PANDORA / Final Fashion Marketing & Communication Project

Final Fashion Marketing & Communication Project

PANDORA CAMPAIGN PROPOSAL | PINE U

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01

INTRODUCTION

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THE SCENES

BRAND OVERVIEW

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INDUSTRY REVIEW

5

COMPANY ANALYSIS

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CONSUMER BEHAVIOUR

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MARKETING STRATEGY

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PRE LAUNCH STRATEGIES

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LAUNCH STRATEGIES

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11

12

PROJECT MANAGEMENT

REFERENCES

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APPENDICES

PANDORA CAMPAIGN PROPOSAL | PINE U

C O N T E N T S —

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1 INTRODUCTION 04

2 THE SCENES 06 2.1 Fashion Scene 06 2.2 Consumer Scene 08 2.3 Reports 14 2.3.1 Fashion Ad Reports 15 3 BRAND OVERVIEW 18 3.1 Brand Audit 19 3.2 Brand Values 19 3.3 Target Audience 21 4 INDUSTRY REVIEW 22 4.1 Market Analysis 23 4.2 Competitor Analysis 24 4.3 Brand Positioning 25 5 COMPANY ANALYSIS 26 5.1 Macro Analysis 27 5.2 Micro Analysis 28 6 CONSUMER BEHAVIOUR 29 6.1 Luxury Consumer 30 6.2 Lifestyle Trends 31 6.3 The Feminism Moment 32 6.4 Advertising to Females 34 7 MARKETING STRATEGY 37 7.1 Aims & Objectives 38 7.2 Campaign Theme 39 7.3 Summer Special Edition Overview 40 7.4 PR Activities 41 7.4.1 Collaboration 41 7.4.2 Sponsorship 42 7.5 Campaign Project 42

PANDORA CAMPAIGN PROPOSAL | PINE U

C O N T E N T S —

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8 PRE LAUNCH STRATEGIES 43 8.1 Social Media Campaign 44 8.1.1 Website 44 8.1.2 Facebook & Twitter 45 8.1.3 Instagram 46 8.1.4 Instagram Stories 47 8.1.5 Snapchat 48 8.1.6 Videos 48 8.2 Media Focused Strategy 50 8.2.1 Event Launch Invitations 50 8.2.2 Event Launch 51

9 LAUNCH STRATEGIES 52 9.1 Photoshoot 53 9.2 Social Media Strategy 59 9.2.1 Website 59 9.2.2 Application 60 9.2.3 Facebook & Twitter 60 9.2.4 Instagram 61 9.2.5 YouTube 62 9.3 Window Display 62 9.4 Print Advertising 63 9.4.1 Magazines 63 9.4.1.1 Female Magazines 63 9.4.1.2 Advertisement in Female Magazines 65 9.4.1.3 Male Magazines 67 9.4.1.4 Advertisement in Male Magazines 68 9.4.2 Brochure 69 9.5 Post Lauch Strategies 72 9.5.1 Social Media 72 9.5.2 Event with P.ink 72

10 PROJECT MANAGEMENT 73 10.1 Schedule 74 10.2 Budget 77

11 REFERENCES 79 12 APPENDICES 87

PANDORA CAMPAIGN PROPOSAL | PINE U

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INTRODUCTION This project includes details about a multichannel marketing EU and UK campaign to elevate the profile of PANDORA's brand. The promotional plan aims to raise brand awareness and create bigger social media influence on the jewellery industry.

The purpose of this research is to make PANDORA, a well known brand for its values and to promote a new era for the jewellery market according the models of advertising and campaigns, which are changing.

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The tactics and strategies have been designed with the aim of reaching the existing and new target audience through the European and the UK market. The plan includes reports on the current environment of fashion, market, industry and consumer research and competitor analysis, which are making the reasons behind the new EU and UK campaign concept comprehensible. The promotional strategy has been developed to ensure that the brand message is clear and compatible with all aspects of communication.

PANDORA CAMPAIGN PROPOSAL | PINE U

THE OBJECTIVES OF THE MARKETING AND COMMUNICATION PLAN IS TO CREATE MORE SOCIAL INTERACTION BETWEEN PANDORA AND ITS AUDIENCE AND HELP THE BRAND ESTABLISH A NEW MODEL OF ADVERTISEMENT INTO THE JEWELLERY MARKET, WHICH CORRESPONDS TO CONSUMER'S IDEALS TODAY. THE TACTICS FOR THIS CONCEPT WILL SET UP THE FUTURE DEVELOPMENT OF THE BRAND AND STRENGTHEN ITS POSITION INTO THE INDUSTRY WITH A MULTICHANNEL STRATEGY APPROACH.

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PANDORA CAMPAIGN PROPOSAL | PINE U

THE SCENES

The Scenes refer to the current fashion and consumer environment. How politics, personal identity and stereotypes are changing in a dramatic way and as a result we have a new face of advertisement in fashion, which is more interactive than ever. In addition consumer's values and ideals are modified, making the marketing field to adapt to new standards. This chapter is a part of Breaking Stereotypes Project for EFMC7006: Ideas Development and Marketing and Communications Proposal Project, UCA.

2.1 FASHION SCENE Gender equality, LGBTQIA (lesbian, gay, bisexual, transgender, queer, intersex and asexual) rights and race issues are on the rise in the politic scene today after the election of Donald Trump as President of the United States. 2016 was a year of surprises, Trump has made this cycle the most gendered presidential election in history.

The current president political positions have created a big buzz, especially with his “signature issue” about illegal immigration and in particular about building and expanding a border wall between USA and Mexico.

The fashion industry has been a champion of LGBTQIA rights for decades, but now younger generations are putting their money where their beliefs are – supporting and promoting brands with shared values. It’s a massive past, present and future consumer trend and brands will need to ask themselves: what do we stand for? We are in a new era of empowered consumers, as previous generations faced stricter consequences for political attire, the majority of Generation Z and younger Millennials are living in a more liberal, new acceptance and progressive society.

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“Fashion should be about challenging the status quo” as Dilys Williams, director of sustainable fashion, said.

Fashion industry has made a lot of political statements during the years, through runways and campaigns, such as DIESEL, Acne Studios, Calvin Klein and many more. Gender fluidity and genderneutral are the terms, which increasingly pervaded the fashion world. Brands such as Vuitton, Gucci or Vetements have recognized the generation shift towards traditional stereotypes of sexes.

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2.2 CONSUMER SCENE Human identity is becoming increasingly contradictory, while people nowadays are more socio-politically flexible; they are growing more defined by their personal data and social media accounts. Revolution of technology and social media power have forever changed the way we see ourselves in the world, creating an inseparable link between data and identity.

Through all the above we can say that we are officially in an “Identity Crisis” era. As traditional identifiers like race, gender and religion are consciously transform, what defines us in the end? In a digital and globalized world, people can change their identities to fit in their lifestyles and their data history becomes a digital ID card. The explosion of social media has reformed the way people think about themselves and the way are living their lives, but mainly for Millennials and Generation Z.

THROUGH 0 AND 1 Technology and social media have forever changed the way we see ourselves in the world and the way the world sees us.

SCITSITATS AIDEM LAICOS

22% of the world’s population use Facebook, and 76% of those users logged in every day in 2016.

51% of Instagram users access the platform daily and 35% say they look at the platform several times per day.

over 400 million snaps are shared on Snapchat per day, and almost 9000 photos are shared every second. almost 80% of time spent on social medial platforms happens on mobile.

TIME SPENT ON SOCIAL MEDIA IN A LIFETIME : 5 YEARS AND 4 MONTHS What's more, time spent on social is only expected to increase as platforms develop their tools and options – live-streaming, 360 videos - to further engage their audience.

In conclusion as life expectancies rise, multiple generations are living in a blurring fixed categories environment and redefining what it means to be young or old, so racial identity seems to be the new frontier for flexible identities.

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"Gen-Z and Millennials are less concerned about content being gender specific, they want content thats resonates with the personality. They are growing up in a world where stores no longer assign gender to toys and where they are free to express themselves how they want without conforming to stereotypes."

- Stephen Mai, Head of Marketing and Design, The Lab Bible There is never been a better time to be yourself. More Millennials are identifying as LGBTQIA than any previous generation. A recent survey shows that 7% of 18-35 year old identify as LGBTQIA, compared to 3,5% of over 35-year old adults. As noted in the WGSN’s Genderful report, "as society dismantles gender stereotypes, 'genderless' is rebranded to 'genderful' – a positive identity that is unique to each person, constantly evolving and inclusive of all forms of self-expression."

“The future of men is women. I believe women and the women’s movement can be at the center of a new narrative and national conversation focused on developing positive male role models for future generations. Focusing on better men, dads, husbands, boyfriends and sons does not come at the expense of the rightful attention to women’s rights and equality.”

- Jack Myers, author of The Future of Men

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PANDORA CAMPAIGN PROPOSAL | PINE U

Generation Z is leading the new acceptance movement, embracing flaws, imperfections and inner strengths. The message is to be yourself and they reject the social media obsessed, highly edited life. Also many beauty brands with young audience are pushing them to embrace natural beauty, at a time when Instagram’s extreme contouring and eyebrows are on the top of watch-lists. The fashion and beauty industries used to rely on slim, beautiful models to represent perfection. However, if we’ve seen anything over the past year, it is that the industry is changing its ‘face’. We all have unique perspectives on what ‘perfect’ means, and it isn’t easy to match someone else’s idea of perfection, which is why we are drawing attention to this fact - Perfection is an idea. One of latest empowering campaigns was Reebok’s #PerfectNever. May supermodel Gigi Hadid was the face of the campaign, but the campaign’s goal is to make women feel free, brave and confident about their inner strengths, by showing that ‘perfect’ woman like Gigi Hadid might not be so perfect after all.

" Ugly is attractive, ugly is exciting. Maybe because it is newer. The investigation of ugliness is to me, more interesting, that the bourgeois idea of beauty. And why?

Because ugly is human.

It touches the bad and the dirty side of people.

- Miuccia Prada “I believe we’re entering a time when women are open to authenticity-who they are, and want to be, in real life- like never before. Now more than ever, people are striving to develop their own unique identities, go on their own journey, and talk about it.”

- Emily Weiss, founder of makeup brand Glosser

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PANDORA CAMPAIGN PROPOSAL | PINE U

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2.3 REPORTS In 2012, when Dr. Ben Barry first explained his topic, he said “I’m studying models in advertising - the women in the advertisements - and particularly in fashion advertisements,” and his study has to do with how size, age and race influence purchase decisions.

