Sfc logbook final by Eva Joy

Strategic Strategic Fashion Fashion Communications Communications

Logbook Jasmin Jasmin Brown Brown Giorgia Giorgia Clements Clements Leanne Leanne Malpass Malpass Josh Josh Ohara Ohara Jasmine Jasmine Rooney Rooney Eva-Joy Eva-Joy Sargent Sargent

CONTENTS Welcome to your match programme, where you will find exclusive information on team Vive La Femme. Everything from team meetings, action points, weekly entries to personal jokes, it is completely available to you. Thank you for reading and we hope you enjoy finding out all there is to know about our team.

FOR MORE INFORMATION VISIT OUR WEBSITE: WWW.VIVELAFEMME.CO.UK

Page 2 : The reason PAGE 4 : the inspiration PAGE 8 : the market page 10 : the consumer page 14 : the formative Page 18 : the event [output 1] page 24 : the film [output 2] page 68 : the zine [output 3] Page 90 : the meetings PAGE 94 : THE CRITICAL PATH/WEEKLY ENTRIES PAGE 116 : THE BUDGET PAGE 120 : THE PRESENTATION PAGE 124 : THE EVALUATION PAGE 126 : the reference LIST PAGE 134 : the appendices

LE COQ SPORTIF

THE REASON In 1882 Emile Camuset opened a small hosiery store in Romilly-sur-Seine, France. His adoration for sports led him to design and create multiple sports jerseys, which led to the birth of Le Coq Sportif (Le Coq Sportif, 2017). Throughout history Le Coq Sportif has represented multiple sporting outlets such as: cycling, football, tennis and rugby. This highlights the brands diversity in a wide sporting market, and its ability to focus on specific popular sports to expand their consumer reach. For many the brand is memorable for its heightened success during the 80’s, synonymous primarily with football. However, due to the rising sportswear giants – Adidas and Nike – consumer’s left no room for the likes of Le Coq Sportif in their wallet expenditure (Wells, 2015). Conversely, the success of huge corporations like Adidas and Nike has led UK consumers to search for independent brands that better represent their values (Geoghegan and Gallagher, 2013). This highlights a unique selling point for Le Coq Sportif within the UK market. Their extensive portfolio of supporting social minorities highlights a devotion to everyone rather

than targeting the ‘cool kids’ like Adidas and Nike. This suggests their history of including ‘all places, all races and all faces’ would encourage UK consumer’s to purchase Le Coq Sportif. In addition, the rebirth of 80’s and 90’s fashion highlights a key trend that Le Coq Sportif can be apart of due to their heritage. Their only UK store in 2012 was visually displayed as a sport performance brand rather than an athleisure brand and focused specifically on cycling, and subsequently was later closed down (Ryan, 2013). The proposed campaign will therefore reposition a section of Le Coq Sportif to promote wearable athleisure influenced by the 80’s football saga that the brand is synonymous with. Similarly the campaign will revolve around the taboo side of the football world, focusing in on women within football. This creates a unique selling point for the brand within the UK market whilst also addressing the importance of gender equality within society. This ties in with current affairs such as the ‘Women’s March’, which took place on the 21st of January 2017 (Women’s March, 2017).

THE INSPIRATION

GOSHA GOSHA RUBCHINSKIY RUBCHINSKIY

FENTY FENTY X X PUMA PUMA

JAMES GERAGHTY

The overall design concept for our proposed campaign was influenced by the rising power of football related athleisure within the fashion industry. We found ourselves visually inspired by numerous brands that were incorporating pieces synonymous with football into their collections. The likes of Gosha Rubchinskiy, A.P.C, Fenty X Puma and Vetements all specifically referenced football inspired scarves within their collections. This encouraged us to want to feature a variety of football scarves within our campaign to be synonymous with the evidently current trend of using football-esq scarves as accessories and to customise outfits. A core inspiration for us was a Kingston University graduate designer named James Geraghty. His graduate collection was predominantly made up of football scarves inspired by the light-heartedness of Moschino’s runway shows. He believed his collection took football away from negative lights of hooliganism and violence and reinstated it with a fun authentic lighthearted nature focusing on the excessive use of branding. His concept was about changing perspectives, which is a reflection of our concept of wanting to change stereotypes (Wightman-Stone, 2016). His focus was exceptionally inspiring for us overall and genuinely made us think about the world of football from a different perspective. Furthermore our research concluded that very few if not zero brands had incorporated physical football shirts into their collections. This inspired us to want to use vintage Le Coq Sportif football shirts as ‘hero pieces’ for our campaign, as we believe this could be a fast approaching trend and could allow Le Coq Sportif to get ahead of their competitors.

VETEMENTS VETEMENTS

A.P.C A.P.C

THE INSPIRATION “Oh Gosha”

As mentioned, many designers have incorporated the use of football oriented athleisure pieces within their most recent collections. However Gosha Rubchinskiy, for us, was the most inspiring designer in relation to our concept. Born in Moscow – Russia, Rubchinskiy likes to represent Russia within his runway shows and designs and thus has brought Russian culture to the mainstream. He focuses specifically on Russian youth culture and uses models and designs to suit this culture and to debut it globally to youth’s all over the world. This inspired us to want to target an 18-30 aged female consumer demographic in order to tap into the ever-growing youth culture market referenced within Rubchinskiy’s work. His regular references to Russian youth are said to have inspired youth’s all over the world, and as a result Rubchinskiy stresses that the ‘youth everywhere speaks the same language just with different accents’ (Stansfield, 2016). This suggests that youth culture is a global accepting community protesting for freedom and self-expression. This further prompted us to address the idea of fashion as gender fluid and stressing that football shirts are not just for men, and that they can be made to look good/be a fashion statement – just like football scarves have become. Furthermore his regular use of 35mm

film to market his product lines and document Russia’s youth, suggests he markets in an organic way. This is favoured within younger aged consumer’s as they feel they are bombarded with marketing easily and therefore can easily see through unauthentic brands. This suggests that Rubchinskiy appeals to the youth culture because he organically markets his products rather than pushing them onto the consumer (Leach, 2017). This is something we would like to incorporate across our campaign in order to drive consumer engagement and appear as a favourable choice against mainstream brands like Adidas and Nike. In addition Rubchinskiy’s use of strong graphics helps to reinforce his overall reference to Russian youth and be automatically recognisable to his youth-oriented consumer (Stansfield, 2016). This subsequently inspired us to want to create visual illustrations that could be implemented into the campaign that can begin

to represent the overall concept of the campaign and thus start to become synonymous with Le Coq Sportif as a whole.

THE MARKET Critically assessing the market environment in which Le Coq Sportif currently operates will inform the new proposed communication campaign as well as the choice of market environment.The French, international brand, Le Coq Sportif boasts 0.7% market share in France and ranks tenth amongst competitors such as Nike, Adidas and Decathlon. The brand has experienced a stagnant market share for the past four years (Passport, 2016).

gap and therefore it is proposed that the communication campaign will be targeted towards the UK market. The UK sportswear market is currently valued at GBP6.8 billion and is set to grow to 8.7 billion by 2021 (Passport, 2017). The growth in the UK market can be attributed to several factors, firstly the trend of health and wellbeing, especially amongst the younger consumers demographic. The emphasis of health and wellbeing is being fuelled by the UK governments plans It appears Le Coq Sportif has a strong to introduce sugar tax (BBC, 2016) on brand awareness in their home territory. sugary drinks and food. The sportswear brand offers products ranges for several different sports At the same time, the athleisure trend including, tennis, rugby, football which came to the forefront in 2015 and cycling. Recently their return to is still buoyant and in a sense it has football sponsorship and as a supplier become part of the norm. It became of football kits in 2015 has allowed increasingly acceptable to wear the brand to maintain their market sportswear throughout the day and into share. The brand now sponsors two the evening, partly due to an increase key European football clubs, AS Saintin availability with the introduction Etienne and ACF Fiorentina (airesis. of ranges from new non-specialist com, 2016). competitors (Passport, 2016). However, the brand’s international performance has been turbulent over the years. Le Coq Sportif’s presence in the UK market is purely online, with the closure of their only ‘stand-alone’ store in Covent Garden (Carlson, 2012 and Gallagher, 2012). This has resulted in a loss of market share in the UK. There is an opportunity to refill this

Athleisure has evolved as a trend over the past two years. Defined in the dictionary as, “casual clothing designed to be worn both for exercising and for general use” (Merriam-webster, 2017), it is now dominating the global apparel market, stealing market share from non-athletic apparel. Varga, (2015 and 2016) breaks the

athleisure trend into five tribes, two key tribes which could be attributed to the proposed Le Coq Sportif consumer - Fashleisures and AthLuxers. The contemporary and urban consumer has mastered the art of high-low styling. Dubbed ‘…the uniform of the street’, this consumer mixes sportswear with everyday wear. The consumer places an emphasis on the label. It will be important for the online campaign communication to attract the consumer with aspirational garments and content, whilst communicating high brand awareness. There are clear signs of growth in the market and it is a very competitive with key players dominating the global sportswear market. The main leaders in the UK market share, Nike and Adidas have recently lost market share in 2016, however they remain strong leaders with 21% and 15% value share respectively in 2016. As the competition is heightened with more high street players entering the sportswear market with diffusion lines, Le Coq Sportif has a chance to compete and to steal market share from the key competitors with a unique communication campaign (Passport, 2017). Internet retailing saw an ongoing strong share gain in sportswear in 2016 over the previous year, accounting for close to 15% value share. Moving forward the online communication campaign will combine the athleisure trend with causal football fan clothing as a styling influence (Passport, 2017).

The resurgence of replica kit will play an important role, as team shirts and training gear are layered with smartcasual classics and everyday denim (Perdue, 2014). The UK continues to account for the strongest sales of replica kits in Europe (Passport, 2017). Historically, Le Coq Sportif has sponsored UK men’s football teams from 1981- 2010. Potentially, Le Coq Sportif could sponsor a UK female football club as part of the campaign to heighten brand awareness. Football continues to be the most popular spectator sport in the UK. Football also has high active participation rates, with an estimated 2.7 million having played football at least once in 2016 (Passport 2017). However, a drop in viewing figures has been reported by Sky and Bt Sports at the start of the 2016/2017 season. This is believed to be due to consumers’ diminishing attention spans and the impact of social media, alongside a growing tendency to follow updates of games on social media newsfeeds. This opens up the opportunity to promote and advertise on social media whilst the game is played live, creating ‘micro moments’ for the consumer as they access information about the live game on their social media (thinkwithgoogle. com, 2017) Despite uncertainty in the UK market due to Brexit, this research has identified a potential for Le Coq Sportif to re-enter, exploring and commercialising upon the athleisure trend in sportswear.

THE CONSUMER

DEMOGRAPHICS

A critically analysed target market will inform the brand as to the best strategic promotional tactics to connect the product to the correct consumer through the chosen digital platforms. (Chaffey and EllisChadwick, 2016). One of the most effective methods available to fashion brands is defining the target consumer through customer segmentation. Dividing a â&#x20AC;&#x2DC;...large customer base into smaller subgroups that share similar needs and characteristics.â&#x20AC;&#x2122; (Posner, 2015). These smaller subgroups may be identified according to: age demographics; location - geo-demographics; personality and lifestyle - psychographic; attitudes, interests and opinion. Le Coq Sportif offers collections for a wider demographic of menswear and womenswear however for this communication campaign, the target market will focus specifically on the womenswear consumer within the UK market. The importance of segmentation allows Le Coq Sportif several strategic gains and an extensive understanding of the target consumer. These advantages include positioning themselves against or competing with competition brands such as Nike and Adidas. This knowledge allows a product to be delivered to an online market through a supportive marketing mix that meets the requirements of their consumer and the proposed objectives of the brand. This is also known as the key features of STP - segmentation, targeting and positioning (Easey, 2009).

