Research Journal: Collaboration Project A/W 2017 by Jennifer Feng

Research Journal Collaboration Project A/W 2017.

Name Student ID

200993178

Course

Fashion Marketing

Module

Fashion Promotions

Module Leader Word Count 1

Wen-Hsin Feng

Barbara Waters 2921

Contents. Definition & Discussions

Retailer Case Study

7 Brand Brief

Target Audience

Investigation of Past Collaboration: Bruce by Bruce Oldfield

Brief Product Range Marketing Communications Analysis & Evaluation

Collaboration Range

23 Collaborator & Range Direction Rational

Designer Brand Identity

Target Audience

Designer Brand Identity Board

Background Research

Range Plan Board

Marketing Communications Plan

Marketing Communications Board

References Appendix

40 Three Boards

Figure 3. John Lewis — Modern Rarity (Charlie Smith Design, 2017)

Definition & Discussions. A collaboration in the context of fashion marketing, can be defined as an alliance between a fashion brand and another entity to create a product, collection, or a separate brand (Cope et el, 2016). This entity could be an artist, a fellow fashion brand of a different market segment, a fashion designer, a nonfashion professional, a non-fashion brand, or a fashion industry professional. (Cope et el, 2016). This cooperative activity could be short-term or a longterm relationship (Cooke, 2000). The collaboration between John Lewis and Bruce Oldfield for example, is a long-term partnership between a high-street fashion brand and a high-end designer to create a sub-brand – Bruce by Bruce Oldfield – which releases collections every fashion season.

Generally speaking, the main benefits which brands seek to gain through collaborations include to generate promotional media coverage, extend audience reach, and attain a ‘cool’ factor of novelty and surprise (Cope, 2016). Some argue that in the dynamic fashion market, brands must provide customers with intangible values outside of their physical product to remain competitive, including differentiation, uniqueness, and rarity (Kim et el, 2014). Collaboration is an important strategy to provide brands with such values, as it facilitates the creation of something innovative and exciting for the parties involved which each could not have been able to create as successfully alone (Cope et el, 2016). In the case of John Lewis and Bruce Oldfield’s collaboration, John Lewis as a high-street brand, collaborating with a well-established and reputed designer like Bruce Oldfield helps them enhance and elevate

There are various benefits which motivate fashion brands to carry out collaborations depending on the nature of the collaboration and the parties involved. 4

their brand image, giving the brand positive brand associations in the eyes of customers (Ahn et el, 2010). It also offers John Lewis the chance to increase its brands credibility, and by delighting customers with a distinctive new offering, will hopefully increase profits in the long run (Cope et el, 2016). For Bruce Oldfield, having a long-term collaboration with John Lewis provides him with a stable source of business, which he has expressed a desire for due to his entering a later stage of life, and being in a situation that he is selling but 15 dresses a year (Sturgis, 2015). Also, this collaboration offers a gate of access to a very different market segment, providing Bruce Oldfield new channels of distribution and reach, with his work being sold online for the first time ever, and the high-street collection starting from £59 compared to the 4 digit prices his couture pieces usually range (Sturgis, 2015). The charitable element of the collab-

oration, in which Oldfield donates £20 to Barnado’s (children’s’ charity which he is vice president) with every little black dress sold, also serves to increase both of the brand’s corporate reputation (Cope et el, 2016). However, collaborations are not always beneficial and may prove to give negative impact on the brands involved if not handled with caution (Kim et el, 2014). Collaborations are most affective when carried out with partners which have a harmonious matching image (Ahn et el, 2010), and a failure to create such balanced combinations may result in the erosion and dilution of the respective brands’ unique images (Kim et el, 2014). Also, there are instances where collaborations fail to sell and end up heavily discounted which could occur when they do not satisfy the desires and expectations of the target customers (Cope et el, 2016).

Retailer Research: John Lewis.

Figure 4. John Lewis Leeds (Mace, 2017)

Figure 5. John Lewis Logo (John Lewis, no date))

Figure 6. Great British Brands â&#x20AC;&#x201C; John Lewis (Pittendreigh, 2014)

Brand Brief.

John Lewis is the largest omni-channel high street retailer in the UK with 48 John Lewis shops and a growing online business (John Lewis Partnership, no date). They pride themselves in their quality-servicevalue promise ‘Never Knowingly Undersold’ which they have kept to their customers for 75 years. As part of their partnership spirit, they work hard to ensure the well-being of their employees, the community, and the environment (John Lewis Partnership, no date). Having initially began trading as a drapers

shop in 1864, John Lewis – founded by John Spedan Lewis – is a brand with heritage, (John Lewis Partnership, no date) deeply embedded into the daily life and hearts of the nation (Pittendreigh, 2014). For the last 10 year, John Lewis has been most famously known for their empowering and emotional Christmas adverts which has inspired and connected many (Pittendreigh, 2014).

