PROPOSAL
A BRAND PROPOSITION FOR A REFINED WOMAN (45+)
FINAL MAJOR PROJECT/MA Fashion Management and Marketing Laura Kloos
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EXECUTIVE SUMMARY In this proposal I will be outlining themes which have informed the formation and direction of the research question for my final major project. These engulf areas of fashion and culture which I wanted to explore in depth. Through fluid and on-going research and investigation of these a research question began to form a focused and current research project. The project with the working title ‘Grey Matter’ is both in line with my own interests within fashion and lifestyle. I will also show that the Research question is a relevant one and an area of fashion industry that is desperate and ready for progressive development. By defining and exploring these themes, examining their common threads, driving factors and their fashion contexts I have created a detailed and thorough plan of investigation in relation to the proposed research question. I believe that the Final Major Project that I am proposing will reap findings that will be transferable and be of substantial value to industry. In this proposal I will be presenting some preliminary research to show this.
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CONTENTS
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EXECUTIVE SUMMARY
17-43. EXTERNAL ANALYSIS & CURRENT MARKET SITUATION
6-11 THEMES
9.
12-13
RESEARCH QUESTION
CONTEXT
MIND-MAP
44-47. CONSUMER ANALYSIS
48-55.
56-58.
RETAIL
THE FASHION ELEMENT
59-62.
63-65.
66-67.
68.
RESEARCH PLAN & DESIGN FRAME
TIME MANAGEMENT
PRIMARY AND SECONDARY RESEARCH
READING LIST
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10.
14-16.
FMP PROPOSAL
OUTPUTS
WIDER THEMES
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Retail environments Are traditional retail models outdated? Consumer engagement within retail in the digital age
Evolution of consumer Visual merchandising
PMD are used alongside shopping and to research brands and after purchase to share experiences
The way consumers engage with fashion product The way consumers engage with fashion brands
The multi channel platforms on which we engage with fashion. (Promotion, marketing and product)
Pace of life/use of time
Evolution of fashion The modern consumer psycho-graphics/demographics
Evolution of fashion production and its effect on supply chain.
-Who are they -Where do they go -How do they spend their time -Where do they shop -What are their attitudes about money
Implications on sustainability and routes to market Fast fashion Fashion seasons dissapearing Increase in entrepenuers
Spending power Consumer is used to being targeted for marketing and becoming more resilient
Experiential marketing Blurring lines between event spaces, retail spaces, exhibition spaces and alternative selling environments
Curated Fashion
Convergence retail
Shopping as an event
Interactive tech retail
Pop up stores
Concept stores
Attitude toward shopping
Society and culture
Smaller markets
Retailtainment
Fashion as an extension of self means that we associate ourselves with the clothes and labels we wear and they are expressions of our identity as well as the way we shop
Bleisure (Business and leisure)
Emerging designers
Attitudes toward fashion Seamless experience of online and offline
More involved consumers More consumer contribution
Accessible Luxury Generation Y & X/millennial/ Flat age Inclusive fashion more fragmented markets Throw away fashion
Fashion intergration with Lifestyle within a retail in line with consumer culture.
Increasing availibility of customization ready to wear 7
Fashion industry landscape What are Routes to market for small labels independent labels
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RESEARCH QUESTION What is the role of fashion retail as an extension of brand, with a focus on the consumer engagement with brand and product in physical retail environments for women over 45?
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RESEARCH THEMES ‘Grey Matter’ I used these themes as a starting point for some inductive research and allowed my interests to shape and narrow down wider themes. Once I had defined the research question, I applied some of the emerging findings. As my initial findings became more focussed I no longer found this map of themes useful. In order to further confine and define the themes I applied them to the research question to get a map which better reflects the development of the project, some areas remained unchanged.
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An ageing population
Spending power
Fa s h i o n E n g a g e m e nt
R eta i l e nv i r o n m e nt s
s o c i et y a n d c u lt u r e a n d t h e e v o l ut i o n o f t h e 4 5 + c o n s u m e r
Consumer engagement with retail brands in the digital age
Visual merchandising
Sterotypes about what this demographic wear
The modern older consumer woman psycho-graphics/demographics -Who are they -Where do they go -How do they spend their time -Where do they shop -What are their attitudes about money
The way consumers engage with fashion product
Luxury Consumers PMD are used alongside shopping and to research brands and after purchase to share experiences The 45+ Demographic is the largest growth group using social media
The multi channel platforms on which we engage with fashion. (Promotion, marketing and product)
An overlooked demographic?
More involved consumers More consumer contribution Accessible Luxury
Fashions approach to this demographic Fast fashion vs Slow fashion Building emotional connections between brand and this market
The way consumers engage with fashion brands
Older women Online hangouts
Seamless experience of online and offline
Older woman labels
Interactive tech retail
Attitude about fashion
Experiential marketing
Blurring lines between event spaces, retail spaces, exhibition spaces and alternative selling environments
Fashion as an extension of self means that we associate ourselves with the clothes and labels we wear and they are expressions of our identity as well as the way we shop Curated Fashion Concept stores
Consumer is used to being targeted for marketing and becoming more resilient and selective
Attitudes about shopping
Age appropriateness Mutton dressed as lamb?
Bleisure (Business and leisure)
Attitudes toward fashion
The fashion Zeitgeist of 45+ Woman
Convergence retail Fashion intergration with Lifestyle within retail in line with consumer culture.
Retailtainment Shopping as an event Pop up stores Retail as a social activity
Developing a Retail environment that improves and enhancer consumer group
Retail environments suitability for this market?
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Building emotional connections between brand and this market
Problems with fitting for an older womans body
P ERSO NA L C ATALY ST As a woman approaching a milestone age (turning 30 this year) I am aware of the pressure felt by woman to get better with age, to be progressing in all areas of life. I am at a stage of my life when I am looking around me at my peers and all of our lives are changing. Also I am at a stage in my personal development on a Further education course, and a young daughter. All this has me thinking allot about my future, and the future and life cycle of women in general.
