F I G U R E 1 , C A N A L B R I D G E , ( B E L L , JO R D E N , PAT E N T, WA LS H , 2015)
A LLSAI NTS
A C OLLEC T I O N TO K E E P
GR AC E J O RD E N
1
2
C ON T E N T S
1
2
3
Brand Position
Primary
Trends
Observations
4
5
6
The Consumer
The Big Idea
Visual Inspiration
7
8
9
Creative Concept
Lookbook
E-Commerce Analysis
10
11
12
Route to
Re ferences
Primary
Consumer
Research
A LLSAI NTS A C OLLEC T I O N TO K E E P
3
B R AND P O S I T I O N
FI GURE 2 , PERCEPTUAL M AP 1 , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
I
n
terms
of
gaining
terms
consumer
perceptions of the AllSaints brand
of
the
brands
social
media
engagement rating. Despite receiving
and its position, 32 people were asked
over
if they would describe AllSaints as
a post featuring content relating to
‘Over-priced high-street’ or ‘Affordable
Royal Blood received only 19 likes. In
Luxury’ (See Primary Research P.42).
terms of other social media platforms,
These
after
the brands Instagram engagement is
previous feedback from the brand stated
much better than that with Facebook
they felt their direct competitors were
users,
affordable luxury brands such as Rag &
1%. However the content posted is
Bone and The Kooples. 72% of people
more fashion based an less music
asked said they would class the brand as
led, lending itself to the idea that
over-priced high street, as opposed to
the consumers of the brand are not as
affordable luxury.
influenced or interested in music as
This perception is also reflected in
the brand currently perceive.
options
were
chosen
4
625,000
‘likes’ on
averaging
at
Facebook,
approximately
B R AND P O S I T I O N
The affordable luxury brands that
In order for AllSaints to be classed as
AllSaints desire to be aligned with
competitors to these more high-end
e.g. Rag & Bone, have a much higher
affordable luxury brands, they must
engagement rate across multiple social
create content that is relevant to their
media platforms. These brands create
consumer ’s
affiliations with creative industries
themselves as more of a lifestyle
and unique content, which features
brand. In turn, this must be shared
more artistic and cultural reference
and promoted via their consumer ’s
points. This allows them to build
favoured
brand loyalty, by connecting with
increase their consumer engagement
their consumer ’s specific interests and
levels and act as a potential justifier
increases their perceived brand value.
for their higher price points.
interests,
platforms.
and
This
FI GURE 3 , PERCEPTUAL M AP 2 , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
5
portray
will
FI GU RE 6, A LL S A IN TS STOR E 3 , ( J OR DE N , PATEN T, WALS H , 2 0 14)
F I G U R E 5 , A L L S A I N T S S TO R E 2 , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 4 )
F I G U RE 4, A LL S A I N TS S TO RE 1, ( J O RD EN , PAT EN T, WA LS H , 2014)
P R IMARY O BS E RVAT I O N S
6
P R IMARY O BS E RVAT I O N S
T
o begin primary research, four
This led us to identify the central
AllSaints stores were visited.
issue
These
stores
were
London
Spitalfields,
Oxford
Street.
becoming
Nottingham, Camden
Technology
integrated
within
of
brand
content. AllSaints
produce a wealth of online content;
and
however
was
consumers in store. Consumers look
each
towards
it
is
not
content
like
lookbook’s
to
of
Consumers
also gives a face to the ‘AllSaints
can use these screens to order stock
lifestyle’. When products are only
not available in store, and to access
displayed on headless mannequins,
further information on the brand.
consumers
However when talking to retail staff,
human qualities, like the personality
they felt the screens were limited.
of the brand.
The screens simply display AllSaints’
In most stores the only point content
website and do not offer exclusive
is
content to the consumer.
screen above the point of sale. Yet as
Moreover
screens.
displayed
is
content
connect
through
to
a
the
small
consumers only witness this imagery
store, a member of staff was using the
having already selected their items,
screens to access lookbook imagery,
it does not influence their purchasing
in
mannequin.
decision. Overall this lack of content
However it was then confirmed that
and imagery creates a disconnect
consumers
between the AllSaints brand and the
to
the
cannot
yet
Spitalfields
order
within
products,
to
store, as seen with the installation interactive
research
presented
dress
could
a
not
access
this
imagery themselves.
consumer.
