Adidas Originals c/o
“OFF WHITE” Promotional Plan
2
1.1 - Sector Overview
Page 4
1.2 - Brand Overview SWOT Analysis
Page 5-6 6
1.3 - Competetive Review Competitor Analysis
Page 8-9 9
1.4 - Consumer research Current consumer moodboard Potential consumer Consumer decision process
Page 10 - 14 11 12 14
1.5 - Collaboration
Page 17
2.1 - Marketing Objectives Positioning strategy Positioning statement Target consumer
Page 19 - 23 20 21 22
2.2 - Communication Objectives
Page 24
2.3 - Communication Mix Promotional Timeline
Page 26-28 29
2.4 - Campaign Budget & Costing
Page 29
3.1 - Creative Objectives
Page 30
3.2 - Creative Strategy Theme Big Ideas
Page 31 - 33 31 32
3.3 - Creative materials Social media content Pop-Up Store Press coverage Billboard
Page 34-39 34 36 38 39
4.1 Media Objectives
Page 42
4.2 Media Strategy
Page 41
References
Page 42
Figures
Page 44
Graphs
Page 45
Appendix
Page 46
“FIGURE 1”
“Word Count - 3,010”
3
1.1 “Sector Overview”
“SECTOR OVERVIEW”
Off-White can be categorized as a brand serving the ‘luxury streetwear’ market, a sector that in the last decade has seen exponential growth, single-handedly subverting the traditional fashion system by redefining its main component: exclusivity (Hypebeast, 2019). Unlike high fashion, streetwear’s exclusivity is derived from ‘know-how’, producing a market in line with the sale of collectables and elevating a certain level of luxury. Streetwear’s dictionary definition is simple enough: fashionable, casual clothes, a trend that has driven the emergence of relatively new brands, Off-White for example - founded in 2012. Streetwear is no contemporary movement. Rooted in skate, surf and hip-hop cultures since the late 20th century, it’s paved the way to an underground market of logo-mania activewear constituting ‘hypebeast’youth subcultures, a trend evolving from micro to mass adoption (Nazir, 2019). Today, there are pure streetwear brands as well as streetwear derived from traditional sportswear names, for example: Adidas, Puma and Nike whom have developed their traditional athleisure portfolio to target this sector. It is estimated that currently, by sales, the size of the global streetwear market is at $185 billion making it about 10% of the entire global apparel and footwear market (Strategy&, 2020). This sector has seen a meteoric rise in popularity since 2017, when search volume of branded and unbranded streetwear terms grew by 157% (Jetley, 2019). A rising trend that is unexpected to plateau soon – further growth is expected over the next 5 years driven by casualization of workplace attire and younger buyers of luxury goods (Bain & Company, 2014).
“FIGURE 2”
4
1.2 “Brand Overview”
“BRAND OVERVIEW”
Founded in 2012 by current creative director Virgil Abloh, Off-White is a label rooted in current culture, inspired by the desire to bridge the worlds of streetwear and high fashion (Off-White, 2020). Defined simply as the grey area between black and white, Off-White products are trademarked by the hovering “quotation marks” designing instant recognisability. Starting as a simple ‘vision from Virgil’, the brand has evolved from a menswear-focused label to a luxury name boasting a great list of celebrity clients. This meteoric success can be attributed to the customer-focused business model adopted by Abloh “I design for a consumer who wants to covet unique and spirit driven clothing” (Bateman, 2016), forming sartorial works of art in the form of jeans and tees (see Appendix A). Creating collections of limited stock made in high-end fabrics and familiar streetwear shapes, Abloh is actively producing a perfect amalgamation of ‘affordable’ luxury and casualwear. Traditional luxury fashion largely derives its exclusivity from a high price point, streetwear’s exclusivity is contingent on knowhow (Strategy&, 2020): Abloh successfully combines the two. The main medium being fashion; Off-White combines ideas of art, music, and travel to create a young brand essence, embracing the now in a sophisticated manner (see Appendix B). The garments of Off-White are carried by retailers worldwide (both online and in store) including Farfetch, Saks and Selfridges among many others. Off-White currently hold 50 brick and mortar locations across 8 countries, the first of these opened in Hong Kong just 5 years ago (Cruz, 2015). These stores adopt a cross disciplinary approach, a creative multifaceted take on the traditional retail space, described by Abloh as “a gallery, that happens to sell you designer clothes” - each store is designed differently to reflect the culture of the city (Fraser, 2017). The latest edition of the Lyst Index - a ranking of fashion’s hottest brands and products, shows that Off-White has risen 33 places to claim the title of being “Officially the hottest brand on the planet” (Lyst, 2019). Moreover three out of 20 products in the hottest product list were by Off-White, surpassing top competitors such as Gucci and Balenciaga (Newbold, 2018). Thanks to a quarter packed with globally hyped launches and collaborations the brand buzz surrounding Off-White continues to generate triple-digit growth year-on-year since its 2013 launch (Morency, 2016). A label expanding at an unstoppable rate.
5
SO WT
1.2 “Brand Overview”
“SWOT ANALYSIS”
Strengths
Opportunities
Brand image is instantly recognizable – added value
Further focus on diffusion line ‘For All’ Primary research suggests the collection is not as well known/ commercialized - 63% of consumers did not know about the diffusion line.
Apparel that related directly to the consumer “expresses the zeitgeist of youth culture” On trend designs – intrinsic to the brand image.
Each store is unique – different aesthetic of each store. Strong cross platform messaging – integrated marketing communication. Abloh represents Off-White in all he does. Strong social media presence – 10 million Instagram followers (Instagram, 2020)
- Further capitalize on the ‘drop’ model widely used by comptitors to create desire, e.g. Supreme and Palace
- Broaden target market by placing a greater focus on womenswear; direct appeal to consumers aged 18-25.
- Opening of more pop-up stores worldwide as a form of guerilla marketing.
Weaknesses
Threats
The brand is still primarily known for its core offering of $300 T-shirts - must diversify product offering to remain relevant.
Ablohs new role as creative director of Louis Vuitton has caused consumers of OffWhite to follow: “It seems like the audience has moved over to Louis Vuitton rather than Off-White now” (Fernandez, 2019) Louis Vuitton now poses a greater threat.
Limited number of own stores, greater reliance on department stores to carry sales.
Whilst Off-White remains ahead of many competitors, demand for Off-White products at US retailers is slowing down (Fernandez, 2019)
- Many luxury brands continue to tap into streetwear, making Off-White’s core market more competitive. - Rising popularity of womens streetwear
“GRAPH 1 - SWOT Analysis”
6
“FIGURE 3”
7
1.3 “Competitive Review”
The marketing channels exploited by Off-White are far from traditional. The brand places great emphasis on its bi-annual fashion shows as a promotional tool. Creating significant focus on the streetwear-clad crowd that attend them and filling the catwalk ‘FROW’ with social media influencers, both allowing for great publicity, a form of earned media (Wong, 2019). Today, social media is the go-to platform for consumers to discover streetwear brands (Appendix C), and influencers are commonly exploited as marketing channels by these brands to bring relevance and cultural currency. The main competitors of Off-White reside in each the ‘luxury’ and ‘mass market’ sector; holding the common objective of identifying with youth cultures (Strategy&, 2020). These competitors whom operate within the mass market sector include Nike and Puma as well as ‘heritage streetwear’ brands such as; Supreme, Palace and Champion. Other Off-White competitors reside in the ‘luxury’ sector - brands that have exploited the ‘streetwear’ category due to the commercial attractiveness of high priced, inexpensive to produce, casual clothing (Berlinger, 2019). The diversity in nature of these competitors means differing marketing strategies are employed by each. Heritage streetwear brands Supreme and Palace revolutionised the scene by abandoning the traditional supply and demand model – the current limited edition timed ‘drop’ culture creates high levels of demand as well as viral content and ‘buzz’. 93% of consumers agree that this release strategy creates higher anticipation for streetwear garments (see Appendix C). The use of traditional advertising channels (magazine and TV advertisements) is therefore more or less obsolete, as these streetwear brands rely on shared media and earned media as integral elements of their marketing communications. Supreme takes a guerrilla approach to brand marketing (Hawkins, 2017), allowing products to speak for themselves whilst promoting exclusivity as a distinctive competency. The dedicated audiences of these streetwear brands can be reached without large scale press releases or advertising campaigns, a short announcement and a release date, is powerful in creating a tight-knit and almost cult-like relationship between streetwear brands and their consumers (Strategy&, 2020). In contrast, the marketing strategy of luxury label competitors such as Balenciaga, Vetements and Prada is much closer to that of a traditional integrated marketing mix, emploting a cross section of paid, earned and owned. The marketing strategy of these brands aims to create the highest brand value though impelling thoughts of quality, lineage, status and taste (Dion & Arnould, 2011). The multi-faceted promotional methods of these luxury brands alike are expressed in Graph 2, a model created to express the approach to consumer communications by luxury brands (Jackson & Shaw, 2009).
“FIGURE 4” Balenciaga SS18 “FIGURE 5” Adidas x Palace 2017
8
“COMPETITIVE REVIEW”
“COMPETITOR ANALYSIS” Balenciaga
Supreme
Resale at 1200% of retail price Unisex clothing
65 per cent of Balenciaga customers are millennials, They make up more than 50 per cent of sales (Ellison, 2018). Traditional ‘Luxury/ High end brand’
‘Heritage streetwear’
Strong womenswear collections “Fastest growing brand in couture and leather goods” (Rai, Catwalk 2019) Shows
Highest Instagram following Sold organically owned distribution
Consumer Brand Demographics Collaboration Control of Online and In- Limited supply Celebrity Collaboration supply chain store retail ‘Drop’ model in Strong brand Womens & Menswear release of new lines identity Celebrity Traditional print Endorsement ‘Hype branding’ and digital media
“Fastest growing brand since creation in 2013” (Price, 2018)
‘Luxury Streetwear’
Produced by NGG, gaining greater credibility within the sector* High profile Creative director.
Off-White “GRAPH 2 - Competitor Analysis” *NGG is the exclusive license-holder for high-end streetwear brands like Off-White, Palm Angles and Heron Preson - giving greater reliability and credibility within the streetwear sector (Singh-Kurtz, 2019).
