Communication Strategy

Communication Strategy

Molly Tomlinson Clemmie Hyde Ellie Johnstone Liv Walters Katie Challenger

CONTENTS 1. Client Package 1.1 Client Brief 1.2 Client Email 1.3 Initial Client Contact 1.4 Client Questionnaire 1.5 Client Interview

2. Market Research 2.1 Infographics 2.2 Infographic Analysis 2.3 Target Consumer 2.4 Future Target Consumer 2.5 Market Size / Growth 2.6 Thrifty Local Market 2.7 Thrifty National Market 2.8 Emerging Markets 2.9 Compeitor Analysis

3. Communication Strategy 3.1 Brand Idnetity 3.2 Brand Aesthetic Board 3.3 Building Brand Loyalty 3.4. Product Drops 3.5 Gucci Moodboard 3.6 Makeup Moodboard 3.7 Poses Moodboard 3.8 Final Images 3.9 Shoot Reflection 3.10 Advertising Concept 3.11 Social Media Presence 3.12 Brand Collaborations 3.13 Magazine Features 3.14 Conclusion 3.15 Bibliography

CLIENT EMAIL To whom it may concern,

CLIENT BRIEF Our client, Thrifty Store, is a Sheffield based vintage store, selling a range of garments and accessories for affordable prices.

We will be conducting a new communication strategy which will identify Thrifty’s current position within the vintage market and any scope for development. The strategy will specifically focus on Thrifty’s brand values “recycle, reuse and re-invent” and how we can communicate these messages to their consumer. Specifically, we will consider consistency across the brand’s platforms such as website and logo, increasing consumer engagement. We will also aim for complete brand transparency in terms of sustainability. This will mean improving aspects of the brand such as packaging and working with brands who are also sustainable. We believe that these aspects will help entice a new, loyal consumer base and grow Thrifty’s market share.

Molly Tomlinson

Following a conversation with one of your colleagues earlier today, we were advised to contact you by email regarding a potential collaboration.

We are Level 5 Fashion Management and Communication students currently studying at Sheffield Hallam.

Our brief is to approach a client of our choice and work with them to help achieve their evolving brand vision and values through alternate media channels such as a logo design, photoshoots or a campaign.

Throughout the brief we will be conducting comprehensive market research into your brand’s current market position and consequently

how we, as creatives, can help your direction moving forward.

If this sounds like something that could be of interest to you, let us know and we can arrange a meeting to discuss the collaboration further and see how we can be of best help to you and your growing brand.

Kind Regards, Molly Tomlinson Eleanor Johnstone Clemmie Hyde Katie Challenger Liv Walters

INITAIL CLIENT CONTACT

CLIENT QUESTIONNAIRE 1. Introduce yourself/tell us a bit about yourself.

Bally Johal Owner/Director: Thrifty Store Sheffield & Birmingham Ltd: Sheffield: http://www.facebook.com/ thriftystoresheffield/ Birmingham: http://www.facebook. com/thriftystorebrum Also own bar/events/arts/music space: BAL Fashions Speakeasy http://www.facebook.com/ balfashions/ General creative entrepreneurial soul- heavy into sustainable industries.

2. How did you come to be in the position as a manager of the store?

Owner/Director

3. Have you been with the company since its fruition? If not, what is it that attracted you to the company?

N/A

Katie Challenger, Clemmie Hyde, Liv Walters, Molly Tomlinson, Ellie Johnstone

4. How would you describe the core values of the business?

What do you want your customer to feel/ think when they think of the store?

Recycle/ Re-use/ Re-invent

5. Where do you see the business in 5 or 10 years? Do you have a specific aim in mind that you’re hoping to achieve?

The mission statement of Thrifty Store is to become a department store for second hand goods for affordable prices (in a nutshell). Essentially want 7 across the country.

6. Who do you see as your main competitors/ why?

The industry is forever changing and is very subject to change and recently the online traders, Depop/Asos etc have impacted the market - but I think in a more positive direction than negative.

7. What marketing channels do you use to differentiate yourself from your competitors?

Hmmm I think this is why I want to do the Gucci X Thrifty campaign heavily in print as I think the internet dilutes the offering as it is so over populated.

8. In which case, what is your newest campaign concept/ idea?

Gucci X Thrifty : BE YOUR STYLE

9. What inspiration did you draw from to arrive at this idea? e.g. artists, designers, photographers, subcultures?

The BIG two fingers up at the pretentious side of the fashion industry.

10. As fashion communication students, how can we best work alongside you and your company to achieve the most affective results?

As art director for this campaign working with you to deliver and execute this across Sheffield via street posters/flyers and window display also the obligatory social media campaign.

Reflecting on our client questionnaire it’s evident the information and content Bally provided wasn’t quite thorough enough. It certainly didn’t enable us to come to terms with where his business was currently positioned in the market. As we’d been told to create a ‘substantial’ brief that recognises our client’s intentions and be able to ‘enhance’ them, we needed more data from Bally. Following on from this discovery, we met the client personally and collectively arranged a semistructured interview. This style of conversation allowed Bally to elaborate on his answers and consequently give us the content and clarifications we needed.

Ellie Johnstone

B CLIENT INTERVIEW

with Bally Johal

n the 15th of November we went to Thrifty to interview store owner, Bally Johal. We decided to construct a semi-structured interview so that we were able to gain the exact information we needed, whilst allowing for flexibility and elaboration. We asked a broad range of questions to support our market research and gain an understanding of who Bally is aiming to target with his marketing. This allowed us to know exactly how to help the brand develop through our communication strategy.

Q1. Who do you believe your target consumer is?

As the brand has developed, so has the target consumer.

When starting the business (in the original warehouse) the target consumer was anyone from 13-65, due to the geographical location of the store, as Bally told us, “The old biddies would come in and buy 3 blouses for £10.” As they progressed and refined, the target consumer became 13-30 and after moving to the new/ current location, they “raised the game” and began to buy more premium items to exactly target this age range. This then allowed them to access a broader target market as they could target more premium customers whilst main-

taining their original customer base through the colour code scheme in the basement (whereby garments are priced depending on the colour).

Q2. Do you believe there are any opportunities for you as a brand in current markets?

Bally believes that the shop needs to transition online, in order to improve it’s market position. He wants the online platform to be able to offer a “broader range of vintage”.

He also has higher aims for the brand, “I want to develop a retail app, where items have QR codes so that customers can order product samples directly deliverable to their homes”.

After trialing an ASOS Marketplace platform which was unsuccessful due to staffing, Bally is currently working with a girl who wants to set up a Depop store for the brand. “This will be on a freelance basis, where she gets commission based on sales”. This is going to be used on a trial basis, and if successful her role will become a fulltime position within the brand.

“It’s tough at the moment, based on last year we’re mas-

sively down. Even for our customers who are predominantly students, its hard on them too”.

Bally also referenced the opening of new stores nationally.

They have opened a large (100 square foot) warehouse in Birmingham which is doing well.

Q3. Would you say your price point helps you to differentiate your brand from your competitors/ what else differentiates you?

“Going plastic free” is something that Bally is moving into with the store, emphasising on the stores want for sustainability.

They are starting to offer tote bags instead of plastic bags. “The tote bags will be at a cost of £5 and will allow customers with the bags a 10% store discount”, this helps differentiate the store from any of the other vintage store in Sheffield as no one else offers this yet.

“Fashion’s such a pretentious load of bollocks.”

