Janalou Cruz | N0566784 Promotional Plan | trait FASH10106 | Creative Networks
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W E L C O M E ‘Brands represent identity’ (Olins 2004) This is the promotional plan for a new fragrance brand, Trait. We offer four unique fragrances specifically created for 1625 year old women. The fragrances were produced to compliment each other through the art of layering and blending. Throughout this report, we visualized the creative concept and discussed several media tools and channels best appropriate for our consumer. We’ve developed promotional strategies for the next twelve months of the brand’s evolution, and provided solutions for the winter and summer seasonal hotspots. The timeline will look into key events and activities designed to further establish our brand into the fragrance market.
CONTENTS
ONE
TWO
THREE
06
17
19
creative concept
brand onion/model and USP
creative concept winter & summer
4
CONTENTS
FOUR
FIVE
SIX
23
26
57
execution
promotional timeline
list of references, illustrations, bibliography and appendix
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CREATIVE CONCEPT
Regarding our brand identity, we have ‘created sensory magnets to attract and retain customers (Wheeler 2012). To support our idea development, we devised a survey targeted towards our demographic to ensure that our decisions aligned with their needs and preferences. We believe our consumers will find our concept engaging and compelling as we listened to their feedback. Our four archetypes were very different, so we had to find a common theme or similarity between them. Our neutral colour palette therefore doesn’t alienate any of our consumers.
brand identity As the logo is the most defining feature of a brand’s identity, we wanted ours to reflect our values. Our chosen ‘signature’ is modern, minimalist and can be applied in various ways. It enables brand extensions and is very easily recognized. Our brand identity will alternate between four fonts, depending on the media and message. We believe we have established a clear and distinctive identity ready to introduce our products to our consumers.
More than an identifiable logo, branding is considered a promise, an experience and a memory. (Hess 2014)
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FIG 1: BRAND IDENTITY 2016 (OWN WORK)
FIG 2: logo 2016 (OWN WORK)
FIG 3: packaging moodboard (own work)
For our packaging we wanted it to reflect and mimic our brand identity. As we have four different types of consumers, we decided to keep it simple with embossed illustrations conveying the archetypes that can change every season.
packaging/bottle The textured white bottles symbolize aspirational luxury and compliment our scents. Packaging can enhance the consumer experience and aesthetically pleasing ones can form into collector’s items.
people have personalities. Brands have personalities. If you want to do good business by building a successful brand, you need to be skillful about matching your market with brand. (Hartwell and Chen, 2012)
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FIG 4: BOTTLE DESIGNS 2016 (TEAM WORK) 8
CREATIVE CONCEPT
video Alongside our print advert, we also produced a video campaign.
‘
Seize every opportunity to position your company in consumer’s minds
The video should embody the brand’s voice, engage consumers and build communities. Our stop-motion video should have been another form of storytelling to communicate our message and solidify our audience but it juxtaposes with the print advert (next page). The cheerful music and flat-lay visuals contrasts with our more abstract reflection for the print ad. Therefore, the seasonal campaign videos could be more narrativedriven and adopt a serious/trustworthy feel and approach.
(Wheeler 2012)
FIG 5: VIDEO STILLS 2016 (TEAM WORK)
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CREATIVE CONCEPT
We’ve discovered that the ‘airbrushing culture’ leads to self esteem issues and we are exposed to 5,000 Photoshopped images every week (The Guardian 2012). This has resulted in a number of campaigns which champion natural beauty such as Dove Real Women’s focus on empowering women and boosting self-confidence (Mintel 2014). But we believe our brand is tackling this issue in an uncommon way. We took inspiration from ‘deconstructed’ imagery, mainly broken mannequin parts, reflection shots using silver cards and cropped visuals via post-production methods. We were eager to convey a similar look and feel to our brand identity so we chose props that has monochrome elements and carefully considered compositions.
print advert Through primary and visual research, we found out that our target market prefer print ads that feature a women similar to them and attracted to clean, minimalist style. Our concept is distinctive, as it has given us the opportunity to showcase the average, natural woman as the face of the brand. By employing a model that represents our demographic, we think that it creates a connection with our consumers. We vow to never use any altered faces/bodies in our campaigns. As with most new unknown brands, our budget is low. Therefore, integration is key. We gain economies of scale by using the same image across all media channels. Another advantage would be consumers recognizing the image and the more they become aware, the more likely it will result in desire (consumer decision process).
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FIG 6: PRINT AD MOODBOARD 2016 (OWN WORK)
FIG 7: PHOTOSHOOT 2016 (TEAM WORK)
‘mirrors create compelling reflections and distortions.’ (Ingedew 2011)
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FIG 8: FINAL PRINT AD (TEAM WORK) 13
C O N S U M E R
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CONSUMER
We interviewed four females aged between 16-25 years old (our target market). For this report, I’ll only be focusing on one particular archetype (‘the lover’ - next page) to base my promotional plan on.
the explorer FRAGRANCE PREFERENCES: how accessible and pricy it is, don’t want something too big as I want to be able to carry it around easily. SOCIAL MEDIA: I use Twitter, Facebook, Snapchat. MAXIMUM PRICE: I would only pay up to £45 and that’s during special occasions (birthdays, christmas etc.) PURCHASING BEHAVIOUR: Usually I don’t have anything in mind when I go shopping, if I come across a product/clothing that I like then I will buy it. (Just as long as it’s not out of my price range) MAGAZINES? I browse travel/food magazines and sometimes gossip magazines. INDEPENDENCE | NATURALLY CURIOUS | DISCOVER | WANDER (PURKISS 2012)
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FIG 9: EXPLORER VISUAL (OWN WORK)
the creator FRAGRANCE PREFERENCES: The packaging and bottle are very important to me and of course, the price. SOCIAL MEDIA: I use Instagram, Pinterest and Tumblr. MAXIMUM PRICE: The maximum I would pay for a perfume would be £60. PURCHASING BEHAVIOUR: I tend to browse a lot and go to each store, comparing prices and figuring out which one to buy. MAGAZINES? i-D, Dazed, Frankie.
