Behold magazine marketing report

Behold

MARKETING REPORT

BY JESSICA RUDDLESDIN

Executive SUMMERY The content of this document will detail a strategic multichannel marketing campaign that will aim to generate awareness of Behold magazine, its launch and supplementary brand platforms. The promotional plan detailed in this document will aim to create brand recognition and awareness of the brand by using a multichannel medium that expresses the Behold identity and core values seamlessly.

The marketing techniques specified within this report are all validated by an assortment of consumer and market analysis which were established using an account of primary consumer research and market analysis from sources such as Mintel. Such foundations have helped identify a modification in consumer behaviour, two distinctive consumer profiles and a specific target market; all of which have informed the marketing methods and promotional efforts within this report as to how a fully integrated and consistent plan that caters to the new found needs of the fashion readership can be generated.

The multichannel approach that the Behold marketing campaign has adopted consists of several cohesive promotional techniques; outdoor ambient media, transport ambient media, online advertising including web advertising, press coverage, online competitions, blogger endorsements, brand endorsements and an interconnected social media campaign. The marketing methods applied target the consumer, the media and potential advertisers.

This document has also carried out a series of marketing models to observe the market environment, understand the market position, potential and direction to ensure the proposed reasoning to launch Behold magazine was suitable and achievable, a SWOT analysis, PEST analysis and a competitor evaluation have all been detailed within the Appendix of this report.

Page 23

Figure List 21

Figure (1.0) digital billboard example

Figure (2.5 ) Facebook post draft

31

22

Figure (1.1) digital billboard example

Figure (2.6 ) Instragram profile example

32

23

Figure (1.2) transport advertisement example

Figure (2.7, 2.8, 2.9) Instagram feed examples

33

24

Figure (1.3) transport advertisement example (underground)

Figure (3.0) Behold issue 1, blogger feature screen shot

36

26

Figure (1.4) website advertisement banner example.

Figure (3.1) Behold email example.

39

30

Figure (2.0 to 2.4) Facebook and Twitter feed examples

Figure (3.2) Behold badge example.

40

Chapter 01 BEHOLD INTRODUCTION

Chapter 02 MARKET ANALYSIS

01

Introduction

Magazine Market Analysis

07

02

Rationale

Online Retailers Analysis

08

03

Behold Concept

Competitor Analysis

09

05

Behold magazine overview

Competitive Advantage

10

06

Brand values

Market Positioning

12

Chapter 03 TARGET MARKET ANALYSIS

14

Target Market

Chapter 04 MARKETING CAMPAIGN Marketing Campaign

18

15

Consumer Segmentation

Campaign Approach

19

16

Primary Consumer

Advertising Campaign

20

17

Secondary Consumer

Social Media Campaign

27

Chapter 04 MARKETING CAMPAIGN

35

APPENDIX

Press pack

36

Blogger Endorsement

38

Launch event

C/SWOT

45 47 51

39

Post Launch Promotion

Costings

53

Chapter 05 CAMPAIGN MONITORING

D/ Primary Research

54

Figures

41

Contingency Plan

H/Promotional Schedule

60 61

42

Campaign Monitoring

i/Media List

64

43

K/Competitor Analysis Three year plan

69

44

L/Secondary Findings

Conclusion

71

Reference List A/PEST

Chapter 01 BEHOLD INTRODUCTION

Introduction This document will detail the marketing and promotional campaign for the launching of Behold; a new digital magazine with interactive content which focuses on platforming international online fashion retailers.

Specified in this document is a strong foundation of market data and consumer analysis that has allowed the Behold brand to generate an array of promotional tactics and communication strategies.

As well as identifying the strong rationale for a digital interactive magazine this plan will employ ways of which a two way communication can be generated between the British consumer and international online retailers which will feed this document into several promotional methods to encourage a successful launch of both the magazine and its brand adjunctions.

With beholds principal values of experience, innovativeness and communication in mind the methods employed will guarantee that a strong brand identity is communicated consistently throughout the launching and campaign of Behold.

Page 01

Chapter 01 BEHOLD INTRODUCTION

PLAN Aim and objectives

PLAN Rationale

To establish the launch of Behold, a new digital magazine with interactive content that focuses on engaging the international online fashion retailer with the innovative British readership.

The intention of this marketing plan is to establish Behold a firm place into the digital fashion magazine market. With this the plan should generate, through various market and consumer research, a range of purposed promotional approaches which will enable a successful and well recognised launch of the magazine. This plan will create a truly interactive experience throughout each method of marketing to distinctively reflect the Behold identity and brand values.

 Cause durable brand awareness and recognition amongst the target readership.  Engage the readership with interactive experiences.  Generate a strong relationship between the online retailer and the consumer.

Chapter 01 BEHOLD INTRODUCTION

BEHOLD concept In 2016 Behold will be showcased exclusively to the female fashion consumer offering a digital interactive experience that is devoted to introducing the fashions of international online retailers. Behold will integrate a truly modified idea of a print magazine with engaging digital advances that allows the consumer to participate and communicate across all brand platforms.

The concept of Behold, which is validated by an array of consumer and market research, came from the realisation that the current magazine market does not offer the fashion reader and customer a publication dedicated to showcasing the products of international online brands, neither does the market offer a digital fashion magazine with interactive ability's. This strong gap found in the UK market helped validate the concept of Behold and permitted a strong account of relevance to be identified.

First a modification in consumer behaviour towards digital magazines was identified from several Mintel reports and an account of consumer research. Mintel (2014f) suggest that if a consumer relationship with a digital magazine is to be sustained, digital magazines should resemble replicas of a print edition and be read in a linear start to finish fashion. In connection primary research indicated that consumers are demanding customisable, media enhanced and bite size content.

Page 03

Chapter 01 BEHOLD INTRODUCTION

The second rationale for the Behold concept was generated from the mass growth of the online fashion market and the realisation that the UK offered no such platform to give insight into the range of international online brands available. Consequently online retailers need such platform from which they can be recognised and embraced. A source to showcase all relevant online retailers will be less time consuming and educational to the fashion consumer; it will discover and recommend.

To fully embrace the concept of Behold the promotional campaign will focus on endorsing specific platforms that have the intention of creating vital brand awareness in time for the launching of Behold magazine. As well as offering the fashion consumer a magazine to gain content, a website will be available via subscription and will be launched prior the magazine. The website has the key role of distributing the magazine along with promoting unused content, brand discounts and further communication platforms. The magazine and website will both be embraced by an account of social adjunctions that focus of generating awareness of the brand and its array of interactive platforms.

Overall Behold is a truly innovative fashion magazine concept which offers exclusivity, insight, participation and experience to the British fashion consumer.

Page 1

Chapter 01 BEHOLD INTRODUCTION

Content

Subscription and distribution The Behold magazine will be distributed monthly and available by subscription only. A consumer has the option to sign up for subscription for free when active on the Behold website, links directing targeted consumers to the Behold website are featured across every platform of the promotional campaign. To add to the exclusivity of the Behold brand, to gain access to website, the consumer must also subscribe. The magazine will be published monthly via the Behold website and a link clearly directing the user to the magazine is featured on all website pages.

To influence the consumer to subscription a ‘sneak peak’ link allows the website user to watch a two minute tutorial showing how beneficial the website and magazine could be to their lifestyle. The subscription requires a user to enter their email address and agree to a daily newsletter which delivers élite content, promotions, news and exclusive features. (See website proposal for more information).

Page 04

Each month the Behold magazine will feature an array of online fashion retailers and will aim to gain the retailers mass coverage and potential long-term brand customers. The content will be interactive and encourage participation throughout. One third of the magazine will feature advertisements of selected brands; mostly brands that aren't immediately recognised by the targeted consumer to gain interest. Each month an issue will share the following series of content: product features, trend features, blogger features, how to features, celebrities style features, street style features, online exclusives from the high street and a sequence of editorial campaigns that are accompanied by according product features.

Monthly collaborations Every issue of Behold magazine will collaborate with specific nationally successful blogger. The selected personality will work with the Behold team to create features on the behalf of their personal style and recommendations. Online fashion retailers, Asos, Miss Guided, Boohoo, Pretty little thing and Public Desire will be advertised monthly; these brands are long term partners and key funders to the Behold brand.

Page 05

Chapter 01 BEHOLD INTRODUCTION

BRAND VALUES Behold will apply various promotional methods to ensure the brand stands out from its competitors and connects directly with its target market; this can only be achieved by maintaining the brands DNA throughout its marketing campaign. Behold will reflect the following values throughout: #Experience The experience that Behold offers to its consumer will shift the image of a fashion magazine to an engaging and interactive reader experience. It is important that Behold values the consumers experience and offers participation across all brand platforms to successfully build consumer relationships and attract potential subscribers. Behold will guarantee a modified user experience via its webpage and magazine ensuring all elements and advances are working to their best advantage.

#Innovativeness The collection of digital interactive opportunity’s featured across all brand platforms allow the value of innovativeness to be perceived by the consumer. Creative layouts and fonts are used throughout Beholds promotional campaign also to ensure the brand reflects innovativeness to the targeted consumer seamlessly, using creative colour pallets and quirky fonts. This brand value allows Behold to stand out from the rest and become interesting and eye-catching to the consumer. #Communication Behold will utilise digital and social routes to expand on the consumer’s experience. Behold will aim to thrive and succeed by communicating with a consumer across all platforms; building consumer relationships, brand loyalty and brand recognition. The value of communication will also encourage instant peer to peer conversation, allow readers to correspond directly; turning the communications process into a two way channel.

