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Âť Where one is at Report Final Major Project Katheryn Watson Fashion Image and Communication Arts University Bournemouth 2016 w w w. where oneis at f mp. wo rd pre s s .c om

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»

Where

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» Content s.

8.

12.

Illustrations

List.

Executive

14.

Introduction

16.

Concept.

Introduc tion Positioning Statement.

36.

18.

Industr y 20.

21.

2 7.

28.

32.

3 3.

Situation.

Brand Gateway.

C ons umer.

Market .

Competitors.

Brand Per ceptual Map. Sur vey.

Response.

38.

40.

42.

44.

46.

50.

52.

54.

56.

Visual Brand Brand SWOT Brand Brand Brand AIDA. Social

Brand Narrative.

Onion.

Message.

Analysis.

Identit y.

Name.

To uc h p oint s .

Media.

96.

60.

The

Edits.

Conclusion.

6 2 . » [ 1 ] B o y s I n P ink To M ake The Girls Wink.

66. » [2] the feminine gentleman.

70. » [ 3 ] Hair.

74. » [4] Body Issues.

78. » [5] One Size Fit s All. 82. » [6] Minutiae.

84. » [7] Tall and Disposable.

86. » [8] Eunoia (n.) beautiful thinking; a well mind.

90. » [9] Grrrl Gangs.

98.

Appendix.

6

Summar y.

106.

Bibliography.

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7

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» Illus trations Lis t.

F IGUR E 1 . Concept Generation Mood board .

WAT SON, K AT HERY N . ( FEBRUARY 201 6 ) (MOOD BOAR D) F IGUR E 2. W here one is at Media O bjec tives.

WAT SON, K AT HERY N . ( A PR IL 201 6 ) ( IL L UST R AT ION) F IGUR E 3. Concept Generation. WAT SON , K AT HERYN . (F EBRUARY 201 6 ) (COL L AG E ) F IGUR E 4 . W here one is at Submark . WAT SON, K AT HERYN . (F EBRUARY 201 6 ) ( IL L UST R AT ION) F IGUR E 5. Concept Generation. WAT SON , K AT HERYN . (F EBRUARY 201 6 ) ( MOOD BOAR D) F IGUR E 6. Cus t omer Prof ile. WAT SON , K AT HERYN. (A PR IL 201 6 ) (MOOD BOAR D) F IGUR E 7. Alice Goddard SW OT Analysis . WATSON, K AT HERYN . (A PR IL 201 6 ) ( IL L UST R AT ION ) F IGUR E 8 . Becc a Deakins S WOT Analysis .

WAT SON, K AT HERY N . ( A PR IL 201 6 ) ( IL L UST R AT ION) F IGUR E 9. Brand Perceptual Map. WAT SON , K AT HERYN . (A PR IL 201 6 ) ( IL L UST R AT ION )

F IG URE 19. W here one is at Font Development .

WATSON, K AT HERYN. (FEBRUARY 2016) (IL LUST R AT ION /MOOD BOARD) F IG URE 20. W here one is at Brand Touchpoint s.

WATSON, K AT HERYN. (M ARCH 2016) (IL LUST R AT ION) F IG URE 21. W here one is at Example of A I DA. WATSON, K AT HERYN. (A PR IL 2016) (IL LUST R AT ION) F IG URE 22. W here one is at Ins tagram mock -up on i Phone. WATSON, K AT HERYN. (A PR IL 2016 ) (PHOTOGR A PH ) F IG URE 23. W here one is at Tumblr mock -ups on i Phone and Deskt op. WATSON, K AT HERYN. (A PR IL 2016) (PHOTOGR A PH ) F IG URE 24. W here one is at Sub mark with white border. WATSON, K AT HERYN. (FEBRUARY 2016 ) (IL LUST R AT ION) F IG URE 25. W here one is at mock- up page spreads. WATSON, K AT HERYN. (A PR IL 2016 ) (PHOTOGR A PH )

F IGUR E 10. W here one is at s c runched paper sc an.

WAT SON, K AT HERY N . ( A PR IL 201 6 ) ( PHOTOGR A PH )

F IG URE 26 . Boys In Pink To Make The Girls Wink Media Ob jec tives. WATSON, K AT HERYN. (A PR IL 2016) (IL LUST R AT ION)

F IGUR E 11 . W here one is at mock - up page spreads . WAT SON , K AT HERY N . ( A PR IL 201 6) ( PHOTOGR A PH)

F IG URE 27. Pant one Colour Of The Year 2016 Moodboard. WATSON, K AT HERYN. (FEBRUARY 2016) (MOOD BOARD)

F IGUR E 1 2. W here one is at Pres s Release.

WAT SON, K AT HERY N . ( FEBRUARY 201 6 ) (IL LUST R AT ION)

F IG URE 28 . Male model repeated image with “CRY B ABY”. JACKSON, ROBBIE . (FEBRUARY 2016 ) (PHOTOGR A PH )

F IGUR E 1 3. W here one is at Brand Onion .

WAT SON, K AT HERY N . ( M AR CH 201 6 ) (IL LUST R AT ION)

F IG URE 29. Male model repeated image with “ W E ”RE A L L MORE T H A N T HE PER SON W E SHOW TO E V ERYONE EL SE ”. JACKSON, ROBBIE. (FEBRUARY 2016) (PHOTOGR A PH )

F IGUR E 14. W here one is at ‘ The Communic ations Proces s’. WAT SON , K AT HERY N . ( A PR IL 2016) (IL LUST R AT ION)

F IG URE 3 0. Male model holding hat. JACKSON, ROBBIE . (FEBRUARY 2016) (PHOTOGR A PH)

F IGUR E 15. W here one is at S WOT Analysis.

WAT SON, K AT HERY N . ( M AR CH 201 6 ) (IL LUST R AT ION)

F IG URE 3 1. Male model repeated image with “CU T E BOYS MAKE YOU BL USH ”. JACKSON, ROBBIE . (FEBRUARY 2016) (PHOTOGR A PH)

F IGUR E 1 6. W here one is at Website mock- ups.

WAT SON, K AT HERY N . ( A PR IL 201 6 ) ( PHOTOGR A PH )

F IG URE 32. Male model wearing pink coat , t ouching face. JACKSON, ROBBIE . (FEBRUARY 2016) (PHOTOGR A PH )

F IGUR E 17. W here one is at Brand Board .

WAT SON, K AT HERY N . ( M AR CH 201 6 ) (IL LUST R AT ION)

F IG URE 3 3. Male model wearing pink coat , sh rugged of f shoulder s. JACKSON, ROBBIE. (FEBRUARY 2016) (PHOTOGR A PH )

F IGUR E 1 8 . W here one is at L ogo. WAT SON , K AT HERYN . (F EBRUARY 201 6 ) ( IL L UST R AT ION)

F IG URE 3 4. the f eminine gentleman MEdia Ob jec tives. WATSON, K AT HERYN. (A PR IL 2016 ) (IL LUST R AT ION)

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FIGUR E 35. Clo se up shot of Male Models face with f reckles. JEFFR E Y, A SH TON . ( M AR CH 2016) ( PHOTOGR A PH) FIGUR E 36. Male Model wearing denim with arm raised , cropped . JEFFR E Y, A SH TON . ( M AR CH 2016) ( PHOTOGR A PH) FIGUR E 37. Male Model wearing jeans with white flower y shir t. JEFFR E Y, A SH TON . ( M AR CH 2016) ( PHOTOGR A PH) FIGUR E 38 . Male Model ’s body with shir t of f shoulder s . JEF FR E Y, A SH TON . ( M AR CH 201 6) ( PHOTOGR A PH) FIGUR E 39. Male Model ’s leaning wearing flower y trouser s , lands c ape image. JEFFR E Y, A SH TON. (MAR CH 201 6 ) (PHOTOGR A PH ) FIGUR E 40. Hair Media O bjec tives . WAT SON, K AT HERYN (A PR IL 201 6 ) ( IL L UST R AT ION )

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F IG URE 51. Female model sat behind white picket f ence. B ARKER, LUCINDA (MARCH 2016 ) (PHOTOGR A PH ) F IG URE 52. One Size Fit s All Media Ob jec tives.