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self-expression| Vision | Invent | Daydream | Fantasy | Experiment(PURKISS 2012)
FIG 10: CREATOR VISUAL 2016 (OWN WORK)
the sage FRAGRANCE PREFERENCES: I only care about the smell and price. SOCIAL MEDIA: I use Facebook and Twitter. MAXIMUM PRICE: I don’t spend that much on fragrance, the most was probably £30. PURCHASING BEHAVIOUR: I plan everything ahead and stick to my budget. I try to get necessary items other than impulse buys. MAGAZINES? don’t really read a lot of magazines, I mostly read books.
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WISDOM | EXPERT | HELPS PEOPLE UNDERSTAND | TRUTH | MENTOR | ADVISER (PURKISS 2012) FIG 11: SAGE VISUAL 2016 (OWN WORK) 15
CREATIVE CONCEPT
When you focus on the consumer, the consumer responds (Alexander Wang)
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A representative of our target consumer would be Grace.She is 21, studying English at university and lives in Nottingham. She also works part time in retail at Whistles. Her interests include fashion, gigs, clubbing and taking part in societies.
During weekends, she likes to relax by reading magazines such as Vogue, Darling and i-D . She shops at Zara, Topshop and H&M but aspires to wear designer brands.
our consumer Her latest brand obsessions are Nars and Anastasia Beverly Hills and she cares a lot about the packaging, brand name and reputation of a brand. Though she’s always willing to try out different and latest products. Grace’s money goes towards her car, rent, going to gigs/clubs, clothes, makeup, books and university. Our core consumer is part of the Early Majority (Everett Roger’s diffusion of innovations theory). They adopt a trend as it gathers momentum, and likely to have seen it worn by others, recommended on blogs, or in fashion magazines. Our consumer cares a lot about social belonging, their relationships with family, peers and their status. (Maslow’s Hierarchy of Needs) Collectively, our ‘lover’ archetype yearns for love, friendship and passion. ‘They are likely to be drawn to brands that will make them seem more attractive to others’. (Purkiss 2012) .
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BRAND MODEL
WALKING AND TALKING Talk: welcoming, genuine, upbeat, loyal, trustworthy, simple
Look: minimal, modern, human, consistent, neutral colour palette
Behaviour: secure, reassuring, honest, coherent, unified voice, look and feel
Position: masstige market £60 - affordable luxury (from consumer research)
Values: individuality is something to be proud of, our brand focuses on a person’s character, traits and quirks.
Strapline: “as unique as you are”
Belief: fragrances based on personality. Bringing your traits into your day to day scent.
‘scent can evoke different feelings about a person, that’s why perfume is not a one-size-fits-all matter.’ (Chanchai Na Ranoing)
Vision: creating a community vibe that’s uplifting and positive. Formulating a unique fragrance to suit your personality.
PROOF AND PUDDING
HEADS AND HEARTS
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A brand becomes stronger when you narrow the focus (Wheeler 2012)
factors of identity LOGO/CREST
COLOURS
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PATTERN
KEY PRODUCT
GEOGRAPHICAL
CULTURAL
FIG 12: FACTORS OF IDENTITY 2016 (OWN WORK)
A brand is a symbol that guarantees a particular experience (Milligan 2010)
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BRAND USP
Our competitive advantage consists of building an authentic narrative and celebrating all individuals. A recent Cohn & Wolfe survey found that 63% of global consumers would buy from a company they consider authentic over competitors (WGSN 2016). All facets of the brand, its image, products, packaging, and promotion will convey this position and it’s vital that every aspect supports the desired positioning.
brand USP As a brand, we promise to never airbrush imperfections or flaws. By presenting these unretouched images, our brand is connecting with its consumers in an undoubtedly honest way. serious/honest
Our brand’s messages across website and social is one of acceptance, simplicity and transparency. The current and future campaigns will continue in the same vein, showcasing its inclusive, easy-going attitude across channels. Our biggest challenge is striking a balance between keeping the messaging real and still selling aspiration but with our carefully planned and integrated campaign, we’re positive our brand will stand out in a densely crowded marketplace. We visited key competitors, reviewed and monitored their product offers (comparative shopping) so we can accurately create our positioning map. Our products sit on the masstige category. (market segmentation – mass + prestige)
mass/value
LUXURY/HIGH
witty/humourous
FIG 13: POSITIONING MAP 2016 (OWN WORK)
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creative concept winter and summer
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SEASONAL CONCEPTS
Our brand will advertise twice a year with campaigns timed to coincide with the launch of summer and winter seasons. We created inspiration moodboards with seasonal ideas expressed through copy and imagery. The key is to ensure that brand identity remains consistent, while the products evolve and our brand grows. The adaptations for each seasonal campaign will continue with our usual aesthetics, though the colour palette will vary depending on our consumer’s preferences. Our consumer research was essential and valuable, as it helped eradicate false assumptions and ensure that decisions are underpinned by relevant data. (Posner 2011) In terms of seasonal videos and print ads, we will try crafting original video content that speaks to target market. The narrative should explore modern Millenial problems as consumers are found to not be turned off by these ads, which act as a platform for moving merchandise. (WGSN 2016)
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winter
“During Christmas, I like the colours of snow and its connotations. I tend to prefer golds, whites and silvers rather than the typical green and red for Christmas. I like my decorations a bit more elegant, minimal and sophisticated but also has a winter and homemade feel to it.� (Core Consumer 2016)
FIG 14: WINTER MOODBOARD 2016 (OWN WORK)
FIG 15: SUMMER MOODBOARD 2016 (OWN WORK)
“In the summer, I just love going on holidays especially by the beach. I like looking at the colours of the sea, and sand really. Golds, aquas and blues appeal to me right now.” (Core consumer 2016)
summer
e x e c u t i o n
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MEDIA DIARY
I used my own research and interviews with our demographic to build a picture of our audience’s daily media habits and consumption.
