N0448917 GRACE COTTER - MARIA
SOFIA -
FCP 1
C R E A T I V E N E T W O R K S - TUTOR : SI BEALES -
2 0 FASH 10106 3 01
04INTRODUCTION 06PERFUME CONCEPT 07 09 09 11
primary research consumer profiling logo design bottle design
12PACKAGING 16STRATEGIC PROPOSAL 13 DESIGN EXAMPLE 15 CARRIER BAG
17 BRAND AMBASSADOR
22LAUNCH LOCATION 24RAMADAN RUSH 02
25PRE LAUNCH 30LAUNCH 26 SOCIAL MEDIA EXAMPLES 28 WINDOW DISPLAY
32 IPHONE CASE DESIGN IDEAS 33 IPAD CASE DESIGN IDEAS 34 HARRODS PERFUME COUNTER DESIGN 36 39 40 45 46
IPADS / TABLETS DIGITAL SCREENS PERFUME COUNTER DESIGN INSPIRATION DIGITAL DISPLAY CASE BRAND EXPANSION
49POST LAUNCH 56CONCLUSION OF 58LIST REFERENCES OF 60LIST ILLUSTRATIONS 50 POTENCIAL COLLABORATION
03
IN TR OD UC TI ON 04
For our perfume concept, as a group, we decided it would be interesting to aim our perfume at the fast expanding Middle Eastern market. For us it was highly important to learn about this region, as a consumer, in as much depth as possible, as well as learning about Arabic cultures & traditions. We discovered there is a huge amount of wealth in the region and perfume is a highly valued commodity. This for us meant it would be a fantastic market to aim at, however, after more research we noticed that most often, perfumes aimed at this market are targeted at an older woman. Thus leaving a gap in the market for a perfume aimed at younger Arabian women. When thinking about my marketing strategy I felt it was highly important to make our marketing modern
and
digitally
driven
alongside a traditional marketing approach. This would also include social media as the driving force for our marketing, so as to reach a wide audience of digital natives across the world. Therefore in my report I will be covering my suggestion for the packaging & graphic design approach; the perfume counter floor plan & digital equipment; future collaborations; as well as my online & offline strategy, covering before, during & after the launch in as much depth as is possible.
05
E M U F R T E P P E C N O C
It’s 30. & 5 base en 2 twe th a i e b w a d aged with ishe n n e e fi u , ta wom uniq aves ed a , is ern n le t t m e s i n e a e r A E g and st. r sc dle r& , ou e Ea the UK s ppe Mid h e t e t c f p a ran ed ink es o oth frag aim of p in b fum n e r s r g e e e m t n t p u y ivi e no dle Eas perf en l heav iddl m y d is a l i o m l t a w p M e r ab with tion onc othe let, t Ar radi c o t i en c m a s v r o e t r o h e ch ut f o at to t ld b ast. nt t Our red ng o a wou i a w le E d e p t d n e o m a d t i w n o S M en, top ch c ud. the wom of o proa f p e a o t no hic fter grap h so c o u m m r de nge you
06
PRIMARY RESEARCH
We had spoken in depth with
We also emailed a variety of luxury
William Grabbie, the senior sales
stores such as Selfridges, Fenwicks,
assistant on Harrod’s Amouge
Fornum & Mason, as well as
counter, who has worked there
contacting Middle Eastern perfume
throughout its 5 years at Harrods.
bloggers. Although we did not get
He spoke to us on about Middle
many responses, we did get a reply
Eastern women’s preference for
from blogger & photographer,
long lasting perfumes, such as oils
Christina Linaza who said young
based perfumes, as they last longer
Middle Eastern women prefer
on the skin through the heat.
big brands & the latest fragrances which have strong identities &
We interviewed our Middle Eastern
exclusive ranges.
model, Rebecca Zakeim, about her perfume preferences. We learnt
The scent we created combines
from her that she shops at high end
their traditional culture with a new
department stores & airports for
modern edge. The figures we found
perfume, spending between £100
back this up as the Middle Eastern
& £200 on a bottle. She explained
fragrance is currently valued at
her preference were for perfumes
$3.5 billion, approximately 20%
such as because although they have
of the global fragrance market.
strong oud notes, they also use
The average Saudi spends £1,900
floral notes & she prefers lighters
during a shopping trip in London’s
scents because she doesn’t like the
West End , with each transaction
heavy, strong fragrances her mother
averaging out at £300 (Daily
wears.