Psychographics

Geo-Demographics

Webograhpics

- Female - Millennial - NRS social grade - C1, supervisory, clerical and junior managerial, administrative and professional and C2 semi-skilled and unskilled manual workers which represents 46% of the populations as of (NRS, 2015) - ACORN - According to ACORN this demographic sits within category 3 and 4; Comfortable Communities and Finically Stretched. There is high correlation between NRS social grade C1 and C2 social grade and social media use. The average age of social media use correlates to a younger audience. - Mid market sportswear - Disposable income - Willing to spend on branded labels - Fashion forward - Fast paced lifestyle

- City Dweller - Digitally native, with the average time spent online exponentially growing year on year. As of 2016, Statista reported 118 minutes a day spent on social media, with the majority of traffic coming from mobile devices. Younger demographic is also using mobile and tablet devices to shop online (Perks, 2016).

FORMATIVE BOARD >>>> >>>>

THREE OUTPUTS

EVENT - FILM/PHOTOSHOOT - ZINE 16

EVENT

The event was based firstly in Manchester @ Power League, which acted as a miniature tournament where teams could choose to play against the travelling ‘Vive La Femme’ team. It acted as a way to introduce teams to the Le Coq Sportif brand and give them previews of up and coming merchandise. Similarly it encouraged them to follow Le Coq Sportif online platforms like Facebook and Instagram. As mentioned earlier in the logbook, the purpose of the proposed campaign is for Le Coq Sportif to gain market share within the UK market. This is why we chose Manchester as our first event location, as it was local to us and is a prominent city within the UK. The idea behind the event is that it will travel to a variety of UK cities i.e: Leeds, Liverpool, Birmingham and eventually (if successful) reach London for a finale like event/tournament. When organising and creating the event we were aware that it could be difficult to measure the success of an event. “59% of marketers claim they have no way to measure event ROI” (Hubspot and Eventbrite, n.d.: online). However, soft measures such as social media impressions and engagement can help to form a basis on event success rates. As a result, we decided to ‘live stream’ the Manchester event on Facebook to capture live engagement from consumer’s. We also created a variety of online posts and collated the likes and impressions from these. After live streaming the event we then took the saved footage and created a montage of the event, which acts as an output in itself to help and entice consumers to want to attend future events. Similarly engagement from the physical event such as players and attendees helps to also verify whether the social media interactions can be a direct reflection of event success. For the event we purchased white bibs for the ‘Vive La Femme’ team to wear, we chose the colour white as we thought it would be best appropriate as we were unaware what other teams kit colours could be. This ensured that teams were not confused or misled and could be easily distinguishable. Flags and signs were also created to promote Le Coq Sportif and the Vive La Femme campaign. As the event was the first output to be completed it created a buzz around the campaign and allows consumer’s to be engaged and await the accompanying part of the Vive La Femme campaign for Le Coq Sportif.

Alongside the live feed, we wanted to create some imagery that could be used within the zine output. Inspired by Gosha Rubschinskiy (as mentioned earlier), we decided it would be interesting to document the event using a 35mm camera, like he does. This allowed the mainstream event to be linked to the underground element of the zine and thus create juxtaposition.

GOSHA 35mm VIVE LA FEMME 35mm

VIVE LA FEMME 35mm

EVENT Strategic planning in regards to an event is the process of which the preparation and the opportunities that are set to present themselves meet (Smallbusiness.chron.com, 2017). There are many different aspects to creating a successful event and we have therefore chosen the following titles in the planning of the event: Seasonal Timing, Marketing Targeting, Event Themes and Strategy Analysis.

Seasonal Timing Due to the event being a football match we had to take into consideration of the season. This needed to be peak time and have enough players to make a team and have spectators available. When arranging with PowerLeague Manchester due to the date we chose, they actually advised us to rearrange due to there being a women’s tournament running on one of the evenings. This gave us maximum playing time with an opposition and increased spectatorship. Due to the timing of the women’s tournament this meant the event had to be planned in a short space of time and have maximum exposure. PowerLeague were only too happy to help us with this and got in touch with other teams to create a strong presence.

During the research period and spreading the word and engagement around the event. UEFA champion festival participated in using RFID technology, which has been appearing more and more frequently within sporting events. The RFID (radio frequency identification) during the festival

had over 30,000 fans and register they were then used to document the taking part in sport stimulators and skill stations during the event. The photos taken were then uploaded automatically to the organisation social media pages and the outcome was astonishing. The RFID usage led to sponsors and fans having a mass input and engagement level. Over 45 million posts were made throughout the event (Sportspromedia.com, 2017). Even though that level of competition is quite high with more active planning time the team could have organised a level of interaction from the fans before and during the event, this is something to think about during planning in the future.

Marketing Targeting The team targeted women’s football clubs around Manchester for any support they could give us, from ways to plan, best pitch space to teams wanting to play against us. As the team was a varied age base we managed to appear to students that wanted

to participate in some way. The team had a lot of encouragement from the local sporting facilities such as Sugden Sports Centre, who put us in touch with the staff from Manchester Metropolitan women’s team, even though they were unable to play they put forward other events that were happening to try and get involved in.

sport they love. No judgement. No expectation. No penalties.

Strategy Analysis

Internal Analysis of the event involves the strengths and weaknesses of the team involved. The group’s level of involvement was high during the planning and execution of the event Most of the marketing was put through because of the strong communication social media as this maximised the skills between the groups, the exposure in the short time space we event was able to run smoothly. had. The post started off being shared With two members taking lead on through friends and then reached the event it led to strong teamwork. a team @justaballgame which are The main difficulty we faced during also campaigning members for the the beginning of the event was the LBGT community, which we then recruiting of players. With only a short posted an image using their pins for amount of time social media was the further support for the cause and best place to get the word out fast. the extension this event bought to The group also connected with teams the team. Due to the team effort and around the area who gave us their full marketing the team was of varied support. age starting from 21-40. This was really good for interaction with the External Analysis of the event found other team as they were also varied that the opportunities were found it also helped the team to discuss the to be high. The event received a different ways in which they see the lot of support from the university sport, the challenges they face and if faculty team and the women’s league now it is starting to make a positive at PowerLeague Manchester. The effect then previous years. group made connections with other

Event Themes The theme for the event was very light hearted, we wanted the teams involved to have fun whilst playing and enjoy the experience of meeting new people of different pasts and different challenges they have faced within the sport. The team wanted a light hearted theme due to the nature of the concept and rather then input the competitive value we wanted to become more of a community outlet where women of all ages, occupations, marital status, sexual orientation and levels of performance can come together and just play the

teams for future events and support regarding this particular subject. The threats we faced during the build up to the event were the lack of players and with little time to prepare the group were in discussion as to whether the even should be cancelled. But due to the drive of the group as a whole we were able to go ahead. In future situations timing has been a huge part of the event and the group didn’t allow enough time to prepare fully. The strong opportunities that were available on that day meant the group had to push hard to make it work. The group and team were successful.

FILM (Le Coq Sportif, 2017)

After viewing Le Coq Sportif’s Spring/Summer 2017 film, it appeared the brand’s advertisement lacked a contextual foundation. The short length of the film (55 seconds) would suggest the aim of the video is to quickly entice and thus tempt consumer’s to purchase products from Le Coq Sportif’s S/S 17 collection. However, the accompanying music (Mighty Venus – Unno) is slow and relaxing, which depicts a more organic method of advertising. Similarly, each frame is slow and fixated connoting to a more professional cinematic experience. This suggests that the overall film does not have a directional narrative and as a result, consumers could feel confused by Le Coq Sportif’s intentions.

LE LE COQ COQ SPORTIF SPORTIF SPRING/SUMMER SPRING/SUMMER 2017 2017

The film is made up predominantly of product shots with a wide range of model’s, depicting Le Coq Sportif as an accepting brand. By not featuring a specific narrative, it could suggest Le Coq Sportif’s S/S 17 film does not target a specific consumer and instead represents a variety of products in hope that this will be enough to prompt consumer’s to purchase the featured products. Similarly, Geoghegan (2016) reports that due to the UK fashion market being over-saturated brands have to offer more than standard advertising in order to entice UK consumers. This could suggest that Le Coq Sportif’s Spring/Summer 2017 film is not enough to entice UK consumers. This is evidenced as the film currently has 1,422 views and 28 likes, which is extremely low and highlights low consumer engagement with the brand (YouTube, 2017). This led us to want to create a film with personality and edge that could depict and illustrate a powerful concept whilst also featuring products. This will allow for product shots to appear more organic and wearable rather than show room-esq. Similarly a strong unique narrative will offer UK consumer’s escapism from more conventional film advertisements and thus attract them towards purchasing Le Coq Sportif products.

FILM THE THE CONCEPT CONCEPT

Though this category of the logbook is defined as film, it was also a combined photoshoot using Polaroid photography and digital photography. In the finances it has been identified that the photoshoot has received the highest budget, therefore it was important to produce several outcomes from this output. Imagery was taken alongside the film footage to create content for the zine, which will be explained further in the zine section of the logbook. We wanted the film to embody personality and a narrative and thus empower women specifically within the UK market. Though our campaign is intended to increase Le Coq Sportifâ&#x20AC;&#x2122;s market share within the UK market, we believe that by incorporating core aspects into our film it could be understood and empower women all over the world. Bergerâ&#x20AC;&#x2122;s (1972) theory that men act and women appear highlights the inequality of genders often seen within film. As our campaign film is to be presented during a time of female empowerment we wanted to challenge the theories of Berger. We wanted the female subjects within our campaign to emphasise personality and drive. The overall message should be to encourage women to dress and act as they find best appropriate and not to succumb to societal pressures inflicted by the media.

FILM

INSPIRATION/INFLUENCE INSPIRATION/INFLUENCE

The campaign video is intended to be one of the more ‘mainstream’ elements of the Le Coq Sportif - vive la femme campaign. It has been created to compliment the overall concept of the campaign and in tern depict a visual representation of the intended message, as explained in ‘The Concept’. Though the film is intended to be a mainstream element of the campaign, we wanted it to be synonymous with the 80’s and 90’s and therefore still hold elements of a more ‘underground’ campaign video. Our inspiration stemmed primarily from the concept itself and our own visual perceptions of what the campaign video should include. However we wanted to make sure our visual content was relevant for our intended consumer and as a result, we researched more recent video’s that could help to expand our primary ideas. We took relevant inspiration from fashion advertisements and music videos with strong narratives, as this is what we wanted our film to achieve. An analysis of the core features from each video is presented below and reflects the techniques we wish to include in our campaign video.