SIZE women increased

200%

their purchase intentions when the ad models were their size.

60%

their purchase intentions when women saw models who didn’t reflect their size.

women decreased

SUBGROUP SIZE 6 women increased

300%

their purchase when they saw a curvier model.

women decreased

76%

their purchase intentions when women saw models who didn’t reflect their size.

AGE

175%

consumers increased their purchase when they saw models who reflected their age.

64%

consumers decreased their purchase intentions when the models didn't reflect their age.

SUBGROUP AGE 35+

200%

women increased

their purchase when they saw an older model.

BLACK CONSUMERS more likely black consumers

1.5 TIMES

to purchase a product advertised by a black model.

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2.3.1 FASHION AD REPORTS RACE From Spring 2015 until Fall 2016 many changes have been made according to race, size, age and transgender in fashion ad campaigns. First we are going to analyze the race statistics through seasons as shown in fashion print campaigns. In Spring 2015 and Fall 2015, there is a roughly same calculation of results. In Fall 2015, among 460 printed ads 84.7% was white models, in Spring 2016, and with 236 print ads being examined, there is a notable decrease in white models with 78.2%, the decrease will continue in Fall 2016 with 76.71% white models among 190 fashion ads. Black models on the other hand had started to conclude in printed ads with the percent of 4.4% in Fall 2015, but that changed in Spring 2016 when the black models were doubled with 8.29%, and that increase continued in Fall 2016 with 11.19%. In the case of Asian models the fluctuation of statistics is a little different, in Fall 2015 we saw 6.2% of that race in the fashion ads, but in the next season of Spring 2016 there was a decrease with only a 4.03% appearance of them, however in Fall 2016 there was a slightly increase as there was 5.94%. In addition, that season several luxury labels, chose models of color to star in their campaigns and that is because of the fact that the fastest growing luxury markets in the world are the Middle East and Africa. For 2017, the political climate in and out of US has made many public supporters of social issues. After assessing 207 Spring 2017 fashion print campaigns comprising 444 model castings, we can report that the fashion world’s new emphasis on inclusivity has yet to fully reach the print advertising space. Just 24.5% of models cast were nonwhite, a 1.2 point increase over the 23.3% we reported last season. This feeble push toward racial diversity is exactly what we’ve come to expect from the seasonal campaigns.

80%

80%

60%

60%

40%

40%

Spring16

Fall16

A SI A N

B LA C K

A SI A N

B LA C K

0%

W H IT E

A SI A N

B LA C K

W H IT E

%49.5

0%

20%

%91.11

20%

%30.4

%2.6

%4.4 Fall15

%92.8

30%

0%

%17.67

%2.87

%7.48

60%

W H IT E

90%

PANDORA CAMPAIGN PROPOSAL | PINE U

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PLUS SIZE In Fall 2015 plus-size models were few, as between the 707 model appearances, plussize women were only 11 times, which is, 1.5%. There was an increase from Spring 2015 when they were only 1%. Strangely, the brands offering plus-size lines, like Michael Kors, Calvin Klein, Tommy Hilfiger and Ralph Lauren, as well as Forever 21 and H&M, did not include any plus-size models to represent that demographic part. Spring 2016 was the season of the first plus-size cover model in a swimsuit in Sports Illustrated, Ashley Graham, as in general women over size 12 were clearly absent from most spring ad campaigns. For Spring 2016 among the 440 model appearances, plus-size women were only 7, 1.6% and with all but 2 of them were cast for mass-market and plus-size labels.

The exceptions were American Eagle Outfitters, Marc Jacobs, Jean Paul Gaultier. 438 model appearances were for Fall 2016, and plus-size women were only cast 14 times, which means 3.2% and in comparison with the previous season, 12 out of the 14 total appearances, it was mass-market plus-size brands. Plus-size women accounted for 10 of the 444 model appearances for 2017, considering the numbers seen in previous campaign seasons — 14 in Fall 2016, just 7 in Spring 2016. On the other hand the positive news were that Calvin Klein and Urban Outfitters are in the list of using plus-size models in their campaigns. But again industry probably, has to realise that plus-size models are not about their size but about their confidence and about the message they are delivering to the world: that you need to love yourself.

AGE +50 Fall 2015, Baby Boomers turned up 22 times in ad campaigns and that translates to 3.1%, with about half of the them being well-known, like actresses and designers for Dolce & Gabbana and Givenchy. However, Spring 2016 was a big disappointment as there was a decrease in the numbers with only 9 women age 50, in other words only 2% included in campaigns this season, with the majority were in the American designer Marc Jacobs. Perhaps the most promising development of the Fall 2016 ad season was that 18 older models, appeared in them, which is 4.1% of all castings and it is worth noting that, of the 18 appearances, 4 were older models of colour. Labels are increasingly taking notice of A.T. Kearney’s research, whose findings showed that people over 60 are the fastest growing group of consumers in the world and account for 60% of all consumer spending. By 2047, there will be 2 billion mature consumers worldwide. Models over 50 were the least represented group for Spring 2017. Out of the 444 model appearances, mature models were only cast twice (Calvin Klein, Bottega Veneta) and it was the least diverse season since Spring 2015. Clearly, aging remains a taboo in the fashion industry.

"The main focus isn’t about age. It’s about capitalizing on what people think is a trend. That, for me, isn’t really making progress.” - Advanced Style founder Ari Seth Cohen

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TRANSGENDER In Fall 2015 the transgender models were only 0.4% maybe they are few, but it’s a progress since Spring 2015 when there was not even one transgender models.

Transgender models were practically absent from Spring 2016 ad campaigns with only 0.2%. Marc Jacobs won the season slightly by featuring Lana Wachowski among other transgender persons in his campaign. And that was paradox if you think how much media attention world has received in 2016 with Caitlyn Jenner apocalypse, Oscarnominated transgender musician Antony Hegarty and movies as The Danish Girl and Tangerine. In general, transgender models are traditionally the least represented group in fashion ad campaigns and that is due to the fact that they are a smaller sector of the general population than all the other groups and therefore a smaller ratio of transgender models into models world is somewhat expected. However, transgender models were completely absent from the Fall 2016 campaigns. For Spring 2017 campaigns included the most underrepresented group in fashion industry, for a total of five castings. That is positive if you remember the total absence of this group from Fall 2016. Lea T, the only transgender model of color, fronted the Givenchy final Spring 2017 campaign.

FASHION AD CAMPAIGN DIVERSITY

20

10

10

%5.0

Fall16

%5.0

%0

%2.0

0 Spring16

10 %3.2

%2

%6.1

A/N

A/N

Fall15

%1.4

20

%2.3

20

0

0

Spring15

30

%4.0

%5.1

%1

0

%3.32

10

%1.3

10

%8.12

20

%3.51

%3.51

20

30

30

30

%5.42

40

30

40

40

0 Spring17

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BRAND OVERVIEW

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3.1 BRAND AUDIT Since 1982, "Pandora has increasingly become the brand of choice for women to help celebrate unforgettable moments, express their individuality and aspire to become better", according to American Marketing Association.

What makes PANDORA so captive is that its charm bracelets are more than fashion statements; they are a reflection of aspirations, interests and memories that help form a unique identity. We often feel a disconnect between our current and ideal self, a gap PANDORA's charms aim to bridge by helping women visualize their real selves.

The company is well know for the high quality materials and the hand finished jewellery at affortable prices. Operates and manages a vertically integrated business model from inhouse design and manufacturing to global marketing and direct distribution in most markets. Also, the products are sold in more than 70 countries on 6 continents. In 2016, PANDORA’s total revenue was DKK 20.3 billion (approximately EUR 2.7 billion).

PANDORA has build a successful social media presence, as it has 3.1million followers on Instagram, more than 11million likes on its Facebook page, and 163K followers on Twitter. In addition 37K subscribers on its YouTube channel.

3.2 BRAND VALUES PANDORA's mission is to celebrate women by offering them the opportunity for personal expression through the universe of high-quality and contemporary jewellery at affordable prices.

PANDORA’s brand values have increasingly combined to every women’s experiences and identity, as its mission is to inspire women express their individuality specifically with its charm bracelets.

Furthermore, it is a fashionable and trendy brand, and those are key drivers for female consumers. However, it does not marked itself as luxury for its products; it is luxury because of what the jewellery means and how it makes each individual stand out in their own way.

Committed to developing and manufacturing products in a responsible manner; to providing a great environment for people; and to working towards minimizing the environmental impact on the planet.

PANDORA CAMPAIGN PROPOSAL | PINE U

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3.3 TARGET AUDIENCE "While we believe there is something in the collection for every woman, our sweet spot is women ages 25 to 49," according to Keshia Holland, Pandora's marketing manager.

But in the recent years they expanded their demographic group to younger audience.

According to Mintel's report Jewellery Retailing, UK, September 2015, young women 16-24 are the biggest self purchasers and 36% of them like to buy brands such as PANDORA. In addition 45% of men aged 25-44 are gift buyers and more than 60% of women who own PANDORA receive it as a gift and half of those gifts are bought by men.

"They manage to reach a wide array of audiences by not representing anyone.

Their story is that they want you to figure out how to represent yourself, wearing their jewelry." - Becky Stone, blogger PANDORA's customer loves the way that jewellery are customizable and collectible, how they are connected to their memories and experiences. Also, they appreciate the craftsmanship. Furthermore, the company promotes and delivers the latest trends according to future trends and colors. Beth Moeri, Pandora America's chief merchandising offiser says the company keeps an eye on "trends from fashion runway to Main Street."

Although PANDORA is not typically seen as a millennial brand, the company has undergone significant changes in order to reimagine the consumer experience based on the values of modern consumer.

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INDUSTRY REVIEW

PANDORA CAMPAIGN PROPOSAL | PINE U

4.1 MARKET ANALYSIS Despite, the economic crisis European jewellery market has continuously provided great opportunities. Since 2014, economy in Europe slowly recovering and this has had a positive impact on the jewellery market. Consumption is mainly driven by growing tourism and recovering local purchasing power. In addition, even with the global economical challenges and the socio-political tights, European jewellery sales remain dynamic and growing, as consumer's desire for jewellery, which was decreased by the global scene, now appears more uncontrolled than ever.

Branded jewellery is on the rise, and there are three types of consumers driving the growth of this segment. First, the "new money" consumers, who wear branded jewellery to show off their wealth status. Then, there are the emerging-market consumers, for whom well established brands represent trust and upper lifestyle.

