Consumer Profile Report
Katie Hopkins
Lazy Oaf is a brand based in London founded by Gemma Shiel in 2001. The brand started as a stall in Spitalfields Market selling screen printed men's t-shirts adorned with quirky illustrations. Shiel’s inspiration comes from nostalgic childhood memories as well as her teenage years in the 90’s. (Lazy Oaf, 2017) The main customer base resides in the United Kingdom, United States and Japan and a long-term goal of the brand is to have a shop in Harajuku. The “tongue-in-cheek” (Drapers,2016) designs appeal greatly to those interested in fun, colourful fashion. Lazy Oaf provides something for everyone no matter the price range or size. This report will analyse the brand’s promotional techniques as well as discussing their recent campaign, competitors and the future of Lazy Oaf.
Lazy Oaf has chosen a consumer who is most influential in the fashion market currently. Millennials or younger shoppers have the “highest purchase frequency” (Global Data, 2017) meaning this brand has a clear advantage on the market already. Targeting this market means more sales of product and consequently advanced brand outreach, providing more consumers to be acquainted with Lazy Oaf. YOUNGER PEOPLE AND SOCIAL MEDIA As social media grows with Generation Z, a younger audience reaches an online presence in an earlier time. Alongside population rise it is clear to see why this specific generation have the most influence and power on the industry at present. WHY THEY USE ONLINE RATHER THAN PUBLICATION The cost and lack of need for a paper presence in magazines and editorials has fallen due to this revolution of technology, seen as 67% of survey respondents follow a brand on social media (Hopkins, 2018). Consequently, why Lazy Oaf promote primarily online. The Global Data UK Womenswear Market Report for 2017 to 2022 stated that “Continued retail investment in the online shopping experience with a mobile first approach and improvements in fulfilment propositions will drive spend via the channel” suggesting the lack of need for this brick and mortar existence for the future.
NEW DRIVERS Influencers have become an “increasingly important role in young consumer’s fashion choices” therefore they are being seen working with brands progressively more as influencers rise on social media (Mintel, 2016). This is seen with 53% of respondents of a Fashion Promotion and Methods survey saying they follow an influencer on a social media channel (Hopkins, 2018). Lazy Oaf features influencers via the website on the “Instashop” section as well as their blog, creating posts featuring bloggers as models. The brand has jumped on the hype of influencers to drive sales and whilst the popularity of influencers rise, the brand will follow the crowd also. HOW DO THEY NEED TO REACH OUT TO NEW CONSUMERS? Social Media is not just populated by ages 15-24 and moreover “The largest increase in the number of internet users has been in women aged over 55” (Mintel, 2017). This stat opens a new window to target consumers of a higher age group and offers opportunities for brands to create new garments suitable for the older customer. As they have launched the new sister brand Gem, another side brand for the gap in the market could be an alternative positive creative outcome.
The graph to the left shows how young people are responding to fashion on social media platforms. Not only does this reinforce the influencer marketing scheme with 24% of females following a fashion blogger, but what is more favourable for brands is 28& of all ages 15-24 follow fashion brands online. This shows social media is a platform driving sales with ‘click to buy’ links making shopping easily accessible and all from one site. Lazy Oaf choose to promote online due to this need for social content which allows the customer to not only choose the brand for fashion but also their day to day lifestyle.
Figure 1: Interactions with fashion brands on social media in the last 6 months, by gender. (Source: Mintel, 2017:online)
The Lazy Oaf customers are men and women ages 14-30 who are interested in creative fashion, art and/ or illustration. These consumers mostly shop online due to practicality and accessibility for the brand as they only have one flagship store. They enjoy being original and dressing individually showing their full personality. The traits of the consumer can be quirky, have a warped sense of humour as well as being interested in novelty due to the nostalgia they have in their childhood. The style of clothing they buy alongside the Lazy Oaf brand is comfortable but colourful, the consumer would also be found buying into streetwear styles combined with this. The Lazy Oaf consumer would be found in independent shops and cafes in their free time as well as attending exhibitions and taking interesting imagery using their old polaroid camera.