7
TRE N D S
FIG UR E 7, CONTEM POR ARY STAI RS, ( BELL, J ORDEN , PAT E N T, WA L S H , 2 0 1 5 )
8
TRE N D S
P for
rimar y research was also backed
Saatchi & Saatchi states that gen Y
up by trends identified by WGSN
want to be entertained and inspired
SS15 .
through their shopping experiences,
(WGSN,
The 2015)
“New trend
Utopian’s” describes
rather than simply filling a need.
how generation Y - the consumer
In light of this research, further
demographic that AllSaints are trying
primary was carried out to establish
to target, operate in terms of tactical
what drives consumption in AllSaints
splurges. This means that they are
gen
saving
money
identified people who are current
for brands that provide them with
consumers of AllSaints aspirational
meaningful experiences and content.
competitors like Rag and Bone and
Further research by Kevin Roberts of
The Kooples.
up
their
time
and
9
Y
target
demographic.
We
THE C O N S U M E R
TH E NE WTOPIAN
FIG UR E 8, CONSUM ER PROFI LE M OODBOARD, ( J ORD E N , PAT E N T, WA L S H , 2 0 1 5 )
10
THE C O N S U M E R
T
he consumer that was identified;
consumer research was that the consumer
The Ne wtopian, is 25-34 years old
AllSaints are trying to target is not
working in industries such as fashion,
driven by music in their consumption
PR, media and marketing, and is well
habits. This suggests although AllSaints
informed on brand practices.
want to establish themselves as a music/
In terms of social media habits this
fashion brand, it will not necessarily
consumer in an avid user of social
attract their desired consumer.
media, but concentrates more time on
If
Instagram a nd Twitter as opposed to
attention of this consumer, they need
Facebook.
to re-position themselves as a lifestyle
This is where they engage with brands
brand, and associate themselves with
the most, and look for style advice.
arts,
One of they key insights drawn from
aspirational competitors do.
11
AllSaints
culture
want
and
to
capture
travel,
like
the
their
THE C O N S U M E R
FIGURE 9, FACEBOOK ENGAGEM ENT - M ODEL, (JORDEN, PATENT, WALSH, 2 0 1 5 )
Y
F I G U R E 1 0 , FA C E B O O K E N G A G E ME N T - R O YA L B L O O D , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
ou can see an example of AllSaints ineffective alignment with music in the example of two of their recent Facebook posts. The post featuring a fashion model
received almost twenty times the amount of engagement (likes) than a post featuring the band Royal Blood, who had the fastest selling debut album of the past 3 years.
12
LOC ALITY & S TO RY T E L L I N G
A
s
the
The idea of storytelling allows a
Generation Y consumers want
brand to connect to a consumer on
unique
mentioned experiences
previously, that
are
tailor
a
personal
level
2004)
made for them. Due to this it became
and
apparent that trying to engage with
perceived
them on a local level was of importance,
consumers to interact more with the
as supported by The Everyday Utopian
brand. Combining the idea of local
consumer trend identified by WGSN.
engagement
This is also representative of AllSaints
create a relatable experience for the
British heritage and reiterates the
consumer, potentially driving them to
brands
engage further with their local store
core
values
of
‘expressing
individuality and attitude’.
subsequently
(Escalas,
brand
and
increases value,
the
causing
storytelling
will
and subsequently increase footfall.
FIGURE 11, SHADOW FEET, ( BELL, J ORDE N , PAT E N T, WA L S H , 2 0 1 5 )
13
THE BI G I D E A
Based on the reccomendations and insights identified above, the big idea is to:
Attract a new consumer to AllSaints by visualising the story of the brand, product and consumer.
14
F I G U R E 1 2 , ME Y E R O WI T Z M O O D BO A RD , ( J O RD EN , PATEN T, WA L S H , 2 0 1 5 )
VIS UAL IN S P I RAT I O N
Joel Meyerowitz
T
o begin visualising the big id ea, the work of a number of artists and photographers were looked to for inspiration.
The main influence to the creative concept was the work of Joel Meyerowitz. Meyerowitz is an American photographer who attempts to encapsulate entire American cities within one image. Each image portrays several people, yet Meyerowitz creates a ‘portrait of a city’ rather than an individual. As AllSaints needs to visualise the connecting stories of its brand and its consumers it could begin to explore how these interact at a local level.
