Kate Edwards 200933322 Eunsuk Hur Word Count: 2942
Marketing Mix Report
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Abstract Introduction Methodology Low Market Retailer: ASOS 4.1. Price 4.2 Product 4.3 Place 4.4 Promotion 5. Mid Market Retailer: Zara 5.1 Price 5.2 Product 5.3 Place 5.4 Promotion 6. High Market Retailer: French Connection 6.1 Price 6.2 Product 6.3 Place 6.4 Promotion 7. Discussion 8. Conclusion 9. Appendix 9.1 ASOS 9.2 Zara 9.3 French Connection 7. References 8. Figure List
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CONTENTS
Abstract This report was created to interpret three retailers and examine their applications used to produce their marketing mix at different market levels, low, mid and high. Using research both primary and secondary I found that overall the marketing mix used differs significantly depending on the consumers target market, as well as their brand positioning in both price, product, place and promotion. To further extend my knowledge this report further discusses three garments that are similar sold by each brand, allowing me to make a more in-depth analysis of how they differentiate their marketing strategies.
Introduction This report has been produced to analyse and evaluate the four elements of the marketing mix (price, product, place and promotion) used by my three chosen retailers from different positions of the value market. Through both primary and secondary research I am going to examine the differences between each value market garment, as well as the differences between their marketing strategies used from both the low, mid and high value retailer. I plan to highlight how each companies marketing strategy aids to their success within the retail market and also to discuss how they could potentially improve or amend what they’re currently doing 4
Methodology To be able to get a broad range of research to complete my report I conducted both primary and secondary research that enabled me to collect both qualitative and quantitative data. For my primary research I actively went to the stores of my chosen brands as well as choosing a garment similar throughout the three different value markets, which some garments I bought through their online store as it wasn’t available in store. Along with this I also carried out extensive secondary research which was available through internet websites as well as journal articles, books and magazines to get a more in-depth view on the different marketing strategies used by each company.
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ASOS (As Seen On Screen) is an online e-retailer producing low cost fashionable products in combination with being an outlet for high priced designer product, focusing on the target consumer, the twenty-something fashion lover.
ASOS: Price
ASOS targets low value customers however they’re also selling high end luxury products at more expensive prices. This gives them more an advantage over other low brand competitors, as it is still usable by higher end customers, therefore the price is dependent on what sort of product that the customer is purchasing (Majumdar, 2009). ASOS has continuous sales all year round, thriving on having a 70% discount outlet, however deemed as a cheap fashion company their average selling price per unit in 2015 was £24.63, up 4% than the previous year (ASOS PLC, 2015, p.14). ASOS’s prices their wide strap pinafore dress seen in figure 1 at £15.00 which can be deemed expensive by low value customers even though it’s less than the average unit price because of the higher priced products it sells. However companies with a goal of market share may conclude that lower prices can give a competitive advantage that then encourages purchases (Easey, 2009, p.178) ASOS’s pricing strategy is largely based on their target market of 20 something, however their decision to sell both high price and low priced products has increased not only their revenue but also a 21% increase in operating costs from 2014 to 2015 (ASOS PLC, 2015, p.15) Using a market penetration strategy as well as discount pricing sets prices low which in turn creates high traffic and more purchases. Fig 2. ASOS Wide Strap Pinafore Dress (ASOS, 2016)
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Product
ASOS’s wide strap pinafore dress is a black basic skater dress with a deep v neck on both front and back bodice. It is produced using low cost fabrics to create a stretch jersey, its materials as follows:
Main Body: • 96% Cotton • 4% Elastane
Why do you choose to shop at ASOS?
Its waistband gives the dress a better fitted shape. With the price of £15.00 it’s clear this item is targeted towards its main low value customers who are looking for a
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cheap but stylish product that doesn’t have any exclusivity. It is good fit and an
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affordable garment due to its low cost and stretchy man-made fabrics, making it
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machine washable and easy to care for, reflecting on ASOS’s low market brand position. The product itself lacks in excitement and craft however when shopping as ASOS customers are looking for affordability rather than quality. The flexible seven day a week delivery options and returns provides a more enjoyable online shopping experience, which is what ASOS aims to achieve through being an e-
retailer. It’s vital to provide not only good products but good customer service, which
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Fashionable
Affordable
High Quality
Fig 3. Questionnaire results, 2016
ASOS does through social media and through their website, however they do have a contact telephone number but this is not easily viewable through the website even though this is the fastest way of contact.