CULTURE, SOCIETY AND THE EVOLUTION O F T HE 45+ W O MA N
CONTEXT
The modern day consumer of fashion today is experiencing and engaging with fashion brands and products in a different landscape to the consumer even as recently as 10 years ago. The digital age has transformed the environment we are living in. We have knowledge at our fingertips and as a consequence we are changed as people and as consumers. It has changed our perceptions of life as a whole. We see our friends differently. They present their lives to us on social media platforms and we in return do the same. Social media is creating a voyerous way of consuming information. We have a wider view of life then we have had before but we are more in control of what we engage with. We are entering what has been described as a conceptual age (Success in the Conceptual Age: Another Paradigm Shift, William G. Huitt). Our attitude toward shopping, and fashion is changing as are our approaches to these topics. Access to knowledge shapes our perceptions of fashion, of society, of our own identities. The digital age is also evolving the way we shop. We use personal mobile devices alongside our shopping. To research brands, and product, compare and review product and shopping experiences, before, after and during purchase or experience. Consumers are aware of their power and aware of their ability to impact business. They know that they are influential and they use
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this power to choose more carefully then before which brands they give their attention and money to. They are accustomed and therefore becoming more resilient to the tactics employed by agencies and brands who target them for their spending power and instead opt for brands who offer them authentic experiences and product that they relate with and connect to on an emotional level. To add to this highly competitive environment, we are inundated with choice in an increasingly fragmented society where everyone has the platform on which to create, whether that be content, or start up business. We ourselves exist on multiple platforms. But also they are starting to blend amongst each other. It is becoming increasingly difficult to live compartmentalised lives and life is responding to this by changing the landscapes in which it is playing out. This will have a knock on effect on how retail environments will be. There truly is something for everyone. Consumers have expectations from brands today they didn’t have just five years ago. Marketers have access to communication and engagement channels they didn’t have five years ago to listen and meet consumer expectations. We are applying these higher standards not only to brands and business but we expect more from ourselves because we are more informed. We are subjected to constant images of optimized versions of life through media and we ourselves subject ourselves to these same high standard and portray the optimized version of ourselves through social media. This is changing the landscape of society. We as a society are not aging the way we once did. As cliché as it sounds you really are ‘as old as you feel.’ And it seems we are feeling older later then we have done in the past. If life once began at thirty, today it seems evident that life begins even later still. Consumers are aging differently and engaging with fashion differently. Ideas of age appropriateness have become less and less constricting to the way consumers dress today. Life expectancy is longer then ever before. The family life cycle is not what it what however many years ago and revisions are being made to address these shifts in the way society is evolving and the effects it having on us as
individuals. What the new young at hearts have created is a flat age society of women who are still as interested in fashion, have disposable income, and want experiences and to be included and represented in a way which is more in line with their mentality. I will explore this consumer evolution in this study as well as the sliding effect it has on culture and society. I will illustrate how over 45’s and millennial have allot in common and how fashion trends are becoming undistinguishable between the two groups. Over the last few years there has been a shift in paradigms and what was once a youth obsessed fashion and beauty industry, seems to be starting to embrace the more mature woman.
In my case studies I have shown retailers creatively redefining the role of physical commercial space. The proposal will show a number of case studies in order to create a brand proposition which will design a retail environment in-line with the needs and desires of the 45+ Woman.
45+ Women are the consumers at the core of the identified themes and in turn the research question is consumer focussed and driven. Preliminary research will delve into this woman’s Zeitgeist and fashion engagement. Marketing paradigms represent a fast change in consumer behaviour. This shift in consumer behaviour along with the rapid pace of marketing technology tools, requires marketers to consider their impact on current and future marketing programs. RETAIL ENVIRONMENTS This is a crucial time for physical retail. Retail is a thriving environment and prime example of creating blended environments. We are at a point where our digital environment is evolving very fast. Our landscape is changing quickly. Not so long ago technology used to be something which was seen as a young persons vice but that’s no longer the case. Technology has fully integrated into all our lives and revolutionized retail. The integration of technology in physical retail environments is just one example of this interplay between our digital lives and our physical interactions. Through my research I have highlighted case studies which show ways that some retailers have gone about utilising technology to create seamless interactions between their online retail and physical retail environments.
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OUTPUTS 1.
BRAND PROPOSITION
In the form of a book Outlining concept for a retail Brand to Launch in August 2016. It will include the Brand overview, Brand statement, Mission statement, Vision statement, Social responsibility plan, Brand identity, Brand positioning, Brand story, Brand design, Brand appeal, Brand equity and it will detail the product. (The outputs listed below will serve to support the brand proposition). 2. LINE LIST A comprehensive Line list of 5-7 Brands and curated product/garment. 3. ONLINE HUB A mock up of how the brand would appear online in order to create a blended convergence retail situation. 4. M A R K E T I N G C A M PA I G N P R O P O S A L Outline of marketing tactics and strategy. Timeline for execution. Plan press coverage detailing the publications to target and Any other methods of marketing 5. M E D I A PA C K Including a brand book/look book to show the curated range for AW 2016 and an information pack communicating the brand to support Brand proposition. 4. CONSUMER PROFILE This output will define a multi-variable segmentation approach incorporating psycho-graphics, demographics and geographics (a ‘portfolio’ of relevant segmentation variables and consumer behaviour in order to compile Typology) 3 segmented market profiles of women 45 years of age and older.
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BRAND PROPOSITION Outlining concept Dissertation
CONSUMER PROFILE
Condensed market research 40+ Phychographic
MEDIA PACK
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BRAND BOOK CONSUMER REPORT
MARKETING CAMPAIGN PROPOSAL
Research findings about consumer
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Outlining Strategy
ONLINE HUB
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Press release Communicating brand
BRAND PROPOSITION The brand proposition is the main output of The proposed study into Retail for the woman aged 45 and over. The brand I am proposing will create experiences around fashion. The product is curated fashion and lifestyle brands in line with the target market. A retail experience designed with a focus on the social activity of shopping and encouraging engagement with product. A modern and forward thinking brand using technology to aid the older woman’s engagement whilst shopping in a blended environment, a seamless extension of its digital presence and in line with the Flat age consumers lifestyle. The commercial aspect is not at the forefront of the sales approach. It is a retail space which sits somewhere between a business to business event, a consumer targeted shopping situation and a Leisure and entertainment facility.
AIM AND PURPOSE The aim of this study is to answer the research question through practice based research of a brand proposition and it’s supporting outputs. Informed by academic research and research led practice in order to communicate, and execute some of the proposed elements of the brand proposition. To that effect the concept and brand will be strategically in line with the finding of the research. • • • • • •
Exist across multiple platforms (online and physically) To create a seamless experience of engaging with brand, purchasing product and being a part of that brand identity. Successfully merge the consumption and experience of fashion with day to day lifestyle without Integrate technology into the experience in a way which is accessible and fun without taking away from the experience of real life experiences not distorted by it but enhanced. Fully shoppable and commercial (financially viable as a business concept) In line with the identified target consumer in terms of product, and experience. Redefining the approach that fashion has in communicating and engaging this consumer group.