15
VIS UAL IN S P I RAT I O N
T
he
second
Stephen
previously
photographer
Shore. worked
Shore with
was
is an interesting approach to telling
has
the story of a landmark, and could be
brands
used to explore the idea of locality.
like Urban Outfitters, yet his most
The artist Edward Hopper aimed to
interesting works are of individual
depict metropolitan America within
buildings.
most
his paintings. His work is a great
interesting compositions and features
example of how architectural lines and
of a building, and combines them, rather
perspective enhance a composition
than capturing an image of the building
and reinforce the narrative of an
as a whole. Shore’s photographic style
artwork.
Shore
selects
the
16
FI GU RE 13 , H O PPE R & S H O R E MO O D B O A R D , ( JO R D E N , PAT E N T, WA L S H , 2 015)
VIS UAL IN S P I RAT I O N
S t ep h en S h o re
Edwar d Hopper
17
VIS UAL IN S P I RAT I O N
F I G U RE 14, FA S H I O N I N S P I RATI O N MO O D B O A R D , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
18
VIS UAL IN S P I RAT I O N
T
o further influence the creative concept, fashion editorials from publications like Vogue Italia in the 1990’s were researched. These
editorials conveyed the mood, tones and compositions that suit the aspirations of the AllSaints brand and the tastes of their target consumer.
19
C R EATIV E CO N CE P T
Both artist and consumer research led to the creative concept, which is to:
Attract a new consumer to AllSaints by visualising the story of the brand, product and consumer by creating exclusive integrated content inspired by the locality of each store.
20
FIGURE 15, LOOKBOOK WA L S H , 2 0 1 5 )
M O O D BO A RD ,
( J O RD EN ,
PATEN T,
C R EATIV E CO N CE P T
T
his will be achieved by creating
The lookbook was also inspired by
a lookbook and content inspired
re-establishing
AllSaints
British
by the locality of each AllSaints store.
heritage. This is often not mentioned,
By doing this, AllSaints will provide
yet can be an attractive selling point
their target consumers with the unique
to
content they are looking for. As well
overseas.
as this, the lookbook serves as a point
The locations that will be featured in
of interest and information, providing
the look book provide an alternative
consumers with a guide to the city. The
perspective to each city, providing
guides will come in the form of post
a fresh take on traditional guides.
cards, and be available for consumers
Through this, AllSaints provide their
to
consumers with “a collection to keep�.
take
away
and
collect
them.
21
consumers
-
especially
those
THE LO O K BO O K
F I G U R E 1 6 , P O S T C A R D 1 , ( BE LL, J O RD EN , PATEN T, WA LS H , 2015)
ALLS AINTS No t t i n g h a m
T
he
lookbook
was
in
The main concept of the lookbook
collaboration with Calum Bell,
acts as a subtle guide to their chosen
a final year photography student.
city and aims to inspire the AllSaints
Locations were found which displayed
consumer to explore their local area,
Nottingham’s
and
clashing
created
aesthetics
expose
the
un-conventional
and architecture, and embody the
by telling a relatable story to the
broad influences of its people. These
consumer.
locations included a 100 year old auction house and contemporary art galleries, which clash with desolate backstreets and empty tram tracks.
22
FI GU RE 19, PO S TCA RD 4, (BE LL , J O RD EN , PATEN T, WALS H , 20 15 )
F I G U R E 1 8 , P O S T C A R D 3 , ( B E L L , JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
F I GU RE 17, P O S TCA RD 2, ( BELL, J O RD EN , PAT E N T, WA LS H , 2015)
THE LO O K BO O K
23
E-C OMMER CE A N A LY S I S
FIG UR E 20, ALLS AINTS HOM E PAGE SCREEN SHOT, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
24
E-C OMMER CE A N A LY S I S
T
he
next
step
in
terms
of
repositioning the AllSaints brand
information, with a tab for ‘Gift Cards’ (another
example
content
analyse
e-commerce
bar) listed above that of ‘AllSaints
site. From this, a few issues were
Studios’. This means that the area
identified:
where the brand are spending the
For
example,
current
the
sites
the
un-necessary
and its consumer perceptions was to their
for
of
main
navigation
main
majority of their money; the creative
navigation bar is overcomplicated. It
music and film content for AllSaints
features separate tabs for ‘Women’s’
Studios is easily overlooked and un-
and ‘Women’s Shoes & Handbags’
enticing to those currently unaware
(and the same for men’s) as opposed
of it.