9
1.4 “Consumer Research”
“CURRENT CONSUMER”
“DEMOGRAPHICS”
Since its launch, Off-White has attracted a global following, with over 10 million followers on Instagram alone (Instagram, 2020). Recognising the importance of appealing to Millennials is something that the brand is considered a market leader in. With roots stemmed within youth culture, it is no surprise that 70% of the Off-White consumers surveyed, identified as male with 50% aged 20 -26 (Appendix C). Whilst the brand does attract consumers of both sexes, womenswear accounts for just 30% of the company’s turnover (Morency, 2016), a figure that is predicted to increase following the proposed collaboration. Graph 3 demonstrates the methods of segmentation utilised to further define the Off-White consumer. A visual representation of the current targeted consumer has been created in Figure .
• Male • Aged 20 - 26 • Post graduate • Millenials • City Sophisticates (Acorn, 2014) • Single: no dependants • High disposabe income • “DINKY’s/HEIDI’s” (Posner, 2011)
“USAGE & BENEFIT VARIABLES”
• Social status • Belonging to streetwear ‘cult’ • Sustainable purchases (43% believe a streetwear garment is always in fashion - Appendix C) • High brand loyalty - ‘Hypebeasts’ • Low price sensitivity - willing to pay for branded clothing • Products sold on re-sale sites; Depop, Stock X etc.
“GRAPH 3 - Consumer Analysis”
10
“PSYCHOGRAPHICS”
• Enjoy the lifestyle that comes with city living: opportunities to socialise and spend • Socially active: high social interation online and in real life (Acorn, 2014). • Check social media daily • Aspirational • Street/casual/relaxed style • Passionate about music: Rap, RnB • Body image conscious: maintains personal fitness • Invests in appearance: clothing, hygiene, aesthetics • Fashion conscious
“6”
“7”
“8”
“9”
“10”
“14”
“15” “13”
“11”
“12”
“FIGURE 6-15, Top left clockwise”
11
1.4 “Consumer Research”
“POTENTIAL CONSUMER”
This collaboration aims to provide the Off-White brand with an access point to the female audience currently captured by Adidas Originals. In recent years, Adidas has been “doubling down on surging sales of casual sneaker lines” to capitalise on the proliferating sportswear fashion trend (Bloomberg, 2017). Previous collaborations of Adidas with strong female figures such as; Rita Ora, Stella McCartney, Danielle Cathari and Beyonce’s ‘Ivy Park’ have each been beneficial in growing a loyal female consumer base, whilst simultaneously aiding in the abolishment of the outdated view that both sportswear and streetwear is dominated by male clothing.
The conducted primary research has been valuable in highlighting the opportunities of market development for Off-White. Appendix C provides a strong rationale for further growth into womenswear markets – 90% of women feel streetwear labels are more so tailored to males than females. This growth strategy of targeting a niche consumer segment (currently overlooked by many streetwear labels), is expected to provide great competitive advantage for the Off-White brand. The proposed collaboration with Adidas Originals. therefore, aims to directly appeal to the Generation Z female consumer aged 18-25.
“Though many streetwear brands sell clothes for both men and women, female customers frequently complain in online forums and on social media about a lack of sizing, limited colour waves and feeling intimidated by what remains a predominantly male culture where misogyny is common” - Nanda, 2019.
12
“FIGURE 16”
“FIGURE 17”
“FIGURE 20”
“FIGURE 18”
“FIGURE 19”
13
“CONSUMER DECISION PROCESS”
As Posner (2011) states, fashion purchasing decisions are rarely based on logical criteria alone. There are great dynamics involved in a consumer decision journey, involving multiple stages. At each, the consumer is placed in a particular information-processing state of mind (Batra & Keller, 2016). The media type and satisfaction of customer information needs is critical in the decision of rejection, or movement to the following stage (subsequently resulting in eventual purchase), as seen in Appendix E. This highlights the power of promotional media in the consumer purchase decision, emphasising the value of an integrated multimedia marketing campaign. In relation to Maslow’s (1943) Hierarchy of needs, consumers currently purchase streetwear products for the achieved exclusivity and social status, as indicated in Appendix C. This translates as ‘esteem’ or the ideology that the purchasing of an OffWhite garment carries and elevates social status. “The younger generation are looking for something that stands out and makes them special” (Beauloye, 2018). Brand collaborations build relationships with new consumers to aid in the achievement of a competitive advantage through differentiation (Kim & Ko, 2014). This advantage is established through the curation of the Adidas Originals c/o Off White women’s capsule collection. Fashion consumers seek diverse benefits from product such as uniqueness and rarity, this is especially true for streetwear style garments and s thus achieved through this fusion.
14
“FIGURE 21”
15
16
“FIGURE 22 ”
1.5 “Consumer Research”
“COLLABORATION”
A collaboration is the alliance of two brands with the intention of creating a new or enhanced product (Cooke and Ryan, 2000). This alliance is commonplace in the streetwear sector; collaborations tie bridges between consumer markets, social groups and historically produce some of the most creative ideas in the streetwear world, providing great opportunity for all parties involved (Bailey, 2020). Referred to as ‘the collaboration machine’ (Fernandez, 2019), Abloh is no stranger to coalition with brands of each market sector. Through his label Off-White, he has collaborated with the likes of Vans, Levi’s, Ssense, Kith, Nike, Moncler, and Ikea amongst many others. Seemingly, there is no brand too big, small or unrelated for the infusion on Off-White. Streetwear fashion labels are increasingly reaping the benefits of leveraging collaborations with activewear brands (Jetley, 2019), exemplified by collaborations such as Stussy X Nike, Supreme X The North Face and Palace X Adidas. As Posner (2011) states, collaborations between high profile designers and high street retailers provide considerable benefits for all parties concerned, specifically through attracting new audiences that may previously have been disregarded. This promotional plan proposes an Off-White female clothing capsule collection in collaboration Adidas Originals. A collaboration that allows Off-White to further extend their consumer base, penetrate new markets and develop alternative creative approaches to the brand that is currently menswear driven. The research shown in Appendix C highlights the demand for this collaboration, with 78% of women stating they have previously been deterred from shopping with a streetwear brand due to the limited womenswear offering. Further supported by the fact that 90% of those surveyed would be interested in an Off-White X Adidas Originals collaboration.
17
Adidas Originals c/o
“OFF WHITE”
“FOR WOMEN” 18
2.1 “Marketing Objectives”
“MARKETING OBJECTIVES” The information presented in the situational analysis provides great rational for the expansion of the Off-White brand in order to generate a new target audience of a differing demographic. Whilst the key marketing objective is to promote the collaboration with Adidas Originals, a secondary product of this shall be the increased awareness of Off-White womenswear and greater presence across social media outlets.
Raise awareness of the Off-White c/o Adidas Originals collaboration
Increase the % revenue of Off-White womenswear
Improve social media presence; creating a focus on womenswear “GRAPH 4 - Marketing Objectives”
19
2.1 “Marketing Objectives”
The Adidas Originals c/o Off White capsule collection, shall redefine the positioning of the brand through the fusion of a ‘luxury’ and ‘sportswear’ label. The positioning strategy of both Adidas Originals and Off-White is visualised in graph , also highlighted is the newfound positioning of this collaboration; curated using both primary and secondary research. The promotional strategy must work to align the shown position with that perceived by the target audience, ensuring each element is congruent (Posner, 2011). “High Price”
“Luxury”
“Fast Fashion”
Adidas Originals c/o
“OFF WHITE”
“GRAPH 5 - Brand positioning”
“Low Price”
Female consumers of streetwear value quality, social status and exclusivity from brands (Appendix C & D). Womenswear brands such as I. Am. Gia, Prix and MSBHV each fulfil these desires with streetwear garments priced between £60 - £350 (SSense, 2020). This is described as the ‘new luxury’ brand positioning, a strategy that combines high perceived prestige with reasonable price premiums in order to attract middle-class consumers (Truong et al, 2009). Thus, similar to the positioning strategy adopted by the collaborative collection of Off-White and Adidas Originals.
20
“POSITIONING STRATEGY”
“POSITIONING STATEMENT”
‘Defining the grey area between black and white as the colour Off-White’: a multidimensional brand inspired by the youth. Off-White is a label invigorated by its exclusivity and individualistic designs acquiring a cult following. The curation of a womenswear collection with Adidas Originals addresses the void in luxe streetwear exclusively designed for females. The collaboration enables garments to be sold at a lower price point attracting consumers of a new demographic.
21
Demographics
2.1 “Marketing Objectives”
• Female • Aged 18 - 26 • Degree level education • Moderate disposable income • Single • Millennials
Psychographics
• ‘Achievers’: Hardworking, goal orientated, favour prestige products/services (Acorn, 2014). • Self-Image conscious • ‘Instagram’ led aesthetic • Sociable • Digitally connected • Enjoys partying with friends • Motivated by social media
Behaviours
• Purchase of goods drives social status • Make an effort to seek out new trends and ideas • ‘Personal style fits with chosen tribe/social group’ (Posner, 2011) • Willing to queue for exclusive garments • Shops frequently for clothes but buys lasting pieces • Loyal to brands • Clear dress style
“GRAPH 6 - Target Consumer” This collaboration aims to provide the Off-White brand with an access point to the female au-dience currently captured by Adidas Originals. In recent years, Adidas has been “doubling down on surging sales of casual sneaker lines” to capitalise on the proliferating sportswear fashion trend (Bloomberg, 2017). Previous collaborations of Adidas with strong female figures such as; Rita Ora, Stella McCartney, Danielle Cathari and Beyonce’s ‘Ivy Park’ have each been beneficial in growing a loyal female consumer base, whilst simultaneously aiding in the abolishment of the outdated view that both sportswear and streetwear is dominated by male clothing. The conducted primary research has been valuable in highlighting the opportunities of market development for Off-White. Appendix C provides a strong rationale for further growth into womenswear markets – 90% of women feel streetwear labels are more so tailored to males than females. This growth strategy of targeting a niche consumer segment (currently over-looked by many streetwear labels), is expected to provide great competitive advantage for the Off-White brand. The proposed collaboration with Adidas Originals therefore, aims to directly appeal to the millennial female consumer aged 18-25.