On first perusal of the images it is hard to capture the theme and mood of the campaign. The colourful garments against a tonal and earthy background provide a blank canvas to compliment the designs. Of course, the cartoon-like applique continues pure to the brand, but more influence from subcultures can be seen through styling, makeup and colours. For example, a model wears red tinted shaped glasses with added glitter on her eyelids, suggesting a 70’s glam rock influence has been taken forward. Not only this but the slogans and dark colours which appear in the campaign also give connotations to the 80’s punk scene and gothic style. Lazy Oaf say, “This collection takes its cue from teenage angst and rebellion”, this can be noted with the younger models and nonconformist clothing, more unusual to the low-end designer market. The isolation of the shoot, on a beach with no activity to be seen, mean the images portray a “post-apocalyptic” (High Snobiety, 2017) atmosphere.
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Nostalgic influences from the 90’s are also perceived through zip mouth adornment on the chest of the jumpers. The colours also communicate a brighter message of youth as well as rave culture through the acid coloured knit. The campaign is certainly unusual, such like all Lazy Oaf’s work which does not follow or give in to fast fashion demands.
The collection sees the addition of chains, eyelets, cigarette trousers and added zip details to reflect punk style and transform what were simple designs into alternative fashion items. The contrast stripe and oversized fit is popular in the editorial, with additional similar designs on the website.
The whole imagery creates a story that is eccentric and unapologetic, much like past teenage days and the eras that inspired the collection. “Signature heart motifs” iconic to the brand, make designs “always youthful and never boring” (The Cool Hour, 2017), perfect for consumers that are not trend driven and have a love for graphics and the brand itself.
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In addition to the imagery, Lazy Oaf also created a campaign video alongside the shoot. The setting provides a juxtaposition that creates an isolated mood as the seaside is known to be a busy, happy place, full of people and life. The back story behind the video tells the viewer of a boat setting sail from the United Kingdom and from then citizens left there are ’on their own’, hence the title ‘Don’t you forget about us’. It takes the viewers out of their comfort zone into a darker theme than what is usually a playful brand. Rebellion and childishness are translated again by the speech “It’s all your fault”, along with the idea this decision is as easy as 'rock paper scissors’. Cheeky connotations and childish desires fill the campaign with nostalgic mannerisms, all the way to desires for ‘chocolate cake’. The styling is particularly interesting, made up of a mix of subcultural influences from 90’s graphics to glam rock makeup and accessories. The past is certainly a main subject in this collection as the song ’Don’t you forget about me’ plays whilst closing the video, displaying 1980’s pop and at the same time ironically linking to the idea of isolation.
4. Yeon
Yeon You is a “Freelance Creative Director and Stylist” (Forever Yeon) from London who has worked with the likes of Wonderland and Arcades Magazine. She originates from Korea and studied at UAL. As well as working as a stylist with different brands she also casts models (Forever Yeon, 2017). Lazy Oaf uses different stylists and photographers for their campaigns. In the Winter 2017 You. campaign she worked with Tre and Elmaz, duo photographers also based in London, to create these beautiful images with a “surreal undertone” (Tre and Elmaz,2017). Using different creatives keeps the imagery interesting and diverse whilst retaining colourful brand image. Tre and Elmaz state “their vision istheone that seeks fluidity between the masculine and the feminine” and It is clear to see this portrayed in the images. Their photography suggests they work well on location, creating an image that can tell more than just one story. The portfolio of Yeon You also tells a similar narrative. With vast amounts of work experience it shows she can evidently adapt to different brand and theme aesthetics, done perfectly with this campaign. The Lazy Oaf image is not lost in the edgy videography and photography they created.
5. Tre and Elmaz.
Lazy Oaf’s brand image is clearly seen and translated throughout the use of different creatives such as the stylists and photographers they choose to work with. I feel they use this mix of people to keep up with their quirky style and to allow different perspectives and ideas into their shoots. A range of photographers could be used if they specialise in a particular style or have the ‘look’ Lazy Oaf wants to shoot to possess. It keeps the imagery diverse whilst always retaining the colourful and nostalgic brand image.