Bally also describes the brand as “Cow but cheaper”. By using pop up stores such as Ralphs Vintage and Jungle clothing, he wants to be able to appeal to a broader more premium demographic, giving the brand potential to move into a different sector.

Q4. What would you say is your brand USP? Thrifty also stock re-worked garments “TS Garms”, these are a unique feature to the store which competitors do not have. This feature has been tested however became unsuccessful due to staffing problems, but this is an area he is keen to start up again.

“This will not happen until I found the right person”. He also stated that the mission statement for the store is that “it’s not about vintage, it’s about thrifting.”

Q5. Are you happy with your brands current market position? If not, how would you like to reposition?

Bally believes that in the current market, each individual whether this be Depop account or an Instagram account, has their own identity as a brand. Because of this, consumers affiliate to a certain page or certain style and buy into an individual rather than a specific product. He talked about how this mirrors the Japanese market whereby individuals sell specific products, keeping the market “niche”. He believes that moving into being predominantly online will allow him to “offer something for everybody with the core audience catered for.”

ing and the Record Store?

The pop-up stores were introduced to add variation to their current stock. Bally has also introduced “Ralphs Vintage” which offers a premium sector to the store allowing them to access a higher target audience whilst catering for their core audience. “Customers want more now, as everyone is doing it (Depop & Asos) this has diluted the market and thus customers have no loyalty.” “people are very aware that everyone is making money off everyone else”. Because of this people are becoming loyal to individuals that they trust and thus by bringing these individuals and thus by bringing these individuals to Thrifty Sheffield e.g. Ralphs Vintage, you bring along customer loyalty as they already have an established identity.

Q7. Can you tell us a bit more about the Asos Marketplace link on your website?

Thrifty no longer engages on Asos Marketplace due to the high financial costs “rip off”.

They used to sell products through this channel for cheap, but it was extremely labour intensive “you pay 20% for the items you put on, then 20% VAT, then paying for staff so it Q6. What was your inspiration was basically giving it away”. for introducing the pop-up However, he does want to keep stores such as Jungle Cloth- an online selling presence but keep this more to Depop.

Q8. Can you tell us a bit about where you source your stock?

Initially in the first Sheffield location the shop sold furniture which had been recycled and reworked. This sector is not present in the new location, however Bally aims for this to become part of their brand in the future. “A department store for the future, where everything is recycled and reworked. That is the vision for what Thrifty wants to be.” Bally has pickers nationally who get a lot of his clothing stock for him. He has recently just started buying US stock, to add variation. “People tend to want a lot more of the US stock, even though there is a massive market for the UK stuff as the majority is sports stuff”.

Present at interview: Molly Tomlinson, Clemmie Hyde, Ellie Johnstone, Analysis: Molly Tomlinson

MARKET research

In terms of market research, it is important to consider consumer behaviours, competitors and potential emerging markets and where a business such as Thrifty can develop within their current market. From these findings Thrifty can adapt their marketing strategy, promotional methods, how it would be possible to grow as a business and where they should focus

their attention in order to define their consumers and how they engage with the brand.

The information that follows has been collected and presented from survey results. The survey was distributed across various social media platforms in order to gain a strong bank of results from a variety of different consumers – whether they purchase vintage/ second-hand market or not.

Bally Jahal Owner/Director of Thrifty Store

Clemmie Hyde & Ellie Johnstone

3

WHAT ARE YOUR THOUGHTS ON WEARING/BUYING VINTAGE OR SECOND-HAND CLOTHING?

IT’S CHEAP AND FUN

HOW OLD ARE YOU?

I support recycling

I’ve bought clothes from other people before and I’ve never seen it as an issue. Vintage or second hand clothes are in most circumstances the same as new.

Yes I like it but it’s become a bit too much of a fashion trend and a bit generic at the moment

IF IT HAD BEEN PROFESSIONALLY CLEANED AND WAS IN A GOOD CONDITION I WOULD DEFINITELY PURCHASE, HOWEVER THE SMELL OF SOME VINTAGE/CHARITY SHOPS ARE VERY MUSKY AND THE CLOTHES FEEL DIRTY AND THAT PUTS ME OFF PURCHASING.

each line represents a person

Definitely would

It’s my main purchase, find some absolute bargains & unique NICE TO GET pieces THINGS NOT

I would wear vintage coats, jeans and trainers

EVERYONE HAS BUT CAN OFTEN BE A RIP OFF

. less

LOVE IT

or

Some of it looks class but some of it looks like my grandads wardrobe and would go perfect with leather Velcro shoes and corduroys. Too expensive these days aswell.

it f

Lov bra e n in ds th ge c vin at loth t w a ing el pric ge , o s you es an tores ve ar a lot can d cl at a e fou of m ’t fi ass ic s azin nd nd els any tyles g wh e! ere

nt

I think it’s very responsible as if an item still has life left it should Vin be lived. ta

wa

I Don’t like buying vintage/ second hand clothing.

I like it, it’s cheap and individual

2

VINTAGE GENERALLY NEVER LOOKS QUITE RIGHT ON ME. I DON’T BUY SECOND HAND CLOTHING

WHAT IS YOUR I think it’s fine GENDER? sometimes I do it.

Question

IDEA

Happy to if clean & good condition NOT SOMETHING I DO OFTEN BUT WOULDN’T MIND

24.56%

75.44%

Good for the planet, cheaper too.

and

Katie Challenger

LOVE THE ove

ITS NOT REALLY MY STYLE ALTHOUGH I DO LIKE SOME VINTAGE PEICES

but only if the price is right

AT Il K OP ing eth OO SH om D L A T ns see UL ISI ’ve O V fI W N’T yi bu NE D LI UL nly ll o ON WO Wi F T I BU

Absolutely LOVE IT love vintage

QUITE LIKE THE STYLE AND LOOK, BUT GENERALLY IT’S NOT MY GO TO STYLE.

INTO IT?

Question

Question

1

UNDER 18’S 18-24 (A STUDENT) 18-24 (NOT A STUDENT) 25-34 35-50 OVER 50

REPRESENTS A PERSON

7 DAYS

4 WEEKS

12 MONTHS

Monthly Annually

ONCE OR TWICE

4 Question

Weekly

5 Vintage Stores

WHERE DO YOU PURCHASE YOUR SECOND-HAND/ VINTAGE CLOTHING?

62.75%

Rarely

NOT AT ALL

Never

ON AVERAGE HOW FREQUENTLY DO YOU BUY VINTAGE OR SECOND-HAND PIECES? Katie Challenger

Question

1

13.73%

33.33%

Charity Shops

39.22%

39.22%

Katie Challenger

COW

HAVING ONE OF A KIND PIECES

PERSONAL STYLE/ AESTHETICS

PRICE POINT

ETHICS

20 30

N/

A(

40

NO TA

41.07% SH

EF

FIE

50

39.29%

60 70

H OOC

M

V

14.29%

R A G L VU

EN

T

35.71%

S H’

NG A ST

VI

P

L RA

FRE SHM ANS

67

Question

SID

E

GE A T IN

23.21%

WHAT ARE YOUR REASONS FOR BUYING SECOND-HAND/VINTAGE CLOTHING?

RE

SYD & MALLORY

80

LD

55.36%

TH

39.29%

RIF

TY

14.29%

Question

WHICH OF THESE SHEFFIELD BASED VINTAGE RETAILERS HAVE YOU HEARD OF?