FILM INSPIRATION: INSPIRATION:(Converse, 2017) Converse Converse

This is a primary analysis of the Forever Chuck film campaign by Converse. The film starts with a burning/crackling noise, which leads to a long-shot camera angle of a burning palm tree in the distance. We found the burning/crackling noise accompanied by the burning palm tree quite emotive and something we wanted to incorporate into our film. Due to our campaign revolving around the UK market, where palm trees are a little scarce/we did not want to get arrested, we decided it would fit our concept perfectly for the opening introduction to our film to be a burning rose mirrored across the screen. The Forever Chuck film quickly progresses into a voice over with accompanying on screen sub titles for particularly effective/emotive language used. This was something we also wanted to incorporate into our campaign film, as we thought an opening voice over could help to contextualise the overall concept of the campaign. However, we knew the voice over would have to hold relevance to the concept and realistically be someone from the UK in order to keep it overtly relevant to the UK market. The sound track throughout the Forever Chuck film changes and contrasts immensely, as one particular section is classical/ opera style music. This inspired us to want to have more than one song within our film to help mix things up and keep the consumer engaged for the whole duration of the film. Similarly we decided that we wanted the songs within our campaign film to be female UK artists, again, to ensure it is overtly relevant to the UK market. Though we were aware that the UK market will be aware of other artists around the world we wanted our start intentions (to appeal to the UK market) to be prominent throughout, which is why we made this decision. At 0.30 seconds the audience is transported to a foggy/misty ‘underground rave’ where the camera lense is reflecting red onto the filmed subjects. We found the use of the ‘red lense’ effect, very enticing as it almost surprised the audience. Similarly as Le Coq Sportif’s brand colours are those of the red flag we felt using a ‘red lense’ effect would really incorporate the brand’s colours into the campaign film. As this effect has been used a lot recently we felt it was important to incorporate it in order for our campaign film to feel current.

FILM

This is a primary analysis of Hype Snobiety’s “color infrared” editorial video of OFF-WHITE’s FW16 collection. The editorial video features extremely grainy footage, which we imagine was filmed on a film camera rather than digital. However, we cannot find the research to verify this so we are unsure whether it is a filter or the real deal. Regardless, we were extremely inspired by the grainy effect throughout the film and felt this effect was synonymous with our idea of referencing back to the 80’s and 90’s – this inspired us to find filters that gave this effect on Final Cut Pro.

INSPIRATION:

The hand-held effect of the filmography inspired us to film our campaign hand-held instead of using a tripod. We felt that this alone gave the appearance that the film was organic and was not solely to market products. Similarly it allows consumer’s escapism without pressuring them to purchase products.

High High Snobiety Snobiety (High Snobiety, 2016)

The quickly cut shots throughout the film are perfectly in time with the core beat of the accompanying music. This stressed to us the importance of having strong movements within the filmography and an attention to detail when editing to make sure shots change perfectly against the beat of the music. This technique was also evident in Kenzo’s ‘The New Fragrance film’; this also highlights the importance of juxtaposing ‘classic shots’ with more underground, less mainstream music. This encouraged us to look for UK female artist’s songs that carried strong beats and rhythms and that are not too mainstream. Similarly by using a less mainstream song it ensures consumer’s do not already associate the song with another brand or product.

OFF-WHITE

The film incorporated the use of ‘screens within screens’ into the editorial, which is an evident current video trend. This technique is used regularly within more ‘underground’ advertising as it creates an extremely gripped screen presence, especially when the subject is moving. This inspired us to use this technique throughout our campaign film and ensure each screen came on to a music beat to make it more effective. We wanted it to be a continuous theme throughout our campaign video to ensure consumers did not think it was a fluke, bizarre or strange. Regularly throughout the film used an effect that almost made the onscreen imagery appear 3D. We found this effect extremely interesting and wanted to try and incorporate it into our campaign film. As the colour’s of the 3D effect incorporated red and blue – much like the French flag/Le Coq Sportif’s colours – we thought it would really suit the brand and its proposed concept. Furthermore the editorial often features a ‘flash’ transition from screen to screen that we also found to be effective and help to break up certain shots. We decided to use a couple of ‘flash’ transitions within our campaign video to make things like short product shots really stand out and to also help the whole video to come together and be coherent.

FILM INSPIRATION: INSPIRATION: Beyonce Beyonce (Beyonce, 2016)

This is a primary analysis of the “Beyonce – Formation” music video. Due to this music video being apart of a visual album it holds an extremely strong narrative. The start of the video features a ‘bad tv’ effect of an online/tv screen typing. We thought this effect was synonymous with the 80’s and 90’s and thus thought it would be relevant within our campaign video. Similarly the effect is continued further into the video and appears to almost be recorded using a tape recorder, which is also synonymous with the 80’s and 90’s. Though we felt the tape recorder effect was not suited to our concept we thought the bad tv effect alone could really work for certain sections of our work. The opening introduction features an off-key beat, which appears with new onscreen shots, keeping in time with the music just like High Snobiety’s editorial video. Similarly some of the shots cut to a black screen quickly before reaching the next shot. This is something we wanted to incorporate after the burning of the rose so our shots are integrated between a black screens to make the audience want to know more about the campaign video. Similarly Beyonce has incorporated a voice into the narrative, which helps to really define the purpose of the song, just like the Forever Chuck video. This further inspired us to want to include a voice over within our opening introduction. The video also incorporates the use of a ‘red screen’ as discussed in the Forever Chuck video. This also highlights the theme of using this effect and inspired us further to want to include this within our campaign video.

FILM

HERO PIECES

FILM

DO DO NOT NOT USE USE THIS THIS CAMERA CAMERA DO DO NOT NOT USE USE THIS THIS CAMERA CAMERA DO DO NOT NOT USE USE THIS THIS CAMERA CAMERA

STREET STREET CASTING CASTING

As encouraged by our tutors we agreed that the best way to find the type of model’s we were looking for was to do a street casting. We took to Manchester City Centre primarily to try and find women aged 18-30 that could be apart of our proposed campaign and also scouted at our campaign event . As seen across Le Coq Sportif we wanted a wide range of model’s to take part in the campaign to emphasise the inclusivity of the brand. We found some great potential models within central Manchester and at the event, names – sizes – contact info was taken (we took photographs on a disposable camera to make a cool page within the logbook however when we got them developed they were all too dark to see anything). And if the luck was not bad enough a lot of them were sadly unavailable for our proposed filming day. This was a hard decision for us as not all team members were available on other days. Plus we knew we needed a date that allowed enough editing time before the hand in – 24TH April. This led us to use the models that were available on our proposed day due to needing the full teams help with the shoot. However, we wanted to emphasise our efforts and original casting ideas because if budgets and time were not limited we would have been able to use a larger variety of models. The models that were available still fit our proposed campaign perfectly and we scouted their own personal style and jewelry and wanted to incorporate it into the campaign to add an essence of personality.

MODEL

SIZE

HAIR

AVAILABLE

Megan Jessica Annabel Yael Kadisha Priya Astrid Misha Prianca

10 12 8-10 10 8-10 10 6-8 10 6

Grey Black Brunette Blonde Brunette Blue Blonde/Grey Copper/Brunette Brunette

No No Yes No No No Yes No No

FILM THE THE MODELS MODELS

SIZE: 8-10 HEIGHT: 5FT10 INSTAGRAM: @annabelchristinaproud FOLLOWERS: 2,091 OCCUPATION: FULL-TIME BALLERINA

SIZE: 6-8 HEIGHT: 5FT6 INSTAGRAM: @toodahloo FOLLOWERS: 5,440 OCCUPATION: FULL-TIME STUDENT & PART-TIME TOPSHOP EMPLOYEE

CALL SHEET CALL SHEET CALL SHEET CALL SHEET CALL SHEET CALL SHEET

10/03/2017

FILM CALL SHEET 50

CALL TIME: 11:30AM

AIM:

TEAM:

Leanne 07794534638 - Digital photography and ﬁlmography. Giorgia 07545503214 - Polaroid photography. Jasmin 07934704991 - Styling Jasmine 07536092778 - Styling Josh 07875194020 - co-ordinator Eva-Joy 07904412763 - BTS coverage.

LOCATION:

Apartment 28 The Boatmans,   42 City Road East  M15 4QF  & surrounding areas.

MODELS:

ANNABEL - 07985781985 ASTRID - 07689224374

EQUIPMENT:

The aim of this campaign shoot is to re- appropriate Le Coq Sportif with an urban brand DNA so it is better suited to the UK fashion market. The shoot will feature organic looking photography/filmography to appear effortless and less sales oriented. The shots will incorporate a documented style of filmography that aims to glamorise every day life and the normality’s of society. The all female shoot is a dedication to women’s societal rights to equality and revolves specifically around football. Similarly the shoot aims to empower women to avoid being oppressed by societal stereotypes and to be proud of whom they are.

2 DSLR cameras for photography & ﬁlmography, Polaroid camera, portable light lamp.

PLANNED SHOTS:

STYLING:

2 cut and sewn football shirts [hero collection pieces], Le Coq Sportif socks in colour ways: red, blue & white, Le Coq Sportif long sleeved tshirt, distressed denim, layered jewellery, non-branded sneakers/ trainers.

STILLS: - Core polaroid and digital still imagery of model’s together -

MAKEUP/HAIR:

Natural.  No makeup, makeup. Hair down and styled to look untouched.   Red lip on one model.

PROPS:

3 long stem roses.

and separate wearing hero collection pieces against white back drop - using red roses. Stairwell/ladder poses (depending on lighting)

FILM:

Up-close shots in same setting as stills of models close/ dancing/moving. Balcony shots of one model looking out into distance. Product shots - le coq sportif tops and socks - organic close ups. Outside shots of a 360 degree angle of model’s outﬁts. Burning of the rose - to create a poetic emphasis ‘he loves me he loves me not’. SEE STYLING/LOCATION/STORY BOARDS FOR FURTHER INFORMATION

FILM FILMOGRAPHY

Originally the campaign was going to be filmed using a tripod in order to mirror high-end video advertisements. However from our research and video inspiration we thought it would be better suited to our concept to video the campaign without a tripod to create a â&#x20AC;&#x2DC;hand-heldâ&#x20AC;&#x2122; effect. This helped to categorise the campaign as organic and appear less like an advertisement and instead more like a fun video that could inspire the consumer. This could suggest that the organiclooking filming will not pressure the consumer to purchase products and instead inspire them to do so. The video was filmed using compact camera SONY a5000, which allowed for generic motion control as it holds the same value as typical DSLR cameras but is smaller and lighter in size, making it easier to film free hand.

The styling direction of the campaign is influenced by several factors as discussed throughout the logbook. Due to the outcomes ranging across highly commercial platforms and less commercial platform such as the zine. It is key that the styling must exhibit the clothing as desirable and attractive in order to persuade the target market to purchase the collection (McAssey and Buckley, 2011).

FILM STYLING / / MAKE MAKE UP UP STYLING

It is important for the styling to reflect the mood and concept of the campaign. Although conceptual, the campaign is highly commercial. Therefore strategic decisions were made to mix the hero pieces customised football shirts with the more commercial essential pieces displayed in the range plan. This allowed the styling to draw references from conceptual viewpoints such as emerging streetwear trends and combine them with the more commercial athleisure trend. The visibility of the product throughout the editorial and advertising film is key therefore products featuring Le Coq Sportif logo were predominately used in the styling of the outfits. The styling reflects the athleisure trend, styling the collection with everyday casual clothing, such as jeans, skirts and bomber jackets. A larger proportion of product will be produced for the essential collection featured in the range plan whereas a limited number of hero pieces will be produced as they are less commercial and will potentially lose profit. However the hero pieces are synonymous with the aesthetic of the campaign therefore featured heavily in the styling of the outfits. The commercial range features a lot of basic/essential pieces which can be styled with football scarves or other accessories such as jewellery to make it their own. In prevent the campaign visual from becoming to commercial, the street cast models wore their own jewellery in order to keep a level of authenticity. The styling throughout the advertising film and the editorials offer an mix aspirational stylistic style mix for the target market, offering multiple outfits from the range plan. The hair and make up was heavily influenced by 1990s hair and make up trends. Such as zig zag partings and braided strands framing the face. A conscious decision was made to keep the make up and hair fairly simple, allowing the garments to hold the attention of the consumer in the advertising film and editorials.