Mail, 2012). Even more so with the Middle East ranking highest globally for perfume consumption
“ Middle Eastern culture has an extraordinary appreciation for the luxurious, emotional and memorable
“
qualities of fragrance
TOM FORD
07
as it is a significant part of their culture. Especially oud oil, “which is highly prized both regionally and around the world, has been used for centuries in art, as a symbol of reverence and a token of beauty” (Middle
East
Business
News,
2011). As Ahmed Pauwels, CEO of organsier, Epoc Messe Frankfurt explained (Arabian Gazette 2013) :
“
Though lifestyles
and tastes have changed remarkably over the years, the Middle East
08
“
continues to value perfumes highly
LOGO DESIGN Our target consumers fit into
Our logo incorporates our perfume
the consumer typologies of ‘big
name ‘Almas’, which in English
spenders’, ‘label seekers’ & ‘stylish...
means diamonds. The two diamond
shopaholics’ (Mintel, 2004 cited
shapes that interlock represent the
in Jackson & Shaw, 2009, p.13)
connection between our consumers’
making them a profitable market
Middle Eastern heritage, juxtaposed
to aim at. Consumer profiling
with today’s modern society.
was important for me to fully understand our customer, and what their wants and needs are. Using the VALs system, I felt we would be targeting ‘Status-oriented fashion consumers’ who are ‘Actualisers’ & ‘Achievers’. These are consumers buying luxury and exclusive fashion products, wishing to show off their wealth to friends and family. We would also appeal to ‘Action orientated fashion consumers’ in the ‘Experiencers’ category. These consumers are usually young with relatively large disposable incomes
CONSUMER PROFILING
and are highly sociable (Jackson & Shaw, 2009). Through our customer profiling I could decide what would best appeal to our target consumers; adapting our branding and marketing strategy to engage our particular customer segment, & deciding to position ourselves within the luxury market (Posner, 2011).
09
10
fig.1
fig.2
fig.3
Our bottle design was highly inspired by trends reviewed on WGSN. This included, ‘VM inspiration - Art Exhibitions 2012 : The New Brights’. We loved the thought of creating a bright & vibrant perfume bottle to contrast the minimal aesthetic of our
&
that of perfumes such as Amouge & Killian (WGSN - The New Brights, VM 2013). Also ‘VM inspiration - Art Exhibitions 2012 : Hypnotic Psychedelia’. We loved the shapes within Yves Behars installation for Swarovski, ‘Amplify’, and based fig.4
BOTTLE DESIGN
our perfume bottle on these shapes (WGSN - Hypnotic Psychedelia, VM 2013). The glass perfume bottle would be covered in a translucent kaleidoscope pattern inspired by mutliple trends seen on WGSN.
11
packaging
would
PACKAGING
Almas’
be
inline with our brand’s aesthetic reflecting the brand’s contemporary luxury. Our packaging would be slick & minimal to give it the feel of a luxury product. The perfume would be sold in a simple black box, being a partial metaphor for women wearing the hijab, as well as the plain black box adding to the mystery of what is concealed inside it. For our packaging we would use a company called ‘Wrapology’ who manufacture
luxury
packaging.
Their clients include Chloe, Calvin Klein, Marc Jacobs & Harrods. We would request a variety of products such as the examples shown:
12
ALMAS
Almas cordially invites you to it’s spectacular launch of their new perfume
ALMAS
July 1st 2013 Harrods 10AM ALMAS DESIGN EXAMPLES fig.5
These are examples of our branding & packaging, including:
MA S
- printed ribbon
AL
- invitation postcard
AL
MA S
- fragrance tester strip - thankyou card
AL MA S
AL
MA S
AL
AL
MA S
MA S
AL
AL
MA S
MA S
- tissue paper
AL MA S
AL MA S
AL
MA S
ALMAS PERFUMES HARRODS
THANKYOU
AL
MA S
AL
MA S
We hope you will love your new fragrance as much as we do
MA S AL
AL
MA S
AL
MA S
AL MA S
AL MA S
AL
MA S
AL MA S
AL
MA S
LOve almas x
13
S E M U F R E P S ALMA Y F ROM EXCLUSIVEL HARRODS
fig.6
14
The carrier bag is a hugely important aspect to focus on as it ‘is a highly visual symbol of a brand’. It is a key marketing tool due to the fact that, “every time a customer leaves a store
carrying
their
purchases
in a distinctive and recognisable carrier bag, they become a walking advertisement
for
the
brand.”
(Posner, 2011) This is especially important for our particular customers, as the shopping bags they carry reflect and flaunt their wealthy status. Contemporary luxury is what our brand
encompasses
&
evolves
around, as we are giving our consumers luxury products & service, but making it more modern. By aiming at a younger audience we
are
embracing
innovative
technology within our marketing strategy, to add an interactive experience to buying perfume.
CARRIER BAG
Our marketing strategy will be fully coherent and consistent as it is a tangible representation of our brand. Before, during & after launching our fragrance(s) we would carry out direct rating tests & portfolio tests to ensure the brand’s communications are working effectively to connect with our target consumers. This will help us to improve sales and understand our target market in ever more depth. (Jackson & Shaw, 2009)
15
STRATEGIC PROPOSAL The Brand Ambassador for this
consumers an ambassador they can
particular perfume will be Hanaa
relate to and admire (Posner, 2011).