Question

UNDER

E.G. CHAMPION, ELLESSE, NIKE

HOW OFTEN DO YOU SHOP ON THE HIGH STREET?

£10

9

Question

8

ON AVERAGE, HOW MUCH WOULD YOU BE WILLING TO SPEND ON A SECOND HAND BRANDED SWEATSHIRT?

£10 - £20 £20 - £30 OVER

1

W E E KL Y M ON T HL Y RA RE L Y NEVER

£30 EACH

REPRESENTS A PERSON

Katie Challenger

Katie Challenger

21.43% BOTH 51.79%

26.79%

Question

10

WHERE DO YOU PURCHASE HIGH STREET/LUXURY CLOTHING?

he survey was carried

out

vintage

to

awareness

determine

consumers’

of

Thrifty

Store Sheffield. While the

engaging and contributing to

known than Thrifty. This gives

advantage over competitors,

51.79% stated they purchase

online, via an app or by visiting

audience know and how they

price point for items they know

and online. Whilst 21.43% of

the vintage market - whether it’s

and purchasing from a bricks and mortar store.

first few questions evaluate

In

terms

where

gender (giving an indication

their

consumer) it also analyses how

there’s almost an exact 50:50

buys vintage or second-hand

prefer to shop online or in

street or luxury fashion and

this information as they don’t

personal data, such as age and

customers prefer purchasing

of

target

clothing, it can be seen that

often the survey participant

split between whether they

clothing in comparison to high

store. Thrifty can benefit from

Thrifty’s

current

second-hand/vintage

which of Thrifty’s

“Good for the (both local and national) they planet. were familiar Cheaper too.” competitors

with - along with

have a website for be

from, they

items

to

purchased

meaning

customers

need to

their general views on thrifting

make physical sales in order to

on the environment.

can also influence how they

in terms of motive and impact

make a profit. This information

operate online, such as starting

It

was

found

that

sixteen people out of fifty

up a Depop account where

second hand pieces monthly,

products. However, the survey

quarter of them are regularly

within Sheffield were more well

seven

graph analysis

of

bought

vintage

or

demonstrating that over a

consumers shows

other

can

purchase

vintage

stores

Thrifty an insight into what the

can produce more advertising to have a greater population of customers.

In addition to this, Thrifty

are known for cheap prices but good quality clothing which

is vital to consumers buying second-hand

clothing.

The

survey gave Thrifty an example of what consumers would pay for certain items. A question within the survey asked, “On

average, how much would you

be willing to spend on a second hand

From most

branded

this,

it

popular

sweatshirt?”.

showed

amount

the

was

ten to twenty pounds with a close second of twenty to

thirty pounds. With only five

participants stating they would be willing to pay over thirty

pounds, for Thrifty this is vital

information for them to increase sales and consumers. Knowing this information gives Thrifty an

as they can identify a correct consumers will buy.

Through-out the survey,

multiple questions were asked

these garments both in-store consumers stated they prefer to purchase

in-store. This is a

benefit for Thrifty as they can

regarding vintage shops and

enhance their in-store shopping

order to gain a well rounded

consumers preferred purchasing

second-hand

clothing.

In

understanding of this market, questions

investigate

also

needed

consumers

to

high

street buying habits. Results

indicate that consumers within Thrifty’s

target

demographic

shop from the high street monthly, with twelve of these participants

shopping

from

experience, knowing that this is type.

To conclude, the survey

has enabled Thrifty to understand what consumers from want from

a vintage brand, allowing them to adapt their marketing strategies to be in line with that of the consumer needs.

here weekly. Highlighting how

high street consumption still dominates over vintage. For

Thrifty, this means it is essential

that they place emphasis on advertising

campaigns

that

persuade consumers to buy

vintage rather than high street brands.

The

final

question

asked “where do you purchase

high street/ luxury clothing?”.

Clemmie Hyde & Katie Challenger

TARGET CONSUMER

As the most significant consumer of Thrifty Sheffield is usually a student, we can assume that their age range is between 18 and 25 and the consumer will most likely be single. The student status also means the consumer can be multi-cultural as they may not necessarily be from Sheffield, yet reside here because of their studies. Also, because of this status we can assume that they are on a low income and are usually unemployed or in part-time work. Due to Sheffield’s geographic location it is also likely that the consumer will be from a working or middle class background.

In terms of interest, it is likely that the consumer enjoys music, as this heavily filters into the clothes sold by Thrifty. Their buying habits will also mean they prefer to shop in store, as most of the products

Molly Tomlinson

are one-offs meaning they aren’t accessible anywhere else. Also, due to the nature of Thrifting a consumer needs to be able to try on outfits due to range of sizes and styles.

As a result of the consumer demographics, consumer lifestyles can be assumed. With consumers usually being students this will usually means disposable income is used to fund socialising and clothing. The political standpoint of the consumer can be identified through the brand’s social media. The store posted an Instagram photo with a picture of a T-shirt in aid of a Sheffield charity with the slogan “Donald Trump is a wasteman” - Magid Magid, Mayor of Sheffield 2018. This reiterates the consumers poitical standpoint as the store have posted this knowing their consumers will get on board and buy these t-shirts with this slogan.

Single

18 - 25

Fashion/ Music

Multi - Cultural

Male & Female

Shop in store

Low income

Working / Middle class

Going out

Student

Sheffield resident

Anti Brexit / Trump

FUTURE TARGET CONSUMER

As well as Thrifty’s current target consumer, it is also important that a future target consumer is identified. This is so that the brand can forecast how they will develop their marketing techniques to reach the widest possible audience.

In both client questionnaire and interview, Bally placed a lot of emphasis on the fact that his target consumer was relatively broad (ranging loosely from ages 13 to 60) throughout the business’ fruition, and how gradually this consumer has become more specific to young adults between 13 and 30, namely students. (Johal, 2018)

Taking information from market research, it can be predicted that Thrifty’s target consumer could become increasingly focused on the student market due to its central location (2-minute walk from the Sheffield Institute of Arts) and the average student’s lack of disposable income - linking back to the accessible and affordable ethos of Thrifty.

Marketing to this niche audience could be achieved by an increase in Thrifty’s online presence;

Clemmie Hyde

not only in terms of their social media, but also an increase in selling online via platforms. Millennials (people born between 1981 and 1997) and Generation Z (people born between now and 1998) are keen users of e-commerce due to shifts in consumer buying habits and ease of purchasing; this has in turn impacted the vintage clothing market with third party apps/ websites like Depop, Ebay and ASOS marketplace. Thrifty has recently hired an employee to manage their Depop account by photographing pieces, creating collages and uploading the images to the app along with sharing links and imagery across their social media channels.

By gaining a large following on their Depop account, it opens the store up to a much broader audience of all ages, genders, and locations.

This could potentially be hugely successful as exposure for the brand and even gives them an opportunity to sell their one off, custom, reworked pieces ‘TS Garms’. This consequently introduces a new product range to a new potential market and

thus increases market share, raises revenue and potentially adds a profitable asset to the business.

In addition to this, Thrifty’s revised logo has placed more of a focus on the sustainable element of Thrifty’s business concept and values. Sustainability is currently something of a buzz word as people are becoming more informed about the waste and pollution caused by the fashion industry. Vintage shops in this sense, however, have always been somewhat ahead of the curve by selling on second hand (or often older) clothing and accessories.