Last but not least, there are the young consumers, who turn to them for selfexpression and self-realization.

However, for the luxury jewellery segment millennials are skeptical because they are not defining luxury brands by how much money you spend, but rather how priceless an experience is and as a result the definition of luxury is changing. Jewellery defined by the person wearing it and not the other way around. High quality and what the brand stands for are the key points for millennials in order to spend their money on a brand.

Price tags must be based on a deeper level of emotional connection. In addition to all the above, 2/3 of luxury shoppers say they engage in online research before to an instore purchase.

52% of Millennials who have purchased jewerly in the past 3 months (from March 2016) like to show off their taste and style, according to Unity Marketing Study and Millennials will take over as the largest generational segment in the luxury consumer market around 2018-2020.

According to Mintel's report 'Jewellery Retailing, UK - September 2015', for costume jewellery, fashion stores such as Next, Topshop and M&S are the retailers of choice.

57% of female 16-24s have purchased costume jewellery from a fashion store because of the low price ranges and the trendsetter.

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4.2 COMPETITOR ANALYSIS To achieve a greater understanding of where PANDORA is currently located in the market and how it can successfully increase its position, key competitors have been analysed, to review the effectiveness of the planned marketing and communication strategies. (See Appendix A for a full Competitor Outline)

COMPETITOR STRENGTHS 1. Tiffany & Co, Swarovski and Thomas Sabo have a well known image and reputation across the world for their heritage, quality and their story over the years.

2. Tiffany & Co, Swarovski and Thomas Sabo, are using celebrity endorsements in their campaigns to promote their products and be more appealing to consumers.

3. Tiffany & Co, Swarovski and Thomas Sabo have collections with wide range of prices, giving the opportunity to all economical types of consumers to purchase their favorite brand and in the same time they are expanding their costumer demographics.

COMPETITOR WEAKNESSES 1. Brands like Thomas Sabo and Swarovski have low social media presence, they use basic marketing and communication strategies and they have low levels of engagement advertising campaigns.

2. Tiffany & Co and Swarovski lack of modern and trend following products to offer.

3. Thomas Sabo, Swarovski and Tiffany & Co don't have a lot of customization, which is a big trend into the jewellery market.

These are some of the key points that PANDORA has to consider and evaluate to establish its position in the competitive market. The brand's consumers are interactive people, who seek constantly communication with the brand in order to be engaged.

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4.3 BRAND POSITIONING In comparison to all the previous competitors, PANDORA has the advantage of its reaction to new trends, with a wide range of modern designs for every season and special occasion. That is what make PANDORA's consumers more engaged and more loyal to the brand. (See Appendix B for Brand Personality) In addition, the brand's core values of on-trend affordable luxury jewellery and digital communications are some of the key characteristics that give the brand commercial advantage and promote PANDORA as a brand, which can understands its target audience, building trust and consumer loyal base.

PANDORA's growth has increased over the years. It has also overtaken well establish brands and gain people's trust. It was one of the fastest-growing jewellery accessories companies from 2006 to 2011.

60

50

)%( NOITAITNEREFFID

40

30

20

10

0 10

20

30

40

TRUST (%) Attitudes towards and usage of selected brands.

December 2014 and June 2015

50

5

COMPANY ANALYSIS

PANDORA CAMPAIGN PROPOSAL | PINE U

5.1 MACRO ANALYSIS Before making any suggestions for PANDORA's company, a macro analysis has been carefully considered to discover any risk or positive factors, which may affect the new campaign proposal. The following outlines the key consideration points. (See Appendix C for full PEST Analysis) Hit by terrorist attacks and several strikes (particularly in France), 80% of watches & jewelry market distributors reported lower financial results in 2016. The decrease in store traffic was mainly the result of lower Chinese tourists but also fewer local customers affected by the negative economic mood in Europe. The only market which exceeded expectations was the UK, helped by the weak sterling after the Brexit vote in June. However after the UK voted to leave the European Union, retailers needed to prepare for a big volatility.

The fashion and high-end industries are one of the most vibrant and creative sectors in Europe. They are present in the everyday life of millions of people and act as ambassadors of European values, such as culture, creativity, innovation, and craftsmanship. The high-end sector grew faster than the rest of the European economy during the crisis, recording double digit growth in 2010 and 2011.

In a context where consumer behaviour is changing (from baby boomers to millennials), luxury companies need to adapt their brand positioning to better address consumer expectations in a market that has become more polarized. Brands have to be more transparent, authentic and also marketers should open up dialogue with consumers and involving them in the marketing process.

As technological advancements redefine both business and society at large, and skills and craftsmanship of handmade jewellery will always have a substantial place in the industry, the changes of technology on jewellery production in the last 20 years is an undeniable evidence of its revolutionary effect on manufacturing processes. CAD and 3D printing techniques are developing and they are useful tools in customer service and satisfaction. Jewellery brands have to invest in those new technologies and blend the traditional craftsmanship with modern technics.

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5.2Â MICROÂ ANALYSIS A SWOT analysis has been generated for PANDORA to discover the opportunities, which may be benefited from the new campaign project. In addition, to identify the weaknesses and threats, which could potentially disrupt the process of the new concept. (See Appendix D for full SWOT Analysis) The key strengths the brand has achieved has been the growth and success of the company over the years and the big reputation that has gained in a short time.

Craftsmanship of PANDORA is a well known value of the brand, which benefits the expansion of the company around the world.

The brand has a clear understanding of its target market and trends, which have allowed PANDORA to develop a strong relationship with its audience and also to create a firm brand identity. Its social media presence is essential for a continuing growth in the currently digital world and for a bigger level of engagement with the consumers.

On the other hand, there is the danger of the non uniqueness of the products, as many jewellery brands have increase the production of products similar to PANDORAs, trying to gain the same audience. But again, those brands don't have any values similar to PANDORAs. In conclusion, the new campaign project gives PANDORA the opportunity to connect with more consumers in a more interactive way. With this regard, its consumer base will expand and become more loyal. It also allows the brand to develop a multichannel environment through its online platforms, additionally implement PANDORA to build a strong brand presence with clear messages and values.

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6

CONSUMER BEHAVIOUR

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6.1 LUXURY CONSUMER As millennials get set to take over the luxury market, their desire for more elevated purchases - regardless of price - takes central stage. But as the gap between fast fashion and high-end continues to decrease, a new demographic emerges, bringing the juniors and young contemporary market , according to WGSN. So, as millennials' appetite for luxury increases, designers that have long held baby boomer at heart begin to focus on their new future consumer, with sophistication being the key for this consumer, who is maturing quicker due to digital connectivity. Teens and young adults are redefining the luxury consumption landscape.

Luxury is increasingly about having a clean conscience: acts of gratitude and sustainability is growing faster every day, changing the face of the consumer. The global boom in ultra high-net-worth individuals (UHNWI) is ushering in a new era in which exclusivity goes beyond reward points and monthly shopping events. As personalisation becomes a mass-market strategy, customization is developing as an important service offer for the luxury sector. Established luxury brands are looking beyond monogramming services and offering key item customisations.

Radical transparency among business and corporations becomes a consumer priority.

Furthermore, according to The Millennial State of Mind, a study from Bain & Company and Farfetch, 70% of luxury purchases are influenced by online interactions.

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6.2 LIFESTYLE TRENDS The new era of activism and protest is here and society is becoming more politically charged. The spirit of protest and rebellion are thriving in 2017 and "if the political climate keeps getting uglier, the art will have the answer. We will have to fight." says artist Amanda Palmer. A new educational school with attitude, the University of The Underground embraces chaos and challenges convention. New digital platforms like Panda, which aims to disrupt the sharing economy and give power back to the people.

Also, art world is trying to find an alternative way, a solution against solidarity. Hands Off Our Revolution is a form of design activism. All the above are examples of new ways for people to march and resist in a time of political uncertainty.

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In 2016, 'woke' went from black activist watchword to teen internet slang, and this word is associated with the resistance movement and especially with the Black Lives Matter movement after the death of Trayvon Martin in 2013. Wokeness has inspired a new dialogue that reminds people to check their own privilege on- and offline. Teen Vogue and Complex are some media, which used the word. However, the rise of "woke culture" has also drive to cause marketing: a change in the market in which consumers prefer brands that support the causes they care about.

Experiencing the whole spectrum of our emotions is key to our well-being. This is emodiversity, and it's the next new big movement to hit the mindful market, as WGSN refers. According to Karla McLaren, an emotional expert and empathy pioneer, emotions are crucial to every aspect of our world. They're vital to our thought- and decision-making process. The side effects that come with a lack of self-knowledge are also increasing.

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6.3 THE FEMINISM MOMENT We find ourselves in the 4th wave of feminism, as social media and tech have given a wider platform to women, to achieve a socialism not previously possible and forming a more active and politically voiced group of consumers. Nowadays feminism isn't about equality, it's about standing up to some serious social problems and social media help discover it. A growing number of women in their 30s, brought up with the philosophy that they could "have it all", they don't want any of it - unless it's on their own terms.

"Every generation has its own interpretation of feminism; each generation will pick up the philosophy as it needs to. The way brands are reacting with that part of culture is also about talking to millennials and Generation C. These are people who’ve grown up with the internet, and it’s not just about brands broadcasting to them, they want to engage with brands and have them in their lives in different ways from previous generations," Beth Bentley said.

However, for every statistic claiming that the majority of women count themselves as feminists (a Mumsnet 2000 of 4million user survey found that 59% of them identified themselves as feminists), there are others stating it's a minority (according to a Netmums survey, only one in seven considered themselves to be feminist).

Young women (and, increasingly, men) are still coming to the movement in strong numbers, but this feminism looks different, in many ways, than that of earlier generations. This New Wave feminism is shaped less by a shared struggle against oppression than by a collective embrace of individual freedoms, concerned less with targeting narrowly defined enemies than with broadening feminism’s reach through inclusiveness, and held together not by a handful of national organizations and charismatic leaders but by the invisible bonds of the Internet and social media.

"Feminism isn't about making women stronger. Women are already strong. It's about changing the way the world perceives that strength.

-G.D. Anderson

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The word itself — “feminist” — still is a sticking point for many, loaded with negative connotations. When half the Post-Kaiser polling sample was asked whether feminism has a good or bad reputation, 55% of the respondents chose “bad” — with little difference between women and men — while 32% chose “good.” But when the other half was asked the same question, except with “the women’s movement” substituted for “feminism”, the results were essentially reversed: with 54% choosing “good” and 35% saying “bad.”