Page 05

CCh ha ap pt te re r 0 02 2 MMA AR RK KE ET T A AN NA AL LY YS SI SI S

MAGAZINE Market Magazines were among the earliest adopters to identify that the world wide web had become established enough for media to recognise its potential as a medium for distribution, Curran and McKay (2013).

Digital magazines have the ability to transmit information instantly, offer the consumer a more digital experience with multiple advantages and allow fashion to be shared and exchanged within seconds. According to Mintel (2014i) print profits are continuously decreasing whilst the growth of digital channels are continuously increasing. Publishing Futures 2014 reports identified that digital magazines share of proceeds of consumer magazines increased from 8% to 18% over the same timescale and is estimated to escalate to 30% in the near future. Mintel (2014i) Mintel (2014i) supports that the digital magazine market must introduce more versatile viewing options if they are to adopt durable consumer interest- Mintel (2014i) finds that 47% of consumers would prefer digital content to be shorter, 51% want less content and more interactive content and 54% of digital magazine and magazine website readers say they would like to be able to customise layouts or content.

Page 07

Chapter 02 MARKET ANALYSIS

ONLINE Fashion market Online fashion retailing is booming; the fashion industry's leading distribution method is not only becoming increasingly mobile but is changing the way we consume and purchase fashion. Mintel (2011) forecasts that the total online fashion market has grown by 45% since 2011 and has reached a profit of ÂŁ7 billion this year.

The fashion sector received a boost in 2010 when two major online retailers entered the fashion market: EBay and Amazon, both major fashion sites who platform numerous fashion brands, Mintel (2013a). Since this development, the online fashion market has continuously increased and now the fashion consumer has over 1000 fashion brands which are accessible online to choose from.

The internet is the first choice option for buying new clothes for over a quarter of Britons, Almost three fifths of consumers bought clothes online in the last 12 months, equivalent to 30 million adults in the UK, Mintel (2013b).

More than six in ten consumers shop around online with the motivation of finding the best price and this view is most popular among 16-24s and those in full time education, Mintel (2013b).

Because of the internet’s ability to transmit information immediately shopping online in today’s era is a truly cross-channel experience and though people are increasingly shopping online a majority of people also use the internet just to browse. According to Mintel (2011) 44% of the 16-24s are reported to consider online shopping as a form of entertainment at lunchtime or in the evening.

Primary consumer research underlined that the 16-24s were mostly knowledgeable of online fashion brands through advertisements on TV and various fashion media; Boohoo, Asos, and Misguided were found to be the most favoured. Although, independent online retailers which weren't widely recognised were found to be often identified via social network sights such as Instagram. See Appendix D for consumer research.

Chapter 02 MARKET ANALYSIS

COMPETITOR Analysis While no magazine brand offers the same concept and interactive opportunities as Behold, a range of magazines have been examined due to the target audience they share. Because Behold will portray the aspect of both a digital and print version, both print and digital magazines were evaluated.

To identify the tactics where Behold can outperform particular magazines and identify areas which leave room for improvement, key strengths and weaknesses of the competitors have been assessed. Understanding the strengths and weaknesses of Beholds current and potential competitors will help the brand appreciate its own strengths and weaknesses as well as its best opportunities and greatest threats.

A framework recommend by fashion specialist (reference) to successfully assess the competition was considered. The following factors of competitors were assessed:

Page 08

•

Level of capability

•

Administrative structure

•

Quantity and position of distribution outlets

•

Market share statistics

•

Key products and services accessible

•

Promotional influence

•

Market segmentations targeted

•

Price levels

Page 09

Chapter 02 MARKET ANALYSIS

COMPETITOR STRENGTHS Identified in analysis

Vogue, Bazar, Company, Grazier and Elle feature a array of online brands In their content, as well as high-street and designer brands. This mixture in fashion content will attract a larger and versatile audience.

All competitors offered digital adjunctions aside their title and a downloadable version of their magazine at a set cost.

Print magazines assessed are distributed via an array of different methods in numerous locations- the consumer will be faced with the magazine title on a day to day basis creating attention and recognition seamlessly.

COMPETITOR WEAKNESSES Identified in analysis

None of the competitors featured interactive content within their magazines and little interactive activity across digital adjunctions.

Digital magazines assessed formatted their content to resemble a website layout- which was found to be a disadvantage of a digital magazine No magazines examined allowed social activity in magazine content which slows down brand recognition and communication All magazines analysed have a lack of advertisement.

Page 09

Chapter 02 MARKET ANALYSIS

COMPETITIVE Advantage The strengths and weakness identified have produced a coherent set of recommendations that Behold can act upon to efficiently compete with the print and digital market. >For a full guideline to strengths and weaknesses refer to Appendix C

Page 10

In contrast to the competitors indicated Behold will provide an insight into an array of online fashion retailers, this specific content allows Behold to fill a niche in the targeted consumers’ needs and supply direct insight and information with an educational value which opposing magazines are unable to do with their mass mixture in fashion brands.

Beholds interactive digital advances will endorse social activity effortlessly ensuring that communication and participation is generated throughout all brand applications. Such digital adjunctions ensure a faster more reliable method of brand interaction, awareness and recognition in comparison to the competitors.

Beholds magazine will seek to connect the concept of a print and digital magazine flawlessly, this element of modernisation will allow Behold to succeed against competitors by establishing the best of both worlds and offering a truly unique concept.

Page 11

Chapter 02 MARKET ANALYSIS

MARKET positioning To construct a perceptual map of the market, secondary market research and primary research in the form of a survey was undertook to find out the most favoured and trusted fashion magazines. Most consumer perceptions, identified via primary research, may have been influenced by marketing action, therefore secondary research into the competitors promotional ability's was sourced to help place Behold on the map. See appendix K for full competitor evaluation Vogue, Elle, Grazier, Harpers Bazar, and Company online were all identified by consumer research as established magazine brands in the UK which cater to their fashion needs. The magazine brands accounted for all maintain established social media accounts which uphold an extensive amount of followers. Each print magazine identified also offered their readership a digital version of their magazine at a set cost.

The unique concept of Behold and its modified perception of a print magazine with digital advances places Behold in a low market position however once the promotional campaign has connected successfully with targeted consumers Behold will adopt a niche and unique place within the market and be sectioned firmly aside or above most digital versions and online magazines later on in its journey.

Once Behold supports a stable place in the market, Behold should appeal more to the online fashion brand sector, that wish to platform their products through a magazine, because of its distinctive object to connect online fashion retailers with the fashion consumer.

The placing of Behold was situated in terms of innovative content and price to evaluate its position on the magazine market.

Page 11

- Level of innovativeness +

Chapter 02 MARKET ANALYSIS

- MAGAZINE READERSHIP LEVEL +

Page 12

Page 13

Chapter 03 TARGET MARKET ANALYSIS

TARGET Market Four in ten 16-24s believe that shopping online doesn’t really feel like spending money, so they to spend a lot more money than they would in an actual shop.

This age’s group is most likely (44%) to consider online shopping as a form of entertainment at lunchtime or in the evening Young consumers aged 16-24 are twice as likely to often use mobile devices such as an iPhone to browse or buy online Mintel (2011).

Behold is primarily aimed towards females aged 16-24 years; a demographic which is referred to as most prone to technology, the most mobile and digital generation of this time , Deans (2014).

Research highlights that the population of the UK is just under 61 million – young adults aged 16-24, account for 12% of that number (7.4 million), UK Youth (2015). Greenwood (2008) adds to this reporting that magazines and fashion brands benefit increasingly from this age sector, who are predominately single, looking for a partner and likely to spend their disposable income on clothes.

The social grading system categorize Beholds young audience as the C1C2E social class (see appendix G). The primary consumer who ranges from a C1 to a C2 is most likely to be in full time education at either a college or university level therefore the target market requires fashion content that enables them to follow and adapt trends at an inexpensive price. ABC1 Demographic (2015) Mintel (2014j) describe this demographic as the consumer who mostly shops around online with the motivation of finding the best price, with this and the low prices of Behold products, these sources validate a strong rationale for Behold from this age sector.

Page 13

Chapter 03 TARGET MARKET ANALYSIS

THE Stylish innovator

CONSUMER Segmentation To target the accurate consumer who suites the precise promotional methods of the Behold marketing campaign primary research in the form of a survey and various market data was established and helped form the profiles for two distinctive market groups .

Although the consumer profiles generated endorse separate market entities, needs and characteristics the groups generated share demographic aspects of age, education and social class which means multi-segment strategies can be employed throughout the promotional campaign.

THE Young adapter

Page 14

Page 15

Chapter 03 TARGET MARKET ANALYSIS

THE Young adapter(This consumer group have been formed together based upon social needs, attitudes to fashion and buying behaviour.)

The young adapter is aged 16 to 19 who study's in full time education at a collage level and is aiming to improve their career possibilities with higher education. She has a widespread group of peers and friends who she enjoys spending time with on a daily basis. Her social activity at collage continues on a night via digital applications where she enjoys sharing images, thoughts, taking part in competitions and looking at images and videos endlessly.

In her spare time she focuses on doing her homework via technological applications such as a laptop or a IPad which can be distractive and result to browsing the internet or shopping online. Shopping online for clothes is something she enjoys as a hobby too; sharing thoughts of products and recommending them to friends is a daily activity for this consumer.

As a student in full time education, who is typically still living at home with parents, this consumer does not have the funding to fully embrace her fashion innovativeness; she looks for fashions at an affordable price that allow her to maintain an on trend status.

Her fashion inspiration originates from others and adapts quickly to trending styles by browsing magazines social media and blogs.

Due to her lifestyle she is continuously surrounded by youths with innovating style meaning her style has to compete with others. She looks at fashion as a craving which comforts her self-esteem.