FILM THUMBNAILS THUMBNAILS

THUMBNAILS THUMBNAILS

FILM

FILM THUMBNAILS THUMBNAILS

FILM MUSIC / SPEECH

NADIA ROSE

The music and use of speech in the advertising film have been heavily influenced by the research and inspiration in the previous pages. A strategic choice was made to use female British artists in order to resonate with the UK market. The two artists chosen, Nadia Rose and Stefflon Don (as known as Stefanie Allen) are both young female artists in the grime music scene in London (Anon, 2017 and Collins, 2016). A scene which is typically dominated by men. This draws parallels with the message and concept of the advertising film, exploring gender inequality within football. The use of local artists, resonates with the internationalisation theory of ‘think global, act local’ (Kansara, 2016). Recently featured in the BBC Sound of 2017, both artists have been discovered and emerged from their underground roots and this reflects the concept of the advertising film (BBC, 2017). It is a significant shift away from the single-minded strategies of standardisation long favoured at large global retailers, which traditionally rolled out a similar marketing mix across different markets (Kansara, 2016). The music chosen, Nadia Rose ‘Tight Up (feat. Red Rat)’ and Stefflon Don ’16 Shots’ sets the tone of the advertising film. Both songs are up tempo and play into the concept of a powerful female, defying boundaries. Whilst remixing the songs for the advertising film, white noise and a broadcasting beep were added not only to bring in influences from the 80s and 90s VHS tapes but also to refocus the message - empowering women.

STEFFLON DON

The use of speech at the beginning of the film, aims to provoke the viewer’s thoughts surrounding gender inequality. The sampled speech also features a British voice in order to resonate with the UK market. The chosen speech is given by British actress Emma Watson during the HeForShe conference at the United Nations in New York, 2014 (UnWomen, 2014). The speech highlights the global issue of gender inequality and emphasises the need for change now. The use of speech in advertising and visual albums such as Beyonce, Formation and Flawless songs has become more popular recently. The use of speech allows the conceptual message of the campaign to be conveyed to the consumer whilst the styling, location and models helps to convey the commercial message visually.

FILM EDITING

We edited the film footage using Final Cut Pro, which allowed us to create the desired effects we had researched and wanted to achieve within our campaign film. We began by placing and cutting two songs to create an audio story line that meant we could then match the filmography to be in time with beat of the music. The film took a rough total of around 56 hours to complete but we were satisfied with the end result. As we had 18 minutes of original footage it meant we had a lot of options. For example we filmed a lot in a stair well of our chosen location, but only a couple of shots were bright enough to be coherent with the rest of the film. This meant we lost some footage because it would not have been a coherent film otherwise, but because we had so much footage we were able to move things around so it fit perfectly in time. From this we have evaluated and suggested next time filming a campaign video we will invest more in lighting, although we had one small video lamp, it was not enough to light a whole stairwell and therefore we relied heavily on natural light for the video campaign. This is obviously budget related and because our budget was small we could not afford to borrow/purchase huge lighting equipment.

When editing we practiced the effects offered through Final Cut Pro and found the one’s that were most relevant to our desired result. We managed to find effects that were practically identical to those seen within our research. Here we compare our film to our research films to show the inspiration being mirrored into our work:

- Screens within Screens technique inspired by High Snobiety video. - On screen text linked to voice over inspired by Forever Chuck video. - Burning rose/crackling sound inspired by Forever Chuck video.

- 3D style effect inspired by High Snobiety Video. Achieved by using ‘Prism’ filter in Final Cut Pro. - Close up of product shots whilst still feeling extremely organic.

- ‘red lense’ inspired by Forever Chuck video and Beyonce Formation video. Achieved by changing the highlights/shadows in the colour palette. - Bilingual narrative inspired by Forever Chuck. ‘tout de suite’ meaning immediately in French, adds to narrative.

- Old film grain style inspired by High Snobiety. Achieved by using ‘35mm’ filter in Final Cut Pro. - Liney noise inspired by Beyonce’s Formation video. Achieved by using ‘Bad TV’ filter in Final Cut Pro.

FILM STRATEGY STRATEGY

Hornung (2014) suggests that the shorter an advertisement video is, the more likely consumers are to sit and watch it. As Le Coq Sportif’s original Spring/Summer 2017 campaign video was 55 seconds it would suggest more consumers viewed it. However the video on the platform YouTube currently has 1,422 views, highlighting a low consumer engagement (YouTube, 2017). This suggests that theoretically the video campaign should have had a higher consumer engagement because of its short length of time. This could suggest that Le Coq Sportif failed to properly market their video, and simply uploaded the video to their YouTube account expecting consumer’s to engage organically. This encouraged us to keep our campaign video short in order to follow the theoretical guidelines considered by Hornung (2014). As a result our campaign video stands at 1 minute and 21 seconds, which is 26 seconds longer than Le Coq Sportif’s original S/S 2017 video. However the new propose campaign video features a strong narrative, which is intended to keep the consumer engaged for longer. Due to the longer length it could suggest the new proposed campaign might receive a lower engagement than the original video, following the guidelines of Hornung (2014). However the new campaign video will be marketed efficiently across social media platforms Facebook and Instagram, which will ensure a higher consumer engagement. @lecoqsportif on Instagram currently hold 191k followers (Instagram, 2017) and Le Coq Sportif on Facebook currently have 1,485,184 followers and 1,485,953 likes (Facebook, 2017). This highlights a strong consumer base across both social media platforms, which in turn should help to increase the interaction with the new proposed campaign video. Furthermore due to the campaign’s target consumer age demographic being females 18-30, it suggests social media is the best place to debut the campaign video. This is because the chosen consumer demographic spends the majority of their online time on social media.

ZINE

Image 1

STRATEGY IMPLEMENTATION IMPLEMENTATION STRATEGY

Initially it was necessary to Conduct a research plan for the Zine based on the model championed by Parente and Strausbaugh-Hutchinson (2006), whereby the information search begins with the company and filters down through to the competitive landscape for the market of entry. This model separates the research into two key binary categories: a situation analysis consisting of company, consumer and market analysis to depict where the company currently sits and subsequently a product and competitive analysis to highlight how to improve the companies current situation in order to meet the strategy objectives.

in the French language. Although the articles acknowledge women fans, there are only football articles that focus on the menâ&#x20AC;&#x2122;s game (image 2). The Zine will exist in English and be more readily visible on the home page offering an engaging departure driving traffic to the website and increasing web session duration, with the ultimate goal of inspiring a conversion to a sale. Research has revealed that as part of a wider multi channel strategy brands can evolve their sites commercial performance by means of offering better opportunities for engagement with the brand by way of better interactive opportunities and online communities. Moreover, online channels also have the From the perspective of the capacity to deliver promises such company, there is currently very as fun, adventure plus a sense of little on the brands website in the belonging (Dayal et al., 2000) the way of engaging content. All that first of which is ensured through exists is a blog that is very poorly the exciting and engaging highlighted at the bottom of the content and the latter is driven by web page in small font (image 1). the brand values that are woven Further this content isnâ&#x20AC;&#x2122;t specific into the brand message, both to any sport or product category, of which are delivered by this and the content is only available creative output.

Image 2

ZINE STRATEGY IMPLEMENTATION IMPLEMENTATION STRATEGY

As established the target consumer is female 18-30. Although this wide demographic seams initially quite vague, once launched, the rich granular data received from the deployment of data analytics tools (discussed later) will provide the insight to allow for more personalized marketing towards an individualised experience across online channels. The campaign’s over arching message is one of inclusion and empowerment in that it lends itself to the voice of women in and around football and sheds light on women’s game in its quest for global recognition and exposure. According to WGSN trend reports feminist Zines are having an influential impact on women of our target demographic, stating that ‘ in a world where Tumblr rules, zines with a powerful feminist aesthetic are winning’ Walpita (2014: Online). Moreover, not only are Zines popular amongst the segments of the market in which the communications are targeted, but from the perspective of the marketing mix they also fit the product element also in that competitors at similar market levels and brand concepts have employed this kind of output. Both Adidas and nike have successfully employed this medium as part of recent campaigns; Adidas’ Zine with Paul Pogba by Jurgen Teller embodies youth and success through compelling visuals shot on film (Yeung, 2016), whereas Nike’s Zine in collaboration with FKA twigs promotes inclusion, diversity and aims to instill confidence in the reader (Cafolla, 2017). This, as well as research that reveals that an overriding trend within the message of many fashion retailer campaigns targeted towards millennials, is one of inclusivity and tolerance

for difference (Mintel, 2016) highlights the scope of this output for this campaign’s market level, consumer and product in that all listed are integral consideration elements in the planning of any digital marketing communications strategy (Ryan, 2014). However, due to the multi channel environment and social media sphere affording consumers great hegemony, this landscape must be well integrated whilst being constantly democratised and disruptive, thus calling for dynamic content to engage the reader to the point of purchase (Ziv, 2013). One way this can be exercised is through the forecasted trend of ‘shopable content’ (Durkin, 2015), whereby on the digital version of the zine, the editorial content is integrated with the online product inventory facilitating the advent of seamless transactions across channels. The inbound nature of this content proves less intrusive in that it acts a pull, rather than a push tactic. This content is not unsolicited but instead, consumers are choosing off their own accord to view it, therefore it doesn’t interrupt and risk deterring them from engaging with the brand’s communications in the future. This type of marketing content is also more likely to elicit an emotional response and play on the hedonistic dimension of consumer behavior. It is for these reasons why Opreana and Vinerean (2015) argue, albeit only through a theoretical research methodology, that in the digital age traditional means of marketing are becoming obsolete and that more practical research must be carried out to re-assert their findings that inbound marketing, such as the content marketing umbrella in which the zine

would fall beneath, is more effective and accountable in delivering on digital marketing KPIs. Notwithstanding, in an increasingly connected world, there is a great deal of market noise and saturation that these communications must cut through. Yet, Zines and small-scale publications are said to be one way of creating more intimate and authentic Micro-moments; the profound visual nature makes for a more arresting experience through cognitive dissonance (DeLeon, 2016). Unlike content distributed through other channels, this difference is likely then to catch the attention of consumers through the noise. Deleon (2016) also states that printed zines and how they are typically distributed in limited runs offers exclusivity and a sense of premium in an increasingly accessible world. Hence the printed zines will only be available on a small scale. Further more, such communications that are brand focused in a digital capacity impact specifically the capitalization of the brand by reminding consumers of the product they sell subliminally and reaffirming brand ethos and values (Kotler et al., 2012). Yet, concurrent with Durkin (2012) and Ziv (2013), it must be restated that integration here is again paramount so that the message is consistent and the desired strategic standpoint can be met (Opreana and Vinerean, 2015). This is largely down to the way technology has altered the way consumers receive and process information and thus subsequently behave through to making a purchase (Close, 2012). As Rowley’s (2002) findings suggest, despite UK fashion retailers using their online website as a channel to establish brand awareness, she suggests there is still work to be done to make this presence more dynamic; she suggests advancing the online asset as a venue for consumers to spend time on and to build a community. That said, the digital zine is one way that the online presence of Le Coq Sportif can be made more progressive in this manner. In creating engaging content that acts as a pull strategy, it is inherently the communications that are attracting the

consumers to be in contact with the brand. This creates what is described as a micromoment, which are becoming an integral part of any online brands digital communications strategy as way of unobtrusively driving home the brand’s message as users consume information at an increasingly fast pace as the mobile shift becomes more and more profound (Google, 2015). This allows the brand to host the consumer in a virtual space where the brand message and values can be driven home in a variety of ways. According to Content marketing institute, 2015) it is in this way that content strategically distributes value that has consistently lead to the clients taking profitable action. What is more, Content marketing in this manner is said to be more cost effective than its outbound, push strategy counterpart. Flanagan (2015) suggests that the reasons for this are plentiful, in that it is proficient in marketing to customers throughout the consumer life cycle, from acquisition to retention and eliciting advocacy. This outbound tactic is cost effective in that it focuses on media ownership as opposed to media lending and it is easily and efficiently deployed to integrate seamlessly with the brand’s overall marketing strategy. However, with the demand for content based communications increasing driven by the changing trends and nature of the way in which information is consumed, firms who are reacting by using content based marketing through their online channels must approach this avenue tentatively, and remember that each blog post or in this case zine article is a touch point which must stringently adhere to the wider message and rhetoric of the brand, as ultimately it is the customers perception of the brand and their subsequent action that is at stake. Therefore, best practice measures must be put in place to ensure the brand is not eroded by incoherent material. It is asserted that these best measures are imperative to the deployment of such content rich campaigns (Edelman, 2010). So, as part of this campaign, an identity protocol has been strictly adhered to and in practice, a publisher at large role would be occupied to oversee all content publishing.