to integrating them. The navigation
25
E-C OMMER CE A N A LY S I S
FIGU R E 21, ALLSAINT S RUNWAY LOOKBOOK SCRE E N S H O T, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
F
ollowing this, the brands tone of voice – as featured within the Lookbook and Studio Session descriptions, is sometimes over-embellished. This
style is not reflective of their aspirational consumer or their chosen brands and interests; and must therefore be simplified to incorporate a more personal narrative, as the ‘Newtopian’ consumer wants to feel as though they are engaging with their chosen brand on a personal level.
26
E-C OMMER CE A N A LY S I S
“This spring, our collection evokes a sense of travel, and lightness. our structured signatures have been effortlessly subverted and materials and silhouettes have been reapplied to each other. Nothing is quite as it seems.� (AllSaint s, 2 015)
27
E-C OMMER CE A N A LY S I S
FIGU R E 22, ALL S AINTS STUDI OS SCREEN SHOT, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
28
E-C OMMER CE A N A LY S I S
F
inally,
in
terms
e-commerce
of
existing the
as the users are not exposed to the
creative content specific areas of
variety of content produced outside of
the site are not utilised to their full
clothing.
advantage.
If the brand wants to keep their current
Whilst the content featured within
alignment with the music industry, they
these areas is good, it is not fully
need to incorporate it into things like
utilised either in-store or online. As
their in-store sessions. Collaborations
mentioned previously, the consumer,
and events featuring local bands and
although interested in music is not
artists will allow them to appeal to
driven to purchase by it. Therefore
members of the Gen Y demographic
the current music content needs to be
who would have otherwise overlooked
realigned in order to correlate with
the brand. This will also address
the consumer ’s needs and interests.
their
In
accessibility,
behaviour, in which they save up time
as mentioned above – the lack of
and money for meaningful content
hierarchy within the main navigation
and experiences (WGSN, 2014), as
bar allows this area of the website to
opposed to just fulfilling the ‘need’ of
be easily overlooked by users. This
shopping and also fits perfectly with
reduces the perception that they are
the concept of locality proposed to
as much a lifestyle brand as a fashion
help reposition AllSaints.
terms
of
analysis,
brand and decreases the brand value,
online
29
consumer ’s
chosen
shopping
F I G U R E 2 3 , C O S & WH I S T L E S MO O D B O A R D , ( JO RD EN , PATEN T, WA LS H , 2015)
E-C OMMER CE A N A LY S I S
30
E-C OMMER CE A N A LY S I S
T
o develop AllSaints ecommerce,
a mix of fashion tastemakers and
it should take note from its
film characters to show how a classic
competitors who engage well with
white shirt can be worn.
the
‘affordable
luxury’
consumer.
In the same manner, Cos featured
include
Whistles,
an interview with the artist Linder
Jaeger and Cos, and frequently have
Sterling. Features like these help
high levels of consumer engagement.
position the brand as cutting edge,
To engage their consumer, Whistles
and displays to the consumer their
and Cos regularly produce content
broad range of influences as a brand.
that depicts a wide range of contextual
These influences are then summarised
and cultural references. The Whistles
in links to products available to the
post ‘White Shirt Moments’ features
consumer.
These
brands
31
F I G U R E 2 4 , JA E G E R MO O D B A O RD , ( J O RD EN , PATEN T, WA LS H , 2015)
E-C OMMER CE A N A LY S I S
32
E-C OMMER CE A N A LY S I S
T
he
brand
regar ded
Jaeger an
highly
Jaeger
also
produces
the
‘Jaeger
affordable
Journal’, a blog like section of its
luxury brand, and is recognised for
website. The journal has sections like
its consumer engagement. Jaeger ’s
‘The Hit List’ which features monthly
ecommerce features fully integrated
events
campaign
content.
music and art. The ‘Hit List’ again
Jaeger ’s imagery depicts the design
helps to promote its broad cultural
and making process of its garments
interests
throughout
features directly impact consumer
banners.
as
is
imagery
facets
These
and
like
features
website help
and
releases
and
in
fashion,
influences.