Following Bloggers is also a big part of this consumer’s lifestyle; she looks to bloggers for guidance and follows numerous blogs daily.

With her aspiring lifestyle and fashion adapting skills this sector will maintain a fashionable lifestyle when presented with innovative style guidance. This female consumer group are in the E or C1social group. (Unemployed) and (lower middle class)

Page 15

Chapter 03 TARGET MARKET ANALYSIS

THE Stylish innovator (This consumer group have been formed together based upon social needs, attitudes to fashion and buying behaviour.)

The stylish innovator is aged 19 to 25 and is either at the peak of their university education or at the beginning of their professional career. Her education and career goals are directed towards the creative industry. To maintain a living this sector live with friends or in cheap accommodation to enable saving for their financially stable future. It isn't uncommon for this group to work 2 jobs to fund their student overdraft or pay off student loans.

Due to her strong work ethic and busy schedule this consumer has little time to enjoy social outgoings therefore when purchasing fashion products this consumer browses the internet and purchases online. Her innovative style means she has the ability to mark trends of her own; people look to her style for inspiration.

Page 16

Baring this it is important that the brands she looks to for purchases offer a range of affordable fashions that she can alternate to suit her personal innovativeness. (Basics are key).

This sector is a keen social media user, recoding and sharing aspects of her day, such as fashion and food on their accounts is a regular aspect of their life. In her spare time she maintains a blog, sharing style guidance and references and holds a strong fan base. Media is a key aspect of this group’s lifestyle also, they are entertained by reading an account of fashion magazines via digital applications when on the way to or from work.

With her level of innovativeness and creative profession this sector is an all-round fashion focused individual. Anything fashion focused appeals to her and benefits her lifestyle continuously. This female consumer group are in the C1 or C2 social group. (Junior professional) and (skilled working class)

Page 17

Chapter 04 M A R K E T ICNhGa pC tA eMr P A0 I3G N MARKETING CAMPAIGN

MARKETING Campaign

CAMPAIGN objectives:

Using a variety of integrated methods the Behold promotional campaign will aim to establish Behold a firm place into the UK magazine market and generate a desirable brand image amongst targeted consumers.

An array of marketing tactics will achieve this by transmitting a durable essence of the Behold brand values throughout the campaign.



To successfully generate an awareness of Behold across the UK by using a combination of digital communications, social adjunctions, promotions, discounts, blogger endorsements and advertising in the form of print and digital.



To associate Behold with fashion innovators including with the intention of promoting the brand identify and generating further brand recognition with potential subscribers.



Encourage consumer interaction across all brand platforms by offering interactive and social activity that have the ability to offer unlocked special content, desirable discounts and promotional offers.

Page 17

Chapter 04 MARKETING CAMPAIGN

MARKETING Approach To gain full effect from the promotional campaign this plan will integrate several marketing approaches all with the aim of meeting the consumers’ needs and desires.

Greenwood (2008) concluded that brands can engage with readers on a very personal level using four key factors; trust, support, status and participation. The Behold promotional campaign will integrate these stages within each promotional activity to ensure the campaign reflects personal engagement to its full advantage.

In connection Seyler and Boltz (1968) determine that the appreciation of a consumers emotional needs generate successful outcomes for magazines. Seyler and Boltz (1968) define fifteen appeals that recommend certain needs that control human behaviour; these needs were considered throughout the promotional campaign and referred to when necessary. (Appendix F)

Page 18

Behold will infuse its marketing approach with three key messages that relate to the emotional needs Seyler and Boltz (1968) recommend: fascinate, engage and worship.

Fascinate: the promotional campaign will attract and catch the consumer’s attention using a range of advertising methods; it will fascinate those been alerted by the digital campaign giving them insight into the unordinary interactive concept of a magazine. Emotional needs of aesthetic sensations and curiosity are targeted here.

Engage: the promotional campaign will communicate engagement throughout; to reflect the key value of experience and participation and allow interaction to be a key opportunity for the consumer. This message will act on the emotional needs of guidance and dominance.

Worship: the promotional campaign will connect the consumer with rewards and exclusive unlocked content once the consumer has acted upon the campaign. The message of worshiping the consumer’s journey will allow the campaign to act upon the consumers emotional needs of affiliation, prominence and nurture.

Page 19

Chapter 04 MARKETING CAMPAIGN

ADVERTISING Campaign A fashion brand must make every effort to properly publicize itself if success is to be achieved. With all of the competition at every level of the field, a well-founded advertising and promotional program is essential to distinguish one from the others, Diamond (1996).

Pre-launch Advertising

The power of advertising will ensure messages are delivered to the targeted group rapidly and succinctly. Behold consumer research demonstrated than an account of advertising channels are compatible with the target consumers demographic, therefore the Behold promotional campaign will blend four types of advertising methods to determine brand awareness.

(See Consumer findings/ appendix D) The nature of the Behold advertising campaign is to stretch the word out to the targeted audience, this requires a co-operative effort and will include three participants: the advertiser, the advertising agencies and the media.

Each participant is clearly outlined under the following advertising methods demonstrating how each participant will be involved.



Outdoor ambient media



Transport ambient media



Internet advertising



Magazine advertising

Post launch advertising 

Online advertising



Advertisement placement ( Behold badge, later detailed)



Billboard advertising

Page 19

Chapter 04 MARKETING CAMPAIGN

DIGITAL BILLBOARD Advertising The first advertising tool used prior the launch will be a series of digital billboards across the UK. Digital billboards have the ability to be changed daily or even at different times during the day- this benefit will enable Behold to act quickly on brand collaborations, news and features.

Figure (1.0) digital billboard example

Digital billboards have the ability to show movement via electronic screens; not only does this disregard wear and tear costs in comparison to regular billboards, but it also ensures brand values of innovativeness and experience are reflected on. Lamar- a specialised digital billboard company will be worked with to launch the Behold billboard campaign.

(See appendix E)

Page 20

Digital billboards along busy traffic intersections may distract drivers and become a safety hazard this would mean they may only be given a glance which means there value won’t be as effective, to stop this risk from happening the first series of Digital Billboards will be located in the UK’s top 20 city locations. (See appendix 3) These billboards will be placed on the outside of buildings located in a city's shopping location where pedestrians are on foot and have time to be engaged by the digital advert.

The first series of digital billboards will feature three slides, all of which have the role of informing the consumer of the Behold brand, its concept and the upcoming launch. (See Figure 1.0 and 1.1)

Page 21

Chapter 04 MARKETING CAMPAIGN

Behold

Figure (1.1) digital billboard example

Chapter 04 MARKETING CAMPAIGN

TRANSPORT Advertising The second series of outdoor advertising will be a series of transport ambient media.

Greenwood (2008) defines this type of advertising as a method which will determine a ‘captive’ audience.

Figure (1.2) transport advertisement example

Behold

On the go commuters will certainly find an advertisement as a distraction whilst waiting for transport however because the targeted consumer is in education, the consumer is likely to alight the same place on a daily basis therefore the advertisement will need to be updated to avoid selective perception. The series of transport advertisements will be located in the UKs Top 50 transport locations such as bus shelters, train stations and undergrounds; places where the targeted consumer will visit on a daily basis. (See Figure 1.2 and 1.3).

In addition advertisements will be featured on moving transport such as buses and taxis; this type of advertisement will be carried out as it covers a lot of ground; routes via university or collage locations especially will engage with the targeted consumer.

Reminding consumers of the Behold brand via transport, shopping and university locations will ensure the advert is considered especially if the consumer is seeing an advert more than once which will reinforce previous exposure. The outdoor and transport advertising methods specified target several of the consumers emotional needs also; the need for aesthetic sensations, the need to escape and the need to satisfy curiosity will all be met via this specific advertisement campaign.

P a g e 2 31

Chapter 04 MARKETING CAMPAIGN

 Cost: In the case of cost efficiency outdoor advertising is an exceptional value.

According to Diamond (1996) in comparison to television, magazine and newspaper usage outdoor advertising costs up to nine times less.  Stability: The use of outdoor advertisement means it is always there to be observed; it is a twenty-four-hour medium for promotion.  Minimal competition: moving transport has room for only one advertisement and in connection so does a bus shelter and a billboard; this advantage means that adverts can be placed without the problem of competition from other advertisements.  Recognition: time spent at outdoor locations such as train stations or bus shelters gives the viewer sufficient time to study advertisements, again making the competitive factor less intrusive.

Page 22

Behold Figure (1.3) transport advertisement example (underground)

Involving outdoor advertising within the promotional programme will have the following advantages:

Chapter 04 MARKETING CAMPAIGN

ONLINE Advertising In today’s digitally focused generation there is a lot of activity in the online realm. In comparison to magazine, television and newspaper advertising, the internet facilitates active engagement in comparison to intrusive engagement, Greenwood (2008). Behold will employ two online advertising campaigns prior to the launch of Behold with the intention of generating awareness and curiosity of the brand.

The first online campaign will be a chain of website banners which will be featured on the websites of five brand endorsers. The brands selected to showcase this series of advertisements were identified by a combination of primary and secondary research as the targeted demographics most favoured online brands; Miss Guided, Boohoo, Asos, Pretty little thing and Public Desire.

The website banner will feature the Behold logo, an interactive link to the Behold website and a live countdown which encourages the user to find out more.

The second online campaign will be featured across social media sites. According to Greenwood (2008) the routine of search engine optimisation enables Facebook to target adverts at the consumers who have shown some attention in a brand; more often, a rival brand pop up in this advertising section. These adverts become less intrusive as they are brands that the consumer has actively sought out and due to this none-intrusive value, Facebook and Twitter will feature an array of Behold popups/advertisements that encourage subscription and alert users of the launch.