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Age structure of the UK Population
AN AGEING POPULATION This demographic is growing in size and statistics show it will continue to do so. As show in the consumer analysis of the market, they are real drivers of the luxury market.
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E N V I R O N M E N TA L A N A LY S I S THE LANDSCAPE
S O CIA L IMPLICATIONS Socially the subject is rich in academic discussion. It is a subject which is inherent with negative sterotypes, and woman suffer the brunt of it. The topic of the portrayel of women and older population in media are recurrent in history and they remain in modern times to be debatable subjects. If you type ‘frumpy’ in Google images the results show pages and pages of older badly dressed/presented women. In three pages of results there is only one image of a male. In the realm of fashion age is again a subject which raises much debate. The aging population has implications that go far beyond fashion, my research has taken me into areas such as the consequences of stereotyping on health stating that a person with a positive non-stereotypical view of themselves can live as long as 8 years longer than the negative opposite scenerio. Societies obsession with youth is an unrealistic and unhealthy one. There is no question as to the positive effects on the recent phenomenom of this ‘old is the new black’.
RE PR E S E NTATION
Popular culture and notoriously fashion underrepresents this age group and is obsessed with youth. The press coverage and frequency suggests that the demographic is currently on trend, it is hard to tell weather this is a trend thats a trend that here to stay but there has been some comments in the media from an order market in response to the Advertising feauring these older models that suggest that it doesn’t neccesarily appeal to them. Old age stereotypes are expressed in the representations and portrayals of older Adults on television. Unlike the real world, the social world of television is not very age diverse. Although about 12% of the U.S. population is 65 years or older, only 2% of the TV characters are in that age group (Gerbner & Ozyegin, 1997). Jake Harwood (1995) counted the older (defined as age 60+) main and supporting characters on 40 of the most-watched TV programs in 1995. Out of a total of 490 characters, only 29 (or 6%) were older adults. (Understanding Age Stereotypes and Ageism)
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E X P L O R I N G S H I F T I N G PA R A D I G M S The evolution of ageing “They have money to spend on meaningfully connecting to themselves, their friends and relatives, and the world around them – including travel that combines comfort with adventure. They’re busy comparison-shopping online and are ripe for fun, innovative delivery services. They don’t want be told they need to buy anti-ageing products; they want to be told they are beautiful just as they are. They want to get fit and tone their bodies for post-divorce romance and dating.” -A report on Flat agers on LSN:Global
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W O M E N I N P O P U L A R C U LT U R E & FA S H I O N
Popular culture is full of examples of middle aged women and older who are stylish and whom have gotten all the more powerful, and affluent with age. Women whom have achieved great things for which they are acknowledged. The fashion Industry is controlled by such women whose contribution to fashion have been substantial. •
Anna Wintour English editor-in-chief of American Vogue, a position she has held since 1988. In 2013, she became artistic director for Condé Nast, Vogue’s publisher
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Maureen Chiquet is the CEO of fashion house Chanel, a role she has been in since 2007. She is also the CEO of the clothing chain Peek Aren’t You Curious, She is 52.
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Grace Coddington is a former model and the creative director of American Vogue magazine, age 74.
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Carine Roitfeld is the former editor-in-chief of Vogue Paris, a position she held till, 2011. A former fashion model and writer she is 60.
Linda Fargo, Linda Fargo is responsible for spotting and shaping the trends that ultimately end up in one of the most important luxury department stores in the world Bergdorf Goodman’s. Acting as Senior Vice President, she is said to be one of the most recognizable figures during Fashion Week.
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Fashion Designer Diane von Fürstenberg is a Belgian-born American fashion designer best known for her iconic wrap dress. Age 68.
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Sara Blakely is an American businesswoman and founder of Spanx, a multi-million-dollar undergarment company. 44
Donna Karan, Donna Karan and DKNY’s Creative Director. By age 26, Karan was the head designer for Anne Klein. By 1985, Karan debuted her namesake line. In the year’s that followed, Karan expanded into everything from jeans to fragrances, building up such a successful brand that in 2000,she sold to LVMH, in a deal estimated at $450 million. She’s remained on as Creative Director.
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Jill Sook is one of just six self-made billionaire women in the U.S., she cofounded retail chain Forever 21 with her husband Do Won Chang.
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52 Tilda Swinton
65 Anna Wiintour
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Naomi Campbell 21
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43 Jada Pinkett
Madonna 22
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66 Helen Mirren
Grace Jones 23
M U LT I G E N E R AT I O N A L M A R K E T I N G
Images used commonly in advertising have been those which have featured young models but seem to be targetting an older generation. This Louis Vuitton Fall 2012 Ad image is an example of this. Consumer behaviour In Fashion (Solomon and Kabolt) touches on multi generational marketing and states that “the old can become hip as a new generation discovers it” and that ‘marketeers make use of ‘Multi generational marketing strategy’ using imagery from an older generation that also turns on a younger generation.’ However this image from Louis Vuittons
2012 fall campaign would appeal more to an older audiance. Not only in the marketing style, or the Nostalgia of the scene portrayed but also in the fashion style it sells. I have also noted the use of using a wide range of ages in an Ad in order to appeal to more consumers and perhaps to soften the use of older women. It also makes for an interesting image with more dimension. I have included multiple examples of this on the pages that follow.