WATSON, K AT HERYN (A PR IL 2016) (IL LUST R AT ION) F IG URE 5 3. One Size Fit s All Concept Generation Moodboard. WATSON, K AT HERYN (M ARCH 2016 ) (MOOD BOARD) F IG URE 5 4. Female model wearing printed orange dress. JACKSON, ROBBIE (MARCH 2016 ) (PHOTOGR A PH ) F IG URE 5 5. Female model wearing c ropped super long sleeved sweat shir t over orange dress.

JACKSON, ROBBIE (M ARCH 2016) (PHOTOGR A PH) F IG URE 5 6 . Female model wearing organza bomber jacket with arm po sed awkwardly.

JACKSON, ROBBIE (M ARCH 2016) (PHOTOGR A PH)

FIGUR E 41 . Hair mood board . WAT SON , K AT HERYN (A PR IL 201 6 ) (MOOD BOAR D)

F IG URE 5 7. Female model wearing see th rough long length bomber jacket. JACKSON, ROBBIE (MARCH 2016) (PHOTOGR A PH )

FIGUR E 42. Female model s t ood central , black and white, lands c ape image. JACKSON , ROBBIE (FEBRUARY 201 6 ) ( PHOTOGR A PH )

F IG URE 5 8 . Minutiae Media Ob jec tives. WAT SON, K AT HERYN (A PR IL 2016) (IL LUST R AT ION)

FIGUR E 43. Female model leaning back , blue tint. JACKSON , ROBBIE ( FEBRUARY 201 6 ) ( PHOTOGR A PH) FIGUR E 44. Female model raising arms behind head , looking down . JACKSON , ROBBIE ( FEBRUARY 201 6 ) (PHOTOGR A PH ) FIGUR E 45. Female model c rouching on the floor, black and white. JACKSON , ROBBIE ( FEBRUARY 201 6 ) (PHOTOGR A PH ) FIGUR E 46. Body I s sues Media O bjec tives .

WAT SON, K AT HERY N ( A PR IL 201 6 ) ( IL L UST R AT ION) FIGUR E 47. ‘Gender and I dentit y ’ Sur vey response s c reenshot. WAT SON , K AT HERY N ( M AR CH 2016) ( PHOTOGR A PH) FIGUR E 48 . Female model with watermelons held over her ches t. B ARKER , L UCINDA ( M AR CH 2016) ( PHOTOGR A PH) FIGUR E 49. Female model lif ting t op exposing her breas t. B ARKER , L UCINDA ( M AR CH 2016) ( PHOTOGR A PH) FIGUR E 5 0. Female model sat on f loor c rossing her legs . B ARKER, L UCINDA ( M AR CH 201 6 ) ( PHOTOGR A PH)

F IG URE 5 9. Minutiae Polaroid Prof ile 1. WATSON, K AT HERYN (M ARCH 2016) (PHOTOGR A PH) F IG URE 6 0. Tall and Dispo sable Media O bjec tives.

WATSON, K AT HERYN (A PR IL 2016) (IL LUST R AT ION) F IG URE 61. Comparing hand sizes, black and white. WATSON, K AT HERYN (A PR IL 2016 ) (PHOTOGR A PH ) F IG URE 6 2. Black boot s, checkered print trouser s.

WATSON, K AT HERYN (A PR IL 2016) (PHOTOGR A PH) F IG URE 6 3. Eunoia Media Ob jec tives. WATSON, K AT HERYN (A PR IL 2016) (IL LUST R AT ION) F IG URE 6 4. Eunoia Moodboard. WATSON, K AT HERYN (MARCH 2016) (MOOD BOARD) F IG URE 6 5. Female model sat on wooden bench, upside down. H ARD W ICK , JA DE (MARCH 2016 ) (PHOTOGR A PH ) F IG URE 6 6 . Female model leaning back in white dress, black pen sc ribble overlay. H ARD W ICK, JA DE (MARCH 2016) (PHOTOGR A PH ) F IG URE 67. 4 repeated image of f emale model sat on c rate leaning on s tall, black pen scribble overlay. H ARD W ICK , JA DE (MARCH 2016) (PHOTOGR A PH ) F IG URE 6 8 . Female model leaning on s tall, sec tion flipped upside down. H ARD W ICK, JA DE (MARCH 2016) (PHOTOGR A PH )

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Where

FIGUR E 69. Gr r rl Gangs Media O bjec tives .

WAT SON, K AT HERY N ( A PR IL 201 6 ) ( IL L UST R AT ION) FIGUR E 70. Female Model eating s traw ber r y lace, looking th rough tree. W INSTONE , MEG A N (M ARCH 201 6 ) (PHOTOGR A PH ) FIGUR E 71 . 4 Female Models s t ood in the tree house with the sun on their f aces . W INSTONE , MEG A N (M AR CH 201 6 ) ( PHOTOGR A PH ) FIGUR E 7 2. 3 Female Models sat in bedroom .

W INSTONE , MEG A N ( M AR CH 201 6 ) ( PHOTOGR A PH )

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Where

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Âť Executive Summar y.

This repor t is element that

the required writ ten essentially introduces

Kather yn Wat son as

a

s t ylis t

and

ar t

direc t or.

It sugges t s a number of brief s/scenarios that are then responded t o in visual f ormat. The research methodology will come in the f orm of this repor t; it will include inter views, sur veys, primar y research and secondar y research.

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13

“Gender means a sense either male, female, or both” (Spec trum,

of self, neither 2015). »

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Where

Figure [1]

one

» Introduc tion - Concept.

is

at

Gender, the s tate of being male or f emale, is of ten confused with the def inition of sex. Both are commonly misunder s t ood and wrongly applied (McLe od, 2014).

‘Gender Within Fashion Sur vey’ (Wat son, 2015), suppor t s how these two terms get confused.

Ques tion 2 f ound 50% of 55 respondent s chose their answer as ‘gender means being male or f emale’, which was in fac t incor rec t.

The easies t way t o describe the dif f erence is that gender is the cultural and social at titudes; sex is the biologic al dif f erences between males and f emales (Nobelius, 2004).

“Gender for any one person is fluid across contexts”. ( Walker, Buchanan, and Stott, 2015).

Identit y is “the fac t of being who/what a per son / thing is” (Oxf ord, 2016). The ‘Gender and Identit y’ sur vey, conduc ted t o suppor t this projec t, f ound that 70.37% of respondent s chose ‘lif e experiences’ as the number one representation of their identit y when given a selec tion (Wat son, 2016).