7:00am
9:00am
check phone, emails, facebook, twitter and instagram, latest gossip/news
takes the bus (outdoor advertising) to go to university or work
4:00pm browse the web, magazines/books
12:30pm out for lunch, check blog feed on phone, social media, emails
6:00pm read
watch TV, check pinterest, youtube and instagram
9:00pm out, public transport (outdoor advertising), post on instagram, facebook and snapchat
paid, owned and earned media Our plan will follow the Paid, Owned, Earned media model (Brito 2013)
OWNED
channels controlled by brand – website, blog, social media etc.
paid
pays to be featured within a media channel. Print/banner ads, tv/radio, outdoor, endorsements etc.
earneD
media coverage generated outside brand’s owned or paid for. PR, word of mouth, influencer, viral coverage etc.
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DECISION PROCESS
We aim to build a community by creating an emotional bond with our audience. We want this to lead to trial, purchase and ultimately, recommendation. AIDAS model – path to purchase (Sheldon)
awareness attract attention and raise awareness. Inform of a product’s presence within the market.
interest engage consumers by providing useful information that highlights a product’s benefit
desire generate desire. See, feel/trial product and may discuss with peers or trusted advisers
action prompt action
satisfaction satisfy consumer so they become a repeat customer and give referrals to a product. 25
PROMO TIMELINE
MONTH 1
MONTH 2
MONTH 3
may
june
july
social media teaser campaign, website launch
press launch, public relations
consumer advertising (online and offline)
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PROMO TIMELINE
MONTH 4
MONTH 5
MONTH 6
aug
sept
oct
products launch, retail environment
promotion at london fashion weekend
youtube, blogs
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PROMO TIMELINE
MONTH 7
MONTH 8
MONTH 9
nov
dec
jan
winter campaign, limited editions, advent calendar, video
consumer layering event, measure success
magazines
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PROMO TIMELINE
MONTH 10
MONTH 11 + 12
MONTH 13
feb
mar + apr
may
fashion week SS17, vogue.com banner campaign
collaboration with stationery brand, easter promotions
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summer campaign, collector’s editions, brand extension
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SOCIAL MEDIA & WEBSITE CAMPAIGN
may Few months before product launch, we intend to create initial buzz and that’s where we will introduce our social media teaser campaign. According to our target consumer, she uses ‘instagram, facebook, twitter, snapchat and pinterest’. By posting images depicting the process and short clips from photoshoot and video ads, we intend to start a conversation and publicity for the brand. We will use hashtags (#) prominently for potential consumers follow the conversation; this also enables our brand to track user interactions.
On the other hand, our website will detail how our brand came together, with ‘About Us’ pages and inspirations that will have extended information rather than the concise, more behindthe-scenes feel on our social media pages. This particular platform will also allow consumers to purchase/pre-order the products and subscribe to our newsletter. We intend to have entertaining content on there too, with ‘Scent Match’ tests and upcoming competitions, allowing for further communication.
'as a brand, we talk to our audience about all kinds of things - music, weekend plans, people who interests us' (Alexander Wang)
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FIG 16: WEBSITE PAGE
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FIG 17: PINTEREST PAGE
PROMOTIONAL PL AN
“Instagram I use the most, but also facebook, twitter, snapchat and pinterest.” (Core consumer 2016)
FIG 18: twitter page
‘Facebook, up 44%, is the fastest-growing brand in the top 100 for the second straight year. The number of active users has surged to 1.65 billion. The average user spends 50 minutes daily using Facebook and Instagram.’ (Forbes 2016)
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FIG 19: instagram page
FIG 20: facebook page
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press launch and public relations
june We wish to have a press and trade launch two months before the products debut. Editors from Vogue magazine (Alexandra Shulman) and creative director of Darling magazine (Sarah Dubbeldam) will be invited as well as distributors from Boots, Debenhams and the Perfume Shop. Bloggers Jenny Bernheim (Margo & Me) and Annabelle Fleur (Viva Luxury) will also be a priority. We wanted to select a legion of influential people from the industry that our target consumer follows and respects to sample our brand. Hopefully this will send another kind of message – that ours is a brand to invest and believe in (Cope and Delaney 2016).
With reference to the interior and ambience, we want to host an uplifting atmosphere and positive theme with different sections to experience depending on your preferred archetype. A keen observation of all media channels during and after the event is essential to ensure all press coverage is captured.
We wanted to select a legion of influential people from the idustry that our target consumer follows and respects.