If feminism is more personal than collective now, then each woman's experience has its own meaning. Feminism nowadays is not only political, there are more similarities than differences between the politicized feminism of the 1960s and 1970s and more individualized version practises by today's generation, which grew up with the civil rights movement and Facebook. For a generation that came of age online, joining Tumblr discussion or sharing an article link is as natural as joining a women's circle or attending a rally were to the movement's pioneers. The new wave is largely leaderless and faceless and in the same time there is a divide between younger and older women, which may reflect the long-standing criticism of feminism as being overly focused on the needs of white, upper-class women.

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6.4 ADVERTISING TO FEMALES Simply put, in 2017, consumers, and the brands that are looking to reach these consumers, have been paying more attention to women and advocating for women’s rights.

“As the Women’s Movement has evolved, it’s become clear that the personal is truly political. Millennial and younger women – the target of most advertising – aren’t shy about speaking out when they see injustice and when they see advertising that presents women as stereotypes.”

- Hans Dorsinville, partner, EVP and group creative director at Laird + Partners Since January's 2015 'This Girl Can' campaign advertisement started to turn away from stereotypically “perfect” images by showing women of all shapes and abilities, marking a sea change in the way brands talk to their female consumers. Women need and want to see "themselves" in advertising. "It is reflective of marketers' realisation that as traditional gender roles have started to erode (Man = breadwinner. Woman = housewife and mother) that they need to address women as thinking individuals? Individuals with interests, anxieties and ambitions beyond their previously anticipated and demographically defined role as decision-maker for the groceries and coordinators of family happiness - individuals who need to be treated as the autonomous and selective audiences that they are," according to Kath Hipwell at Campaignlive.co.uk.

For example, mothers often complain they are related to only in terms of their kids: stay-at-home moms and part-time workers are the most engaged and most interesting set of people online as social media is a massive door-opener but brands are often ignoring the facts. Modern woman craves to be taken more seriously increasingly venting their dissatisfaction when they are not (again a result of online feminism).

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"We’re saying to our consumer that you should be able to live your life freely, spontaneously and have some fun. Consumers now really value authenticity and are less inclined to support brands who make them feel inadequate or pressured to look a certain way. There’s been a cultural movement, particularly among millennials.

They’re saying: ‘Enough already. Show me something that’s relevant to me."

- Anna Stark, head of marketing at Sloggi nothern Europe On the other hand, there are risks in today's savvy consumers, as they can evaluate everything and detect an inauthentic campaign. “There has been some criticism of brands co-opting feminism. It tends to happen when the approach has been heavy handed. If you look at the most successful examples, they are from brands who are really invested in being responsible,” explains Nicola Kemp, trends editor at marketing magazine Campaign.

However, one of the greatest feminist drivers is the fact that the imagery surrounding women has not necessarily kept pace with modern world. Cheryl Giovannoni, chief executive of Ogilvy & Mather mentions that one of the biggest problems is the relative lack of women involved in the creative process. "Three percent of creative directors are female, so what you have in an industry dominated by male creative directors trying to bridge the divide. That for me sums up why women aren't being depicted in a way that shows true insight and understanding, and their real-world issues."

Taking a fresh approach to marketing can be an opportunity for fashion businesses to connect with the customers. However, it is not as simple as jumping on the feminist bandwagon – retailers need to think carefully about how best to speak to their consumers.

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LINDSEY CLAY, CEO, THINKBOX

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"There’s a genuine desire to move with the times.

But there’s still a long way to go. We need to stop featuring women as peripheral characters."

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MARKETING STRATEGY

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7.1Â AIMS & OBJECTIVES AIM To create brand awareness around PANDORA and increase the social media influence, in order PANDORA to gain more engaging European and UK audience.

Through the new campaign project PANDORA will show a new face for jewellery brands, which is closer to wider range of audience and more interactive.

OBJECTIVES 1. To encourage consumer interaction with the brand through social media platforms to enclose the core message and values of the brand and increase PANDORA social presence.

2. To effectively create awareness of the new campaign using a combination of promotions, print advertising, digital communication tactics, social media and a launch event to gain coverage among influential people, who consequently will promote the brand.

3. To boost brand's recognition, by ensuring that the new campaign message is combined successfully with the values of the brand throughout the promotional strategy in a multichannel experience.

4. To deliver a fresh perspective into the jewellery industry. People are engaging differently with advertisements and the brand should adjust to it.

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7.2 CAMPAIGN THEME All the women are different, but in the same time identical. They are all daughters, wives, friends, moms, girlfriends, lovers. As we are in an era of change, all that women have to do is to stand tall, be queens of themselves and independent. Tough on the outside and sweet on the inside. Females with courage, strength and dreams. In order to be the best versions of themselves, they have to be an alternative version of a pineapple. 'PineU' is an empowering message for all the females around the world. It's a slogan, which combines all the characteristics that every woman needs to have, without differences. It's a statement to the world that they are all united and powerful, together in a time when all that matters is "being you". A celebration of being a woman and not a stereotypical message focusing on women's insecurities.

The story behind the 'PineU' campaign is captured inside the name itself. Be you, this campaign aims to the goal of PANDORA to be the first brand of choice among European and UK consumers.

Attached to brand values, the campaign presents a fresh and different approach of the jewellery industry. This idea is reflected in the logo, which combines the direct and the inner message with a summer attitude and PANDORA's colors.

To secure the objectives the promotional strategy will be split to two stages: pre launch and launch. In that way, the aims of each phase will remain clear and focused. Despite, the central aim of the campaign, they will be different aims for each phase with the focus of the promotional plan is to enhance the brand message, increase awareness, generate more interest and finally boost the sales of PANDORA in Europe and UK. FIG 30: 'PINEU' CAMPAIGN LOGO

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7.3 SUMMER SPECIAL EDITION OVERVIEW 'PineU' CHARM BRACELET CHARM As every charm has its meaning, the pineapple charm for PANDORA charm bracelet, is a move for women to make a statement about unity, because PANDORA charm bracelet represents every women's experiences, beliefs and values. Female consumers trying to find new ways to speak and make a comment about their opinions and positions in social issues. The price will stay in the same range with other charms and 30% of all sales of Summer Special 'PineU' Edition will be donated to an organization.

FIG 31: SUMMER SPECIAL EDITION CHARM

PACKAGING For the special edition charm there is a special edition packaging exclusively for it.

A little pineapple jewellery box in white (PANDORA's color). This box after can be used as inlay. Pineapple is a massive trend in interior design and it symbolize warmth, welcome, hospitality and friendship. Furthermore with this action, the brand is passing the message of sustainability.

FIG 32: SUMMER SPECIAL EDITION JEWELLERY BOX

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7.4Â PR ACTIVITIES 7.4.1 COLLABORATION PANDORA will collaborate with P.ink/Personal Ink organization; a charity that gives financial aid to people all over the world who need help with their mastectomy tattoos. It is about women with mastectomy, who want to feel good with themselves after their battle with cancer. #FeelYouAgain is a hashtag, which Pandora can promote in order to connect with P.ink's purpose. 30% of all sales of the Summer Special 'PineU' Edition will be donated to P.ink/Personal Ink organization. Find more in www.p-ink.org.

As we know millennials driving brands to practice socially responsible marketing.

Engaging with charities and communities increases revenue for businesses, says Stephen Dilworth of Foresters. Most consumers think businesses should support charities and nearly half are more likely to buy from companies that donate to good causes, according to a study commissioned by Foresters, the financial services organisation. Consumers really expect companies to do CSR initiatives. (See Appendix E full Consumer Reports (CSR) )

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7.4.2 SPONSORSHIP The launch event will be sponsored by ABSOLUT ELYX (the world's first true luxury vodka), which will provide the venue, the bar staff and the drinks. There two reasons for choosing the specific brand. First, Absolut Elyx - The Pineapple of Hospitality has pineapple as the center of its concept, as the new project campaign of PANDORA. The second reason is that Absolut Elyx has partnered with Water For People on a five-year mission to bring safe water to 100,000 people, for generations to come. So, promoting Absolut Elyx through the event and helping in it to engage with fresh audience, PANDORA again shows a socially responsible status. In addition to all the above the luxurious character of the vodka is the perfect combinations for a jewellery brand.

The sponsor will be benefit by introducing itself to a bigger audience, which will include influential and important people, such as bloggers, celebrities, media and many more.

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7.5 CAMPAIGN PROJECT The following two sections will demonstrate the suggested promotional practises for the new campaign proposal and the launch of the Summer Special 'PineU' Edition in more depth. The campaign aims to increase awareness of PANDORA with creative and interactive methods.

This will be separated in two sections: the pre launch and the launch strategies. Every section includes visuals, marketing and communication tactics and clear explanations of how every stage will work effectively, in order to achieve every objective of the specific project.

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PRE LAUNCH STRATEGIES

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8.1 SOCIAL MEDIA CAMPAIGN The social media campaign is an invitation to interact with PANDORA's social platforms and be a #pandorasgirl. PANDORA is asking from its audience to be a part of its social media campaign video and there is an opportunity for some of them to be faces of EU and UK 'PineU' campaign, increasing the enthusiasm more. Following the instructions, people can create their own video contents and upload it in their personal social platforms as Instagram stories or Snapchat with tagging PANDORA's profiles. In that way, the brand can have access to all the videos. With all that content PANDORA will create a series of videos, which will be released though its social media platforms before the launch of 'PineU' campaign.

People will be asked to create an Instagram Story or Snapchat Story, in which they will answer the question "what a woman needs to be today" and do whatever they want. In the videos PANDORA wants to see their true self without any insecurities.

In such a way, the brand will give the power to the audience, which will provide it with content for the pre launch strategy but also will help to find the faces for the photoshoot of the 'PineU" campaign. Online platforms and social networks directly influence the consumer-b'and relationship and increases the engagement.

8.1.1 WEBSITE The homepage of the website will feature promotional content for the social media campaign, in order to create more engagement and curiosity about it. It will also include a link to the instructions of how someone can be a #pandorasgirl.

FIG 35: PANDORA WEBSITE HOMEPAGE WITH SOCIAL MEDIA CAMPAIGN PROMOTION MOCKUP

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8.1.2 FACEBOOK & TWITTER The key aim of Facebook and Twitter pages of PANDORA is to create awareness around the social media campaign and increase interest among the audience.

Promotional content and instructions will be included to posts and advertisement.

