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the university of manchester fashion buying & merchandising Mats34570 buying strategy strategic buying project jia wen huang 9821521 word count:4550
WWW.STORIES.COM
“The First Date in Paris Bridal Collection”
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introduction
strategy
product
1.0 Introduction 1.1Brand Overview 1.2 Brand Analysis 1.3 Corporative Objectives 1.4 Finanical Statements 1.5 Consumer Analysis 1.6 Competitor Analysis 1.7 Strategic Gap Analysis
2.0 Strategic Positioning 2.1 External Analysis 2.2 Micro Interpretation 2.3 Internal Analysis 2.4 Resource Based View 2.5 VRIO Framework 2.6 Strategic Choice 2.7 Business Strategy 2.8 Strategic Direction 2.9 The Launch 2.10 BCG Matrix 2.11 Strategic Evaluation
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merchandising 4.0 Merchandising Strategy 4.1 Finanical Spreadsheet 4.2 Distribution and Allocation 4.3 WSSI (Weekly Sales, Stock and Intakes)
3.0 Strategic Portfolio 3.1 Key Trend Inspiration 3.2 Key Trend Silhouettes 3.3 Strategic Targeting 3.4 Comparative Shop 3.5 Comparative Shop Summary 3.6 Directional Shop 3.7 Trend Translation 3.8 Range Plan Development 3.9 Phase One 3.10 Phase Two 3.11 Phase Three 3.12 Technical Development 3.13 Tech Pack Summary 3.14 Sourcing Information 3.15 Critical Path 3.16 Fabric Testing Information
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conclusion 5.0 Conclusion 5.1 Executive Summary
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“Table of Contents”
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references 6.0 References
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appendix 7.0 Appendix
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ONE
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1.0 introduction
first date in paris
portfolio overview The aspiration of this portfolio attempts to critically analyse and communicate the innovative development of a new Bridal Collection for & Other Stories to sit alongside the brand’s current product portfolio. The brand’s intention is providing collections from different perspectives through the establishment of its separate design ateliers across the globe; Stockholm, Paris and Los Angeles. To incorporate the exceptional brand concept, the bridal collection – ‘First Date in Paris’ will be based in Paris to signify the Parisian delicacy with the aesthetics of hearts and ruffles to spark romance and external love for AOS’ target audience. Theoretically, this corresponds to Mital et al (2014) statement of ‘successful companies are constantly operating in a state of innovation in terms of products, frequently introducing new products or modifying and improving existing products as desired by the customers’. The intention of the new collection is to establish a successful business strategy through the use of appropriate strategic theories to identify potential growth and facilitation to build on the brand’s achievements.
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‘& Other Stories was founded in 2010 by a small group of creative, which grew from the wish to give women the freedom of expression through one brand’. (& Other Stories)
who we are
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what we are
‘The working title of & Other Stories – would never judge styles or fashion on the basis of anything being “right” or “wrong”, anyone should be able to find something at & Other Stories to suit her closet and taste’. (H&M, 2017b)
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1.1 brand overview
& Other Stories (AOS) is one of H&M group’s eight defined brands that offers consumer a wealth of styles and trends in ready-to-wear products, shoes, bags, accessories, beauty products and stationary for women (H&M, 2017a). It was launched in Spring 2013, through opening its first store on London’s Regent Street and simultaneously online sales kicked off in ten markets across Europe. Initially, setting up a new fashion brand wasn’t in the mind of the general manager of & Other Stories, Samuel Fernström as he was side-tracking towards conceptualising a new cosmetics brand within the H&M family. However, as the idea took off its shape, the team was motivated to create an innovative way of dedicating women who aspire to curate their entire personal look through one brand (H&M, 2017b).
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& Other Stories’ H
mission statement ‘The mission of & Other Stories aims to bring emphasis into detail and quality to offer everything a woman can wear within one brand - such as shoes, bags, accessoriesm beauty, stationery and ready-to-wear. To empower women to create their own personal style’ (H&M).
The general manager of AOS were handed the project to create a new cosmetics brand, but the idea took of its shape inwhich resulted to create a new brand to contribute a new way of giving customer an entire look.
Founded in 2010 by a small groups of individuals who wish to give women the freedom of expression through one brand.
In 2013, the launch of AOS’ first store opened on London’s Regent street, while online sales kicked off in ten markets at the same time across Europe.
History Timeline
vision statement ‘& Other Stories aims to stay true to its parent group H&M’s vision to make sure customers wear their products with pride, and staying conscious of all actions’ (H&M, 2017).
Collection are inspired from its three design ateliers to resonate a woman’s day-to-day personal style. Paris, Stockholm and Los Angeles aspires to bring different city style to AOS’ collections.
AOS is made up of four different mini-collections to coherent vision of a specific aesthetic to take on ready-towear, shoes, bags, jewellery and most importantly, cosmetics.
Each year, AOS works with different designers to co-create collections to complement their existing collections and connecting customers with designers from across the world.
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1.2 brand analysis
AOS’ marketing mix essentially underpins the acknowledgment of identifying and satisfying customer needs through profitable supply of product and service benefits (Jackson & Shaw, 2001). Ultimately, all decisions surrounding the different components should be equally important as they coordinate to support the company to achieve competitive advantage (McCarthy, 1982).
current marketing mix product The brand currently operates with 2,102 products in the UK (Edited, 2018). A brand that is dedicated to women who are into creating their own style. Providing different kinds of products that a woman can wear in one place (H&M, 2017). AOS offers a wide range of shoes, bags, accessories, beauty products, stationary and ready-to-wear for women (H&M, 2016). The brand offers different design ateliers in different places to extend its diversity and inspiration of different collections. The ateliers include, Paris, Stockholm and Los Angeles in-which each atelier tells a different story by different designers who are inspired by different things. The intention of incorporating contrary elements within collections signifies the importance of allowing customers to create their own personal style.
promotion Marketing channels – Instagram: Over 1M followers Facebook: Over 200,00 likes and followers Pinterest: 47,542 followers With its commercially shopping experience, AOS relies on word-of-mouth to generate potential promotion from customers and bloggers.
place AOS currently has 60 stores in 16 different markets and 15 online markets (H&M, 2018). 10 physical stores in the UK (& Other Stories, 2018). In-store environment and visual merchandising plays an imperative role of conveying the brand’s image. The overall aesthetic is categorised from ‘Poetic and Dandy’ to ‘Minimalism and Contradiction’, inspiring consumers to shop a mood as opposed to a trend (Fashion United, 2013).
price AOS’ ready-to-wear price hits between economy H&M and premium COS where clothing prices range from £12 - £195, which is aligned with it quality (Fashion United, 2013) Across all of H&M brands, AOS comes second in terms of highest average price with £46.62, while COS at £55 (Edited, 2018). In terms of discounting strategies, AOS has a controlled approach where very little is reduced. The lower level of discounting means it tends to go in with greater first discounts, which most often between 40-50% off (Edited, 2017). Currently, AOS has overall 36% of its products on discounts (Edited, 2018).
[Figure 1: AOS’ Marketing Mix]
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1.3 corporative objectives AOS’ BUSINESS LEVELS: The core element of AOS is to generate attention to detail and quality to offer everything a woman can wear through product ranges (H&M, 2018). Accompanying to the overall corporate goals of H&M group to serve customers through making sustainable fashion choices available, attractive and affordable (H&M, 2016). Simultaneously, this cogitate Johnson and Scholes’ (2007) explanation of ‘strategies exist at a number of levels in an organisation as it distributes responsibilities from corporate to business to functional levels’. AOS exploits sustainability through its functional levels of illustrating code of conduct and recycling programs within its company values to explicit statement of mission (& Other Stories, 2018).
Corporate Level H&M Group Business Level & Other Stories
Functional Level Sales
Functional Level Marketing [Figure 2: Corporative Levels]
Functional Level Ecommerce
1.4 finanical statments SALES FIGURES: H&M group illustrated net sales of 128,562m in the financial year ending 30th November 2013 (H&M, 2013), while sales increased to 151,419m in the subsequent year (H&M,2014) which is illustrated in figure 3. Notably, the growth demonstrates the achievement of how AOS has contributed towards H&M group’s success within the short period of two years. Correspondingly, the occurrence of the success exemplified H&M’s support in-terms of their efficient supply chain management and funding issues to eliminate AOS’ risk factors throughout the establishment years.
[Figure 3: Net Sales Of H&M Group]
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consumer profile
1.5 consumer analysis CUSTOMER PROFILING: Consumer-orientation stems from the organisation’s adoption and implementation of the marketing concept (Foxall, 2014). In the fashion industry, customer behaviour and consumer purchasing pattern is the key driver to the creation and development of innovative fashion for any brand to value customer needs (Grose, 2012). AOS’ consumer base constructs around finding ‘lasting wardrobe treasures, within a wide price’ (Independent, 2013). Essentially, the brand aspires to reflect on its value of making sustainable fashion choice available towards style-conscious women across all ages. As stated from AOS, ‘some days you want to a romantic dress, the next day jeans and t-shirt. You feel different and that’s what we’re trying to reflect (Independent, 2013). The idea behind this concept communicates the message that women don’t necessarily have to fall for every trend, instead AOS promotes women to dress according to how they feel daily through establishing small collections to create a sense of creativity for women to formulate their own style.
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1.6 competitors analysis
[Figure 4: Perceptual Mapping of AOS’ Current Competitive Market]
[Figure 5: Colours Wheel of AOS’ Competitors]
Mintel (2017) stated that the womenswear market is exceptionally challenging due unfavourable combinations of rising cost prices, the impact of living rate and slow spending on clothing which implies additional risks for AOS to successfully establish a strategy. To comprehend, a perceptual map has been formulated to emphasis AOS’ current position to be mid-premium with competitors in both high-street and high-end of the UK market. The analysis of competitors fundamentally creates a solid basis pertaining to present and potential competitors for executive actions (Sørensen, 2009). Also, the colour wheels obtained from Edited fundamentally illustrates a very similar offering in the womenswear market between the retailers. The interpretation of this highlights consumer’s large area of movement to one retailer to another. Alternatively, AOS’ ambition to diverse itself through globalisation approach of its divided in-design houses as most women don’t adhere to just one city’s stereotypical sense of style.
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1.7 strategic gap analysis
[Figure 6: Bridal Perceptual Map]
1.7 MARKET GAP POSITIONING: AOS’ brand position is distinctively diverse as it presents a novel concept that reflects the way modern women shop and dress, while focusing on young millennial at a higher price point. To maximise AOS’ competitive position, Abendroth and Pels (2017) suggests companies should explore potential market gaps to effectively bridge the gap and enable consumption. From the latest research, Mintel 2017 stated an influx of brands are ‘looking to obtain the growing demand for more affordable and trend-led wedding dresses with the launch of their own bridal collections’. Essentially, it is beneficial for AOS to pursue into the bridal market as the the brand identifies itself to ‘bringing everything a woman can wear into one place’. Simultaneously, 58% of females who married in the last three years cited that their outfit as top five wedding priority (Mintel, 2017), indicating a driver for AOS to exploit further
into their product portfolio. With its current capabilities of in-house ateliers, AOS is encouraged to introduce a new chapter in the Paris atelier to showcase different stories behind every bride. The allure of the new collection will critically reflect on versatility, with pieces that can be worn for other occasions following the wedding, creating a more budget-friendly option for AOS’ consumers (WGSN, 2017). To have a broad understanding of AOS’ position in the bridal market, an additional perceptual map has been created to explore the current competitive situation. The map dominantly circulates around the high street market as it signifies the operations of AOS’ current position and potential competition in the future. Following the launch of its bridal collection, AOS will sit in-between mid-fashionability and pricing will continue to explore into the high-end mechanism.
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bridal Market Share
The growing demand for bridal market: As the bridal market continues to differentiate themselves to cater into the millennial market, consumers are expectating more from their usual retailers to offer the conveniency of purchasing bridalwear.
AOS’ current offerings in the market: Currently, AOS only caters into womens’ essential, casual and daily wear. Hence, the gap displays a potential strategy that AOS can pursue in for their future development.