Therefore prolonging their product lifecycle and doing their bit to decrease waste. This is definitely a USP that Thrifty could capitalise on and focus their branding on further in order to attract environmentally aware consumers who want to buy into a good cause and know that their clothing has come from a sustainable, eco-friendly source.

MARKET SIZE/GROWTH

Market size and the potential for growth in a market, plays a huge role in how a business positions themselves among their competitors.

It is also essential that a brand knows what potential opportunities they could seize in a particular market, enabling them to adapt their business strategy depending on changing market conditions.

2008 brought along the recession, which was a big hit for individuals as disposable income became hard to come by. This created a surge in the demand for thrifted clothing. Since then, statistics have continued to rise, with apparel now taking up the largest percentage of the resale market in the UK. The market is set to continue to grow by 6% between now and 2027, overtaking the fast fashion market. With consumers expected to have 16% more thrifted garments in their wardrobes by 2022. This is reiterated in a quote from the CEO of ThredUP, the US leader in online resale who states, “Not just at thredUP or in apparel, but across all categories, consumers are shopping smarter and thinking secondhand first. And the number of people who are trying secondhand for the first time is rapidly increasing” (ThredUP. com, 2018)

The majority of this growth is influenced by Millennials. 40% of 18- 24 year olds, thrifted in 2017 which is more than any other age group under 40. It is suggested that this is due to the more conscientious millennial consumer who priorities sustainability over fast fashion. 77% of millennials now prefer to buy from brands with an ethical standpoint; surveys have also stated that this allows the consumer to purchase

“77% of millennials now prefer to buy from brands with an ethical standpoint.”

Molly Tomlinson

higher status brands at an affordable price (ThredUp.com, 2018).

Over the last few years, there has been less ignorance towards the fashion industry, and consumers are now starting to ask where their clothes are coming from. This has influenced the whole fashion industry including high fashion brands such as Burberry who were shamed for their bag burning stunt in 2018. This further allows the thrift market to capitalise on sustainability in order to gain higher market share and opens up opportunities to vintage stores such as Thrifty, pwarticularly as consumers are now diverting away from the hight street.

As well as the growing thrift market, the online market is growing just as fast. Meaning thrift stores also need to be conscious of their online platforms and engaging with consumers online as well as in store.

Apps such as Depop and ASOS Marketplace allow both individuals, and companies to sell their products on a wider scale.

For Thrifty, the upkeep of an online platform is highly labour intensive without reaping much reward in terms of profit. Reflecting on this outcome, Bally plans to create a Depop store which requires him to only pay 10% commissions. Meaning an appropriate communication strategy needs to be designed in order for Thrifty to increase their share within the market, not only locally but also nationality. Potential strategies for the store could include an emphasis on the stores online presence. Enabling Thrifty to gain a higher share in the growing thrift market, as consumers are able to purchase products via multiple platforms.

Clemmie Hyde

Clemmie Hyde & Katie Challenger

THRIFTY AND THE NATIONAL MARKET THRIFTY AND THE selection of the vintage pieces sold in store. By combining the vintage pieces with solely organic, ethical, sustainable materials, the clothing line could act as a highly successful USP for Thrifty as it evidences Bally’s passion for sustainable, low-waste fashion. There’s also a large market for custom pieces as it allows the customer to have a true one-off piece and creates a sense of intrigue as to what they’ll produce next.

Bargains and sales are always popular with a target audience on a budget (particularly students) which is why marketing ploys like student discount, lock-ins and kilo sales are also incredibly effective ways of gaining attention with vintage stores’ target consumers. These type of events can be relatively easy to market through use of social media and ensuring a high amount of follower engagement. This Black Friday, Thrifty instead offered “Barter Friday” which had the customer haggling for the price of pieces in the store. This differentiated the store among its local competitors, acting as a USP and a further attrition point for the store.

LOCAL MARKET

Thrifty has already been successful in seizing opportunities for collaboration with smaller, local businesses in the form of pop-up stores in the “bargain basement.”

These include independent clothing retailer, ‘Jungle Clothing’ and an instore record shop which sells a wide range of retro vinyls.

Store owner Bally, is currently organising a further collaboration with a smaller Sheffield based vintage store, ‘Ralph’s Vintage.’ The owner had approached Bally during Thrifty’s fruition for a job but eventually chose to open his own store. Although the two brands are competitors operating in the same market in the same city, both businesses are able to acknowledge that a collaboration may be beneficial to both businesses.

This would involve it’s own marketing campaign, gaining momentum and exposure from both businesses target markets - meaning overall a wider audience is reached and the potential to raise more revenue and profit.

Further potential local opportunities for Thrifty include capitalising on ‘TS Garms’ which is Thrifty’s own sub-brand that revolves around re-working and customising a

In terms of the vintage market on a national scale, online stores such as Amazon and eBay, make it easier for people to go online and purchase items directly to their door and therefore increase the vintage market’s reach of consumers.

The rise of the second hand market, however, is causing issues with high street stores as they are selling either the same or similar garments for a much lower price.

A further impact on the high street, is the increase in environmentally conscious consumers who are preferring to buy from sustainable sources in order to prolong a product’s life-cycle.

Ralph Risk, GMI European Marketing Director, explains how the younger generation perceive second hand clothing and whether it’s easier to shop online rather than to go into a brick-and-mortar charity

or vintage store by stating, “Going to a charity shop may be perceived as undesirable, but the younger generation are more comfortable with purchasing online, whether it’s for new or second-hand goods.”

(Chahal et al., 2018) particularly in this day-and-age when technology is a massive factor in the younger generations and the way they shop.

A potential opportunity for vintage and charity stores could be that if items are brought in that aren’t suitable, they could instead be sent to other countries in poverty, or areas of the country with a lower level of disposable income, reducing waste and their product lifespan is prolonged. In the UK, Glasgow, London, Belfast, Manchester and Sheffield are the most popular places for consumers to buy thrift clothing. (“UK Cities for Thrift Shops & Vintage Bargains”, 2018). This could be a

consideration for Thrifty as potential areas to open stores because there is already an established target market in these locations.

Research shows that Birmingham was the most affected by the 2008 national recession. In February 2009, 45,657 people in the city were claiming Job seeker’s allowance - 7.3% of the potential workforce. This is perhaps why Thrifty decided to open a store here because people will have been wanting to save more money and spend less on clothing. Other cities that struggled for employment were Leeds, Glasgow, Sheffield, Hull, Manchester, Bradford, Kirklees, Liverpool and Bristol; so this could make a possible market for thrift stores to expand and create more consumers, revenue and potential profit. (“Regional cities hit hardest by recession”, 2018)

Liv Walters & Molly Tomlinson

merging markets are countries with a low income rate but high growth prospects.

They are moving away from exporting raw materials and investing more in productive capacity. These markets are important as they drive growth in the global economy. The five main emerging markets are Brazil, Russia, India, China and South Africa.

Combined, these countries hold 41% of the world’s population, 5.3% of the average economic growth rate and 27% of the world’s surface (Kaye, T 2017, Oct 16, Emerging MarketsRisk & Rewards).

Kenya imports 100,000 tons of secondhand clothing each year, creating tens of thousands of jobs (Kubania, J. 2015, July 06). The second-hand market has gained popularity in Kenya as it offers good quality clothes to Kenyans who have a lack of disposable income.

According to Oxfam, more than 70% of the clothes donated globally end up in Africa. However, these wellintended donations have devoted the country’s once-thriving textile industry and there is a proposed ban on the importation of used garments which risks putting thousands of people out of work.