The aspec t s of per sonal identit y relevant t o this projec t expressed and analysed visually include sexualit y, gender, thought s, f eelings and physic alit y.

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»

Where

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“ Thus, rather than viewing gender in terms of male versus female, it is of ten more useful to locate gender as one of the dif ferentiating features which define identit y.” (Kirkham, Page 4, 1996).

» Introduc tion - Positioning Statement.

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‘ Where one is at’ will be fashioned int o a tangible public ation highlighting themes of identit y of gender and presenting ideas th rough writ ten the or y and visuals.

By exploring the concept ‘ Where one is at’ c an re-educ ate the consumer on themes about gender, f requent societal s tere ot ypes and identit y whils t es tablishing the edit or s’ presence as a s t ylis t.

Presenting the edit or s’ own per sonal ideas, ‘ Where one is at’ provides a niche of f ering; something the consumer c an relate t o as they “yearn f or individualit y and that sense of belonging in the fas t-paced hyper- connec ted digital culture” (The New Sublimit y, 2012).

is

“Media Objec tives are the reasons behind a c ampaign and they should be clear, concise, and at tainable” (Papadopoulos, 2009).

The media objec tives f or ‘ Where one is at’ will help t o avoid going of f on tangent and t o help th roughout the process t o realize what is mos t impor tant (See Figure 2).

at

»Media Objectives.

1.

To reach a certain audience/defined consumer group 2.

To find a new consumer and reader/ audience 3.

To re-educate the consumer on themes about gender, identity and the body 4.

To establish the editors presence as a stylist and visual communicator 5.

To increase awareness of issues affecting personal identity 6.

To provide a private reading experience, bringing things back offline 7.

To provide a vessel for the disconnected consumer who are yearning for more meaningfulness in their lives Figure [2]

Definitions encourage us to think and behave inside the box

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»

Where

one

» Indus tr y Situation.

Macro, micro and consumer trends were extensively researched t o jus tif y the ideas behind ‘ Where one is at’.

The L S:N macro trend The New Sublimit y identif ies how “consumer s are turning away f rom their digital lif es t yles and prioritising per sonal fulf ilment and wellbeing” (The New Sublimit y, 2012).

The consumer is evolving in the way they interac t with brands, they want to f eel the notion of mindfulness and esc apism.

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Figure [3]

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“Humanity is on a quest. It is not a quest for per fec tion, but for optimisation – to be the optimal versions of ourselves, the most ef f ec tive and the most ef ficient that we can be.

For The Optimised Self, there is no end of the journey, no per f ec t self – but there is continued improvement”. ( Walker

and

Buchanan,

2015)

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»

Where

one

The Optimised Self repor t indic ates how consumer s are tired of s triving f or per f ec tion, there is now a new manif es t o f or the body and the mind, and with it, a journey t o become more human and connec t with our selves (Walker and Buchanan, 2015).

The ‘ Where one is at’ public ation will aid consumer s in their ef f or t s t o be their mos t optimised selves and suppor t the new bricolage s tate of identit y that is cons truc ted and created f rom

Brand

a

diver se

range

of

things.

Gateway.

‘Zero Gender ’, a WGSN consumer insight repor t, highlight s how “the consumer is considering per sonalit y rather than gender ” (Walpita, 2015).

This suppor t s the ideas approaching a gender and identit y content f ocused public ation and the space f or this in the independent public ations market, alongside an appropriate consumer.

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C ons umer.

Using cus t omer segmentation (See Appendix 1) which has been inf ormative in under s tanding cus t omer demographics and lif es t yle, this repor t uses a more modern approach t o prof iling; meaning the at titude of the consumer is a key driving f orce t o def ine them.

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Figure [4]

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»

Where

one

C ons umer.

“Less interested in stuf f, more interested in self ” (WGSN, Consumer Attitudes, Millenials).

The younger of Generation Y will become the shared consumer group with the older of Generation Z as they share charac teris tics.

This combined ‘ Where one is at’ consumer is due to the overlap and sharing of influences and behaviour s at similar ages.

Generation

Y,

1977-1994,

are

searching

to

enhance their connec tivit y th rough social media t o enrich meaningfulness.

Generation Z, born mid or late 1990s th rough t o the 2010s (Generation Z, 2016), are creating a culture of openness without prejudice and “no longer use gender as a f orm of identit y as they s trive t o be f ree of def initions” (WGSN, 2015).

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“Generation Z believe that the existence of dif ferent types of cultures, belief s and opinions within a societ y is vital and good” (Bell, 2015)

Highly world

motivated two-thirds of

to change Generation Z

the say

“their generation is pushing the boundaries of what it means t o be f eminine and masculine” (Bell, 2015).

The same repor t also shows us that Generation Z (whom will be the larges t consumer group in 5-7 year s) pref er Tumblr t o Facebook, as Tumblr allows self expression and privac y; 2 key priorities f or this generation who are fleeing f rom intrusive social media such as Facebook and Twit ter.

This is positive f or ‘ Where one is at’ who utilise Tumblr and Ins tagram f or social media.

Figure [5]

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C ons umer.

Individuals who belong t o Generation Z want t o f eel f ree and open t o have whatever mix of masculinit y and f emininit y seems right f or them, and this is something ‘ Where one is at’ will suppor t as both an idea and a tangible public ation.

The ‘Gender and (Wat son, 2016)

Identit y’ shows

sur vey that

50% agree that other individuals’ perceptions are impor tant t o their own self-es teem and identit y.

To summarise the ‘ Where one is at’ consumer is ver y self-aware.

They are sensitive, aspirational, minimal and are s till developing their own sense of self (See Figure 6).

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Figure [6]

25

»

Where

one

Using ‘Roger s Dif fusion Of Innovation’ the or y (See Appendix 2) as a response t o the analysis of the consumer, ‘ Where one is at’ c an be positioned appropriately in regards t o consumer behaviour and consumer responses t o trends.

The the or y identif ies f ive t ypes of individuals classif ied by their propensit y t o adopt innovation (Posner, 2011). By using the idea of classif ied consumer s in relation t o trend adoption, the ‘ Where one is at’ brand will appeal t o the ‘early adopter s’, shown on Roger s dif fusion bell cur ve as 13.5%, who will then influence the subsequent group of consumer s the ‘early majorit y’ (34%).

Early

adopter s

are

those

pe ople

who

embrace change and new ideas with conf idence, and the early majorit y represent s the group of pe ople who f ollow trends af ter seeing other s grasp them.

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Market .

The individual public ations market has become vas tly saturated with the competitive situation researched at www.whereoneisatfmp.wordpress.com, with of f erings f rom Keith magazine, A Nice Magazine, Hot and Cool, No Subs tance, Noc tis Magazine, The Great Discontent, Fembot Zine, Umbrella Terms Magazine, Minimal Zine, L’amateur, Of The Af ternoon and Girls On Film Zine.

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Where

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Competitors.

A SWOT analysis is an “examination of both the internal fac t or s and the external fac t or s that potentially impac t a marketing situation” (Rath, Petrizzi, and Gill, 2012).

Using Posner ’s model, (See Appendix 3) conduc ting a SWOT f or direc t competit or s enables ‘ Where one is at’ t o identif y how other s develop and manage a balanced marketing approach (Rath, Petrizzi, and Gill, 2012) and t o imitate this if successful. A competit or ’s SWOT result s will also show external marketplace fac t or s and t o take advantage of these, especially the ‘oppor tunities’ par t of the examination.