& Other Stories’ Offering [Figure 7: Gap Analysis ]
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2.0 strategic positioning
2.1 EXTERNAL ANALYSIS: Organisation are competing to outperform with innovation and creation in the field of business, technology and managerial procedures. Harper et al (2000) suggested, the marketing strategy should be in-accordance with the demands of the environment as it encourages companies to formulate and implement strategies effectively. To comprehend, an PESTLE analysis (appendix 1) has been conducted to have a broad understanding of environmental factors that impact to a greater or lesser extent of AOS (Johnson, Scholes and Whittington 2010). Annotating from the PESTLE framework, social factors regards a large spending on of bridal products as WSGN (2018) reported the average spent on wedding dress is $1,509. Concurrently, Mintel (2017) stated women are less confident with their financial situation than men, thus demonstrating an opportunity for AOS to diverse their product development through composing a bridal collection to outreach the mid-pre-
mium market to help spread the cost of the event. Contrastingly, the presence of Brexit destabilises the political and economical state within the UK as the uncertainty of free-trade (FTA) movement pressures British fashion with a tariff of 12% in duties (Business of Fashion, 2017). The transition period prolongs issues with keeping consumer confidence high from the devaluation of sterling as retail prices are continually rising (Drapers, 2017), thus increasing complexities associated with strategy planning for AOS to facilitate (Mose and Syaifuddin, 2016). However, Drapers (2017) argued that the transitional arrangement could potentially strengthen the UK’s economical state due to the opportunities to negotiate its own trade deals, essentially Mintel’s (2018) quarterly report emphasised that 34% consumers are financially confident reflecting a possible boost in purchasing power. 31
2.2 MICRO INTERPRETATION: SUPPLIERS/CUSTOMERS/COMPETITIORS
Porter’s 5 Forces
Analysis of Forces: The Bridal Market
Threats of New Entrants
The emergence of bridal collection is growing immense; retailers are continually entering the market to capture consumers through innovation. However, Mital et al (2014) stated that ‘generally, it is easier for a business to succeed if they’re on familiar territory’. Reflecting upon this, H&M group has been founded since 1947, in-which signifies the management capabilities to handle complex climates. Thus, increasing AOS’ core competences over potential entrants in the market. Bargaining Power of Being part of the H&M group, AOS benefits from its loyal manufacture and supplier Suppliers base through the years of establishment. However, recently H&M group aims to invest in new technologies to make its supply chain more flexible and more responsive as the poor performance from the year-end results (CIPS, 2018). Bargaining Power of As high street retailers are tapping into the bridal market, buyers are encouraged to Buyers explore the different series of retailers’ bridal collections, hence market saturation are pressuring AOS’ customer base as the variety of collection increases. To differentiate, AOS aims to focus on the mid-premium market to offer brides an alternative to traditionally expensive wedding dress alongside with premium shopping experience. However, AOS could face some risks if the quality of the price demotivates consumers as it pressures them to switch to cheaper alternatives or higher end if the prices are relatively similar. Threats of Substitutes Online giants, Boohoo (currently offering 33 bridal dresses), MissGuided (268 bridal dresses) and Quiz’s collection (5 bridal dresses) are potential threats to AOS as the collections are competitively priced and designed to provide young customers affordable and contemporary wedding dresses (WGSN, 2017). Rivalry Among Existing Competitors
Overall, the competition within the fashion industry are determined through its adoption by a majority of consumers in the market. The more innovativeness consumers are exposed to, the increased competition AOS will face, but this should be resolved as a driver to exploit competitive advantage (Ünay and Zehir, 2012).
2: Threats of New Entrants
3: Threats of Substitutes
1: Rivalry Among Existing Competition
5: Bargaining Power of Supplier
4: Bargaining Power of Buyer
[Figure 8: Polar Diagram of AOS’ Five Forces Framework] AOS’ current competitiveness in the bridal market has been analysed against Porter’s (2008) Five Forces Framework to adopt a distinctive positioning of entering the market. The polar diagram (figure 8) evaluates the five forces according to its competitive position, essentially it examines the apparent intensity of rivalry among competitors in the industry. Henry (2008) further exemplified that when an industry exhibits a high degree of rivalry, the level of profits will be reduced. The result of intensified rivalry dominantly refers to the new wedding priorities as couples are opting for the less expensive wedding (WGSN, 2015). Although, the demand is elevated, AOS’ unique brand perspective supports the positioning as its notion of ‘to-
tal brand’ which allude the promise of endless possibilities offered from AOS. However, despite the outlook of retailers making a leap into bridal-wear, Drapers (2017) accentuated that the demand grew 2.9% year-on-year in the 52 weeks to 17th January 2016, but fell 5.6% in the subsequent year. Indicating potential risks associated with consumer confidence of purchasing from their usual retailer for bridal-wear. Alongside, Dobbs (2014) argued that framework latters strategic insight of how AOS can compete more effectively as it draws imaginative conclusions from the analysis. To overall conceptualise an adequate strategic positioning, an internal analysis has been composed to assess AOS’ available capabilities to exploit into the environment.
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2.3 internal analysis
2.4 RESOURCE BASED VIEW: Resources: Tangible Financial
• Strong growth throughout the between the year of 2013-2014, with an increase in sales of 16% in 2014; a year after AOS’ launch (H&M 2014).
Physical
• AOS currently has 60 stores in 16 different markets (H&M, 2018). While, 10 physical operating stores in the UK (& Other Stories, 2018). • Three different ateliers across Paris, Stockholm and Los Angeles to formulate different designs with different stories, enhancing the niche within the current market. • Offering scale and a tremendous retail environment for AOS’ consumers to experience (Business of Fashion, 2013). Resources: Intangible
Technolog- • The current presence of AOS’ social media encourages the brand to associate with their consumer base ical and cultivate long term relationship. • The H&M group allows AOS to have an agile supply chain management to aid responsiveness to demands. Reputation • A brand that is dedicated towards women with contrast between ‘the Paris passionate Parisian atmosphere, the minimalistic, pragmatic Stockholm feel, and the laidback Los Angeles vibe’ (Business of Fashion, No Date). • High profile of promoting sustainability through their recycling programmes, code of conduct and environment and climate concerns to signifies their socially responsible image in the industry. • Cultivation of in-house ateliers and combination of collaborations to broaden the brand’s unique concept. • Targeting towards the mid-premium, potentially separating themselves from the saturated high street. Human • Currently AOS has over 1,500 employees and essentially, the brand encourages individuals to beResources ing spontaneous, personal and flexible to allow easy collaboration within the brand and enable growth (Business of Fashion, No Date). Organisational Capabilities • AOS targets towards embracing four mini-collections comprised of clothing and accessories, rather than being trend-led. • Focuses on endorsing values of sustainability through its core element of recycling programs and in-accordance to H&M’s statement of mission (& Other Stories, 2018). • Strategically, incorporated in-house ateliers across the globe to complement the brand’s distinctiveness. Competitive Advantage • AOS compete with differentiation advantage in-terms of its collections, having multiple ateliers encourages consumers to experience the different design cultures of each country. • The collections merely focus on connecting to the different needs of the women’s market, conveying the mission of having different looks on different days. Emphasising the purpose of allowing women to mix and match the products to create their own personal style. Strategy • Innovative to bring bridal-wear into AOS’ product portfolio to offer women the ‘whole’ individual style. • Continue to cultivate its competitive advantages in-terms of product differentiation and mid-premium quality. • Engage further with consumer through digital innovation to have more brand awareness internationally. • Apply AOS’ current capabilities to exploit into the bridal market with the notion of Paris atelier. Resource Gap • Bridal market requires further personal shopping experience, thus AOS must invest in garment professionals to set-up staff training programs to provide accurate fittings and measurements. • Evidence of digital integration should be implemented within stores to formulate a complete lifestyle experience. • Will need support from parent company to fund integration of a different supply chain. Premium fabrics and materials requires additional quality control, hence frequent factories visit and inspections (Goworek, 2007). 35
2.5 VRIO FRAMEWORK: Valuable – Does AOS’ resources and capabilities enable them to respond to environmental threats and opportunities?
Rarity – Are AOS’ current resources controlled by only a small number of competing brands?
Imitability – Are AOS’ current resources and capabilities costly for other brands to imitate?
Organisation – Does AOS’ current policies and procedures support the exploitation of its valuable, rarity and costly imitable resources?
Being part of the H&M group, AOS’ resources and capabilities both developed a strong position to respond to the environmental threats and opportunities. The uniqueness of its ateliers signifies their importance within the industry as it enhances AOS’ ability to react quickly to market demands and the development of their own trend authenticity. The utilisation of their high quality products and social responsible image leverages their core competences in corresponding to competitors’ threats by differentiating themselves away from saturated brands. Although, competition within this market sector seems to relatively competitive and saturated. AOS’ ability to diverse away from this by its brand image as it predominantly different in comparison to the current market. The brand secures competitive advantage in terms of its store environment as it takes on an approach to more lifestyle, much like Anthropologie with displays that integrates beauty products and accessories along with clothing (Business of Fashion, 2013). The imitability of AOS’ in-house ateliers lies within the integration of its supply management that is supported by the parent group, H&M. The ateliers are cultivated to bring a cultural aspect to AOS’ collection in-which enhances the difficulty to imitate for new entrants as the concept was well established since AOS’ launch date and the brand has continuously strived for innovation. Although, silhouettes and colour palettes are easy to imitate, AOS aids to promote their product through story-telling and embraces women to their everyday personal needs. AOS’ unique and innovative approach to ‘bringing everything a woman can wear into place’ has signifies their current success of product development, with innovative strategies of in-house ateliers and distinctive establishment of various collaborations. AOS has gain continuous profitable results from just a few years of service within the womenswear sector. The result comprehends from a solid backbone support from H&M as the group is designed to achieve the goal of achieving high merchandise turnover by constantly replenishing the product pipeline with its own brand concept; offering women qualified products to their everyday wardrobes.
The adaption of internal analysis comprehends how AOS’ resources and capabilities combined to produce competitive advantage in-terms of organisational knowledge (Johnson, Scholes and Whittington, 2010), while Barney (1991) expressed that these resources are built over a long period of time to accommodate AOS’ critical success factors. Essentially, the RBV focused on AOS’ reputation towards targeting women and comprehending the success with its capabilities of integrated ateliers in the designing processes. From having an established substantial competitive edge, AOS’ organisational resources have been measured against Barney’s (1991) VRIO framework to determine the brand’s dynamism capabilities. Overall, AOS’ distinctive capabilities and reputation enables them to further build and leverage into the greater environment with diversification into the new market and formulate upon a wider product portfolio; as Lin and Tsai (2015) circulated ‘bundling resources and capabilities to match AOS’ dynamic capabilities to its environment to help achieve competitive advantage’. However, being positioned in the mid-market, AOS risks to compete with both ends of the market to sustainably accumulate the available market share (Kim and Mauborgne, 2005). The SWOT analysis (appendix 2) further illustrates AOS’ exiguity of the bridal market, despite that AOS aids to combat with its competitive financial resources to facilitate the brand to differentiate with quality rather than cost leadership to strive a successful strategy in the sector. To further lessen weaknesses and threats, AOS can rely on its customer loyalty to compose a broad appreciation of new product recognition through social media. 37
strategic direction
2.6 strategic choice
2.7 BUSINESS STRATEGY: The fundamental component surfacing strategic choice is the adoption of business strategy. To synthesis, Porter’s Generic Strategy (1985) believes that strategy is the creation of a unique and valuable position in the market through pursuing one of the three generic strategies. Arguably, such statement has been criticised due to the fast changing dynamic of fashion, operating a singular generic strategy is considered to be no longer sufficient (Bush and Sinclair, 1992). Hence, to succeed a success strategy, the
Cost Leadership Strategy
Evaluation
appreciation of a ‘hybrid strategy’ implies the use of a differentiation and low-cost strategic approach to AOS’ bridal collection (Lapersonne et al, 2017). Subsequently, Johnson and Scholes (2007) strategy clock acknowledges upon the wider strategic positions in the competitive environment and illustrates the need to use combination of strategies to secure market opportunities. The following table evaluates the AOS’ approach to the ‘mixed strategies’.