Mitumba in Kenya is a professional business which imports used clothes from Western Countries. The second-hand clothing comes in huge bales and is later sold for profit in Sub Saharan Africa.

The process of reselling secondhand clothing is becoming a prized fashion trend, along with it’s rapidly growing market for small businesses.

The scheme has been implemented from Nairobi, which remains a major hub for the sorting of Mitumba.

Natalie Kimani, from The Designers Studio, Nairobi, said that “There was a time when no one in their fashionably acclimatised mind would EVER admit that they got their clothes by standing in a heap of second-hand clothes in an open-air flea market. But times have changed and we’ve embraced the global hand-me-downs. We reassure ourselves that is prevents us from bumping into ten other Kenyans tromping around the CBD in the same frock,” (Kaye, T 2017, Oct 16, Emerging Markets- Risk & Rewards).

Kadago refers to a rapidly growing market for entrepreneurs with small businesses which are facilitated by new technologies.

This market gives opportunity of diverse offerings for independent designers, along with enabling a much greater access to cashless payments. However, the huge amount of Mitumba can be a threat to the Kadogo economy, as designer labels are sold for a fraction of the price, making it difficult for small businesses to compete.

Irene Abagi, the Co-founder, said “Due to poverty levels, secondhand is still the largest market. And for the middle and upper classes, in addition to availability, it’s the ability to get designer items at a fraction of the cost, sometimes still brand new with the tags on. For local designers, it’s a constant battle to remain relevant, get good margins and protect your innovation” (Kaye, T 2017, Oct 16, Emerging MarketsRisk & Rewards).

This links to Thrifty Store Sheffield as store owner Bally came from a working-class background, and relied on charity and thrift shops throughout his childhood to afford high-end clothing. This concept gave

him his inspiration for opening Thrifty, giving consumers the opportunity to wear designer brands for less and still being able to look good. Moving the brand into Kenya would benefit the business as it would give them the opportunity to expand, with much lower production and labour costs. Bally would be able to access a huge amount of Mitumba for a fraction of the price. However, this strategy could not be implemented in their current position as the brand do not currently have the market share within the UK to know that this strategy would be successful. Once they have increased their market share nationally, this could be a strategy to consider as they know the business is viable. However, moving to Kenya could create potential risks.

Currently, there are protests to ban the importation of used garments, which would jeopardise the importation of cheap second-hand clothes from western countries.

Another example of a potential emerging market would be technology. Technology has revolutionised the entire fashion industry dramatically, and is continuously evolving.

These factors include trend predicting and forecasting, dress designing and production, fast fashion trends, e-commerce and managing consumers - this has impacted the vintage sector specifically as vintage clothing is now being sold and exchanged online rather than in stores, meaning vintage companies are having to adapt their selling techniques.

Technology has also impacted Thrifty as a brand. Store owner Bally has experimented selling the stores garments on ASOS Marketplace. However, after

EMERGING MARKETS

a short while decided to no longer engage with the platform due to high financial costs. Marketplace regulations required a 20% cut for the items you sell on the site, as well as 20% VAT (Thrifty Interview, Oct 2018) alongside paying staff to maintain this platform. From this, Bally was not making any profit and wasn’t keen on having to just “give it away”. However, with e-commerce being a huge opportunity for small businesses such as Thrifty, Bally still wanted to retain an online presence. Because of this, he has set up a Depop account, enabling him to sell items directly from the store. Depop gives the brand the opportunity to sell products via an alternate platform and only pay

Depop 10% of each purchase (Depop, What about fees? 2018).

This is a more affordable approach for Bally, as he has control over pricing for garments and also delivery, increasing the businesses profit margins. Selling online on platforms such as Depop will enable Thrifty to be more relatable to the consumer and help them gain a higher market share and operate on a more competitive level.

Bally believes in the current market, that each individual has their own identity as a brand that can be portrayed through platforms such as Depop and Instagram.

Consumers affiliate to a certain trend and style and therefore buy

into the individual rather than the brand. This is important to Bally as he wants Thrifty to help consumers express their individual style. He believes that moving to be predominantly online will allow him to “offer something for everybody with the core audience catered for” (Thrifty Interview, Oct 2018).

This mirrors the Japanese market, where individuals sell individual products apart of a niche market, which market size is increasingly rising in value from their popular online flea markets (Flea market apps transforming Japan’s thrift culture, n.d.).

Liv Walters

Looking closely at our chosen brand, Thrifty, it seems there are multiple competitors in the local area. By comparing 3 opposing businesses, it will allow us to gain a better understanding of the current challenges and pressures independent thrift stores face.

Thrifty Sheffield are active on multiple platforms such as; Facebook, Instagram and Twitter.

When it comes to Facebook in particular, they have not followed through with some simple steps.

There is a tab which enables customers to click and subscribe, receive discounts and emails, which keeps them up-to-date with the store. However, after experimenting with the subscription, it was apparent nothing happened. No emails or discounts were sent and there was no acknowledgement explaining they had received my request. In contrast to this inconsistency, the rest of their Facebook page is regularly updated with new ‘garment drops’, local events and images of customers in their pieces. Although the standard of the images uploaded isn’t of the best quality, it shows they’re an active user of the Facebook app. (“Thrifty Store Sheffield”, 2011).

Ellie Johnstone

When it comes to taking a closer look at Thrifty’s Instagram, it seems they’ve got a fairly large following.

With 3K followers, they’re able reach a wider audience and enable their garments to be seen. (“Thrifty Store Sheffield (@thriftystoresheffield) • Instagram photos and videos”, 2018) In comparison to Thrifty’s following, Mooch Vintage (a local, independent vintage store) has a reach of over 9K followers. (“Mooch Vintage (@ moochvintage) • Instagram photos and videos”, 2018) Mooch is located in the heart of Sheffield. Although this may seem an advantage, the location has its downsides as it is directly centred between other vintage stores. Creating fierce competition.

In relation to Thrifty’s presence on ASOS Marketplace, it’s evident they set up a profile and didn’t continue with their sales.

This platform allows individuals and companies to reach an international audience. Contrasting to Thrifty’s non-existing presence, a local vintage store, Vulgar, has sold over 2,000 products on this platform. (“Feedback Vulgar | Vintage | ASOS Marketplace”, 2018) Along with this unique attribute, Vulgar also

promotes a section within their store, Who Dares Rodney, that features designer second hand products from outlets such as; Dior, Burberry and Prada. After speaking with the owners, the majority of their designer products are shipped from Paris.

One final major competitor, COW which is located in 5 different locations around the UK, is a wellestablished and respected brand. It seems with their following of over 40.6K followers on Instagram, (“WE ARE COW (@wearecow) • Instagram photos and videos”, 2018) they’re able to engage and interact on a large scale. COW is a rather unique brand, which highly promotes sustainable fashion. One factor that separates them from others is that they are very much into recreating new and exciting pieces, from their existing products. Some of their most popular items include their reworked Ralph Lauren Shirts, which are cropped and created into one of a-kind pieces.

Overall, it’s evident Thrifty are lacking presence and quality in some areas. With our contribution and ideas, we aim to promote and ensure the brand has a secure place in the market.

COMPETITOR ANALYSIS

Communication strategy A communication strategy is a tool used by businesses to set marketing goals and explain how these goals will be reached. This can be used by any business who wants to develop or move away from their current market position.

These goals can range from increasing market share, targeting a specific consumer or increasing profit margins.