ZINE ANALYTICS ANALYTICS

One main reason why digital inbound marketing is a more effective and cost efficient strategy in this instance is because of the ability to closely measure each tactic and communication activity that is administered. From a managerial perspective, this then facilitates comprehensive insight into the performance of the brandâ&#x20AC;&#x2122;s marketing techniques, which will reveal which tactics are effective and which are not, thus providing useful data that renders the decision making process more informed and thus effective, leading to faster growth of the business in the longer term (Opreana and Vinerean, 2015). In order to efficiently collate quantitative data to gauge the performance of the content the digital publishing platform â&#x20AC;&#x2DC;Issuuâ&#x20AC;&#x2122; will be employed. This platform will allow access to data that measures the number of reads, likes and shares across social, provide demographic information on readers such as age and geographical location and notify what devices the content is being read on, as well as how many readers are downloading the digital zine (Issuu, 2017). However, Opreana and Vinerean (2015) propose that there are other considerations to be made in terms of measurement of content marketing

performance; namely metrics such as website activity i.e. are visitors unique or repeat, page views/impressions, nature of website activity i.e what pages are users entering the site on, what pages are users bouncing on? What pages are users clicking through on, Responses and outcomes i.e. what leads are being generated? Is the data generating incremental sales for the firm? Or are click-throughs from the Zine not leading to sales, if users are clicking through at all? These metrics will be monitored through Google analytics, so that the whole customer experience can be optimised by action quickly on the fuller flow of information (Google, 2017).

items in the editorial to the transactional product pages should not necessarily be attributed entirely to the zine. This is due to what is called view through rate (Arikan, 2011) whereby it must be considered that an action may have been influenced by a touchpoint the consumer encountered earlier in the consumer life cycle, and that it was only happenstance that they arrived at the page through other means. As search is also a feature of inbound marketing, it is necessary to measure the source of

traffic (Opreana and Vinerean, 2015) and from there, to gauge whether users are searching keywords organically for the zine content. This is to measure the performance of the content in terms of how many readers are coming from search and then how many of these are navigating through to the transactional site. This will of course be part of a wider SEO strategy, measuring search across the whole campaign through the search engine marketing tool SEM Rush (SEM Rush, 2017).

Notwithstanding, it must be considered that digital inbound marketing requires a longer-term outlook, results will not occur instantaneously (Opreana and Vinerean, 2015). Further, when considering page impressions for the page where the zine is viewed/downloaded, some impressions can be more valuable than others depending on their source and how much information they are actually taking in, effecting their behavior and future tendencies (Farris et al., 2015). Also, click through rates from the zine through hyperlinked

Zine’s are an ‘underground’ artistically oriented version of mainstream magazines. There sole purpose is to be expressive rather than market products, and are supposed to act as a route of escapism for the desired niche consumer (Melnick, 2011). We decided to create a zine as one of our campaign outputs to highlight the concept more thoroughly rather than focusing solely on the products. Though the zine will include product shots of Le Coq Sportif merchandise it will incorporate more authentic and organic forms of advertising and thus present a more artistic standpoint for the consumer.

ZINE DESIGN

As research continued into football-oriented zines, we identified Girl Fan Zine, Mundial and Season as potential competitors. Girl Fan Zine and Season specifically focus on female participation within football, which is synonymous with our campaign concept. However, after ordering and reading the zine’s we felt they reflected a mainstream magazine but because they catered to a niche demographic they are thus categorised as zines. This inspired us to want to create a zine that was a reflection of the definition defined earlier by Melnick (2011). Though Girl Fan Zine and Season had great content, their design layouts were conventional of magazine layouts and therefore did not feel ‘rebellious’ enough to match our concept. Similarly we were worried that if our content was relatable to that of Girl Fan Zine or Season, our consumer may not feel the need to purchase it because they can find it elsewhere. This therefore inspired us to offer the consumer more, and give them an artistically driven zine whilst also featuring the expected content within female-targeted football oriented zines. This led us to want to create a healthy median between underground creative zines and more contemporary football oriented zines. This would ensure that we could compete with the likes of Season, Mundial and Girl Fan Zine, but potentially over take them by offering something a little different and a new perspective for consumers. We wanted Vive La Femme zine to be almost like a ‘holy grail’ where consumers can find product shots, illustrations, edgy editorials, match reports and interviews. We wanted to make it appear organic and underground in comparison to the film and event, which are more mainstream elements of the campaign. Our core creative inspiration for the zine came from Sukeban Issue 02- Money and Frank Ocean’s Boys Don’t Cry zine, both of which experiment excessively with font, colours and layout. Similarly we wanted the zine to appear like a diary – a little misshaped and not ‘proper’ i.e going against conventional rules of layout. This led us to take editorial inspiration from previously mentioned fashion graduate James Geraghty who’s work uses a lot of layering techniques and imagery split across double page spreads.

ZINE

INSPIRATION: INSPIRATION: SUKEBAN SUKEBAN ISSUE ISSUE 02 02 (Bowes and Haze, 2016)

SUKEBAN zine published by creative influencers Yuki Haze and Erika Bowes

is a fairly new publication and therefore only has two print issues. ‘SUKEBAN’ is Japanese for ‘girl boss’ and the zine is intended to help empower women – whether it be female models, artists, writers they welcome everything female into their underground publication (SUKEBAN, 2017). After purchasing the first ever issue we took immediate inspiration from the whole feel of the zine and therefore thought it would be beneficial to us if we bought the second issue, which had a lot more content. The generic style of the zine has connotations of the80’s and 90’s with graphic references, which are synonymous with Japanese culture (Dazed, 2017; SUKKEBAN, 2017).

SUKEBAN’s detailing really helped to highlight the authenticity of the zine and therefore inspired our creative design for our campaign zine. Inspired by SUKEBAN, we wanted to be adventurous with the zine and not stick to generic layouts; we wanted the zine to appear note pad like or diary like where consumers could scout inspiration. Similarly we wanted two strong editorials at the beginning and end of the magazine that could really keep the reader engaged. More over we also felt that when ‘skim-reading’ the zine, it did not actually make much sense, nothing was explained, which almost insinuates that if you get it you are cool-type thing. This is one of the reasons we decided to limit the amount of written content within the zine, though the written content is inspired by zines like Season and Mundial we still wanted the zine to flow creatively and not appear heavy on the eyes. SUKEBAN’s use of text curvature and flamboyant textures and colours really authenticated the zine and made it feel exactly how a zine should be – a little be misunderstood. Primarily we were a little concerned that incorporating this much of an underground aspect could have negative results. However after researching into the success of the Nike x FKA twigs zine we thought it would be worth the risk (Bundy, 2017). As mentioned throughout we wanted the campaign to have a reflection of the 80’s and 90’s,

which is why we incorporated a polaroid editorial, 35mm photography, a sticker page, glitter textures and a ‘do it yourself’ page: all of which we feel are synonymous with this time frame. In addition the ‘fantazi(ne) football’ was inspired predominantly by the light-hearted nature of SUKEBAN, we wanted the editorial to be funny and relatable. Similarly by using statements such as ‘mind the gap’ we were able to make everyday tram alerts synonymous with the importance of the gender gap/wage gap. We thought these details would really help to emphasise the meaning of the zine. Furthermore the aspect of humour has been depicted throughout the zine to ensure the consumer feels the zine is relatable. Through research its evident that magazines can often play on consumer’s insecurities to market products (Mahdawi, 2016). This is not the purpose of a zine, which is why we are aiming to appear as a friendly figure rather than an influencer – something that inspires without pressure. Overall we feel SUKEBAN very much gave us the inspiration to push the boundaries with the ‘underground’ element of our campaign and to almost have fun with our designs and editorials and express our feelings towards the concept that holds the campaign together. On the following page we highlight how SUKEBAN’s layout inspired us and how we tried to mirror some of their layout effects within our zine.

ZINE LAYOUT LAYOUT INSPIRATION: INSPIRATION: SUKEBAN SUKEBAN ISSUE ISSUE 02 02

(Bowes and Haze, 2016)

ZINE DESIGN DESIGN INSPIRATION: INSPIRATION: FRANK FRANK OCEAN’S OCEAN’S BOYS BOYS DON’T DON’T CRY CRY ZINE. ZINE.

(Ocean, 2016)

We were inspired by this particular zine because we felt it was the epitome of what a zine should be. It is predominantly visual and incorporated a vast variety of colours across pages that created a mixed visual element that was not coherent. The use of poetic writing/songs text across a whole page connoted to diary entries, something that is also evident within the Sukeban zine. This highlighted to us a key theme and therefore made us want to incorporate this type of text within our zine. We were inspired by layout of images and going against standard alignment, which gave an element of white space that we feel works really effectively. We have therefore mirrored a lot of these design ideas within our zine. 81

ZINE

EDITORIAL EDITORIAL INSPIRATION: INSPIRATION: JAMES JAMES GERAGHTY GERAGHTY

James Geraghty’s artistic license speaks for itself. His use of layering, 35mm photography and textures highlights an attention to detail. His overall work is coherent and ultimately inspired our main editorial shoot with Polaroid photographs. We wanted to edit the Polaroid photographs in a way that would be a reflection of Geraghty’s work whilst also incorporating the standard design elements evident in Sukeban and Frank Ocean’s zine. In addition Geraghty’s modern take on collaging creates an edgy editorial foundation for the Polaroid and digital imagery taken alongside the film to be apart of. Finally his strong use of coherent colours inspired us further, because as previously mentioned, red is a dominant part of Le Coq Sportif and thus is an important element of the campaign. Overall using James Geraghty’s work as inspiration, has helped us to create a vision for our zine and ultimately paved our creative ideas into something coherently incoherent. (Geraghty, 2016)

TEAM WORK MAKES THE DREAM WORK 84

TEAM WORK MAKES THE DREAM WORK 86

DATE

GROUP MEETINGS 88

16/01/2017

23/01/2017

25/01/2017

TIME

1 hr

2 hr

3 hr

PURPOSE

ACTION POINTS

Formed group based on BELBIN task results in order to ensure a cohesive group. Discussed one and other’s qualities and passions to form an understanding of where the project can go.

