, 2020. # monmcallion [Instagram]. Available at: https://www.instagram.com/monmccallion/ [Accessed 8 May, 2020].
Refer a Friend Icon (2020), own image.
DRESSD LinkedIn Icon (2020), own image. 174.