Ben Abdesslem as she is already well
Almas also wants to associate
recognised for modelling along side
themselves with her based on her
beauty brand ‘Lancome’, making her
plans on changing ‘misconceptions
easily identifiable & eye catching.
of what modeling is about’ within
Hanaa embodies the sophistication
her culture and similar cultures
& young identity we wish to
within the Middle East (Mail
associate our fragrance & brand
Online, 2012). Almas wants to
with. Being young & fresh faced,
directly identify themselves with
our 25 to 30 year old consumers
Hanaa’s sparkle & prominence, so as
will be able to connect with her on
to reinforce its own brand’s position
an emotional level. The Tunisian is
and image within the marketplace
also a practicing Muslim, who does
(Posner, 2011).
not drink alcohol or smoke, giving
16
17
fig.7
BR AMBAS 18
AND SADOR 19
fig.8
fig.9
20
HANNA BEN ABDESSLEM 21
fig.10
22
LAUNCH LOCATION
23
RAMADAN RUSH A key time we will be focusing
company for retailers in Oxford
on is the ‘Ramadan Rush’ which
Street, Bond Street and Regent
begins on July 9th in the coming
Street explains, these customers are
year. This is a time when wealthy
worth millions as last year Middle
Arabs, including millionaires &
Eastern visitors spent around £120
billionaires, flock to London from
million in the ‘Ramadan Rush’,
all over the Middle East to escape
which they expect to rise year-on-
the heat, relax, party, and to flaunt
year. These Arab consumers do not
their wealth. The figures speak for
want summer sales bargains, they
themselves, with Saudi visitors
want new season stock explains
increasing 22% year-on-year, &
a Selfridge’s spokesperson, ‘they
UAE visitors rising nearly 10% at
want the latest, most fashionable,
120,000.
limited-edition products’, which is exactly what Almas has to offer.
During this time we’d have Arabic
This is why we would launch our
speaking staff on our perfume
first perfume on July 1st to create a
counter because ‘The pre-Ramadan
buzz for Middle Eastern customers
spending spree is boosting the
coming over soon after the launch,
profits of high-end stores such as
with the knowledge of our exclusive
Selfridges & Harrods’. This is why
new perfume being sold in Harrods
Harrods is a key location to have
(Daily Mail 2012).
our counter due to its ever growing and high-end stores, ‘The Ramadan Rush is a total phenomenon.’ As Jace Tyrrell of the New West End Company, the management
“ THESE CUSTOMERS WANT THE BEST AND
ARE PREPARED TO PAY FOR IT
“
wealthy customer base. For Almas,
Daily mail 24
PRE LAUNCH Prior to the launch all major activity will be based in the UK and be digitally focussed. We would create the brand’s official website, facebook, instagram & twitter accounts, promoting the launch of the new perfume & enabling customers to share our promotional features. We want to make our brand ever more modern by embracing a highly digital strategy & encompassing social media as an integral part of our marketing, to appeal to our younger target market.
25
FACEBOOK - MOBILE
These figures show the huge growth in internet users in the Middle East, who are eagerly embracing social & digital media, so we would use this to our advantage. The Middle East has seen a 294% increase in it’s internet population, from 2007 to 2012. This means Almas has 77 million internet users it can reach in the Middle East alone (World Internet Stats cited on Pingdom. com, 2012), let alone the 52 million user in the UK (World Internet Stats, 2012).Through our social media and website platforms we would be able to tell our consumers where
5,906
and when the launch will be, with a count down to the event, provoking thrill & intrigue. Customers will also be able to sign up to our email promotions & request samples to be sent to their homes 1 month prior to the launch, with a restricted number
of
samples
available,
around 500, to make consumers feel the need to rush to get one, making it appear to be exclusive & limited. We would send out samples & invitations to bloggers and instabloggers throughout the UK & Middle East to get our perfume talked about & promoted to further increase social media activity, as well as brand & product awareness. On the website, two days before the launch event, consumers will be able to sign up for the first 20 VIP places. The chosen consumers will be sent their VIP invitation via their email and can either print it out or show it on their smartphone.