Direc t competit or s f or ‘ Where one is at’ are Alice Goddard, co direc t or of Hot and Cool, and Creative Direc t or, Phot ographer and Publisher Becc a Deakins, edit or-in-chief of No Subs tance magazine, who have been analysed via SWOT analysis (See Figures 7 and 8).

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Figure [7] Where Are They Available? newss tand.co.uk. antennebooks.co.uk Launch Date/How Many Issues?

2011.

Biannual.

8 issues.

What Do They Focus On? Fashion, c asual s t yling, normcore, beaut y in the ever yday; a motif at the hear t of the magazine.

What Does The SWOT Analysis Identif y?

Strong minimal aes thetic and presence af ter 8 issues.

Fleeing social media has worked in their favour to increase curiosit y.

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Where

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Figure [8] Where Are They Available? nosubs tance.co.uk, magpile. com. Also s t ocked in London, Europe, Japan and USA: New York Launch Date/How Many Issues?

2015.

1 issue.

What Do They Focus On? Fashion, phot ography and culture.

What Does The SWOT Analysis Identif y? A purely visual public ation in the saturated and competitive market makes No Subs tance vulnerable t o consumer s pref er ring other of f erings. The diver sit y of cultures explored and collaborations is a s trength and USP.

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Looking at the direc t result s in comparison t o the f ollowing are positive

at

competit or ’s SWOT ‘ Where one is at’ fac t or s t o embrace;

1.

Inves ting time in social media presence and c ampaigns .

2.

Including text in the public ation.

3.

The edit or of ‘ Where one is at’ becoming a graduate soon.

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»

Brand

Where

Perceptual

one

Map.

The need t o plan positioning ensures the produc t is placed exac tly where it should be relative t o the competition (Jackson and Shaw, 2008).

Approaching a Brand Perceptual Map (See Appendix 4) using a multi at tribute-methodology ‘ Where one is at’ c an view 8 direc t competit or s’ at tributes at once in relation t o how the consumer perceives them (See Figure 9).

Figure [9]

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Analysing Figure 9 ‘Hot and Cool’ are the mos t successful when it comes t o popularit y and fashionabilit y af ter being ac tive f or longer than the other public ations, although they lack social media completely.

The qualit y of the f inal public ation and text content are at tributes that dif f erentiate ‘ Where one is at’ f rom direc t competition. Qualities discovered that need to be developed th rough the Multi-At tribute Brand Perceptual Map (See Figure 9), to positively raise consumer perceptions, are popularit y and availabilit y.

Sur vey.

An example of primar y research has been fashioned in the f orm of a sur vey (Gender and identit y, 2016) t o gain consumer insight t o the projec t, gage their reac tions t o proposed concept s and if the issues raised in the public ation are relevant.

Detailed analysis c an ‘ Where one is at’ blog repor t, (Wat son, 2016).

be that

f ound on accompanies

the this

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34

Where

one

is

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35

»

Where

one

» Response.

As a response t o ‘ Where one is

36

the at’

Situation and Market has been curated.

Figure [10]

is

at

Figure [11]

37

»

Visual

Where

Brand

one

Narrative.

Media objec tives a Press Release,

have

been

placed

int o

“a writ ten or recorded communic ation direc ted at member s of the media, such as journalis t s, f or the purpose of announcing something os tensibly newswor thy”, (Press Release, 2016), f ollowing the brand aes thetic and outlining key values of ‘ Where one is at’ (See Opposite Figure 12). The note f rom the edit or, f eatured on the Press Release, has been f ormed in the s t yle of the ‘ Where one is at’ brand nar rative.

Visual translated

brand in

nar rative has the public ation

been th rough

f ont, model choice, charac ter por trayal , layout, atmosphere and garment selec tion.

Phot oshoot s and s t yling are visual aspec t s of promotion and a promotional t ool in it self. The phot ographer s, models, makeup ar tis t s, assis tant s and s t ylis t are all interpreter s of the ‘ Where one is at’ brand s t or y. The shoot s include the brand essence and a comprehensive brand message.

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Press

at

Release.

Figure [12]

»

Where

one

Brand

Onion.

To analyse and under s tand how brand essence, the hear t and spirit of the brand, is central t o ever y thing a Brand Onion (See Appendix 5) has been created.

The ‘ Where one is at’ brand onion (See Figure 13) has assis ted the produc tion process of content and concept, ensuring the brand essence “t o about is

Figure [13]

40

challenge gender

maintained

and

and

explore and

translated

int o

all

ideals identit y” aspec t s.

is

at

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Brand

Where

one

Message.

The role of the edit or is t o be aware of ever y thing sur rounding the c ampaign; the concept messages, the brand essence and the t one of voice, and what could hinder this. The Communic ations Process (See Appendix 6) has been utilised t o evaluate the sender, message, receive process.

Creating an example (See Figure 14) using this model shows how the message of the ‘ Where one is at’ public ation content could become los t /misunder s t ood and also how t o overcome these identif ied problems.

Figure [14]

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Too many concept s being delivered in one public ation could create noise, this c an negatively af f ec t the message being delivered.

The encoding segment (See Figure 14), “the use of words, ph rasing and imager y that create meaning which appeals t o the target market”, is an impor tant fac t or as the visuals will help communic ate ‘ Where one is at’ brand essence.

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Where

SWOT

one

Analysis.

A brand self analysis helps t o extric ate possible weaknesses and th reat s, in addition t o underlining oppor tunities f or the future. An analysis (See f igure 15), using Appendix 3 as a ref erence shows how; 1. like

online/printed f eatures Dazed Digital and

with iD

platf orms magazine

2. producing future issues of the ‘ Where one is at’ 3. potential future issues

phot ographer

collaborations

in

are areas of development dis tinguished th rough the examination of a SWOT. Fur ther consideration (See Appendix 7) shows how conduc ting a SWOT analysis 3 main point s have become clear that the repor t needs t o f ocus on.

44

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at

Figure [15]

45

»

Where

Brand

one

Identit y.

Carefully building and matching the per sonalit y of the ‘ Where one is at’ public ation t o the charac teris tics of the specif ied market is classed as branding.

This is relevant to the ‘produc t’ aspec t of the Marketing Mix (See Appendix 8); “the concept that several strategic ingredient s (produc t, price, place, promotion) need t o be considered and blended ef f ec tively t o achieve the goals of a company” (Posner, 2011).

Focusing the Marketing Mix on the consumer ensures that the produc t is suitable f or the specif ied market.

The price will be £10.00 f or the public ation af ter considering direc t competit or s pricing. Available t o purchase on the ‘ Where one is at’ website (See Figure 16) which is the place fac t or of the Marketing Mix. To see the fac t or please

Figure [16]

46

consideration of the promotion see page 58 f or social media.

is

at

Branding c an be seen visually th rough brand identit y.

“Brand identity is what dif ferentiates a brand from it’s competitor s. It is made up of a variet y of element s, for example logo, colours, produc t and adver tising�

(Posner, 2011).

47

»

Where

one

At tributes of ‘ Where one is at’ brand identit y include colour palet te, logo, submark and f ont that are all woven th roughout the tangible public ation and media platf orms.

A brand visual

48

board brand

has been identit y

created (See

to Figure

showc ase 17).

is

at

Figure [17]

»

Where

“The right name is timeless, easy to remember and stands for something” (Wheeler, 2009).