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As an e-retailer, through a strong single distribution channel ASOS have been able to
Place
provide their customers with easy online shopping options with quick delivery
across the globe. ASOS produces merchandise from one central warehouse in the UK as well as the US and China, ultimately keeping shipping costs per product low. This keeps prices lower for price conscious customers, and having a highly responsible, fast-paced supply chain is an operational key to ASOS’ success (Janes, 2015). Shipping to over 240 different countries and territories, ASOS has also expanded and launched online country specific stores in France, Germany, Australia, Italy and others. ASOS relies heavily on selling products from a collection of fashion
brands including New Look, Karen Millen and Reiss (Ruddick, 2014), as well as many of its own label brands being made in India, China and Eastern Europe.
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Fig 4. ASOS Home Page (2016)
Because there are no physical stores, ASOS heavily relies on using social media and
technology to promote and advertise their brand, as well as using printed media channels such as their seasonal magazine as another way to promote their business and provide
Promotion
something extra for customers (Posner, H, 2011 p. 44). Using their magazine, market place channel and social media they’re able to promote their brand on a global scale. Their target market is so heavily influenced by social media and technology ASOS uses this to their advantage being an e-retailer with investments of £75 million in its technology and platforms to connect more with its audience (Preez, D, D. 2015). Using both Facebook, Twitter and Instagram, as well as having connections with popular bloggers allows them to connect and communicate with consumers, knowing their marketing needs to be innovative in order to influence their target market. ASOS’ promotional strategy is strongly generated round their target market, and using a sponsor for Living TV’s ‘Next top Model’ series for Britain, America, Canada and Australia targeted its core audience of 16 to 34 year old women (Levy, 2010).
9 Fig 5 Instagram (2016)
Fig 6 Twitter (2016)
Fig 7 Snapchat (2016)
Fig 8 ASOS Magazine (2016)
Zara is a mid-value market retailer, providing affordable but fashionable products for both men, women and kids, to produce mature and stylish garments for the target market of 18-40.
Zara: Price
Zara’s pricing strategy is created through using psychological pricing, using high prices to denote quality, luxury and craftsmanship (Bickle, 2011 p.52). Targeted towards the mid-value market consumer Zara sets high prices to create an illusion that the product quality is of a higher standard than its leading competitor H&M. Prices are in similarity with H&M, Zara’s lace trim neckline dress is priced at £29.99 wish H&M’s similar style dress being priced at £29.98, just 1p less. Although the prices are in competing with each other, Zara’s exclusivity of products in combination with other aspects of the marketing mix is what gives them a higher consumer interest. In addition to this, Zara also uses market penetration pricing within their marketing
strategies. Mid-priced products means there is greater number of customers purchasing products, and a high product turnover provides Zara with increased profits (Bickle, 2011 p. 51).
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Fig 9 Shopping tags (2015)
As a leading high street brand, Zara provides consumers with fashionable high quality products that are within the current trend season. Its unique selling
preposition is to imitate or create the latest trends (Bhasin, 2014), and do through a high turnover of products every 2-4 four weeks communicating to the consumer
Product
its product exclusivity, as when a style becomes accepted by mass society, it loses its symbol of unique and exclusivity (Simmel, 1957 p. 541-588). Zara’s lace trim neckline dress is sleeveless and features a deep v neck front bodice with lace trim on the neckline and zip fastening on the back of an A-line skirt, seen in figure 10. Upper Part •100% viscose Lower Part •95% polyester •5% elastane Lining •100% viscose Its manmade synthetic fabrics are reflective of its middle market brand positioning Its fabrics composed are as follows:
as well as its price of £29.99, however its detailing is more substantial than ASOS’
similar dress, featuring fastenings and trimmings. Although Zara is a middle market value brand, the price of this particular product isn’t distant from its low market competitors such as ASOS as £15.00, making it available for low market consumers.