Created a group chat to continue discussions and ideas after meeting.

Collaged inspirational artists in order to generate potential concept ideas to base project on. Group members found a mutual interest in the idea of ‘FASHION x FOOTBALL x FEMINISM’.

Inspired by sportswear and surrounding trends, specifically football and its surrounding culture. Purchased tickets for ‘The History of the Adidas Brand’ talk.

‘The History of the Adidas Brand’ talk helped to form an understanding of how a sportswear brand can remain successful in an over-saturated market. It discussed Adidas’s reliance on their archive collection, which allows them to re-create and form new ideas based on previous products and collections. It reiterated the importance of history to a brand, suggesting it is easier to market because it holds a level of trust.

In depth research into less ‘mainstream’ brands with a strong heritage/history, to ensure our campaign will hold a level of authority/ trust/recognition with the consumer.

30/01/2017

02/02/2017

09/02/2017

1 hr

3 hr

Narrowed research to six specific brands that would be suited to the proposed fashion x football concept: Le Coq Sportif, Hummel Hive, Sergio Tachini, Lyle and Scott, Macron and Kappa.

Narrowed research further to one specifc brand (Le Coq Sportif) because of their supporting statistics. They do not have retailers within the UK, but do sell via third party retailers such as ASOS. Mainly present throughout Europe and therefore decided our campaign should be an attempt to regain UK consumers.

Attended ‘Thursday Lates: In Loving Memory of Work’. The discussions and installations revolved specifically around the 1980’s within the UK and paid homage to key themes such as the miners’ strike.

Split brands between the group, each member research in depth surrounding their brand and find specific statistics to back up the brand.

Verified Le Coq Sportif as final brand based on surrounding statistics and research. Decided on three outputs: EVENT, ZINE & PHOTOSHOOT/ FILM.

Provided insight into the UK market during the 1980’s when Le Coq Sportif was competing with the likes of Adidas and Nike before they took over the market completely. Brought attention to other zine’s with similar concepts to our campaign idea such as: Season and Girl Fan Zine.

16/02/2017

20/02/2017

2 hr

3 hr

Created mood boards and media packs ao all group members were on the same page about visual aims and aesthetics. Split each output between two group members to act as ‘leading creators’ for specific outputs.

Firstly met with tutors to discuss formative assessment feedback and potential areas for improvement. Continued with a group meeting afterwards to order and finalise models, equipment and props needed for outputs.

27/02/2017

2 hr

01/03/2017

5 hr

4pm-10pm

Leanne & Giorgia: Photoshoot and Film. Eva & Jasmin: Event. Josh & Jasmine: Zine. Each pair continued research on their specific output. Tutors were pleased with the progress made and liked the concept and they offered styling and model scouting advise for the photoshoot and film.

To finalise everything needed for the event.

Verified event criteria and order so all group members were aware of their roles.

EVENT @ POWER LEAGUE

Event was extremely successful, team stayed after hours to discuss opinions and possible directions.

08/03/2017

10/03/2017

3 hr

9 hr 11AM-8PM

15/03/2017

20/03/2017

03/04/2017

4 hr

3 hr

Finalising Photoshoot/Film planning.

PHOTOSHOOT/FILM

Collating and organising research.

Attended in class peer review.

Creative discussion regarding the zine layout and content.

Created mood boards so all group members had the same creative vision in preperation for the shoot day. Great full day, all group members and models worked great together to produce an in depth piece of work that all group members were happy with. Group exchanged research and references and organised who would write up each section of copy for the logbook. Helped to highlight peerâ&#x20AC;&#x2122;s initial perspective on our work - reviews from peers on our work can be seen in the appendices.

10/04/2017

18/04/2017

2 hr

4 hr

21/04/2017

5 hr

24/04/2017

Group were Leanne and Giorgia debuted extremely happy edited film to the rest of with film and group for any criticisms or discussed a couple opinions and to ensure the of errors that were groups intentions had been then ammended. met.

Finalising everything/ discussed things missing from the logbook. Prepare for presentation.

Final preperations.

PRESENTATION / HAND IN

Presentation time was divided between outputs and group members and ran through to ensure each group member was aware of what they were saying and when to come in.

Rehearsed presentation multiple times. Checked website was coherent and ready for submission.

THE END

Group members had a variety of inspiration for the zine. The group found a median that could incorporate design aspects of a variety of zines.

GROUP MEMBER

WEEK 1 - Assignment breakdown and briefing. - Decided on the assignment concept.

JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

- Based on the group discussions in the group meeting, I began to research sportswear brands, links to football and feminism in surrounding inter- disciplinary areas. - Purchased ticket to “History of Adidas Brand” presentation at Manchester Football Museum to gain primary research into sportswear brands.

- Decided on the assignment concept and ordered a copy of season magazine to gain inspiration and insight. - Was made in charge of log book for the duration of the assignment roles include: log book layout, recording group meetings, imputing group members weekly entries and laying out group members written pieces. - The group decided on concept/ idea for campaign and identified areas for further research. - Refined a small group of potential brands and designated the research. - The group decided on a concept from the activity produced in the workshop. - The concept surrounds femininity in women’s football.

- Assignment brief and concept decided JASMINE ROONEY

- researched into the theme in general (women within football).

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

WEEK 2 - Researched into ideas on the chosen concept. - Researched brand Sergio Tachini. - Attended Adidas talk.

- Attended “History of Adidas Brand” presentation. The primary research allowed the group to gain a direction to focus the research. - I began to compile a list of brands which may work within our chosen area of research. From a commercial perspective, I decided to look at sportswear brands with a loss of market share in the United Kingdom that could benefit from the proposed idea agreed on by the group. - Researched specifically into Lyle & Scott but felt it did not meet our concept. - Attended Adidas talk, which acted as primary research and helped to contextualize the importance of using a brand that holds heritage in order to ensure success. - Continued with my logbook roles as mentioned in week 1.

- Researched Macron brand: focused on presence in european market, product categories; their main focus seemed to be team wear for men and active wear for women, their product didn’t seem trend lead and promotional activity was bland, with a very little social media presence and poor uninspiring content across their poorly integrated channel communications (Macron, 2017). - Created a moodboard for the Macron brand including some of their team wear shirt designs and other concept images that concurred with the teams idea and concept for the project. - Researched different articles and reports written around the stigma surrounding women’s football. - Also researched into brand Kappa. - Attended Adidas talk. - Researched into hummel hive. - Attended Adidas talk.

JASMINE ROONEY

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

FILM

WEEK 3 - Continued to research into chosen concept of football, women empowerment and femininity. Decided on the brand Le Coq Sportif. - Finalised the outputs: an event, a website, promotional video/photo shoot and a Zine delegated roles for each output. - One brand identified with potential, Le Coq Sportif. With the brand’s heritage in football, especially in the 1980s and 1990s and the their loss of market share in the UK. From the preliminary research, it was agreed as a group to move forward with brand. I continued my research and began to look at the brand more in-depth in order to inform plans for the change in strategy. - Out of the three outputs agreed by the group, Leanne and I were responsible for the organisation and execution of the film and photoshoot. I began to research visuals and inspiration which sat in line with the vision for the re-brand of Le Coq Sportif. - Le Coq Sportif verified as chosen brand. 3 outputs: film, zine and event. - Giorgia and I were designated to be in charge of the photoshoot and film and I was also given the role of helping with the layout/design/editorials of the zine.

- The group went through all research we had collated and decided on a viable brand for the campaign (Le Coq Sportif), then decided on three outputs (Film/photoshoot, Zine & Event). - Researched the ‘Zine’ landscape related to our chosen topic, concept and market. Notably: FWK Twigs for Nike, ‘Pogboom’ by Jurgen Teller for Adidas Mundial magazine, Proper Magazine, the Green Soccer journal, Girls fanzine and Season magazine. - The group decided on Le Coq Sportif as the brand to promote and the three outputs we wanted to present, an event, zine and film. We also put together a critical plan for the remaining time. - We also confirmed the bib design for the event and the name of the zine.

- Group decided on Le Coq Sportif as chosen brand. - Made in charge of zine alongside Josh. - In depth research into zine football market looking imparticularly at Mundial and Season.

ZINE

EVENT 98

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

WEEK 4 - Group meetings: continue to do research into event and assignment. -Planned the event with Eva. - Finalised formative mood board.

- Attended photography workshop to gain knowledge for the film and photoshoot output. - Continuing research for the film photoshoot output. Bringing research together for the formative boards and putting the formative concept board together with the group.

- Wrote up and referenced “the reason” and “the inspiration” within the logbook to explain why we chose Le Coq Sportif and our overall concept. - Analysed Le Coq Sportif’s Spring/Summer 17 film and drew conclusions on what the brand was missing in terms of marketing/ visual representations. - Created formative board with the group.

EVENT EVA & JASMIN

FILM

LEANNE & GIORGIA

ZINE JOSH & JASMINE

- Critical path uploaded onto the groups Gmail one drive. This allowed each group member to respectively plan his/her workload over the course of the assignment. It also allowed everyone to efficiently visualize what other members were working on at any given time and when certain tasks would be complete so that dependent tasks could the commence. - Created an expenses sheet to effectively and strategically manage the costing and budget for the campaign amongst the whole group. The spreadsheet was uploaded to the groups google drive to grant everybody access to add any expenses they had incurred financially towards the project. - We split up to research our chosen output and bought together ideas for the formative assessment. This was successful and portrayed our ideas and identity well. - Now to start researching and putting together the event. - Created the formative board with the group. - Continued research for zine (as mentioned in week 2)

100

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

WEEK 5 Continue to plan event, planning location, uniforms, marketing and players for the game.

- Continued research for the film and photoshoot output. - Starting to research for hero pieces of the collection to style for the photoshoot. I suggested the use of vintage UK Le Coq Sportif football shirts, with the idea to customise the shirts, taking inspiration from Vetements A/Q 2017 Pre-Fall and S/S 2017 R-T-W. I began to look in local charity and vintage shops in Manchester, as well as looking online. - eBay provided the best results, allowing me to compile a list with the desired characteristics of football shirts.

- Researched inspiring film/adverts that are current and relevant and took screen shots of shot angles and edits that could work for our film concept. Inspired by: Forever Chuck : Converse, High Sobiety’s ‘color infrared’ editorial of OFF-WHITE’S F/W16 collection, Beyonce – Formation – Wrote this research up under Film – Inspiration/Influence in logbook. - Continued with my logbook roles as mentioned in week 1. - Planned content for the ‘Zine’ with Jasmine. - Contacted professional female footballers from local clubs to partake in features/ interviews. - Researched and arranged for a snapchat Geo-filter to accompany the event output, which would provide content for the ‘Zine’ in the form of a feature, entitled ‘Snap shots’. The best snapchat stories from the event using the geo-filter would be featured. - Researched the market to agree on a target consumer/segment for the re-brand. - I have confirmed the booking with Power League Manchester the time and date of the event, they also agreed to let us film it. - Confirmed someone to film the event. - In talks with a potential photographer for the event. - Ordered the bibs for the event. - In talks with an independent business about the printing of the bibs. - Spoke to MMU WFC about recruiting players and other resources for this. - Met with Josh to decide content for the Zine. - Brainstormed editorial ideas and researched writing styles.

102

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

WEEK 6 - Handed in formative mood board with group. - Vive la Femme event at power league. All group members participated with delegated roles at the event e.g. Film, photographers, team players. Successful event. - I photographed using digital & film.