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THE N O S TA L G IA S CALE
NO STALGIA SC A L E
Adults over 30 are particularly susceptible to this feeling of Nostalgia. A scale has been developed ‘age sex and attitude toward the past as predictors of consumers’ aesthetic tastes for cultural products’. Journal of marketing research 31. This is something i would ike to explore further whilstl ookining at marketing in answering the research question and creating the strategy output proposed. There is a reoccuring phenomenom of portayels of young women dressed in fashion styles synomonous with an older woman or an older generation. Not in the way that fashion inherently evokes/ renues a fashion era (currently the 70’s is on trend) but rather the trend itself is ‘granny chic’. It is hard to judge exactly when or how granny style became current and chic, but this shift has occurred both within fashion and more widely. Lisa Savage of Petite Tuques, a website offering knitted goods and patterns, claims In an interview published on Knitrowan. com that “knitting has always been perceived as a ‘granny hobby’ however as a young women herself she’s noticed a real shift in the kind of people picking up this skill. In 2011, it was reported that sales of John Lewis yarn and other haberdasheries had more than doubled in some cases on the previous year.Google UK also reported that searches for knitting had increased by over 150% in 2011, while the search term ‘knitting for
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beginners’ has increased by 250%. Research by LSN:Global reports that millenials and Baby Boomers have more in common then any other two demographic groups. Again it is difficult to attribute this phenomonem to any one cause. It may be that being an aging population, the older generation are having a stronger impact on culture, or it may be as already covered that we are aging differently and that today older woman is just cooler then ever and therefore being emulated by younger generations. This on top of the fact that as numbers (and spending power) of this market increase, and they continue to be a seriously lucrative consumer group to target, are strong driving factors factors behind these trends.
TRENDING
‘Senior Citizens’ by Baldovino Barani for SC Morning Post January 2012
Granny Chic. Jalouse Magazine- Photography Ami Sioux
Featured in trend reports such as Trendhunters ‘Urban Granny style spreads’, ‘Granny Prepster looks’ ‘faux Granny Supermodels’ which covered the Jean Paul Gaultier show 2011. While the faces of the models were youthful and wrinkle-free, their locks glimmered in shades of grey. Is this a way to target the older generation who have the money to spend on higher end fashion, or is this just a fashion statement, a creative paradox? But is this a topline trend or a gradual diversification of fashion to reflect the reality of life. The Sun Newspaper article ran an article as far back as four years ago with the headline “Gran Designs, Feeling frumpy? You’re on trend”. This correlates with the Hipster trend that has a similar style and aesthetic. There is allot of literature and theory I will draw on in my research when exploring reasons as to why. This is something I will look at whilst writing the Dissertation.
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MARKETING & FOCUS GROUP So it seems only natural then that the older woman feature in Fashion and beuaty campaigns. If she is the target Market this seems to be the natural assumption. The question is then, why has this not been the case. The fact is that untill this recent shifting paradign the older woman has not been portrayed or perceived as somone to aspire to become Society is still obsessed with maintaining youth. and lets face it with age comes drawbacks that no matter how positively it is portrayed are none the less drawbacks. The topic of Aspirant groups (the group to which the individual would like to belong) and Dissciative groups (groups to which the consumer does not want to belong to or be seen as belonging to) is discussed in literature about fashion marketing and plays a role in this debate.
be seen as old, or even feel old. So then how are images of older woman being used to sell to them actually receieved by them? This is something I wish to explore in Primary research by carrying out a focus group. I plan to have 10 or more particI pants. I have prepared a focus group image bank. A compilation of marketing images (including some of those from this proposal). I will record how the images made the partipants feel about the brand, the product and any other rlevent feelings. Did they find it effective in selling to them? The following exerpt is taken from a piece written by . One example of an older woman who like many does not aspire to look old, and is not seduced by the use of women closer to her old age.
The difficulty with marketing to this age group is that they do not want to think of themselves as ‘old’ nor do they want to
Well, forgive me for being cynical. Deep down the fashion industry doesn’t for a moment believe that older women can be style icons, and never has. This is not about grey power, but about the power to shock.mFor the way in which these older women are photographed by the fashion industry — all sagging skin and lifeless hair and stark lighting with its deep, dark shadows — does them no favours. The images are striking and headline-grabbing, but they are not designed to lure my generation into the shops. I am 74 and have spent more than 50 years in and around the fashion industry — and believe me, there has never been a time when youth was not worshipped as the most desirable quality in a woman. Every woman, whatever her age, was always assumed to want it. Why on earth would you aspire to look old? Sandra Howard for the Daily Mail
“Designers and retailers need to do a better job of merchandising to people over 40” The CEO of Federated Department stores
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Julia Roberts
47 Joan Diddion for Celine ss15’
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Using these huge Iconic names draws on the shared memories of sub-cultures and on their common experiences and shared beliefs. They bring an equity to the brands whose ads they feature in. Playing on this idea of Nostalgia as a tool for selling product. “Product sales can be dramatically affected by linking a brand to vivid memories/ experiences “(consumer Behaviour). The use of Joni Mitchel (singer Songwriter) and Joan Diddion are prime examples.
Joni Mitchel
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Iris Apfel
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“Without a doubt there’s been a trend certainly for the last 10 years of marketing, away from beautiful models who are airbrushed, to real people,” Jeffrey Buchman, professor of advertising and marketing communications at the Fashion Institute of Technology This may be positive and progressively diverse but the question remains, how effective is it?
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E X T E R N A L A N A LY S I S As part of my research I have engaged with the Zeigeist of this market.
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A N A LY S I S O F D I G I TA L P L AT F O R M S
Online retail pla tfor ms and websites targetted at the more mature market. In order to research the creation of an online platform as one of the outputs I have looked at those that exist currently. If Fashion industry has been reluctant in the past to represent women of a certain age, society has taken it upon itself and Bloggers and Instagrammers etc have used these platforms to take matters into their own hands and do so succesfully. When you explore outside of the range of individual style blogs however (blogs created by older women showing their own personal style) what I found is that in most cases, the content is often derogitory, Whilst I understand that the content is targeted at an older market, and in some examples such as Granny net is probably intended for a readership of 70+ I still found the content suprisingly foccussed on the negative aspects of aging. Bad health was a recurrent theme, as was plastic surgery, and ‘what not to wear at (insert age her)’ articles. The exception to the rule and by far the site that was referenced most often in journalistic literature around the topic was Ari Seth Cohens Blog ‘Advanced Style’. The press page on the blog alone speaks volumes for the popularity of the site and I found during my research that a great number of the images I have added to my image bank of stylish women have originated from this Blog. Ari is a photographer who started the blog as an ode to the older and stylish women of New York. he simply posted street stlye photography. he went on to produce a documentary of the same name which i have also watched as part of the research and he has helped cast a number of older models for luxury labels such as the Lanvin image shown on page 34. With the exception of ‘Advanced style’ however the sites targetting this market is quite poor. The design of these sites particularly lacks lustre. The most modern one that I came across was ‘Chic at any age’ and whilst this covers more content then individual style and also functions as a retail platform even this was not particularly attractive in design. This research has highlighted a gap in the market which could be potentially lucrative. Analysis procceeds.