11 Fig 10. Zara Lace Trim Neckline Dress (Zara, 2016)
Zara has over 2,100 stores, strategically located across 88 countries in leading cities (Inditex, no date). Adopting an intensive distribution and manufacturing strategy has enabled them to open stores on a global scale in populous cities, launching
Place
around 12,000 new designs every year (Burgen, 2012) making products widely available to consumers. Unlike its other competitors, Zara has almost total control of every part of its design, production and distribution, reacting quickly to
consumer trends. Designing, picking and cutting fabrics are done Zara’s headquarters before sending to workshops mainly in Spain and Portugal, while its long shelf life products such as t-shirts are sent mainly low-cost suppliers, mainly Asia. Zara’s in-house production keeps costs low and quality control more efficient, with extensive communication delivered from store to designers on a daily basis to track and change what is being sold well, whether new lines need creating or what needs altering. (CNN, 2001)
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Fig 11. Zara Manufacturing and Supply Chain Operations (SCM Globe, no date)
Zara adopts a zero investment in marketing approach, and in turn spends around 0.3% of their revenue on promotion (Chan, 2011). They focus heavily on their products and place, choosing to instead invest in new stores in different locations
Promotion
globally to boost their brand image, severely relying on promotion through word of mouth. Its emphasis on its products rather than its promotions is what separates it from low value brands such as ASOS, and its minimal promotional content with high success creates an exclusivity through the brand. Its attempts of in house promotion works effectively for Zara combined with their high inventory turnover
in which sees Zara replenish existing items in as little as two weeks (Loeb, 3013), Fig 12. Zara store (2016)
again producing exclusive products that change quickly. Zara’s overall advertising objective is to help build customer relationships by
communicating customer value (Kotler et al, 2013 p. 448). Zara’s use of sales and promotions for both their instore and online products happen seasonally, as well as a weekly newsletter consumers can subscribe to, to communicate information about new trends.
13 Fig 13. Zara store (2016)
French Connection: Price
French Connection is a global retailer in clothing, accessories and homeware. They offer both luxury and high street priced products in relation to their target market and market positioning, using extensive marketing strategies.
As a luxury brand, their product craftsmanship in comparison to the lower market
retailers is reflected through their higher pricing, with clothing products ranging from ÂŁ8 to ÂŁ1000. This questions their name as a luxury brand, using a market penetration strategy which had to then be stopped due to a large loss in revenue (Neville, 2014). French Connection pride themselves on being a luxury brand with high craftsmanship to reflect their higher prices, which is shown in comparison to the products of its middle and lower value market chains that were lacking in fastenings and embellishments. Their 11% decline in revenue shifted focusing on sales prices to selling at full prices, as this made the brand appear more as a luxury rather than a high street brand. Price skimming enables high prices to boost profits.
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Fig 14. Zara Sale (2016)
French Connection’s sundae crepe pinafore dress (figure 15) features a v neck with wrap-around skirt with two slip pockets, concealed fastening and is fully lined without side panels. Its materials are as follows:
Main Body 64% polyester 32% viscose 4% elastane
Product
Lining
100% viscose
Its materials used are in similar with the mid value market product from Zara, however it features more craftsmanship and a better finish, reflecting its price tag of £120, not a cheap product but a lot cheaper than other high value luxury competitors. French Connection prides itself on appearing to a wider spread of customers, offering “classic, basics and fashion forward edgier styles” (French Connection, 2015) as part of their ranges to keep up with other competitors who are consistently understand their consumers. Their commitment to their customers expands to their customer service they offer, with the ability to connect with them on eight social media platforms, through email and through post, along with telephone lines that are available 7 days a week for both UK and overseas customers. Customers also have the ability to shop online, beneficial to consumers who don’t have the ability to go in store, with free UK delivery on orders over £50, a low cost considering the average product price and that French Connection are a luxury brand.
15 Fig 15. Sundae crepe pinafore (2016)
With over 130 stores in the UK and Europe and 13 stores in North America, French Connection has branched out to new markets and new consumers, using sub brands and stores to then sell their products. In addition to this, they also distribute globally, with an in-house design and pattern room in its head office, they then send this further to production split between China at 43%, India 23%, Turkey 15% and others at 19%. The flexibility within the supply chain enabled
Place
the business to order on short lead times (French Connection 2015) and also means they’re
closer to the overall supply chain. French Connection uses three direct and indirect routes to the market, through retail, wholesale and partnerships (figure 16). This gives them control over the distribution of their products. This includes selling within owned French Connection stores, through concessions in department stores such as Selfridges and House of Fraser, as well as through other multibrand retailers (Financial Times, 2014)
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Fig 16. Routes to Market ( 2015)
French Connection uses promotion and advertising as a driver to communicate with the consumer, and create more brand awareness within their target market. They do this through both window displays and campaigns to provide both interest and shock culture
Promotion
Fig 17. FCUK Fear (2014)
to create more brand awareness, and show a significant differentiation from low and mid value retailers. Their 2015 campaign celebrated individuality and emerging talent, which is
the clothing brands core message throughout the 2015 A/W season (Kiefer, 2015) French Connection are using varying tools such as iconic imagery and sponsorships in addition to engaging with social media store events and PR. They further launched a campaign with Olympic medallist and heavyweight boxer Anthony Joshua, engaging with customers across different forms of media, and also reaching into other markets (FC HQ, 2014). Its controversial FCUK slogan launched in 1997 summed up the mood of the UK however people became tired of it being on every piece of clothing. As of 2016 they’ve chosen to bring it back to their latest campaign, to communicate and connect with consumers, which could
then further boost the brand (Roderick, 2016).
