Brand Audit by Leah Brooks

26006232

BRAND AUDIT LEAH BROOKS

26006232

CONTENTS Introduction

5-7

Brand History & Heritage

Founding Designer Background

Brand Philosophy

5&6

Initial Product Offer

Brief History Timeline

6&7

Internal Audit & Brand Positioning

7&8

Customers

Competition

Suppliers & Supply-Chain Logistics

Availability of Raw Materials

Distribution and Distributors

Stakeholders & Partner Relationships

Porters Five Forces

8 - 10

Threat of substitute

Threat of new entrants

8&9

Power of consumer buyers

Power of suppliers

Rivalry among existing competition

Brand Positioning

10 & 11

Visual Identity

11 - 14

Brands Creator

Typographical Logo

A Visual Symbol

Repeated visual motif

26006232

A brand colour

Favourite material

Pattern

Heritage of Brand

Illustrations

12 & 13

Brand Name & Logo

Brand Heritage

Brand Personality

Brand Values

Product Offer

13 & 14

Packaging & Display

Advertising & Promotion

Brand Identity Prism

Brand Onion

Marketing Mix

16 & 17

Product

Price

Promotion

Place

16 & 17

PESTEL

17 & 18

Political

Economical

Social

17 & 18

Technological

Environmental

Legal

Competitive Analysis

19 - 21 3

26006232

Previous Competition

Future Competition

Current & Previous Competition

20 & 21

Consumer Analysis

21 & 22

Potential Consumers

Potential Markets

Aspirational Consumer

Brand Challenges

Recommendations

22 & 23

List of Illustrations

24 - 27

Bibliography

28 - 31

26006232

INTRODUCTION Brand History & Heritage Celia Birtwell, the brand, began when she met her husband-tobe, Ossie Clark, a young fashion designer at the time. The brand became noticed when the pair designed their first dress together, a paper dress commissioned in 1967 by Molly Parkin, fashion editor of Nova magazine. Birtwell is known for her bold, feminine prints, which were mainly featured on Clark designs, made from chiffon fabrics (Lutyens and Birtwell, 2011, p. 20). The starting point for Celia’s prints was her fashion illustrations, which had a loose free quality to them. Birtwell (2011) quoted that “On average I used three colours per print, and I always chose the fabrics” (p. 25). Celia Birtwell worked with Quorum, a small boutique owned by Alice Pollock, where Celia designed a fabric collection using her early prints. One of the brands most successful fashion shows whilst collaborating with Clark was held at Royal Court in May 1971. In 1974, Birtwell was no longer collaborating with Clark and the “designs became more abstract and graphic” (Lutyens and Birtwell, 2011, p. 111). Birtwell collaborated with many other brands such as Topshop, Valentino and Uniqlo. In 1984, Birtwell began prints for home fabrics, which she sold at 71 Westbourne Park Road, the brands first shop.

Figure 1: Clark and Birtwell’s paper dress modelled by Jane Asher in Nova in a shoot by photographer Duffy (from Birtwell and Lutyens, 2012, p. 35)

Founding Designer Background Birtwell, who was born in 1941 in Bury, near Manchester, is the founding designer of her own brand. Her mother was a housewife and seamstress, and her father, an estimating engineer. At 13 years old, she went to Salford Technical College, where she studied Textiles and Pottery. Birtwell met Clark in 1959 through one of her friends at the time, Mo McDermott. After this, she moved to Notting Hill, London working as a wig dresser for London’s Aldwych Theatre at the time. In 1965, her and Clark moved in together and were commissioned to design a paper dress by Molly Parkin in 1967. The couple married in 1969 at Kensington Registry Office, with only Clark’s sister, Kay and David Hockney present. The couple had two children together, Albert, born in 1969 and George, born in 1971. However, after a short marriage, they were divorced in 1974 but continued to work together for years after (Lutyens and Birtwell, 2011, p. 10-17).

Brand Philosophy Celia Birtwell is best known for her iconic prints, one being Mystic Daisy. Her prints were bold, graphic prints, which had a feminine and Figure 2: Birtwell and Ossie on their wedding day at Kensington Registry Office in 1969 (from Birtwell and Lutyens, 2012, p. 49)

26006232

romantic feel. Birtwell was interested in culture and nature, using these as the main influences for the prints, mixing floral prints and geometric patterns. Birtwell believed in craftsmanship, as she designed the prints and got them locally printed onto the fabric. The dresses, which her prints were used on, were cut on the bias so that it would be flattering for a woman with a fuller figure.