Both forms of online advertising will encourage the user to click the advertisement link which directs the consumer to the Behold website which may result to an account of subscriptions. The use of online advertising through such social sites will deliver definite outcomes in brand recognition due to the sites being seen as trusted websites of the demographic that they visit on a weekly basis. (See consumer research appendix D)

P a g e 2 53

Chapter 04 MARKETING CAMPAIGN

WEBSITE Promotion

Due to the subscription method that the Behold website requires, only consumers who are already subscribed will benefit from the promotional methods employed within the website. (Detailed in website proposal) To still attract potential subscribers, various links via social media sites direct a consumer to the pre-home page of the Behold website, here a consumer has the chance to subscribe, invite friends to subscribe and access a sneak peak tutorial of the website, which is available to share. Because these various links direct the consumer to the website pre homepage it’s important that they are encouraged to participate further with the brand. A promotional banner will be placed on the pre-home page featuring a live countdown to the launch to create curiosity and enthusiasm, the banner details the launch date and encourages the user to subscribe so they are able to view the live launch. (See Figure 1.4)

SUBSCRIBE FOR FREE

Behold LIVE LAUNCH /01.04.16/SUBSCRIPTION REQUIRED

D A Y S

H O U R S

Figure (1.4) website advertisement banner example.

Throughout the launch campaign the Behold website will act as a medium for promotion, it will feature exposure to all the digital advertisement that Behold will employ prior the launch; Instagram, Facebook and Twitter can be accessed via the webpage therefore strong coverage of platforms featuring further promotion is accessible here.

M I N U T E S

P a g e 2 35

Chapter 04 MARKETING CAMPAIGN

SOCIAL MEDIA Campaign The rise in the use of social media sites for interacting with fashion brands has helped to drive a changing in youth behaviour Mintel (2013b). Mintel (2014j) report that 40% of young females use social media for style inspiration whilst a third of female social media users use social media to show their friends what brands they like.

Objectives: 1.

Augment Behold with extra multimedia

2.

Encourage subscription

Social networking has become one of the most important tools for fashion companies in communicating with consumers as it is personal and immediate, Greenwood (2008). It is a key attribute of social media that a two way communication path between the consumer and brand is established. The key aim of the social media campaign is to generate a continuous social presence by building relationships with potential subscribers.

3.

Act as a community hub

4.

Build interaction with readers



The campaign will employ the following social networking sites to ensure a fully integrated approach is achieved through Instagram, Pinterest, Facebook and Twitter. Each social brand will contribute a specific role and exceed a precise expectation. Using a combined account of social platforms will enable Behold to socially participate with selected demographics which will increase awareness and subsidize to a successful launch.

     

The need for guidance (How to- solution orientated) The need for aggress (competitive drive) The need to dominate (control) The need for attention (desire) The need for autonomy (individual style) The need to feel safe (durable looks and goods) The need for aesthetic sensations ( pleasing layouts and designs) The need to satisfy curiosity (informational, looking into another's world)

With the 16-24s demographic in mind, the social media campaign will aim to satisfy some of the fifteen emotional needs stated earlier in this plan. The following emotional needs will be targeted via all social media applications and will be detailed in the following sections when necessary.

Page 26



P a g e 2 73

SOCIAL MEDIA plan SOCIAL SITE

DESIRED FOLLOWERS WITHIN ONE YEAR OF LAUNCH

CONTENT ON FEED OR PROFILE

LINKS AND INTERACTION

FREQUENT POST

5K

Written and visual posts promoting information on brand news, events, collaborations, features and updates. Posts which promote conversation, interaction and participation. Re-posts of consumer and fashion brand tweets.

Links to visually focused Behold social media profiles to create story telling concept. Fashion and Blogger collaborators websites and profiles. Behold website.

Consistent- 10-20 times a day.

1K

Written and visual posts promoting information on brand news, events, collaborations, features and updates. Posts which promote conversation, interaction and participation. Re-posts of consumer and fashion brand tweets.

Links to visually focused Behold social media profiles to create story telling concept. Fashion and Blogger collaborators websites and profiles. Behold website.

Consistent- 10-20 times a day.

10K

Brief insights into magazine content, brand collaborations, advertisements, Behold competition posts, BTS visuals and short videos, style advice, reposts of user participation, re-post of retailer discounts, product posts and re-post of blogger commissions.

Visual posts will include Links in comment section when necessary. Links may include Blogger profiles, Fashion brand websites and profiles. Behold website and additional social profiles.

Consistent –3-5 times a day.

30,000

Behold Live Hub footage

Video will feature a link to Behold website and social media sites.

Consistent 2-3 times a week

Chapter 04 MARKETING CAMPAIGN

FACEBOOK / Twitter Profile Objectives: Social media networks such as Facebook and Twitter facilitate a 24/7 sharing platform between a consumer and their friends.

Mintel (2014k) report that Facebook has the highest frequency of engagement in comparison to opposing social media sites and Mintel (2014j) report Twitter stands out as the most popular social media site used for fashion for taking advantage of special offers and to get something for free. According to Mintel (2014k) three quarters of Facebook and Twitter users in the UK visit the sites approximately at least once a day, Mintel (2014k) indicate that the 16-24s are a large proportion of these users.

The main purpose of the Facebook and Twitter accounts are to create significant brand awareness of the new magazine brand. The sites will perform a series of promotional postings within the follow up to the launch (approximately 6 weeks). Both of the profiles will stay employed by the Behold promotional campaign to continue to encourage conversation, interaction and engagement between Behold, the retailer and the consumer after the launch.

1.

General promotion of the title. (enhance the titles community and feed)

2.

Disseminating content ( links to features that trigger immediate interest)

3.

Personal communication ( exchange tweets with readers)

4.

Promote competitions, discounts and offers (generate awareness of fashion brand collaborations)

5.

Encourage user participation ( style posts, open ended questions)

6.

Share BTS footage and images ( intrigue users)

P a g e 2 93

Chapter 04 MARKETING CAMPAIGN

Behold Magazine

Behold Magazine

24 seconds ago

24 seconds ago

Subscribe to the Behold website for free and exclusive offers from Boohoo, Missguided, Asos, Pretty Little Things and many more! www.behold.com

Behold Magazine

@Behold_Magazine . 9m ago

Who's exited for the LIVE #Behold magazine launch? To unlock exclusive fashion content? Just invite friends to subscribe! www.behold.com

Do you love shopping online? Well #Behold is the UKS n’01 online destination for online fashion. Subscribe for free for exclusive offers, style advice and exclusive blogger style secrets today @ www.behold.com

Behold Magazine

@Behold_Magazine . 9m ago

Fancy winning a #MISSPAP ÂŁ100 gift voucher? Send in a style selfie and #Behold style to for a chance to WIN! Subscription required www.behold.com.

Figure (2.0, 2.1, 2.2, 2.3 ,2.4) Facebook and Twitter feed examples

Page 28

Page 23

Chapter 04 MARKETING CAMPAIGN

Behold Magazine 24 seconds ago

Figure (2.5 ) Facebook post draft

We are so exited to launch the FIRST ISSUE of #BEHOLD. For those of you who cant wait for much longer, subscribe to Behold.com FOR FREE and unlock exclusive content , discounts, blogger secrets and BTS exclusive footage. www.behold.com/ subscribe. #BEHOLDMAGAZINE #ONLINE FASHION #INTERACT #DIGITALMAGAZINE

A competition will be promoted through the Facebook and Twitter profiles prior to the launch with the purpose of generating further brand awareness. The competition will give the opportunity for a Behold subscriber to win a £500 gift voucher for one of the Behold brand endorsers. To win the user must share the post, sign up to the subscription via the Behold website and invite 100+ friends to join in.

The user with the greatest amount of partakers will win the prize. To add further recognition of the launching of Behold magazine a daily post will show how many day’s users have to wait until the magazine is launched via its webpage.

Consumers are recommended to share this post daily to win extra voucher of £100, this competition also requires the consumer to be a subscriber to the Behold website and the winner will be chosen at random.

Curran and McKay (2013) claim to successfully direct social media users back to the brand social media profiles should not give mass content away. All content posted prior the launch, except behind the scenes imagery, will persevere a mysterious value so that users are persuaded to subscribe to find out more. To continuously generate Behold identity a hashtag will feature on every post made by the Facebook and Twitter accounts. #BEHOLDMAGAZINE will generate further brand recognition and keep the brand name contained on social media feeds.

Page 31

Chapter 04 MARKETING CAMPAIGN

INSTAGRAM / Pinterest The Instagram and Pinterest accounts will continuously mirror the promotional campaigns employed by the Facebook and Twitter accounts in a visual way with the intention of creative awareness of the launching g of Behold magazine.

The UKs no1 fashion destination for online fashion<

Figure (2.6 ) Instragram profile example

www.beholdmagazine.co.uk

According to Mintel (2014j) Instagram and Pinterest are categorized as the most popular social media sites for style advice. The Behold promotional campaign will use this value to its best advantage by employing these sites to generate a two way communication path daily that influences the user to post styles that feature brand endorsers products and features the Behold hashtag.

Due to the visual nature of these accounts Behold will post behind the scene imagery from editorials, fashion brand collaborations, endorsements and most importantly peaks of footage from the Behold live hub which showcases Beholds collaborations with bloggers, celebrities and brands.