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PROMOTIONAL PL AN
We plan to make our invitations relevant but also abstracted to avoid revealing too many details. While the digital field is becoming stronger, ‘printed invitations remain the preferred method of promoting’ a brand (Cope and Delaney 2016). Most still produce elaborate hard copies as it suggests a level of exclusivity that can be lost through email. We plan to explore specialist production techniques such as foil stamping and embossing.
FIG 21: interior
FIG 22: ALEXANDRA SHULMAN
FIG 23: SARAH DUBBelDAM
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By conversing and maintaining relationships with magazine editors, we can elicit positive media coverage. This is a subtle form of promotion, as our consumers use trend leaders as a source of inspiration about trends. We aim to send them product samples in the hope they would review and give a favourable opinion. Throughout the year, we can continue to measure effectiveness of PR by clip reports/press clippings.
1 2 3 4 5 6 7 8 9 10 11 12 13
CONsumer advertising - outdoor and magazines
july We plan to utilize channels – outdoor
From our consumer findings, we spotted that they check their emails regularly, and they are bombarded with countless brands, university/school/work duties and interests. We plan to notify our target audience about new releases, and deals but we have to be careful as we don’t want our them to get annoyed of our constant promotions. It will be designed with our brand identity and tone of voice in mind.
two media
traditional media and magazines.
We hope to capture attention during their weekly routine or while waiting for public transport (underground, bus shelters and train stations). Normally, outdoor advertising tend to not have much text as to not distract pedestrians or drivers so we’ll use our print ad which captures our brand perfectly.
'I mostly use the bus, train and tube. The bus most frequently, getting around town, train when I need to go home to parents and tube when I'm at London.' (Core consumer)
'
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FIG 24: INDOOR ADVERTISING
FIG 25: UNDERGROUND ADVERTISING
FIG 26: BUS SHELTER ADVERTISING
PROMOTIONAL PL AN
FIG 27. MAGAZINE MOCKUP
Our target market has a repertoire of magazines they are interested in – Darling, Vogue and i-D most notably (consumer profile). We plan to advertise our brand on their publications as their style and content reflects our underlying values, attitudes and interests of our demographic.
On the other hand, Vogue, appeals to a different side of our consumers. Their characteristics are stylish (‘Vogue readers spend more on fashion each year than readers of Elle, Marie Claire, and Harper’s Bazaar’), luxury (‘93% of Vogue readers own designer fashion 94% own premium beauty’) and influential. (Conde Nast 2016) This appeals to our more fashion-conscious and trend-setter consumers. By recognizing roles of narrative and differing tone of voices, we can target and capture our consumer’s attention and hopefully raise awareness.
Darling magazine resonates with our brand as they’re about ‘redefining beauty and empowering women’. (Darling 2016) They challenge cultural ideals of beauty, promotes respect for women’s bodies in fashion/photography and moreover, never uses Photoshop to alter their models, similar to our principles. They also feature products within the price range of average income and offers tangible advice on depression and anxiety. We believe that by having our print ad include inside will hopefully lure in more of our target consumers.
‘despite an exponential growth in social media during the writing of this book, traditional tools (such as magazines and PR) are still as important. (Lea-Greenwood 2012)
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PROMOTIONAL PL AN
READERSHIP NRS Jul - Dec 2015 = 1,327,000
UNIQUE USERS Google Analytics Feb - Apr 2016 = 2,262,444
CIRCULATION Combined print & digital ABC Jul - Dec 2015 = 195,010
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pRODUCT LAUNCH, RETAIL ENVIRONMENT & VM
aug
FIG 28: SHOPPING BAG MOCK UP
Our target consumer doesn’t really seek the help of sales assistants, preferring to just browse and look for themselves. However, as ‘every interaction provides an opportunity for the business to differentiate itself from competitors and ensure a positive experience for consumer (Posner 2011), we would employ women who fits within our demographic. In order to gain consumer’s trust and create empathy, our sales assistants should be friendly and informed. A brand leaflet/ lookbook can also be given out to potential consumers as this visual document showcases the latest products and news.
We aspire to continue our brand narrative through visual merchandising (Cope and Delaney 2016). The window display is a powerful magnet, entice the public to visit and will reinforce our brand identity. We intend to communicate in imagery, atmosphere and this can also be used to promote special seasonal events.
'the can
most mundance experiences be memorable' (Wheeler 201 2)
‘visual merchandising must “weave a spell around the customer..make her fall in love. ( Doonan 2002) 40
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SPONSOR FOR FASHION WEEKEND
sept As fashion is a massive part of our consumer’s lives, we decided to be one of the sponsors for London Fashion Weekend. Located in Somerset House, it’s a primary opportunity to connect with an engaged and targeted audience.
The prices for the public ranges from £20 to £60, therefore it’s not out of our consumer’s budgets. We can raise brand awareness and attract new potential followers. Each attendee will receive a designer tote filled with a diverse range of products – from beauty, lifestyle, snacks and fragrance. We aim to supply some fragrance samples to put inside these bags.
'I spend my money on my car, rent, going to gigs and clubs, food, clothes, makeup and books.'
(CORE CONSUMER)
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1 2 3 4 5 66 7 8 9 10 11 12 13
YOUTUBE and blogs
oct Blogs are one of the fastest-growing areas of consumer-generated media (CGM) (Posner 2011) Blogs nowadays hold the attention of millions of readers (Cope and Delaney 2016). A type of blog that most relates to our consumers is called a ‘Narcissus’, (Engholm 2013) a form of fashion diary that logs what the blogger wears. Jenny Bernheim (Margo & Me) and Annabelle Fleur (Viva Luxury) are two examples of where we could promote a visual banner and this can have a dramatic effect on brand reputation. The link will take readers to our brand website, with links to purchase, information about our products and social media platforms.