Differentiation
AOS aims to attempt cost leadership Concurrently, gaining competitive advantage strategy through establishing prod- from product differentiation through AOS’ uct ranges at the lowest prices in the well established ateliers’ inspired collections. industry (Springer, 2000). To achieve To achieve product differentiation strategy, low-cost, H&M group recently has an- the styling and designs of the bridal collection nounced to build operational resilience will be based in the Paris atelier to signify ‘the through its supply chains, enabling romantic essence of the iconic French girl’ (& a faster, more flexible and technolo- Other Stories). The collection will remain true gy driven (Supply Chain Drive, 2018). to AOS’ brand concept and attitude to synthesis Thus, AOS will benefit from the suffi- the element of ‘bringing everything a woman cient upgrade to comprehend the new can wear into one place’. While, reflecting on development of bridalwear. Essentially, WGSN’s (2017) Common Ground inspiration automated dynamics will ensure costs is of floral lace, offering a refreshing update to controlled tightly through eliminating the Spring/Summer 2019 season. Additionalthe opportunity of wasteful resources ly, to emphasis the notion of Paris ateliers, the and technology platforms will endorse collection will be featured as ‘The First Date in AOS to gain better sense of demand Paris’, to signify the innovation and uniqueness throughout the season (Hashem et al, of product differentiation (Hashem et al ,2012). 2012). Following the strategies, it predominantly challenges Porter’s (1985) notion of ‘stuckin-the-middle’ which indicates the incapability of an organisation to formulate a clear strategic intent. However, a combination between strategies will further enable AOS to continuously strive for innovation to survive in the saturated market, while the strategy clock enables AOS to have a continuous choice than Porter’s sharp contrast between cost-leadership and differentiation (Johnson and Scholes, 2007). Likewise, Kim and Mauborgne’s (2005) value innovation believes the simultaneous pursuit of both differentiation and low-cost as it aspires to making competition irrelevant by changing the playing field of strategy. Thus, encouraging AOS to exploit its existing capabilities to testify the fulfilment of the bridal demand. [Figure 9: Porter’s Generic Strategy Evaluation] 39
2.8 STRATEGIC DIRECTION:
According to Ansoff ’s Matrix (1987), it purposed that diversification concerns the increasing novelty of markets or products within the sector (Johnson, Scholes and Whittington, 2010), while Yin (2016) stated that diversified development strategies are composed to maximise profit and occupy more markets. Correspondingly, AOS’ strives to launch a bridal collection through diversification strategy (figure 10), despite targeting the same audience as the intension
of bridalwear aspires for a different market due to its variations of consumer demographic. Although, Taylor (2012) suggests that diversification is the riskiest growth strategy, however taking into account of AOS’ current corporate capabilities (RBV) and the competitiveness of its supply chains (Forces); the indication overviews the beneficence of the allocation and uses of resources, thus demonstrating greater possibility for AOS to exploit its business size (Lo and Kai, 2016).
Existing Products
New Products
Existing Market
Market Penetration
Product DevelopmentW
New Market
Market Development
Diversification AOS attempts to focus on differentiating its bridal portfolio through diversification. Analysing from the PESTLE framework, it illustrates the bridal industry to have a desirable profitability, thus Park (2002) cogitates that this tend to drive AOS’ motive to exploit its hard-to-replicate resources and capabilities into the bridal market as it has high profile of profitability prospects. The diversification strategy highlights AOS’ acquisition to a wider product range, it could essentially target at its current consumers but due to the functionality and purpose of bridalwear; a new target level and demographic may be attracted to the collection.
[Figure 10: AOS’ Ansoff Matrix Model]
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bridal collection 2.9 THE LAUNCH: AOS’ bridal collection is anticipated to launch in April 2019 as Edited (2018) suggests it is the peak month to promote occasionwear and the increased opportunities of weddings taking place during the summer months, as well as the royal wedding in May could potentially have influence on occasionwear trends (Edited, 2018). The trading season is likely to be around 6 months, with three different short phases to allure consumers’ consistent attention surrounding the product launch. The different phases will speculate the collection’s versatility and how the collection caters into a large number of brides with different tastes. To further conceptualise an extensive strategic choice direction, a BCG Henderson (1969) model has been created to develop a new concept to optimise the service quality management of AOS to facilitate a successful launch of the product diversification.
2.10 BCG MATRIX: Low
High
Stars: high market share / high market growth • Leather jacket • Silk shirts • Midi skirts • Blazers • Floral wrap dress • Trench coat • Shoes • Cosmetics
Question Marks: low market share / high market growth • Denim dress • Maxi dress • Leather skirt / leggings • Drawstring waist midi dress • Oversized blazer • Bridal dress • Culottes jumpsuit
Low
Cash Cows: high market share / low market growth • Plain shirts • Knitted jumpers • Swimwear • Sweatshirt • Tailored trousers
Dogs: low market share / low market growth • T-shirts • Jeans • Shorts • Crop tops • V-neck tops • Tank tops
spring summer
High
[Figure 11: AOS’ BCG Matrix Model]
Generally, BCG matrix presents an indication for AOS to maintain a balanced portfolio of products and how well each product categories are performing in-terms of their product life cycle (Ioana et al, 2009). The introduction of bridal dresses would intend to start in the question mark category where the market growth is high, yet low market share. As Edited (2018) has denoted that an increased sale has been made to cater brides with more suitable garments that promotes re-wearability, while channelling strong styling theme. Despite, question marks to be the toughest to tackle amongst four categories, AOS aspires to exploit its leading capabilities to subsequently position bridal dresses into a star, appreciating the emergence of retailers’ acknowledgment of the bridal demand (Drapers, 2017).
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2.11 strategic evaluation
To conclude, figure presents a strategic evaluation using the SAFs criteria to assess the viability of strategic options. Essentially, the criterions comprehend an immersed understanding of complications of implementing the strategy and assesses risks, uncertainty and likelihood of acceptance by stakeholders (Johnson, Scholes and Whittington, 2010).
suitability Suitability: The assessment of proposed strategy concerning opportunities and constraints – • With the royal wedding around the corner, AOS aspires to add fresh direction to introduce a new bridal collection (Edited, 2018). While, Mintel (2017) states 20% of Britons have purchased clothes, shoes or accessories for a summer wedding, peaking among aged under 35s, thus evidently demonstrating a strategy AOS must take position into the immense demand. • A growing number of retailers are looking to capitalise on growing demand for more affordable bridalwear, AOS’ competitor TOPSHOP are already ahead of the game by introducing their collection in April 2017 (Mintel, 2017). Hence, it is beneficial for AOS to translate their immense background of womenswear into targeting brides-to-be to secure their market share. • The womenswear market is underperforming menswear as research has reported that women are significantly less confident in their financial situation than men (Mintel, 2017), as well as the destabilisation of Brexit causes consumer confidence to be lower. Thus favourable for AOS to introduce a bridal collection targeting at the mid-premium market to help consumers to spread the cost of a tradition wedding. • ‘35% of female shoppers wants to see higher-quality clothing at the retailers they usually shop with’ (Mintel, 2017). A positive indication for AOS as the brand targets at both ends of the market, comprehending a strong reputation among the higher end demographic and minimising the potential threats for high street retailers.
feasibility Feasibility: Concerns whether the strategy could work in practice – • A central concern with feasibility is AOS’ current resources and competencies to implement the strategy effectively. With financial support from the parent group, H&M, AOS are likely to efficient exploits its resources and capabilities to its fullest to explore into the market. Also, through the short period of establishment, AOS was able to capitalise dominantly into the women’s market with its unique brand concept, overcoming the threat of new entrants. • With H&M’s well established value chain, AOS will continue to strive sustainability and positive impact on the environment within its bridal collection to ensure the brand explicit its statement of mission. • Employees under the H&M group are encourage to drive and ambition to set the brand’s business in motion. Human resources management believes in entrepreneurial spirit, straight-forward and open minded to present a strong, welcoming workplace where individuality is highly valued (H&M, 2018).
acceptability Acceptability: Concerns whether the expected performance of proposed strategy meets the expectations of stakeholders – • Edited (2018) reported that mass retailers have started to explore high street bridal in the recent years. AOS has potential to successfully exploit into the bridal market. • The ambition of the strategy will focus on exploring in Paris atelier to incorporate the essence of diversity into the collection. • Although, AOS may face challenges underlying the garment technology around the complication of bridalwear. Thus, extensive cost will be required for AOS acquire bridal specialists to establish considerable high-quality collection. • Taking tips from the well known bridalwear expert, Chi Chi London. The core element to strive success is to pay attention to details and quality fabrics to emphasis the trend-driven bridalwear (Drapers, 2017). Hence, cost of production for AOS will likely to be higher, but the return on capital is hoped to overcome the extensive cost. • Though, pursuing the diversification strategy is amongst the riskiest strategy but if the strategy becomes successful, AOS are able to take lead into the market within its strategic group as the brand is already a well-established womenswear brand. Capitalising a high return on capital, in-which AOS could further expand on the collection into another season. [Figure 12: AOS’ SAFs Evaluation Model]
45
THREE
03 47
product development
3.0 strategic portfolio PRODUCT DEVELOPMENT -
The development of a range of products for a new season raises important strategic issues for AOS comprehending to the new products and the market (Jackson and Shaw, 2001). Essentially, product development strategy can be seen as the process to aid implementation of product range where AOS strategically exploit the opportunities exemplified in strategic positioning. Underlying the evolution of product development capability in creating competitive advantage will be prominently identified in the upcoming discussion.
49
3.1 key trend inspiration COMMON GROUND S/S19
Common Ground S/S19 focuses on on traditional feminine hues with the emphasis of sweetness across a range of cool and warm tones. The trend explores into the story of simplicity and functionality in design, with tie details, offcuts of lace and pretty floral are fused together in a make-do-and-mend-style. While, intricate lace take inspiration from wild white flowers and gypsophila to add texture and volume to simple dress shapes, empowering the fabric to remain the dominant focus (WGSN, 2017a).
51
3.2 key trend sihouettes COMMON GROUND S/S19
The silhouette ideas behind this trend remains relatively simple, indicating AOS to attempt a more contemporary approach to the bridal collection since consumers are intruded into the longer-lasting bridal wear that can be worn for other occasions. While, WGSN (2018a) further demonstrates subtle tones of coral, orange and yellow are the most fashion-forward with the combination of cleaner silhouettes to bring emphasis of a modern style.
53
55
3.3 strategic targeting
bridal collection consumers
The consideration of strategic targeting enables companies to specify the type of audience they want to reach, the idea of this desire to assist the customer in attaining the best possible form of service offered to meet consumers’ needs (Yu et al, 2017). Thus, to comprehensively establish a successful strategy, AOS carried out a primary market research to analyse data about the customers’ preferences, distribute messages and reaching to the target audience about the bridal collection (Springer Dordrecht, 2008). Interpreting from appendix 3, the survey illustrates over 80% of consumers tend to shop at their usual retailers for occasionwear, while 80% are interested in AOS launching a bridal collection with the consideration of quality being the most important aspect. Alternatively, additional research was conducted by interviewing an AOS’ consumer who is getting married in September this year. Appendix 4 pinpointed a demonstrative component of bridalwear versatile, essentially the informative research directed AOS to bring forward a bridal collection that accommodates the multiple events surrounding the wedding, making bridalwear more practical and affordable for the millennial bride. The following page illustrates a an updated customer profiling of AOS’ bridal consumer.
57
59
3.4 comparative shop CURRENT MARKET ACTIVITIES
The practice of comparative shop signifies the importance of comparing the current market activity. Buyers are required to evaluate the information surrounding the development of the range to successfully foster profitability of the strategy (Jackson and Shaw, 2001). The purpose of comparative shopping identifies a collection of products from different brands to guide AOS to construct comprehensive strategic decisions regarding to the bridal collection. Essentially, it is an exceptional tool for buyers to highlight key styles and details to potentially allow AOS to fulfil the missing gap (Goworek, 2015).