Mintel (2014j) report that young people are increasingly using Instagram to engage with brands and show that they like an advert or campaign. The Behold Instagram profile will persuade users to re-post adverts or campaign imagery, which feature the Behold logo and slogan, Behold will encourage this by stating their personal profile will be featured on the Behold account; primary research indicated users of social media accounts thrive for a mass amount of followers and likes by post, using this method should appeal to those targeted and become successful in creating recognition. (See Consumer research appendix D)

P a g e 23 31

Chapter 04 MARKETING CAMPAIGN

Figure (2.7, 2.8, 2.9) Instagram feed examples

P a g e 32 3

Chapter 04 MARKETING CAMPAIGN

YOUTUBE Channel YouTube channels have become a key medium in platforming talent, beauty experts and style tutorials. This media channel will have the key purpose of creating further distribution for the Behold Live Hubâ&#x20AC;&#x2122;s weekly footage.

The Behold Live Hub is an exclusive website platform which aims to network with users in a unique way.

For one hour of each working day the Behold office will become live and will showcase the latest trending online brands, season trends and exclusive interviews with trend setters such as bloggers and celebrities.

The video footage will then be edited and launched each week on the Behold website and YouTube channel.

As well as been accessible via the website and YouTube the 1 hour long video is available to be shared via social media applications and will act as an entertainment value as well a style guide.

P a g e 23 3

Chapter 04 MARKETING CAMPAIGN

PRESS Kit

A successful PR campaign for Behold will help generate a memorable and inspiring press kit that will be sent out to selected media and bloggers prior to the launch of the magazine. The press kit will aim to embrace the unique concept of Behold and will reflect the brands core values, mission, message and aesthetics. Because Behold will party rely on press to create an impressive image of the brand to potential brand endorsers, advertisers and the targeted audience, three press releases will be sent out, each with different intentions with a writing style to suit.

The kit be distributed digitally to targeted media, this will reflect the digital essence of Behold and will present consistent branding which communicates the brands value of innovativeness and exclusivity seamlessly . The digital press kit will encourage interaction throughout, links directing to social media platforms and the website are featured to connect media with the brands assets. The digital press kit will include the following pieces to assure a experience of Behold, from all angles, is established:

Press Release: The key element of the kit will be the press release. This is the first chance the press kit has to catch the readers attention and will work to keep the reader interested in the Brand, The release will have the clear aim of informing the media about Beholds concept and its intention to launch and will detail the launch event date and timings. The release will target a range of newspapers, online fashion websites, fashion brands and fashion and lifestyle bloggers and should influence those reading the release to gain further insight into the brand. The Press release will also provide a attachment featuring an digital invite to the launch event; press can then forward this pdf to their social feeds to create enthusiasm, interest and recognition.

Press Booklet: The Press kit will then direct the press to a booklet which has the intention of detailing further brand information and will hold a collection of features, stories and reports that clearly inform the press from different angles; a feature will provide a consume-like insight detailing brand information and benefits to the consumer, a Q and A from the founder will provide conceptual intentions targeted towards fashion brands and press and a report will be targeted towards trade detailing the business related benefits Behold offers.

Media Kit: The Press kit will also be a key element in attracting potential online fashion retailers. The media kit , which is also accessible via the Behold website, will include insight into the brands concept, beneficial opportunity's of brand platforms and advertising rates. The media pack also gives demographic specifics on the segmentation, social classification, income level and the education of its core readership.

Page 1

P a g e 32 53

Chapter 04 MARKETING CAMPAIGN

BLOGGER Endorsement Blogging has become the fashion commentary of the moment. It is overwhelmingly from bloggers that the fashions they recommend instantly gain national or even international coverage. This use of PR has the pure aim of supporting the core marketing objectives stated within this plan; to generate positive brand awareness and build a solid subscriber base.

With the 16-24s demographic in mind an array of Influential style leaders will be commissioned throughout the brands campaign, prior to the launch and afterwards. Several online personalities will be approached and met with to plan an array of appearances on the Behold live blog and to generate numerous magazine features containing the bloggerâ&#x20AC;&#x2122;s personal style and style advice.

Each blogger will be commissioned to showcase the Behold brand name when a product featured in the magazine is presented on their blog and social media account; the blogger will be sent a copy of the magazine one month prior to the issue launching with an account of products to showcase on the behalf of retailers.

Figure (3.0) Behold issue 1, blogger feature screen shot

Page 34

Page 23

Chapter 04 MARKETING CAMPAIGN

Sarah Ashcroft:

Courtney Trop

Age: 21 Instagram Followers: 287K thatpommiegirl.co.uk

Age: 18 Instagram Followers: 211K alwaysjudging.com

Em Sheldon:

Victoria

Age: 21 Instagram Followers22.K emtalks.co.uk

Age: 19 Instagram Followers: 365K intheforw.com

Amerzy

Tar Mar

Age: 22 Instagram Followers: 2.4m glamerzy.com

Age: 19 Instagram Followers: 13.2K tarmarz.co.uk

Monikh Dale

Manuela Mosca

Age: 20 Instagram Followers: 21.2k www.tresmonik,com

Age: 23 Instagram Followers: 162K sorelleuk.com

Working with online personalities throughout the Behold campaign will activate certain emotional needs of the consumer; ď ą The need for affiliation ( Noting that a blogger, that they already have trust in, recommends the Behold brand will allow the consumer to adapt an instant association and connection with the brand.) ď ą The need for guidance (Collaboration with bloggers maintains an educational factor for Behold, the consumer is guided by the style of bloggers and associated with Behold through this emotion.)

See appendix E for full guideline to targeted emotions.

P a g e 32 735

Chapter 04 MARKETING CAMPAIGN

LAUNCH Event Alongside the series of promotional methods detailed previously, which intend to create awareness and hype of the brand and its launching, to showcase the launching Of Behold to key members of the press a launch event has been planned and developed. The launching will allow a live take-off by the use of digital advertising platforms to reflect the digital nature of Behold and create extended recognition of the launch.

Prior to the launch it was planned so that the social media and advertisements, including blogger alliances, created a series of publicity stunts for the launching of Behold magazine; all publicity posts featured a live countdown to the launching date, however, it was unknown to the consumer viewing the countdown what the launching would entail, they were just recommended to subscribe in time for the launch (dates where detailed)those who subscribed will receive an email influencing them to log into the Behold website from 7pm to watch the launch live via the Behold Live Hub link.

To target potential subscriberâ&#x20AC;&#x2122;s digital advertisement campaigns such as online advertising and digital billboard advertising will feature a short live video of the launch.

Page 36

The launch event day will act as a press day for each of the fashion retailer which advertises within the first issue. Each retailer will promote a stand which features their upcoming season collection and products which are featured within the first issue of Behold. Members of the press and an array of nationally successful bloggers will be invited to join along with the PR team of each fashion brand.

The event will take place from 5pm to 8pm at the Behold live hub, which has a maximum of 100 guestâ&#x20AC;&#x2122;s capacity. The live hub will record footage throughout the day whilst Behold professionals will interview brands and bloggers. Throughout the event refreshments will be served and live performances from music bands Little Mix and The Saturdays will be showcased. The event will start with a speech from the founder of Behold and will welcome guests and express appreciation to the media for attending the event, a second speech from the editor in chief will briefly introduce the first issue with a slideshow and express how beneficial the content could be for retailers. During the second hour of the event a fashion show featuring SS16 collections will entertain guests. Each guest will receive a gift bag filled with goodies and promotional gestures from retailers and a Behold media kit to inform press and interest potential advertisers about the aims and objects the brand employs. See appendix (I) for Media list

Page 23

Chapter 04 MARKETING CAMPAIGN

DIRECT Mail According to Greenwood (2008) the use of direct marketing can be advantageous but at the same time it can sometimes be seen as intrusive and irrelevant to the consumer if the use of direct marketing isn't clearly targeted. To overcome the risk of the direct mail campaign perceived as ‘Junk’ the Behold website has employed ways a consumer can receive and share the Behold daily mail through choice however both options require the user to subscribe. The option to invite a friend who might like Behold magazine via Facebook automatically sets that ‘friend’ up for the direct mail campaign and because the ‘friend’ is been invited by a trusted source they will not perceive the mail to be intrusive or irrelevant due to the demographics they share with the subscriber.

After the launching of the magazine the direct mail campaign will feature exclusive content which subscribers can unlock by sharing the email to their social media feeds. The account of content that can be unlocked will include content such as brand discounts, BTS footage, upcoming features and various product features which give style advice and embrace brand promotions. Mintel (2014j) claim young females use social media sites to take advantage of special offers; this source validates the rationale for the concept of the ‘unlocked content’ scheme that the direct mail campaign will continuously feature after the launch.

Figure (3.1) Behold email example.

Page 38

P a g e 32 93

Chapter 04 MARKETING CAMPAIGN

AS SEEN IN

The Behold badge

The Behold badge will act as a recommendation of products and will act to enhance the collaboration between the retailer and magazine. The badge will feature the slogan ‘As seen in Behold’ and will be featured across the websites that the magazine endorse with such as Miss Guided, Asos and Pretty Little Thing.

The use of the Behold badge will not only emphasize durable coverage for the Behold identity but in the long run retailers will see this as a chance to enhance their own identity. ( See figure 3.2) Such method of promotion will connect with the following emotional needs of a consumer:  Need for guidance ( A badge will recommend products giving guidance as to what products meet the seasonal trends)  Need for autonomy ( The Behold brand identity and values reflect innovativeness and individuality; a badge will also reflect originality)  Need for attention ( Having a magazine approve a product will add to the desire for the product)

Figure (3.2) Behold badge example

Once the Behold website and the first issue of the Behold magazine has launched, Behold will start to feature badges of approval on the sites of online retailers.