Brand

Figure [18]

50

one

Name.

Descriptive and visual ‘ Where one is at’ looks great in the selec ted f ont ‘Maven Pro’ (See Figure 18). The word ‘one’ is bolder in ‘Maven Pro Black’ t o grasp at tention and connec t t o the audience on a per sonal level.

The text

double chevron shown bef ore the subs titutes as the submark; it is

easy to remember and to

makes the

f or brand

easy and

association public ation.

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at

Figure [19]

“The right name is timeless, easy to remember and stands f or something” (Wheeler, 2009).

The ‘ Where one is at’ logo/name communic ates the essence of the brand and suppor t s the image wanting t o be conveyed.

51

»

Brand

Where

one

To uc h p oint s .

To explore the ‘brand in ac tion’ layer of the Brand Onion (See Figure 13) in fur ther detail brand t ouchpoint s have been es tablished.

Figure [20]

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“A brand t ouchpoint is a point of interac tion between a brand and consumer s� (Posner, 2011).

Concerning this projec t the main t ouch point would be the physic al public ation.

Possible t ouchpoint s th rough dif f erent s tages of purchase has been analysed (See Figure 20).

Th rough the analysis the f ollowing 3 t ouchpoint s have been spotlighted as mos t impor tant; 1.

online/digital

2. qualit y 3.

content of

including f inal

aes thetics print

social media interac tion, presence and content.

53

»

Where

one

AIDA. “A IDA is an ac ronym used in marketing and adver tising that describes a common lis t of event s that may occur when a consumer engages with an adver tisement” (A IDA(marketing), 2016).

Using Appendix 9 as a ref erence, an examination using the At trac t, Interes t, Desire and Ac tion technique of the ‘ Where one is at’ consumer s’ interac tion with social media has been evaluated (See Figure 21).

54

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Figure [21]

55

»

Where

Social

one

Media.

Figure [22]

With a prof ile on Ins tagram ‘ Where one is at’ c an create a voice within it’s content and supply images t o a wider audience t o reflec t the inspirations behind the tangible public ation.

“Instagram is an online mobile photo and video sharing platform that enables users to share content on both the app and other social m e d i a c h a n n e l s l i ke Tw i t t e r , Tu m b l r and Facebook” (Ins tagram, 2016).

The per sonal edge t o Ins tagram animates ‘ Where one is at’ enhancing the communit y f elt environment and providing an alternate t ouchpoint with the brand.

By using relevant hashtags ‘ Where one is at’ encourages user interac tion with the public ation, reaches a fur ther potential reader and allows likeminded creatives’ t o network visually (See Figure 22).

56

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Tumblr is a blogging ser vice that allows user s t o pos t multimedia and other content t o their own shor t-f orm blog. Tumblr is one of the mos t per sonal and visual f orms of social media, and the one that Generation Z are turning t owards t o express themselves. ‘ Where one is at’ interac t s with Tumblr by po s ting visuals, f ollowing the brand aes thetic, that the consumer c an interac t with th rough hashtags and repos ting (See Figure 23).

Figure [23]

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Where

one

“Consumers are f eeling invisible.

Par t of the masses, and are tr ying to define their uniqueness in what they pos t.” (Chiu and Greene, 2012)

The inter related social media s trategies f or ‘ Where one is at’ are relevant f or consumer interac tion, brand essence, brand awareness and is an appropriate example of the promotion fac t or of the Marketing mix (See Appendix 8); using the platf orms t o adver tise and communic ate with, and t o, the consumer.

Brand image, “the consumer ’s view and perception of a brand and it’s identit y” (Posner, 2011), is also af f ec ted by the impressions translated f rom media sources and the opinions of other s that c an be seen th rough comment s on the social media platf orms.

58

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» »

Figure [24] 59

»

Where

one

» The Edit s.

Figure [25]

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»Edit 1: Boys In Pink To Make The Girls Wink.

“It is easy to be amused at the social taboos around such apparently harmless ac tivities as dressing male babies in pink or men in skir t s, but they reflec t a deep-rooted fear of ef feminac y and homosexualit y.” (Kirkham, Page 6, 1996).

»Media Objectives.

1. To counteract the gendered stereotype behind the colour pink.

2.

To promote femininity acceptance in males.

4. To support the Pantone Colour of the Year 2016 notion about a reflection of a more approving society.

Figure [26]

“Colour does more than provide inf ormation it carries emotive and cultural influences” (Morton, no date).

Colour ps ychology in relation to gender s tere ot yping is s till a prevalent issue. The f ear of appearing f emale, f or example wearing any thing remotely similar to a skir t, dress or any thing pink, is abundant f or men in societ y.

The meanings of the colour pink have been researched; “regardless of skin colour, some of your body is pink” (Mor t on, no date).

Pink was once a s tronger colour that bes t suited boys, whils t blue was perceived as delic ate and daint y, bes t suited f or girls.

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Pant one selec t a colour f or each f or thcoming year that is applied as a trend th rough consumer channels as a response t o cur rent at titudes. The Colour of the Year is described as “a symbolic color selec tion; a color snapshot of what we see taking place in our culture that ser ves as an expression of a mood and an at titude� (L LC, 2014). For the f ir s t time Pant one has introduced a combination of two shades f or 2016, Rose Quar tz and Serenit y (See Figure 27).

Figure [27]

With the introduc tion of pink f or Colour of the Year that colour s tere ot ypes are of the apparent gender

shades of blue and this is the indic ation hindering as a result blur within fashion.

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Where

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This is the s timulus f or Boys In Pink To Make The Girls Wink, colour is coinciding with societal movement s t oward gender equalit y and fluidit y.

Pink is used t o provoke the space in culture where individuals have less of a concern about being judged, but rather use colour as a f orm of expression.

Boys In Pink To Make The Girls Wink also provokes parody in the mat ter that a colour c an indic ate some ones’ sexual pref erence or manner.

Selec tion

Of

Final

Figure [28]

64

Figure [29]

Images.

Figure [30]

Figure [31]

“Clothes are not just clothes; they are “how the social world ‘reads’ and contextualises the individual” (Bruzzi, Page 148).

Figure [33]

Figure [32]

at is

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»

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»Edit 2: the f eminine gentleman.

“Men have body image anxieties too, the media does not allow that space” – Car yn Franklin, MBE (Wat son, K).

Male

»Media Objectives.

1. To show the contrast between masculinty and femininity.

2.

To portray the softer more emotional side to men that is often seen as taboo in todays culture.

4. To raise awareness surrounding body issues in males.

positivit y

is

es tablishing

“ This more nuanced approach t o masculinit y is not only about mental health, but about recognising that men have t o face some of the same societal pressures as women when it comes t o appearance” (Szymanska, 2016).

Men and their anxieties about their gender identit y being labelled ef f eminate identif ies back t o the idea of masculinit y. As a man in the twent y-f ir s t centur y, they are taught t o conf orm t o their gender, and additionally t o be a successful man with power, you need t o be as masculine as possible to avoid with

sugges tions perceived

of

homosexualit y f emininit y.

Figure [34]

“ There’s never been a bet ter time to be yourself as societ y dismantles gender s tereot ypes” (WGSN, 2015)

66

it self.

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Masculinit y and f emininit y have been twis ted by ‘ Where one is at’ t o unlearn the male/f emale binar y and s tep away f rom gendered codes and s tere ot ypes that dic tate gender expression in a subver sive way.