Target Audience. John Lewisâ&#x20AC;&#x2122;s main target audience is ranged between 30 to 40 years old (Kristen, 2013), which is younger than many might assume, with only 28% of their customers above the age of 55 (Retail Week, 2013). Most are couples having just entered the stage of family life with young children (Kirsten 2013) and residing in prosperous suburban or urban residential areas (White, 2012). They are however less affluent than is commonly perceived, with the majority earning an income of under ÂŁ30,000 (Retail Week, 2013). They aspire for a healthy and quality lifestyle for the whole family, and mostly live a modern, urban lifestyle, keeping socially aware and active, and enjoys travelling the world (Kirsten, 2013). They appreciate TV programmes that are highly social and topical nationally, such as The X Factor, and enjoys

music, especially mainstream pop, song covers and renditions of older pop music (adam&eveDDB, no date). They are price savvy shoppers in the sense that they are willing to spend on themselves and their family, but only if it is a quality investment that will stand the test of time (Kirsten, 2013). They are trend conscious regardless of age, and actively seeks to dress in a stylish, youthful and modern way (Kirsten, 2013). Apart from quality of products, what consumers desire and enjoy from John Lewis is an emotional connection with them, especially the sense of nostalgia, timelessness, and companionship throughout life (adam&eveDDB, no date). Consumers are also tech savvy, with 64% of them shopping with John Lewis online in conjunction of brick-and-motor stores (Retail Week, 2013).

Figure 7. John Lewis (of Hugerford)/Christmas Ad. (Wright , 2017)

Past Collaboration: Bruce by Bruce Oldfield.

Figure 8. Bruce by Bruce Oldfield 1

Figure 9. Bruce by Bruce Oldfield 2

(John Lewis, 2015)

Brief. Bruce by Bruce Oldfield is an exclusive 60-piece collection designed in collaboration with British couturier, Bruce Oldfield OBE (Conlon, 2015). This is Oldfield’s first high-street brand partnership, and aims to make Oldfield’s signature aesthetic of elongated, structured silhouettes more accessible to consumers who aspire for Oldfield’s couture and ready-to-wear brand (Conlon, 2015). The collection takes inspiration from the Eighties, reworking them to fit the modern women (Marfil, 2015).

Figure 10. Bruce by Bruce Oldfield 3

Figure 11. Bruce by Bruce Oldfield 4

(John Lewis, 2015)

Figure 12. Bruce by Bruce Oldfield 5

Figure 13. Bruce by Bruce Oldfield 6

(John Lewis, 2015)

Figure 14. Bruce by Bruce Oldfield 7

Figure 15. Bruce by Bruce Oldfield 8

(John Lewis, 2015)

Product Range. The range involves 60 pieces which are for any modern woman's wardrobe, such as the classic outerwear faux-fur trim and jacquard coats (Conlon, 2015); eveningwear which consisted of velvet and silk dresses; tailored workwear with wide-leg or skinny trousers and lace tops; knitwear and also skirts (Wlghtman-

Stone, 2015). It focuses primarily on a monochromatic palette set against warm blush tones and metallic shimmers with textures of velvet, silk, cashmere and embroidery (Marfil, 2015). Prices range from ÂŁ59 to ÂŁ299 (Marfil, 2015) and sizes range from 8 to 20 (John Lewis, 2017).

Marketing Communications.

Figure 16. Spring/Autumn Now In (King Henry London, no date)

Branding. The typographic style follows closely to that of Bruce Oldfield’s own brand but with more modernity to bring it into alliance with John Lewis’s Brand Identity. Instead of the commonly observed metalinguistic use of ‘X’ (Cope et el, 2016), they adopted the use of ‘by’ as the signifier of the collaboration, which fellow competitor Debenhams also adopts.

Figure 17. Bruce Oldfield Logo (Bruce Oldfeild, 2017)

Figure 18. Bruce by Bruce Oldfield Logo (John Lewis, 2017)

Advertising. Their YouTube video advert combines a luxurious classiness with a modern quaintness which can be said to perfectly embody the respective images of the two brands and their aligned images, with both brands believing in the importance of detail, quality, and ageless style (Conlon, 2015).

Figure 19. Bruce by Bruce Oldfield at John Lewis (John Lewis, 2015)

PR. Coverage of collection launch in various publications such as Vogue, Harper’s Bazaar, and Women’s Wear Daily. Mostly consisted of an interview with Bruce Oldfield on his thoughts and motivations in creating this collaboration. However, it was obvious that all coverage was based upon a single PR written news story.

Figure 20. John Lewis Announces Latest Collaboration (Vogue, 2015)

Sales Promotions. After the first season came to an end, and the new collection for the next season launched, left-over stock was reduced to clear it off. Sales promotion was carried out twice on 6 pieces and the end price was less than a third of the original. Therefore although the collaboration collection is not as high profile and high demand as those of other high street retailers such as H&M, it still holds desirability and sells. Figure 21. Bruce by Bruce Oldfield Sales Promotion (John Lewis, 2017)

Visual Merchandising. The collaboration holds a standard small concession space within the women’s occasion wear section. The space has campaign photos, flower arrangements, and books stacked on a clear shelf, giving off a simple, orderly but nonetheless elegant feel. However, it still stays very much within the general uniformity of the retail store without being overly designed or showing uniqueness. Tops and matching bottoms are arranged within the same rack while dresses are hung higher.