P a g e 23 39

Chapter 04 M A R K E T I N CG hCaApMt Pe rA I 0G N4 Campaign Monitoring

Campaign monitoring An assortment of monitoring tactics will be employed to measure the efficiency of the campaign and to guarantee that the aims and objectives are successfully achieved.

Correspondence with brand endorsers will be done on a daily basis along with publicity and press relationships to maintain coverage. Brand platforms will also be measured daily; the website and social media campaign will be supervised by Google analytics to ensures the websites is reaching its mass potential of traffic for the period of the promotional campaign, this will notify Behold on the quantity of attention that each of the brand feature is receiving and statistics regarding interaction such as shares and likes. These findings will allow Behold to plan successful future features and content for the website, social media campaign and magazine.

Page 40

P a g e 42 13

Chapter 04 MARKETING CAMPAIGN

Contingency plan The Google analytic system mentioned previously gives Behold the opportunity to evaluate the success of each promotional method detailed within this plan continuously. To aid the growth and success of Behold as brand contingencies have been outlined in the case of strategies failing to achieve their objectives.

If a pattern of failure emerges through the use of an online analytic assessment an array of online advertisements promoting celebrity endorsement will be considered to employ further brand promotion. The intention of the celebrity endorsement will appeal more to consumers than ordinary models featured on advertisements and on cover but may take a big part of the advertising budget which may lead to outdoor or transport advertisements to be discontinued.

In the unlikely case that the account of press coverage doesnâ&#x20AC;&#x2122;t succeed as intended and fashion retailers aren't interested in advertising their products with Behold further engagement with the trade will be fulfilled.

Additional media proposals with retailers such as alternative story angles, celebrity endorsements and a lower fee will be suggested.

If the use of outdoor and transport advertisement fail to generate attention from the target audience, alternative locations will be sourced and A TV advertisement introducing the launch may be considered to gain a wider coverage. However this approach will require a series of collaborations with retailers therefore mass planning prior its launch will be needed in the case of this event.

Finally if the use of limited content, brand promotions and the value of free subscription fails to reach a durable amount of subscribers the magazine will be made accessible to anyone. However this will lose the brand value of exclusivity and make Behold just any ordinary fashion website with a magazine available; to stop this happening and ensure consumers subscribe and maintain their subscription Behold will start to deliver weekly discount vouchers via direct mail on the behalf of fresh online retailers with a minimal customer base- this will benefit the subscriber and generate awareness for retailers.

P a g e 24 31

Chapter 04 MARKETING CAMPAIGN

Year ONE

Year TWO

Year THREE

Launch Behold and focus on creating durable brand awareness and driving traffic to the website and social media platforms to influence further magazine subscription. Reach market target through content, social activity blogger endorsement and press publicity.

Continue to acquire new subscribers whilst still focusing on maintaining current subscriptions.

Begin to create coverage internationally and focus on attracting more international brand endorsers, advertisers and collaborators. Create endorsements with internationally popular bloggers and build relationships with international media.

Invest in the growth of business, consider expanding Behold magazine to a weekly issue.

Forecast to make a profit through increasing advertisement and product placement free.

Reconsider subscription free method. Continue to drive traffic to website and magazine using innovative, digital social media and advertisement campaigns.

Page 42

P a g e 42 3 Page 1

Chapter 04 MARKETING CAMPAIGN

CONCLUSION The intention of this marketing plan is to establish Behold a firm place into the fashion magazine realm using a range of purposed promotional strategies which will enable a successful and well recognised launch of the magazine. This plan has aimed to create a truly interactive experience throughout each method of marketing to distinctively reflect the Behold identity and brand values throughout.

The strategies detailed are planned to complement one-another to create a focused multi-channel campaign that will accomplish maximum publicity throughout 2016. Each method devised will have the overall intention of creating brand awareness of the Behold magazine and its range of brand adjunctions. To ensure the promotional campaign is relevant the targeted consumer has been considered throughout, the consumerâ&#x20AC;&#x2122;s personality, emotional needs and values have helped devise specific promotional strategies that are personally designed to fit within their lifestyle.

Beholds modified concept of a print magazine with engaging digital advances, that allows the consumer to participate and communicate effortlessly, will be mirrored throughout the promotional campaign; digitally focused platforms which encourage participation and interaction, social platforms which link and direct the user to fashion sites and advertisement campaigns that are digitally designed and also encourage participation have all been developed within this plan. Such innovative interactive features are likely to drive subscriptions and relationships between the targeted consumer and retailer and give Behold a firm advantage above its competitive market.

Generating a truly combined promotional campaign within a small time frame permits the brand to receive persistent press attention for the length of the campaign. Preserving an attentive outlook with continuous observance will achieve future profitability and a durable reputation as a leading fashion magazine brand.

P a g e 24 3

Reference List

• • • • • • • • • • • • • • • • •

Lea-Greenwood, G. (2008). Fashion Marketing Communications. Blackwell Publishing, Incorporated.

Mintel (2014a). Womenswear, The consumer- Most important factors when shopping online. Retrieved fromhttp://academic.mintel.com/display/704978/?highlight Mintel (2014b). Youth Fashion- Retail Competitor Analysis Retrieved fromhttp://academic.mintel.com/display/679691/ Mintel (2014c). Youth Fashion- Companies and Products. Retrieved fromhttp://academic.mintel.com/display/679691/ Mintel (2014d). Fashion Online. Retrieved fromhttp://academic.mintel.com/display/679743/ Mintel (2014e). Clothing Retailing. Retrieved fromhttp://academic.mintel.com/display/679590/ Mintel (2014f). Magazines- Attitudes towards print magazines. Retrieved fromhttp://academic.mintel.com/display/707084/ Mintel (2014g). Magazines- Executive summery. Retrieved fromhttp://academic.mintel.com/display/707068/?highlight#hit1 Mintel (2014h). Magazines- The consumer and magazine usage. Retrieved fromhttp://academic.mintel.com/display/707088/?highlight#hit1 Mintel (2014i). Magazines-Market Drivers Retrieved fromhttp://academic.mintel.com/display/707071/ Mintel (2014j). Youth Fashion- Reasons for using social media for interacting with fashion brands. Retrieved fromhttp://academic.mintel.com/display/679691/ Mintel (2014k) Social and Media Networks- Executive summery. Retrieved from http://academic.mintel.com/display/679632/ Mintel (2011). Fashion Online- Executive Summary. Retrieved fromhttp://academic.mintel.com/display/545448/ Mintel (2013a). Fashion Online-Who’s Innovating. Retrieved fromhttp://academic.mintel.com/display/545448/ Mintel (2013b). Fashion Online-Who’s buying fashion online?. Retrieved fromhttp://academic.mintel.com/display/545448/ Flashes & Flames,. (2014). Why ASOS is e-commerce warning for magazines. Retrieved from http://www.flashesandflames.com/2014/03/why-asos-is-an-e-commerce-warning-for-magazines/ Seyler, D. & Boltz, C. (1968). Language Power: 2nd edition. New York: Random House.

Page 45

Reference List

• • •

• • • •

• • • • • • • •

Klie, L. (2011). New EU Regulations to Affect Email, Online Marketing. CRM Magazine. Retrieved from http://www.destinationcrm.com/Articles/Columns-Departments/Insight/New-EU-Regulations-to-Affect-Email-OnlineMarketing-76458.aspx Pick, T. (2014). 104 Fascinating Social Media and Marketing Statistics for 2014 (and 2015). Business 2 Community.

Retrieved from http://www.business2community.com/social-media/104-fascinating-social-media-marketing-statistics2014-2015-01084935 Retailresearch.org,. (2015). Online Retailing Research - Centre for Retail Research, Nottingham UK. Retrieved, from http://www.retailresearch.org/onlineretailing.php United, F. (2013). Facts and Figures in the UK fashion industry - statistics about the fashion business in England - size of economic activities. Fashionunited.co.uk. Retrieved from http://www.fashionunited.co.uk/facts-and-figures-in-the-ukfashion-industry#UK1 Deans, J. (2014). Company magazine to go digital-only amid falling sales. The Guardian. Retrieved from http://www.theguardian.com/media/2014/aug/13/company-magazine-digital-only-print-edition UK Youth (2015). Statistics about young people in the UK. Retrieved 6 May 2015, from http://www.ukyouth.org/resources/youth-statistics/item/292-statistics-about-young-people-in-the-uk#.VUpIL_lViko Digital Billboards. (2015) (1st ed., p. 1). Baton Rouge. Retrieved from http://www.lamar.com/~/media/99EE846104D6403DB8B9DE84912DD7E2.pdf ABC1 Demographic. (2015). ABC1 Demographic | what does ABC1 mean. [Photograph] Retrieved from http://www.abc1demographic.co.uk/ Fashions-cloud.com,. (2015). Building Billboard. Retrieved 7 May 2015, from http://fashionscloud.com/pages/b/building-billboard/ Missguided.co.uk,. (2015). High Heels - Shop Heels and Stilettos Online - Missguided. Retrieved 7 May 2015, from http://www.missguided.co.uk/footwear/heels Costantino, M. (1998). Marketing and PR: From Product Branding to Catwalk Show (Fashion Files). London: B.T. Batsford.

Curran, J., & McKay, J. (2013). The magazines handbook. United Kingdom: Taylor & Francis.

Diamond, J., & Diamond, E. (1999). Fashion advertising and promotion. New York, NY: Fairchild Books.

Easey, M. (2009). Fashion marketing. (M. Easey, Ed.) (3rd ed.). Ames, IA: Wiley, John & Sons.

Jackson, T., & Shaw, D. (2007). Mastering Fashion Marketing (Palgrave Master Series). New York: Palgrave Macmillan.

