ALLSAINTS ISUAL APPENDIX

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

Instagram

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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