26
TWITTER - MOBILE
INSTAGRAM - MOBILE
5079
fig.11
27
With the launch being in Harrods, we would have a mysterious & alluring window display with the bottle covered over by a piece of black silk draped over it. The brand name, launch date and time, as well as links to website & social media will be written on window. The window display is an important way for Almas to communicate specific information to shoppers (Posner, 2011), especially to drive our social media marketing. More-over it is to inspire a sense of mystery and interest for passing shoppers. 3 weeks prior to the launch, the window will also be interactive, inspired by a visual merchandising trend found on WGSN (Digital Future, 2013); an idea used in Seattle by Nordstrom. Our window
WINDOW DISPLAY
display in Harrods would become interactive through the use of Kinect’s infrared technology. It would enable shoppers outside the store to ‘paint’ and ‘write’ onto the window in light, against the black backdrop of the display, through the motion of their hands in-front of the glass. The public would thus be encouraged to illustrate and leave comments on the window, getting shoppers to proactively connect and interact with our brand. This would create an exciting approach to
increasing
Almas’
brand
exposure as well as establish the beginnings of the brand’s affiliation with technology.
28
fig.12
fig.13
Nordstrom’s interactive window display, Seattle
29
The launch will start with the unveiling of the bottle in the window, revealing the two large digital screens behind which will play moving kaleidoscope patterns, acting as attention grabbing visuals inspired by the bottle’s design. This was inspired by Etro’s incredibly entrancing kaleidoscopic catwalk for
Autumn/Winter
2013/2014
(WGSN - Catwalk Sets, VM 2013). At the launch the 20 winners will
receive
kaleidoscope
a
complimentary
patterned
i-phone
case (both generation 4 & 5 cases
fig.14
available) & ipad case, a Limited Edition bottle of Almas with a single Swarovski diamond embedded in the gold lid, as well as a handbag sized bottle. They will also be given a specific hashtag to use if they wish to talk about their Almas VIP experience on twitter, and write about their thoughts on their new fragrance. These tweets will then be retweeted onto the Almas twitter page, copied onto the facebook page and featured on the website to promote excitement around the launch. fig.15
LAUNCH 30
fig.16
fig.17
Etro’s Kaleidoscopic Catwalk for A/W ‘14
31
fig.18 - 22
IPH
ON
EC
A SE
DES
IGN
IDE
AS
32
.23
fig
IPAD CASE DESIGN IDEAS
fig.24 - 27
These iphone & ipad cases will be available for customers to buy at our perfume counter, to make our brand accessible for everyone, furthering brand awareness not only through our perfumes, but also with customers buying accessories related to the latest trends which our designs will revolve around. This will in-turn generate further revenue, enabling us to expand our brand laterly.
fig.28
33
The
counter
will
be
highly
interactive, with ipads fitted into the counters, enabling customers to write their thoughts on the perfume, which will be added into an online work cloud on the website, and try out our other digital media. The ipads will also be hooked up to a device which, when you press a button on the screen to spray a burst of fragrance. It will be sprayed from a nozzle fitted into the counter which will spray onto customer’s wrists. Consumers will feel compelled to see and try the technology themselves, bringing more customers to the counter to gain brand awareness and footfall. These tablets & a large back wall screen, when not being used by customers, will slideshow a selection of images and videos, including the making of the perfume, the kaleidoscopic patterns, closeups of the bottle and of the advertising campaigns, inspired by the innovative use of technology & the interactive screens used in the Burberry Flagship Store
HARRODS PERFUME COUNTER DESIGN
(Wallpaper, 2012). Additionally, customers will be encouraged to interact with our displays by generating their own, personal by
kaleidoscopic
taking
their
photograph
on the counter’s tablets. These photographs, through the use of an app, will be transformed into digital kaleidoscopes, which will be played on the counter tablets, window display screens & website. They will also be encouraged to share their kaleidoscope onto their social media pages, extending brand awareness to their friends.
34
pattern,
Kate Spade’s use of tablets in her new store
fig.29
hi-tech luxury
“
“
WGSN
35
Alexander McQueen Interactive table
fig.30
The use of ipads & tablets in stores has become a ‘retail norm’, from department stores & luxury retailers, to beauty counters. Our brand will be able to take full advantage of ipads within our counter in Harrods. For example, customers can watch the latest promotional media; sign up for newsletters & events; follow our social media platforms; access further &
book
product
information
personal
perfume
consultation appointments. Thus giving out customers an ultra slick & richly hands-on user experience, including the ability to conveniently purchase items via the ipads, as currently being used by fashion retailer, Nordstrom (WGSN - Ipads in Retail, 2011).
IPADS / TABLETS fig.31
Karl Lagerfeld Store
36
fig.32
37
All Saints
38 fig.33
fig.34
DIGITAL SCREENS Burberry has been leading the way with their state-of-the-art, ultra modern Flagship store on Regents Street, London. A store every brand should take inspiration from, including ours. Embracing technology into their marketing and visual merchandising has only furthered their success and brand awareness.
39
fig.35
PERFUME COUNTER DESIGN INSPIRATION I took a great deal of inspiration from Chanel. Their fragrance & beauty counter designs as always beautifully slick, modern and inviting. Every aspect of their counter designs are luxurious. I really liked how customers have the option to browse themselves, or seat themselves for a consultations. I also loved the semi circle dividing wall, making for a cosy, welcoming space in amoungst the tightly packed & busy perfume halls.