17 Fig 18. FCUK A/W (2016)
Discussion Through this report I feel I have been able to fully identify the different elements of the marketing mix used by three retailers from different levels of the market which was my core intention when analysing my results. When evaluating my findings it was clear that all three retailers are using their marketing mix strategies in relation to their brand positioning and their core target market, however as I only focused my primary and secondary research on three retailers I am limited in my results as marketing mix strategies differ in companies, it’s not clear to understand how other companies use price, product, place and promotional elements to enhance their marketing structure. This is clear in some respects however other
information for example product quality and pricing can be dependent on a company’s positioning as a low/mid/high market as I have shown through my research. I think the information I have gathered has been reliable enough to critically analyse their effectiveness of the marketing mix for each retailer, however I would further want to achieve this through more extensive research, although I still feel the research conducted is credible enough for me to be able to critically evaluate and analyse it.
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Conclusion
To summarise, there is an obvious differentiation between the three retailers in terms of how they apply
the marketing mix. The biggest common factor throughout the three value markets is that the marketing mix elements are directly influenced by their core target market. Depending on the brand positioning and the price architecture, all four elements of the marketing mix are affected for each retailer. The research displayed for the distribution and manufacturing process showed the attention to detail dependant on the higher the market, more example the difference of ASOS who don’t have a large amount of control over their supply chain, in comparison to Zara who do everything in-house to have
better quality control. In addition to this, it’s also interesting that although there are four elements to the marketing mix, Zara completely deny one of these but they are still a strong and successful mid-value brand, in compassion to ASOS who rely strongly on promotion mainly online, but are still a low-value retailer. Further research needs to be undertaken for other retailers, as I feel three isn’t enough to represent my findings in terms of analysing how retailers apply the elements of the marketing mix and whether this is a success.
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ASOS
Appendix: SWOT ANALYSIS Zara
Strengths • Price vary to all market values • Strong on social media • Diverse and large style range • Good understanding of consumers • Strong promotion within target market
Weaknesses • No physical store • Can’t try on before you buy option • No customer reviews
Strengths • Stores accessible globally • Strategically chosen store locations • Efficient distribution
Weaknesses • Zero investment in advertising • On one distribution/manufacturing centre • Imitate designers often which creates criticism
Opportunities • Expand their mobile platforms • Introduce visible customer reviews/ratings • Open pop up stores
Threats • Other competitors can imitate its business model • Shipping costs can be high for a low market retailers
Opportunities • Stronger online market • Stronger on mobile platforms • Have another distribution centre.