Traditonal Wedding Gown: Retailer
Needles & Thread
Whistles
Coast
Missguided
Product
Description
Price
Astral Gown - crafted Scarlett Wedding Wendy Lace Shift from sequin and beadDress - lace-effect Dress - designed with adorned white tulle, short sleeves, dramatic a combination of floral features grosgrain cut-out back details and graphic lace. ribbon wasitband and sleek body-slimming skirt £850 £649 £129
Brial white sequin embellishment wrap dress - long sleevs and sequin embellishment
£150
Size
6 - 14 UK
6 - 16 UK
6 - 20 UK
4 - 16 UK
Colour
White
Ivory
Ivory
White
Fabric
100% Nylon tulle, lining 100% polyester crepe de chine Delicate Dry Clean
100% Polyester
100% Polyester
95% Polyester & 5% Elastane
Dry Clean Only
Dry Clean Only
Dry Clean Only
Whistles
Coast
Missguided
Care
Jumpsuits / Two Pieces: Retailer
Needles & Thread
Product
Description
Price Size Colour Fabric Care
Bridal Tulle Maxi Skirt Victoria Lace Wedding Emerson Jumpsuit Pink crochet lace - sweeping silhouette Dress - wide leg cut modern silhouette and strappy bralet - exfor flattering finish and cape sleevs to lend frill details to create an posed zip & adjustable Cape - embriodery a 70s romance. modern edge cami straps thread & highlights of High-waisted midi silver beading skater skirt Skirt £65 £549 £139 Bralet £20 Cape £125 Skirt £35 Skirt 4 - 16 UK 4 - 16 UK 6 - 18 UK 4 - 16 UK Cape 4 -16 Pink & Ivory Ivory Cream Rose/Navy/Red 100% Nylon tulle, lining 100% polyester crepde chine Delicate Dry Clean
59% Nylon & 41% Elastane
100% Polyester
100% Polyester
Dry Clean
Dry Clean
Hand Wash
61
Floral Dresses (Long): Retailer
Needles & Thread
Whistles
Coast
Missguided
Description
Lurex Butterfly Gown - sleeveless patterned blue maxi dress with scattered shimmering of butterflies
Anette Lottie Print Maxi Dress
Price
£375
£349
£225
£30
Size
4 - 16 UK
4 - 16 UK
6 - 18 UK
4 - 16 UK
Colour
Vintage Blue
Multi Colour
Gold
Black/Grey
Fabric
100% Viscose, lining 100% Polyester
100% Polyester
100% Polyester
Care
Delicate Dry Clean
Dry Clean Only
52% Polyester, 32% Metallic Fibre 16% Nylon Dry Clean Only
Needles & Thread
Whistles
Coast
Missguided
Description
Rainbow Rose Wrap Dress - pretty romantic print of rainbow ribbons and delicate florals
Noa Jacquard Maxi Dress - flattering v-cut neckline and delicate multi-strap details
Lara Cotton Full Midi Dress - classic fit, flare silhouette and wrapover bodice to add modern twist
Pink Plunge Wrap Front Maxi Dress long sleeves with hammered satin fabric
Price
£230
£299
£139
£45
Size
4 - 16 UK
4 - 16 UK
6 - 18 UK
4 - 16 UK
Colour
Rainbow Rose
Pale Pink
White
Blush/White/Multi
Fabric
100% Viscose, lining 100% Polyester Delicate Dry Clean
100% Polyester
100% Cotton, lining 100% Polyester Dry Clean Only
100% Polyester
Product
Rosie Gold Leaf Grey Frill Floral Midi Jacquard Dress - asymDress - v-neckline, metric scallop-edged cami straps and frilled hem, fitted bodice and off-the-shoulder flared skirt details
Hand Wash
Wrapped Dress: Retailer Product
Care
Dry Clean Only
Hand Wash
3.5 comparative shop summary price The upper premium brand offer a higher price point compared to high street retailer, MissGuided. Though, considering Whistles and Coast are relatively similar in the price offerings as well the fashionable products. Needles&Thread tailors into the high premium market with the highest price range of £850. Thus, interpreting the price range illustrates ASO to sit between mid-premium to offer consumers premium quality at high street fashion.
fabric
Natural fibres were used relatively more than man-made fibres due to its ability to offer luxurious quality. The consideration of incorporating the content of natural fibres will differentiate AOS from its high street fashion competitors to offer impressive high-quality products to signifies consumers’ notion of quality and design being the most important aspects of bridal clothing. Respectively, Goworek (2010) explains that high natural fibres compositions increase consumers’ perception of quality; emphasising a favourable approach for AOS to strive.
details
care
Embellishment is the biggest part of bringing the whole garment together and gathering consumers’ attention around the collection. With sequins, beads, lace and floral prints being the dominant detailing; it is beneficial for AOS to cater into the market with on-trend contrast embellishments on garments.
AOS’ garment care instructions are mostly hand-washed or delicate machine wash. However, bridal garments require additional aftercare instructions due the luxurious materials used within the garments. Though, it can be argued that this creates extensive inconvenience for the consumers, but with high quality products, it is vital to take extra care to prolong the lifespan of the products.
[Figure 13: Comp Shop Summary]
63
3.6 directional shop COMMON GROUND S/S19
OVERVIEW sillk
chiffon
According to the trend board, the prediction for AOS’ S/S19 bridal collection will focus on ‘Common Ground’. As presented from WGSN (2017), Common Ground aims to explore design with the connection of comfort and familiarity, incorporating a neutral palette with heavy lace details and crisp chiffon; directing into the bridal element. The idea renovates into the millennial market through adapting minimalism silhouette, colour and material to allowing the embellishment to remain the focus. Concurrently, the directional shop will further illustrate the inspiration for design concept for AOS’ bridal collection (Goworek, 2001).
FABRCIS
satin
Embroidery
Entering into the warmer seasons, Spring imports a sense of lightness to materials and fabrics, incorporating intricate lace and laser-cut embroidery with silks and sheers to take on the feminine yet, simple aspect into the collection. Silk georgette, lightweight chiffon and duchesse satin are the primary materials for the season as it complements the flowing, diaphanous shapes of bridal gowns (WGSN, 2017).
EMBELLISHMEN Lace
COLOURS
The main embellishment among the collection will rely on intricate lacing, soft cut embroidery and sequins to create surface manipulation and to add a subtle-yet dramatic design gesture to expose AOS’ collection.
The overall colour palette in Common Ground for womenswear focuses on intrinsically feminine with a contrast of sugary pastels and fruit coral hues (WGSN, 2018), in-which complements AOS’ current colour theme. However, to signify the bridal element, light, soft offerings of sweet pastels are implemented to balance and shifts the focus from traditional to contemporary bridalwear. Comprehensively, the effect aids to express a natural summer vibe with fresh approaches to celebrate youthfulness to the season’s decadent narrative. Essentially, sustaining a sweeter accent in AOS’ bridal collection will significantly differentiate them away from it competitors like Whistles and Reiss, whose approaches are more minimalistic.
SILHOUETTES
As AOS is aiming to cater into the millennial market, minimalism is key to the overall effect of resonating silhouettes, contrasting with the traditional ‘OTT’ embellishment of wedding dresses (WGSN, 2017). The silhouettes will focus on strong cuts and simply yet impactful surface interest, with feminine components like bows and flounces.
long
The long sophisticated silhouette with fit-and-flare challenges both the tradition gown with a slick of simple-modern manipulation to emphasis the element of versatility. This type of silhouette can be styled up or down depending on the consumers’ occasion preference, as a simple cardigan or motor biker can significantly differentiate the purpose of the dress.
wrapped
The wrap silhouette provides a casual yet elegant look with the elongate length and comfort for AOS’ consumer to take bridal for a more contemporary approach. The silhouette can come in both sleeveless or short sleeves to emphasis the updated look of bridal to the collection. Also, the silhouette is sinuated at the waist to accentuate the wearer’s body shape.
jumpsuit Essentially, the wide culottes jumpsuit silhouette is the riskiest approach for AOS to pursue due its simplicity. However, interpreting from WGSN (2017), it states that to recognise the discerning millennial bride requires a modern approach of the wedding ensemble. While, the famous Solange Knowles famously wore a white jumpsuit for her big day, signifying the versatility of wedding gowns nowadays (Brides Magazine). 65
3.7 trend translation COMMON GROUND S/S19 SILHOETTES
The season is characterised by romantic styles and femininity delivered with soft, pretty floral and delicate materials. WGSN’s (2017d) catwalk analytics reports dresses continue to hold the biggest mix within the apparel, designers are continually evolving the category with mixes of modern shapes and smart aesthetics. Soft and jersey jumpsuits are emerging as a futuristic silhouette within the bridal market, AOS could employ the shape with wide leg culottes to signify the multipurpose element of the collection (WGSN, 2017f). While, the preference for fluid, elongated and longer length silhouette continues to raise with 25% cross the catwalks, with designers utilising the incorporation of cascading ruffles to create movement and drama echoing a romantic essence (WGSN, 2017e).
Replacing the longer lengths with layers of chiffon could possibly resemble the tradition gown to enable consumers to access bridal with a modern twist. Concurrently, designers like Christopher Kane has noted the re-emergence of the slip dress with combination of lightweight satin, sheer and lace trims to underlay the element of lingerie, resonating the inspiration for AOS to embody a minimal-yet-casual feel to elaborate the versatility of the bridal collection. Essentially, AOS could utilise these silhouettes to transition into bridalwear with sheer bases of chiffon, lace and silk to develop a delicate foundation of floor-sweeping dresses, underlining the essence of sweet and romantic mood into the collection.
chiffon
FABRCIS
SILK
The trend believes the connection with heritage and community to underpin the direction of essential, pretty and sustainable through naturally sourced yarns, materials and techniques which are updated with modern technology (WGSN, 2017). Reflecting upon the statement, it compliments AOS’ brand value to strive sustainability through sourcing its fabrics. Substantially, the trend explores into ‘intricate lace, cutwork, laser-cut embroidery and fil-coupé sheers’ to appreciate the overlay or textural component of the gowns. While, other fabrics such as satin, chiffon and silk are incorporated for a smoother finish and drapeability. The analyse of fabrics will be based on being less structured, flowing elements and lighter looks to emphasis on sweetness across the collection.
satin
lace
DETAILS & EMBELLISHMENT
The details and embellishment for AOS to to focus on comprises to the combination of flounces to delicately gather surface texture, hints of lace and the application of frothy chiffon sheers to formulate layered full skirts (WGSN, 2017c). For AOS to take on a contemporary approach, feminine overtones dictate print and pattern direction, with pretty floral sprinkled over delicate materials to provide a fresh direction. Surface manipulation defines silhouettes and furthered with frills, cut-away and asymmetry detailing to embody an unexpected interest to surface texture (WGSN, 2017g).
COLOURS
Fundamentally, the combination of colours is the most obvious to consumers when transitioning from one season to another. In conjunction to AOS’ bridal collection, Common Ground features warm-tone colours with an underlying lightness to emphasis the approach to a richer and luxurious transition of bridalwear. While, it is also important to stay true to the traditional white and pale ivory with the connection of cosmetic blush tones and lilacs to offer a playful effect to signify AOS’ brand concept. AOS’ targeted customers can buy into the collection with an updated modern-trend approach to bridalwear to highlight the fresh and overtly feminine style.