40
fig.36
41
42
fig.37
43
44
During the launch promotional staff will be handing out free samples of Almas, & bottles will be available to purchase. We will also have a £1 million bottle of Almas exhibited, which will be highly decorated in real gold & diamonds. This will be fixed into the wall display for customers to admire in Samsung’s new transparent display case which allows images and text to be displayed on the glass case, over the product. Therefore forming a display visually engaging for customers to be drawn into admiring; associating our fragrance with
contemporary
&
emerging
technology (WGSN - Digital Future, VM 2013).
We will therefore be
able to play kaleidoscope videos, advertising campaigns and media messages over the display case.
DIGITAL DISPLAY CASE
fig.38
45
BRAND EXPANSION
By doing this we are making the whole
with new & interesting content
experience of shopping more exciting
such as snippets of the advertising,
& compelling, particularly as many
upcoming events, media coverage,
‘shopaholics’ find the ‘experience
consumer reviews from youtube &
of shopping and spending money
behind the scenes footage. Social
is more pleasurable than owning
media activity will be a crucial part
the product purchased’. This is why
of our on going marketing strategy so
it is key we make buying an Almas
as to reach out to our younger target
perfume an event, within an enticing
audience. Especially as social media is
retail environment, because it can
a fantastic way to ...
‘substantially enhance and encourage purchasing.’(Jackson
&
Shaw, 2009) For the launch we will try to gain as
much
publicity
as
possible,
using PR companies such as ‘APR Communications’ in London & ‘The PR Clinic’ in Dubai to help us achieve this. We will also gain coverage in Middle Eastern Magazines such as Alef, Haute Muse, Harpers Bazaar
“
find out what the
marketplace is thinking about you, your company, and your products
Arabia and Elle Arab World, all high end magazines which our target Middle Eastern woman would read. The Almas bottle worth £1 million will also bring extended media coverage & publicity, in both the UK
(Meerman Scott, 2007 cited in Posner,
and the Middle East.
2011, p168). Thus making it easier for us as a brand to understand and
We would be continually updating our
stay up-to-date with our consumers’
social media platforms and website
perceptions, desires & requirements.
46
“
consumer
fig.39 - 42
47
fig.43
We would then laun ch Almas Mall, the in the lux world’s la ury depa rgest sho rtment sto then help pping ma re ‘Paris ll, within us to sell Gallery’ 6 month our prod in the Du s of our H uct specifi bai arrods la cally to o unch. Th ur Middle is will Eastern m arket all year roun d.
fig.44
48
POST -
To celebr ate this la unch we further p would in troduce o roducts, enhancin ur loyalty g brand lo understa scheme, nding loc y as an inc a lt y. To mar al, cultur entive to k e t o al, social, brand is u encourag r s e lv e s within effectively geograph e consum the Midd ic & poli er to pur responsiv le ti need to b E chase e c a a s to t l s w a it e n u y would ne ations th e adapted arising sit r e o d u u to to g a h ti d work on ons (Pos ifferent c the use o shopping ner, 2011 ultures. W f PEST a habits or ). This is nalysis, to e would h cultural tr b ecause m ensure ou ave to ma aditions arketing r ke sure n for exam strategies ot to mak p le . & e assump m We would e s s a ges tions abo need to s ut Middle eek advic E preferenc a s e te fr r n om profe es and pr ssionals actices, s who hav harm the o as to n e an in-de ot cause brand. F pth know any offen or that r ledge of se at any interprete eason, tr the coun point, no anslators d correctl trys’ cult t gain ba would n y (Bickle ure, cons d press o eed to b , 2011). umer r negativ e brough e publicit t in to e nsure ou y which may r cross tr anslated messages are
LAUNCH 49
Our first perfume collaboration would
be
with
Tunisian
calligraffiti artist eL Seed who has previously collaborated with Louis Vuitton on a silk scarf in March 2013. The selftaught artist showcases his passion for street art & Arabic calligraphy and blends them together to create something highly unique and innovative. This
collaboration
would
work fantastically with our brand as it parallels with our idea of combining Middle Eastern culture, such as the
POTENCIAL COLLABORATION
deep history & beauty behind Arabic calligraphy with the contemporary
evolution
of
street art. It would make for a exciting & contemporary limited edition perfume bottle from a tremendously talented emerging artist. (Style.com/ Arabia, 2013)
fig.45
50
fig.46
fig.47
51
fig.48
fig.49
52
53
54 fig.50
fig.51
55
CONCLUSION
56
In conclusion I feel my proposed
online promotional ideas, future
marketing scheme would work well
events,
for our brand. It is distinctly focussed
product placement & the press
on what consumers want from a
release. I also feel with more
perfume brand, but given to them
resources we would have liked to
in a innovative & enticing fashion.