Figure 22. Exclusive: Sneak Peak at John Lewis Birmingham (Drapers, 2015)

Analysis & Evaluation. In terms of design, in comparison to Bruce Oldfield’s own couture pieces, the collaboration collection with John Lewis can be seen to be obviously lacking in detail, especially embroidery. Those pieces which do have embroidery are much more simplistic compared to Bruce Oldfield’s couture pieces (Figure. 23, 27)). There is also a reduction in the variety and quality of fabrics used, with many of the collaboration’s evening dresses made out of viscose and polyester (John Lewis, 2017). Moreover, there is very little accessory and trims and those which do have them, the design and quality are much lower (Figure. 26, 30). Promotion wise, although there seems to be more promotion for this collaboration than for Bruce Oldfield’s own brand, it is still kept to a minimum, with no high budget event launches, or advertise-

ments. All these above channels can be said to have helped John Lewis retain the collection at a price point which is more appropriate for its target market. To stay (relatively) true to Bruce Oldfield’s brand position, the design silhouettes are kept fairly close to the iconic styles of his couture wear (Figure. 24, 28). Colour palettes are also kept to a similar tone, although some shines and textures could not be achieved due to the difference in fabric quality (Figure. 25, 29). Efforts are made to tweak the styles so they could become more functional, which is more relevant for John Lewis’ target market (John Lewis, 2017). The collection can be said to have combined the retro charm of Bruce Oldfield with the modern elegance of John Lewis’s brand identity to give way to an accessible luxury (John Lewis, 2017).

Figure 23. London Couture, Bruce Oldfield-Style 1

Figure 24. London Couture, Bruce Oldfield-Style 2

(Vogue, 2013)

Figure 28. Figure 27. Bruce by Bruce Oldfield 9

Bruce by Bruce Oldfield 10

(John Lewis, 2015)

Figure 25. London Couture, Bruce Oldfield-Style 3

Figure 26. London Couture, Bruce Oldfield-Style 4

(Vogue, 2013)

Figure 30. Figure 29. Bruce by Bruce Oldfield 11

Bruce by Bruce Oldfield 12

(John Lewis, 2015)

Collaboration Range. Collaborating Designer â&#x20AC;&#x201D; Stella McCartney Collaboration Range Launch Season â&#x20AC;&#x201D; A/W 17

Figure 31. Stella McCartney (Orestein, 2017)

Figure 32. The Summer 2017 campaign in the Côte d’Azur (Stella McCartney, 2017 )

Collaborator & Range Direction Rational. Sustainability has been a growing concern of the world for some time now, with forecasts being made of this concern driving demand for more meaningful designs which add value to consumerâ&#x20AC;&#x2122;s lives, the society, and our environment (WGSN Vision Team, 2015). However, sustainable and ethical products are often perceived as a premium option which is not accessible for everyone (Desolino, 2016), such as Stella McCartney, one of the most well-known sustainable fashion brands, but positioned at a luxury price point which the majority cannot afford. John Lewis being a brand which strongly prides itself in its commitment towards the well-being of their commu-

nity and environment (John Lewis, no date), it seems the logical next step for them to strengthen this commitment through introducing an ethical-sustainable offering at an affordable price point by collaboration with Stella McCartney, the most prestige British ethical-sustainable designer. Through this collaboration, John Lewis would be able to enhance their brand reputation and reassure their customers on their brand promise. Stella McCartney would benefit from gaining reach into John Lewisâ&#x20AC;&#x2122;s established mass of consumer base and raising awareness through media coverage for both her brand and the issues she cares for. 25

Figure 33. A/W 17 Show . (Stella McCartney, 2017 )

Designer Brand Identity. Stella McCartney, famously born as the daughter of Paul McCartney and Linda McCartney, is currently one of the industry’s most influential leading female designers, known for her sharp tailoring, feminine flair, and also her non-usage of leather, fur or skin (BoF, no date). She is one of the industry’s most vocal advocates for sustainability and ethical issues and has these values deeply embedded into her brand (BoF, no date). The essence of Stella McCartney’s brand is “a vegetarian company committed to operating a responsible and modern business” (Stella McCartney, no date). The brand aims to help people change their perceptions of eco fashion by making sustainability beautiful and modern (Stella McCartney, no date). The brand also aims to help the Stella Women find an ease, freedom, and confidence through their clothes (Stella McCartney, no date). The brand values which are incorporated into all aspects of the brands operations (Posner, 2011) are, first and foremost, commitment to sustainability, than the three main values of responsible, honest, and modern (Stella McCartney, no date). Action wise, apart from the brands famous non-usage of fur, leather, and skin, they also do not conduct animal testing for products, nor do they use PVC, Angora, nor sandblasting (labourer welfare) (Stella McCartney, no date). The brand is also in partnership with many environmental/ethical NGOs in collaborative effort to make a difference in industry practices and law (Stella McCartney, no date). The brands personality can be described as timelessly chic, fun, and a little bit cool (Cartner-Morley, 2014).

Target Audience. The target audience for this collaboration collection would be the segment of John Lewis’s target audience which has a concern or is interested in issues of sustainability and ethics which were previously reluctant to buy into the this type of product due to low accessibility. Other possible target audiences could be fans of Stella McCartney’s work or ethos who were previously unable to buy into her brand due to its high price point and inaccessibility. 27

Figure 38. Stella McCartney Store (WLNS. 2017 )

Figure 34. Rio Olympics Team GB .

Designer Brand Identity Board.

(PA, 2016 )

Figure 35. Stepping Up In The Elyse Shoe . (Stella McCartney. 2017 )

Figure 39. Go On Adventure With Stella McCartney Kids (Stella McCartney, 2017 )

Figure 36. Stella McCartney Pre-fall 12.