67
3.8 range plan development
WWW.STORIES.COM
“The First Date in Paris Bridal Collection”
69
3.9 phase one - april
FIRST LAUNCH OF BRIDAL COLLECTION
Floral Sequin Gown
lace long dress
bow tied wrapped dress
lace slip dress
71
floral sequin gown Product Style: Detailed sequin full length skirt gown Product Code: OS01001 Price: ÂŁ650 Colours: Blush Pink / Ivory Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: Outer: 100% Nylon Tulle & Lining 100% Polyester Care Information: Delicate Dry Clean Embellishment: Curved neck with sheer tulle long sleeve. Sequins and beads on centre front to create surface texture and detailing. Sweepin full length skirt made from tulle to embrace elegance
lace slip dress Product Style: Lace slip dress Product Code: OS01002 Price: ÂŁ85 Colours: Blush Pink / Grey / Coral Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 100% Silk Care Information: Delicate Dry Clean Embellishment: Simple slip silhouette with lace detaling on the bust. Adjustable straps and great flowing element
bow tied wrapped dress Product Style: Bow tied wrapped dress Product Code: OS01003 Price: ÂŁ85 Colours: Blush Pink / Ivory / Floral Print Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 50% Polyester & 50% Nylon Care Information: Cinuated at the waist with a adjustable tie strap. Bell-bottom sleeve to add versatile to the collection
lace long dress Product Style: Lace long dress Product Code: OS01004 Price: ÂŁ95 Colours: Blush Pink / Light Coral Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: Outer: 100% Silk & 100% Lace Care Information: Delicate Dry Clean Embellishment: Sheer lace detailing around the bust. Long lenght skirt to accentuate the romantic essence of this product
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“The First Date in Paris Bridal Collection”
PRODUCT CLASSIFICATION PYRAMID:
HERO
FASHION BASIC
Hero Floral Sequin Bridal Gown Fashion Long Lace Dress Lace Slip Dress Basic Bow Tied Wrapped Dress
Price £650 £95 £85 £85
75
3.10 phase two - may
SECOND LAUNCH OF BRIDAL COLLECTION
Floral two piece
lace strap dress
wide leg jumpsuit
long bow dress
wrapped jumpsuit 77
floral two piece Product Style: Floral two piece Product Code: OS01005 Price: £89 Colours: Mustard Print / Pink Print Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 64% Nylon & 36% Cotton Care Information: Hand Wash Embellishment: Floral printed two piece can be worn both to the event of the wedding as well as occassions after to emphasis the versatility of AOS’ bridal collection
lace strap dress Product Style: Lace strap dress Product Code: OS01006 Price: £250 Colours: Blush Pink / Coral / Lilac Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 100% Satin Care Information: Delicate Dry Clean Embellishment: Deep v-neck dress with lace detailing on the bust and waist area. Rose prints around the product with great drapeability
Long bow dress Product Style: Long bow dress Product Code: OS01007 Price: £159 Colours: Blush Pink / Yellow Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 30% Silk, 25% Nylon & 25% Polyester Care Information: Delicate Dry Cean Embellishment: Feminine style with long bow detailing, ruffle breast embellishments and thick straps
wide leg jumpssuit Product Style: Wide leg jumpsuit Product Code: OS01008 Price: £130 Colours: Ivory / Coral / Tinty White Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 70% Cotton & 30% Silk Care Information: Delicate Dry Cean Embellishment: Off-the-shoulder ruffles with a flexible waist cinuated to embrace the wearers’ body shape and wide bell-bottoms
79
wrapped jumpsuit Product Style: Wrapped Jumpsuit Product Code: OS01009 Price: £150 Colours: Deep Pink / Floral Prints Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 70% Cotton & 30% Silk Care Information: Delicate Dry Cean Embellishment: Long wide bell-bottoms to create flow with adjustable bow tie on the waist and large bell sleeves
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“The First Date in Paris Bridal Collection”
PRODUCT CLASSIFICATION PYRAMID:
HERO
FASHION BASIC
Hero Lace Strap Dress Fashion Wrapped Jumpsuit Long Bow Dress Basic Wide Leg Jumpsuit Floral Two Piece
Price £250 £150 £159 £130 £89
81
3.11 phase three - end may LAST LAUNCH OF BRIDAL COLLECTION
asymmetric jumpsuit
glamorous gown
ruffle dress
simlpe slip
lace cut dress 83
asymmetric jumpsuit Product Style: Asymmetric jumpsuit Product Code: OS010010 Price: £150 Colours: Deep Pink / Light Coral Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 70% Cotton & 30% Silk Care Information: Delicate Dry Cean Embellishment: Long wide bell-bottoms to create flow with asymmetric sleeves and deep v-neck
Lace cut dress Product Style: Lace cut dress Product Code: OS010012 Price: £230 Colours: Deep Pink / Light Coral Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 30% Lace-cut embroidery & 70% Polyester Care Information: Delicate Dry Cean Embellishment: Intricate lace detailing all over the surface of the product with adjustable straps
simple slip Product Style: Simple Slip Product Code: OS010011 Price: £106 Colours: Deep Pink / Light Coral Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 70% Satin & 30% Nylon Care Information: Delicate Dry Cean Embellishment: Simple long slip dress with asymmetric hemming and deep v-neck
Ruffle dress Product Style: Ruffle Dress Product Code: OS010013 Price: £330 Colours: Blush Pink / Light Coral Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: 30% Tulle, 20% Silk & 50% Nylon Care Information: Delicate Dry Cean Embellishment: Low and long ruffles on the front to the back with a strap-tied closure and ruffled sleeves
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glamorous gown Product Style: Glamorous Gown Product Code: OS010014 Price: £750 Colours: Light Grey Sizes: 4 - 14 UK / 32 - 42 EU Fabric Content: Outer: 100% Nylon Tulle & Lining 100% Polyester Care Information: Delicate Dry Cean Embellishment: Elegant long floor-sweeping skirt, fitted on the waist and open leg on the front. Lace detailing around the bust and adjustable straps
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“The First Date in Paris Bridal Collection”
PRODUCT CLASSIFICATION PYRAMID:
HERO
FASHION BASIC
Hero Glamorous Gown Fashion Ruffle Dress Asymmetric Jumpsuit Lace Cut Dress Basic Simple Slip
Price £750 £330 £150 £230 £106
87
3.12 technical development
technical pack Since the fashion industry is growing immense and the explosion of new fabrics has produced implications for the mass-production market, with additional high demand for textile testing related to machinery use (Aldrich, 2012). Therefore, for AOS to successfully establish a high quality bridal collection, a technical pack has been generated to gain an exceptional understanding of the development and construction process of the products. Essentially, it encourages AOS to effectively communicate the expectations and standards across to manufacturers to maintain consistency and replications when delivering bulk production orders.
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Working Drawing
DEPARTMENT: WOMENSWEAR BRIDAL GOWN
Top stitching on neck line using #301 lockstitch
Curved crew neck stitched with #402 two thread chain stitch
Hand crafted sequin and bead-adorned on nylon tulle. Flowing around the neck, bust to waist Undergarment bodice for cover-up due to the sheer tulle on the outer shell
Ruffled long skirt made from nylon tulle. Gathered together using #301 lockstitch
Hemmed at the botton of the skirt using #301 lockstitch. Hem line is measuring at 2.5cm
Supplier: Shanghai Textiles
SAMPLE GARMENT: SIZE 8 WOMENS BRIDAL GOWN FRONT AND BACK VIEW DATE/SEASON: S/S19 Sheer back with internal camisole to the waist with fully lined skirt
Concealed zip at centre back down to the waist
No hemming on the cuffs due to delicacy of the tulle and the weight of the sequins and beads
Gathers around the waist to create full length skirt
Bartack stitches around the zip area to due to abrasion
Hemmed at the bottom of the skirt with #301 lockstitch. Measuring at 2.5cm
91
Working Drawing SIZE 8 BRIDAL GOWN
FRONT
Description
Floral Sequin Gown with Undergarment Bodice
Style Number
OS01001
Colours
2 Colours Ways - Blush Pink & Ivory
Fabric
Outer: 100% Nylon Tulle & Lining 100% Polyester
Sizes
4 - 14 UK / 32 - 42 EU
Product Category
Hero Piece within the collection
BACK
Working Drawing
C
A
BACK
E
SIZE 8 UNDERGARMENT BODICE: Description
Undergarment Bodice
Style Number
OS010012
Colours
2 Colours Ways - White & Ivory
Fabric
100% Polyester
Sizes
4 - 14 UK / 32 - 42 EU
Product Category
Basic
F B G D
FRONT
H
I
MEASUREMENTS & SIZE SPECIFICATIONS: Landmarks
Measurements
CM
Tolerance (CM)
Neck Width
22cm
0.5cm
Front A B
Front Shoulder Length
35cm
0.2cm
C
Centre Front Length (Top to Bottom)
158cm
0.5cm
D
Front Waist
30cm
0.3cm
E
Front Skirt Length (Waist to Bottom)
120cm
0.2cm
F
Mid Skirt Length Taken from 40cm Down
35cm
0.3cm
G
Length of Bottom Skirt
109cm
0.5cm
H
Back Neck Width
22cm
0.5cm
I
Back Shoulder Length
40cm
0.2cm
J
Length of Zip (Top to Bottom)
33cm
0.2cm
K
Back Waist
30cm
0.3cm
Back
L
Back Shoulder Length
35cm
0.2cm
M
Mid Skirt Length Taken from 40cm Down
35cm
0.2cm
N
Back Length of Skirt
158cm
0.5cm
Total Skirt Length
158cm
Total Waist
60cm
Measurements
CM
Tolerances (CM)
A
Length of Front Side Seam
36cm
0.5cm
B
Centre Front Length (Top to Bottom)
31cm
0.3cm
C
Length of Straps
18cm
0.2cm
D
Front Hem Length
33cm
0.2cm
E
Back Neck Width
30cm
0.2cm
F
Centre Back Length (Top to Bottom)
32cm
0.2cm
G
Waist Length Taken from 10cm Down
15cm
0.2cm
H
Length of Back Side Seam
36cm
0.3cm
I
Back Hem Length
33cm
0.2cm
Additional Measurements
Under Bodice Front
Back
93
3.13 technical pack summary
Overall, it is important for AOS to establish the consistency of their sizing standards to satisfy the need of their target consumer. As Mintel (2017) reported that women are demanding for consistent sizing and better-fitting garments from their usual retailers, presenting fit is a much greater issue among women than men. Therefore, the measurement and specification table may differ depending on the retailers, but it was crucial for AOS to constitute the British and European Standard sizing in 4cm and 6cm intervals based on large or small garments (Cooklin, 1997). The establishment of tolerances are to minimise the risks of machine and human error occurrence during production. The tolerances fall between 0.5 – 1cm, which is relatively small as the silhouette of the gown is fitted through the chest, waist and sleeve with a full skirt for floor sweeping elements. However, AOS must take into consideration of less tolerances indicates a higher chance of restriction of ease fit causing the fabric to rip or tear apart when presented to movement.
garment technology
95
The sourcing plan of the bridal collection consist of manufacturing from Shanghai Textiles since China is the world’s largest manufacturer, producing 40% of global textiles and considering the existing infrastructure will enhance AOS’ ambition to a high-quality collection (Towers and Xu, 2016). Although, global sourcing has brought great cost advantages for retailers, it is vital for AOS to transfer the implementation of code of conduct to the buying cycle for not only enhancement of performance, but also to strive being responsible in every aspect of the company to explicit H&M’s aspiration. The discussion upon the buying cycle reflects on the reactive delivery process of the collection as the first phase will be launched on 20th April 2019; the weekend of Easter. Therefore, great attention should be emphasised on maintaining a reliable relationship with the supplier through establishing adequate timeframe and consistence communication to institute clear company goals. Constructing a mutual beneficial relationship will empower AOS’ ability to be responsive to changes in customer demand in the selling season (Zhang and Huang, 2012).
[Figure 14: AOS’ Soucring Information]
Figure 14 demonstrates the considerations of sourcing within the collection and analysis of implications to the buying cycle.
sourcing plan
3.14 sourcing information
3.15 critical path Department
Action Date
Lead-times
Product Code
OS01001
N/A
N/A
Product Description
Floral Sequin Gown with Undergarment Bodice Shanghai Textiles
N/A
N/A
N/A
N/A
COO (Country of Origin) Quantity
China
N/A
N/A
1000
N/A
Paris Atelier Product Development Deadline
19/09/2018
2 Days
Product Development Checked
24/09/2018
4 Days
Sample/Costings Arrival Date
28/09/2018
4 weeks
Pre Selection
26/10/2018
3 days
The crucial element of a fashion buyer is to ensure products produced for sale are appropriate for the target market and can sell in sufficient quantities to achieve the profit margin expected by the business (Jackson and Shaw, 2001). As the floral sequin gown requires additional fitting measurements and fabric assurance due to the complexity of the garment structure, quantity will be limited since there will be vast arrays of events that can cause delays in delivery of the collection. Also, to minimise the potential risks of the product not selling well in the market as it is one of the hero pieces within the collection. Since the collection is inspired by the Parisian city style, in-house design ateliers must finalise their product development before being checked by the buying and merchandising team for approval. 2 days is allocated for any final adjustments of detailing, embellishments, colour ways and silhouettes. 4 days is appointed for the buying and merchandising team to double-check the final adjustment and agreements must be settled between the departments so that the senior buyer can sign off the product development, ready to move onto the next stage. 4 weeks’ time has been appointed for sample arrival since 1st October – 7th October is China’s National Day Holiday for one whole week, therefore factories may be off work during this time and considering the samples are traveling from China; implications such as customs and shipment may cause delays. Evaluation of product prototypes are done by buyers and merchandisers to discuss upon the different factors of customer’s expectations in-terms of colours, price, styling and fabric. 3 days are allocated since disagreements tend to arise about the detailing and embellishments of the product due to the complexity of the garment. Additional evaluation of the fitting must be considered since from the primary research, customers consider quality as being the most important factor of purchasing bridalwear.