Appendix A

Political Under an amendment to the EU privacy directive act, organizations conducting online activity must receive explicit permission, or opt-in consent, to track any individual’s actions online, including the use of cookies.

Economical • The European online market is dominated by the UK which together are responsible for 81.3% of European sales • Despite more than a third of consumer spending goes through shops, the online fashion market continues to boom and reached nearly £4.1 billion in 2009, up by 26% on 2008. Internet retailing was the channel least affected by the economic slowdown towards the end of the review period.

• The growth of online sales at such a rate will inevitably reduce the market for traditional shops. By the time that online sales represent 5% or more of domestic retailing then the continued growth of online retailers will occur at the expense of conventional stores.

• In Europe as a whole, online retailers in 2015 are expanding 14.2 times faster than conventional outlets creating major strategic issues for storebased retailers.

• Mintel 2012 12 estimates that the total number of consumer print magazines distributed fell 6.8% in 2013, and the market is expected to contract a further 6.5% in 2014 and 8% in 2015 .

• E-commerce is the fastest growing retail market in Europe. Sales in the UK are expected to grow from £132.05 bn in 2014 to £156.67 bn in 2015 (+18.4%), reaching £185.44 bn) in 2016.

Page 47

Appendix A Social • The population of the United Kingdom is estimated at 63,489,234 as of July 1 2014 • The after-tax earnings of the median household is estimated around £26,000 per annum.

• Clothing and footwear spending swing around € 370 billion, 5.3% of total household consumption.

• 3.0 million or 42% of young people aged 16-24 in the UK are in full-time education.

• In 2013, 49% of 20 – 24 year olds in the UK lived with their parents.

• Four in ten 16-24s believe that shopping online doesn’t really feel like spending money, so they to spend a lot more money than they would in an actual shop

Technological • Mintel (9) The internet is the first choice option for buying clothes online for over a quarter of Britons.

• 8 million adults (76%) in Great Britain accessed the Internet every day.

• In 2014, 74% of all adults bought goods or services online. Clothes (49%) were the most popular online purchase in 2014.

• Young consumers aged 16-24 are twice as likely to often use mobile devices such as an iPhone to browse or buy online.

• Mintel (2014k) A third of young female social media users use social media sites to show friends what brands they like, to engage with brands and how that they like an advert or campaign.

• Currently 44% of the fashion magazine market offer digital versions Mintel

• This ages group is most likely (44%) to consider online shopping as a form of entertainment at lunchtime or in the evening • Mintel (2014g) finds that some 45% of digital magazine readers say they only read free digital magazines and this is symptomatic of a broader market trend of an unwillingness to spend money on digital content.

• Mintel (2014j) report that Facebook has the highest frequency of engagement in comparison to opposing social media sites and Twitter stands out as the most popular social media site used for fashion for taking advantage of special offers and to get something for free.

• 72% of all internet users are now active on social media. Pick, T. (2014).

• Mintel (2013b). More than six in ten consumers shop around online with the motivation of finding the best price. This view is most popular among 16-24s and those in full time education. Mintel (9).

Page 46

• 71% of online adults use Facebook. 63% of Facebook users visit daily and 40% visit multiple times per day. Pick, T. (2014).

Appendix C

Strengths • Interactive digital concept portrays a Original theory - unlike any magazine in the market.

• Strong array of Market data and consumer primary research validate the preference and modified need for digital advances and a print like layout- Behold connects with this modification in consumer behaviour.

• Providing an exclusive reader experience with interactive advantages and social activity throughout will create Behold strong brand recognition.

• Directly connects the reader/user with online fashion brands throughout all brand platforms- gains Behold a educational meaning • Launching in an stabilised market- 44% of the magazine market are offered in digital.

• Products featured within Behold magazine affordable • Behold identity is innovative and unique • Online retailers will use Behold to promote themselves- highly beneficial for collaborator- may result to reliable profit.

• Blogger collaborations will generate mass international recognition and reach potential subscribers • Digital magazines dominate the market by 44%

Weaknesses • No current brand recognition • Free magazine- relies mainly on advertisers to fund magazine budget and make profit.

• Digitally distributed-competitors hold advantage of the print distribution method which creates wider brand awareness • No celebrity endorsement due to budget • Specific market segmentation and demographic – in comparison to competitors who cater ABC1 readerships.

Page 51

Appendix C

Opportunities

Threats

• Celebrity endorsement to enhance promotional campaign • Celebrity on cover to boost magazine image • Online exclusives from high-street brands to provide a mixture of market levels and cater to a new audience

• Niche consumer segmentation which has influenced especially the brand identity Behold may isolate potential readers/users/viewers.

• Strong established identity and status of competitors.

• Competitive print market • Lack of international online fashion retailers interested in advertising with Behold.

• Online exclusive range being unreliable in terms of price

Page 50

COSTINGS SHEET SPECIFICS

COST

Website

£1000

Billboard advertisement x20

£250,000

Outdoor advertisement

£50,000

Transport advertisement

£100,000

Online advertisement

£5000

Blogger endorsement

N/A

Launch event

£10,000

Page 53 Page 1

Appendix D

What magazines do read?

What is your age?

Wonderland ID 45+

Stylist Marie Claire Cosmpopoliton

35-44

Company Online Net-A-Porter

25-34

Grazier Elle

16-24

Harpers Bazar 0%

20%

40%

60%

80%

Vogue

100%

0%

How often do you read fashion magazines?

20%

40%

60%

80%

100%

Do you prefer the concept of a print or digital magazine?

Never Daily Weekly

Print

Monthly

Digital 0%

20%

40%

60%

80%

100%

0%

20%

40%

60%

80%

100%

Appendix D

Do you find magazines more educational or entertaining? (in terms of fashion)

Which of the following content types do you prefer a magazine do feature?

Fashion adverts Editorial spreads Style inspiration Beauty features Trend features

Educating

Celebrity fashion

Style advice

Entertaining

Fashion stories 0%

20%

40%

60%

80%

100%

0%

20%

40%

60%

80%

100%

How often do you visit a magazine brands website?

Which content is more important when reading a magazine?

Never Monthly

Visual content

Weekly

Written content

Daily 0%

20%

40%

60%

80%

100%

0%

20%

40%

60%

80%

100%

Appendix D

Do you read the digital versions of any of the following magazines?

ID Marie Claire Net-A-Porter Elle Vogue

0%

20%

40%

60%

80%

100%

Which type of advertising is most likely to catch your attention?

How do you prefer to shop?

Transport Outdoor Social media Online Billboard Television

Both Online Instore

0% 0%

20%

40%

60%

80%

100%

20%

40%

60%

80%

100%

Appendix D

Which of the following alterations would recommend to digital fashion magazines?

Video Content Music Content Interactive links More visuals Less visuals More written content Less written content Media enhanced pages Customable layouts 0%

Which of the following social media applications do you have?

20%

40%

60%

80%

100%

Which of the following most alerts you about online fashion brands?

YouTube

YouTube Tumblr

Tumblr

Pinterest

Fashion websites

Twitter

Newspapers

Facebook

Magazines

Instagram 0%

20%

40%

60%

80%

100%

Social media 0%

20%

40%

60%

80%

100%

Appendix D Do advertising campaigns by fashion brands influence your perception of the brand?

Which factor is more important regarding your social media profiles?

Offers on feed Interactive content on feed Amount of content on feed Amount of likes Amount of followers

No Yes 0%

20%

40%

60%

80%

100%

Do social media profiles owned by brands influence your perception of the brand?

0%

20%

40%

60%

80%

100%

How do you learn about fashion brands you have never heard of before?

Fashion websites Newspapers Magazines Social media

No Yes 0%

20%

40%

60%

80%

100%

0%

20%

40%

60%

80%

100% 65

Appendix D

Why do you use Pinterest?

Why do you use Twitter?

I don’t

I don’t

Follow celebrities

Follow celebrities

Follow fashion innovators

Follow fashion innovators

Communicate with friends

Communicate with friends

To give inspiration on styles

To give inspiration on styles

Find style inspiration

Find style inspiration

Offers

Offers

Competitions

Competitions 0%

20%

40%

60%

80% 100%

0%

40%

60%

80% 100%

Why do you use Instagram?

Why do you use Facebook?

I don’t

I don’t

Follow celebrities

Follow celebrities

Follow fashion innovators

Follow fashion innovators

Communicate with friends

Communicate with friends To give inspiration on styles

To give inspiration on styles…

Find style inspiration

Find style inspiration

Offers

Offers

Competitions

Competitions 0%

20%

20%

40%

60%

80%

100%

0%

20%

40%

60%

80% 100%66

Appendix E

Digital Billboards. (2015)

Page 1

Figure 1.2: Seyler and Boltz (1968)

Appendix F

Figure G ABC1 Demographic. (2015)

Appendix G

Appendix I

PROMOTIONAL SCHEDUAL Promotional programme

Start- end date

Description

Focus

01/02/16

Press pack containing information on UK launch , media kit, invite to launch and 3 press releases.

Informing Press of brand Attracting press/gain attention form press Confirm press coverage Alert press of event Invite press to event Attract potential fashion brand collaborations/advertisers/endorsers Attract potential blogger collaborations//endorsers

05/02/16

Transport locations Digital Billboards

Create attention Link consumers to Behold website Influence subscription Alert consumers of live launch

05/02/15

Taxi advertisement Bus advertisement

Create attention Link consumers to Behold website Influence subscription Alert consumers of live launch

01/02/16

Facebook Twitter Instagram Pinterest YouTube

Create attention Link consumers to Behold website Influence subscription Alert consumers of live launch Publicize brand competitions Post BTS content Promote collaborations and endorsements.