FIG 36: FACEBOOK CAROUSEL ADVERT FOR SOCIAL MEDIA CAMPAIGN MOCKUP

FIG 37: FACEBOOK POST FOR SOCIAL MEDIA CAMPAIGN MOCKUP

FIG 38: TWITTER POST FOR SOCIAL MEDIA CAMPAIGN MOCKUP

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8.1.3 INSTAGRAM Marketing is about reaching consumers to invoke a change in their behaviour, giving them a call to action. What a brand needs is to be where people are engaging and spending time. The reason for this unusually high engagement is driven by the consumer, as they crave to visually share their stories, reactions, and experiences– Instagram offers a platform for this with its unique ability to highlight visual content.

Hashtag #pandorasgirl will be unique to the brand, created for followers to use and engage with. Instagram just makes sense from a B2C standpoint.

FIG 39: PANDORA INSTAGRAM PROFILE FOR SOCIAL MEDIA CAMPAIGN MOCKUP

FIG 40: INSTAGRAM POST FOR SOCIAL MEDIA CAMPAIGN MOCKUP

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8.1.4 INSTAGRAM STORIES In order to someone to participate to "Be the face of our Social Media Campaign" has to create an Instagram story and before upload it in their personal account stories, they have to tag PANDORA's Instagram profile.

The reason behind Instagram Stories, is because Instagram is bigger and more engaging when it comes to brands. It is a more interactive way to connect with the followers and it is more easier than creating a video and send it via email. In addition, everyday, over 200 million people use Instagram Stories and they are 'Discoverable', which means that people who don’t follow you can see your posts too.

FIG 41: USER 01 INSTAGRAM STORY MOCKUP

FIG 42: USER 02 INSTAGRAM STORY MOCKUP

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8.1.5 SNAPCHAT Snapchat more and more is loosing ground as Instagram Stories launched new features similar to Snapchats'. Also, that platform hasn't encourage brands to participate and the reach is smaller than Instagram but as Dan Grossman, vice president of platform partnerships at VaynerMedia said "Instagram is a follower platform where Snapchat is more of a best friend platform." And that for the cause of the social media campaign is also helpful as the awareness will increase among friends and family.

FIG 43: USER'S SNAPCHAT PHOTO MOCKUP

FIG 44: USER'S SNAPCHAT PROCESS MOCKUP

FIG 45: USER'S SNAPCHAT TAG MOCKUP

8.1.6 VIDEOS For one month before the launch of 'PineU' campaign, a series of videos for the social media campaign will be released. Every week, there will be a new part, which will include the videos that people have sent to PANDORA through their social media platforms. Find examples of videos attached in the file.

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8.2 MEDIA FOCUSED STRATEGY 8.2.1 EVENT LAUNCH INVITATIONS Event invitations for the launch of the Summer Special 'PineU' Edition will be distributed 20 days before the event.

The design of the invitation reflects PANDORA's character. The concept of the invitation in a box and a brooch as a present, with the logo of 'PineU' in different textures being the key in all the three elements, captures the attention of the brand's guestlist.

FIG 47: FRONT AND BACK VIEW OF INVITATION MOCKUP

FIG 48: THE PACKAGE OF THE INVITATION MOCKUP FIG 49: A UNISEX BROOCH WITH THE 'PINEU' LOGO MOCKUP

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8.2.2 EVENT LAUNCH The event for the EU launch is scheduled to take place in a venue sponsored by Absolut Elyx in France or Italy as both are the strongest Pandora's markets. Revenue from Italy and France in 2016 increased by more than 50% each, driven by increased brand awareness. As the launch will be at 01 of August 2018, the EU launch event will be at 28 of July 2018.

The event for the UK launch is scheduled to take place again in a venue sponsored by Absolut Elyx in London. As the launch will be at 01 of August 2018 in the UK too, the UK launch event will be at 29 of July 2018.

Both events will attended by fashion, jewellery and media experts, people who have a special relationship with the brand and also people who influence the target audience. Celebrities, bloggers and vloggers will also be invited, as consumers and media love them.

In addition, there will be a contest on PANDORA's Instagram account. People will be asked to follow @theofficialpandora and tag a friend from 25 to 29 of June 2018, and then PANDORA will randomly pick 5 persons plus the tag ones, who will gain an invitation for the launch events.

Instalments like Polaroid Instaprint station and a Selfie Mirror photo booth will be placed around the venue in order guests to have fun and create their own memories from the event, which can take home or even automatically post to their social media accounts.

FIGÂ 50:Â INSTAGRAM POST OF CONTEST MOCKUP

The social media for the event will include event coverage with live streaming and Instagram stories and an influencer or a blogger ( from PANDORA's ambassadors) will provide series of images and videos from her perspective in the duration of the event.

In addition, 2 vloggers will have permission to shoot during the event in order to create a vlog for their personal profiles on YouTube. And for the end, phones will be passed around the guests in order to document the event via Snapchat. Guests will take pictures and videos and capture every moment. This will make the followers of Pandora's Snapchat to feel the exclusivity of being there.

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 LAUNCH STRATEGIES

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9.1 PHOTOSHOOT CONCEPT As we know women nowadays crave to see "themselves" in campaigns and in that way they engage more. In order to be relevant to women today, everything needs to be real, honest and make a connection. The most important issue for marketing is that you are connecting with humans, and every human should be listened to and provided for, as consumers with spending power. Originality and honesty is the way forward and the way to get under the skin of what women want.

The key points of the photoshoot concept will be the following. First the faces of the 'PineU' campaign will be different types of every day women according to size, age, transgender, disabilities, color, tattoos, etc. In that way PANDORA is building a connection with every woman with no stereotypes in mind. Changing the face of the jewellery industry, in which you mostly see flawless models in advertising. The photographs will be in black and white for three reasons, first because iIt makes photographs have something in common. Second because colors can be distracting and may even make the photo look complicated and third they have an aesthetic, an artistic look that is hard to produce in color, they look timeless! All women will be wearing PANDORA's jewellery and in their charm bracelet they all have the 'PineU' charm, as they are all making their statement about being strong and proud through that.

The photographer will be a well famous for her aesthetic photographer, who will be able to adjust in PANDORA's character and values and will picture the message of the campaign. Photographers like Inez Vans Lamsweerde and Harley Weir, are potential names for the brand to work with. Why the female photographer?! Female visibility in our visual culture has been a fallacy: we see women everywhere but we see them in a very limited way. Until very recently, the images of women we’ve had access to have been created by men, and with men in mind. Female gaze it’s a way of seeing the world differently, through women’s eyes and it's an increasing trend.

Find examples of the 'PineU' photographs in the next pages.

The selection of the faces that PANDORA has gathered through its social media campaign will be made precious the launch and the photoshoot too, in order the photographs to be ready for the launch of the campaign and the advertising.

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9.2 SOCIAL MEDIA STRATEGY In 2017 social media has become the crucial part of digital communications strategies.

The most businesses believe that using social media platforms and including them in your campaign is necessary. They give the opportunity for a multichannel customer experience when and where they wanted. It is the biggest platform where you can influence the public opinion about your brand. With every tweet, retweet, post on Facebook, like share or comment about your product, the message is communicated.

"The winning brands are the ones using social media purposefully, efficiently and creatively, in line with their brand identities."

- Adèle Gritten, head of media and financial services consulting, YouGov According to We Are Social and its report Digital in 2017: Global Overview, there are 637million internet users, 412million active social media users and 340million active mobile social users in Europe where the population is 839million. in addition, since January 2016 there is a growth in Europe like +3% internet users, +5% active social media users and +11% active mobile social users.

9.2.1 WEBSITE The website role will be to support the launch of the Summer Special 'PineU' Edition by publishing visuals and promotions on the homepage. Creating awareness about the new campaign. Also customer will be able to purchase their Special Edition charm.

FIG 56: PANDORA WEBSITE HOMEPAGE FOR THE LAUNCH MOCKUP

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9.2.2 APPLICATION The global market has experienced a tremendous increase in the number of smartphone users and generally the usage of mobile apps is on the rise.

According to the infographics that GO-Globe released, 52% of the time individuals spend on digital media is on mobile apps. The statistics from the comScore report, indicate that people who fall in the age group of 18 to 24 years use more mobile apps than any other group. According to these statistics, women spend more time on the mobile web and mobile apps than men.

9.2.3 FACEBOOK & TWITTER

FIG 57: PANDORA APP HOMEPAGE MOCKUP

In 2015 Facebook influenced 52% of consumers’ online and offline purchases, up from 36% in 2014 according to The Drum. Facebook is still the most powerful platform among social media with more active users than any other. According to Content Marketing Institute predictions for 2016, as Twitter’s sign-up growth has slowed down, it will boost its stock price by making ads more prominent. Maybe Twitter has lost its value but again there is a different age group who is still engaging with that platform.

FIG 58: FACEBOOK POST FOR LAUNCH MOCKUP

FIG 59: FACEBOOK POST FOR P.INK MOCKUP

FIG 60: TWITTER POST FOR LAUNCH MOCKUP

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9.2.4 INSTAGRAM As reported by Hootsuite top brands on Instagram are seeing a per-follower engagement rate of 4.21% which is 58 times higher than on Facebook and 120 times higher than on Twitter. Furthermore, 90% of Instagram users are younger than 35, so Instagram is the perfect platform to target millennials. Only in the UK there are 17.2million Instagram users and 56% are female.

FIG 61: PANDORA INSTAGRAM PROFILE FOR LAUNCH MOCKUP

FIG 62: INSTAGRAM POST FOR LAUNCH MOCKUP

FIG 63: INSTAGRAM POSTS PHOTOS OF THE CAMPAIGN MOCKUP

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9.2.5 YOUTUBE Video content is rising as people prefer to watch videos on social platforms than reading an article. And it will continue its growth. YouTube gets over 30million visitors per day and the average mobile YouTube views per day is 1billion. In average per month, 8 out of 10 among 18-49 years old watch YouTube and even female users are only 38% that number shows significant increase. Every successful campaign nowadays needs a YouTube video as people are engaging more and more with that platform.

A video from the backstages of 'PineU' campaign photoshoot will be released in PANDORAs' YouTube channel, which will includes the faces of the photoshoot speaking about their values and dreams.

FIG 64: PANDORA YOUTUBE CHANNEL HOMEPAGE LAUNCH MOCKUP

9.3 WINDOW DISPLAY The importance of the window display is that it is a touch point consumers have with the brand. By generating interest or curiosity with the window display, a brand can leave an impression on the consumer and furthermore the consumer can figure out the quality and character of the products the brand has to offer.