have attained stronger in-depth
Technology is constantly evolving
primary research which, with our
& it is important for retailers and
particular target audience, was
brands to take advantage of this
challenging.
charity
collaborations.,
and embrace it, enticing customers in new ways. Therefore I feel my
Overall, I feel our perfume would
digital proposal will make us
expand much faster when taken
current and attractive to customers
into the Middle East, especially
who want to really connect with a
bringing exciting technology into
brand; not just buying the perfume,
the country, giving customers there
but buying into the experience,
a more interactive experience.
as well as exclusivity. It is obvious that digital is the way forward, and
I have really enjoyed reading into
seeking inspiration from luxury
the depth & breath of this region’s
brands such as Burberry & Chanel
consumer behaviour and cultures,
proves this as they too are bringing
then
exciting digital experiences into
to our proposal, which has been
their brands.
difficult as times with this particular
applying
that
knowledge
target consumer, but thoroughly With more time / larger word count,
interesting.
I would have also liked to have covered our evening VIP launch party, further store launches, other
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LIST OF ILLUSTRATIONS FIG 1 - Yves Behar, (2012), Amplify by Yves Behar for Swarovski [ONLINE]. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/content/wgsn/unifiedsearch.html?q=amplify%20swarovski&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 2 - Kara Cerveny, (2012), Zebrafish retina [ONLINE]. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/ wgsn/unifiedsearch.html?q=zebrafish&tags=&type=all&t=all&_charset_=utf-8 [Accessed 12 June 13]. FIG 3 - Keiichi Matsuda, (2012), Prism by Keiichi Matsuda [ONLINE]. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/content/report/Retail_and_VM/Visual_Merchandising/Inspiration_and_Innovation/2013/February/art_ exhibitions_2012trendedvminspiration.html [Accessed 12 June 13]. FIG 4 - Product Design Student at NTU (2013) perfume shape concept [Accessed 10 June 13] FIG 5 - craftdragon.com, (2012), pink ribbon [ONLINE]. Available at: http://www.craftdragon.co.uk/images/Pink%20 Ribbon%2033pct.png [Accessed 15 June 13]. FIG 6 - aplexpress.com, (2011), black luxury carrier bag [ONLINE]. Available at: https://www.aplexpress.co.uk/media/ catalog/product/cache/2/ image/450x600/9df78eab33525d08d6e5fb8d27136e95/h/m/hm_matt_black2533_ plane_large.jpg [Accessed 15 June 13]. FIG 7 - n/a, (2013), Hanna Ben Abdesslem [ONLINE]. Available at: http://planetems.cluster014.ovh.net/yangabin/modeles/ hanaabenabdesslem/pHanaaBenAbdesslem1VoFrMars11KarimSadli.jpg [Accessed 13 June 13]. FIG 8 - n/a, (2013), Hanna Ben Abdesslem [ONLINE]. Available at: http://photos.be.com/private/photo/hd/7882788/ private-category/hanaa-10953901c9.jpg [Accessed 13 June 13]. FIG 9 - Harpers Bazaar Middle East - Armani Prive, (2012), Hanna Ben Abdesslem [ONLINE]. Available at: http://bcr8tive. com/wp-content/ uploads/2013/01/Harpers-Bazaar-Middle-East-October-2012-Hanaa-Ben-Abdesslem-2-Armani-Prive. jpg [Accessed 13 June 13]. FIG 10 - ritafontes.com, (2011), Harrods, London uploads/2011/11/harrods1.jpg [Accessed 14 June 13].
[ONLINE].