- Attended the formative feedback session, gaining critical feedback into some areas which required some more research. Three football shirts were purchased from eBay. - I began working on the customisation of some of the shirts and working on an article for the zine, â&#x20AC;&#x2DC;DIY, customised football shirtsâ&#x20AC;&#x2122;. Designed a snapchat geofilter for the event however due to restrictions surrounding the event location and branding issues, it will not be possible to use this. - Began to scout models, location based in Manchester for the film and photoshoot. - Did a streetcasting with Leanne. - Attended the formative feedback session, where feedback was helpful and positive and inspired our concept further. - Helped to finalise event arrangements. - Attended event and volunteered to play football within the event due to lack of numbers. - Ordered Le Coq Sportif merchandise & 3 long stem red roses to arrive the day before the photoshoot. - Did a street casting with Giorgia. - Continued with my logbook roles as mentioned in week 1. - Worked on InDesign skills in preparation for the production and layout of the Zine. - Discussed rectifying the Snapchat geo filter design and the possibility of bringing this idea to fruition after Snapchat rejected the initial design.

- The bibs were completed for the event and are ready to wear. - This week was the week of the EVENT, we managed to secure 8 players and 2 of the the group (Leanne & Jasmine) volunteered to make up the numbers. - The event ran smoothly and we had a strong game which resulted in good footage and a good connection with Power League. - Editing started on the proof event video. - Helped to finalise everything for the event. - Attended the event, volunteered to play football due to lack of numbers. - Began researching into Gosha and his use of football scarves.

103

GROUP MEMBER

WEEK 7 - Design illustrations for Zine and logo.

JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

- Scouted and liaised with one of the models, Astrid. Organising availability of the shoot and gaining useful information such as sizing, required for the styling of the shoot. - Continued on zine article. - Set up a spreadsheet for the expenses on the Google One Drive, allowing the group to enter their expenses to date, including garment and event costs. - Communicated via text with model Annabel, to ensure she was available for specific shoot time and to get her sizing information. - Planned different film backgrounds and areas to suit styling. - Created a rough story board to follow – did not want it to be too in depth as wanted the filming to appear more organic and ‘fall into place’/be natural like the other researched videos. - Created a call sheet so all group members and models were aware of locations etc. Continued with my logbook roles as mentioned in week 1.

- Planned the shots that would feature in the JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

Zine’s match report of the event. Also wrote the match report article up. - Art directed the shots taken for the zine at the Event, as well as shooting some of the shots on film. - Researched analytics platforms to implement a control element to our overall campaign strategy. ‘Mag+’ and ‘Issu’ were the two platforms shortlisted for implementation. - The event video is finished editing stage. - Researching different website ideas and layouts. -Scouting for women to take part in an interview for the zine.

- Sourced football scarves for photoshoot/ film from family and friends inspired by research done in week 6. - Began to collect content and imagery for Instagram - was made in charge of the Instagram platform.

106

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

107

WEEK 8 -Styled campaign photo shoot and film. - Gave model’s directions to achieve the desired look.

- Continued last minute preparation for the photoshoot and finalising storyboard and vision for outcome of the film and photoshoot. Producing final styling, location and hair and make up boards for the photoshoot day to make sure all of the team and models can share visual reference for creative vision. - Styling tutorial with Lizzie - critical feedback proposed, adding more outfit options to the film and editorials to produce a more commercially viable range plan for the collection. This advice was taken on board and more garments were added to the styling options, with an increased focus for products featuring the Le Coq Sportif logo for product shots working alongside basic pieces and the hero pieces of the collection. - Film/Photoshoot day - in charge of polaroid editorial. Working collaboratively on artistic direction and styling. - Scanned all the polaroid shots in preparation for editing. - Co-coordinated the photoshoot/film day alongside Giorgia – set up the shoot areas. - Creatively directed the shoot and digitally filmed and photographed everything using SONY a5000 without a tripod to achieve a ‘hand-held’ effect. - Assisted with Styling. - Continued with my logbook roles as mentioned in week 1.

- Finalised the ‘Zine’ critical path to ensure all tasks could be completed efficiently, on time and concurrently with the rest of the project. - Finalised plans for the shoot with the team. Liaised with the team to make sure all shots for the zine were set out. - Conducted co-ordination/ Art direction on the shoot and assisted with styling. - Ideas for the website are taking way and decided on a layout. - Still looking for an interviewee for the zine - Uploaded the event highlights to Vimeo for viewing.

- Styled the campaign film/photoshoot using sourced football oriented wear. - Created behind the scenes footage for Instagram, in order to build hype around the campaign.

INSTAGRAM: @_vivelafemme_

GROUP MEMBER JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

108

WEEK 9 - Get event film photos developed and choose images from event (digital photos). - Sent the chosen edited images over to Josh for Zine.

- Reviewing the output from the photoshoot with the tutors, which was positive. - Beginning to edit the polaroid photos for the final outcomes. - Working on a final range plan, including products styling within the film and editorial. - Wrote a piece for the log book, contextualising the styling choices in the film and editorial. - Showed tutors visual content, gave direction towards editing. - I began editing all photographs in photoshop to hide set imperfections such as: crinkled sheet and signage. - I then condensed the 18 minutes of film footage down ready for editing next week. - Continued with my logbook roles as mentioned in week 1.

- Conducted interviews with a professional female football player to contribute to a respective article. - Planned articles and signed these off with the team. - Wrote 2 articles (Holly Hunter interview and AS St Etienne FC FĂŠminine season report). - Website is underway and the format of the outcomes has been implemented. - Started writing the article for the zine on Arthur Ashe.

- Started to research into editors letters in order to set the overall tone for the zine. - Discussed and signed off articles with the group. - Delegated articles to individuals within the group in order to split up roles fairly.

109

GROUP MEMBER

WEEK 10 - Carry on with assignment including edit event images.

JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

- Continuing to edit down final clips and photos from the photoshoot. Beginning to experiment with editing photographs, taking inspiration from the research undertaken to date. - Began working on writing up the justification for the brand and market place choice based on the earlier in-depth research. - Continuing to edit the polaroid editorial. - I researched into more underground/arty zines as we wanted the zine to offer more than its proposed competitors: mundial, season etc and thus began laying out the zine in InDesign. - Edited the digital photographs I took from the photoshoot and created a “fantasy football” editorial piece for the zine that was inspired by underground zine ‘Sukeban’ by Erika Bowes and Yuki Haze. - Continued with my logbook roles as mentioned in week 1. - Organised the pages and master pages in the InDesign file and uploaded to harddrive to pass onto other team members for them to work on their respective tasks within the Zine i.e editorial.

- After crits with tutors, I started to redo the song on the event film. - Arthur Ashe article is finished and sent for the zine. - Media pack awaiting to conclude website layout.

JASMINE ROONEY

110

- Helped to source images/visual content that could go alongside proposed articles within the zine. - Carried on with Instagram coverage and writing articles.

GROUP MEMBER

WEEK 11

WEEK 12

WEEK 13

- Create and edit more illustrations for zine.

- Group meeting finalising all outputs for the assignment.

- Final edit and content for website. Group meeting finalising presentation.

- Editing the film with Leanne, researching and finalising the music choices and stylistic atheistic of the film. - Finalising the edit of the film. - Finalising the edits of the polaroid shoot. - Finalised consumer board for the log book - Researching and pricing stickers for the zine.

- Writing a piece for the logbook on the strategic implementation of the film and the photoshoot. - Editing and finalising the sticker page for the zine.

-Bringing ideas of presentation styles to the group meetings in order to assess what the best way to present our final outcome. - Helping to bring the logbook, zine, presentation together for the hand-in date.

- Edited the film for 8 hours every day during week 11, alongside Giorgia. - Merged two soundtracks together to create the basis of the video film and to ensure the film had a clear build up and narrative in comparison to Le Coq Sportif’s S/S 17, which featured no narrative. - Used editing techniques inspired by the videos I had researched in week 5, using Final Cut Pro.

- Laid out Arthur Ashe article & Interviews within the zine inspired by ‘Sukeban’. - Continued with overall layout of the zine and began considering front covers alongside group. - Continued with my logbook roles as mentioned in week 1.

-Finalising zine layout and uploading to

- Input illustration posters into the Zine to co-inside with the match report article. - Met with the team to discuss layout and design of the editorial and how this would look alongside the rest of the Zine given our breadth of design research and varied inspirations.

- Started to write up the Implementation strategy for the Zine output from the research that had been collated over the course of the semester, ready for Leanne to lay out in the logbook.

- Preparation for presentation on the 24th April.

- Finished changes to the event film. - Started brainstorming for presentation ideas. - Starting to put together the website.

- Finalising website and uploading outputs. - Finalising the website. - Began creating and designing football-esq - Preparing for the 24th (presentation day). tickets to email to tutors/guest tutors as part of an invitation to our presentation/mock up showroom.

- Discussed zine layout with group members to ensure that we are all on the same page. - Continued with Instagram. - Networked with external Instagram/ publishing accounts to increase awareness of the campaign.

- Finalised individual articles and editors letter. - Continued with Instagram. - Got an offer from NCC SPORT, as they wanted to publish our campaign - discussed this with the PR contact in order for us to carry on our concept after hand-in.

JASMIN BROWN

GIORGIA CLEMENTS

LEANNE MALPASS

JOSH OHARA

EVA-JOY SARGENT

JASMINE ROONEY

112

ISSUU. - Uploading logbook to ISSUU. -Preparing for presentation day on the 24th April.

- Preparing for the presentation on the 24th April - bringing sourced scarves to style group members.

113

GANTT CHART

114

115

BUDGET

EVENT BUDGET BUDGET EVENT

FILM/PHOTOSHOOT BUDGET BUDGET FILM/PHOTOSHOOT

The research that went into planning the event found the cost of the venues found varied. The group wanted the authenticity of a match but we also had to take into account the team side and opponents. We only had a short period of time to arrange the event, time was of an essence, the following venues were what we found within our price range.Working through our options we got in touch with each venue with the match looking authentic we didn’t want to hold the event indoor due to limited space for spectators.

Whilst the photoshoot absorbed the largest proportion of budget, this output produced multiple outcomes, including an advertising video campaign which will translate very effectively across the various social media channels. The photoshoot also produced two editorial features, ‘Fantazi(ne) Football’ and ‘Polar Wear’. This content was used in the Zine and also across the social media channels. Whilst expensive, the photoshoot costs were kept to a minimum. Firstly, the urban location chosen, provided a free backdrop. It was possible to negotiate a fee for the models equivalent to just food and travel expenses. A proportion of the budget was spent on purchasing key hero and product shot garments for the shoot. These pieces where integrated with the stylists’ garments and accessories to keep control of the budget.Careful planning and preparation meant that shooting the film and editorial shots, with several outfit changes allowed us to create the most amount of content within one working day, from 11 am - 6pm.

We moved forward to Hulme Park but on visiting the location it was just a matter of playing when there was a space. This didn’t seem to fit our criteria due to team travel and spectators and not being able to guarantee a place. Our last visit was to Power League where we were shown around the venue, we were informed of the Women’s tournament that was taking place within the time frame we had worked around and the group came to the decision that even though it was the most expensive, it was the best option to move forward. With the venue booked we moved forward to arranging team uniforms. We managed to locate a business on eBay which had mass positive feedback from previous consumers. The high quality product was appropriate for our budget.The printing on the bibs was done by a small independent business in Afflecks Palace, Manchester. Our vision was to have the Le Coq Sportif logo on the front top corner of the bib and the hashtag/team name on the back. The fabric of the bib proved to be quite difficult to print directly onto. The team had to improvise and print onto white cotton and then web the printed logos onto the bibs. This was done in group to keep the budget low. The group were positive with the outcome of the bibs and they worked really well for the uniform. For the event we also had three flags representing our team these were all made in group with equipment we already had available to us. This kept cost down and also looked authentic at the event.