Figure 40. Stella McCartney Logo

(REX, 2012 )

(Winkreative., no date )

Figure 37. Stella McCartney Spring 17 . (Getty Images. 2016 )

Figure 341 S/S 17 Runway Show (Stella McCartney, 2016)

Figure 45. Stella McCartney Resort 2015 (REX. 2014 ) Figure 42. Stella McCartney Pre-fall 13 (REX. 2013 )

Figure 43. A/W 16 Campaign 1 (Stella McCartney. 2016 ) Figure 46. #RedNoseDay (Stella McCartney. 2017 )

Figure 47. A/W 16 Campaign 2 (Stella McCartney. 2016 )

Figure 44. Stella McCartney Gap for Kids (Getty. 2010 )

Figure 48. Stella McCartney SS17 (Leaper et el, 2016 )

Background Research. As the general direction of the collection is already decided upon as sustainable and ethical related, what remains to be determined are the colour and silhouettes for the A/W 17 season. This will be carried out through reviewing trend reports and catwalk reviews. Also, for the range to retain a unique touch of Stella McCartney-ness, the designer brandâ&#x20AC;&#x2122;s A/W 16 season silhouettes and colour palette will be reviewed as well.

Colour Palette Research. According to trend reports concerned with the sustainability vision, colours forecasted to trend for this season are chalky mid-tones with a subtle greyness, which gives off a sense of wear through recycling or extended product life-cycles, an aesthetic which will start being perceived as sophisticated and beautiful (Boddy, 2015). Key colours include pear, chalk pink, turquoise, pure grey, and eucalyptus (Boddy, 2015).

Silhouette Trend Research. For denim, bold patchwork will become desirable as it gives off a sense of no-waste. Loungewear will remain important but would benefit from smartening up through tailoring and luxurious looking wide-legs (Sinclair, 2016). Edginess is introduced to feminine silhouettes through roughening-up of detail. Structured styles with simple clean lines will be desirable for its look of strength. Functional hardware detailing will also be valued (Sinclair, 2016).

Stella McCartney A/W 17 Collection Range Research. From Stella McCartneyâ&#x20AC;&#x2122;s A/W 17 collection, there can be observed a clear palette towards grey shades of maroon, camel, forest green, sand, and blue toned greys. Also, many tough looking lacquered fabrics, denims and leathers (100% polyamide). Also many utility work wear silhouettes such as dungarees and tracksuits. Some finishing pieces take form as Loungewear-as-evening-wear with lace detailing. Notably, many unique check patterns are also used,

which are not mentioned in trend reports, but could be carried forth to the John Lewis collaboration to provide the unique Stella McCartney edge. The collection also involves a lot of Stellaâ&#x20AC;&#x2122;s iconic suits and blazers, most of them made from a blend of wool (75%) and polyamide (25%). Interestingly, there are two grey jersey trouser suits, which can prove to be an ideal look which can be affordable transferred into the John Lewis collaboration collection.

Figure 49. 2017. A/W 17 Looks 15

Figure 50. 2017. A/W 17 Looks 15

Figure 51. 2017. A/W 17 Looks 19

(Stella McCartney. 2017 )

Figure 52. A/W collection (Stella McCartney. 2017 )

Material Composition Research. According to trend reports, as recycling becomes overt, recycled yarns and fibres pulped or felted will become a uniquely desirable approach to material (Sinclair, 2016). Fabrics which are hardwearing will become desirable for its ability to stand the test of time (Sinclair, 2016). Functionality and utility in general will also become valued, therefore fabrics such as jersey will become popular (Sinclair, 2016). 33

Range Plan

Tactile Role Neck 100% cashmere £90

Board. Based on the background research the following pieces are selected for the range due to considerations of retaining Stella McCartney’s unique brand image, engaging with up coming trends, and working within the John Lewis target market accessibility. Sizes will be from 8-20, which is according to John Lewis’s standard offering (John Lewis, no date) and also fits in with Stella McCartney’s belief to cloth the ‘real women’ beautifully (McCartney, no date).

Streamlined maxi coat Fluid Jersey Dress

100% cashmere £130

96% Viscose, 4% Elastane £120

Loose Fit Jersey Suit Jacket

Loose Fit Jersey Suit Trouser

96% Viscose, 4% Elastane £130

96% Viscose, 4% Elastane £100

Faux Leather Overalls XXL Utility trouser

100% polyamide £110

100% Polyester £90

Marketing Communications Plan. To keep the prices more accessible, the marketing communications will be kept at a similar level and style as previous John Lewis collaborations, with advertising only in the form of a ‘behind the scenes’ video shot at the photoshoot for press release and visual merchandising material, and released only on John Lewis’s YouTube channel prior to the launch of the collection. Then a private PR event will be held just before the launch of the collection. Before the launch, look books will be designed and printed to go into stores as part of the visual merchandising. The concession will hold quirky tables and racks similar to that of Stella McCartney’s, but in more toned down colour palettes. Sneak peaks of the collection will be gradually released prior and after the launch of the collection on John Lewis and Stella McCartney’s Instagram accounts. As Stella McCartney has a huge following of 4 million, it would hopefully help raise great awareness for the collaboration even without doing above the line marketing. 37

Marketing Communications Plan Board. BY

Stella by Stella McCartney at John Lewis

Figure 53. Behind the Scenes YouTube Video Release

Week 1 BTS YouTube Video

Week 2 Social Media Teasers

Figure 54. Private PR |Event

look

stock Week 3 Private PR Event

Figure 55. Printing and Stocking of Look book

Figure 57. Press Coverage of Launch

Stella By Stella McCartney

Figure 56. Visual Merchandising of Store Concession

Figure 58. stellamccartney (Instagram. 2017)