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I conducted some informal interview style research and showed these sites to 5 research participants over the age of 40. I have noted som of the comments below. I intend to repeat this research more thoroughly in the Focus group having now identified that this could potentially be a big part of the brand proposition. It is worth noting that the lower age end spectrum of the target consumer I will be focusing on in this study is likely to frequent sites targeted at younger consumers. I will consider this further in the brand proposition.
Consumers find the name hugely off putting. One commented that if they shopped there they would feel both old and fat.
Positive use of ‘Fab’ and fifty Woman of substance Substance due to being older and wiser ‘share’ community
Gives the notion that old is bad and needs fixing. That it is something that needs medical attention. Encourage graceful aging
Positive that the sterotypical view of sex stops after menapause
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Forums On the one hand its relevant to an older market, on the other hand it is quite depressing. The name of the majority of these sites are quite uninspired however t least this one is positive. ‘Grans’ net is not positioning the brand as a very aspirational brand.
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Old fashioned and frumpy style Design of site leaves allot to be desired.
Research participants identified with this woman
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Summary
Design/style
Target market (age)
Content
Fifty Plus
50+
Fahion retail basic catalogue layout Earl 30’s Product Fashion, home and electrical, Kids, gifts, not very fashion forward prodbeauty. ucts. very safe styling Covers 20 catalogues
No content but a despite its name the About us fun and nicely put page says it is for all ages. together trends area with a fun relaxed Specialisting in larger sizes tone.
Fab over fifty
50+
‘where woman of sub- No style content despite its stance share their style’ tagline
Feature images feature woman 50+
Quite condesending Massively pushes plastic content surgery.
30-40
Supportive, lighthearted but has an ‘organisation ‘ or ‘government’ feel to it.
Despite it being poorly executed It is good that there is content on the internet for this demographic
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Dry, cold,
The best example of old fashioned, unattractive, out of date and style ‘granny’ clothes.
Gransnet
70+
plastic surgery and dating.
Nothing noteable about design.
Advice on being a grandparent.
Ugly, lacking design
Models age Campaigns
Suprisingly bright, fun but age appropriate styles
classic clothing
65+
Retail Selling garments Stereotypically old women clothing.
Fab after fifty
50+
Money, style, health, relationships, moey, career.
Advanced style
50+
Fashion and style inspi- Inspiring, creative, beautiful 50-90 ration and appreciation images and interesting women street style shots and photography
The only thing in the style sec- 50 tion was ‘dresses with sleeves’
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Tone of voice
other
Positive about being Constant emphasis on age over 50 however seems like its trying to persuade the readership instead of speaking to a positive self assured mature woman. Celebratory, lets the images speak for themselves with very little text
C O N S U M E R A N A LY S I S C ONSU M E R PR OFI L I NG
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FA M I LY • • •
Child or children in their twenties who have flown the nest Left child bearing to later in life at 30+ to establish career Enjoys Keeping in touch with kids on social media sites like facebook and weekend shopping escapades
FRIENDS •
• •
•
Mostly situational friends due to a busy lifestyle (collegues and friends she has made through childrens play dates etc) Keeps in touch with a handfull of childhood friends but rarely has the occasion to meet up with them Family and career was the main concern and as you get older you grow apart from your childhood or college friends. Keep in touch on social media and special occasions such as birthdays
CAREER
LIFESTYLE
TRAVEL
Comes from a generation of woman who seriously pursued Careers. She reached the peak of her career at 39 and went on to pursue a second career at 45 in pursuit of a more fulfilling challenge, she intends to work for a long time yet.
Does her weekly food shop in waitrose and Marks and spensers. Enjoys going to food markets and farmers market.
She travel regurally. Baby Boomers are the biggest spenders on luxury travel, accounting for 80% of the market. They are also the key market for luxury cruises, favouring super-high end Silversea, Seabourn and Viking River. Seabourn bulked up its ship stock and berths to record capacity in the past five years in response to Baby Boomer demand, according to a company press release.
ATTITUDE She worked hard, she broke glass ceilings, she feels empowered and deserving. She knows what she wants, and doesnt feel constrained in going for it.
Reads online Blogs and enjoys weekend supplements. Subscribes to Vogue online whiich she reads on her commute into the city on her ipad but buys paper magazine to read at her leisure. Browses sites like Net-a-porter and subscribes to newsletters of her favourite labels. Reads lifestlye blogs and gets her style advice from sites such who what wear.
During Sept-Nov 2014 there were 8.42 million people aged 50-64 and 1.15 million people aged 65 and over in employment; together, this was 29% of ‘economically active’ people aged 16+ and in contradiction to tradition ideas about mid life crisis these crisis years are coming younger and by 45 they are feeling assured with who they are and where they are in their lives. They have their finances in order (excerpt from Later life in united kingdom factsheet from age UK May 2015)
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“Many affluent FABs live internationally. They either have family throughout the world, take luxury holidays or have demanding business schedules.“ LSN:Global
CONSUMER BEHAVIOUR FOR THE 45+
Jones Born 1954-1965 Flat age Over 50’s
Baby boomers
LUXURY CONSUMERS Consumer groups identified by Identified by LSN Global
Women over 45 account for £1.9bn worth of product sales for cosmetics and toiletries, And yet, there doesn’t seem to be an awful lot of targeting by the brands and the retailers towards this group.’
FABS BLEISURE FLAT AGE
Imogen Matthews (Consultant and publisher of the 2012 report, Older Women: The Forgotten Demographic)
Today, it is the first baby boomers, born between the mid-1940s and the mid-1950s, who are moving space. And in 10 to 15 years’ time, the later boomers – known widely as Generation Jones (born between 1954 and 1965) – will be next. People are living longer. They are retiring later – or not at all. They are healthier. And also they simply don’t look, act or feel old. Looking for experience and excitement -Re-adventurers A group of consumers aged over 50, whose increasing spending power and prominence means that brands should focus on them. Members of the Flat Age Society are technology-savvy, love luxury and want more from food than soft textures and vitamins. -Luxury consumers 45% of all luxury worldwide -have bought a luxury product 66% of those older than 35.