22
“TARGET CONSUMER”
L R R G G L W P PW
“FIGURE 23 - 37 ”
23
2.2 “Communication Objectives”
“COMMUNICATION OBJECTIVES” The primary communication objectives of this plan must be realistic and SMART (Specific, Measurable, Achievable, Realistic and Time-limited). The below points highlight the ways in which the marketing objectives shall be achieved, aligned with Chaffey and Bosomworth’s ‘Digital marketing strategy’ (2013).
Introduction of an Off-White womenswear account. Utilised to announce and collaboration with Adidas Originals as well as promotion of own brand garments.
Innovative communication methods including celebrity endorsement, hype online branding (paid media), pop up stores, and direct communication to heighten brand awareness, specifically endorsing Off-White womenswear.
Building of a stronger consumer relationship through direct and social media marketing to encourage further encourage brand loyalty and repeat sales (Cadman, 2019).
Emphasis on the differential value of the collaboration to consumers, utilised as a competitive advantage in terms of its specified tailoring to women.
-
Project a positive and inspirational message of ‘female empowerment’ to build an emotional connection with consumers.
A
Create the initial ‘Awareness’ and talk of the Adidas Originals c/o Off-White womenswear collection. Subtle paid celebrity endorsement, encouragement for celebrity’s to be ‘spotted’ wearing Adidas Originals c/o Off-White. Collection pieces sent to celebrity stylists, encourage celebrities to wear of these garments.
I
Generate ‘Interest’ to encourage potential buyers to further research the collaboration and brand. ‘Hype’ marketing through paid media on ‘streetwear outlets’. Online sites such as Hypebeast, HypeBae and Ssense to reveal images of celebrities wearing new Off-White collaboration, creating speculation of a new Off-White collaboration. Often these sites are regarded as the ‘bible’ of streetwear, able to create consumer interest. Moreover, generates engagement in word of mouth marketing as initial awareness and speculation of the collection is created.
D A 24
‘Desire’ for the collaboration and subsequently Off-White own brand products - movement from ‘liking’ to ‘wanting’ Use of both macro and micro influencers to create sense of lust desire for products of the collaboration. Appendix C suggests some 80% of streetwear consumers have purchased something having seen it on social media outlets. The ‘limited edition’ nature of the collaboration creates further desire – an attractive proposition for consumers to know goods are limited & exclusive (Posner, 2011) . ‘Action’ - Conscious decision of the buyer to purchase and thus interact with the Off-White brand ‘Drop’ model whereby products are only available for a certain amount of time motivates impulsive purchasing patterns as consumers fear products will sell out. Pop up shop utilised as a form of guerrilla marketing – The creation of more than just a store; an experience – encourages consumers to visit.
“GRAPH 7 - AIDA”
“FOR WOMEN” “FOR WOMEN” “FOR WOMEN” “FOR WOMEN” “FOR WOMEN”
25
“COMMUNICATIONS MIX”
2.3 “Communication Mix”
“Virgil Abloh made a lot of noise when he began his Off-White womenswear. Things have since gotten much quieter” (Givhan, 2020). This promotional plan aims to give Off-White womenswear a voice again. “For Women” is the title of this collection with Adidas Originals, a name which explicitly addresses the target audience of both the collection and the marketing communications. The strategic coordination of communication channels shall provide the clear, consistent message of female empowerment throughout this plan, utilising the below media types (Cope & Maloney, 2016).
Promotional tool
Purpose
Paid celebrity & Influencer endorsement
Bella and Gigi Hadid shall be the face of this campaign - sisters whom directly relate to the ‘female empowerment’ message of the “for women” campaign. Having previously featured in Off-White campaigns and both walking in the bi-annual fashion week shows, the models have an organic relationship with both Abloh and Off-White Prior to the ‘reveal’ of the collaboration, paid celebrity endorsement will create ‘hype’ and speculation of the Adidas Originals c/o Off-White collection. Images and ‘paparazzi’ photos of celebrities wearing garments of the line can be utilised in paid articles and sponsored post by credited streetwear sites such as Hypebeast, Hypebae and High Snobiety. These sites are considered the ‘bible’ of luxury and streetwear collections are able to appeal to consumers who hold an interest in this style of dress – directly targeting the desired audience.
Media Type
Paid Media These methods exemplify an integrated communication approach, whereby these post/ photos and articles are interrelated and can be used to
Influencer endorsement shall be exploited to gain further awareness of the collection, paid Instagram outfit posts, ‘hauls’ of the collection and styling videos shall create desire for the garments and lead to further action, potentially resulting in purchase. These methods directly target the female audience - 57% of people surveyed stated that social media influencers are likely to influence brand and product purchasing choices. 45% of people first discovered Off-White through a social media outlet, whilst a further 36% discovered the brand through celebrities, highlighting the importance of these promotional platforms in increasing brand awareness and promoting the collaboration.
Paid digital advertorial
Digital Billboard
Direct Marketing
Utilising paparazzi pictures and paid celebrity endorsement images, online news outlets/blogs Paid Media such as High snobeity, Hypebeast, HypeBae, Vice and Complex - referred to as the world’s foremost authorities on streetwear and street culture, shall produce articles speculating the new This form of media allows further Off White and Adidas Originals collaboration. audiences to be adressed; those whom may not follow/engage These sites are able to directly appeal to existing streetwear consumers: HypeBae is particularly with Off-White or Adidas Origiinfluential in its reach to the female consumer. nals on social media This form of ‘hype’ marketing creates excitement and initial awareness of the collaboration (Cope & Maloney, 2016)
One singular digital billboard shall appear in the first month of the campaign, placed strategically in central oxford street. The billboard shall be used to announce the collaboration and pop up store; after three months, the imagery shall change to from promotion of the collection itself to the pop-up store. The footfall of this location is large, with many young consumers visiting the hot spot of Londons capital for shopping and recreational purposes - enabling reach of the advert Following the initiative to encourage consumers to sign up to recieve exclusive early access to the collection 1 hour before the official first drop, Off-White is able to gain access to the email adresses of consumers. These contacts can be used for direct marketing, providing information on the fortnightly product release as well as the opening and location of the fore coming pop up experiential store.
“GRAPH 8 - Communication mix”
Paid media An organic method of promoting the collection - the billboard has been used by both Off-White and Adidas Originals in previous campaigns Owned Media Pertinent in building and cementing consumer relationships through interpersonal communication, direct to the consumers mail box.
Promotional tool
Purpose Instagram, Facebook and Snapchat can each be exploited as marketing platforms. Each social networking site can be used to promote the collection through imagery and exclusive previews of the collection. These sites can create ‘hype’ prior to the drop of the collaboration.
Social media communication
Media Type Shared Media
Allows both Off-White and Adidas Originals to reach both existing and new consumers to create The collection shall be release fortnightly for two months, each of the 4 ‘drops’ shall awareness of the collection. be previewed across each social networking site along with a link to sign up and gain early access to the products 1 hour before release. This also allows Off-White Can be used as an information to gain access to the email address of consumers interested in the collection for outlet for followers, sharing key on future direct marketing. goings of the brand. Following the ‘drop’ of the collection every two weeks, consumers can directly purchase the garments via ‘shoppable links’ posted on social media sites. Shoppable content removes traditional obstacles to purchasing by simplifying the process, therefore likely to drive an increase in sales. The hashtag #ForWomen can be used to create a single accessible place within the vast space of social media. Used to coordinate all online marketing of the collaboration, the hashtag can unite promotional images and user-generated content with shoppable moments.
New Off-White womenswear Instagram account @OffWhitewomens
Off-White womenswear is currently promoted as part of the main Off-White account, a seperate account would allow the brand to create content which explicitly adresses the target audience. Dedicated solely to the promotion of Off-White womenswear. Utilised to post imagery of both current and upcoming collections A vehicle to exclusively reveal the “For Women” Adidas Originals c/o Off-White collaboration, and confirm speculation created by paid media on sites and accounts such as Hypebeast, Hypebae and High Snobiety.
Owned Media Created and controlled by OffWhite, enables greater control over brand image and therefore brand perception.
Strong Instagram presence is pivotal to increasing brand awareness: “A hypebeast survey found nearly 96% of respondents today use Instagram to find out about streetwear” (Nanda, 2019). The number of followers and engagement with this account can provide measurement/evidence of the success of the campaign, relating to the SMART objectives of the campaign.
Word of mouth communication
The Pop-up experiential store in collaboration with Adidas Originals
A result of paid media is often word of mouth communication, this can take place both online and in person. Word of mouth communication is vital in the spread of brand awareness,
Earned Media
The announcement of the pop up store shall take place across all digital platforms. The first reveal placed on the Instagram stories of @OffWhitewomens
Owned Media
Consequential of each promotional tool exploited throughout this camSocial media facilitates ‘online communities’ these are especially prevalent within paign. Positive WOM communicaGen Z streetwear culture, whereby Facebook and Instagram communities can com- tion can facilitate brand awareness municate news on the latest ‘drops’, product releases and restocks (Owen, 2017). and thus extension.
Online news outlets previously mentioned shall endorse the store through ‘sneek previews’ Prior to the opening of the store, celebrities and macro influencers shall be invited to attend. This will create engagement in W.O.M communication as people discuss the opening in both the press and real life.
Physical retail remains super important in Streetwear (Hypebeast, 2019). The pop-up nature “relates to the reduced attention span of Gen-Z and on-demand society we live in today”. the short lived nature provides incentive to visit.
27
“PROMOTIONAL TIMELINE“ 1 August 2020
2.3 “Communication Timeline”
“AUGUST 2020”
New Instagram account for Off-White womenswear is created - @OffWhitewomenswear Content of current collection is shared
3 August 2020
Shoot for Off-White c/o Adidas Originals takes place in London.
5 August 2020
Garments of the “For Women” collection are gifted to celebrity stylists.
14 - 21 August 2020
Each Celebrity posts self-taken images of themselves wearing garments of the collection. Greater speculation & hype of the collaboration surfaces.