More creatives. Luke Stephenson SS16 EDITORIAL
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Nina Caputo Internet Girl Story Photographer and creative from Instagram
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Dean Davis – AUTUMN 2017
“Stephenson creates affectionate portraits of his subjects and documents worlds often hidden from the mainstream” (Luke Stephenson, 2017)
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Iona Wolff 15th Anniversary Exhibition Portrait and event commissions (Ionawolff, 2017)
Vicky Grout AUTUMN 16 EDITORIAL
“Specialises in portraiture, music and street photography... predominantly analogue” (Vicky Grout, 2017)
9. Ellie Smith Dream Wife
Lauren Maccabee LAZY OAF X DR MARTENS COLLABORATION
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CAMPAIGNS To the right are two campaigns currently on the website that are evidently linked to the internet and can gain a larger interest from the consumer. The ‘Internet Girl’ story is a focus on popularity from social media, something most consumers and social media users are looking at on an every day basis. This is a good way of intriguing consumers and readers to engage with the website and look at the stories rather than just shopping, It provides more styled ideas and a greater look into the brand’s style itself.
(Vimeo,2017) Inactive for 2 years 1,128 followers Shows promotional videos
Again, with the ‘Grime Artist Mez Editorial’ Lazy Oaf are using celebrities or more popular models for their collections of influence as they have a follower base of their own, consequently providing their own ’people’ who may be interested in the brand just because someone they look up to is wearing it. This is a popular way seen in most brands of gaining more customers, however they are picking out people who are similar to the brand and its image, to ensure the brand is not lost through the celebrity.
(Tumblr,2017) Inactive since Dec 2015 Posts got around 400 notes
(Pinterest,2017) 9,326 followers 4,968 pins Inspiration and own product boards
(Facebook,2017) 151k people like 149k follow Have a shop fb profile tooless active MAILING LIST Joining ’OAF NEWS’ enables emails to be sent directly to the interested consumer with up to date information and promotional imagery. This is a good promotional technique as it allows those interested to sign up for alerts and be reminded of ‘new in’ items, making the consumer more likely to buy if they are reminded of all the new exciting collaborations or garments appearing online or in store.
SOCIAL MEDIA At the bottom of the Lazy Oaf webpage you can clearly see all the social media accounts they post on. Being at the bottom of the page could be a problem as consumers may just click and shop immediately instead of finding links to the social media pages. However, they are there and easily accessible with direct links to the websites. They also have eye-catching graphics above this on the main page underneath the promotional imagery which has links again to social media accounts. This time the main active ones are shown as they are the most used by the brand and most viewed by the consumer. The graphics are similar to the branding - black and white easy to read text, simpler than the interesting ‘OAF NEWS’ graphic for example which is more quirky and eye-catching.
(Instagram,2017) 646k followers Posts 1+times daily 3,000 posts Posts get around 10k likes 43% of survey respondents see brands promoting using this channel. (Hopkins, 2018)
(Twitter,2017) Connecting with followers, posting ‘stories’ and promo from website Posts daily 28.8k Followers 8,230 Tweets
Easy shop from Instagram section on the website, seeing more of these easy ways to find pieces seen on the app so the consumer can shop quickly and efficiently. The reader can see styling and what is popular on social media also.
The Ragged Priest are a ‘cult independent streetwear label’ that arose from an online eBay page in Essex. (Carnaby, 2017:Online) Collaborating with Lazy Oaf in 2015, may have just been a creative collaboration but also a tactical marketing technique to gain competitors’ trust and stretch across another similar customer base. Stocking on Asos and Dolls Kill similarly to Lazy Oaf they are evidently sold side by side.
Monki are another similar brand that “Put the smile back in fashion” using fun and colourful designs to target the youth and daring. Not only are they another alternative and quirky brand but they target current issues such as sustainability with their goal to “only use recycled or other sustainably sourced materials by 2030” (Monki,2017). Targeting wider issues puts Monki in a higher ethically correct position which may drive consumers to their website rather than Lazyoaf.com. Monki’s similar graphics and stockists put them together as competitors for the same consumer in the creative fashion market as both of their customers are looking for something different and light hearted. On the other hand as Monki has a chain of stores, if consumers prefer to physically shop and enjoy this experience to online retail, Monki would definitely have the advantage.
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Instagram comparison
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Even after these competitors, Lazy Oaf still have the most social media following on one of the most influential social media sites (Brown, 2017). This suggests the social strategy at the minute is working to gather consumers that want to follow the brand’s each and every move and discover new drops first. Additionally, it shows it is the most popular brand of the three even though it is not a chain led store. This could be due to the need for creativity and the growing awareness of independent brands.