Window display is a big communication tool, where you can communicate your brand's message with the world. For the 'PineU' campaign, the major cities store windows in EU and UK will be covered with the logo made by gem stones (not real). It's impressive but in the same time it gives the feeling of every woman is being made by gems.

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9.4 PRINT ADVERTISING 9.4.1 MAGAZINES Print advertisements will be seen in magazines suited to the target audience. Although, digital advertisements find instant impact, magazines high circulation and readership is what gives the advertisement further reach. The design of the advertisements will be focused on the photographs of the campaign with the logo throughout. Additionally, they will contain quotes, which will get the attention of the reader, always with the character of PANDORA. The print advertising on magazines will be separated to female magazines and male magazines, in order to keep the message and the purpose of each strategy clear.

The following are suggestions for possible advertisement placement according to their target audience, circulation and popularity;

9.4.1.1 FEMALE MAGAZINES

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Frequency: Monthly Target Audience: 87% women, 13% men.

Average Age: 35.

Average Circulation: 195,083 Rates: Page Specified Position: £36,130

Frequency: Monthly Target Audience: 82% women.

Average Age: 35.

Average Circulation: 168,741 Rates: Full Page Color: £42,640

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REVOC ENIZAGAM EVOL :07 GIF

REVOC ENIZAGAM DESUFNOC & DEZAD :96 GIF

Frequency: Bi-monthly Target Audience: Women 18-30 years old, 1/3 men.

Average Circulation: 99,000 Rates: Display Colour Page: £6,902

REVOC ENIZAGAM RUOMALG :86 GIF

REVOC ENIZAGAM ERIALC EIRAM :76 GIF

Frequency: Monthly Target Audience: Women 32 years old.

Average Circulation: 260,422 Rates: Page Specified Position: £18,489

Frequency: Monthly Target Audience: Women 25-39 years old.

Average Circulation: 154,359 Rates: Full Page: £11,700

Frequency: Bi-annual Target Audience: 80% female 20% Male.

Core Age Range: 18-40 Average Circulation: 100,000 Rates: Page Specified Position: £11,748

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9.4.1.2 ADVERTISEMENT IN FEMALE MAGAZINES

FIG 71: 'PINEU' ADVERTISEMENT IN GLAMOUR MOCKUP

FIG 72: 'PINEU' ADVERTISEMENT IN VOGUE MOCKUP

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FIG 73: 'PINEU' ADVERTISEMENT IN ELLE MOCKUP

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9.4.1.3 MALE MAGAZINES The reason for suggesting to advertise in male magazines, is because men shopping different than women. 45% of men aged 25-44 years old bought precious metal jewellery for someone else and more than 60% of women who own PANDORA receive it as a gift and half of those gifts are bought by men.

Women prefer the hunt, men want a quick and effortless process, so advertising in men's most popular magazines, is going to drive their attention.

REVOC ENIZAGAM QG :57 GIF

REVOC ENIZAGAM ERIUQSE :47 GIF

Frequency: Monthly Target Audience: Men 18-49 years old.

Average Circulation: 762,642 Rates: Open Page Rate: £17,640

Frequency: Monthly Target Audience: Men 33 years old.

Average Circulation: 938,352 Rates: Page Specified Position: £18,571

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9.4.1.4 ADVERTISEMENT IN MALE MAGAZINES

FIG 76: 'PINEU' ADVERTISEMENT IN ESQUIRE MOCKUP

FIG 77: 'PINEU' ADVERTISEMENT IN GQ MOCKUP

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9.4.2 BROCHURE Printed 3fold and 4fold brochures for the 'PineU' campaign by PANDORA, will be free for the consumers and the public. The brochure includes photos of the campaign and some basic information about the message of the campaign and about the collaboration with P.ink / Personal Ink organization. When you fully open the brochure a poster with the logo of 'PineU' will be formed, which consumers can use in their homes. In addition with this move of using the brochure with another way, PANDORA will promote the idea of sustainability. The brochure for the customers will be inside a folder.

FIG 78: BROCHURE'S FOLDER ONLY FOR CUSTOMERS MOCKUP

FIG 79: 3FOLD BROCHURE COVER MOCKUP

FIG 80: 3FOLD BROCHURE INSIDE MOCKUP

FIG 81: 3FOLD BROCHURE POSTER MOCKUP

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FIG 82: 4FOLD BROCHURE COVERS MOCKUP

FIG 83: 4FOLD BROCHURE INSIDE FOLDED MOCKUP

FIG 84: 4FOLD BROCHURE INSIDE MOCKUP

FIG 85: 4FOLD BROCHURE POSTER MOCKUP

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PUKCOM SRETSOP ERUHCORB :68 GIF

PANDORA CAMPAIGN PROPOSAL | PINE U

9.5Â POST LAUNCH STRATEGIES 9.5.1 SOCIAL MEDIA The social media will continue to be the key focus of the brand. Following the launch PANDORA social presence will focus on promoting consumer content with their 'PineU' charm in their charm bracelet. In that way, PANDORA will increase its social media influence and engagement.

The social pages will include imagery from the events and actions, such as the event with P.ink / Personal Ink organization and also sales promotion for 'PineU' and other collections.

PANDORA's brand ambassadors will post their content about the campaign generating awareness and interest around it.

9.5.2 EVENT WITH P.INK After the sold out of the summer Special Edition, an event will take place in collaboration with P.ink / Personal Ink organization for the donation of the 30% of all sales of the "PineU" Summer Special Edition bid. The event will be called " Feel You Again" like the hashtag PANDORA has used in its social platforms in order to promote its charity action and to connect with the organization.

The event will be again sponsored by Absolut Elyx and the guestlist will include media people, in order to gain the necessary coverage around the event.

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10

PROJECT MANAGEMENT

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10.1 SCHEDULE Task Name

Start

Finish

Duration

04/09/17

08/09/18

265d

04/09/17

30/10/17

41d

Presentation of the Proposal

04/09/17

04/09/17

1d

Client Review & Project Overview

05/09/17

15/09/17

9d

First Stage of Discussions & Changes

18/09/17

22/09/17

5d

Client Review & Project Overview NEW

25/09/17

06/10/17

10d

Second Stage of Discussions & Changes

09/10/17

13/10/17

5d

Client Review & Project Overview FINAL

16/10/17

27/10/17

10d

Project Approval

30/10/17

30/10/17

1d

06/11/17

12/01/18

50d

Design of the 'PineU' Charm & Packaging

06/11/17

17/11/17

10d

Reviews & Changes

20/11/17

24/11/17

5d

Redesign of the 'PineU' Charm & Packaging

27/11/17

07/12/17

9d

Approval of the Designs

11/12/17

11/12/17

1d

Send the Charm Design to PANDORA's Manufacturing Facilities in Thailand

12/12/17

12/12/17

1d

Send the Packaging for Production

12/12/17

12/12/17

1d

Christmas Sales Period

18/12/17

12/01/18

20d

15/01/18

19/02/18

26d

Start Creating Content for Pre Launch Social Media Campaign

15/01/18

29/01/18

11d

Development of the Logo Design

15/01/18

29/01/18

11d

Logo Design Changes & Approval

30/01/18

13/02/18

11d

Development of Pilot Mockups for Brochures 05/02/18 and Social Content for Launch

19/02/18

11d

'PineU' Campaign Schedule Planning

Design

Content Development

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Task Name

75

Duration

Start

Finish

04/09/17

08/09/18

12/02/18

12/02/18

1d

Finalise 'PineU' Charm and Packaging Production

19/02/18

30/03/18

30d

Pre Launch Social Media Campaign

09/04/18

27/04/18

15d

Upload Content for the pre Launch Social Media Campaign Social Platforms

10/04/18

24/04/18

11d

Change Website Homepage

09/04/18

09/04/18

1d

Collect all the Videoos

09/04/18

27/04/18

15d

Contact the Photographer to Book a Date

10/04/18

10/04/18

1d

Organising the Launch Event

16/04/18

27/04/18

10d

In the House Processes

30/04/18

09/07/18

51d

Development of the Video Series for the Pre Launch Social Media Campaign

30/04/18

18/05/18

15d

Selection of the Faces for the 'PineU' Campaign Photoshoot

30/04/18

11/05/18

10d

Schedule Appointments according to the Photographer's Date

14/05/18

16/05/18

3d

Photoshoot

21/05/18

21/05/18

1d

Photographs Selection

01/06/18

08/06/18

6d

Send Photographs to Magazines

11/06/18

11/06/18

1d

Finalise Launch Social Media Content & Brochures

04/06/18

22/06/18

15d

Brochure Print

25/06/18

09/07/18

11d

Post Video Series (one every week)

06/06/18

27/06/18

16d

Social Media Contest

25/06/18

29/06/18

5d

Event Invitations Distribution

09/07/18

09/07/18

1d

'PineU' Charm & Packaging Distribution

09/07/18

09/07/18

1d

'PineU' Campaign Schedule Contact with magazines to Book Page Positions for August Issue

Distributions

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Task Name

76

Duration

Start

Finish

04/09/17

08/09/18

28/07/18

29/07/18

2d

EU Event

28/07/18

28/07/18

1d

UK Event

29/07/18

29/07/18

1d

01/08/18

31/08/18

23d

Window Display Instalment

31/07/18

31/07/18

1d

Campaign Launch Day

01/08/18

01/08/18

1d

01/08/18

31/08/18

23d

01/08/18

10/08/18

8d

08/09/18

08/09/18

1d

'PineU' Campaign Schedule Events

Launch

Upload Content for the 'PineU' Campaign on Social Media Magazines Advertisement Release Post Launch P.ink / Personal Ink Event

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10.2Â BUDGET Task Name

Quantity

Amount (GBP)

Comment

"PineU" Charms

200.000

340.000 *

In House

Packaging

200.000

50.000

In House

'PineU' Campaign Budget Production Costs

Sub Total

390.000

Photoshoot Photographer

20.000

Videographer

2.500

It depends from the photographer

22.500

Sub Total Installations Window Display

30

Sub Total

8.000 8.000

Workforce Marketing Team In House Teams

Graphic Team PR Team Print Advertising Magazine Advertisement Brochures

200.000 800.000

2.500 202.500

Sub Total Online Marketing Facebook & Instagram

August Issue

4 Months

2.000

YouTube

500

Sub Total

2.500

Needs further consideration as probably there is a standard budget for social media

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Task Name

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Quantity

Amount (GBP)

Comment

'PineU' Campaign Budget Launch Events EU & UK Invitations Venue

300

250

200.000 Sponsored by Absolut Elyx

Postage

300

"PineU Brooch"

Needs incorporation / In House

Videographer

600

Photographer

400

DJ

600

Catering

1.500

Installations

2.000

Sub Total

5.650

Event with P.ink Invitations Venue

150

100 Sponsored by Absolut Elyx

Videographer

300

Photographer

200

DJ

150

Catering

500

Installations

800

Sub Total Total Cost

2.050 633.200

* The amount of the production of the charms has been calculated taking as consideration the information of the costs from PANDORA Annual Report 2016.