28 August 2020
Collaboration is confirmed via single post on @ OffWhitewomens, confirming the first drop date of the collection. Post is also shared on Facebook & Twitter. Consumers can sign up to recieve early access link via email on 4 September.
10 August 2020
Paid advertorial of Celebrities “spotted” wearing “For women” collection, appear online news outlets
21 - 27 August 2020
Further exposure of these ‘selfies’ on news outlet sites through paid content creates greater reach of each post. E.W.O.M communication increases, as does buzz around brand. Images are shared on @OffWhitewomens
29 August 2020
Billboard on Oxford Street goes live. Static image confirming the collection.
30 August 2020
Garments of each of the 4 fortnightly drops are gifted to influencers. Campaign immagery from NYC shoot is posted across all socials, greating hype for the upcoming 1st drop of the collection
4 September 2020
Just one week after collaboration announcement, the first drop of the collection is released, supporting imagery is posted across all social media sites. Early access links are sent via email. collection is available to buy on the Off-White website. - Hype surrounding the collection is successfully maintained
2 September 2020
Images of garments from the first collection appear online. @OffWhitewomenswear posts images of full drop on instagram.
5 September 2020
Content is continually posted and shared online. Both influencer/celebrity content as well as own campaign/shoot imagery.
18 September / 2 October / 12 October 2020
3 further product drops occur fortnightly. Direct marketing is sent to mail list prior to each collection drop as well as online marketing across all social medioa platforms.
13 October 2020
Invitations sent out to celebrities/press ahead of the pop up store opening party. One month in advance of event.
26 October 2020
Following the last drop of the collection on 12 October, an announcement on @Offwhitewomens is posted, confirming the opening of a pop up experiential store collaboration with Adidas Originals. London, Covent Garden - 24 October 2020.
27 October 2020
Oxford street billboard image is changed to advertise pop up store opening
15-3 November 2020
Paid advertorial content posted across online news outlets regarding the opening pop up experiential store - creates further awareness.
3 November 2020
Press evening/event at the Pop up store in collaboration with Adidas Originasl
6 November 2020
Pop up store opens to the general public for 2 months to 24 December. Continued social media content promoted online
“JANUARY 2021” “GRAPH 9 - Promotional timeline”
6 November 2020 onwards
Images of press evening attendees posted online, creating further exposure of the store to attract target audience,
2.4 “Costing/Budget”
“COSTING“
Off-White parent company New Guards Group was acquired by Farfetch for £556 million in August 2019 (Takanashi, 2019). The power of this group equates to great strength within the fashion chain, meaning promotional campaigns are designated larger budgets with greater contacts and therefore reach. “Businesses that are older than 5 years should allocate 5-12% of revenue to marketing campaigns” (Coschedule, 2020). According to Adegeest (2019) sales of the NGG for 2019 were set to reach £370 million, this figure represents the combined revenue of 9 brands owned by the group, Off-White however isn’t a publicly traded company, and no yearly revenue is confirmed, despite being the largest brand of the NGG. However, It is estimated Off-White account for 40% of the groups yearly revenue which would generate a total revenue of around £148 million (Muret, 2018). The budget of this campaign must consider the plethora of other marketing activities simultaneously conducted by the label. The yearly marketing campaign budget for Off-White is calculated at £8.8 million (148,000,000 x 0.06) – 6% of the predicted revenue of Off-White. This promotional plan spanning 6 months is allocated 20% of this figure, setting a budget of £1,760,000. Adidas Original design/collaboration cost
£1,000,000 - Design licensing cost
Startup Instagram account @OffWhitewomens
£0 Ran by the in-house marketing team
Campaign shoot - 2 days Location: Central London, Abandoned building Models: 15 female models including Bella Hadid Each representative of differing body shapes.
£1,000 location rental (2 days) £250,000 - Bella Hadid £70,000 - 14 other female models £3,000 Crew - Photographer, Hair/makeup, Stylist, Caterers Total = £324,000
Email direct marketing
£500 per month, design and distribution (Mailchimp, 2020) Total = £3000
Digital billboard - 6 months rent Oxford Street, London
£727 per week (Airoutdoor, 2020) Total = £17,448
Gifting of collection to Celebrities & Macro influencer
£10,000 - Collection pieces gifted to macro influencers* and celebrities
Paid online advertorial/article
HypeBeast x2 articles - £30,000 total HypeBae x3 articles - £11,000 total High Snobiety Instagram post x2 - £22,000 each Pop magazine x3 Instagram post - £6,000 Total = £69,000 (Influencermarketinghub, 2020)
Pop-Up store - in collaboration with Adidas Originals - 2 month period
£30,000 Store fit £2,100 per day rent (60 days) £500 p/m utility costs £400 per day staff wages (£10 p/h) £2,000 staff uniform allowance (10 staff members) Total = £182,111 (Shopify, 2020)
Pop-up store opening/press event
£1,000 Event invitations - 100 attendees celebrities/insiders/press/journalists/influencers £10,000 Dj cost - Vigil Abloh Event sponsored by Lauren Perrier - drinks provided (Evidence: My Theresa X Off-White event) £5000 Catering £10,000 - Visual merchandising Total = £26,000
Total =
£1,630,559
(£129,441 under budget)
3.1 “Creative objectives”
“CREATIVE OBJECTIVES“ • Curate fun, bold and empowering creative content for promotional activity across social media platforms • Promote a message of accessibility for the Off-White brand to generate stronger consumer relationships. Connect and interact with the Generation Z female audience.
“FIGURE 38”
• Explicitly address the overlooked female market through promotion of the “For Women” collaboration
3.2 “Creative strategy”
“THEME” The A/W 20/21 campaign “For Women” promotes female empowerment; a message that reverses the ideology that the streetwear market is a male dominated culture, embedded with a misogynistic outlook (Nanda, 2019). This campaign gives women a platform in an “industry that has unintentionally pushed women out by creating barriers to entry” (Casagrande, 2019). The creative strategy for the campaign is the collaborative “For Women” collection with Adidas Originals, in order to explicitly appeal to the Generation Z female consumer whom is often overlooked within the streetwear sector. The pink themed branding and marketing of the collection isn’t just a gender colour stereotype-based decision; feminine hues are proven to enhance purchase likelihood via activation of warmth perceptions when marketed by established brands (Hess & Melnyk, 2016). Whilst further studies show that colours influence how consumers view the “personality” of the brand in question (Bahsous, 2020). The colour pink exudes youth, fun, energy, edge, and confidence (Sukhraj, 2019) explicitly relating to the core message of ‘female empowerment’ throughout this campaign. Thus, aiding in the achievement of the creative objective to create ‘fun, bold and empowering creative content’ and clearly address the female market. A message further emphasised through the employment of 15 female models of differing body types as well as Bella Hadid as the face the campaign. These models are a direct response to the lack of female inclusivity within the streetwear sector, standing as representatives of all body shapes and sizes, cultivating the female empowerment message through a strong ‘girl squad’. The fashion model today has a greater voice and presence than ever (Algoo, 2015). Bella Hadid is no exception: amassing over 30 million followers on Instagram and credited by many as a streetstyle icon, Bella holds the power to connect to the Generation Z target audience, 32% of those questioned agree that ‘models’ have the most influence over streetwear trends (Appendix C). Bella Hadid has a longstanding connection with the Off-White brand, walking in numerous fashion shows and appearing in the AW/19/20 campaign, thus making the campaign organic and authentic. Whilst the clothing collection shall remain the predominant feature of the campaign, the key message of ‘female empowerment and exclusivity’ shall be emphasised through both the title “for women”, the female faces of the campaign and the branding of the collection. “FIGURE 39” - BELLA HADID OFF-WHITE SS19
31
3.2 “Creative strategy”
“BIG ID “THE DROP MODEL“ The traditional ‘drop’ strategy involves feeding the audience with specific release dates and locations to create hype and talk surrounding a collection (Bezamat, 2019). A strategy widely used by streetwear brands to create hype and exclusivity surrounding collections; a response to the shortening attention span of Gen Z and ‘on demand’ society we have today created. A core competency of this promotional campaign shall be the fortnightly release of garments from the collection. Over a two-month period, there shall be 4 ‘releases’ of the collection on the Off-White website, each of these shall be announced on social media, via image sharing of pieces in the collection and a link for consumers to sign up to exclusive 1 hour early access. Drop culture creates a sense of urgency to buy, as the product sale life is shortened, whilst also appealing to the desires of Gen Z to obtain garments of great exclusivity and accesses to something unique (Appendix C).
“GRAPH 10 - Big ideas”
32
“THE POP-U
The Pop-up store shall be dia sites following the last product
The mobile store shall be b Garden and remain open selling every product from es – giving consumers a s goo
The store itself shall be a aesthetically appealing cre image sharing of the store media, whilst encouraging #ForWomen and resonatin Genera
DEAS“
UP STORE“
announced on social met release of the fortnightly ‘drops’.
built in the centre of Covent n for just under 3 months, m the fortnightly releassecond chance to purchase ods.
social media ‘hotspot’, an eative outlet to encourage e across consumers social g the integrated use of the ng with the digitally native ation Z.
“THE OPENING EVENT“ The opening event shall be an ‘exclusive’ party with attendance by invite only, the luxury/high end perception of OffWhite must remain, despite the collaboration with sportswear brand Adidas Originals. The use of the #ForWomen shall be endorsed throughout the venue, with celebrity and influencer attendees encouraged to share content across social media sites. A photobooth shall also be utilised as a vehicle to encourage further sharing of images and content across Instagram using the #ForWomen. Drinks shall be provided by the event sponsors Laurent Perrier, as seen with the Off-White X My Theresa event of 2017, whilst catering is paid and accounted for within the budger. The event shall be well covered by online news outlets, including High Snobiety and Hypebeast, creating both awareness of the opening and positive PR for the brand, encouraging engagement in word of mouth communication with the overall goal of increase footfall of the store.