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Selec tion

Figure [35]

Figure [37]

Where

Of

Final

one

Images.

Figure [36]

Figure [38]

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at

Figure [39]

“ Talking about gender fluidity means tr ying to unlearn the male/ female binar y and let up on the gendered codes and stereotypes that subtly dictate our gender expression�

(Zimmerman, 2015).

69

»

Where

»Edit

one

3:

Hair.

»Media Objectives.

1. To portray how an individuals’ physical appearance is important to their own self-identity and self-perception

Figure [40]

As a nation obsessed with outwards appearance hair is one of the mos t impor tant ways t o express per sonal identit y. In 2015 there were 400,000 hairdressing, barbering and beaut y businesses in the UK, generating £7bn each year (National Hairdresser s Federation, 2015). In 2016, the global hair c are market is es timated t o be wor th about 83.1 billion USD (President, 2016).

“ Yo ur h a ir w ill s e nd s ig ni f ic a n t me s s a g e s t o t h o s e around you. What hopes and dreams you have for the world, but more, what hopes and dreams you have for yo ur h air. Pay a t t e nt i o n t o yo ur h air, be c a us e eve r yo ne else will.” – Hillar y Clinton, 2001 (Perkins, 2016).

70

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Figure [41]

Researcher s at Yale Univer sit y f ound that “bad hair days” impac t self-es teem by increasing levels of self-doubt and per sonal criticism. (Hair f inder, no date). The manif es tation of expanding social anxiet y concerning appearance is rising and af f ec ting both psychologic al and physic al par t s. ‘ Where one is at’ has been inspired by this concept f ocus; how physic al appearance is impor tant f or per sonal wellbeing and sense of self. In the ‘Gender and Identit y’ sur vey (Wat son, 2016) 17 respondent s answered ‘yes’ when asked “Do you f eel like your physic al appearance (the way you dress, s t yle your hair/makeup) has a big par t in making up your identit y?”, jus tif ying

jus t outwards

how appearance

impor tant is.

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Selec tion

Where

Of

Final

Figure [42]

Figure [43]

72

one

Images.

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Figure [45]

Figure [44]

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»

Where

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»Edit 4: Body Issues.

I dentit y is channeled visually th rough dif f erent social media platf orms, with those in the UK ac tively spending on average nearly 3 hour s a day across dif f erent screens, with 1 of ever y 6 of those minutes spent on social media (Connelly, 2016). Sur rounding themselves with a continual reel of unrealis tic beaut y ideals and expec tations, f emales are physic ally and mentally conf orming t o new body trends as their own self-identit y is influenced by on screen s timulus.

»Media Objectives.

1.

To mock the ideal beauty standard of the Kim Kardashian body trend.

2.

To target a different ideal beauty standard (not super skinny models).

3. To raise awareness and portray the fact that women still conform to the perceptions of them man and “slavery still exists” Figure [46]

“Fashion has a primar y role in our lif est yles, is an essential element of our identit y, and a reflec tion of the culture and society in which we live. Clothing fashions represent the zeitgeist of our times.

Clothing fashions are reflec tions of cultural drivers and approaching social changes” (Inglessis, 2008)

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Kim Kardashian Wes t has been perceived “t o almos t redef ine beaut y” (LaCroix, 2015), with 67.7 million Ins tagram f ollower s (24/04/2016) she has become one of the mos t imitated women on the planet.

Studies have shown that citing selfies as a reason for plastic surger y has increased in recent year s (Yang, 2016), and a 200% rise in 2014 of glute oplas t y, or “but t augmentation” procedures, asking f or ‘ The Kim’ (Lif eSt yleWeekly, 2014) signif ies a surge of women hoping t o achieve the lates t ideal f emale cont our.

Mintel’s ‘Cosmetic Surger y – demons trates that “half of all having a cosmetic procedure in

UK, December 2014’ repor t adult s would be interes ted in the future” (Ducket t, no date).

The ‘Gender and Identit y’ sur vey (Wat son, 2016) asked respondent s “Per sonal Identit y c an be manipulated as a result of social media and/or digital influences (beards, Kim K body trend, etc.) True/False?”, with 96.15% answering true (See Figure 47).

Figure [47]

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»

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one

Mocking the Kim K body trend ‘ Where one is at’ has explored the naked body and f emininit y sur rounding the Kim Kardashian trend that is projec ting a new unhealthy body image t owards an influential culture f ocused entirely on physic al at tributes of other s .

Selec tion

Figure [48]

76

Of

Final

Images.

Figure [49]

is

Figure [50]

at

Figure [51]

77

»

Where

one

‘One size fits all’ is defined as “suitable for or used in all circumstances” (Oxford, 2016).

»Edit 5: One Size Fits All. Buying clothes in a bricks and mor tar s t ore and f it ting per f ec tly f rom the hanger is a dream f or 36% of women (Wildash, 2015).

Straddling dif f erent sizes in dif f erent s t ores has become normal.

Labelling clothes as ‘average’ or ‘norm’ c an make some f eel extremely self-conscious, leading them t o think negatively about their own bodies and identities.

The f emale f orm is delivered in a beautiful ar ray of shapes and sizes; there is no one ‘normal’ body cons truc t.

»Media Objectives.

1. To raise awareness that garment sizing in shops is an issue for those taller/shorter than average 2. To raise awareness that ‘average’ and ‘norm’ labels can make others feel self-conscious about their own bodies and identities 3. To analyse how there isn’t a normal body shape and ideal.

Figure [52]

is

at

Figure [53]

The average height of a woman in the UK is 5’4, she weighs 11s t 2lb and wear s a size 16 (London, 2014), now a market growing t o c ater f or her and her average sized sis ter s is beginning t o appear. But, what about those who are extremely taller than average? Those who are shor ter and much more petite than the average?

Petite and Tall sec tions, as rare and small as they come, are the only option f or some. With the release of new Barbie body shapes in Januar y 2016, “tall, cur vy and petite�, in response t o longs tanding criticism over unrealis tic propor tions (Toor, 2016), One Size Fit s All will soon cease t o exis t as realis tic propor tions are being apprehended.

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one

The concept has led t o inspire a series of images depic ting over sized garment s to raise awareness about a garment sizing issue generally unheard of in comparison t o other issues (See Figures 54-57). That there is no ‘normal’ or ‘average’.

Selec tion

Figure [54]

80

Of

Final

Images.

Figure [55]

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at

Figure [56]

Figure [57]

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»

Where

»Edit

one

6:

Minutiae.

The mat ter of gender will circulate discussion of s tere ot yping with negative connotations.

“Gender s tere ot ypes are over-generalizations about the charac teris tics of an entire group based on gender ” (Ins truc t or and Davis, 2003).

“Current culture climates have led to a sense that we really don’t know anymore what it is to be a man and what it is to be a woman (Bruzzi, Page 194, 1997).

Men and women are immediately assessed and labelled by their physic al appearances. The polaroids shot with a micro lens f or Minutiae provoke thought about the ques tioning of sexed identities and interpret the body in a way t o disguise the subjec t s gender; looking at the human f orm regardless of sex, juxtaposing something culturally embedded int o us. The polaroids f ocus on details and encourage the consumer t o think of gender as something fluid; par t of our identities and more than a singular f orm of expression.