11

REFERENCES

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Unity Marketing. (2014) Marketing Jewelry to Millennials: How to Sell Luxury Jewelry to the Next Generation of Affluents [online] At: https://unitymarketingonline.com/shop/buy-luxury-research-reports/marketing-jewelry-to-millennials-how-to-sell-luxury-jewelry-to-the-nextgeneration-of-affluents/ (Accessed 30 April 2017) Velasco, H. (2017a) Women want videos with empowering messages, according to YouTube [online] At: http://www.thedrum.com/news/2017/03/09/women-want-videos-with-empowering-messages-according-youtube#content (Accessed 20 July 2017) Velasco, H. (2017b) How advertising around empowering women continues to change the game [online] At: http://www.thedrum.com/news/2017/03/25/how-advertising-around-empowering-women-continues-change-the-game (Accessed 26 July 2017) WeAreSocial. (2017) Digital in 2017: Global Overview [online] At: https://wearesocial.com/uk/special-reports/digital-in-2017-global-overview (Accessed 2 August 2017) WGSN. (2015) The Future Of Luxury [online] At: https://www-wgsn-com.ucreative.idm.oclc.org/content/board_viewer/#/59757/page/1 (Accessed 24 July 2017) WGSN. (2016a) Come As You Are: Embracing Imperfection [online] At: https://www.wgsn.com/content/board_viewer/#/67636/page/1 (Accessed 16 February 2017) WGSN. (2016b) Pride & Politics [online] At: https://www-wgsn-com.ucreative.idm.oclc.org/content/board_viewer/#/67692/page/1 (Accessed on 10 February 2017) WGSN. (2016c) The New Era of Identity [online] At: https://www-wgsn-com.ucreative.idm.oclc.org/content/board_viewer/#/66188/page/1 (Accessed on 16 February 2017) WGSN. (2016d) Emodiversity [online] At: https://www-wgsn-com.ucreative.idm.oclc.org/content/board_viewer/#/69326/page/1 (Accessed 25 July 2017) WGSN. (2017a) The Rise of Resistance [online] At: https://www-wgsn-com.ucreative.idm.oclc.org/content/board_viewer/#/71012/page/1 (Accessed 24 July 2017) WGSN. (2017b) The Buzz: Woke Culture [online] At: https://www-wgsn-com.ucreative.idm.oclc.org/content/board_viewer/#/73520/page/1 (Accessed 24 July 2017) Wikipedia. Fourth-Wave Feminism [online] At: https://en.wikipedia.org/wiki/Fourth-wave_feminism (Accessed 27 April 2017)

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LIST OF ILLUSTRATIONS Fig1: Dilys Williams Quote (2014) [online image] At: https://ruderecord.wordpress.com/2014/07/05/wear-the-talk/fashion-and-status-quo/ Fig 2: Calvin Klein Invitation (2017) [online image] At: http://www.dazeddigital.com/fashion/article/34661/1/the-meaning-rafs-white-calvin-kleinbandana-invites-tied-together-campaign Fig 3: Fratini, U. N.Y Fashion Week AW17 (2017) [online image] At: http://www.vogue.com/article/url-new-york-fashion-week-fall-2017-readyto-wear-recap-altuzarra-politics Fig 4: De Moraes Barros Filho, A. Vivienne Westwood SS16 (2015) [online image] At: http://www.gettyimages.co.uk/event/undefined Fig 5: Schreiber, E. Dior SS17 (2016) [online image] At: http://www.dazeddigital.com/fashion/article/33167/1/maria-grazia-chiuris-feministdiorevolution Fig 6: Charriau, D. Chanel SS15 (2014) [online image] At: http://www.gettyimages.co.uk/license/456372802 Fig 7: Diesel 'Make Love Not Walls' SS17 (2017) [online image] At: http://worldofwonder.net/well-see-diesels-new-campaign-make-love-notwalls-raja-laith-de-la-cruz-octavia-hamlett-russian-ballet-star-sergei-polunin/ Fig 8: Sassen, V. Acne Studios AW15 (2015) [online image] At: https://fashionista.com/2015/09/acne-studios-ad-campaign-12-year-old-model Fig 9: Harris, H. CONTEXT Art Fair (2016) [online image] At: http://henriettaharris.com/ Fig 10: Tilda Swinton as Inspiration for Casadei Fluid Collection (2014) [online image] At: https://gr.pinterest.com/pin/426575395937819434/ Fig 11: 'Love Your Other' by Mother Denim (2016) [online image] At: https://www.standard.co.uk/fashion/trends/genderless-denim-leads-theway-for-brands-jumping-on-the-nonbinary-bandwagon-a3294181.html Fig 12: Leibovitz, A. Lucky Blue Smith and Pyper America Smith [online image] At: https://gr.pinterest.com/pin/856669160339457498/ Fig 13: Theofficialpandora (2017) [Instagram webpage] At: https://www.instagram.com/theofficialpandora/ Fig 14: Camila Carril (2016) [online image] At: http://camilacarril.com/2016/09/pandora-2.html Fig 15: Izzy Hadfield (2016) [online image] At: https://www.shotfromthestreet.com/home/19/7/2016/ekz24b590215tj6fkb3v0wn3itru12 Fig 16: Carola Bernard (2016) [online image] At: https://gr.pinterest.com/pin/334181234834536539/ Fig 17: Liverani, L. Lorenzo Liverani (2016) [online image] At: http://www.thefashionspot.com/style-trends/609035-best-mens-fashionblogs/#/slide/4 Fig 18: Brathwaite, J. Karina Woodburn (2017) [online image] At: http://www.thestyleidealist.com/style-edit-ode-millennial-pink/ Fig 19: Creative Review Magazine [online image] At: https://www.creativereview.co.uk/ Fig 20: Grillo, V. Danielle in New York (2017) [online image] At: http://www.vincenzogrillo.com/2017/04/24/danielle-in-new-york/ Fig 21: New York Fashion Week AW17 (2017) [online image] At: http://www.elle.com.au/culture/feminist-tshirts-at-new-york-fashion-week12640 Fig 22: ‘Imagine the Possibilities’ Barbie ad (2015) [online image] At: http://www.stripecommunications.com/the-new-barbie-ad-leading-acampaign-for-change/ Fig 23: 'I Will What I Want' Campaign by Under Armour (2017) [online image] At: https://www.allure.com/story/misty-copeland-opens-up-aboutunder-armour-trump-comment Fig 24: 'Reboot' Campaign by Diesel (2013) [online image] At: https://www.damemagazine.com/2013/09/11/diesel-wins-latest-news-outragecycle-burqa-ad Fig 25: 'Do You Believe in More?' Campaign by FKA Twigs X Nike Campaign (2017) [online image] At: http://www.teenvogue.com/story/fkatwigs-stars-and-directs-nikes-new-ad-campaign

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Fig 26: 'Monkifesto' Campaign by MONKI (2016) [online image] At: http://www.monki.com/gb/Monkifesto Fig 27: 'This Girl Can' Campaign by Sports England (2015) [online image] At: https://www.dandad.org/awards/professional/2015/white-pencilcreativity-for-good/24194/this-girl-can/ Fig 28: 'I'm No Angel' Campaign by Lane Bryant (2015) [online image] At: http://www.adweek.com/creativity/lane-bryant-bashes-victoriassecret-im-no-angel-campaign-163944/ Fig 29: Pandora Essence Charms [online image] At: http://www.pandora.net/en-gb/collections/essence Fig 30: Driva, E. (2017) 'PineU' Campaign Logo [Illustration] In possession of: Driva Eleftheria Fig 31: Driva, E. (2017) Summer Special Edition Charm [Illustration] In possession of: Driva Eleftheria Fig 32: Summer Special Edition Jewellery Box [online image] At: https://gr.pinterest.com/pin/447686019192945925/?lp=true Fig 33: P.ink / Personal Ink Organisation [online image] At: http://p-ink.org/ Fig 34: Hartigan, J. Absolut Elyx The Pineapple of Hospitality (2016) [online image] At: https://www.behance.net/gallery/38778943/AbsolutElyx-Pineapple-of-Hospitality Fig 35: Driva, E. (2017) Pandora Website Homepage with Social Media Campaign Promotion Mockup [Illustration] In possession of: Driva Eleftheria Fig 36: Driva, E. (2017) Facebook Carousel Advert for Social Media Campaign Mockup [Illustration] In possession of: Driva Eleftheria Fig 37: Driva, E. (2017) Facebook Post for Social Media Campaign Mockup [Illustration] In possession of: Driva Eleftheria Fig 38: Driva, E. (2017) Twitter Post for Social Media Campaign Mockup [Illustration] In possession of: Driva Eleftheria Fig 39: Driva, E. (2017) Pandora Instagram Profile for Social Media Campaign Mockup [Illustration] In possession of: Driva Eleftheria Fig 40: Driva, E. (2017) Instagram Post for Social Media Campaign Mockup [Illustration] In possession of: Driva Eleftheria Fig 41: Driva, E. (2017) User 01 Instagram Story Mockup [Illustration] In possession of: Driva Eleftheria Fig 42: Driva, E. (2017) User 02 Instagram Story Mockup [Illustration] In possession of: Driva Eleftheria Fig 43: Driva, E. (2017) User's Snapchat Photo Mockup [Illustration] In possession of: Driva Eleftheria Fig 44: Driva, E. (2017) User's Snapchat Process Mockup [Illustration] In possession of: Driva Eleftheria Fig45: Driva, E. (2017) User's Snapchat Tag Mockup [Illustration] In possession of: Driva Eleftheria Fig 46: Driva, E. (2017) Videos Screenshots [Illustration] In possession of: Driva Eleftheria Fig 47: Driva, E. (2017) Front and Back of Invitation Mockup [Illustration] In possession of: Driva Eleftheria Fig 48: Driva, E. (2017) The Package of the Invitation Mockup [Illustration] In possession of: Driva Eleftheria Fig 49: Driva, E. (2017) A Unisex Brooch with the 'PineU' Logo Mockup [Illustration] In possession of: Driva Eleftheria Fig 50: Driva, E. (2017) Instagram Post of Contest Mockup [Illustration] In possession of: Driva Eleftheria Fig 51: Driva, E. (2017) 'PineU' Campaign Photographs Example 1 [Illustration] In possession of: Driva Eleftheria Fig 52: Driva, E. (2017) 'PineU' Campaign Photographs Example 2 [Illustration] In possession of: Driva Eleftheria Fig 53: Driva, E. (2017) 'PineU' Campaign Photographs Example 3 [Illustration] In possession of: Driva Eleftheria Fig 54: Driva, E. (2017) 'PineU' Campaign Photographs Example 4 [Illustration] In possession of: Driva Eleftheria Fig 55: Driva, E. (2017) 'PineU' Campaign Photographs Example 5 [Illustration] In possession of: Driva Eleftheria Fig 56: Driva, E. (2017) Pandora Website Homepage for Launch Mockup [Illustration] In possession of: Driva Eleftheria