33
3.3 “Creative materials”
“SOCIAL MEDIA CONTENT“ Streetwear is founded on a democratic and counterculture mindset that goes hand-in-hand with social media (Hypebeast, 2019). This campaign acquires social media marketing as a core competency; utilising it as a method of informing the consumer of pertinent happenings throughout the campaign including the announcement of the collaboration, each product drop and the opening of the pop-up store. These promotional activities are tailored toward Instagram content however shall also be mirrored across Facebook and Twitter. The average Gen Z’er spends between 6 and 9 hours a day consuming media, making this outlet incredibly pertinent in capturing their attention.
OFFWHITEWOMENS
OFFWHITEWOMENS
1M
FIRST DROP
1M
“6PM ” GMT
“04.09.20” “FOR WOMEN”
“FOR WOMEN” SWIPE UP FOR 1 HOUR EARLY ACCESS
“FIGURE 40”
34
Fortnightly posts on the story of Off-White shall be used to link the adress to sign up for 1 hour early access to puchase each product drop.
“FIGURE 41” The first announcement of the collaboration shall be made as an Instagram story on the @OffWhiteWomens account. As seen in the Figure above.
“@OFFWHITEWOMES INSTAGRAM STORIES”
“INFLUENCER POSTS“ Influencers shall be involved at each stage of the promotional campaign. Celebrities and macro influencers shall not be paid for each post but will be gifted garments from each of the collection to encourage authentic posts across social media; particularly Instagram. Generation Z value authenticity, whereby brand partnerships are organic, by not endorsing sponsored posts, Off-White can remain true to brand values of being an exclusive and desirable brand, whilst still utilising influencers to promote the collection. The endorsed influencers are shown below; “FIGURE 42-44 Left to Right” @Alvssa_ 179k Followers 5.27% Engagement
@Diln_ 124k Followers 5.52% Engagement
@Sarahfuckingsnyder 1.7m Followers 8.96% Engagement
@Wuzg00d 325k Followers 6.97% Engagement
@Celmatique 88.1k Followers 6.69% Engagement
“FIGURE 45-47 Left to Right” @Stefneyv 471k Followers 8.62% Engagement
Source: Instagram, 2020. & Influencer Marketing Hub, 2020.
“FIGURE 49”
“FIGURE 48”
Selfies posted by influencers featuring “rare” fashion items such as those of this collection are considered a new status symbol, creating interest in the goods seen. Gen Z are more receptive to brand messaging on social and mobile media platforms, highlighting the effectiveness of this promotional platform.
3.3 “Creative materials”
“POP-UP STORE“ “OPENING EVENT”
The below invitation shall be sent to guests of the opening event; these guests shall include press, celebrities and macro influencers. Along with the invitation, guests will be sent garments of the collection which they can choose to wear to the event, a strategy to enhance promotion of the collection on the evening of the event through both earned and shared media.
POP-UP LAUNCH EVENT A D I D A S
O R I G I N A L S c/o O F F W H I T E
W O F M O RE N
THIRD NOVEMBER, TWENTYTWENTY. COVENT GARDEN: LDN THIRD NOVEMBER, TWENTYTWENTY. COVENT GARDEN: LDN THIRD NOVEMBER, TWENTYTWENTY. COVENT GARDEN: LDN THIRD NOVEMBER, TWENTYTWENTY. COVENT GARDEN: LDN THIRD NOVEMBER, TWENTYTWENTY. COVENT GARDEN: LDN THIRD NOVEMBER, TWENTYTWENTY. COVENT GARDEN: LDN
ADIDAS ORIGINALS ADIDAS ORIGINALS ADIDAS ORIGINALS ADIDAS ORIGINALS ADIDAS ORIGINALS
03.1 LDN Pop-U Ev
#ForW “FIGURE 51”
“FIGURE 50”
36
“The Store” A social networking hotspot...
/o OF F-WH WOM ITE EN
”
RE”
11.20 Up Opening vent
N HE “SCA
S c/o OFF-WHITE S c/o OFF-WHITE S c/o OFF-WHITE S c/o OFF-WHITE S c/o OFF-WHITE
“FOR
N
Photo Booth: The store shall also offer a photo booth service, whereby consumers can take snapshots of their visit to the store. These photos can be again shared online using the “#ForWomen”, whilst also offering a more fun, experiential aspect to the store - tailored to the Generation Z target audience . Photos from the booth are seen in Figure 51 Again this shall be a marketing activity utilised at the opening event.
ALS c
RE
Social wall: Inside the store shall be a ‘social wall’ which integrates consumer activity of the hashtag ‘#ForWomen’ across all social media platforms. Essentially, this shall be a continuous feed of all shared content using the hashtag. This is an instant way to engage with customers and provides an incentive to share a post and become a part of the real time stream of activity, whilst the core purpose of promotion remains, as Off-White and the “For Women” collection gains further exposure. This feature shall also be used at the opening event to encourage content sharing by consumers.
RIGIN
W FO OM
Snapchat QR code clothing tags: “Nearly 45% of Gen Z shoppers use Snapchat while in a retail store” (Thestorefront, 2019), this relationship that Gen Z hold with social media can be exploited to create further exposure of the store and build greater consumer relationships. Each garment shall be affixed with a tag showing a scannable snapchat QR code. Using the snapchat app, consumers can scan the code to add @OffWhitewomens on snapchat, giving access to an ‘exclusive cult’ whereby Off-White sends future direct marketing content to you. This Could include news on new collaborations, prize draws, messages from Abloh.
ADID AS O
Women
#ForWomen “FIGURE 52”
37
3.3 “Creative materials”
“PRESS COVERAGE“
Figure 53 and 54 show examples of the paid media this promotional plan shall endorse. The below articles are used to create hype and engagement in word of mouth communication both before, before, during and after the collection release.
.
“FIGURE 53”
“FIGURE 54”
38
“BILLBOARD“ The promotional images below shows the first billboard display which goes live on 29 August, confirming the speculation of the collaboration created by online news outlets as seen in Figure 53 The digitised nature of the billboard means the ‘drop’ dates can be changed to align with the fortnightly releases of the collection, whilst the image remains the same.
FIRST DROP
04.09.20
O F c -W / o H I T E
“FIGURE 55”
O AR DI IG DI AN SA L S
Figure 56 shows the image that the same billboard will display once the final drop has been released. Creating awareness of the forthcoming opening of the pop-up store, this image shall go live on 14 October.
“FIGURE 56”
O R A DI IG DI AN SA L S
POP-UP STORE OPENING
06.11.20
COVENT GARDEN: LDN
O F c -W / o H I T E
4.1 “Media Objectives”
“MEDIA OBJECTIVES“
Whilst the predominant method of promotion throughout this campaign is intrinsic to social media, other promotional outlets (the billboard, press event and pop-up store) shall each enable further reach and exposure of both the collection and Off-White women’s lines.
Reach existing consumers through continued posting on the existing Off-White account whilst reaching the new predominantly female audience through the Off-White women’s account. Through paid media such as billboards and online news outlets, consumers who do not engage in social media can also be reached.
Sustained exposure across all social media platforms throughout the campaign with a particular focus on Instagram, due to its extensive Gen Z user base. Sequential promotional activity; focussing firstly on the fortnightly collection releases, the pop-up store opening event and the pop-up as a place of consumption for the public.
An asset of social media marketing is the worldwide reach, which is beneficial to the promotion of the “For Women” collection which is available to purchase worldwide on the Off-White website. The promotion of the Pop-up store, however, shall be focussed within the UK, in relation to the London based location of the shop.