We can also appear on certain Youtubers’ videos. Before their video, our 30 sec ad will play and hopefully catch on to their fans and viewers. As our example consumer watches Pretty Little Liars TV series, we thought to advertise our video on one of the lead actress’s Youtube channel. Other channels include British Vogue who has a 237,713 audience reach (Conde Nast 2016) and 260,294 subscribers.
'I read a lot of fashion blogs. I tend to go for more feminine ones such as Viva Luxury, Margo and Me' (CORE CONSUMER)
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PROMOTIONAL PL AN
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1 2 3 4 5 6 7 8 9 10 11 12 13
winter campaign
nov As discussed and developed during the creative concept process, this page illustrates our execution of Trait’s winter campaign and the results of our consumer research. Our winter campaign consists of;
-Carrier bag that reflects our winter theme and so special that it is kept as a treasured souvenir and can be a status symbol as much as the product contained within it. (Posner 2011)
-An advent calendar that can be presented as a gift; each day will reveal each of the four scents so the consumer gets an element of surprise. They can look forward to seeing which scent they can wear that day.
-Wrapping tissue paper that each season and references
-Our limited edition – consumers can purchase all four collectibles in one special Trait winter box. This allows them to choose depending on their mood or occasion. They can layer and combine any of the four scents.
is customized each season.
We have to maximize every opportunity to make sure our brand is coherent, attractive, recognizable and still keep true to our values and tone of voice.
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FIG 29: ADVENT CALENDAR MOCK UP
FIG 30: WINTER PACKAGING MOCKUP
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1 2 3 4 5 6 7 8 9 10 11 12 13
CONSUMER EVENT AND MEASURING SUCCESS
dec They can enjoy layering and combining with our four scents and along with our helpful sales assistants, it should foster emotional connections. . We will also hire a fashion illustrator to create event ‘souvenirs’ that consumers can keep. We chose either Inslee Fariss or Sally Pratt as all of them have a similar aesthetic to our brand’s illustrations.
Just before Christmas, an experiential event can take place aimed directly at our target consumers. It will allow them to interact physically with our brand, and in turn we can communicate our brand values and narratives in ‘a specially created, multisensory environment’ (Cope and Delaney 2016) ‘Events also offer huge opportunities for brands to research their target audiences by observing how consumers interact with products in-store and other environments’ (Baron 2016)
'successful events should affect attendees emotionally, psychologically, and physically' (COPE & DELANEY 2016)
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PROMOTIONAL PL AN
We can evaluate and measure the success of events by offering exclusive coupon codes for online shopping, we can quickly tell how many have used the code.
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1 2 3 4 5 6 7 8 9 10 11 12 13
darling magazine article
jan Collaboration with Darling magazine could result in a feature or an article about insecurities and painful issues facing women such as depression, self-esteem and anxiety. We could highlight the history of our brand and future activities. As I’ve already mentioned, Darling magazine challenges cultural ideas of beauty and promotes respect. Their Pinterest page also has very similar style to ours, they have different boards for all kinds of women ‘the explorer, the intellectual, the dreamer’ etc. The style and content mirrors our values and attitudes.
'I like Darling magazine, i-D magazine, Vogue. Avid reader of celebrity gossip magazines' (CORE CONSUMER)
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1 2 3 4 5 6 7 8 9 10 11 12 13
FASHION WEEK AW17 online banner
feb To coincide with the fashion week AW17, we plan to advertise using our brand banner on the Vogue.com website. Our fashion conscious audience (‘the lover’) will be one of the first to check back online to view the latest catwalk shows and with our banner on top of the shows, it’s easily detected and recognized. The link will take them to our official website, with options to buy, follow our social media or know more about us.
My interests include fashion, writing, reading, going to gigs and festivals/ concerts, going out with friends. (CORE CONSUMER)
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FIG 31: VOGUE.COM WEBSITE
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SMYTHSON COLLABORATION
mar apr Later on the promotional timeline, collaboration with a lifestyle stationery brand could be possible. As the life stage of our target consumer involves studying at school/ university, joining forces with a stationery brand would mean we are not only offering a lifestyle, we’re also regaining interests, reminding consumers of our presence and introducing ourselves to potential ones. An example of a brand we could possibly work with is Smythson.
Unlike our new brand, Smythson is rooted in deep heritage; having represented over ‘125 years of British luxury leather goods’ (Smythson 2016). By partnering, we are creating something that neither of our brands could have created successfully alone. Just before our summer campaign debuts, Easter promotional offers will be implemented. The purpose will be to sell as much stock in discounted prices before announcing our brand new campaign.
'a collaboration between two brands and personalities is a great way to reach new audiences. It can also strengthen the credibility of already established brands.' (TREND HUNTER 2016)
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FIG 32: SMYTHSON STATIONERY
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SUMMER CAMPAIGN
may The new seasonal packaging will once again be limited edition. The gold and blue colour theme connotes a more luxurious appearance and was the result of our consumer research. While the prices still remain the same and on the masstige area, our consumer’s aspirations take this to a more colourful and summer theme.
The results of our consumer research revealed that brand extensions are achievable and wanted. Trait will extend and broaden our range to body soaps. It will start with our four main scents, and then perhaps we’ll see the reception/reviews and go from there.