Threats • Competition globally • Economic changes • Britain leaving the EU • Change in consumer preferences
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French Connection
SWOT ANALYSIS
Strengths • Better pricing strategy • Ship globally • Well known • Stores globally
Weaknesses • Prices too high • Not a large range of styles
Opportunities • Strong mobile platforms • Bigger social media platforms • More effective promotion strategies
Threats • Mid market competitors • Change in consumer preferences • Economic changes
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Majumdar, M. 2009. What are the 7 p’s and how does ASOS use the 7 p’s? [Blog] [Online] [Date Accessed 25 April 2016] Available from: http://monicamajumdar.typepad.com/blog/2009/12/what-are-the-7-ps-and-how-does-asos-use-the-7-ps.html ASOS PLC, 2015. Annual Reports and Accounts 2015. [Online] [Date Accessed 2016] Available from: http://www.asosplc.com/~/media/Files/A/ASOS/results-archive/pdf/2015-annual-report.pdf Easey, M. 2009. Fashion Marketing. 3rd Edition. Oxford: Wiley-Blackwell
References
James, A. 2015. ASOS – Effectivley Delivering Style, Affordability and Accessibility. [Online] [Date Accessed 25 April 2016] Available from: https://rctom.hbs.org/submission/asos-effectivelydelivering-style-affordability-and-accessibility/ Ruddick, G. 2014. Asos faces brand label revolt over discounting. [Online][Date Accessed 25 April 2016] Available from: http://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/11111324/Asos-faces-brand-label-revolt-over-discounting.html Jones, L. 2010. Looking for a spiked-heeled pony-skin ankle boot? I know just the place: Behind the scenes at Asos. [Online] [Date Accessed 25 April 2016] Available from: http://www.dailymail.co.uk/femail/article-1330669/Behind-scenes-ASOS-Looking-spike-heeled-ankle-boot.html Posner, H. 2011. Marketing Fashion. London: Laurence King Publishing Ltd Preez, D, D. 2015. ASOS profits fall, but digital retailer continues to invest millions in tech and CX. [Online] [Date Accessed 25 April 2016] Available from: http://diginomica.com/2015/04/01/asosprofits-fall-but-digital-retailer-continues-to-invest-millions-in-tech-and-cx/ Levy, K. 2010. Asos retail sales rocket 50% in six months. [Online] [Date Accessed 25 April 2016] Available from: http://www.marketingmagazine.co.uk/article/1034877/asos-retail-sales-rocket50-six-months Ridley, L. 2014. Asos launches advertising review. [Online] [Date Accessed 25 April 2016] Available from: http://www.campaignlive.co.uk/article/asos-launches-advertising-review/1305081
Bickle, M. C. 2011. Fashion Marketing: Theories, Principles & Practices. New York: Fairchild Books Bhasin, H. 2014. Marketing Mix of Zara. [Online] [Date Accessed 26 April 2016] Available from: http://www.marketing91.com/marketing-mix-zara/ Simmel, G. 1957. American Journal of Sociology: Fashion. Vol 62. [no place] [no publisher] Inditex, no date. Brands: Zara. [Online] [Date Accessed 27 April 2016] Available from: http://www.inditex.com/en/brands/zara Burgen, S. 2012. Fashion chain Zara helps Inditex lift first quarter profits. [Online] [Date Accessed 27 April 2016] Available from: http://www.theguardian.com/business/2012/aug/17/zarainditex-profits CNN, 2001. Zara, a Spanish success story. [Online][Date Accessed 28 April 2016] Available from: http://edition.cnn.com/BUSINESS/programs/yourbusiness/stories2001/zara/
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Chan, C. 2011. Zara’s Marketing Strategy. [Online] [Date Accessed 26 April 2016] Available from: https://blogs.ubc.ca/conradchan/2011/09/16/zaras-marketing-strategy/ Loeb, W. 2013. Zara’s Secret To Success: The New Science Of Retailing. [Online] [Date Accessed 26 April 2016] Available from: http://www.forbes.com/sites/walterloeb/2013/10/14/zaras-secretto-success-the-new-science-of-retailing-a-must-read/#40abb0031332 Kotler, P., Armstrong, G., Harris, L.C and Piercey, N. 2013. Principles of Marketing. London: Pearson Neville, S. 2014. French Connection cuts losses on full price strategy. [Online] [Accessed 8 May 2016] Available from: http://www.independent.co.uk/news/business/news/french-connection-cutslosses-on-full-price-strategy-9187107.html Product: French Connection, 2015. About the French Connection Group: June 2015. [Online] [Accessed 8 May 2016] Available from: https://www.frenchconnection.com/stormsites/fcuk/media/pdf/IR/about_the_french_connection_group.pdf Financial Times, 2014. French Connection Group PLC. [Online] [Accessed 8 May 2016] Available from: http://markets.ft.com/research/Markets/Tearsheets/Business-profile?s=FCCN:LSE Kiefer, B. 2015. French Connection spotlights new talent in autumn-winter campaign. [Online] [Accessed 9 May 2016] Available from: http://www.campaignlive.co.uk/article/1357008/frenchconnection-spotlights-new-talent-autumn-winter-campaign FC HQ, 2014. Off The Record: FCUK Fear. [Online] [Accessed 9 May 2016] Available from: http://offtherecord.frenchconnection.com/fcuk-fear-is-coming Roderick, L. 2016. FCUK and Diesel show the risks of being risqué. [Online] [Accessed 9 May 2016] Available from: https://www.marketingweek.com/2016/02/03/fcuk-and-diesel-show-therisks-of-being-risque/
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Figures
Figure 1: Tibbetts, B. 2016. The 5 Best Apps For Fashion Lovers. [Online] [Accessed 10 May 2016] Available from: http://www.edgetrends.com/5best-apps-fashion-lovers/
Figure 2. ASOS, 2016. ASOS Wide Strap Pinafore Dress. [Online] [Date Accessed 25 April 2016] Available from: http://www.asos.com/ASOS/ASOSWide-Strap-Pinafore-Dress/Prod/pgeproduct.aspx?iid=6019840&cid=8799&Rf-200=4&sh=0&pge=0&pgesize=36&sort=1&clr=Black&totalstyles=918&gridsize=3 Figure 3. Edwards, K, 2016. ASOS Customer Questionaire. University Of Leeds Figure 4. ASOS, 2016. ASOS Home Page. [Online] Date Accessed 2 May 2016] Available from: http://www.asos.com/women/ Figure 5. Instagram Brand. 2016. Visial Story Telling. [Online] [Accessed 4 May 2016] Available from: https://www.instagram-brand.com/
Figure 6. Jaafar, A. 2015. Twitter Lays off 8%. [Online] [Accessed 4 May 2016] Available from: http://deadline.com/2015/10/twitter-lays-off-8-of-staff-1201578908/ Figure 7. Seek Logo, 2016. Snapchat Logo. [Online] [Accessed 4 May 2016] Available from: http://seeklogo.com/snapchat-logo-249555.html Figure 8. Gracie, b. 2015. Charlie XCX Covers June 2015 ASOS Magazine. [Online] [Accessed 4 may 2016] Available from: http://www.idolator.com/7591018/charli-xcx-covers-june-2015-issueasos-magazine-photos Figure 9. Reuters, 2015. Inditex to open more than an dozen Zara stores in the next year. [Online] [Accessed 10 May 2016] Available from: http://www.reuters.com/article/us-inditex-usa-zaraidUSKBN0KH1LR20150108
Figure 10. Zara, 2016. Zara Lace Trim Neckline Dress. [Online] [Date Accessed 26 April 2016] Available from: http://www.zara.com/uk/en/woman/dresses/lace-trim-neckline-dressc358003p3419564.html Figure 11. SCM Globe, no date. Zara Clothing Company Supply Chain. [Online] [Date Accessed 28 April 2016] Available from: http://blog.scmglobe.com/?page_id=1513 Figure 12. Style Network, 2012. Zara New Store. [Online] [Accessed 4 May 2016] Available from: https://stylenetwork.wordpress.com/2012/03/16/zara-new-store/ Figure 13. Karagulle, H. no date. Zara to expand with nine stores a week. [Online] [Accessed 4 May 2016] Available from: http://www.myretailmedia.com/blog/8476/zara_to_expand_with_nine_new_stores_a_week.php
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Figure 14. BigEyedGirl, 2016. What's In My Cart: Zara Sale. [Online] [Accessed 10 May 2016] Available from: http://big-eyed.me/whats-in-my-cart-zara-sale/ Figure 15. French Connection, 2016. Sundae Crepe Pinafore Dress. [Online] Accessed 8 May 2016] Available from: http://www.selfridges.com/GB/en/cat/french-connection-sundae-crepepinafore_823-10031-71EAX01/?previewAttribute=Black&_$ja=tsid:32619|prd:92295&cm_mmc=AFFIL-_-AWIN-_-92295-_0RpXOIXA500&awc=3539_1458133623_39238bfe5d21affd33a0a5b6e19bdd91&utm_source=Affiliates&utm_medium=92295&utm_term=na&utm_content=na&utm_campaign=na
Figure 16. French Connection, 2015. Routes to Market. [Online] [Accessed 9 May 2016] Available from: https://www.frenchconnection.com/stormsites/fcuk/media/pdf/IR/about_the_french_connection_group.pdf Figure 17. FC HQ, 2014. Off the Record: FCUK Fear. [Online] [Accessed 9 May 2016] Available from: http://offtherecord.frenchconnection.com/fcuk-fear-is-coming Figure 18. Roderick, L. 2016. FCUK and Diesel show the risks of being risquĂŠ. [Online] [Accessed 9 May 2016] Available from: https://www.marketingweek.com/2016/02/03/fcuk-and-diesel-showthe-risks-of-being-risque/
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