40
4.2 “Media Strategy”
August
September
October
November
December
January
@OffWhiteWomens Instagram account created Campaign shoot for collection Gifting of garments to celebrities/incluencers Paid media - Online news outlet articles published Announcement of collaboration across social media Billboard advert posted regarding collection drop Social media content posted regarding collection drops Influencer content shared across Instagram Instagram story linking address to sign up for early access to the collection Collection drop Announcement of opening of pop up store across social media Billboard imagery changed to announce pop up store Invitations for pop-up event sent to celebrities/press Pop-up launch event Content from event shared online and across paid news outlets Pop-up store opens Content shared across social media of consumer store visits Pop-up store closes
“GRAPH 11 - Promotional plan Overview”
41
“REFERENCES”
Acorn. 2014. The Acorn user guide. The consumer classification. [Online]. London: CACI. [Accessed 3 May 2020]. Available from: https://acorn.caci.co.uk/downloads/ Acorn-User-guide.pdf Adegeest, D.A. 2019. Why Farfetch bought Off-White parent company New Guards Group. [Online]. [Accessed 10 May 2020]. Available from: https://fashionunited.uk/ news/business/why-farfetch-bought-off-white-parent-company-new-guards-group/2019080944690 Airoutdoor. 2020. Billboard advertising costs 2020. [Online]. [Accessed 13 May 2020]. Available from: https://airoutdoor.co.uk/blog/billboard-costs/ Algoo, J. Women who changed fashion: the models. [Online]. [Accessed 14 May 2020]. Available from: https://www.businessoffashion.com/articles/professional/ pop-ups-retail-real-estate-disruption Bahsous, R. 2020. Gender Marketing: How Brands Use the Power of Colors To Persuade You. [Online]. [Accessed 14 May 2020]. Available from: https://www.supermoney.com/colors/ Bailey, N. 2020. Streetwear collaborations — the necessity, the over-saturation and more. [Online]. [Accessed 6 April 2020]. Available from: https://medium.com/@ njbailey/streetwear-collaborations-the-necessity-the-over-saturation-and-more-779aa33a7f98 Bain & Company, 2018. Global personal luxury goods market expected to grow by 6-8 percent to €276-281b in 2018, driven by strong rebound in China. [Online]. [Accessed 9 March 2020]. Available from: https://www.bain.com/about/media-center/press-releases/2018/bain-spring-luxury-report-2018/ Bateman, K. 2016. Off-White’s Virgil Abloh is changing how we see streetwear. [Online]. [Accessed 12 March 2020]. Available from: https://www.allure.com/story/offwhite-virgil-abloh-streetwear-brand-to-know Batra, R. and Keller, K. 2016. Integrating marketing communications: New Findings, New Lessons and New Ideas. Journal of Marketing: AMA/MSI Special Issue. 80, pp 122-145. Beauloye, F.E. 2018. Marketing to millennials: How lucury brands build hype. [Online]. [Accessed 10 May 2020]. Available from: https://luxe.digital/business/digital-luxury-trends/marketing-hype-millennials/ Berlinger, M. 2019. The next billion-dollar Streetwear brand. [Online]. [Accessed 21 March 2020]. Available from: https://www.voguebusiness.com/companies/nextbig-streetwear-brands-supreme-palace-off-white Bezamat, B. 2019. 3 ways streetwear is reinventing the product drop. [Online]. [Accessed 10 May 2020]. Available from: https://thecurrentdaily.com/2019/05/14/3-waysstreetwear-is-reinventing-the-product-drop/ Bloomberg. 2017. Adidas’ Fashion Focus Helps it Gain Ground on Nike in US. [Online]. [Accessed 20 April 2020]. Available from: https://www.businessoffashion.com/ articles/news-analysis/adidas-fashion-focus-helps-it-gains-ground-on-nikes-home-turf Brain, E. 2019. Off-White™ Unveils Hong Kong Flagship Store Overlooking Victoria Harbour. [Online]. [Accessed 13 March 2020]. Available from: https://hypebeast. com/2019/9/off-white-hong-kong-store-opening-look-inside-mens-womens-fall-winter-2019 Cadman, B. 2019. Why brand partners build brand loyalty. [Online]. [Accessed 9 May 2020]. Available from: https://www.keepme.ai/blog/why-brand-partners-buildbrand-loyalty/ Casagrande, R. 2019. Why women’s streetwear will be big business. [Online]. [Accessed 10 May 2020]. Available from: https://www.businessoffashion.com/articles/ opinion/op-ed-why-womens-streetwear-will-be-big-business Chaffey, D., and Bosomworth, D. 2013. Digital marketing strategy. Smart insights. [Online]. [Accessed 5 April 2020]. Available from: https://www.smartinsights.com Cooke, S. and Ryan, P. 2000. Brand alliances: from reputation endorsement to collaboration on core competences. Irish marketing review. 13(2), pp.36-41. Cope, J., and Maloney, D. 2016. Fashion Promotion in Practice. London: Bloomsbury publishing. Coschedule. 2020. How to create a Marketing budget plan. [Online]. [Accessed 13 May 2020]. Available from: https://coschedule.com/marketing-strategy/marketing-budget/ Cruz, J. 2015. Here’s a look inside the First Off-White flagship store. [Online]. [Accessed 13 March 2020]. Available from: https://www.complex.com/style/2015/02/offwhite-flagship-store Dion, D and Arnould, E. 2011. Retail Luxury Strategy: Assembling Charisma through Art and Magic. Journal of retailing. (87)4, pp.502-520. Ellison, J. 2018. Balenciaga’s billion euro plan. [Online]. [Accessed 23 April 2020]. Available from: https://www.ft.com/content/b8da67b2-f09b-11e7-b220-857e26d1aca4 Fernandez, C. 2019. What’s Off-White without Virgil. [Online]. [Accessed 25 March 2020]. Available from: https://www.businessoffashion.com/articles/professional/ whats-off-white-without-virgil Fraser, K. 2017. Off-White opens retail locations in Soho. [Online]. [Accessed 13 Marche 2020]. Available from: https://fashionunited.com/news/retail/off-white-opensretail-location-in-soho/2017081616938 Givan, R. 2020. Virgil Abloh made a lot of noise when he began his Off-White womenswear. Things have gotten much quieter. [Online]. [Accessed 20 April 2020]. Available from: https://www.washingtonpost.com/lifestyle/2020/02/28/virgil-abloh-made-lot-noise-when-he-began-his-off-white-womenswear-things-have-gotten-muchquieter/ Hawkins, D. 2017. Supreme, the Globally Recognized Fashion Brand that Doesn’t Spend a Dime on Advertising. [Online]. [Accessed 23 March 2020]. Available from: https://medium.com/@Derek_M_Hawk/supreme-the-globally-recognized-fashion-brand-that-doesnt-spend-a-dime-on-advertising-f7da7a7fb07 Hess, A.C., and Melnyk, V. 2016. Pink or blue? The impact of gender cues on brand perceptions. European journal of Marketing. 50(9/10), pp.1550-1574. Hope, A. 2017. How are streetwear brands targeting todays youth? [Online]. [Accessed 25 March 2020]. Available from: https://www.dalziel-pow.com/news/brands-targeting-youth
Hypebeast. 2019. Streetwear impact report – 001: Defining streetwear. [Online]. [Accessed 6 March 2020]. Available from: https://strategyand.hypebeast.com/ streetwear-report-history-definition Influencer Marketing hub. 2020. Micro influencers Vs Celebrities. [Online]. [Accessed 13 May 2020]. Available from: https://influencermarketinghub.com/micro-influencers-vs-celebrities/ Instagram. 2020. Off-White. [Online]. [Accessed 20th March 2020]. Available from: https://www.instagram.com/off____white/?hl=en Jackson, T and Shaw, D. Mastering Fashion Marketing. Hampshire: Palgrave Macmillan. Jetley, A. 2019. The rise of streetwear. [Online]. [Accessed 10 March 2020]. Available from: https://www.gartner.com/en/marketing/insights/daily-insights/the-rise-ofstreetwear Kim, K., and Ko, E. 2014. Fashion collaboration effects on consumer response and customer equity in global luxury and SPA brand marketing. Journal of global scholars of Marketing Science. 24(3), pp.350-362. Levin, I., and Levin, A. 2000. Modeling the role of brand alliances in the assimilation of product evaluations. Journal of Consumer Psychology. 9, pp.43–52 Morency, C. 2016. The unlikely success of Virgil Abloh. [Online]. [Accessed 13 March 2020]. Available from: https://www.businessoffashion.com/articles/intelligence/theunlikely-success-of-virgil-abloh-off-white Mau, D. 2014. A closer look at mass retailer collabs: how much designers make from them and how success is measured. [Online]. [Accessed 13 May 2020]. Available from: https://fashionista.com/2011/11/a-closer-look-at-mass-retailer-collabs-how-much-designer-actually-make-off-of-them-and-how-success-is-measured Muret, D. 2018. NGG’s Claudio Antonioli on Virgil Abloh, the evolution of streetwear and the group’s upcoming label launch. [Online]. [Accessed 10 May 2020]. Available from: https://us.fashionnetwork.com/news/Ngg-s-claudio-antonioli-on-virgil-abloh-the-evolution-of-streetwear-and-the-group-s-upcoming-label-launch,1046283.html Nanda, M.C. 2019. Streetwear’s big opportunity: Women. [Online]. [Accessed 12 May 2020]. Available from: https://www.businessoffashion.com/articles/professional/ streetwears-big-opportunity-women Nazir, S. 2019. Why luxury retailers are tapping into streetwear. [Online]. [Accessed 20 March 2020]. Available from: https://www.retailgazette.co.uk/blog/2019/01/ why-luxury-retailers-are-tapping-into-streetwear/ Newbold, A. 2018. Off-White Is Now the Most Popular Brand In The World, Beating Gucci And Balenciaga. [Online]. [Accessed 16 Mrch 2020]. Available from: https://www. vogue.co.uk/article/off-white-most-popular-brand-in-the-world Off-White. 2020. About. [Online]. [Accessed 12 March 2020]. Available from: https://www.off---white.com/en-gb/about Ong, I. 2019. Off-White: Virgil Abloh’s Sales-Focused Influencer Marketing Strategy. [Online]. [Accessed 10 May 2020]. Available from: https://alphaconcepts.co/blog/ off-white-influencer-marketing/ Owne, S. 2017. The Gen Z equation. WGSN. [Online]. [Accessed 10 May 2020]. Available from: https://www.wgsn.com/assets/marketing/toprightbox_assets/images/ Gen_Z_Equation.pdf Posner, H. 2011. Marketing Fashion. 2nd ed. London: Laurence King Publishing. Price, J. 2018. Virgil Abloh’s Off-White Has Become ‘the Hottest Brand on the Planet’. [Online]. [Accessed 21 April 2020]. Available from: https://www.complex.com/ style/2018/10/off-white-is-now-the-most-popular-fashion-brand-according-to-report Rai, S. 2019. Gucci overtakes Off-White as world’s hottest brand for Q2 2019. [Online]. [Accessed 21 April 2020]. Available from: https://www.esquireme.com/content/37589-gucci-overtakes-off-white-as-worlds-hottest-brand-for-q2-2019 Shopify. 2020. How to budget for your pop up store. [Online]. [Accessed 10 May 2020]. Available from: https://www.thestorefront.com/mag/pop-up-budget/ Singh-Kurtz, S. 2019. Farfetch’s streetwear push may be too far-fetched for investors. [Online]. [Accessed 21 April 2020]. Available from: https://qz.com/quartzy/1684630/ farfetchs-new-guards-group-deal-has-given-its-investors-cold-feet/ Ssense. 