Overall it is clear to see Lazy Oaf promote well, using campaigns and stories to gain consumer interest on the most popular social media channels. The current campaign reflects the known style of Lazy Oaf but shows the customer a darker edge and more insight to the designer’s influences. This campaign could interest more than the loyal customer base as the aesthetic provides a more developed moody feel, perfect for consumers that like the witty designs but prefer to wear less colour. Going forward, the future of the brand lies in the hands of social media and how consumers react to the revolution of technology. However, as studies show young people to be most interactive via these sites, Lazy Oaf should continue to target this creative customer and think about targeting a gap in the market also, as currently seen with the sister brand Gem. They may have introduced Gem to provide a more sophisticated stylised brand but in keeping with the Lazy Oaf image.
As for the stand-alone store in Carnaby, London, in-store experiences could be introduced to drive local consumers back to the store, which may provide long term chain stores in the future by growing sales. After the fire at the Lazy Oaf warehouse it is more important than ever for the brand to keep up to date with sales. (WightmanStone,2017). Consequently, the online shop may need to be developed to fit with the ever-growing needs of the online shopper such as interactive content and online styling as 53% of survey respondents feel online stores should offer these services. (Hopkins,2018) To finalise, Lazy Oaf are an ever so imaginative brand, bringing cool and fresh designs to the idiosyncratic individual who craves a stylish yet artistic aesthetic. The brand is consistent across all channels and the creatives they work with reflect the nostalgic and diverse ’Lazy Oaf’ image.
#KeepingItWeridSince2001
References.
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[Image] Available at: https://www.instagram.com/p/BZ8zBpLA5DJ/?taken-
Instagram.com. (2017). Lazy Oaf (@lazyoafs) • Instagram photos and videos. [online] Available at: https://www.instagram.com/lazyoafs/?hl=en [Accessed 26 Oct. 2017]. Iona Wolff. (2017). Iona Wolff - Photographer. [online] Available at: https://www.ionawolff.co.uk/ [Accessed 14 Dec. 2017]. Lazy Oaf. (2017). Grime Artist Mez Screenshot. [Image] Available at: https://www.lazyoaf.com [Accessed 26 Oct. 2017]. Lazy Oaf. (2017). Internet Girl Screenshot. [Image] Available at: https://www.lazyoaf.com [Accessed 26 Oct. 2017]. Lazy Oaf. (2017). Men's and Women's Independent Street Wear I Lazy Oaf. [online] Available at: https://www.lazyoaf.com/ [Accessed 26 Oct. 2017]. Lazy Oaf. (2017). Winter 17 Campaign. [online] Available at: https://www.lazyoaf.com/blogs/story/winter-17-campaign [Accessed 26 Oct. 2017]. Lazyoaf.tumblr.com. (2017). LAZY OAF. [online] Available at: http://lazyoaf.tumblr.com/ [Accessed 14 Dec. 2017]. Luke Stephenson. (2017). Luke Stephenson - About. [online] Available at: http://www.lukestephenson.com/about [Accessed 14 Dec. 2017].
References.