116

ZINE BUDGET BUDGET ZINE Initially, the zine was predicted to contribute the least commercial output and therefore, it received the lowest budget allocation. Nonetheless it still incurred cost. Initially the research process meant spending resources sourcing magazines and zines with similar concepts. As mentioned in the strategy implementation, the publishing platform ‘Issu’ will be employed in order to optimise the digital audience and also to facilitate data flows for the marketing analytics strategy. The subscription to this platform comes in the form of packages. In this case we have made use of the free basic plan, however in practice, a professional plan would be better suited. Allowing the consumer to access a wider range of content for free. The zine will also incur costs if printed. A limited run of copies would be printed in order to keep the zine exclusive and under ground.

117

BUDGET

118

119

PRESENTATION We wanted to think of an idea for our group presentation that would be synonymous with our variety of outputs. Primarily, we had the idea of using guerilla-marketing techniques such as creating a football mob with whistles and drums. However, as much as this is a direct reflection of our concept we thought it would look unprofessional and incoherent. This led us to want to find something creative that could be incorporated into our presentation without being deemed as unprofessional. This led us to want to pose the presentation as a future showroom for our chosen brand - Le Coq Sportif. As the presentation will not include a full range plan and instead just our hero pieces, it is clear it will not be as affective as a legitimate showroom by the brand. However, we believed this idea to be a direct reflection on how the brand could market our proposed campaign in the future. As our first output was an event and our whole concept revolves around football we thought it would be interesting to create football-esq tickets in order to gain access to the “showroom”. We thought this would be a great way to market the showroom to loyal consumers via email marketing and attaching a personalised ticket with their name. As a result we thought it would highlight our future marketing ideas and put them into practice by creating personalized football-esq tickets for each of our tutors – so that they can use them to ‘gain access’ to our presentation. We thought this was quite humorous and as we emailed the tutors their tickets on the 21st April a couple of days before our presentation on the 24th April – in order to create a light-hearted buzz around our presentation. This is a direct reflection on how the tickets will drive consumer engagement in the future marketing of the proposed campaign. Overall, we thought this would be the best way to market our campaign and our presentation to our tutors without seeming unprofessional or coherent.

120

- AN EXAMPLE OF THE TICKETS CREATED FEATURING: NAME, BRAND, LOGO ETC.

We sourced a variety of tickets – that were also used in the zine – as ticket inspiration. The tickets were created using photoshop to ensure they looked professional. Originally we were going to print them using a glossy textured paper to really emphasise the importance/ be synonymous with football tickets. However, we realised that presenting tickets to the tutors before our presentation and while they were already sat down would not add anything to the presentation. This is why we decided against printing the tickets as we thought emailing the tickets to each tutor a few days before would create a buzz – as previously mentioned. Similarly we thought it would be humorous before the presentation to ask the tutors, if they could please have their tickets ready. We thought this idea tied in perfectly with the light-heartedness of the zine output. Furthermore this is why we designed the tickets to almost look folded and worn to really authenticate the football concept.

121

PRESENTATION PRESENTATION INTRODUCTION

OUR NOTES NOTES - 24th 24th APRIL APRIL OUR NOTES

- Introduce our names/roles - The Concept: We were all equally inspired by the idea of women within football. This led us to want to find a brand that could suit this concept that we were all passionate about. After research into a variety of 6 brands we thought Le Coq Sportif was best suited to our concept. The French brand has a strong heritage and was popular within the UK in the 80’s and 90’s and was particularly synonymous with the culture surrounding football. Similarly they sponsored a variety of UK football teams prior to 2010, highlighting their investment into the UK market. - The Market: The UK sportswear market is currently valued at GBP6.8 billion and is set to grow to 8.7 billion by 2021 (Passport, 2017). This is part due to the athleisure trend in 2015, which has since normalised into everyday style. The main leaders in the UK market share, Nike and Adidas have recently lost market share in 2016, however they remain strong leaders with 21% and 15% value share respectively in 2016. As the competition is heightened with more high street players entering the sportswear market with diffusion lines, Le Coq Sportif has a chance to compete and to steal market share from the key competitors with a unique communication campaign (Passport, 2017). Unique viewpoint of combining athleisure with ‘football fan’ style. The resurgence of replica kit will play an important role, as team shirts and training gear are layered with smart-casual classics and everyday denim (Perdue, 2014). The UK continues to account for the strongest sales of replica kits in Europe (Passport, 2017). Consumer - Female / Millennial / Hyper-Connected / Digitally native, with the average time spent online exponentially growing year on year. As of 2016, Statista reported 118 minutes a day spent on social media, with the majority of traffic coming from mobile devices / Free-Spirited / On Trend / Female Empowerment / Girl Gang.

- The event was to create a more public output with maximised interaction.

EVENT - EVA & JASMIN

- Choosing 5 a side was the friendly way to engage with participants in different cities. - We originally chose Manchester as our first location due to Power League hosting their Women’s Tournament that coming month, this enabled maximum exposure. - Using the live feed enabled spectators to not only be involved but to also participate through social media. - The live feeds were then downloaded and used to put into event highlights, this was to capture the authenticity of the game. - With the event being fast tracked to coincide with the tournament the budget was limited, with a more inflated budget we could have gained more exposure through different mediums. - We hope to carry on the team through variety of cities with Power League as they were extremely supportive of the concept and the planning of the first event. - The event was successful due to strong team work and building a creative collaboration alongside local businesses.

- THE CONCEPT:We wanted the film to embody personality and a narrative and thus empower women specifically within the UK market. Berger’s (1972) theory that men act and women appear highlights the inequality of genders often seen

FILM - GIORGIA & LEANNE

within film. As our campaign film is to be presented during a time of female empowerment we wanted to challenge the theories of Berger. We wanted the female subjects within our campaign to emphasise personality and drive. The overall message should be to encourage women to dress and act as they find best appropriate and not to succumb to societal pressures inflicted by the media.. - THE INSPIRATION: In the beginning we brain stormed our creative ideas for the film that were directly related to the concept. However we wanted to research other campaign films and music videos to help inspire our creative ideas further and make sure our campaign film was relevant and could therefore compete with Le Coq Sportif’s competitors. We looked specifically at Converse’s Forever Chuck film, High Snobiety’s film of OFF-White’s F/W16 collection and Beyonce’s Formation music video. All of which used similar editing techniques that we were able to combine to create our own film aesthetic. These techniques including screens within screen, red filters and text on screen, which are some techniques that were evident within our film that was just shown. - Music : A strategic choice was made to use female British artists in order to resonate with the UK market. The use of local artists, resonates with the internationalisation theory of ‘think global, act local’ (Kansara, 2016). Chosen artists Nadia Rose and Stefflon Don are both young, up and coming i female artists in the grime music scene in London featutred in the BBC Sound of 2017. A scene which is typically dominated by men. This draws parallels with the message and concept of the advertising film, exploring gender inequality within football. The music chosen, Nadia Rose ‘Tight Up (feat. Red Rat)’ and Stefflon Don ’16 Shots’ sets the tone of the advertising film. Both songs are up tempo and play into the concept of a powerful female, defying boundaries. Whilst remixing the songs for the advertising film, white noise and a broadcasting beep were added not only to bring in influences from the 80s and 90s VHS tapes but also to refocus the message - empowering women. Speech The use of speech allows the conceptual message of the campaign to be conveyed to the consumer whilst the styling, location and models helps to convey the commercial message visually. Styling - It is important for the styling to reflect the mood and concept of the campaign. Although conceptual, the campaign is highly commercial. Therefore strategic decisions were made to mix the hero pieces - customised football shirts with the more commercial essential pieces displayed in the range plan. This range plan features in the logbook. This allowed the styling to draw references from conceptual viewpoints such as emerging streetwear trends and combine them with the more commercial athleisure trend. The visibility of the product throughout the editorial and advertising film is key therefore products featuring Le Coq Sportif logo were predominately used in the styling of the outfits. The styling reflects the athleisure trend, styling the collection with everyday casual clothing, such as jeans, skirts and bomber jackets. Budget - Whilst the photoshoot absorbed the largest proportion of budget, this output produced multiple outcomes, including an advertising video campaign which will translate very effectively across the various social media channels such as youtube advertising campaign. - Placing the campaign across social media will allow the campaign to be measure through the social media analytics.

DESIGN: - Fit the consumer: the glittery sticker book 90’s vibe is juxtaopposed with a rough and ready edge: Underground/subversive. to connote power and strength of Femaninity, this creates a disorientation and wanderlust narrative that is typical of a zine, especially those that were part of ur multitude of influences and research. ANALYTICS: - The reason we chose a zine s one of our digital outputs is for the way the performance of such content marketing can be easily measured through use of digital marketing tools and platforms. - Thus affording more effective and efficient decision making at managerial level. And ultimately protecting the bottom line. - Discuss 3 platforms: 1. Issu 2. Google Analytics. 3. SEMrush.

ZINE - JOSH & JASMINE

CONCLUSION

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- Strategic/budget: Discuss strategy implentation as referred to in logbook highlight key figures and facts. - Cost / Limited run of zines.

- Before starting to plan the strategy of our assignment we thought it was worthwhile to research into Le Coq Sportif thoroughly. This is why the logbook holds information on their heritage, market share, and recent campaigns. - The group we decided to break into smaller teams so that each output had leading members this gave us the opportunity to cover all the outputs at once and be able to give maximum time. - The group meetings were then used to discuss research and ideas to create crit sessions and therefore formed group decisions enabling the project to keep moving forward. - The outputs themselves were found to strongly interlink expressing strong factors such as the commercial aspect within the film, maximum public interaction during the event and bringing the authenticity of the brand creating the zine bringing the brand into the current market. - Furthermore we have decided to continue ‘VIVE LA FEMME’ after the submission of this assignment due to it being such a relevant concept and something we are all extremely passionate about.

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THE EVALUATION Before starting to plan the strategy of our assignment we thought it was worthwhile to research into Le Coq Sportif thoroughly. This is why the logbook holds information on their heritage, market share, and recent campaigns. This allowed us all to have a well-rounded understanding of the brand and therefore inspired all of our creative ideas and allowed us to improve aspects of the brand that we felt were not as successful as they could be. During the planning of the strategy with the number of outputs as a group we decided to break into smaller teams so that each output had leading members this gave us the opportunity to cover all the outputs at once and be able to give maximum time on each one without losing focus. We then used each group meeting to discuss research and ideas to create crit sessions and therefore formed group decisions enabling the project to keep moving forward. We found this a positive way of handling the workload, each member showed strong commitment to their output as well as the project as a whole. The outputs themselves were found to strongly interlink expressing strong factors such as the commercial aspect within the film, maximum public interaction during the event and bringing the authenticity of the brand creating the zine bringing the brand into the current market. The group felt like each of the outputs complemented each other, as we were able to reference each output throughout. We decided to name the campaign ‘VIVE LA FEMME’ and this helped us to really form our own concept. Furthermore we have decided to continue ‘VIVE LA FEMME’ after the submission of this assignment due to it being such a relevant concept and something we are all extremely passionate about. Overall, we feel the campaign was very successful considering our minimal budget and this is something that can be taken into consideration for our next campaign.

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