Supplier
Note/Issues
97
Factory Visits
31/10/2018
1 week
Selection Meeting
07/11/2018
N/A
Garment Fitting Deadline
08/11/2018
3 weeks 4 days
Product Order Confirmation Fabric Order Confirmation
05/12/2018
N/A
06/12/2018
2 weeks
Fabric Delivery Deadline
20/12/2018
2 weeks
Bulk Production Start
03/01/2019
4 weeks 1 day
Shanghai Textiles’ production lead-time is 8000 units per week. AOS’ total production for the gown is only 1000 units which calculates relatively simple for the supplier to produce.
Size Approval
01/02/2019
1 week 1 day
Size approval to ensure measurements of fittings meet AOS’ standards. Garment technologists will additionally carry out test on ‘fitting models’ to make the quality assurance more accurate.
Shipping Deadline
11/02/2019
9 weeks
The shipping deadline starts after the event of the Chinese New Year which comprehends from the 2nd February to 10th February to reduce the impact of delays and minimise risk of unintended events occurring during the shipment. Products arrive in warehouses where AOS’ team will distribute across to different location around the UK and Europe, ready for launch date. The launch date of the bridal collection is set on Saturday, the long weekend of Easter, hence AOS will gain potential increased in footfall and sales from consumers who have just received their end of month payments. The weekend will aid AOS to gain increase brand recognition and product awareness.
Distribution 15/04/2019 Warehouse Deadline Product Store 20/04/2019 Launch
4 days
launch
The bridal collection signifies importance of quality and design; thus buyers must exemplify significance of factory visits. The allocation of 1 week breaks down from traveling to visiting to the factories for buyers to gain a comprehensive grasp of suppliers’ product activities. Also, since AOS explicit H&M’s statement of being responsible to the environment, it is crucial to take into account of the working conditions as well as the quality assurance of the collection. The meeting usually takes around 2 hours for buyers and merchandisers to present the whole bridal collection to the whole team. Additional sales figures, colours and fabric swatches are presented for approval from the senior managers before the collection go ahead to manufacture. Garment technologists carry multiple tests to ensure fittings meet quality standards of the initial collection. 3 weeks and 4 days is allocated for technologists to perform various of adjustments to perfect the product due to the complications of bridalwear, measurements of waist, sleeve cuffs, length of skirts and embellishments must be accurate to signify the core element of high quality. Purchase order (PO) is given to the supplier as a contractual agreement between AOS and supplier. Multiple tests must be performed strictly on fabrics to emphasis the durability, drapeability and quality of the fabrics to ensure it meets the standard of the business. N/A
[Figure 15: AOS’ Critical Path] The table further illustrates the key sourcing stages of the buying cycle with analysis of a set of scheduled key dates for production development and production for AOS’ team to draw attention to potential delays.
3.16 fabric & testing information
Fabric testing is one of the main components to lead AOS to auspiciously propose a high-quality collection to meet consumers’ expectation of qualified performance. As Glock (2005) stated that ‘the establishment of ISO (The International Organisation for Standardisation) enables manufacturers to document an approved quality system to allow them to be competitive at the highest level with manufacturers around the world’. AOS’ consideration of standards exemplifies the importance of suppliers’ procedures to meet the company’s level of quality they aim to achieve. The following table will evaluate the crucial testing decisions upon the main fabrics used for the bridal collection. The activities pinpointed in the table should be incorporated within the buying cycle, in the production development stage before bulk production starts. Materials
Fabric Testing
Silk
Silk is one of the costliest natural fibres due to its unique feature of high strength and light weight. Hence, the fabric was dominantly used throughout the collection for its fine quality and gracious look. Abrasion resistance is an important parameter in silk fabrics due to the fine structure of the silk filaments (Bhat and Basu, 2015). The measurement of abrasion for silk fabric will take into consideration of the garments’ frequent confrontation of abrasion in areas such as the elbows and side seams.
Satin
Cotton and natural fibres have more tendency to shrink and crease during subsequent wash due to its fine and delicate yarns. Although, most products from the collection requires dry cleaning, it is important for AOS to ensure additional shrinkage testing are implemented to enable an exceptional overall performance. The shrinkage test facilitates manufacturers to determine both washer and dryer temperature which endorse the accuracy of the product’s care label; encouraging consumers to preserve the lifespan of the product.
Nylon Tulle
Since the collection merely focuses on embracing the sweet and feminine essence, mass amount of colours is being implemented to signify the trend approach. Therefore, colour fastness testing is vital to minimise potential complaints from customers. From establishing a colour fastness testing, it encourages AOS to determine accurate labelling of washing and aftercare instructions since it is a legal requirement.
[Figure 16: Fabric Testing of The Collection] 99
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4.1 finanical spreadsheet
The financial spreadsheet annotates AOS’ bridal collection to range from £85 - £650 which offers a premium price architecture with complementary products to appeal to the general target audience. The higher price points surface from the customers’ desire to have better quality and design of bridal clothing, which means higher quality fabrics are used to formulate sufficient supply for the demand. Although, primary market research (appendix 3) demonstrates 35.56% of consumers are captivated toward the price range of £80 - £200; it was also important to note AOS’ goal to achieving the planned level of buying profitability. Jackson and Shaw (2001) expressed that fashion retailing is not a more profitable business, considering there are major expenses outside the buying and merchandising’s direct control. Subsequently, the following spreadsheet illustrates the different costs of the products within the collection.
103
The First Date in Paris Bridal Collection Style
Sketch
Fabric
Colour
Sizes
OS01001 Floral Sequin Gown
Outer: 100% Nylon Tulle & Lining 100% Polyester
Blush Pink / Ivory
Product Classification 4 - 14 UK / 32 Hero 42 EU
Selling Price
OS01002 - Lace Slip Dress
100% Silk
Blush Pink / Grey / Coral
4 - 14 UK / 32 42 EU
Fashion
£85
OS01003 - Bow Tied Wrapped Dress
50% Nylon & 50% Polyester
Blush Pink / Ivory / FloralPrint
4 - 14 UK / 32 42 EU
Basic
£85
OS01004 - Lace Long Dress
Outer: 100% Silk & 100% Lace
Blush Pink / Light Coral
4 - 14 UK / 32 42 EU
Fashion
£95
£650
- Spring / Summer 2019 & Other Stories Retail Margin % 64%
Retail Margin £ Price £416
Single Product Cost (£) £234
55%
£46.75
47%
55%
% of the Range
Total Quantity 2070
Total Range Cost £484,380
Total Retail Value £1,345,500
£38.25
2832
£108,324
£240,720
£39.95
£45.05
2832
£127,581.60
£240,720
£52.25
£42.75
2040
£87,210
£193,800
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The First Date in Paris Bridal Collection Style
Sketch
Fabric
Colour
Sizes
Product Classification 4 - 14 UK / 32 Basic 42 EU
Selling Price
OS01005 - Flroal Two Piece
64% Nylon & 36% Cotton
Mustard Print / Pink Print
OS01006 - Lace Strap Dress
100% Satin
Blush Pink / Coral / Lilac
4 - 14 UK / 32 42 EU
Hero
£250
OS01007 Long Bow Dress
30% Silk, 25% Nylon & 25% Polyester
Blush Pink / Yellow
4 - 14 UK / 32 42 EU
Fashion
£159
OS01008 Wide Leg Jumpsuit
70% Cotton & 30% Silk
Ivory / Coral / Tinty White
4 - 14 UK / 32 42 EU
Basic
£130
£89
- Spring / Summer 2019 & Other Stories Retail Margin % 64%
Retail Margin £ Price £56.96
Single Product Cost (£) £32.04
47%
£117.50
55%
64%
% of the Range
Total Quantity 2040
Total Range Cost £65,361.60
Total Retail Value £181,560
£132.50
2832
£375,240
£708,000
£87.45
£71.55
2070
£148,108.50
£329,130
£84.20
£46.80
2832
£132,537.60
£368,160
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The First Date in Paris Bridal Collection Style
Sketch
Fabric
Colour
Sizes
OS01009 Wrapped Jumpsuit
70% Cotton & 30% Silk
Deep Pink / Floral Print
Product Classification 4 - 14 UK / 32 Fashion 42 EU
Selling Price
OS010010 Asymmetric Jumpsuit
70% Cotton & 30% Silk
Deep Pink / Light Coral
4 - 14 UK / 32 42 EU
Fashion
£150
OS010011 - Lace Cute Dress
30% Lace cut-embroidery & 70% Polyester
Deep Pink / Light Coral
4 - 14 UK / 32 42 EU
Fashion
£230
OS010013 Ruffle Dress
30% Tulle, 20% Silk & 50% Nylon
Blush Pink / Light Coral
4 - 14 UK / 32 42 EU
Fashion
£330
£150
- Spring / Summer 2019 & Other Stories Retail Margin % 55%
Retail Margin £ Price £82.50
Single Product Cost (£) £67.50
55%
£82.50
55%
55%
% of the Range
2070
Total Range Cost £139,725
Total Retail Value £310,500
£67.50
2070
£139,725
£310,500
£126.50
£103.50
2070
£214,245
£476,100
£181.50
£148.50
2070
£307,395
£683,100
27,828
£2,329,833.30
£5,387,790
Total
Total Quantity
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distribution and allocation
4.2 distribution and allocation Store Classifications
A
B
C
D
Store Size
Largest flagship stores such as the AOS store in London, on Regent Road; the busiest street. The store consists of multiple stories to showcase different element of the brand.
Large stores that will store the whole collection, but may be limited in sizing range due to the size of stockrooms.
Medium stores will only stock part of the collection. Fashion pieces will be the dominant product for medium stores.
Although AOS are very limited with smaller stores, it is important to take D stores into consideration for future preferences.
Allocation
Class A stores aim to stock the whole bridal collection with all colour ways and sizing.
Class B stores will store the whole collection with limited sizes and colours .
Class C aims to store mostly fashion and basic items as the location may be limited with consumer recognition.
Class D stores will only stock basic items but visual merchandising will display most of the collection.
[Figure 17: AOS’ Store Allocation]
Allocation of Quantities Depending on Product Classification Product Classification
Hero
Fashion
Basic
Total Quantity
Quantity Allocated
4,902
15,222
7,704
27,828
[Figure 18: Allocation of Quantities]
Product allocation is a vital element of visual merchandising as it can determine the success of the products from consumers’ awareness of the collection. Figure 17 illustrates the store allocations of the collection, while figure 18 determines the quantity of product classifications. To emphasis product awareness, the hero and fashion pieces will be positioned visually at at both sides of the windows of every store, though smaller stores will only display fashion pieces. Taking AOS’ flagship store in London on Regent Road for example; the collection will be positioned in the centre of the store with AOS’ usual brand concept and styled co-ordinately on mannequins to capture customers’ attention when they first enter into the store. The collection will be neatly lined-up beside the display with full size range on clothing racks, rather than folded on the tables. Consequently, the reason behind this is because the whole collection is dominantly focused on dresses with longer lengths; thus it is crucial to showcase the garment’s embellishment without having to run through layers of clothing stacked up. 111
weekly sales stock and intakes
4.3 WSSI Week
Opening Stock
Intake
For. Weekly Sales
Act. Weekly Sales
Closing Stock
Weeks Cover
Comments
20/04/2019
1800
0
150
0
1650
12
The first launch is expected to have high sales due to the long Easter weekend.