The following communication strategy will be based on Sheffield vintage clothing store, Thrifty Store. The strategy will explore how Thrifty can become more established in their current market by capitalising on sustainability, in order to target a specific consumer.

It will also examine Thrifty’s future market position and the potential to move the business internationally.

Molly Tomlinson

Brand identity

Thrifty’s brand values of sustainability, affordability and inclusivity reflect the fact that the business originated in Sheffield, an industrial, working class city. However, the current yellow logo, while bold and eye-catching, doesn’t represent their values as a business. Therefore, it is important that the new logo after the re-branding presents Thrifty as a unisex, affordable, accessible brand that in addition, has a positive impact on the environment.

The background of the logo should tie each element together while creating an aesthetically pleasing texture to work upon.

Thrifty could use a simplified map of the city in order to place emphasis on the setting of Sheffield. The circular shape further emphasises this by presenting connotations of a wheel or a cog, commonly seen in a factory setting. In addition to this, the circular shape could also be perceived in a highly retro, 1970s sense in terms of it being the same shape as an old vinyl record, linking back to funk and soul music and it’s influence on Thrifty, particularly Bal Fashions (store owner Bally Johal’s speakeasy, also based in Sheffield).

Sheffield is known as ‘The Steel City’ and so bold, block typography (‘Bebas Neue’) is a clever

way of reflecting the city’s industrial background while remaining easyto-read and universal for logos, websites, social media posts and merchandise.

The current logo has ‘Thrifty Store’ in a thick italic style font which is effective and ties in well with their graffiti which adorns the walls of the store and shop front. Due to the brand selling a vast amount of 1980s and 1990s era clothing, having a graffiti/ handwritten-style font (‘Tahu!’) as the main logo is a fitting way of bringing a retro, youthful feel to the logo while adding an interesting contrast to the block font. The star symbol used to dot the ‘I’also links to the store’s 1970s stock and the disco feel of the vinyl record composition, it is also seen in Thrifty’s current logo so will create a sense of continuation and will allow the consumer to have an element of the brand to recognise and refer back to.

In order to utilise and capitalise upon Thrifty’s view on sustainable fashion and Bally Johal’s dislike of the linear economy and fast fashion, it is important that this also comes across clearly and concisely through a tagline or caption within the logo as it’s the first thing customers will see and remember about the brand and it’s core values.

Thrifty

Store

Clemmie Hyde & Katie Challenger

BRAND AESTHETIC BOARD

Clemmie Hyde & Molly Tomlinson

Clemmie Hyde

Brand loyalty is an essential part of any business plan, prioritising marketing strategies that will help secure a customer base that will repeatedly re-buy from your store.

The way in which brands build this loyalty needs to be specific to who the brand’s customer base is. For example, what does this consumer want from the brand? Once this has been identified, brands can place emphasis on these factors, meaning consumer’s needs will be met and they will be motivated to purchase from the brand.

For Thrifty, an element of building brand loyalty with consumers could be for staff of the store to be wearing t-shirts and sweatshirts displaying the Thrifty branding. This would mean that during staff and customer engagements such as paying for garments or asking questions the customer will be subconsciously consuming the brand logo, tagline and hashtag. With Thrifty’s new hashtag #BEYOURSTYLE these garments would be more than just staff uniform, becoming stylised

pieces that their target audience would wear. Because of this, these branded t-shirts and jumpers have to be able to be worn by anyone.

‘COLLUSION’ is a new coming of age brand, stemming from the same vein as Thrifty. The clothing range includes a range of diverse models and all garments are unisex - a major link with Thrifty as their clothing is tailored for everyone. Superimposing Thrifty’s new logo with their hashtags in various styles on to ‘COLLUSION’ items gives a visualisation of Thrifty’s core values and the target consumer they are aiming for. This variation allows for wider scope of engagement as certain consumers will prefer different styles, meaning the more individuals purchasing the garments, the more exposure there will be of the brand and thus more solidified brand loyalty.

Having the hashtag on the garments allows for further exposure, as when consumers upload photos online wearing these garments the brand logo will reach more people as well as building attention around the #BEYOURSTYLE hashtag.

Another aspect of building Thrifty’s brand loyalty is the tote bag incentive. This incentive will be used as a way to increase the brand’s sustainability and go plastic free, but to also increase consumer engagement. Because of this, now when consumers buy garments from the store, they will no longer receive their items in a plastic bag. The consumers will receive their items in a brown paper bag or they can buy a custom Thrifty tote bag at the cost of £5. This tote bag will then give them access to a 10% discount when they re-use the bag in store. The tote bag will be offered in both black and white, again to access a wider audience and offer different styles to all consumers.

In order to build brand loyalty, it is important that consumers begin to recognise Thrifty’s logo both in and out of the store, as they begin to see this logo across more platforms, they will begin to associate certain colours and typefaces with the brand; because of this, it is important that their logo appears in as many places as possible.

Consumer engagement

Building brand loyalty

Molly Tomlinson

Clemmie Hyde & Molly Tomlinson

product drops Continuing on from building the brand’s loyalty with it’s consumers, releasing a line of merchandise would be a way to enhance consumer engagement.

The garments sold would be the those seen on the staff in store, so consumers can see the garments on, acting as buying motivation.

Throughout the brand loyalty aspect of the communication strategy the ‘COLLUSION’ collection was used show visualisations of Thrifty’s new logo. However, sourcing the plain garments from ‘COLLUSION’ would not be consistent with Thrifty’s brand values, decreasing their transparency.

Therefore, the branded garments would be sourced from the same places as Bally’s current second-hand stock, meaning each individual item (personalised with the brand’s logo) would be a one off piece, also adding to the brand’s differentiation strategy.

The featured brand merchandise would be t-shirts, jumpers and tote bags, enabling a product offering for everyone, increasing Thrifty’s scope for engagement. Another way to enhance the brands loyalty with it’s consumers would be to give a percentage of the profits from the products to a sustainable charity.

This would show the transparency of the business as Thrifty would be actively contributing towards helping sustainable fashion.

Clemmie Hyde

Clemmie Hyde

This moodboard was created in order to evoke a mood for Thrifty’s upcoming “Be Your Style” campaign. The imagery is based on the recent Fall/Winter 18 Gucci collection which saw huge culture clashes embodied on the catwalk. From English tweed and Scottish plaid to Chinese pyjamas and traditional padoga hats, the collection was a reflection of the technological age and the ease with which the youth of today are able to reinvent themselves in an era of such fast paced self-regeneration. (“Gucci Fall 2018 Ready-toWear Fashion Show”, 2018) .

The general warm, autumnal colour scheme reflects the retro, 1970s aesthetic that Gucci employed throughout their collection and thus the palette Thrifty should take forward for their photoshoot.

The original Gucci campaign images are taken in a homely setting, whether it’s sat at a kitchen table or putting a jigsaw together in a living room, and so the images produced for Thrifty’s campaign will play upon this by being taken in an antique furniture store to reflect the old-fashioned, tipsyturvy nature of a vintage store.

The styling for the shoot will come entirely from stock displayed at Thrifty which will then be shown on mannequins in the window display so passersby are able to see the campaign images hanging in the window and know the outfits are readily available to purchase within.