'Once people experience a brand and like it, it acquires the legitimacy to offer them something else: maybe a different kind of product, but one with similarities in form or function or emotional resonance.' . (milligan 2010)
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the explorer
the creator the SAGE
the lover
the SAGE the LOVER
FIG 33: SUMMER CAMPAIGN MOCKUP
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s u m m a r y ‘A brand is a promise kept’ (Purkiss 2012) The launch of any new brand will always be a challenge, but we believe that we have established and fulfilled our consumer’s needs and concerns. With our in-depth primary research and appropriate media tools, we should have achieved our aims and objectives by the end of our proposed promotional plan.
LIST OF ILLUSTRATIONS Cover 2016 (own work)
Fig 18: Twitter Page (2016) (own work) mock up available at http://graphicburger.com/5x-iphone-6-in-hand-mockups/ [Accessed 2 June 2016]
Fig 1: Brand Identity (2016) (own work) mock up available at http://graphicburger.com/sketchbook-mockups-psd-2/ [Accessed 2 June 2016]
Fig 19: Instagram Page (2016) (own work) mock up available at http://graphicburger.com/samsung-galaxy-s5psd-mockup/
Fig 2: Brand Logo (2016) (own work) mock up available at http://graphicburger.com/cutout-logo-mock-up/ [Accessed 2 June 2016]
Fig 20: Facebook Page (2016) (own work) mock up available at http://graphicburger.com/macbook-air-mockup/ [Accessed 2 June 2016]
Fig 3: Packaging Moodboard (2016) (own work) Fig 4: Bottle Designs (2016) (team work)
Fig 21: Interior (2015) Available at http://www.yellowtrace. com.au/the-pelican-studio-amsterdam-by-framework/ [Accessed 2 June 2016]
Fig 5: Video Stills (2016) (team work) Fig 6: Print Ad Moodboard (2016) (own work)
Fig 22: Alexandra Shulman (2013) Available at http://www. timeout.com/london/shopping/talking-shop-alexandrashulman [Accessed 2 June 2016]
Fig 7: Photoshoot Images (2016) (team work) Fig 8: Final Print Ad (2016) (team work)
Fig 23: Sarah Dubbeldam (2014) Available at http://www. ltd365.com/2014/03/sarah-dubbeldam/ [Accessed 2 June 2016]
Fig 9: Explorer Consumer Visual (2016) (own work) mock up available at http://graphicburger.com/shopping-bag-psd-mockup/ [Accessed 2 June 2016]
Fig 24: Indoor Advertising (2016) (own work) Fig 25: Underground Advertising (2016) (own work)
Fig 10 Creator Consumer Visual (2016) (own work) mock up available at http://graphicburger.com/shopping-bag-psd-mockup/ [Accessed 2 June 2016]
Fig 26: Bus Shelter Advertising (2016) (own work) Fig 27: Magazine Mock Up (2016) (own work) mock up available at http://graphicburger.com/photorealisticmagazine-mock-up/ [Accessed 2 June 2016]
Fig 11: Sage Consumer Visual (2016) (own work) mock up available at http://graphicburger.com/shopping-bag-psd-mockup/ [Accessed 2 June 2016]
Fig 28: Shopping Bag (2016) (own work) mock up available at http://graphicburger.com/shopping-bag-psd-mockup-3/
Fig 12: Factors of Identity (2016) (own work)
Fig 29: Advent Calendar Mock Up (2016) (own work) original image available at http://www.treasureeverymoment.co.uk/2014_11_01_ archive.html [Accessed 2 June 2016]
Fig 13: Positioning Map (2016) (own work) Fig 14: Winter Moodboard (2016) (own work) Fig 15: Summer Moodboard (2016) (own work)
Fig 30: Winter Packaging Mock Up (2016) (own work) mock up available at http://graphicburger.com/cardboardbox-psd-mockup/
Fig 16: Website Page (2016) (own work) mock up available at http://graphicburger.com/macbook-pro-psd-mockup/ [Accessed 2 June 2016]
Fig 31: Vogue Website (2016) available at http://www.vogue. com/fashion-shows [Accessed 2 June 2016]
Fig 17: Pinterest Page (2016) (own work) mock up available at http://graphicburger.com/apple-responsive-screenmockups/ [Accessed 2 June 2016]
Fig 32: Smythson Stationery (2016) available at http://www. smythson.com [Accessed 2 June 2016] Fig 33: Summer Campaign Mock Ups (2016) (own work)
57
LIST OF REFERENCES Conde Nast. 2016. Vogue Digital Media Pack. [ONLINE] Available at: http://digital-assets.condenast.co.uk. s3.amazonaws.com/static/mediapack/vg_media_pack_ latest.pdf. [Accessed 3 June 2016].
Mintel. Libby, C.. 2014. New campaigns support beauty and brains . [ONLINE] Available at: http://academic.mintel.com/ display/721134/?highlight. [Accessed 3 June 2016]. Olins, W., 2004. On Brand . 1st ed. London: Thames and Hudson Ltd.
Cope, J., and Maloney, D. 2016. Fashion Promotion in Practice. 1st ed. London: Fairchild Books.
Posner, H., 2011. Marketing Fashion. 1st ed. London: Laurence King.
Darling magazine website. 2016. What makes us different?. [ONLINE] Available at: http://darlingmagazine.org/whatmakes-us-different/. [Accessed 3 June 2016].