Press Pack

Outdoor advertising Transport advertising

Social Media Campaign

Appendix I

PROMOTIONAL SCHEDUAL Promotional programme

Start- end date

Description

Focus

10/03/15

Website banners Facebook advertisement

Create attention Link consumers to Behold website Influence subscription Alert consumers of live launch

05/03/16

Sarah Ashcroft

Create Desire Relate to consumers emotional needs Target potential subscribers create brand recognition

01/04/16

Media invites Blogger invites Fashion retailers Behold team

Informing Press of brand Attracting press/gain attention form press Confirm press coverage Attract potential fashion brand collaborations/advertisers/endorsers Attract potential blogger collaborations//endorsers

01/04/15

Available via website/magazine subscription

Competitions Unlocked content

From 01/04/15

Miss Guided Boohoo Pretty Little Thing Public Desire Asos Miss Empire

Create Desire Target potential subscribers create brand recognition Create authority Generate additional brand awarness

Online advertisement Blogger endorsement Launch event

Direct Mail The Behold Badge

Page 63

Appendix J

MEDIA LIST Title

Media Type

Contact

That Pommie Girl

Fashion Blogger

Sarah Ashcroft

Em Sheldon

Fashion Blogger

emtalks@gmail.com

Courtney Trop

Fashion and Music Blogger

courtney@alwaysjudging.com

Monikh Dale

Fashion and Lifestyle Blogger

monikhdale@gmail.com

Glamrezy

Beauty and Fashion Blogger

Amrezy7@gmail.com

In The Frow

Fashion and Lifestyle Blogger

@inthefrow

Tar Marz

Fashion Blogger

Tarmarz.com

Nada Adelle

Fashion Blogger and Model

Nadaadelle@live.co.uk

Zoe Hughes

Stylist and Fashion Blogger

thezedlist@outlook.com

Black Palms

Fashion Blogger

Sandra@blackpalms.com

Charlotte Lianne

Fashion and Beauty Blogger

Charlotte.lianne.com

Manuella

Fashion Blogger

manuellamoscax:@outlook.com

Appendix J

MEDIA LIST Title

Media Type

Contact

The Business of Fashion

Website

Imran Amed / Editor

Sunscape

Website

Natalie Wall/ Editor

The Guardian

Weekly / Online

Alan Rusbridger /Editor and Imogen Fox / Head of Fashion

National Student

Monthly Newspaper/Online

James Thornhill

Daily Mail

Daily/Online

Eliza Scarborough

The Mirror

Daily /Online

Lloyd Embley / Editor

Financial Times

Newspaper/ Online3

David Hayes/ Editor

Drapers

Trade / Online

James Knowles/ Features editor

Womenswear Daily

Online

Student Wire

Online

Pure

Trade Website

Julie Driscol

People Tree

Trade Website

Safia Minney/ Founder Page 65

Appendix J

MEDIA LIST Title

Media Type

Contact

Little Black Dress.com

OnlineFashion Retailer

rachel@littleblackdress.com

Famous Frocks

Online Fashion Retailer

lydia@famousfrocks.com

Miss Pap

Online Fashion Retailer

info@misspap.co.uk

White Fox

Online Fashion Retailer

whitefox@infowf.com

Spotted on Celeb

Online Fashion Retailer

francesca@soc.com

Rain Girl

Online Fashion Retailer

info@raingirl.co.uk

Stone Fox

Online Fashion Retailer

Racheal@stonefox.com

We Are Cow

Online Fashion Retailer

info@wearecow.com

Somewhere Nowhere

Online Fashion Retailer

tia@somewherenowhere@com

Clementina

Online Fashion Retailer

info@clementina.com

Just Fab

Online Fashion Retailer

sam@justfab.co.uk

The Creep

Online Fashion Retailer

thecreepstore:@gmail.com

Appendix J

MEDIA LIST Title

Media Type

Contact

Asos

Online Fashion Retailer

megan.ellaby@hotmail.co.uk

Misguided

Online Fashion Retailer

sam@missguided.co.uk

Public Desire

Online Fashion Retailer

info@publicdesire.co.uk

Prertty Little Thing

Online Fashion Retailer

info@prettylittlething.com

Miss Empire

Online Fashion Retailer

contact@missempire.co.uk

Hot mess

Online Fashion Retailer

tay@hotmess.com

Nasty Gal

Online Fashion Retailer

info@nastygaluk.com

We Are Cow

Online Fashion Retailer

wac@gmail.com

Ax Paris

Online Fashion Retailer

contact@AXparis.co.uk

Boohoo

Online Fashion Retailer

jessica@boohoo.co.uk

Sorelle

Online Fashion Retailer

ella@sorelle.com

The Doll House Fashion

Online Fashion Retailer

DOF@gmail.com Page 67

Appendix K

COMPETITOR ANALYSIS Competitor

Strength

Weakness

Promotion

Vogue

• • • • •

Magazine status Audience and Readership-p figures Circulation figures Website capability/ Interactive advances Brand relationship with innovators dominating the fashion industry Continuous celebrity cover Available to download online Mass amount of written features Beauty coverage

• • • • • • • •

Lack of creativeness Unaffordable products Mass advertisements throughout magazine No discounts offered Cover price Expensive subscription Lack of diverse fashion Mostly designer coverage

Social media campaign Website

Magazine status Audience and Readership figures Circulation figures Website capability/ Interactive advances Brand relationship with innovators dominating the fashion industry Continuous celebrity cover Available to download online Free beauty products with some issues Beauty coverage

• • • • • • •

Lack of creativeness Unaffordable products Mass advertisements throughout magazine Cover price Expensive subscription Lack of diverse fashion Mostly designer coverage

Social media campaign Website

• • • •

Elle

• • • • • • • • •

Page 69

Appendix K

COMPETITOR ANALYSIS Competitor

Strength

Weakness

Company

• •

• No discounts offered

Social media campaign Website

• Lack of creativeness • Lack of diverse fashion

Social media campaign Website

• • •

Audience and Readership-p figures Website capability/ Interactive advances Brand relationship with innovators dominating the fashion industry Connects with younger adult demographic Creative and innovative image Celebrity and Blogger features Digitally distributed

• • • •

Diverse cover concept (paparazzi shot) Cheap cover price Mixture of lifestyle content Discounts offered In every issue

• •

Grazia

Harpers Bazar

• • • • • • • • •

Magazine status Audience and Readership figures Circulation figures Website capability/ Interactive advances Brand relationship with innovators dominating the fashion industry Continuous celebrity cover Available to download online Free beauty products with some issues Beauty coverage

• • • • • • •

Lack of creativeness Unaffordable products Mass advertisements throughout magazine Cover price Expensive subscription Lack of diverse fashion Mostly designer coverage

Promotion and platforms

Social media campaign Website

Appendix L

Mintel (2014j)

MINTEL RESEARCH Mintel asked a sample of 546 consumers aged 15-24 who have interacted with fashion brands on social media sites the following question: FIGURE 55: Reasons for using social media for interacting with fashion brands, September 2014

FIGURE 57: Main social media sites used for fashion by reasons for using social media for interacting with fashion brands, September 2014 Base: 546 adults aged 15-24 who have interacted with fashion brands on social media sites

â&#x20AC;&#x153;Thinking about the social media sites that you have interacted with fashion brands on, which of the following, if any, were your reasons for doing so?â&#x20AC;?

Base: 546 adults aged 15-24 who have interacted with fashion brands on social media sites

Key analysis: Young people who shop at H&M are the most inclined to use social media sites for style advice. While the retailer has a styling guide and offers general fashion and beauty advice it does not have a personal styling service. Given the increasing popularity of personal shopping and styling services for men as well as women, this is an area that a retailer such as H&M can look to develop online.

It could promote itself by having well-known style icons offer the service via online chat once a month.

Key analysis: There is scope for retailers to move beyond using social media to simply offer money off clothes and to do more to engage customers through experiential offers such as tickets to exclusive events and the opportunity to meet a celebrity who designed the clothes as part of the collaboration. YouTube could be an effective social media site for promoting these types of experiences by showing videos of a celebrity talking about a fashion collaboration and inviting consumers to meet up and talk to them about it.

Page 71

Appendix L

Mintel (2014d)

MINTEL RESEARCH The market FIGURE 1: Best- and worst-case forecast of online sales of footwear and clothing, 2008-18

FIGURE 2: Types of products bought online from home in last 12 months vs what they bought online while out and about, April 2013 Base: 1,620 internet users aged 16+ who have shopped online from home; 1,369 internet users aged 16+ who own a smartphone or tablet

Appendix L

Mintel (2014d)

FIGURE 4: Online clothes shopping behaviour in the last 12 months, July 2013 Base: 2,000 internet users aged 16+

MINTEL RESEARCH FIGURE 3: Attitudes towards and usage of brands in the online fashion sector, June 2013 Base: internet users aged 16+ who have heard of the brand and expressed a view:

FIGURE 6: Websites used to buy clothes, July 2013 Base: 1,165 internet users aged 16+ who have bought clothes online in the last 12 months

Page 73

Appendix L

Mintel (2014d)

FIGURE 8: Attitudes towards browsing and shopping for clothes online, July 2013 Base: 1,461 internet users aged 16+ who have browsed or bought clothes online in the last 12 months

MINTEL RESEARCH Types of devices used to buy clothes in the last 12 months, July 2013 Base: 1,165 internet users aged 16+ who have bought clothes online using a desktop/laptop, tablet or smartphone

FIGURE 9: Barriers to buying clothes online, July 2013 Base: 2,000 internet users aged 16+