Initial Product Offer Celia Birtwell is a textile designer, therefore on her own created prints to be used on creations by fashion designers such as Ossie Clark. The brand itself had a shop on 71 Westbourne Park Road where they sold home fabrics. One of the brands first well-known home fabrics, Little Animals was sold in the shop. Birtwell collaborated with many designers where she created the prints to go onto the garments. The brand switched to interiors as it was a more slow-changing world, and in terms of fashion, collaboration was important and Birtwell said, “there was no way I’d find another Ossie” (Lutyens and Birtwell, 2011, p. 161).

Brief History Timeline      



 

Figure 3: Celia Birtwell’s Little Animals print (Celia Birtwell, 2017)

Celia Birtwell was born in 1941 in Bury, near Manchester. At 13 years old, she went to Salford Technical College and studied textiles and pottery. Birtwell met Clark in 1959 through her friend Mo McDermott. Birtwell moved to Notting Hill, London in 1961 where she worked as a wig dresser. In 1965, Birtwell and Clark moved in together. In 1967, the couple was commissioned to design a mail-order paper dress for Nova magazine by its legendary fashion editor Molly Parkin. In 1969, Birtwell and Clark married at Kensington Registry Office, with only his sister Kay and Hockney as guests. Birtwell wore a Clark creation with her famous Mystic Daisy print on it. Celia's first son, Albert was born. In 1970, Hockney began painting his famous double portrait of the couple, Mr and Mrs Clark and Percy (completed in Figure 4: Mr and Mrs Clark and Percy (Hockney, 1971) 1971). In 1971, Birtwell and Clark staged a catwalk show at London’s Royal Court Theatre, which was a media sensation. The couple divorced in 1974 after what had become an increasingly unstable marriage.

26006232

 

   

In 1984, Birtwell started designing home fabrics, and opened her shop selling these in Westbourne Park Road. In 2006, Birtwell collaborated with Topshop, her collection selling out in six minutes. Birtwell brought in her son, George and daughter-in-law, Bella to run the business. Birtwell designs her third collection for Topshop in 2007. Boots collaborate with Birtwell to create a range of beauty products using her prints in 2009. Birtwell collaborated with Valentino to design prints for their AW15 collection. In 2016, Birtwell’s Funky Dragon design is rolled out across Maison Valentino's Resort and Menswear Collections.

INTERNAL & BRAND POSITIONING Customers Celia Birtwell consumers were generally well off. The consumers were Figure 5: Celia Birtwell Chiffon dress women who liked the daring cuts Clark created, mixed with the for her second Topshop collection (Vogue, 2006) beautiful prints from Birtwell. Celebrities like Patti Boyd and Bianca Jagger wore the pair’s luxurious creations during the 1960s and 1970s. When Birtwell moved over to home fabrics, the brand was attracting a younger demographic who would just purchase a cushion so that they could have a bit of Birtwell at a price they could afford.

Competition During the 1960s and 1970s, Clark and Birtwell were the power couple in fashion, however, was among many other designers of their time, Emilio Pucci being one of them. Pucci would have been a strong competitor for Birtwell as their garments featured art prints, geometric prints and colour, similar to Birtwell’s fabrics. In the 1970s Missoni would have been one of the brands competitors, like Birtwell they created garments that were heavily printed and were seen as artistic works (Theredlist.com, 2017). In today’s market Celia Birtwell is an interior fabric and wallpaper business, therefore, the main competition would be Laura Ashley who sell products at a similar price and type.

Suppliers & Supply-Chain Logistics According to Lutyens and Birtwell (2011), the brand sourced their sketchbooks for Birtwell’s illustrations from a shop called Lamleys in South Kensington. Birtwell took her best drawings and would then blow up her prints to life-size which she then took to Ivo Prints, a London printer who screen-printed all of Birtwell’s textiles, under the supervision of Ellen Haas. Birtwell supplied her printed fabrics to Clark for him to make his dresses.