27/04/2019
1650
0
150
0
1500
11
The sales aim to continue to strive success since its payday weekend, footfall will increase.
04/05/2019
1500
0
100
0
1400
15
May day bank holiday will impact on potential footfall from consumers purchasing for their holidays.
11/05/2019
1400
0
80
0
1320
17
Sales slowly quiets down due to the beginning of the month.
18/05/2019
1320
0
95
0
1225
14
End of month approaches, sales increases and weather starts to warm up.
25/05/2019
1225
0
250
0
975
5
Last bank holiday before August, significant increase in footfall.
113
01/06/2019
975
100
92
0
983
12
Intake of 100 units to comprehend the sales from last week. But sales decreases during this week as it is the beginning of the month.
08/06/2019
983
0
100
0
883
10
Collection will be removed from the window display to launch another collection; thus sales maintains stable.
15/06/2019
883
50
90
0
843
10
An intake of 50 to prevent the collection being out-of-stock before the 12 weeks cover reaches.
22/06/2019
843
0
80
0
763
10
Sales of the collection maintains stable due to the beneficence of warmer weather; consumers are looking to purchase summer occasion clothing
29/06/2019
763
0
250
0
530
3
06/07/2019
530
0
530
0
1
The collection approaches to the last week of trading, significant increase in sales as consumers are purchasing for summer occasion and holidays in the upcoming months. The collection has reached its final week of trading and is expected to sell out due to the surprisingly good weather in the UK.
[Figure 19: WSSI of Phase One]
[Figure 20: Competitors’ New Offering in April]
The WSSI plan is scheduled for the launch of phase one on 20th April 2019; the establishment of the launch date merely signifies the importance of consumer purchasing behaviour. Having to launch the first phase during Easter weekend will benefit AOS to have greater collection awareness from the footfall during that week. Alternatively, the month of April is dominantly competitive as Edited (2018) (figure 20) proposed that AOS’ bridalwear competitors Coast and TOPSHOP have relatively large amount of new products in during this time which may interrupt consumers’ attention towards other retailers’ new offerings. To combat the potential constraint, AOS strive to capture consumer’s awareness from their exceptional visual merchandising concept and trading efficient during bank holidays to secure potential sales. Additionally, AOS first aim to rely on consumers’ word-out-mouth marketing to engage consumers around the topic of bridalwear as Cakim (2010) expressed that word-of-mouth has become one of the most valuable sources of information about brand, products and services. With enhancement of collection recognition, AOS will benefit from the upcoming launch of the two other phases within the collection to seek profitability.
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conclusion
5.1 executive summary
The new launch of the bridal collection aims to strive success through establishing a diversification strategy to potentially sustain new market share as well a new growth within the industry. In order to achieve AOS’ overall corporative objectives, strategic planning was an essential tool to evaluate the capability of the existing market and reaching these market trends with appropriate product to satisfy the growing demand. Correspondingly, the bridal market has been amplifying comprehensively throughout the recent years with young millennials tapping into the wedding market and the demand for cheaper alternatives to the traditional expensive wedding gown. Strategically, the interpretation of PESTLE framework (appendix 1) and primary market research (appendix 3) illustrates as a motivation element for AOS to develop a new collection with its current capabilities and financial beneficence. As Vignali (2006) explains that broadening market share can be achieved easily, but only through significant investments of funds; emphasising AOS’ financial support from its parent group, H&M to accommodate its corporate objectives. The expansion of approaching a new collection aspires AOS
to expand their product offerings to a larger audience and tapping into a new market will bring advantageous aspects in the future when AOS determines to strive internationally with product diversification development. For instance, the evolving social attitudes and western influences of weddings in China has been presenting potential opportunities for retailers to penetrate into the demand. As majority of Chinese brides stress the inconvenience of ‘bridal clothing cannot be worn again’ (WGSN, 2017). Subsequently, the statement clearly demonstrates the purpose of AOS’ bridal collection to fulfil the versatile gap of bridalwear and offering brides dresses with practical elements. The diversification approach of the collection aspires to focus on a mass variety of colours rather than purely on the traditional white and ivory bridal gowns since attitudes towards weddings are becoming more conventional (WGSN, 2015). However, although the identification of the strategy merely brings advantageous aspects; it is also important to consider the limitations and challenges AOS may face which are evaluated in the following table.
Limitations / Challenges Range Plan
Delivering a diverse product range can be difficult for a brand who doesn’t specialise in bridal clothing as the construction of the garments can be relatively complex. Since AOS is offering a considerable contemporary bridal collection, consumers may criticise for the lack of interpretation around the wedding event and not suitable for such formal occasion. Additionally, proposing a consistence sizing standard for the range plan will be difficult for AOS to comprehend since they are not familiar to bridal clothing. With 61% of 16 – 34s have returned clothes because they don’t fit well (Mintel, 2018); emphasising the growing issue of sizing to potential impact on AOS’ bridal collection.
Supply Chain Management Since the production of bridal garments requires additional inspection and care, AOS could potentially fall behind to sufficiently establish adequate new policies for the collection. Hence, quality performance may not meet the standards of customers’ expectations which cause major drawbacks on the brand’s reputation. Also, additional expenses are demanded to employ bridal garment technologists to quality assure the fabrics and sizing specifications before the go into bulk production. Without bridal specialists, AOS may fear loss in profit as production will require extension of care and accurate pattern cutting due to the implications of the garments. Target Market
Although AOS has dominantly established its audience base, it will be difficult to attract new demographics due to its lack of brand awareness. Alternatively, Brexit within the UK destabilises consumers’ purchasing behaviour due to the fluctuating economic state and consumers are becoming more savvy as they are able to analyse retailers’ sale discount patterns. Also, Mintel (2018) proposed that 56% of shoppers between the age of 16 – 44s delayed their purchases as most are motivated by discounts. This emphases additional challenges for AOS’ bridal collection as it will be difficult to predict how consumers will react to the collection. [Figure 21: Limitations and Challenges]
The identification of limitations and challenges signifies the pure-play of effectively targeting consumers through sufficient strategic understanding of both internal and external of the business. With AOS’ development of strategic planning through interpreting multiple theoretical frameworks and understanding the brand’s own resources and capabilities; it is profitable for AOS to tap into the bridal market with applications of its current strategic capabilities to overcome potential challenges with its unique branding concept. Recently, Mintel (2018) estimates that the women’s clothing market in the UK grew by 3.2% in 2017 as women continue to prioritise clothes spending despite an uncertain economic backdrop. The statement dominantly illustrates the feasibility of AOS’ strong target audience, though these consumers are facing inflation coupled with falling real incomes; the sector has become more crowded and competitive.
In order to determine the following steps of AOS’ product development, Jackson and Shaw (2001) states the need to collect and evaluate consumers’ feedback from the collection to examine the issues and pure-plays of the range. Essentially, the quality and accuracy of the range planning provides the fundamental foundation for the future of the organisation and analysis of historic and predicted future trends will add great deal to the upcoming strategies. With the establishment of a bridal collection, AOS will operate into the wedding guest market for its future development to provide consumers with the overall package of the wedding event. The product development will simultaneously focus on incorporating colourful aspects of the trend into the colder seasons of A/W2019 to accentuate the essence of sweet and feminine elements of the collection. Providing the overall wedding collection will signify AOS’ brand mission statement of ‘brining everything a woman can wear into one place’. 119
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6.0 References
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Drapers (2018c) – The brave new world of womenswear. Written by Alice Sholl. Available at: https://www.drapersonline.com/product-and-trade-shows/the-brave-new-world-of-womenswear/7028785.article?search=https%3a%2f%2fwww.drapersonline.com%2fsearcharticles%3fkeywords%3dversatility+clothing Goworek, H (2007) -Fashion Buying 2nd Edition Oxford: Blackwell Grubb (2016) – Clash of the generations: managing the new workplace reality. Heinemann. Higher Education. Academy of Management Learning & Education. Vol. 4, No. 2, pp. 193-212 Mintel (2010) – Fashion impact of the recession UK, June 2010: The consumer – what people think about buying clothes in recession. Available at: http://academic.mintel.com/display/528299/?highlight Mintel (2012) – Clothing size UK, July 2012: The consumer – target groups. Available at: http://academic.mintel.com/ display/628721/?highlight#hit1 Mintel (2016) – Youth fashion UK, December 2016: Issues and insights. Available at: http://academic.mintel.com/display/807909/?highlight#hit1 Mintel (2016c) – H&M up the ante on sustainability – 22nd April 2016. Written by Samantha Dover. Available at: http:// academic.mintel.com/display/769140/ Mintel (2017a) – News report inputs emphasis on fashion brands to up sustainability efforts – 20th November 2017. Written by Richard Hopping. Available at: http://academic.mintel.com/display/869569/?highlight Mintel (2017b) – Womenswear UK, May 2017: Interest in innovations. Available at: http://academic.mintel.com/display/835073/?highlight#hit1 Mintel (2017c) – Womenswear UK, May 2016: What women would like improved. Available at: http://academic.mintel. com/display/835071/ Goworek, H (2007) -Fashion Buying 2nd Edition Oxford: Blackwell Grubb (2016) – Clash of the generations: managing the new workplace reality. Heinemann. Higher Education. Academy of Management Learning & Education. Vol. 4, No. 2, pp. 193-212 Holmes (2001) - Reconsidering Graduate Employability: The ‘graduate identity’ approach, Quality in Higher Education, 7:2, 111-119, DOI: 10.1080/13538320120060006 https://doi.org/10.1016/j.chb.2015.10.035 Kanter (1994) – Successful partnerships manage the relation, not just the deal. Collaborative Advantage. Harvard Business Review Khamah (2015) – Investigating effect of corporate social responsibility on consumer buying behaviour. International journal of economics, commerce and management. Vol. III, Issue 1, Jan 2015 ISSN 2348 0386 Kim & Mauborgne (2005) – Blue ocean strategy: how to create uncontested market space and make the competition irrelevant. Kluge (2014) – The acquisition of knowledge and skills for taskwork and teamwork to control complex technical systems. A cognitive and macroergonomics perspective. Springer Publisher. Kolb DA. (1984). Experiential Learning: Experience as the source of learning and development. Upper Kolb, A & Kolb, D. (2005). Learning Styles and Learning Spaces: Enhancing Experiential Learning in Kumar & Phrommathed (2005) – New product development. An empirical study of the effects of innovation strategy, organisation learning and market conditions. Springer Lapersonne A (2017) The hybrid competitive strategy framework. A managerial theory for combining differentiation and low-cost strategic approaches based on a case study of a European textile manufacturer. A thesis submitted to the 123 University of Manchester for the degree of Doctor of Business Administration in the Faculty of Humanities.