Maccabee, L. (2017). Image 11, 12 & 13. [image] Available at: https://www.lazyoaf.com/blogs/story/dr-martens-x-lazy-oaf [Accessed 14 Dec. 2017]. Mintel. (2016) Youth Fashion. [Online] [Accessed on 13 Dec. 2017] http://academic.mintel.com.ezproxy.mmu.ac.uk/display/807947/?highlight Mintel. (2017) Fashion Technology and Innovation. [Online] [Accessed on 13 Dec. 2017] http://academic.mintel.com.ezproxy.mmu.ac.uk/display/849673/?highlight#hit1 Monki. (2017). Logo screenshot. [Image] Available at: https://www.monki.com/en_gbp/index.html [Accessed 14 Dec. 2017]. Monki. (2017). We do fashion like a boss - Online shop. [online] Available at: https://www.monki.com/en_gbp/index.html [Accessed 14 Dec. 2017]. Monki.com. (2017). Monki Cares about fashion’s sustainability. [online] Available at: https://www.monki.com/we-aremonki/monki-cares/ [Accessed 14 Dec. 2017]. Myfonts.com. (2017). Futura® - Webfont & Desktop font « MyFonts. [online] Available at: https://www.myfonts.com/fonts/bitstream/futura/ [Accessed 14 Dec. 2017]. Pinterest. (2017). a1 promo. [online] Available at: https://www.pinterest.co.uk/ktblogs/a1-promo/ [Accessed 26 Oct. 2017]. Pinterest. (2017). Lazy Oaf (lazyoaf). [online] Available at: https://www.pinterest.co.uk/lazyoaf/ [Accessed 14 Dec. 2017]. Shin, N. (2017). Interview: Gemma Shiel of Lazy Oaf. [online] Cool Hunting. Available at: http://www.coolhunting.com/style/interview-gemma-shiel-lazy-oaf-aw14 [Accessed 26 Oct. 2017]. Smith, E. (2016) Image 9. [image] Available at: https://www.elliesmithphotography.co.uk/ [Accessed 14 Dec. 2017]. Sutherland, E. (2016). The Drapers Interview: How Gemma Shiel built Lazy Oaf into a serious business. [online] Drapers. Available at: https://www.drapersonline.com/people/the-drapers-interview/the-drapers-interview-how-gemma-shiel-builtlazy-oaf-into-a-serious-business/7016018.article [Accessed 26 Oct. 2017]. The Cool Hour | Style Inspiration | Shop Fashion. (2017). Find Common Ground with Lazy Oaf's Unapologetic Looks This Fall. [online] Available at: https://www.thecoolhour.com/2017/09/lazy-oaf-unapologetic-fall-2017-looks/ [Accessed 26 Oct. 2017]. The Drum. (2017). What is creativity? Lazy Oaf founder Gemma Shiel on collaboration, inspiration and design. [online] Available at: http://www.thedrum.com/news/2015/11/30/what-creativity-lazy-oaf-founder-gemma-shiel-collaborationinspiration-and-design [Accessed 26 Oct. 2017].
References.
The Ragged Priest. (2017). Holiday Lookbook. [Image] Available at: http://theraggedpriest.com [Accessed 14 Dec. 2017]. The Ragged Priest. (2017). Logo Screenshot. [Image] Available at: http://theraggedpriest.com [Accessed 14 Dec. 2017]. The Ragged Priest. (2017). Stockists. [online] Available at: https://theraggedpriest.com/stockists/ [Accessed 14 Dec. 2017]. The Ragged Priest. (2017). The Ragged Priest - UK Fashion Brand. [online] Available at: http://theraggedpriest.com [Accessed 14 Dec. 2017]. Tré+Elmaz. (2017). [Online] Available at: http://www.treandelmaz.com/ [Accessed 26 Oct. 2017]. Tré+Elmaz. (2017). Image 6. [Image] Available at: http://www.treandelmaz.com/ [Accessed 26 Oct. 2017]. Twitter.com. (2017). Lazy Oaf (@lazyoaf) | Twitter. [online] Available at: https://twitter.com/lazyoaf [Accessed 14 Dec. 2017]. Vicky Grout. (2017). Vicky Grout - about. [online] Available at: http://www.vickygrout.com/about [Accessed 14 Dec. 2017]. Vimeo. (2017). Lazy Oaf. [online] Available at: https://vimeo.com/lazyoaf/ [Accessed 14 Dec. 2017]. Wightman-Stone, D. (2017). Lazy Oaf temporarily closes website. [online] Fashionunited.uk. Available at: https://fashionunited.uk/news/fashion/lazy-oaf-temporarily-closes-website/2017082225564 [Accessed 26 Oct. 2017]. Wolff, I. (2016) Image 9. [Image] Avaliable at: https://www.lazyoaf.com/blogs/story/lazy-land-15th-anniversaryexhibition-private-view [Accessed 14 Dec. 2017] You, Y. (2017). [Online] Available at: http://www.foreveryeon.com/ [Accessed 26 Oct. 2017]. You, Y. (2017). Images 1,2,3,4 & 5. [Image] Available at: http://www.foreveryeon.com/lazy-oaf-winter-campaign [Accessed 26 Oct. 2017].
Appendix. Primary Research: This survey was created via Survey Monkey and available at: https://www.surveymonkey.co.uk/r/WTPXTB2 It had 15 respondents and some of the data gathered was used in the report.