PR Week. Bamidele, J. . 2015. When doing PR, focus on the consumer Read more at http://www. prweek.com/article/1345267/when-doing-pr-focusconsumer#MoHlpJU7R7Lhzctx.99. [ONLINE] Available at: http://www.prweek.com/article/1345267/when-doing-prfocus-consumer. [Accessed 3 June 2016].
Egan, J., 2014. Marketing Communications. 2nd ed. New York: Sage Publications Ltd. Forbes. Badehauben, K.. 2016. The World’s Most Valuable Brands 2016. [ONLINE] Available at: http://www.forbes. com/sites/kurtbadenhausen/2016/05/11/the-worlds-mostvaluable-brands/#430b6f057561. [Accessed 3 June 2016].
Primary Research Consumer Interview 2016 (own work) Purkiss, J., 2014. Brand You: Turn Your Unique Talents into a Winning Formula . 1st ed. London: Pearson.
Guardian, The. Cartner-Moley J. . 2015. Fashion superhero Alexander Wang on style, sportswear and never going to the gym. [ONLINE] Available at: http://www.theguardian. com/fashion/2015/mar/05/alexander-wang-interview-thefashion. [Accessed 3 June 2016].
Rodgers, E., 2003. Diffusion of Innovations. 5th ed. Doncaster: Free Press. Silly Psychology. McLeod, S.. 2014. Maslow’s Hierarchy of Needs. [ONLINE] Available at: http://www. simplypsychology.org/maslow.html. [Accessed 3 June 2016].
Guardian, The. Wiseman, E.. 2012. Uncomfortable in our skin: the body-image report. [ONLINE] Available at: http:// www.theguardian.com/lifeandstyle/2012/jun/10/bodyimage-anxiety-eva-wiseman. [Accessed 3 June 2016].
Smythson . 2016. Smythson Story. [ONLINE] Available at: http://www.smythson.com/smythson-story. [Accessed 3 June 2016].
Hartwell , M., 2012. Archetypes in Branding: A Toolkit for Creatives and Strategists. 1st ed. London: How Design Books.
Summer Consumer Interview 2016 (own work)
Hess, J., 2014. Designing Brand Identity. 1st ed. London: Laurence King.
Trend Hunter. 2016. Collaborative Branding . [ONLINE] Available at: http://www.trendhunter.com/protrends/ collaborative-branding-designers-form-strategicpartnerships-to-ignite-new. [Accessed 3 June 2016].
Ingledew, J., 2011. The A - Z of Visual Ideas: How to Solve any Creative Brief . 1st ed. London: Laurence King. Lea-Greenwood, G., 2012. Fashion Marketing Communications. 1st ed. New Jersey: John Wiley & Sons.
WGSN. 2016. Brand Loyalty. [ONLINE] Available at: https://www.wgsn.com/content/board_viewer/#/63687/ page/6. [Accessed 3 June 2016].
Media Consumption Diary Survey 2016 (own work)
Wheeler, A., 2012. Designing Brand Identity. 4th ed. New Jersey: John Wiley & Sons.
Milligan, A., 2010. Brand it Like Beckham. 2nd ed. Singapore: Marshall Cavendish.
Winter Consumer Interview 2016 (own work)
58
BIBLIOGRAPHY BOOKS:
ADDITIONAL SOURCES:
Cope, J., and Maloney, D. 2016. Fashion Promotion in Practice. 1st ed. London: Fairchild Books.
Badehauben, K.. 2016. The World’s Most Valuable Brands 2016. [ONLINE] Available at: http://www.forbes.com/sites/kurtbadenhausen/2016/05/11/theworlds-most-valuable-brands/#430b6f057561. [Accessed 3 June 2016]. Bamidele, J. . 2015. When doing PR, focus on the consumer Read more at http://www.prweek.com/article/1345267/when-doing-pr-focusconsumer#MoHlpJU7R7Lhzctx.99. [ONLINE] Available at: http://www.prweek. com/article/1345267/when-doing-pr-focus-consumer. [Accessed 3 June 2016].
Egan, J., 2014. Marketing Communications. 2nd ed. New York: Sage Publications Ltd. Hartwell , M., 2012. Archetypes in Branding: A Toolkit for Creatives and Strategists. 1st ed. London: How Design Books.
Burne James, S.. 2016. Brits among world’s most sceptical consumers - but less so towards UK brands [ONLINE] Available at: http://www.campaignlive. co.uk/article/brits-among-worlds-sceptical-consumers-less-so-towards-ukbrands/1395538. [Accessed 3 June 2016].
Hess, J., 2014. Designing Brand Identity. 1st ed. London: Laurence King.
Cartner-Moley J. . 2015. Fashion superhero Alexander Wang on style, sportswear and never going to the gym. [ONLINE] Available at: http://www.theguardian. com/fashion/2015/mar/05/alexander-wang-interview-the-fashion. [Accessed 3 June 2016].
Ingledew, J., 2011. The A - Z of Visual Ideas: How to Solve any Creative Brief . 1st ed. London: Laurence King.
Conde Nast. 2016. Vogue Digital Media Pack. [ONLINE] Available at: http:// digital-assets.condenast.co.uk.s3.amazonaws.com/static/mediapack/vg_media_ pack_latest.pdf. [Accessed 3 June 2016].
Lea-Greenwood, G., 2012. Fashion Marketing Communications. 1st ed. New Jersey: John Wiley & Sons.