Edited (2018) – Womenswear: occasionwear US & UK. Available at: https://app.edited.com/#retail/article/retail-women-vm-occasion-280218 Edited (2018) – Menswear & womenswear: events & opportunities, Q2 2018. Available at: https://app.edited.com/#retail/article/retail-vm-cal-q2-global-280218 Edited (2018) – Womenswear: bridal US & UK. Available at: https://app.edited.com/#retail/article/retail-women-vm-occasion-230318-bridal Mintel (2017) – Clothing retailing UK – October 2017. Arcadia Group. Available at: http://academic.mintel.com/display/861605/?highlight#hit1 Mintel (2017) – Womenswear UK May 2017. Market Drivers. Available at: http://academic.mintel.com/display/835047/ Mintel (2017) – Womenswear UK May 2017. Market size and forecast. Available at: http://academic.mintel.com/display/835045/ Mintel (2017) – Clothing retailing UK October 2017. Available at: http://academic.mintel.com/display/861617/?highlight#hit1 Abendroth and Pels (2017) - Market resource gaps: Identifying resources to cocreate solutions that facilitate consumption. Marketing Theory 2017, Vol. 17(3) 357–371 ª The Author(s) 2017 Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1470593117702291 journals.sagepub.com/home/mtq & Other Stories – Available at: https://www.stories.com/en_gbp/index.html Drapers (2018a) – Clock ticking on Brexit as retailers seek answers. Written by Manfreda Cavazza. Available at: https://www.drapersonline.com/business-operations/clock-ticking-on-brexit-as-retailers-seek-answers/7029290. article?search=https%3a%2f%2fwww.drapersonline.com%2fsearcharticles%3fparametrics%3d%26keywords%3dbrexit%26PageSize%3d10%26cmd%3dGoToPage%26val%3d2%26SortOrder%3d1 Drapers (2018a) – Clock ticking on Brexit as retailers seek answers. Written by Manfreda Cavazza. Available at: https://www.drapersonline.com/business-operations/clock-ticking-on-brexit-as-retailers-seek-answers/7029290. article?search=https%3a%2f%2fwww.drapersonline.com%2fsearcharticles%3fparametrics%3d%26keywords%3dbrexit%26PageSize%3d10%26cmd%3dGoToPage%26val%3d2%26SortOrder%3d1 Drapers (2018b) – Consumer confidence recovers slightly. Written by Pui-Guan Man. Available at: https://www.drapersonline.com/news/consumer-confidence-recovers-slightly/7028845.article?search=https%3a%2f%2fwww.drapersonline.com%2fsearcharticles%3fparametrics%3d%26keywords%3dconsumer+confidence%26PageSize%3d10%26cmd%3dGoToPage%26val%3d3%26SortOrder%3d1 (WGSN, 2017d) – Catwalk analytics S/S 18: Dresses & Skirts. Written by Kirsty Sears and Sara Gaspar. Available at: https://www.wgsn.com/content/board_viewer/#/75539/page/2 (WGSN, 2017f) – Key trends S/S 18 New York bridal. Written by the WGSN catwalk team. Available at: https://www. wgsn.com/content/board_viewer/#/72356/page/20 (WGSN, 2017g) – Key trends S/S 18: women’s apparel, footwear and accessories – springtime whimsy. Available at: https://www.wgsn.com/content/board_viewer/#/75290/page/5 Edited (2018) – The loop 07 April – 13 April. Available at: https://app.edited.com/#retail/article/retail-loop-100418 Edited (2018) – Menswear and womenswear: events & opportunities, Q3 2018. Available at: https://app.edited.com/#retail/article/retail-vm-cal-q3-global-280318
Drapers (2018c) – The brave new world of womenswear. Written by Alice Sholl. Available at: https://www.drapersonline.com/product-and-trade-shows/the-brave-new-world-of-womenswear/7028785.article?search=https%3a%2f%2fwww.drapersonline.com%2fsearcharticles%3fkeywords%3dversatility+clothing Goworek, H (2007) -Fashion Buying 2nd Edition Oxford: Blackwell Grubb (2016) – Clash of the generations: managing the new workplace reality. Heinemann. Higher Education. Academy of Management Learning & Education. Vol. 4, No. 2, pp. 193-212 Mintel (2010) – Fashion impact of the recession UK, June 2010: The consumer – what people think about buying clothes in recession. Available at: http://academic.mintel.com/display/528299/?highlight Mintel (2012) – Clothing size UK, July 2012: The consumer – target groups. Available at: http://academic.mintel.com/ display/628721/?highlight#hit1 Mintel (2016) – Youth fashion UK, December 2016: Issues and insights. Available at: http://academic.mintel.com/display/807909/?highlight#hit1 Mintel (2016c) – H&M up the ante on sustainability – 22nd April 2016. Written by Samantha Dover. Available at: http:// academic.mintel.com/display/769140/ Mintel (2017a) – News report inputs emphasis on fashion brands to up sustainability efforts – 20th November 2017. Written by Richard Hopping. Available at: http://academic.mintel.com/display/869569/?highlight Mintel (2017b) – Womenswear UK, May 2017: Interest in innovations. Available at: http://academic.mintel.com/display/835073/?highlight#hit1 Mintel (2017c) – Womenswear UK, May 2016: What women would like improved. Available at: http://academic.mintel. com/display/835071/ Goworek, H (2007) -Fashion Buying 2nd Edition Oxford: Blackwell Grubb (2016) – Clash of the generations: managing the new workplace reality. Heinemann. Higher Education. Academy of Management Learning & Education. Vol. 4, No. 2, pp. 193-212 Holmes (2001) - Reconsidering Graduate Employability: The ‘graduate identity’ approach, Quality in Higher Education, 7:2, 111-119, DOI: 10.1080/13538320120060006 https://doi.org/10.1016/j.chb.2015.10.035 Kanter (1994) – Successful partnerships manage the relation, not just the deal. Collaborative Advantage. Harvard Business Review Khamah (2015) – Investigating effect of corporate social responsibility on consumer buying behaviour. International journal of economics, commerce and management. Vol. III, Issue 1, Jan 2015 ISSN 2348 0386 Kim & Mauborgne (2005) – Blue ocean strategy: how to create uncontested market space and make the competition irrelevant. Kluge (2014) – The acquisition of knowledge and skills for taskwork and teamwork to control complex technical systems. A cognitive and macroergonomics perspective. Springer Publisher. Kolb DA. (1984). Experiential Learning: Experience as the source of learning and development. Upper Kolb, A & Kolb, D. (2005). Learning Styles and Learning Spaces: Enhancing Experiential Learning in
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SEVEN
07 127
7.0 appendix Analysis of PESTLE:
Factors:
Impacts on & Other Stories:
Political
• The UK has voted to leave the European Union which the government have officially announced to depart in March, 2019 (BBC, 2018).
• Brexit could significantly cause changes to trade regulations, thus costs of production will rise and price will inflate. Consumers’ purchasing power could differ causing AOS to suffer from sale reductions. To comprehend, product quality and designs need to increase to sustain brand reputation.
Economical
• The significant tangible result to leave the EU was the instant devaluation of Sterling. Although, the pound has strengthened in the recent months, prices have been increasing more quickly than wages since February 2017 (Mintel, 2018).
• The falling in pounds could make tourism in the UK more affordable, booting tourist in the capital. However, by the means of this, cost of materials and production will keep rising which could impact on UK residents, thus products may be less attractive to UK customers.
Social
• 54% of consumers tend to shop at their usual retailers when buying clothing for a special occasion, rising to 59% of women (Mintel, 2015). • WGSN (2018) reported that the average spent on wedding dress is $1,509. • Mintel’s Finance Tracker shows that women are much less confident in their financial situation than man (Mintel, 2017).
• Opportunity for AOS to encourage this further through loyalty incentives with existing customers. Diverse product ranges open opportunities to new customers. • Indicating a driver for AOS to filter with new product range. • As women’s financial confidence is lower, AOS could size such opportunity to provide an affordable and contemporary bridal collection to spread the cost of the occasion.
Technological
• Social media platform Instagram launches an anticipated shopping update, allowing UK businesses to sell products via posts (Drapers, 2018). • Using smartphone for wedding planning has increased from 89% in 2015 to 92% in 2017 (WGSN, 2018).
• Consideration for AOS to sell from different digital channels. • Consideration with increasing promotion on social media to capture customers’ demand.
Legal
• The standard rate of VAT increased to 20% on January 2011, from 17.5% (Gov, 2018). • Young female millennials are driving the shift of eco fashion with 48% are interested in environmentally friendly clothing (Mintel, 2017). • The poor weather conditions impacted on high street footfall which fell by 1.2%, and the decline in shopping centres of 0.9% in the month of February 2018 (Mintel, 2018).
• May affect retail selling price within the UK.
Environmental
• AOS must operate with social responsibility and integration of ethical sourcing with product development process should’ve taken place. • Weather conditions should be incorporated through the buying process to encounter unpredicted events.
[Appendix 1: PESTLE Framework]
Strengths
Weaknesses
In a short period of five years, AOS has established 60 AOS has always worked on high street fashion collections, stores across the world with 16 store markets. bridal-wear may encounter challenges associated with design ateliers. AOS has established its advantage in the industry with its astonishing collaborations. Each year, designers are select- No experience in bridal dresses, thus funding is needed ed to conceptualise a collection to connect their customer to appoint bridal expertise, such as garment technologists with designers from around the world. Among the collab- and designers to develop new product range. orations are TOMS, Clare Vivier, Wool and the Gang, and Ada Kokosar (& Other Stories, 2018). AOS’ products don’t incorporate variation in sizes, such as petite, tall and curve. While, retailers such as Topshop and The content in AOS’ social media platforms phenomenal- Dorothy Perkins has taken a step forward. ly represents the brand’s concept with over 1m followers on Instagram, the team constantly keep communication Lack of brand recognition as AOS only has 10 physical flowing with customers to build up a mutual relationship. stores in the UK, making it difficult to promote new collections. Being part of the H&M group, AOS are financially stable to seize opportunities to expand further into the market. Lacking of digital integration within stores, AOS’ store environment predominantly has a more visualised concept, Well-establish womenswear retailer, thus bridal collection rather than giving consumer the access to modern techwill strengthen AOS’ customer base further. nology. Strengths
Weaknesses
New season bridal, opportunity for AOS to explore in the The bridal market has been well-established by other high vast demand. street retailers, AOS could face challenges of consumers driving-down the prices. 33% of women looks for designs that stand out and 24% want on-trend designs when deciding what retailer to AOS sits in-between low and high-end markets, thus shop at for a wedding or other occasions (Mintel, 2017) consumers can easily refer to lower prices or higher quality products. The in-house ateliers aid AOS to explore the uniqueness of a story-telling through the locations. Complexities associated with product development enhance AOS ‘risk of more expensive manufacture. ThereSocial media has been a game changer to promote product fore, lower profit margin for the company. ranges, with 29% of women cited social media as having inspired their wedding plans (Mintel, 2017). With over 1m UK Brexit trade deals compile implications with sourcing followers on Instagram, AOS accumulate opportunity to into the UK. engage their customer base with desirable bridal collections. Opportunities to engage from the runway to retail of bridal-dresses as the Spring 2017 runway offered up plenty variety when it comes to colour (Edited, 2016). [Appendix 2: SWOT Analysis]
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1. What is your age?
2. Do you shop at & Other Stories?
3. Do you tend to shop at your usual retailer when buying for special occasions? (Such as weddings, races, proms or summer parties)
4. What is the most important factors when choosing for bridal clothing?
5. Would you be interested in % Other Stories launching a Bridal Collection?
6. What is the average amount you would spend on bridalwear from high street retailers?
[Appendix 3: Primary Market Research] 131
& Other Stories Consumer Interview –
1. What is your current occupation? Assistant Accountant
Name: Jessica An Age: 27
2. How frequently do you shop for clothing items? And what is the most important factors before you purchase clothing item? (Quality, Price, Design? etc.) Weekly I personally shop based on this order: Design, Price then Quality. 3. Would you consider purchasing your wedding dress from your usual retailer? If so what do you think is the most important factor? Yes, as the prices tend to be a lot more affordable. However, the purchase will only be made taking in consideration of the design of the dress. The design is the most important element when it comes to picking on a wedding dress as this is what makes the bride the centre of attention on the big day. 4. Do you shop at & Other Stories? How do you feel about their visual merchandising? Occasionally Their visual merchandising appears to be very simple, clean and vintage. This is what I like; everything is all nicely and neatly displayed, which makes it easier for consumers to find what they are looking for exactly. When something is nicely displayed, it becomes more appealing to people and boosts their interest to purchase. 5. How much are you willing to spend your wedding dress if you were to buy from your usual retailers? Between £200-£350. 6. Would you like brands to design bridal dresses that could be worn for different occasions? – Rather than just the one occasion, maybe some events after the wedding? Yes. Typically, a wedding dress will only be worn once and will be stored in the wardrobe after the wedding or sold as a second hand dress. If retailers could come up with designs that are suitable for other occasions, it would save us a lot of time and money.
7. If & Other Stories was launching a bridal collection, what do you expect the most from them? – Designs, Price, Quality, Promotion? Etc. I would expect them to come up with designs that are simple and clean but yet with a bit of sophisticated element to it. [Appendix 4: Primary Market Research Interview]
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