Press Release

books

ked

3 Oct Week 4 Collection Launch

Week 4 Social Media Reminders

Stellamccartney Canâ&#x20AC;&#x2122;t wait to show your guys the full collection!...New sustainable collaboration with John Lewis coming soon! #StellaByStellaMccartney BY

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Cope, J., Maloney, D. 2016. Fashion promotion in practice. London: Fairchild Books. Desolino, N. 2016. Marketers: Stop Selling Green, Start Selling Products That Match Our Values. 28 January. Sustainable Brands. [Online]. 28 January. [Accessed 19 April 2017]. Available from: http:// www.sustainablebrands.com/news_and_views/ behavior_change/nick_desolino/ marketers_stop_selling_green_start_selling_products_mat Farra, E. 2017. Stella McCartney Is the OG of Nontraditional Fashion Showsâ&#x20AC;&#x201D;8 of Her Best Garden Parties, Game Nights, and Concerts. Vogue. [Online]. 10 January. [Accessed 21 April 2017]. Available from: http://www.vogue.com/article/stella-mccartney -non-traditional-fashion-shows-resort-pre-fall-garden -parties-abbey-road-vogue John Lewis Partnership. [no date]. John Lewis. [Online]. [Accessed 22 Feburary 2017]. Available from: http://www.johnlewispartnership.co.uk/about/ john-lewis.html John Lewis Partnership. [no date]. Our History. [Online]. [Accessed 22 Feburary 2017]. Available from: http://www.johnlewispartnership.co.uk/about/ our-heritage/our-history/our-history-text-version.html John Lewis. 2017. Brand Information. [Online]. [Accessed 20 April 2017]. Available from: https:// www.johnlewis.com/bruce-by-bruce-oldfield-quiltedjacket/p3129245?colour=Beige

Business of Fashion. [no date]. Stella McCartney. [Online]. 6 July. [Accessed 20 April 2017]. Available from: https://www.businessoffashion.com/ community/people/stella-mccartney

John Lewis. 2017. Bruce by Bruce Oldfield. [Online]. [Accessed 20 April 2017]. Available from: https:// www.johnlewis.com/brand/bruce-by-bruce-oldfield/ _/N-1z0i15o

Cartner-Morley, J. 2014. The many faces of Stella McCartney. The Guardian. [Online]. 15 May [Accessed 20 April 2017]. Available from: https:// www.theguardian.com/fashion/2014/mar/06/-spstella-mccartney-interview

Kim, K., Ko, E., Lee, M., Mattila, P., and Ki, K. 2014. Fashion collaboration effects on consumer response and customer equity in global luxury and SPA brand marketing. Journal of global scholars of marketing science. [Online]. 24(3), pp. 350-364. [Accessed 20 April 2017]. Available from: http://0www.tandfonline.com.wam.leeds.ac.uk/doi/ abs/10.1080/21639159.2014.913376#aHR0cDovLzA td3d3LnRhbmRmb25saW5lLmNvbS53YW0ubGVlZH MuYWMudWsvZG9pL3BkZi8xMC4xMDgwLzIxNjM5M TU5LjIwMTQuOTEzMzc2P25lZWRBY2Nlc3M9dHJ1Z UBAQDA=

Conlon, S. 2015. John Lewis Announces Latest Collaboration. Vogue. [Online]. [Accessed 20 April 2017]. Available from: http://www.vogue.co.uk/ gallery/john-lewis-bruce-by-bruce-oldfieldcollaboration-collection Cooke, S. and Ryan, P. 2000. Brand alliances: from reputation endorsement to collaboration on core competencies. Irish Marketing Review. [Online]. 13(2), pp. 36-41. [Accessed 20 April 2017]. Available from: http://search.proquest.com/docview/204581366?pq -origsite=gscholar

Kirsten. 2013. The Battle Of The Christmas Adverts. 9 December. Westminster Business School Blog. [Online]. [Accessed 22 Feburary 2017]. Available from: http://blog.westminster.ac.uk/ 40

wbs/2013/12/09/the-battle-of-the-christmasadverts/

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List of Images.

Posner, H. 2011. Marketing Fashion. London: Laurence King Publishing Ltd. Retail Week. 2013. Infographic: The typical John Lewis shopper. Retail Week. [Online]. 31 October. [Accessed 22 Feburary 2017]. Available from: https://www.retail-week.com/companies/john-lewis/ infographic-the-typical-john-lewisshopper/5054444.article

Figure 1: Stella McCartney, 2017. Summer’s new tailoring. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/experience/en/summers-newtailoring/ Figure 2:

Sinclair, R. 2016. Women’s Forecast A/W 17/18: Design Matters. [Online]. [no place]: WGSN. [Accessed 21 April 2017]. Available from: https:// www.wgsn.com/content/board_viewer/#/63924/ page/7

Drapers. 2016. Matthew Harding and Levi Palmer.