These
to
engagement, as “consumers look to
immerse the consumer within the
brands for immediate brand and trend
story of the brand.
guidance” (Couttigane, 2015).
33
E-C OMMER CE A N A LY S I S
FIGU R E 25, LADIES & GENTLEM EN SCREEN SHOT, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
34
E-C OMMER CE A N A LY S I S
A
llSaints should also take influence from interior design studio ‘Ladies & Gentlemen’. The studio’s website places a great emphasis on content, and
the majority of images and banners become moving gifs or videos. As a studio which designs simple household items, an animated image helps to give products context and displays them as tangible items. Furthermore these images add brand value by presenting the brand’s character and personality. This gives the brand a unique tone of voice, which engages with the consumer on a personal level.
35
R OUTE TO CO N S U M E R
FIGURE 26, ALLSAINTS RE-DESIGNED E-COMMERCE HOMEPAGE, (JORDEN, PATENT, WALSH, 2015)
T
he new website is much more simple, and easy to navigate. With only the most important content being featured on the homepage, through imagery
rather than text, and a clean and simple navigation bar.
36
F I G U R E 2 7 , A L L S A I N T S BL O G ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 )
PA G E,
R OUTE TO CO N S U M E R
A
llSaints will also create a blog,
local AllSaints store. This will make
which will involve content based
the brands website more personal and
on local events and points of interest
relatable.
that are relevant to their consumers.
In terms of competitive advantage, it was
The website will also take into account
found that AllSaints high-end competitors
user
e.g. The Kooples don’t have any features
locations
and
tailor
specific
content towards them, based on their
such as this on their websites.
37
F IG U RE 28, E MP T Y T R A M T R A C K S , ( B E L L , JO R D E N , PAT E N T, WA L S H , 2015)
R OUTE TO CO N S U M E R
A LLSAI NTS
A C OLLEC T I O N TO K E E P
38
R OUTE TO CO N S U M E R
A
s AllSaints need to reposition,
With regard to Facebook, it is a platform
it
their
that should be regularly maintained
new content reaches their desired
but with a slightly different angle.
consumer demographic, meaning it is
Recognising
not enough to simply promote online.
consumers use Facebook primarily as
AllSaints need to establish themselves
a news source, instead of a place to
in both online and physical media that
engage with brands.
their consumers come in to contact
Therefore AllSaints should aim to create
with on a daily basis.
content and posts that are centered
At presen t, AllSaints promote their
around interesting stories and local
content
and
events, rather than heavily branded
therefore miss important consumer
content. Utilising features like events
touch points, especially with their
pages will also help to increase AllSaints
aspirational consumers. By pursuing
presence in local areas.
dissimilarity the consumers often look
By following these recommendations
to niche publications and tastemakers
it is hoped that AllSaints will become
for inspiration, and AllSaints should
more “broad thinking”. This refers to
utilise this opportunity to increase
brand theory established by Binet and
awareness of their new brand message.
Field who state it is important to balance
As well as Advertising, it is proposed
“head and heart” (Warc.com, 2015)
that
a
meaning that establishing meaningful
presence through magazine features
relationships should be as important as
in niche publications such as Cereal
driving sales. This will deliver bigger
and Kinfolk.
paybacks for AllSaints in the long
In terms of social media, whilst no
run, although they may be slower. Re-
major channels should be neglected,
positioning themselves as a an affordable
AllSaints
should
on
luxury lifestyle brand will take time, but
and
where
will only be possible through building
is
important
exclusively
AllSaints
that
on-line
should
stress
establish
focus
Twitter,
and
AllSaints
consumers can more actively engage
brand
with their content.
current stigma surrounding it.