Moodboard

Clemmie Hyde

MAKE-UP

When creating the makeup moodboard it was important that the hair and makeup of the models reflected the Gucci influence present throughout the campaign, whereby models are always fresh faced and makeup is used to enhance natural, unique features. Because of this, makeup would be as minimal as possible, exposing freckles, blushed cheeks, bushy brows and spider like eyelashes, emphasizing the eccentric garments in the campaign.

This moodboard can then be used on the day of the shoot as

Molly Tomlinson

a reference for our makeup artist, Maddie Hyde (@madzhyde). By including makeup techniques such as a glossy eyelid, a juxtoposition is created by this modern makeup technique alongside the 1970s aesthetic of the shoot, creating a campaign that a variety of consumers can engage with.

By including a diverse range of models with differing skin types, it is considered how makeup techniques would have to be adapted so that makeup was consistent whilst suiting the type of model we would use.

poses

This mood-board was created in order to inspire and guide on the day of the shoot. Looking closely at the images, its apparent attention was drawn to group placements, facial expressions and different camera angles and positionings. With the vision of a relaxed and comfortable outcome, it’s clear the mood-board demonstrates this along with a slight dazed and tranquil state. The mood-board itself is a reminder to use models which ‘fit’ into set requirements needed to achieve the desired outcome.

Ellie Johnstone

FINAL IMAGES

Models: Claire Pierce, Alice Brookes Styling : Ellie Johnstone, Molly Tomlinson, Clemmie Hyde Photographers: Clemmie Hyde, Molly Tomlinson Makeup: Maddie Hyde

Models: Claire Pierce, Alice Brookes, Calvin Klobodu, Jamie Burrell Styling : Ellie Johnstone, Molly Tomlinson, Clemmie Hyde Photographers: Clemmie Hyde, Molly Tomlinson Makeup: Maddie Hyde

Model: Claire Pierce Styling : Ellie Johnstone, Molly Tomlinson, Clemmie Hyde Photographers: Clemmie Hyde, Molly Tomlinson Makeup: Maddie Hyde

Models: Calvin Klobodu, Jamie Burrell Styling : Ellie Johnstone, Molly Tomlinson, Clemmie Hyde Photographers: Clemmie Hyde, Molly Tomlinson Makeup: Maddie Hyde

Models: Claire Pierce, Alice Brookes, Calvin Klobodu, Jamie Burrell Styling : Ellie Johnstone, Molly Tomlinson, Clemmie Hyde Photographers: Clemmie Hyde, Molly Tomlinson Makeup: Maddie Hyde

Models: Claire Pierce, Alice Brookes Styling : Ellie Johnstone, Molly Tomlinson, Clemmie Hyde Photographers: Clemmie Hyde, Molly Tomlinson Makeup: Maddie Hyde

Reflection on shoot

The 12th of December meant it was now the long-awaited shoot day. Arriving at the location (Gilbert & Sons) at 10am, Clemmie and I (Molly) scouted out a place within the store that we would use as a base, to keep all of the props for the shoot and also so that make-up artist Maddie could begin to do the female model’s make-up while we began to shoot the male models. Having shown Maddie our make-up and styling mood boards she was able to gain a visual understanding of the aesthetic we wanted to achieve, such as dewy eyelids, blushed cheeks and freckled skin. All of the models on the day had no previous modelling experience, which could have caused potential problems with the images as they could have looked forced and unnatural- this is why it was important for us to allow time for the models to relax and create an atmosphere that was enjoyable for everyone on set e.g. music playing, snacks/water available at all times.

At this point Clemmie began to start shooting the two male models, finding areas of the store that gave depth to the image and utilised the variety of furniture we had around us.

We had to experiment with different areas of the shop floor in order to get the best light for the shots as due to the underground nature of the store, much of the light was artificial, meaning we had to alter the camera’s exposure levels to balance this out.

This also allowed for the models to start warming up behind the camera and build a relationship with one another that would be translated within the images. After both female models had finished having their

Molly Tomlinson

makeup done, I began to shoot.

Referencing back to our mood boards we knew the straight faced, editorial style images we wanted to create and so began to experiment with angles and poses that reflected this style. At this point the models were warmed up, altering their positions seamlessly through every shot. This gave us the confidence to add more direction to the shoot, and experiment more freely.

After around two hours of shooting, we had a break for lunch and got our models some welldeserved hot drinks in an attempt to warm them up. This point gave Clemmie and I some time for reflection on the images we had taken and to formulate a plan of what we wanted to achieve after lunch.

Whilst the models had some lunch, we scouted out the other two floors of the store and found appropriate backdrops for group shots, meaning no time was wasted.

Whilst on our lunch break, we noticed that the camera we had been given for the shoot was running out of battery, and the camera case did not include a charger. Being faced with this challenge in the middle of a shoot day, particularly as the location was extremely cold for both us and the models, we had to come to a decision quickly and efficiently in order to remain professional and not waste any time.

We decided that I would go back to our university building and rent out another camera, whilst Clemmie stayed with the models and assisted them during their outfit changes.

Upon my return, the models were set to go for their second round

of shooting, and we got straight to it.

At this point it was imperative that we got a combination of group shots with all 4 models, as certain models would have to leave early due to prior arrangments. By this point we definitely felt more confident shooting, and were able to achieve shots quicker than we had done in the morning. Also, as the models had now been together for a few hours, there was a more relaxed atmosphere and shots became more personal.

Overall, the experience was extremely positive, and we managed to produce shots far above our expectations, with thanks to a perfect location and professionally behaving models. However, should we do the shoot again we would make the following amendments: Going to the store beforehand to scout out a place for us to keep everything needed for the shoot such as clothing, props and make-up; as on location there was minimal room for these things and at times, they were difficult to access during shots. We would also be more aware of the location temperature, as on set it was extremely cold meaning models were not always comfortable when shooting. Being aware of this would mean we could warm models up in between shots and also bring equipment to create a comfortable climate such as heaters. Lastly, we would make sure there is always back up chargers for electronic equipment such as cameras and laptops. This would avoid any challenges such as what we faced on shoot when equipment runs out of battery, as this loses time and can be seen as unprofessional in front of models and other team members.

Molly Tomlinson

Advertising concept

In order to promote Thrifty’s latest Gucci campaign, it is important that campaign images are placed in locations that will be seen by the target audience of the store.

Market research indicates that prime locations for vintage stores are in major cities, this is due to the high footfall seen in these areas meaning a higher rate of exposure to a wider audience. There are also a few key cities that have been noted for their particular standard of vintage shopping such as Glasgow, London, Manchester and Sheffield. Making it important for the brand to promote the campaign in these areas as they attract individuals for vintage shopping particularly.

Due to Thrifty’s target consumer being predominantly students, Sheffield is a major city the brand needs to promote within.

Sheffield hosts two universities both holding a combined number of 61,000 students (Sheffield, 2018).

Thrifty can capitalise on this as their original store is based in Sheffield, meaning they can market specifically to this audience. Because of this, it is essential that the images used within the posters reflect the target audience, as students will be able to identify with the images, and thus engage with the brand. For example, the poster images must include models in the same age range as the target consumer as well as reflect their style and aesthetic, displaying garments that they would want to purchase and wear.

The typography used within Thrifty’s new logo must also be included within the poster

campaign, so that the consumers will begin to associate these fonts and styles with Thrifty, enhancing brand loyalty. Specific information such as logos, tag-lines and hashtags must remain a consistent feature of all campaign posters. Meaning the brand logo, tagline and campaign hashtag #BEYOURSTYLE will be unconsciously consumed by everyone who sees the campaign on the billboards. The colour scheme of this typography is also a factor to carefully consider, as this needs to be tailored to the image and also connote the aesthetic of the store.