[Online]. [Accessed 20 April 2017]. Available

from: https://www.drapersonline.com/designers/ drapers-qa-the-journey-of-palmer// harding/7013563.article

Stella McCartney. [no date]. A Modern Business. [Online]. [Accessed 20 April 2017]. Available from: https://www.stellamccartney.com/experience/en/ sustainability/a-modern-business/

Figure 3: Charlie Smith Design. 2017. John Lewis — Modern Rarity 1. [Online]. [Accessed 20 April 2017]. Available

from: http://charliesmithdesign.com/work/johnlewis/modern-rarity/

Stella McCartney. [no date]. About Stella. [Online]. [Accessed 20 April 2017]. Available from: https:// www.stellamccartney.com/experience/en/aboutstella/

Figure 4: Mace. 2017. John Lewis, Leeds. [Online]. [Accessed 20 April 2017]. Available from: https:// www.macegroup.com/projects/john-lewis

Stella McCartney. [no date]. Q&A with Stella. [Online]. [Accessed 20 April 2017]. Available from: https:// www.stellamccartney.com/experience/en/ sustainability/qa-with-stella/

Figure 5: Pittendreigh. 2014. John Lewis Logo. [Online]. [Accessed 20 April 2017]. Available from: https:// hatchedlondon.com/great-british-brands-john-lewisnever-knowingly-undersold/

Stella McCartney. [no date]. Responsible Sourcing. [Online]. [Accessed 20 April 2017]. Available from: https://www.stellamccartney.com/experience/en/ sustainability/responsible-sourcing/

Figure 6:

Sturgis, I. 2015. Bruce Oldfield: 'I'm not a fashion person'. The Telegraph. [Online]. 29 August, [Accessed 20 April 2017]. Available from: http:// www.telegraph.co.uk/lifestyle/11831202/BruceOldfield-Im-not-a-fashion-person.html

Pittendreigh. 2014. Great British Brands – John Lewis: Never Knowingly Undersold. [Online]. [Accessed 20 April 2017]. Available from: https:// hatchedlondon.com/great-british-brands-john-lewisnever-knowingly-undersold/

WGSN Vision Team. 2015. The Vision A/W 17/18: Design Matters. [Online]. WGSN. [Accessed 20 April 2017]. Available from: https://www.wgsn.com/

Figure 7: Wright, K. 2017. John Lewis (of Hungerford) / Christmas

Ad. [Online].

[Accessed 20 April 2017]. Available from: http://www.keithwright.tv/portfolio/john-lewisof-hungerford/christmas-ad

Bruce Oldfield. 2017. Bruce Oldfield Logo. [Online]. [Accessed 20 April 2017]. Available from: https:// www.bruceoldfield.com/

Figure 8:

Figure 18:

John Lewis. 2015. Bruce by Bruce Oldfield 1. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

John Lewis. 2017. Bruce by Bruce Oldfield Branding. [Online]. [Accessed 22 February 2017]. Available from: https://www.johnlewis.com/brand/bruce-bybruce-oldfield/_/N-1z0i15o

Figure 9:

Figure 19:

John Lewis. 2015. Bruce by Bruce Oldfield 2. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

John Lewis. 2015. Bruce by Bruce Oldfield at John Lewis.

[Online]. [Accessed 22 February 2017]. Available from: https://www.youtube.com/watch? v=q2IXbmDi4AI

Figure 10:

Figure 20:

John Lewis. 2015. Bruce by Bruce Oldfield 3. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Vogue. 2015. John Lewis Announces Latest Collaboration. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Figure 11:

Figure 21:

John Lewis. 2015. Bruce by Bruce Oldfield 4. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

John Lewis. 2017. Bruce by Bruce Oldfield Sales Promotions. [Online]. [Accessed 20 April 2017]. Available from:

https://www.johnlewis.com/brand/bruce-bybruce-oldfield/_/N-1z0i15o

Figure 12:

Figure 22:

John Lewis. 2015. Bruce by Bruce Oldfield 5. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Drapers. 2015. Exclusive: Sneak peak at John Lewis Birmingham. [Online]. [Accessed 20 April 2017]. Available from: https://www.drapersonline.com/news/exclusivesneak-peak-at-john-lewis-birmingham/5079308.article

Figure 13: John Lewis. 2015. Bruce by Bruce Oldfield 6. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Figure 23: Vogue. 2013. London Couture, Bruce Oldfield-Style 1. [Online]. [Accessed 20 April 2017]. Available from: http://www.vogue.co.uk/gallery/bruce-oldfield-dismisseslondon-fashion-week-show

Figure 14: John Lewis. 2015. Bruce by Bruce Oldfield 7. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Figure 24: Vogue. 2013. London Couture, Bruce Oldfield-Style 2. [Online]. [Accessed 20 April 2017]. Available from: http://www.vogue.co.uk/gallery/bruce-oldfield-dismisseslondon-fashion-week-show

Figure 15: John Lewis. 2015. Bruce by Bruce Oldfield 8. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Figure 25: Vogue. 2013. London Couture, Bruce Oldfield-Style 3. [Online]. [Accessed 20 April 2017]. Available from:

Figure 16:

http://www.vogue.co.uk/gallery/bruce-oldfield-dismisseslondon-fashion-week-show

Adam&EveDDB. 2010. John Lewis 'autumn/winter. [Online]. [Accessed 20 April 2017]. Available from: http:// www.campaignlive.co.uk/article/john-lewis-autumn-winteradam-eve/1027472

Figure 26: Vogue. 2013. London Couture, Bruce Oldfield-Style 4. [Online]. [Accessed 20 April 2017]. Available from:

Figure 17:

http://www.vogue.co.uk/gallery/bruce-oldfield-dismisses-

london-fashion-week-show

fashion-shows-resort-pre-fall-garden-parties-abbey-roadvogue

Figure 27:

Figure 37:

John Lewis. 2015. Bruce by Bruce Oldfield 9. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Getty Images. 2016. Stella McCartney Spring 17. [Online]. [Accessed 21 April 2017]. Available from: http:// www.vogue.com/article/stella-mccartney-non-traditionalfashion-shows-resort-pre-fall-garden-parties-abbey-roadvogue

Figure 28: John Lewis. 2015. Bruce by Bruce Oldfield 10. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Figure 38: WLNS. 2017. Stella McCartney Store. [Online]. [Accessed 21 April 2017]. Available from: http://www.wlnls.com/ Stella-McCartney-Store30khnslwqg/

Figure 29:

Figure 39:

John Lewis. 2015. Bruce by Bruce Oldfield 11. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Stella McCartney. 2017. Go On Adventure With Stella McCartney Kids. [Online]. [Accessed 21 April 2017]. Available from: en/go-on-an-adventure-with-stella-mccartney-kids/

Figure 30:

Figure 40:

John Lewis. 2015. Bruce by Bruce Oldfield 12. [Online]. [Accessed 20 April 2017]. Available from: http:// www.vogue.co.uk/gallery/john-lewis-bruce-by-bruceoldfield-collaboration-collection

Winkreative. [no date]. Stella McCartney Logo. [Online]. [Accessed 21 April 2017]. Available from: http:// www.winkreative.com/project/stella-mccartney/ Figure 41:

Figure: 31

Stella McCartney. 2016. S/S 17 Runway Show. [Online]. [Accessed 21 April 2017]. Available from:

Orenstein, A. [no date]. Stella McCartney. [Online]. [Accessed 21 April 2017]. Available from: https:// www.theguardian.com/fashion/2014/mar/06/-sp-stellamccartney-interview

https://www.stellamccartney.com/experience/en/qa-withblanca-li/

Figure 32:

Figure 42:

Stella McCartney. 2017. The Summer 2017 campaign in the CĂ´te dâ&#x20AC;&#x2122;Azur. [Online]. [Accessed 21 April 2017]. Available from: en/the-summer-2017-campaign-in-the-cote-dazur/

REX. 2013. Stella McCartney Pre-fall 13. [Online]. [Accessed 21 April 2017]. Available from: http:// www.vogue.com/article/stella-mccartney-non-traditionalfashion-shows-resort-pre-fall-garden-parties-abbey-roadvogue

Figure 33:

Figure 43:

Stella McCartney. 2017. A/W 17 Show. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/experience/en/qa-with-blancali/

Stella McCartney. 2016. A/W 16 Campaign 1. [Online]. [Accessed 21 April 2017]. Available from: http:// www.you.co.uk/must-see-stella-mccartney-unveils-playfulnew-aw16-campaign/

Figure 34:

Figure 44:

PA. 2016. Rio Olympics Team GB. [Online]. [Accessed 21 April 2017]. Available from: http://www.vogue.co.uk/ gallery/team-gb-kit-2016-stella-mccartney-adidas

Getty. 2010. Stella McCartney Gap for Kids. [Online]. [Accessed 21 April 2017]. Available from: https:// www.popsugar.co.uk/fashion/Photos-from-StellaMcCartney-Gap-Kids-Launch-London-7799030

Figure 35: Stella McCartney. 2017. Stepping Up In The Elyse Shoe. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/experience/en/stepping-up-inthe-elyse-shoe/

Figure 45: REX. 2014. Stella McCartney Resort 2015. [Online]. [Accessed 21 April 2017]. Available from: http:// www.vogue.com/article/stella-mccartney-non-traditionalfashion-shows-resort-pre-fall-garden-parties-abbey-roadvogue

Figure 36: REX. 2012. Stella McCartney Pre-fall 12. [Online]. [Accessed 21 April 2017]. Available from: http:// www.vogue.com/article/stella-mccartney-non-traditional-

Figure 46:

Stella McCartney. 2017. Those who nose it's #RedNoseDay are in the know!! An incredible cause that you should support! x Stella. [Online]. [Accessed 21 April 2017]. Available from: https://www.instagram.com/p/BSBHdUVAYmm/

www.wgsn.com.wam.leeds.ac.uk/content/board_viewer/ #/63282/page/4 Flat 5: Casey, C. 2015. Key Items A/W 17/18: Women's Knitwear. [no place]: WGSN. [Online]. [Accessed 21 April 2017]. Available from: https://0-www.wgsn.com.wam.leeds.ac.uk/ content/board_viewer/#/63567/page/11

Figure 47: Stella McCartney. 2016. A/W 16 Campaign 2. [Online]. [Accessed 21 April 2017]. Available from: http:// www.you.co.uk/must-see-stella-mccartney-unveils-playfulnew-aw16-campaign/

Flat 6: Faux Leather Overalls

Figure 48:

WGSN Denim Team. 2015. Key Items A/W 17/18: Women's Denim. [no place]: WGSN. [Online]. [Accessed 21 April 2017]. Available from: https://0www.wgsn.com.wam.leeds.ac.uk/content/board_viewer/ #/63600/page/8

Leaper, C. and Brett, G. 2016. Stella McCartney SS17. [Online]. [Accessed 21 April 2017]. Available from: http:// www.marieclaire.co.uk/news/fashion-news/stellamccartney-best-fashion-shows-49639 Figure 49:

Figure 53:

Stella McCartney. 2017. A/W 17 Looks 15. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/gb/shop-by-lookwinter17_grd5470#87278

Stella McCartney, 2017. Summer’s new tailoring. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/experience/en/summers-newtailoring/

Figure 50:

Figure 54:

Stella McCartney. 2017. A/W 17 Looks 2. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/gb/shop-by-lookwinter17_grd5470#87273

John Lewis, [no date]. Sustainably Chic: The Modern Rarity Collection. [Online]. [Accessed 21 April 2017]. Available from: http://eluxemagazine.com/fashion/john-lewissustainable-modern-rarity-collection/

Figure 51:

Figure 55:

Stella McCartney. 2017. A/W 17 Looks 19. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/gb/shop-by-lookwinter17_grd5470#87301

Charlie Smith Design. 2017. John Lewis — Modern Rarity 2. [Online]. [Accessed 21 April 2017]. Available from: http://charliesmithdesign.com/work/john-lewis/modernrarity/

Figure 52:

John Lewis, 2016. Modern Rarity. [Online]. [Accessed 20 April 2017]. Available from: https:// www.drapersonline.com/news/john-lewis-unveils-newwomenswear-label/7008437.article

Stella McCartney. 2017. A/W 17 collection. [Online]. [Accessed 21 April 2017]. Available from: https:// www.stellamccartney.com/gb/shop-by-lookwinter17_grd5470#87301

Figure 56:

Flats

Charlie Smith Design. 2017. John Lewis — Modern Rarity 3. [Online]. [Accessed 21 April 2017]. Available from: http://charliesmithdesign.com/work/john-lewis/modernrarity/

Flat 1: Casey, C. 2015. Key Items A/W 17/18: Women's Knitwear. [no place]: WGSN. [Online]. [Accessed 21 April 2017]. Available from: https://0-www.wgsn.com.wam.leeds.ac.uk/ content/board_viewer/#/63567/page/8

Figure 57:

John Lewis. 2017. Bruce by Bruce Oldfield Branding. [Online]. [Accessed 22 February 2017]. Available from: https://www.johnlewis.com/brand/bruce-bybruce-oldfield/_/N-1z0i15o

Falte 2-3: Paget, N. 2016. Design Development A/W 17/18: Men's Tailoring. [no place]: WGSN. [Online]. [Accessed 21 April 2017]. Available from: https://0www.wgsn.com.wam.leeds.ac.uk/content/board_viewer/ #/64956/page/5

Figure 58: Instagram. 2017. Instagram. [Mobile

22 February 2017].

Flat 4: Yiannakou, L. and Boddy, J.2015. Key Items A/W 17/18: Women's Apparel. [no place]: WGSN. [Online]. [Accessed 21 April 2017]. Available from: https://0-

app]. [Accessed

Appendix. Appendix 1: Designer Brand Identity Board Appendix 2: Range Plan Board Appendix 3: Marketing Communications Plan

Figure 38. Stella McCartney Store (WLNS. 2017 )

Figure 34. Rio Olympics Team GB .

Designer Brand Identity Board.

(PA, 2016 )

Figure 35. Stepping Up In The Elyse Shoe . (Stella McCartney. 2017 )

Figure 39. Go On Adventure With Stella McCartney Kids (Stella McCartney, 2017 )

Figure 36. Stella McCartney Pre-fall 12.

Figure 40. Stella McCartney Logo

(REX, 2012 )

(Winkreative., no date )

Figure 37. Stella McCartney Spring 17 . (Getty Images. 2016 )

Figure 341 S/S 17 Runway Show (Stella McCartney, 2016)

Figure 45. Stella McCartney Resort 2015 (REX. 2014 ) Figure 42. Stella McCartney Pre-fall 13 (REX. 2013 )

Figure 43. A/W 16 Campaign 1 (Stella McCartney. 2016 ) Figure 46. #RedNoseDay (Stella McCartney. 2017 )

Figure 47. A/W 16 Campaign 2 (Stella McCartney. 2016 )

Figure 44. Stella McCartney Gap for Kids (Getty. 2010 )

Figure 48. Stella McCartney SS17 (Leaper et el, 2016 )

Range Plan

Tactile Role Neck 100% cashmere £90

Streamlined maxi coat Fluid Jersey Dress

100% cashmere £130

96% Viscose, 4% Elastane £120

Loose Fit Jersey Suit Jacket

Loose Fit Jersey Suit Trouser

96% Viscose, 4% Elastane £130

96% Viscose, 4% Elastane £100

Faux Leather Overalls XXL Utility trouser

100% polyamide £110

100% Polyester £90

Marketing Communications Plan Board. BY

Stella by Stella McCartney at John Lewis

Figure 53. Behind the Scenes YouTube Video Release

Figure 54. Private PR |Event

Week 1 BTS YouTube Video

Week 2 Social Media Teasers

look

stock Week 3 Private PR Event

Figure 55. Printing and Stocking of Look book

Figure 57. Press Coverage of Launch

Stella By Stella McCartney

Figure 56. Visual Merchandising of Store Concession

Figure 58. stellamccartney (Instagram. 2017)

Press Release

books

ked

3 Oct Week 4 Collection Launch

Week 4 Social Media Reminders

Stellamccartney Canâ&#x20AC;&#x2122;t wait to show your guys the full collection!...New sustainable collaboration with John Lewis coming soon! #StellaByStellaMccartney BY