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Beauty is big for the boomers, and will continue to be big for Generation X and Generation Y as they reach their 50s and beyond. The US 50-plus market for beauty has risen from 31% of beauty products to 44% since the first Boomer women crossed that age threshold, according to a GfkMRI study cited in the MediaPost. And women over 50 don’t stop wearing make-up – 79% of US women aged 50–59 wear it every week, rising to 80% of women aged 60–69. Women over 50 buy 55% of the lipstick, 46% of the blush and 43% of the foundation sold in the US, according to GfK MRI data from 2013. Yet, despite all their purchases, 50-plus women feel neglected by beauty brands, which tend to focus solely on anti-ageing at the expense of fun and experimentation, according to Mark Bradbury, senior director, Insights and Integrated Marketing at AARP. ‘Women over 45 account for £1.9bn ($3.1bn, €2.3bn) worth of product sales for cosmetics and toiletries,’ says Imogen Matthews, a beauty editor, consultant and publisher of the 2012 report, Older Women: The Forgotten Demographic. ‘And yet, there doesn’t seem to be an awful lot of targeting by the brands and the retailers towards this group.’ There’s a huge skepticism among these older consumers that the ads don’t speak to them. Some brands are moving towards more positive marketing of beauty for 50-plus consumers. YSL recently launched Or Rouge, a skincare product featuring saffron, which YSL is promoting as a ‘renaissance treatment’ rather than an anti-ageing cream. ‘[The message] is more positive and affirming than anti-ageing,’ Bella Blissett, beauty columnist for The Mail on Sunday’s You magazine and freelance beauty editor, tells LS:N Global. ‘A key word is vitality, which comes from the root word vital, which means ‘life’,’ adds Dr Furlong.
-Increasing spending power -Members of the Flat Age Society are technologysavvy, -Beauty is big for the boomers, and will continue to be big for Generation X and Generation Y as they reach their 50s and beyond. -The US 50-plus market for beauty has risen from 31% of beauty products to 44% since the first Boomer women crossed that age threshold, according to a GfkMRI study cited in the MediaPost. -women over 50 don’t stop wearing make-up – 79% of US women aged 50–59 wear it every week, rising to 80% of women aged 60–69. -Women over 50 buy 55% of the lipstick, 46% of the blush and 43% of the foundation sold in the US, according to GfK MRI data from 2013. Yet, despite all their purchases, 50-plus women feel neglected by beauty brands, which tend to focus solely on anti-ageing at the expense of fun and experimentation, according to Mark Bradbury, senior director, Insights and Integrated Marketing at AARP. There’s a huge skepticism among these older consumers that the ads don’t speak to them. Some brands are moving towards more positive marketing of beauty for 50-plus consumers. YSL recently launched Or Rouge, a skincare product featuring saffron, which YSL is promoting as a ‘renaissance treatment’ rather than an anti-ageing cream. ‘[The message] is more positive and affirming than anti-ageing,’ Bella Blissett, beauty columnist for The Mail on Sunday’s You magazine and freelance beauty editor, tells LS:N Global.
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RETAIL
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Matr i x p l o t t i n g c o m p e ti to r R e ati l st ores for mat ure woman mar ket HIGH price point
Aspirational value
Brand Proposition
Low price point
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C O N S U M E R A N A LY S I S COMPETITOR RETAIL EXPERIENCE I have visited these stores to conduct observational research and will revisit them in order to do some accompanied shopping (Analysis in the research portfolio).
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RETAIL(TAINMENT) FOR THE 45+ WOMAN
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I
n order to explore the retail possibilities, I have been and will continue to look at different commercial spaces which for reasons that I will outline have been notable. Press daysI have looked at fashion press days because It appeals to me that the focus of these events are to promote the product, however the ultimate goal or end objective is to sell. However by shifting the focus away from the latter there is room for a more authentic relationship to blossom between person and product. I experienced this first hand through Primary research by going to both London fashion week and London fashion weekend. Although I wasn’t able to fully partake in the Lfw (showrooms etc) There is an air of creativity during LFW. Whether perceived or genuine there is a feel of authenticity in the enthusiasm for fashion. The collections are ‘the thing’ At London fashion weekend, although the enthusiasm for shopping fashion remains and with it, some remains of the ‘fashion’ but the shopping takes over. That commercial aspect which seems a less important element of showing at Lfw. I have spent a great deal of time looking at The LFW apartment. Using residential space in a commercial way. Can just as easily use a commercial space and inject some home comforts. This is commonly used in luxury retail stores where there are personal shopper stylist services. Consumer is often taken to a separate more comfortable intimate and homely retail environment.
I also went to a boutique hotel and viewed a film screening. The cinema was small and embedded in this hotel. It was an experiential cinema trip. To continue the research process I intend to visit the following stores or areas in order to find out what has made them stand out from markets.
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Looking at the retail situation for this market consumer During Term one I undertook some research which explored the relevence of the high street in society today. In this area of my research I intend to look into how Woman physically interact and engage with fashion in physical retail environments.
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Working from the presumption that woman 45+ shop as a leisure activity, usually with friends or daughters end stop for Focussed shoppers who I will look to answer how exactly this consumer market shop physically. Are they foccussed shoppers with an iteinaary that they do not move away from. I hope to answer this through focus group and interviews. Designing space with the older woman in mind. Slow fashion The more mature luxury consumer places the highest priority in making memories and experiences. They don’t buy things to have more things; they want the experience
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Looking at other commercial spaces Look at non commercial spaces being used in commercial ways The appeal of B2B sales, Press events, Looking at showroom environments and Convergence Retail Adapting retail space etc to work for the older woman Visual merchandising multi brand curated fashion, beauty and lifestyle product
Interesting and stimulating Visual merchadising strategy -They want experiences -Outside of high end luxury theres no mid range shops that
Fashion House press day, it looks Fresh, Young, and Vibrant but still sophisticated and elegant. Look book on the table puts the focus on product and the chair and table is inviting and adds a warmth. It has an air of a Fashion consultation room which feels more personal.
This coffee shop ‘graffiti’ in LA is often instagrammed. I amazing for its
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Fun ‘Retailtainment’ in House of Martin Margiella. i also visited a Boutique hotel on Londons South Bank which has a ‘homely Cinema within it.
Fun visual merchandising creates experience and talking points which in turn help sell product.
Strong design and Residential touches make it easy for consumers to picture the product in there own homes. Doing this in sleek and ways such as this glass wardrobe still makes it feel commercial and slick.