Figure 6: Emilio Pucci Jumpsuit 1970s (Pinterest, n.d.)

26006232

Availability of Raw Materials In the 1960s, Birtwell did not have a studio to work in; she decided to sketch at her home in her bedroom. As stated by Birtwell (2011) “I loved doing it and found it very therapeutic” (p. 25). Birtwell went to Ivo Prints, London to get her patterns printed onto her fabrics. Currently Celia Birtwell fabrics and wallpapers are produced and distributed by Blendworth Interiors (Celiabirtwell.com, 2017).

Distribution and Distributors Clark and Birtwell creations were sold at Quorum among other couture garments. To begin with Quorum Figure 7: Celia Birtwell Beasties Delft Wallpaper (Celia only sold couture, until 1968 when “clothing Birtwell, 2017) manufacturer Alfred Radley bought the boutique and introduced a more affordable diffusion line…to adapt Clark’s dresses to a wider market” (Lutyens and Birtwell, 2011, p. 39). Now Celia Birtwell interior fabrics and wallpapers are distributed by Blendworth.

Stakeholders & Partner Relationships Birtwell collaborated with many other designers in order to bring her prints to life. Quorum being the first, Birtwell and Clark both worked with the designer Alice Pollock who asked Birtwell to design prints for a fabric collection in the 1960s (Lutyens and Birtwell, 2011, p. 20). Birtwell worked with Clark for most of her working career. As stated by Lutyens and Birtwell (2011), Birtwell had a comeback in 2006 when she worked with Topshop to create an affordable collection. She revived some of her iconic prints such as Mystic Daisy. She created flowing dresses and blouses in her trademark fabrics-silk, georgette and voile.

PORTERS FIVE FORCES Threat of substitute Jane Clayton and Company is an online store, which sells different brands such as Cole & Son and Sanderson. These brands could be a substitute for Celia Birtwell as consumers can buy a similar product elsewhere for the same price if they purchased Sanderson. On the other hand, Cole & Son is more expensive but offers a wider range of different patterned wallpapers. I think that this factor is of a high threat because other brands will offer a similar product.

Threat of new entrants Online retailers that are in the current market could produce similar products without opening a store, as the fabrics can be sold online. Currently Figure 8: Cole & Son Hummingbirds Wallpaper (Cole & Son, n.d.)

26006232

Celia Birtwell does not have a store, only an online store in which the fabrics can be purchased online from Celia Birtwell or Blendworth and posted to the consumer. To minimize the threat of new entrants, the brand could offer more entry-level products e.g. tote bag or a coin purse. This will attract more consumers, as this will allow people from all working backgrounds to be able to afford a bit of Birtwell. I think that the threat of new entrants is medium because other new brands could come into the market and offer a similar product to Celia Birtwell. However, I do not believe that this threat is high because the brand already has an established consumer base.

Figure 9: Canvas tote bags made by Leah Brooks, Sheffield Hallam University (Brooks, 2017)

Power of consumer buyers In order to uphold the existing customers, I think that interior fabrics will have to stay as part of the relaunch. Although consumers value the heritage of the brand and want to purchase vintage Clark and Birtwell garments, I think that consumers have an attachment to the current product range. Therefore, as part of my relaunch I will need to maintain the current values and beliefs of how the brand is today. I feel that I could attract new consumers by opening a shop or multiple shops as well as keeping up the online store; this will allow people to try on the garments and experience the brand on a more personal level. I think that the consumersâ&#x20AC;&#x2122; demands can be met, by giving the customers what they want. When relaunching the brand the heritage will be the main driving force, bringing back some of Birtwellâ&#x20AC;&#x2122;s most iconic recognisable prints so that current and new consumers can relate. I would say that this forms as a high threat because tattoos are becoming popular and more of trend, therefore, more people are getting tattoos. The downside is that consumers can get a tattoo at any tattoo parlour and some people do not feel the need to get tattoos.