Available
at:
http://ritafontes.com/wp-content/
FIG 11 - database4iphone.com, (2012), iphone template [ONLINE]. Available at: http://www.database4iphone.com/wpcontent/uploads/faq11-2.png [Accessed 15 June 13]. FIG 12 - 1pezeshk.com, (2013), Nordstrom, Seattle - Interactive Window 2 [ONLINE]. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/wgsn/unifiedsearch.html?q=nordstrom%2C%20seattle&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 13 - 1pezeshk.com, (2013), Nordstrom, Seattle - Interactive Window 1 [ONLINE]. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/wgsn/unifiedsearch.html?q=nordstrom%2C%20seattle&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 14 - WGSN, (2013), Etro a/w 2014 catwalk 1 [ONLINE]. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/ wgsn/unifiedsearch.html?q=etro%20autumn%2Fwinter%2014&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 15 - WGSN, (2013), Etro a/w 2014 catwalk 2 [ONLINE]. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/ wgsn/unifiedsearch.html?q=etro%20autumn%2Fwinter%2014&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 60
13]. FIG 16 - VLADIMIR POTOP, (2013), Etro autumn/winter 2013 [ONLINE]. Available at: http://fashion.telegraph.co.uk/ news-features/TMG9887750/Milan-Fashion-Week-autumnwinter-2013-Day-3-Memo.html [Accessed 13 June 13]. FIG 17 - WGSN, (2013), Etro a/w 2014 catwalk 3 [ONLINE]. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/ wgsn/unifiedsearch.html?q=etro%20autumn%2Fwinter%2014&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 18 - n/a, (2011), iphone case 1 [ONLINE]. Available at: http://rlv.zcache.com.au/living_green_mandala_kaleidoscope_ iphone_4_4s_case-rf7b69512e3a94aa5b4f10b4808435050_a460e_8byvr_216.jpg [Accessed 15 June 13]. FIG 19 - bigspl.com, (2011), iphone case 2 [ONLINE]. Available at: http://www.bigspl.com/c/living_purple_mandala_ kaleidoscope_iphone_4_case--179052943912305603-product-210.jpg [Accessed 15 June 13]. FIG 20 - n/a, (2011), iphone case 3 [ONLINE]. Available at: http://rlv.zcache.com/pink_and_yellow_kaleidoscope_fractal_ iphone_case-r521e1e3c769e43d18afbe8a4144e1a5b_vx3cj_8byvr_210.jpg?bg=0xFFFFFF [Accessed 15 June 13]. FIG 21 - n/a, (2011), iphone case 4 [ONLINE]. Available at: http://rlv.zcache.com/blue_kaleidoscope_fractal_iphone_4_ cases-r6458858566764cb48dcbf0373ff30ed8_vx34d_8byvr_210.jpg?bg=0xFFFFFF [Accessed 15 June 13]. FIG 22 - n/a, (2012), iphone case 5 [ONLINE]. Available at: http://rlv.zcache.co.uk/blue_kaleidoscope_mandala_iphone_5_ case-r01f2755075a1403c87222dc8cc447755_80cs8_8byvr_216.jpg [Accessed 15 June 13]. FIG 23 - wanelo.com, (2011), iphone case 6 [ONLINE]. Available at: http://cdn-s3-2.wanelo.com/product/image/2248247/ original.jpg [Accessed 15 June 13]. FIG 24 - n/a, (2012), ipad cover 1 [ONLINE]. Available at: http://rlv.zcache.co.uk/dotty_love_mandala_kaleidoscope_ipad_ mini_cover-r60834794501a450ab9b210315cd768e1_vaspz_8byvr_216.jpg [Accessed 14 June 13]. FIG 25 - n/a, (2012), ipad cover 2 [ONLINE]. Available at: http://rlv.zcache.com/blue_kaleidoscope_fractal_cover_for_the_ ipad_mini-r68482fd6c82e43b69c517568e65abb0c_vaspz_8byvr_210.jpg?bg=0xFFFFFF [Accessed 14 June 13]. FIG 26 - n/a, (2012), ipad cover 3 [ONLINE]. Available at: http://rlv.zcache.com/pink_and_yellow_kaleidoscope_fractal_ ipad_mini_case-re825b9d28c4845e4a4f4ac2fcb8d42c7_vaspz_8byvr_210.jpg?bg=0xFFFFFF [Accessed 14 June 13]. FIG 27 - zazzle.com, (2012), ipad cover 4 [ONLINE]. Available at: http://www.zazzle.co.uk/alternative+ipad+cases [Accessed 14 June 13]. FIG 28 - n/a, (2012), ipad cover 5 [ONLINE]. Available at: http://rlv.zcache.co.uk/purple_living_mandala_kaleidoscope_ ipad_mini_case-rc2ae57bc77df4d759802c6f018d92124_vaspz_8byvr_512.jpg [Accessed 14 June 13]. FIG 29 - n/a, (2013), Kate Spade Flagship Store ipads [ONLINE]. Available at: http://i.i.com.com/cnwk.1d/i/tim/2013/03/11/ KateSpadeiPads.jpg [Accessed 13 June 13]. FIG 30 - McQ Store, (2012), McQueen Flagship Store Installation [ONLINE]. Available at: http://behance.vo.llnwd.net/ profiles7/505570/ projects/7835885/8c7a99fc6ad5551bd1624c9436802777.jpg [Accessed 13 June 13].