82

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ÂťMedia Objectives.

1.

To raise awareness that Gender and Sex are still confused with one another when they need to be understood more clearly 2. To discuss the physical differences between males and females without the biologically obvious 3. To promote how physical appearance is important to gender.

Figure [58]

Final

Image.

Figure [59]

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»

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»Edit 7: Tall and Disposable. »Media Objectives.

1.

To reach a certain audience (taller than average females).

2. To connect with this niche consumer group on a personal level.

3. To portray how growing up as a tall female has an impact on your own sense of personal identity.

Figure [60] In documentarian s t yle lif e f rom a tall girls’ per spec tive has been intimately evidenced and placed int o the public ation t o emotively reach and connec t with the tall girl niche on a per sonal level. ‘ Where one is at’ has inves tigated how growing up as a tall f emale has an impac t on sense of self.

To achieve this a f ocus group was conduc ted t o fur ther under s tand the subjec t (Wat son, 2016). The talles t girl who answered in the f ocus group is 6’1 and the shor tes t 5’9; the girls are all classed as above average. According t o YouGov, “the average height of a woman is 5’4, and the average height of a man 5’10” (Jordan, no date).

“Blending option”

84

in is (Gunn,

not

an 2010)

is

at

Flippant comment s examined th rough the f eedback expose how these girls really f eel about their height; showing how asking “how’s the weather up there?” c an leave them f eeling deflated and dishear tened. The mutual/ mos t common comment s f rom the inter viewees have been selec ted purposefully t o aid the reader ’s under s tanding of the extent these girls had to endure growing up, purely as a result of their height.

Selec tion

Of

Final

Images.

Figure [61]

Figure [62]

85

»

Where

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»Edit 8: Eunoia (n.) beautiful thinking; a well mind.

»Media Objectives.

1. To raise awareness about troubles in the mind in relation to identity and self-perception.

2.

To raise awareness of social pressures evident in everyday life and how this has created distorted identities.

Figure [63] In addition t o helping connec tivit y social media is having a des truc tive impac t in the minds of the cur rent exposed and easily influenced generation. Physic al appearance and identit y are becoming dis t or ted as individuals’ s trive t o be the bes t ver sions of themselves online alongside the social pressures that are evident in ever y day lif e.

“Evidence is increasingly suppor ting a link between social media use and wellbeing” (Weale, 2015).

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“the f ragmentation of identit y produced by the use of digital ser vices” (What is DIGIPHREN I A?, 2014), unear thed answer s including “ever yone pos t s the bes t ver sions of themselves online” and “I only pos t what I want other s t o see”.

The af f ec t s social media has on mental health is completely damaging, used as boredom relief it makes pe ople compare themselves t o other s and gives rise t o c yber bullying. “95% of teenager s who use social media have witnessed c yberbullying and 33% have been vic tims themselves” (Jazyln, 2015).

The ongoing endeavor t o def ine exis tence has been translated int o a sense of a beautifully des truc tive mind f or the ‘ Where one is at’ public ation.

Per f ec t,

“Smar tphones have gained an ever more central role in consumers’ daily routine and two thirds (66%) of UK adult s now use them to access the internet” (Ballaben, 2016).

FOMO (The Fear Of Missing Out) is c aused by exposure to social media and evokes anxiet y, depression and insecurities (Giles and Contribut or, 2016). Ques tion 4 of the ‘Gender and Identit y’ sur vey asking about Digiph renia,

per f ec t, per f ec t.

Figure [64]

Âť

Selec tion

Figure [65]

88

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Of

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Images.

Figure [66]

is

Figure [67]

at

Figure [68]

89

»

Where

»Edit

9:

one

Gr r rl

Gangs.

“ The clothes we choose to wear represent a compromise between the demands of the social world, the milieve in which we belong, and our own individual desires. Fashions are bonds that link individuals in a mutual ac t of conf ormit y to social conventions.” (Entwistle, Page 114, 2000).

Societ y dic tates appropriate garment s t o wear in alignment t o gender, in addition t o methodise what is deemed cor rec t. In the world of fashion conventionalit y and conf ormit y are areas of inspiration f or “playing at the boundaries of sexual dif f erence” (Entwis tle, Page 140, 2000). Sexual dif f erence denotes us as male or f emale, and as a beholder of any given sex we are expec ted t o dress accordingly.

To showc ase the contras t between masculinit y and f emininit y ‘ Where one is at’ decodes the f emale s tere ot ype; por traying a juxtaposition to ‘the f eminine gentleman’ concept.

Gr r rl Gangs uses musings of the Riot Gr r rl movement.

Riot Gr r rls s tar ted in the early 1990’s, and were “the movement of third-wave f eminism that f ocused less on laws and the politic al process, and more on individual identit y” (Feliciano, Movement, and Librar y, 2016).

»Media Objectives.

Figure [69]

1. To show the contrast between masculinity and femininity.

2. To portray a juxtaposition to the feminine gentleman concept and show the masculine edge to women.

2. To raise awareness surrounding feminism and the Riot Grrrl movement.

is

at

“Riot Gr r rls are of ten accused of being separatis t s: they want t o f orm a lif e away f rom men and invent girl culture” (Revolvy, no date), but f emale masculinit y goes beyond aes thetics.

Your mind c an be more masculine, your emotions c an be more masculine; it’s not always about demeanour (Du and Kayiat os, 2016).

Inspired heavily by Riot Gr r rl, ‘ Where one is at’ present s Gr r rl Gangs imageries of f emale masculinit y as a rebellion.

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Selec tion

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Figure [70]

Figure [71]

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Images.

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Figure [72]

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»

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» Conclusion.

Ref er ring back t o the media objec tives (See Figure 2) f or the brand, ‘ Where one is at’ has f ound the new consumer/reader/audience it intended t o. The sensitive, self-aware and innovative individuals have been provided the of fline, private and authentic reading experience that was also outlined.

Cur rently a small sc ale public ation however a grow th in sales of ‘ Where one is at’ may mean that fur ther oppor tunities could include increasing s t ockis t s, launch par ties, pop-up event s and e-commerce of print s/ pos ter s available f or purchase th rough the ‘ Where one is at’ website.

A public ation created t o sugges t new thought s about the concept of identit y in the cur rent culture climate, ‘ Where one is at’ has provided both the thought and visual element s to

appeal

to

the

es tablished

consumer

(See

Figure

6).

Th rough extensive research a mixture of masculinit y and f emininit y has been f ound t o be a driving fac t or f or per sonal identit y and rebellion agains t the gender binar y as pe ople explore the right f it of whatever balance is right f or them .

This with

96

is a projec t that demons trates research conclusions drawn f rom the market, trend

and analysis, and consumer.

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97

»

Where

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»Appendix.

A PPENDI X 1.

Cus t omer Segmentation sc an (Chapter 4, p105, 2011) P OSNER, H ARR IE T. Har riet Posner ’s explanation of Cus t omer Segmentation - “analysis of cus t omer s, grouping them int o clus ter s with similar charac teris tics”. Used in this repor t t o help with the under s tanding about how t o def ine the appropriate consumer. This knowledge was then applied and used t o consider a blend of two demographics, Generation X and Generation Y, as they share lif es t yle choices, at titudes, opinions and age. All chosen criterias used as a result of the Cus t omer Segmentation sec tion in Har riet Posner Marketing Fashion.

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A PPENDI X 2.