Because of this, warmer tones such as oranges and browns are used to connote the retro influences of the 1970’s funk and soul scene that are so present within the brand. This colour palette acts as schema for the consumer, as they will already have these same existing connotations attached to this colour scheme, meaning the consumer can gain an understanding of the store aesthetic having only looked at the poster.

This will help to promote the brand further as it gives consumers another element to identify with, such as being born in the 1970s/1980s, or an interest in this style of music.

Motivating them to physically go to the store, increasing the brand’s likelihood of making sales.

The distribution of these campaign images are a key aspect of the brands marketing mix and so careful consideration needs to be taken when composing these poster images, as they are a vital line of communication between Thrifty and their target consumer.

Ellie Johnstone

social media presence

Molly Tomlinson

Ellie Johnstone

Molly Tomlinson

BRAND COLLABORATIONs

Brand collaborations allow brands to alleviate their market position by combining their current marketing strategies with that of another business. This combination increases reach for both brands, as consumers from can now readily access another brand that they otherwise wouldn’t have. This synergy allows businesses to play upon brand loyalty, as consumers will automatically trust and buy into brand that is collaborating with a brand they are loyal to. This is an important marketing technique for Thrifty, as they can gain access to a much wider audience without having to change their marketing strategy.

With 92K subscribers on YouTube and 189K followers on Instagram, Megan Ellaby, blogger and creator of fashion line @saturday_bymeganellaby would be an ideal brand collaboration for Thrifty Store. Megan creates fashion and lifestyle YouTube videos, usually centred around vintage fashion gaining at least 25K views per video.

A potential collaboration between the two could be a vintage “haul” using clothes from Thrifty Store.

These types of video are largely popular on Megan’s channel, meaning Thrifty would be exposed to a large consumer base, all of which interested in vintage fashion as they will have actively chosen to watch the video.This opportunity would not only allow for exposure but also allow for consumers to gain a deeper understanding of the brand and their sustainable ethos which differentiates them from other vintage stores.

Another potential collaboration for Thrifty could be the opportunity to style mayor of Sheffield Magid Magid at a press event. This collaboration would be in keeping with the “Steel City” essence of the brands new logo in our communication strategy. Magid and Thrifty already have levels of communication, as Magid follows Thrifty on Instagram and Thrifty have also posted a picture of him wearing a “DONALD TRUMP IS A WASTE MAN”

slogan t-shirt. This gives us clues on the consumers political standpoints, as the store have posted this photo knowing consumers would engage with this and buy these t-shirts.

Consumers of the brand support the ethos of Magid and all he stands for and thus styling him would attract this consumer to Thrifty. This is because they trust Magid as an individual, meaning they will automatically trust Thrifty as a brand. This mirrors the Japanese market, which focuses mainly on individuals gaining the trust of the consumer rather than the garments being sold.

Store owner Bally is also the owner of a speakeasy bar in Sheffield called Bal Fashions. Due to the musical influences filtered through the brand, from the in-store music to the updated Soundcloud playlists, a DJ night at the

speakeasy could act as a potential venue for a pop-up store. Making the event ticketed would allow the brand to build a buzz around the event and increase their exclusivity. Consumers of Thrifty are also the target market for the speakeasy, as the bar usually host local DJs such as Saul Sessions who attract the 1835 target age range.

T h e popu p

would take place at the event, allowing for consumers to shop the stores collection whilst emerging themselves in the music. The event would be an immersive experience for the consumers, with aspects such as a photo booth. This photo booth would contain props branded with the Thrifty logo and hashtags such as #BEYOURSTYLE, which consumers would then be prompted to post across their social media channels using the same hashtag. This will increase brand awareness online, and also build a strong rapport between consumers and the brand, influencing their buying decisions in the future as they will favour Thrifty over other vintage stores. Upon arrival at the event, consumers would receive a free tote bag which would allow for an in-store discount. As well as building brand sustainability through going plastic free, this would also mean consumers are more likely to visit the store knowing they can receive a discount. A further benefit of this would be that consumers will be wearing the bag in and around the city, acting as free promotion for the brand.

All of the above collaborations would strategically help enhance Thrifty’s market performance, enabling them to access markets they haven’t been able to enter before such as YouTube. The collaborations will also encourage consumer engagement, through increased exposure.

Engaging on different platforms will also help the brand to be able to develop their price, product, place and promotion techniques.

Molly Tomlinson

magazine features

In relation to how Thrifty could market themselves on a local scale, a potential path would involve being featured in a Magazine or Zine. EXPOSED magazine is a wellrespected publication, which is located and distributed around Sheffield. The magazine itself features a monthly update with a contemporary feel, touching up on topics including: LGBT+, Music, Culture, Fashion and Nightlife - all of which are representatives of Thrifty.

Therefore, theoretically, if Thrifty were to be featured in EXPOSED, the content would include recent projects they’re getting involved in, discounts and kilo sales in the nearby future and additionally, Thrifty could advertise their most recent campaign. With their reach of over “10,000 people throughout the area,” and an email database which contacts “over 17,000 people” (“Advertise With Us - Exposed

Ellie Johnstone

Magazine”, 2018 on a subscription for their weekly newsletter, this publishing would give the ‘locals’ a feel for the brand and could potentially increase their sales due to the fact that newer consumers are being exposed to their business.

In relation to marketing Thrifty on a more international scale, some independent magazines and zines that promote sustainability would be a great opportunity to pursue; starting with ‘Human Being’ it’s apparent that this bi-annually printed magazine is captivated by all things ‘genuine’. On their website they’ve specified they’re “interested in the Human: the genuine stories and experiences behind goods bought and sold.” They believe in “honesty, smart systems, beauty and good.” (“About”, 2018) With their emphasis on optimism, featuring Thrifty in this magazine would enable the brand to promote their “two fingers up to the

fashion industry” viewpoint.

Buffalo Zine is a slow-paced publishing magazine. With their highquality content and their “exploration of the back alleys of style,” (“Buffalo Zine”, 2018) Thrifty would be a key candidate to be featured. Releasing their content bi-annually enables them to cover hundreds of issues relating to fashion and the creative world. Within their latest issue, ‘Fashion’s Kitchen’, there’s over four hundred and fifty pages. With this coverage Thrifty would be able to educate, inspire and engage the consumers with the positives of the thrifting industry and the projects they’re working on to continue this journey. Buffalo’s stylistic approach to the magazine itself is very fitting to Thrifty’s latest campaign. With their crazed and floral attitude and their “maximal” approach, it enables consumers to be fully immersed and transfixed on their publishings.

Ellie Johnstone

CONCLUSION

With a new re-branding package Thrifty now offer a shopping experience with a sustainable incentive. This has been demonstrated by various changes to their current marketing strategies.

The encouragement of avoiding plastics and exchanging it for branded tote cotton bags, along with the release of merchandise worn by the employees themselves will not only unconsciously influence consumers but will also create an environmentally friendly approach.

The campaign itself is in the process of being released to the public eye. With teasers on Thrifty’s Instagram, A0 posters decorating the shop windows and the vision of flyers being given out around Sheffield City Centre. The interactive process will increase their reach of consumers.

Concluding this communication strategy, it’s evident a new brand asset has been introduced and due to the opportunities Thrifty have been given, they can work upon them to further their success within the market.

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