2020. Women, All categories. [Online]. [Accessed 10 May 2020]. Available from: https://www.ssense.com/en-gb/women Showstudio. 2019. Farfetch acquires new guards froup for $675 million. [Online]. [Accessed 10 may 2020]. Available from: https://www.showstudio.com/news/farfetchacquires-new-guards-group-675-million Strategy&. 2020. Five ways fashion brands can win in a growing market. [Online]. [Accessed 6 March 2020]. Available from: https://www.strategyand.pwc.com/gx/en/ insights/2019/streetwear.html Sukhraj, R. 2019. The psychology of design: Pink in marketing and branding. [Online]. [Accessed 10 May 2020]. Available from: https://www.impactbnd.com/blog/the-psychology-of-design-pink-in-branding-design Takanashi, L. 2019. Virgil Abloh doesn’t own Off-White, but he owns its trademark. Heres what that means. [Online]. [Accessed 10 May 2020]. Available from: https:// www.complex.com/style/2019/08/off-white-virgil-abloh-farfetch-trademark-ownership Thestorefront. 2019. How to connect with Generation Z using pop-up stores. [Online]. [Accessed 12 May 2020]. Available from: https://www.thestorefront.com/mag/howconnect-generation-z-using-pop-up-stores/ Tiffany, K. 2018. The hottest fashion brand in the world was built on irony and $1000 sweatshirts. [Online]. [Accessed 13 March 2020]. Available from: https://www.vox. com/the-goods/2018/10/30/18027074/off-white-timeline-history-luxury-streetwear-virgil-abloh Truong, Y., Mccoll, R., and Kitchen, P. 2009. New luxury brand positioning and the emergence of Masstige brands. Journal of Brand Management. 16(5), pp.375-382. Van Elven, M. 2018. The business of hype: why so many fashion brands are now doing “product drops”. [Online]. [Accessed 10 May 2020]. Available from: https://fashionunited.uk/news/retail/the-business-of-hype-why-so-many-fashion-brands-are-now-doing-product-drops/2018101739501 Wong, Z.B. 2019. Supreme appeal: How brands use streetwear to attract Gen Z. [Online]. [Accessed 20 April 2020]. Available from: https://www.forbes.com/sites/zoewong1/2019/07/31/heres-how-brands-are-using-the-streetwear-trend-to-attract-gen-z/
43
“FIGURES”
Figure 1 - Off-White. 2020. Off-White Hooded sweatshirt. [Online]. [Accessed 21 April 2020]. Available from: https://www.off---white.com/en-gb/en/HR/men/products/ ombb029s180030121001 Figure 2 - Leach, A. 2017. Why Does Virgil Abloh Put Everything in “QUOTES?”. [Online]. [Accessed 21 April 2020]. Available from: https://www.highsnobiety.com/p/virgil-abloh-offwhite-quotation-marks/ Figure 3 - Zhamakthecat. 2018. Off-White active. [Online]. [Accessed 15 May 2020]. Available from: https://virgilabloh.tumblr.com Figure 4 - Bestimage, A. 2018. Stella Tennant for Balenciaga. [Online]. [Accessed 18 May 2020]. Available from: https://fashionista.com/2018/01/balenciaga-spring-2018-ad-campaign Figure 5 - Li, A. 2017. Here’s Your Full Look at the Palace x adidas Originals 2017 Summer Collection. [Online]. [Accessed 18 May 2020]. Available from: https://hypebeast. com/2017/6/palace-adidas-originals-2017-summer-collection Figure 6 - Holopainen, M. 2017. Galaxy so big. [Online]. [Accessed 24 April 2020]. Available from: https://www.instagram.com/p/BZGrwbUnATv/ Figure 7 - O’Brien, J. 2017. HypeBeast. [Online]. [Accessed 24 April 2020]. Avaialable from; https://hypebeast.com/2017/7/buying-supreme-queues Figure 8 - Holopainen, M. 2019. Summer ‘19. [Online]. [Accessed 24 April 2020]. Available from: https://www.instagram.com/p/B0N1VNFJFmI/ Figure 9 - Berntsen, N. 2015. Times Square never shined so brignt. [Online]. [Accessed 24 April 2020]. Available from: https://unsplash.com/photos/F3uyey6ours/info Figure 10 - Ton, T. 2017. ASAP ROCKY. [Online]. [Accessed 24 April 2020]. Available from: https://www.tommyton.com/archive/index.html#!/media/asaploewe Figure 11 - Ton, T. 2018. Paris, Louis Vuitton. [Online]. [Accessed 24 April 2020]. Available from: https://www.tommyton.com/archive/index.html#!/media/virgil-1737 Figure 12 - Ton, T. 2019. Nike sneakers. [Online]. [Accessed 24 April 2020]. Available from: https://www.tommyton.com/archive/index.html#!/media/nike-1630 Figure 13 - Ball, J., and Martin, J. 2018. Post Malone + SAINt JHN + Tyla Yaweh @ Rogers Arena – April 27th 2018. [Online]. [Accessed 24 April 2020]. Available from: https://www. concertaddicts.com/reviews/post-malone-saint-jhn-tyla-yaweh-rogers-arena-april-27th-2018 Figure 14 - Ton, T. 2018. Paris SS19 men. [Online]. [Accessed 24 April 2020]. Available from: https://www.tommyton.com/archive/index.html#!/media/menparis-7297 Figure 15 - Logodix. 2020. Off-White black logo. [Online]. [Accessed 23 April 2020]. Available from: https://logodix.com/logos/15795 Figure 16 - Tesema, F. 2018. Carhartt Wip. [Online]. [Accessed 9 May 2020]. Available from: https://www.highsnobiety.com/p/best-womens-streetwear-brands-2/ Figure 17 - Tesema, F. 2018. I. Am. Gia. [Online]. [Accessed 9 May 2020]. Available from: https://www.highsnobiety.com/p/best-womens-streetwear-brands-2/ Figure 18 - Ozemebhoya, E. 2019. Frankie collective. [Online]. [Accessed 13 May 2020]. Available from: https://hypebae.com/2019/3/best-womens-streetwear-brands-frankie-collective-misbhv-married-to-the-mob Figure 19 - Jude Lee, J. 2017. How frankie collectove became social medias favourite vintage store for women. [Online]. [Accessed 6 May 2020]. Available from: https://hypebae. com/2017/10/frankie-collective-vintage-sara-gourlay-interview-video Figure 20 - Chan, C. 2018. WOMEN’S STREETWEAR AND LIFESTYLE SITE MISSBISH EXPANDS WITH NEW APPAREL LINE. [Online]. [Accessed 6 May 2020]. Available from: https:// fashionista.com/2018/01/missbish-streetwear-clothes-apparel-line Figure 21 - Estiler, K. 2017. ‘Dull Magazine’ Presents a New Editorial Fronted by Off-White Latest Range. [Online]. [Accessed 13 May 2020]. Available from: https://hypebeast. com/2017/3/off-white-virgil-abloh-dull-magazine-ad Figure 22 - Al-Desnudo, E. 2018. Is the Streetwear Bubble About to Burst. [Online]. [Accessed 10 May 2020]. Available from: https://www.highsnobiety.com/p/hype-bubblestreetwear-bubble-burst/ Figure 23 - Alvssa. 2020. I really be dressing up to go nowhere. [Online]. [Accessed 11 May 2020]. Available from: https://www.instagram.com/p/B-WrlcXnwl1/ Figure 24 - GC images. 2018. Bella Hadid. [Online]. [Accessed 11 May 2020]. Available from: https://www.popsugar.co.uk/fashion/photo-gallery/45337398/image/45337286/BellaHadid-Rocked-Pink-Skirt-Suit-Asos-Fuzzy-Sweater-Chunky-Dad-Sneakers Figure 25 - Pinterest. 2020. Photo aesthetic dark. [Online]. [Accessed 11 May 2020]. Available from: https://www.pinterest.co.uk/pin/595530750716027233/ Figure 26 - Ift. 2020. LV. [Online]. [Accessed 11 May 2020]. Available from: http://ifttt.com/1570426591 Figure 27 - WHcandy. 2020. Starburst All Pink Fruit Chews. [Online]. [Accessed 11 May 2020]. Available from: https://www.whcandy.com/products/wr452293-starburst-all-pink-fruit-chews?via=59ca5db2617070635c005cf6,59ca5db5617070635c005df5,59ca5db9617070635c0060ac Figure 28 - The native state. 2020. Girls Girls Girls. [Online]. [Accessed 11 May 2020]. Available from: https://www.thenativestate.com/prints/girls Figure 29 - Donnelly, E.. 2015. Sketch London. [Online]. [Accessed 11 May 2020]. Available from: https://www.refinery29.com/en-us/london-restaurant-instagrams#slide-1 Figure 30 - Percolemonade. 2020. Pink4. [Online]. [Accessed 12 May 2020]. Available from: https://www.pinterest.co.uk/pin/808114726862463331/ Figure 31 - Chas, A. 2020. Supreme. [Online], [Accessed 12 May 2020]. Available from: https://www.zedge.net/wallpaper/12c98624-fb75-48bc-8037-80ad2ed89410 Figure 32 - DeanBlog. 2020. Gucci. [Online]. [Accessed 12 May 2020]. Available from: https://www.pinterest.co.uk/pin/801781539898523862/ Figure 33 - Pinterest. 2020. WeHeartIt. [Online]. [Accessed 12 May 2020]. Availabe from: https://www.pinterest.pt/pin/509751251571326844/ Figure 34 - Shvecova, G. 2018. No Name. [Online]. [Accessed 12 May 2020]. Available from: https://weheartit.com/entry/285813839?context_page=10&context_set=136825166-ae-s-t-h-e-t-i-c-p-i-n-k&context_type=collection
Figure 35 - Ortiz, M. 2019. Nude peach gloss. [Online]. [Accessed 12 May 2020]. Available from: https://www.society19.com/spring-lip-colors-that-will-make-you-sokissable/
44
Figure 36 - Stefneyv. 2020. Mood all 2020. [Online]. [Accessed 12 May 2020]. Available from: https://www.instagram.com/p/B8KAAVYhLCd/ Figure 37 - Celmatique. 2020. Shes back. [Online]. [Acccessed 12 May 2020]. Available from: https://www.instagram.com/p/B86bz8VlMDR/ Figure 38 - Allin, J. 2018. adidas Originals by Daniëlle Cathari AW18. [Online]. [Accessed 14 May 2020]. Available from: https://www.dazeddigital.com/fashion/gallery/24829/2/adidas-originals-by-danielle-cathari-aw18 Figure 39 - Bord, R. 2018. Neck Accessory. [Online]. [Accessed 17 March 2020]. Available from: https://uk.news.yahoo.com/did-bella-hadid-walk-runway-slideshowwp-220913049/photo-p-close-shot-off-white-photo-220913391.html Figure 40 – Robinson, F. 2020. Off White Women’s Instagram story number 1. Figure 41 – Robinson, F. 2020. Off White Women’s Instagram story number 2. Figure 42 - Alvssa. 2020. The cutest hotel room ever. [Online]. [Accessed 10 May 2020]. Available from: https://www.instagram.com/p/B8LijnQHVyI/ Figure 43 - Diln. 2020. Told you I‘m going to recreate this look one more time. [Online]. [Accessed 10 May 2020]. Available from: https://www.instagram.com/diln_/?hl=en Figure 44 - Sarahfuckingsnyder. 2017. Killing it on set. [Online]. [Accessed 10 May 2020]. Available from: https://www.instagram.com/p/BWQ09aKDJ_W/ Figure 45 - Stefneyv. 2019. Start believing that nothing is too good for you. [Online]. [Accessed 10 May 2020]. Available from: https://www.instagram.com/p/B6Q_W-eBz0Q/ Figure 46 - WuzG00d. 2020. Colours r my superpower. [Online]. [Accessed 10 May 2020]. Available from: https://www.instagram.com/p/B8fazunJnwb/ Figure 47 - Celmatique. 2020. Literally everything gets better with flowers. [Online]. [Accessed 10 May 2020]. Available from: https://www.instagram.com/p/B8jLQBlFjjA/ Figure 48 – Robinson, F. 2020. Instagram promotional post number 1. Figure 49 – Robinson, F. 2020. Instagram promotional post number 2 Figure 50 – Robinson, F. 2020. Launch party invite. Figure 51 – Robinson, F. 2020. Photo booth pictures. Figure 52 – Robinson, F. 2020. Clothing tag and QR code. Figure 53 - Robinson, F. 2020. HypeBae paid media example. Figure 54 – Robinson, F. 2020. High Snobiety paid media example. Figure 55 - Robinson, F. 2020. Billboard announcing first drop. Figure 56 - Robinson, F. 2020. Billboard announcing pop-up store opening.