Roger ’s Dif fusion Of Innovations Diagram (p119, 2011) P OSNER, H ARR IE T. Ever ret t Roger ’s the or y in which the way an innovative new idea, or trend, is taken up by consumer s and moved th rough the population.

Used in this repor t t o analyse how consumer s will respond t o the ‘ Where one is at’ public ation /brand, and how this will influence later consumer s t o adopt the idea and possibly buy the public ation.

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A PPENDI X 3.

SWOT Analysis Example (p99, 2011) P OSNER, H ARR IE T. A SWOT Analysis provides f ramework t o collate and review inves tigative inf ormation. A SWOT is an analysis of the micro environment of a brand that also goes hand-in-hand with a PEST/ PEST L E analysis, which is an analysis of the macro environment. In this scenario a PEST (Politic al, Economic, Social and Technologic al) analysis is not relevant, this is a projec t f ocusing more on branding as opposed t o marketing f ocused. Used as a basis f or Direc t Competit or Brand SWOT’s and also the ‘ Where one is at’ SWOT analysis (See Figures 7, 8 and 15).

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A PPENDI X 4.

Brand Perceptual Map (p88, 2009) JACKSON A ND SH AW. A multi-at tribute perceptual mapping approach maps any number of at tributes (in multiples of f our) and allows them all t o be viewed t ogether.

It maps the cus t omer ’s perception of a brand with at tributes plot ted agains t a competit or brand t o make analysis of result s easier and quicker t o see.

Used in this repor t t o analyse the Fashionabilit y, Qualit y, Visual Content, Social Media, Availabilit y, Popularit y, Text Content and Price fac t or s of ‘ Where one is at’ agains t Direc t Competit or s ‘Hot and Cool’ and ‘No Subs tance’ (See Figure 9).

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A PPENDI X 5.

Brand Onion (p147, 2011) P OSNER, H ARR IE T. A Brand Onion is used t o analyse and map the brand identit y and show it in diagrammatic f orm. Made up of 4 key layer s, each layer represent s an aspec t of the brand; brand essence (the hear and spirit of the brand) is central t o ever y thing, brand values (what the brand s tands f or), brand per sonalit y (def ines charac ter) and brand in ac tion (how the brand is made manif es t int o realit y). Guidelines/ method has been f ollowed in this repor t t o create the ‘ Where one is at’ Brand Onion (See Figure 13).

A PPENDI X 6.

The Communic ation Process Model (p158, 2009) JACKSON A ND SH AW. Marketing communic ation model illus trating the 2-way communic ation process between a brand and it’s cus t omer s. In this repor t the model was used as a ref erence t o analyse the communic ation process and the success of the message being sent f rom ‘ Where one is at’ t o the consumer. Dif f erent sec tions of the experience were examined; Encoding, Decoding, Message, Noise and Reponse were all considered t o identif y how Noise af f ec t s the message being delivered (See Figure 14 within the body of the repor t).

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A PPENDI X 7.

Fur ther explanation of the ‘ Where one is at’ SWOT analysis (SEE PAGE 45 IN T H IS REP OR T).

No audience; being a new and relatively unknown brand there is no brand loyalt y or brand equit y.

Marketing th rough social media (Ins tagram and Tumblr) will help t o build these areas. Selfpromotion within social media pos t s and ac tivit y is the only relevant f orm of adver tising f or ‘ Where one is at’. Researched independent public ations choose t o not adver tise themselves publicly and this enhances the intimac y with the consumer.

Saturated Market; not only the amount of curated independent public ations available but ensuring the content is varied and s tands out amongs t this market.

The way in which ‘ Where one is at’ has dif f erentiated it self is th rough the introduc t or y thought pieces inf orming the reader not only of f or thcoming curated content, but the inspirations behind each. This Unique Selling Point (USP) breaks up the public ation and makes it clear which aspec t of gender, identit y and/or both this collec tion of images will f ocus on.

Misreading trends/consumer; tailoring content, target ting, and researching the wrong consumer creates an unsuccessful s trategy f or the brand.

Cons tant evaluation of external fac t or s th rough a SWOT, extensive research of consumer behaviour s and trend research will overcome this.

A PPENDI X 8.

The Marketing Mix/4 P’s (2015) PEGG, A N N A. “ The Marketing Mix provides a f ramework that c an be used t o manage marketing and incorporate it within a business context” (Posner, 2011). By using an analysis of the 4 variables, produc t, price, place and promotion, a brand c an ensure the produc t is right f or the specif ic market, it is priced cor rec tly, it is available f or purchase and the consumer is aware of the of f er or ser vice th rough appropriately target ted promotions. These guidelines have been used in this repor t f or ‘ Where one is at’. (See Page 46 f or produc t, price and place. See Page 58 f or promotion).

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A PPENDI X 9.

A IDA Models (2015) PEGG, A N N A. A IDA is an acronym used in marketing and adver tising that describes a common lis t of event s that may occur when a consumer engages with an adver tisement.

A – at tention (awareness): at trac t the at tention of the cus t omer.

I – interes t of the cus t omer.

D – desire: convince cus t omer s that they want and desire the produc t or ser vice and that it will satisf y their needs.

A – ac tion: lead cus t omer s t owards taking ac tion and/or purchasing.

Used in this repor t t o analyse the consumer ’s interac tion with social media (See Figure 21).

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Wheeler, A. (2009) Designing brand identit y: An essential guide f or the entire branding team. 3rd edn. United Kingdom: Wiley, John & Sons.

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Inf ormation

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President, S.V. (2016) Size of the global hair c are market f rom 2012 t o 2021 (in billion U.S. Dollar s)*. Available at: ht tp://www.s tatis ta.com / s tatis tics/254608/global-hair-c are-market-size/ (Accessed: 7 April 2016).

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Newspaper/Magazine

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Jordan, W. (no date) The ideal height: 5’6” f or a woman, 5’11” f or a man. Available at: ht tps://yougov.co.uk/news/2014/07/11/ideal-height56-woman-511-man / (Accessed: 15 March 2016).

Lif eSt yle Weekly (2014) Mos t British women who want a bigger but t are reques ting ‘ The Kim Kardashian’ so there’s that. Available at: ht tp:// www.lif eands t ylemag.com /pos t s/mos t-british-women-who-want-abigger-but t-are-reques ting-the-kim-kardashian-so-there-s-that-44269 (Accessed: 7 April 2016).

London, B. (2014) Nation votes mos t ‘desirable’ trait s - you’ll be shocked. Available at: ht tp://www.dailymail.co.uk/f email/ ar ticle-2537305/ Women-weighing-ten-s t one-slimmer-size-14-desirablesays-new-poll-does-mean-average-size-16-11s t-2lb-f emale.html (Accessed: 7 April 2016).

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Weale, S. (2015) Teens’ night-time use of social media ‘risks harming mental health’. Available at: ht tp://www.theguardian.com /societ y/2015/ sep/11/teens-social-media-night-risk-harm-mental-health-research (Accessed: 7 April 2016).

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Presentations.

Pegg, A. (2015) AUB W H AT IS FA SH ION PROMOT ION? Available at: ht tps://mycour se.aub.ac.uk/baf sc6/wp-content /uploads/sites/46/2015/10/ W EEK-12-W H AT-IS-FA SH ION-COM MUN IC AT ION.pdf (Accessed: 23 April 2016).

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