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T H E FA S H IO N E LE ME N T
C HANGING BO DY (sizing)
T
Swedish Study found that 50% of them did not fit into conventional sizes. ASTM (American society for testing and materials) Standard body measurements of women Over 55.
here is a large amount of literature discussing what is and is not appropriate to wear past the age of 30, 40, 50 particularly Journalistic content such as style blogs. There are few woman who like to be told what is no longer appropriate for them to wear at ‘there age’ but there are also a great many women who do want aid in making buying decisions as their bodies change and they get older. As already covered we dont stop caring about the way we look with age. In carehomes across the UK staff recieve training and are told that when an elderly person stops caring about there appearance it can be a sign of possible depression, neglect, and abuse and a cause for cocern. Womens taste dont suddenly change on the eve of their fifteeath birthday. However all said and done there are considerations to take into count as a woman ages and she will tend to and arguably should make alterations to her wardrobe. No woman wants to appear to be ‘mutton dressed as lamb’ but no woman wants to stop looking amazing because society dictates that at there age they are ‘past it’.
AGE APPROPRIATE
This will be a topic that I will cover in detail in my Dissertation as it is a layered debate that I find fascinating. At this time of shifting paradigms it is an area that I feel is ready to be readressed and that I beleive I can add to. The whole discussion of clothing being age appropriate is one that Is wholley founded on social constraints which I imagine will be rich in historical context. FUNCTIONALITY
In conjunction with the united Nations International Year of the Older person of 1999 Apparel design criteria were developed for the ‘active and ageless’ consumer. They identified four criteria which are relevent to apparel for the older woman: Fit, Fabrication, Styling, Care.
L I N E L IS T Research such as this will shape the Line list I will create as one of the outputs. I will take into account the following considerations.
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RESEARCH DESIGN FRAME & RESEARCH PLAN I will utilize the research design frame and mind maps to explore themes and structure and manage my research plan. I will go on to use it to form and shape the concept development of the brand proposition. This brand proposition will be the main output of the FMP. Using the cyclic design frame from Practice-led Research, Research-led Practice in the Creative Arts (Research Methods for the Arts and Humanities) I have created a design frame which assures that the research has depth and breadth and is layered and thorough and supported by academia. The design frame shown on the right shows a step by step framework. The research led practice assures that the context is well established and makes my practice led research innovative and creative. The proposed research in the practice led research allows for me to engage with aspects of professional practice within which I would like to gain skills and allows me to be creative and create outputs that I can go on to include in a portfolio. I built this into my research plan so that I could make the most of the opportunity to creatively explore practices which I hope to continue to engage in. Herring bones help me to break larger areas of research into smaller research questions whilst keeping a clear focus of the goals and aims. This is important in the management of the FMP. In an attempt to containing research.
In addition I have broken my research question down into sub themes which form part and parcel of the FMP research question. In order to not undertake too many objectives within this one project keeping it in a reasonable scope. I will contain/bind my research by creating some boundaries. Create lists of criteria and definitions in circumstances where inclusion and exclusion are necessary. I will work to a Gantt chart which will help manage time. I will draw on propositions stemming from existing research in the form of literature, and or professional experience and secondary research sources in general in order to limit scope of research. However I will avoid making unfounded generalisations and/or presumptions keeping the research credible. Where presumptions are made to bridge ideas and in order to be able to progress I will be sure to validate them, and in the case where my research proves them to be unfounded to make this apparent. Containing research is a personal weakness I identified in my personal swot analysis and so I have attempted to minimize the risk of this negatively effecting my FMP. VENN DIAGRAM The Venn diagram on the following page demonstrates the progression through the different sub themes to guide through the process, and below each themes the main objectives and questions I hope to answer and how they relate to the proposed outputs. The Herring bones that follow the Venn further break down the process in more detail and refer to the corresponding research tasks.
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END 5.
4.
3.
2.
1.
START
RESEARCHING THEMES
FORM PRESUMPTIONS BASED ON RESEARCH & EXPERIENCE
DEVELOP CONCEPT
EXECUTION/ PRODUCTION
IDEA SELECTON
RESEARCH IN ORDER TO PROVE OR DISPROVE PRESUMPTIONS
DEVELOPING RESEARCH QUESTION
REFER TO THEMES AND REFINE
DEFINING SCOPE
INCLUSIVE RESEARCH ESTABLISHING THEMES
Practice led research and research led practice Research led practice Academic research 59
Concept & Brand Development
>
360 Engagement
Retail Environment
Develop a brand which is in consonance with The chosen market and pursuant of their consumer behaviours
Consumer focused
>
Fashion element
Marketing Promotion
>
Looking at successful marketing campaigns
Hybrid environments merging fashion and lifestyle
Customer Profiling How does this consumer dress?
360
Innovative
Identify the USP Identify core revenue streams convergent strategy (shoppable environment) Identify an approach/angle
Explore b2b methods of introducing product to market
What does this consumer want, read, do, watch, Imagine?
Current, past and present retail modals
Logo and brand identity How does the consumer want to be approached by brands.
Case studies Observation Communicate the physical manisfestation
Trends
Trends in marketing Marketing tools
Trend report
Look at labels to stock
The future of retail
What is the purpose and role of of fashion brands and retail?
Report Outlining the concept and brand proposition and strategy decisions
Identify the core ideas and themes which are relevant to this market in this social environment /retail/ and business Focus Groups questionnaires Observation Street style
Create content Product
Marketing Campaign proposal Press pack
Visual Proposal
Online Hub 60
Advertising Campaign Look Book / list of stockists
Brand book/ list of stockists Determine a list of labels to stocks
Advertising Campaign Trend report/case studies
Look at labels
Looking at successful marketing campaigns
Printing Trends report
Editing Photo studio
Look at trends in marketing
Look at trends
Prepare shoot
Marketing tools
Determine product (Informed by 360 engagement and consumer profiling research)
Plan shoot Source clothes
Marketing Campaign Proposal
Marketing Promotion Research Fashion press kit contents
A feature-style article about the brand and stocked labels
Decide on inclusion Execute Print
Images that tell a visual story Create Media Kit
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Brand book/ list of stockists
Advertising Campaign
Determine a list of labels to stocks
A case study style analysis of B2B sales within fashion
Look at labels Identify key players Trends report Identify different methods of sales and communication within B2B
Case studies on retail environments in line with the 360 environment Define 360 engagement for This brand
Retail environment 360 Engagement within these
Mirror research for consumer focused sales and communication
Visual proposal Apply to concept and brand development to create a complete model of concept retail situation Look at retail, current, past and present
Consider the future of retail (Incorporating the findings from evolved consumer research)
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Explore the hybrid nature of lifestyle, and fashion and how and why they share ground
Apply to product choices and incorporate to brand development
TIME M A N A G E M ENT-GAN TT CH AR T I have used online software to create a Gantt Chart. The below image is a screen shot showing some of the detail attached to the tasks. It includes details such as page plans, and details about the size and dimensions of outputs and how I imagine they will look.