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Fig 57: Driva, E. (2017) Pandora Application Homepage Mockup [Illustration] In possession of: Driva Eleftheria Fig 58: Driva, E. (2017) Facebook Post for Launch Mockup [Illustration] In possession of: Driva Eleftheria Fig 59: Driva, E. (2017) Facebook Post for P.ink Mockup [Illustration] In possession of: Driva Eleftheria Fig 60: Driva, E. (2017) Twitter Post for P.ink Mockup [Illustration] In possession of: Driva Eleftheria Fig 61 Driva, E. (2017) Pandora Instagram Profile for Launch Mockup [Illustration] In possession of: Driva Eleftheria Fig 62: Driva, E. (2017) Instagram Post for Launch Mockup [Illustration] In possession of: Driva Eleftheria Fig 63: Driva, E. (2017) Instagram Posts Photos of the Campaign Mockup [Illustration] In possession of: Driva Eleftheria Fig 64: Driva, E. (2017) Pandora YouTube Channel Homepage Launch Mockup [Illustration] In possession of: Driva Eleftheria Fig 65: Inez and Vinoodh. VOGUE Magazine Cover (2017) [online image] At: http://www.vogue.com/article/model-diversity-ashley-graham-gigihadid-kendall-jenner-march-cover Fig 66: Kudacki, P. Elle Magazine Cover (2016) [online image] At: http://www.elle.com/culture/celebrities/a37605/fka-twigs-elle-august-2016cover/ Fig 67: Welters, J. Marie Claire Magazine Cover (2015) [online image] At: http://www.marieclaire.com/celebrity/a14346/rachel-mcadams-junecover/ Fig 68: Kim, S. Glamour Magazine Cover (2017) [online image] At: https://models.com/work/glamour-magazine-us-glamour-magazine-us-june2017-cover Fig 69: Hamza, S. Dazed Magazine Cover (2011) [online image] At: http://www.dazeddigital.com/music/article/10868/1/beyonce-the-simple-life Fig 70: Vanderperre, W. LOVE Magazine Cover (2016) [online image] At: http://www.thelovemagazine.co.uk/posts/6827/cara-delevingneinterviews-margot-robbie-about-joining-the-mile-high-club-prince-harry-hazza-and-suicidesquad Fig 71: Driva, E. (2017) 'PineU' Advertisement in Glamour Mockup [Illustration] In possession of: Driva Eleftheria Fig 72: Driva, E. (2017) 'PineU' Advertisement in VOGUE Mockup [Illustration] In possession of: Driva Eleftheria Fig 73: Driva, E. (2017) 'PineU' Advertisement in Elle Mockup [Illustration] In possession of: Driva Eleftheria Fig 74: Norman, J.R. Esquire Magazine Cover (2017) [online image] At: http://www.esquire.com/entertainment/a55226/kit-harington-aftergame-of-thrones/ Fig 75: McLellan, A. GQ Magazine Cover (2016) [online image] At: http://www.gq.com/gallery/david-beckham-gq-photos Fig 76: Driva, E. (2017) 'PineU' Advertisement in Esquire Mockup [Illustration] In possession of: Driva Eleftheria Fig 77: Driva, E. (2017) 'PineU' Advertisement in GQ Mockup [Illustration] In possession of: Driva Eleftheria Fig 78: Driva, E. (2017) Brochure's Folder only for Customers Mockup [Illustration] In possession of: Driva Eleftheria Fig 79: Driva, E. (2017) 3Fold Brochure Cover Mockup [Illustration] In possession of: Driva Eleftheria Fig 80: Driva, E. (2017) 3Fold Brochure Inside Mockup [Illustration] In possession of: Driva Eleftheria Fig 81: Driva, E. (2017) 3Fold Brochure Poster Mockup [Illustration] In possession of: Driva Eleftheria Fig 82: Driva, E. (2017) 4Fold Brochure Covers Mockup [Illustration] In possession of: Driva Eleftheria Fig 83: Driva, E. (2017) 4Fold Brochure Inside Folded Mockup [Illustration] In possession of: Driva Eleftheria Fig 84: Driva, E. (2017) 4Fold Brochure Inside Mockup [Illustration] In possession of: Driva Eleftheria Fig 85: Driva, E. (2017) 4Fold Brochure Poster Mockup [Illustration] In possession of: Driva Eleftheria Fig 86: Driva, E. (2017) Brochure Posters Mockup [Illustration] In possession of: Driva Eleftheria

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APPENDICES

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APPENDIX AÂ _Â COMPETITOR ANALYSIS POSITIONING

STRENGTHS

WEAKNESSES

PROMOTION

POSITIONING

STRENGTHS

WEAKNESSES

PROMOTION

POSITIONING

STRENGTHS

High end luxury Female and male 20-40 / gift buyers for special occasions Upper-middle to high income consumers Best brand experience Biggest social media influence 2017 Authentic and heritage associations Jewellery for men Unique designer lines in affordable prices Lack of contemporary, modern designs for young consumers Few seasonality changes Celebrity collaborations / endorsement Magazines, TV advertisement Grace Coddinghton, creative partner Social media, web High end Female 17-71 Heritage and quality Global power Strong social media presence / visibility Technological innovation Emotionality of the products Lack of advertising Distanced from young consumers Tough competition Non interaction Cinema / Film stars / Celebrity endorsement Magazines, TV advertisement Used in many famous designers collections and runways High end Female and male 20-35 Working people, females who are fashion concious, middle class, from chief executives or secretary) Large offer of products and wide range of prices Quality and service to the customers Jewellery for men Travel retail as a main channel Good reputation and image

WEAKNESSES

Low social media presence Not so much customization Distribution channel (men and women)

PROMOTION

Celebrity endorsement / Sponsorship Cinema Fashion blogs / Web / Social media Fashion and professional magazines

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APPENDIXÂ B _ BRAND POSITIONING

Durable

Heritage

Urban

Comfortable Classic

Reassuring

Cool

Authentic

Cuttingedge Aspirational

Overated Stylish

Trendy Exciting

Brand personality of selected brands in the jewellery and watches sector. June 2016

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APPENDIX C _ PEST ANALYSIS POLITICAL Political uncertainty gradually disappears across the region of Eurozone, but in some countries like The Netherlands, Italy and Spain there are still issues.

US 2016 election of Donald Trump has made plenty of the European politicians to profit from Trump's populist message by similarly tapping into frustrations, anger and nationalist agendas.

The European Union (EU) will be tackling two thorny issues: the U.K.'s Brexit and making sure Greece sticks to the terms of its rescue.

The 2015 refugee crisis abated after the EU-Turkey migration deal and the closure of the Balkan route in the spring of 2016.

ECONOMICAL The EU and Eurozone economy expanded 0.6% in Q1 of 2017 and data for the second quarter suggests that the economy remains in a path of strong growth.

The economy growing a solid 1.8% in 2017 and GDP expanding 1.7% in 2018.

All EU countries lose income after Brexit. The overall GDP fall in the UK is £26 billion to £55 billion, about twice as big as the £12 billion to £28 billion income loss in the rest of the EU combined.

SOCIO-CULTURAL Business ethics increasingly tend to follow a ‘culture of purpose’ as a bold, inspirational ideal.

Heritage interpretation to be applied more to topics like social justice, peace and diversity because of the increasing immigration rate, Increasing social divide with its growing negative impacts in the field of poverty, social exclusion and crime.

Demographic changes, in particular population ageing, also influence the lifestyles.

Increasing trend of ecological and ethical consumption.

High unemployment levels, the risk of poverty is higher for particular household types.

TECHNOLOGICAL Technological development, is changing people’s life globally, their customs and institutions and their views on the future.

According to European Startup Initiative (ESI) there is an increase in digital startups among the European countries.

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APPENDIX D _ SWOT ANALYSIS STRENGTHS

WEAKNESSES

Affordable luxury Customization of own piece of jewelelry upon individual’s taste and need

Uniqueness of products offer (hard to

Seasonality changes / wide range of

differentiate from other brands)

products

Low visibility

On-trends, modern jewellery

Not so global

Unique craftsmanship Social media presence

OPPORTUNITIES Become a more well known global brand Bigger social media influence Advertising and communication practises according to the latest marketing trends Raise bigger awareness around the brands profile

THREATS

Fluctuations in raw materials More companies with the same style coming out Customization option in fashion stores

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APPENDIX E _ CONSUMER REPORTS (CSR) STUDY BY FORESTERS, FINANCIAL SERVICES ORGANIZATION The survey of 1,100 people from across the UK found.

89% thought businesses should support charities and their local communities.

59% thought that companies that did do would benefit from increased profits.

When they asked to make a choice between two companies that offered products and services for the same price.

82% said their decision would be affected by whether a company engaged with charities.

47% said they would be more likely to buy from companies that donated money to charity.

SURVEY BY DO WELL DO GOOD WEBSITE The survey focuses on consumer behaviour, attitudes and awareness about cause marketing.

88% and more of the consumers think companies should try to achieve their business goals while improving society and the environment.

83% of consumers think companies should support charities and nonprofits with financial donations.

35% of consumers dislike being asked to donate to charities at register.

Interestingly, there isn’t much difference between the population segments we looked at in the survey: men, women, and moms. The general pattern we saw with these different segments was that men were very supportive of CSR and cause-marketing initiatives, women were even more so. The mom subset was even more supportive than women in general.