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FIG 31 - n/a, (2013), Karl Lagerfeld Store Ipads [ONLINE]. Available at: http://etcfashionblog.com/wp-content/ uploads/2013/02/Shop-Karl-Lagerfeld-Saint-Germain-Des-PrĂŠs-The-Editorial-Discovers-Places-In-Preview-8.jpg [Accessed 13 June 13]. FIG 32 - All Saints, (2011), All Saints, New York [ONLINE]. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/ report/Retail_and_VM/Online/2011/June/ipads_at_retail.html [Accessed 13 June 13]. FIG 33 - Burberry, (2012), Burberry, Regents Street, London 1 [ONLINE]. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/content/wgsn/unifiedsearch.html?q=burberry%20regents%20street&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 34 - Burberry, (2012), Burberry, Regents Street, London 2 [ONLINE]. Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/content/wgsn/unifiedsearch.html?q=burberry%20regents%20street&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 35 - n/a , (2012), Chanel Perfume Counter [ONLINE]. Available at: http://4.bp.blogspot.com/_vzm2CJb_Jco/ TFEMHaH_UfI/AAAAAAAAFVc/GU9z_wHyyac/s1600/holt+renfrew+chanel+perfume+counter.jpg [Accessed 13 June 13]. FIG 36 - Todd, (2011), Chanel seated counter [ONLINE]. Available at: http://tkingstonp.files.wordpress.com/2011/02/ chanel-3611.jpg [Accessed 13 June 13]. FIG 37 - Scents of Self blog, (2012), Chanel perfume counter close up [ONLINE]. Available at: http://scentsofself.files. wordpress.com/2012/03/espace-parfums-2.jpg [Accessed 13 June 13]. FIG 38 - WGSN Samsung, (2013), Samsung Transparent Display Box [ONLINE]. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/wgsn/unifiedsearch.html?q=samsung%20transparent&tags=&type=all&t=all&_charset_=utf-8 [Accessed 13 June 13]. FIG 39 - celebuzz.com, (2012), Haute Muse Kim Kardashian cover [ONLINE]. Available at: http://cdn2.kimkcdn.celebuzz. com/files/2011/12/Kim-Kardashian-Haute-Magazine-Exclusive-Second-Cover-120511-492x637.jpg [Accessed 15 June 13]. FIG 40 - Elle Arab World, (2012), Elle Arab World Doutzen Kroes [ONLINE]. Available at: http://i.sauceinc.net/assets/ media/2012/08/Elle-Arab-World-sauce-June-2012-Cover-Large-742x1024.jpg [Accessed 15 June 13]. FIG 41 - Harpers Bazaar Arabia, (2011), Harpers Bazaar Arabia Paula Patton [ONLINE]. Available at: http:// whatshauteinthestreets.com/wp-content/uploads/2011/12/paula-patton-harpers-bazaar-arabia-december-2011.jpg [Accessed 15 June 13]. FIG 42 - Alef Magazine, (2007), Alef Magazine cover [ONLINE]. Available at: http://www.welovecolophon.com/uploaded/ file-Alef-1744_0.jpg [Accessed 15 June 13]. FIG 43 - The Dubai Mall, (2011), Paris Gallery [ONLINE]. Available at: http://www.thedubaimall.com/en/Images/Paris%20 Gallery%201_tcm87-18112.jpg [Accessed 15 June 13]. FIG 44 - The Dubai Mall, (2012), Paris Gallery 2 [ONLINE]. Available at: http://www.ourbusinessnews.com/wp-content/upl oads/2012/10/31097__121025031346-paris-gallery-luxury-iraq-story-top.jpg [Accessed 15 June 13].
FIG 45 - Afrostylemag.com, (2013), El Seed Portrait Photograph [ONLINE]. Available at: http://www.afrostylemag.com/ images/elSeed.jpg [Accessed 15 June 13]. FIG 46 - 12ozprophet.com, (2012), El Seed Street Art [ONLINE]. Available at: http://www.12ozprophet.com/images/sized/ images/news/12ozprophet-cnn-el_seed-3-664x355.png [Accessed 15 June 13]. 62
FIG 47 - n/a, (2013), El Seed Louis Vuitton Bag Instagram [ONLINE]. Available at: http://thezacorner.files.wordpress. com/2013/04/screen-shot-2013-04-26-at-11-00-45-am.png [Accessed 15 June 13]. FIG 48 - savoirflair.com, (2013), El Seed Louis Vuitton scarf [ONLINE]. Available at: http://www.savoirflair.com/sites/ default/files/Louis-Vuitton-eL-Seed-Collaboration-page8.jpg [Accessed 15 June 13]. FIG 49 - arabiastyle.com, (2013), El Seed extended canvas calligraffiti [ONLINE]. Available at: http://cdn5.arabiastyle.com/ wp-content/uploads/2013/03/el-seed--1024x682.jpg [Accessed 15 June 13]. FIG 50 - El Seed, (2013), El Seed bright canvas calligraffiti [ONLINE]. Available at: http://elseed-art.com/wp-content/gallery/ canvas/untitled-2.jpg [Accessed 15 June 13]. FIG 51 - n/a, (2013), El Seed louis vuitton trunks window display [ONLINE]. Available at: http://i24.photobucket.com/ albums/c44/FIG 8 -ushhottie/out%20and%20about/DSC_0026_zps0b340c11.jpg [Accessed 15 June 13].
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