Darling. 2016. What makes us different?. [ONLINE] Available at: http:// darlingmagazine.org/what-makes-us-different/. [Accessed 3 June 2016].
Milligan, A., 2010. Brand it Like Beckham. 2nd ed. Singapore: Marshall Cavendish.
Fernandez, C. (2016) CONDÉ NAST ANNOUNCES MULTI-BRAND, SOCIAL MEDIA FRIENDLY BEAUTY CONTENT NETWORK. Available at: http:// fashionista.com/2016/05/conde-nast-the-look-is (Accessed: 3 June 2016).
Olins, W., 2004. On Brand . 1st ed. London: Thames and Hudson Ltd.
Jordan, A. (2016) Beauty news. Available at: https://www.lsnglobal.com/news/ article/19472/beauty-news (Accessed: 3 June 2016).
Posner, H., 2011. Marketing Fashion. 1st ed. London: Laurence King.
McLeod, S.. 2014. Maslow’s Hierarchy of Needs. [ONLINE] Available at: http:// www.simplypsychology.org/maslow.html. [Accessed 3 June 2016]. Phelan, H. (2016) The power of the mid-tier Blogger. Available at: http://www. racked.com/2016/5/23/11703698/mid-tier-bloggers-whatvwore (Accessed: 3 June 2016).
Purkiss, J., 2014. Brand You: Turn Your Unique Talents into a Winning Formula . 1st ed. London: Pearson.
Smythson . 2016. Smythson Story. [ONLINE] Available at: http://www.smythson. com/smythson-story. [Accessed 3 June 2016].
Rodgers, E., 2003. Diffusion of Innovations. 5th ed. Doncaster: Free Press.
Stein, L.. 2016. Naja and #WomenNotObjects Founder Launch Diverse Nude Lingerie Line. [ONLINE] Available at: http://adage.com/article/agency-news/ naja-womennotobjects-founder-launch-nude-lingerie-line/304108/. [Accessed 3 June 2016].
Wheeler, A., 2012. Designing Brand Identity. 4th ed. New Jersey: John Wiley & Sons.
The Drum. Snyder, J.. 2016. How brands can remain relevant in the age of the shape-shifting consumer. [ONLINE] Available at: http://www.thedrum. com/opinion/2016/05/24/how-brands-can-remain-relevant-age-shape-shiftingconsumer. [Accessed 3 June 2016].
ONLINE JOURNALS:
Trend Hunter. 2016. Collaborative Branding . [ONLINE] Available at: http:// www.trendhunter.com/protrends/collaborative-branding-designers-formstrategic-partnerships-to-ignite-new. [Accessed 3 June 2016].
Mintel. Libby, C.. 2014. New campaigns support beauty and brains . [ONLINE] Available at: http://academic.mintel.com/ display/721134/?highlight. [Accessed 3 June 2016].
WGSN. 2016. Brand Loyalty. [ONLINE] Available at: https://www.wgsn.com/ content/board_viewer/#/63687/page/6. [Accessed 3 June 2016].
Nexis. Roongwitoo, N.. 2010. Scent of individuality Formulate a unique fragrance to suit your personality. [ONLINE] Available at: https://www.nexis.com/ results/enhdocview.do?docLinkInd=true&ersKey=23_
WGSN. 2016. All-access Experiences. [ONLINE] Available at: https://www. wgsn.com/content/board_viewer/#/63587/page/3. [Accessed 3 June 2016]. WGSN (2016) Brand as Content Creators. Available at: https://www.wgsn.com/ content/board_viewer/#/66023/page/1 (Accessed: 3 June 2016). Wiseman, E.. 2012. Uncomfortable in our skin: the body-image report. [ONLINE] Available at: http://www.theguardian.com/lifeandstyle/2012/jun/10/body-imageanxiety-eva-wiseman. [Accessed 3 June 2016]. Wong, R.. 2016. Why Instagram’s new icon and black and white design suck. [ONLINE] Available at: http://mashable.com/2016/05/13/instagram-new-logoopinion/#_j57qVcu5PqH. [Accessed 3 June 2016].
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APPENDIX
CORE CONSUMER RESEARCH SURVEY
1. Age: 2.
Life stage:
3. Occupation: 4.
Marital status:
5.
Residential location:
6.
Interests and hobbies?
7.
Career aspirations:
8.
What do you look for in a fragrance?
9.
Where do you buy your fragrances from?
10.
Do you have a signature scent? Which one would you recommend?
11.
Is the packaging and bottle design really important to you?
12.
Maximum price you would pay a fragrance for?
13.
Where do you shop?
14.
Aspires to wear:
15.
Purchasing behavior and spending habits?
16.
Which brands connect with you successfully?
17.
Do you use public transport in your daily routine?
60
APPENDIX Media Consumption Interview
1.
What does your regular daily routine consist of?
2.
Does your weekend media consumption vary from weekdays?
3.
What social media do you use throughout the day?
4.
Which one do you check the most?
5.
What do you use the internet for?
6.
Do you watch TV and how often, if so?
7.
What kind of magazines (please list titles) do you read?
WINTER/SUMMER CONCEPT INTERVIEW 1.
Would you buy a limited edition?
2.
Do you often buy limited editions (any brand/product)?
3. During the Christmas/winter season, what kind of decorations and imagery do you most prefer? 4. see?
During the summer season, what kind of colours/imagery/texture do you like to
5.
Do you like the idea of body soaps smelling like your favourite fragrance?
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Janalou Cruz N0566784 FASH10106 Creative Networks Fashion Communication & Promotion