39
loyalty
that
target
overcoming
the
LIS T OF ILL U S T RAT I O N S FIG UR E 1, CANAL BRID GE, ( BELL, J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 2, PERCEP TUA L M AP 1 , ( J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 3, PERCEP TUA L M AP 2 , ( J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 4, ALL SAINTS STORE 1 , ( J ORDEN, PATENT, WA L S H , 2 0 1 4 ) FIG UR E 5, ALL SAINTS STORE 2 , ( J ORDEN, PATENT, WA L S H , 2 0 1 4 ) FIG UR E 6, ALL SAINTS STORE 3 , ( J ORDEN, PATENT, WA L S H , 2 0 1 4 ) FIG UR E 7, CONTEM POR ARY STAI RS, ( BELL, J ORDEN , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 8, CONSUM ER PROFI LE M OODBOARD, ( J ORD E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 9, FACEBOOK ENGAGEM ENT - M ODEL, ( J OR D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 10, FACEBOOK ENGAGEM ENT - ROYAL BLOO D , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 11, SHADOW FE ET, ( BELL, J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 12, M EYEROWI TZ M OODBOARD, ( J ORDEN, PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 13, HOP PER & SHORE M OODBOARD, ( J ORDE N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 14, FAS HION IN SPI RATI ON M OODBOARD, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 15, LOOKBOOK M OODBOARD, ( J ORDEN, PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 16, P OSTCARD 1 , ( BELL, J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 17, P OSTCARD 2 , ( BELL, J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 18, P OSTCARD 3 , ( BELL, J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 19, P OSTCARD 4 , ( BELL, J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 20, ALLS AINTS HOM E PAGE SCREEN SHOT, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 21, ALLS AINTS RUNWAY LOOKBOOK SCREE N S H O T, ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 22, ALL S AINTS STUDI OS SCREEN SHOT, ( J O R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 23, COS & WHI STLES M OODBOARD, ( J ORDE N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 24, J AEGER M OODBAORD, ( J ORDEN, PATENT, WA L S H , 2 0 1 5 ) FIG UR E 25, LADIES & GENTLEM EN SCREEN SHOT, ( J O R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 26, ALLS AINTS RE- DESI GNED E- COM M ERCE H O ME PA G E , ( JO R D E N , PAT E N T, WA L S H , 2 0 1 5 ) FIG UR E 27, ALL S AINTS BLOG PAGE, ( J ORDEN, PATE N T, WA L S H , 2 0 1 5 ) FIG UR E 28, EM PTY TRA M TRACKS, ( BELL, J ORDEN, PAT E N T, WA L S H , 2 0 1 5 )
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R EF E RE N CE S B ut l er, S arah, 2015. F r e n c h Co n n e c t i o n s h a r e s d r o p a s co n su m er cau t i o n p er si st s o n h i g h st eet [ o n l i n e] T h e G uardian. Available at : h t t p : / / www. t h e g u a r d i a n . c o m / … / f r en ch - co n n ect i o n - sh ar es- d r o p - … [ 1 8 Mar ch 2 0 1 5 ] R uddick, Graham, 2013 . Fr o m FCUK t o s e e i n g r e d , Fr en ch C o n n ect i o n f al l s t o l o ss [ o n l i n e] T h e Tel eg r ap h . Av ai l ab l e a t: http://www.telegra p h . c o . u k / … / Fr o m - FCUK- t o - s e e in g - r ed - F r en ch … [ 1 6 Mar ch 2 0 1 5 ] Wa rc .com, (2015). Th e Lo n g a n d Sh o r t o f I t : M e a s u r i ng cam p ai g n eff ect i v en ess o v er t i m e | w ar c. co m . [ o n l i n e] Available at: http://ww w. wa r c . c o m / . . . / Th e _ Lo n g _ a n d _ S h o r t _ o f _ I t . . . [ A ccessed 2 0 May 2 0 1 5 ] . W gsn .com, (2015). [o n l i n e ] Av a i l a b l e a t : h t t p : / / www. w g sn . co m / co n t en t / b o ar d _ v i ew er / # / 1 4 2 4 2 5 / p ag e/ 1 [ A ccessed 1 Feb. 2015].
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P R IMARY RE S E A RCH WO UL D YOU CLAS S TH E BRAND ALLSAI NTS AS ‘ AF F O R D A B L E L U X U RY ’ O R ‘ O V E R - P R I C E D H I G H ST R E E T ’ ? + AFFO RDABLE LUXURY + AFFO RDABLE LUXURY + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + AFFO RDABLE LUXURY + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + AFFO RDABLE LUXURY + OV E R -P RICED HIGH-STREET + AFFO RDABLE LUXURY + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + AFFO RDABLE LUXURY + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + OV E R -P RICED HIGH-STREET + AFFO RDABLE LUXURY + AFFO RDABLE LUXURY + AFFO RDABLE LUXURY + OV E R -P RICED HIGH-STREET
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