“GRAPHS”
Graph 1 - Robinson, F. 2020. SWOT Analysis. Online. University of Leeds, Leeds, UK Graph 2 - Robinson, F. 2020. Competitor Analysis. Online. University of Leeds, Leeds, UK Graph 3 - Robinson, F. 2020. Consumer Analysis. Online. University of Leeds, Leeds, UK Graph 4 - Robinson, F. 2020. Marketing Objectives. Online. University of Leeds, Leeds, UK Graph 5 - Robinson, F. 2020. Brand Positioning. Online. University of Leeds, Leeds, UK Graph 6 - Robinson, F. 2020. Target Consumer. Online. University of Leeds, Leeds, UK Graph 7 - Robinson, F. 2020. AIDA. Online. University of Leeds, Leeds, UK Graph 8 - Robinson, F. 2020. Communications mix. Online. University of Leeds, Leeds, UK Graph 9 - Robinson, F. 2020. Promotional timeline. Online. University of Leeds, Leeds, UK Graph 10 - Robinson, F. 2020. Big Ideas. Online. University of Leeds, Leeds, UK Graph 11 - Robinson, F. 2020. Promotional Plan Overview. Online. University of Leeds, Leeds, UK Graph 12 - Robinson, F. 2020. Levitts Total Product Concept. Online. University of Leeds, Leeds, UK Graph 13 - Robinson, F. 2020. Brand Onion. Online. University of Leeds, Leeds, UK Graph 14 - Robinson, F. 2020. Questionnaire outcome. Online. University of Leeds, Leeds, UK Graph 15 - Robinson, F. 2020. Customer journey map. Online. University of Leeds, Leeds, UK
45
APPENDIX A
Levitt Total Product Concept in relation to Off-White products. Total Product
Actual Product
Social status
Logo led design
High Quality Materials & structrue
Trainers
Individual design features On-Trend, “rooted in current culture”
Individual design Features
Generic Product
Milan based manufacturing
High percieved value
T-Shirt
‘Best available fit’
Joggers
Hoodies Accessories
Innovative packaging
Consistent design aesthetic
Concept designs - change with the seasons
Belonging to a ‘cult-like’ club
Price reflective of product
“GRAPH 12 - Total product concept”
APPENDIX B Off-White Brand Onion. “Between black and white” - creative license to explore multi faceted fashion.
‘Hype’ branding
Artistic & Creative
Actions & Behaviours
Exploitation of social media marketing communication platform
Personality Youthful
“Everything is ironic”
Values
Innovative a leader not a follower
Iconic design aesthetic
Essence “Unique, spirit driven clothing”
“Best available fabric, fit and fabrication.”
Express the Zeitgeist of youth culture through apparel Opinionated
46
Limited edition collaborations - Exclusivity
“GRAPH 13 - Brand Onion”
Forward thinking
Valuable celebrity endorsement
Limited stock creates greater desire
Interdisciplinary “Between black and white” creative license to explore multi faceted fashion.
APPENDIX C
Consumer survey response.
30 individuals were serveyed to give the following results,
“GRAPH 14 - Questionnaire Outcome”
47
48
APPENDIX D
Interview - Female streerwear consumers.
Following the conduction of the streetwear/Off-White consumer questionnaire, a participant was chosen for a more in depth chat regarding the consumption of streetwear as a female. Amelia Short | 22 Marketing Grad – University of Manchester Can you tell me about yourself? I’m Millie, I’m 22 and I currently work for a PR firm in central London. Originally, I’m from Brighton but I graduated from the University of Manchester last summer and moved straight to London for my job.
How do you find living in a city?
I love it here in London, the city offers so much! Whilst living here is expensive, I deffo think that this is outweighed by the opportunities; the bars, shops and restaurants. I have to travel a lot for my job which is also super easy from the capital.
How do you like to spend your weekends?
My weekend plans change week on week, depending on work. I do always love to head to Oxford Street for some retail therapy after a long week though – some peoples worst nightmare, I know! I love meeting friends and heading out for lunch or to the bars – I spend a lot of time in Shoreditch as its close to where I live.
You said you love shopping; how would you describe your style?
I love casual styles; joggers, hoodies and trainers. I love streetwear and oversized silhouettes. Day to day I would describe my style as pretty relaxed or sports casual.
Where do you gain style inspo?
I think my style is greatly influenced by what I see on the street, I enjoy people watching and if I see someone who looks cool, I often try to replicate the look. I do also typically get a lot of inspiration from Instagram, I follow a few girls such as ‘WuzGood’, ‘Diln’ and ‘OliviabyNature’. When I was younger, like 16, I used to love following blogs and reading these for style inspiration – I think Instagram has just replaced this creative outlet.
Do you spend a lot of time on social media?
Unfortunately, I think I do yeah. I do find it concerning sometimes how much time I spend on social media, but today I think it’s such a good source of information – especially for fashion related affairs. I think it makes me feel less guilty when I consider how spending time on social media, particularly Instagram is helpful for my job.
Do you think your style is influenced by celebrities?
Yes I do really do like the styles of celebrities yet feel like more often than not, their styles are unattainable. A lot of the time the clothes you see being worn by celebrities are outrageously overpriced, or simply not on sale to mass audiences. For this reason I think I take more inspiration from both micro and macro influencers.
Where do you like to shop?
I love Selfridges! I enjoy being able to browse High end and High street all under one roof. I think my wardrobe is an equal mix of both Designer clothes and High street clothes. My favourite brands include Prix and I. Am. Gia – both mid range women’s streetwear style brands. I must admit I also buy a lot of clothes from the men’s section of high-end brands such as Kith, Vetements and Off-White, I just find these ranges have greater choice and I like the oversized look. I don’t particularly like fast fashion shops at all, I don’t remember the last time I bought anything from PLT, Boohoo or Missguided.
Why do you buy from these brands?
I buy from brands such as I. Am. Gia, Prix and Kith as I love the style and quality of their clothing without it being greatly overpriced. These brands offer quality and status similar to luxury labels whilst being affordable for me. I try to stay away from fast fashion brands and therefore prefer to spend on more ‘investment’ pieces.
How much on average do you spend on clothes a month?
God, too much! I’d say around £400 a month, I don’t buy copious amounts, but I prefer to spend a higher amount on a staple item - say a hoodie, than buying a cheap one that is highly likely to end up in landfill within 6 months.
You said earlier you find you often find yourself shopping in the men’s section, particularly of High-end brands, why is this?
Honestly, I feel like a lot of streetwear brands are tailored more to target young men. I understand that the ‘baggy’ or ‘oversized’ look is typically that of a guy, but I feel like more so today than ever, women embrace these styles – yet a lot of brand don’t really acknowledge this, with women’s collections often essentially disregarded or not so much the focal. Many brands such as Palace and Supreme don’t explicitly offer a women’s collection which I think is annoying.
What do you think these brands could do to reinvent their womenswear lines?
I think more focus could be placed on the branding of womenswear, or more collaborations with other brands – seen so commonly for menswear streetwear collections. I know a lot of my girl friends who have a similar fashion style, feel the same as me: that womenswear of the streetwear sector is overlooked.
49
APPENDIX E
Consumer journey map and brand touchpoints.
A diagram to express the customer journey of streetwear and potential Off-White consumers. The brand touchpoint are also highlighted throughout the journey. Adapted from Wolny & Charoensuksai (2014)
Social media
Word of mouth
Awareness/Discovery
The consumer is consciously or unconsciously scanning the market. Discovery of Off-White & other Celebrity streetwear brands. Collaboration with established PR - Press brand /Printed media
Browse luxury department stores
Consideration/Research In storeSales person
Consumer has intention to shop and search for information prior to shop.
Product review YouTube
Online browsing
Is willing to pay (more) for (high perceived brand value based on functional, emotional, social, and symbolic & exclusive benefits) Packaging/ aesthetic
Decison to purchase from Off-White competitor, Gucci, Balenciaga, Vetements... - Greater product choice; stronger womenswear collection - Design preference - Greater celebrity endorsement - Sizeable ‘hype branding’ - Greater current ‘street credentials’
Purchase
Consumers make a decision regarding final purchase Effective merchandising
Returns policy
“GRAPH 14 - Customer journey map”
50
Garment fit & quality
Assistance instore & online
Post-Purchase
Sense of belonging ‘streetwear cults’
Consumers tend to share their experience through word-of-mouth (offline or Simplistic online) Garment after-care performance
Purchase from OffWhite
Online or Instore 53% prefer to shop online (Appendix C)
Positive Post-Purchase experience
Positive experience of the Off-White brand often leads to increased customer loyalty and repeat purchase.
Wolny, J. and Charoensuksai, N. 2014. Mapping customer journeys in multi-channel media. Journal of Direct, Data and Digital Marketing Practice. 15(4), pp317 - 326.
51