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PRIMARY RESEARCH RETAIL OBSERVATIONAL
Accompanied shopping (DESCRIPTIVE)(qualitative) In order to observe understand how my target consumer group shop and engage with retail and product. To observe the phenomenon and the real life context in which it occurred (yin, 2003)
OBSERVATIONAL
I have created a list of curated, multi label shops to visit to draw from current Retail environments. Site visits (exploratory multiple CASE STUDIES) (qualitative) Visiting sites where fashion (and where relevant other product) are sold and fashion sales environments which I determine to be of research value. Criteria for which I will define in order to contain research and compiling case studies in order to synthesise and qualify the research.
MARKETING/CONSUMER PROFILING FOCUS GROUP (qualitative)
To get understanding of the way this market makes decisions about product and if and how the physical effects of aging effect their product choices. Get feedback about the labels preferred by this group. Gauging their opinions of marketing campaigns. (Particularly those which have targeted a more mature demographic.)
LINE LIST/CONSUMER PROFILING WARDROBE ANALYSIS
I will conduct interviews with women asking them to discuss their wardrobes and provide images of some of their favourite pieces, and use images and transcripts to create a wardrobe to reflect my findings.
OBSERVATIONAL
Keeping a visual journal of street shots of this demographic in order to be able to be more in tune with how they are dressing etc. for compiling a trend analysis and report. and making decisions about product.
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SECONDARY RESEARCH MARKETING COLLECTIVE CASE STUDIES (of marketing campaigns)
to be able to draw comparisons and see how brands and labels are marketing to the ‘grey market’ Supporting by academic research on this subject.
ANALYSIS OF RETAIL INDUSTRY (CASE STUDIES)(descriptive)
To be able to draw comparisons and explore differences between types of retail environment and sales. For example the different approaches used when selling in a b2b way compared to selling directly to the end wearer consumer. Looking at business to business sales through showrooms, press days, fashion shows, and trade shows and types of retail environments such as retailtainment and a Comparison of The industry and press focussed London fashion week, and the more commercial London fashion weekend. Academic research collating information about the retail industry. Reading retail industry publications and existing research examining the future of retail and current trends and practice such as retail focus and retail week. Drawing on information about creating engaging and blended environments.
RETAIL ANALYSIS OF COMPETITORS
Analysis of the current retail situation. Identify the key players in retail, and fashion for this consumer group in order to be able to position my brand proposal.
ENVIRONMENTAL ANALYSIS
MAGAZINES AIMED AT THIS MARKET In order to understand the Zeitgeist of the consumer in order to be able to communicate to them in a language that they understand and speak. Also to be able to find my own brands USP for the Brand proposition and other outputs such as online hub.
ONLINE HUB ENVIRONMENTAL ANALYSIS
Looking at the existing Online platforms for the older woman.
LINE LIST VISUAL RESEARCH
Create an image bank of retail environments and visual merchandising which will be effective for the purposes of the goals and objectives of the Brand proposition.
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READING LIST BOOKS BOOM: Marketing to the Ultimate Power Consumer -- The Baby-Boomer Woman Fashion Entrepreneurship, The plan, the Product, the process Melissa G.Carr and Lisa Hopkins Newell Consumer behaviour in fashion, Solomon Rabolt Fashion marketing, Tim Jackson and David Shan The social entrepreneur, Andrew Mawson Curated, a new experience in retail design Developing and branding the fashion merchandising portfolio, Bubuni Clarke Borcherding Guide to fashion entrepreneurship Advanced style, Seth ‘The Virginia Monologues: Why growing old is great’ Wells, W. and Gubar, R. (1966), Life Cycle Concepts in Marketing research’ Journal of marketing research p355-63 Essentials of Marketing, Frances Brassington and Stephen Practice-led Research, Research-led Practice in the Creative Arts (Research Methods for the Arts and Humanities) Paperback – 29 June 2009 REPORTS, ARTICLES, and WESITES Success in the Conceptual Age: Another Paradigm Shift, William G. Huitt http://www.ageuk.org.uk/Documents/EN-GB/Factsheets/Later_Life_UK_factsheet.pdf?dtrk=true The portas review, An independant review of the future of our highstreets, Mary Potas FABs https://www.lsnglobal.com/tribes/article/15241/fabs An article in the Guardian http://www.theguardian.com/money/blog/2012/apr/18/is-35-best-age http://www.bbc.co.uk/news/health-11429993 http://www.nytimes.com/2012/07/15/fashion/the-challenge-of-making-friends-as-an-adult.html?_r=0 http://www.telegraph.co.uk/education/educationnews/11253401/Alone-in-a-crowd-young-feel-lonelier-than-elderly-study.html https://econsultancy.com/blog/64525-five-fallacies-of-bricks-and-mortar-retail-that-show-the-convergence-of-on line-and-in-store/ http://www.apa.org/pubs/journals/releases/psp-832261.pdf http://www.dailylife.com.au/dl-fashion/is-fashions-new-obsession-with-old-ladies-actually-all-that-progressive-20150112-12mmg9.html Imogen Matthews, a beauty editor, consultant and publisher of the 2012 report, Older Women: The Forgotten Demographic. Read more: http://www.dailymail.co.uk/femail/article-2915866/Grey-power-No-fashion-ads-insult-older-women-new-campaigns-not-fashion-forward-think. html#ixzz3YcylSCY8 http://www.theguardian.com/fashion/fashion-blog/2014/apr/02/invisible-woman-fashion-vivienne-westwood-leslie-winer Macromarketing: Past, Present, and Possible Future Journal of Macromarketing December 2006 26: 193-213, http://stylecaster.com/the-50-most-powerful-women-in-fashion/ http://www.theguardian.com/fashion/gallery/2013/mar/29/50-best-dressed-over-50s Retail week the Retail paradigm has changed: Smart Retailers are Engaging in Cross-Channel Marketing, A Frost & Sullivan White Paper Robert Worden, M.A
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