Power of suppliers As the brand will only have one store opening to start with, I feel that only one supplier will be needed for the fabrics, however, if Celia Birtwell needs a wide variety of fabrics then these might have to be sourced from different suppliers. Currently Blendworth Interiors produce and distribute Celia Birtwell products; this works in favor of the brand as it is based in the UK, and distributes products worldwide. The supplier would need to be reliable as the correct fabrics would need to be delivered on time so that the making process can take place, as the fabric would need to be printed on to and made into a garment. If the relationship between the supplier and the brand were to change this could massively influence the business, as it would mean that they could be without a supplier to provide their fabrics. This would result in having to find another supplier, meaning that if Celia Birtwell ran out of fabric the brand would be losing trade. I think that the power of suppliersâ&#x20AC;&#x2122; forms as a high threat because Celia Birtwell will have to source their materials from somewhere, so depending on how much these materials are to acquire from the supplier will have an influence on the price of the products sold to consumers.

26006232

Rivalry among existing competition Jane Clayton and Company is an online store, which sells different brands, which are similar to Celia Birtwell such as, Cole & Son and Sanderson. These brands form as competition for Celia Birtwell as they offer similar products of a similar price. Currently Celia Birtwell uses natural fabrics, which are locally sourced, and the silk is hand-woven, this could be a unique selling point for the brand as it is sustainable and environmentally friendly. The competitors that currently face Celia Birtwell will change when the brand is relaunched, as there will be a different range of products. Valentino will be a competitor in the future as it is still current in the market and most of their garments are heavily patterned. According to Harris (2014), Valentino’s strategies are as follows:   

 Figure 10: Valentino Printed sablé dress Refine and edit ready-to-wear to be consistent and (Valentino, n.d.) contribute to a stronger brand identity. Develop a Rockstud accessories range, each collection to build an iconic core product. Start to include organic cottons in materials where possible.

I think that rivalry among existing competitors is a low threat because the brand will be moving over to a different base of products and therefore will have new competitors to what it currently has.

BRAND POSITIONING Currently the community values the heritage of the brand and appreciates the fact that vintage Birtwell and Clark garments can still be purchased through the brands website. This allows current consumers to connect with the history of the brand. The community would still value the brand in the future as long as the heritage of the brand remained, so that past and present consumers can still connect with the brand. Celia Birtwell is currently a fabric and wallpaper brand and only has an online store, so in the future consumers would be able to connect more with the brand if there was a boutique outlet. The community would value the brand more in the future if Celia Birtwell started designing fashion prints for garments, as this is the core of the brand. Celia Birtwell Limited currently claims, “Our fabrics are recommended for all soft furnishings and light upholstery” (Celiabirtwell.com, 2017). All Celia Birtwell fabrics are made from natural textiles and the silk is hand-woven. The ecommerce store, found under the Figure 11: Celia Birtwell’s current online store (Celia Birtwell, 2017)

26006232

www.celiabirtwell.com URL is operated by Celia Birtwell Limited. Since 2017, all Celia Birtwell fabrics and wallpapers have been produced under license to Blendworth (Celiabirtwell.com, 2017). Blendworth currently produce and distribute Celia Birtwell products, which are advertised on their website, therefore, in the future Blendworth may want to continue to sell the interior fabrics. However, if Celia Birtwell began to create fashion fabrics again then Blendworth may not be interested in selling these, due to the nature of their business, interior and home furnishings.

VISUAL IDENTITY Brands Creator Birtwell is an iconic figure of the global arts scene and is still the face of the brand she started. She was awarded Figure 12: Birtwell, founder of her own business, Celia with a CBE for services to fashion in 2011, which shows her Birtwell (Independent, 2015) success within the industry. The brand Celia Birtwell is recognised because of Birtwell herself, known for her distinctive bold, romantic and feminine designs.

Typographical Logo The Celia Birtwell logo was designed when Birtwell first started designing her prints and the logo has remained the same up until this day. The font style is in an italic and lowercase typography, which gives a soft and feminine appeal. The logo is inspired by Birtwell herself or the faces of the girls in her illustrations and with black running throughout it gives a simple touch.

Figure 13: In the typographical logo, I have identified the different sections of the logo (Brooks, 2017)

26006232

A Visual Symbol The face on the Celia Birtwell logo looks like a portrait of Birtwell drawn in a similar style to her work. It also looks very similar to the faces of the girls in her fashion illustrations.

Repeated visual motif Every Celia Birtwell fabric has a repeated motif on it, which is what makes her prints so iconic. One of her popular prints is Mystic Daisy, which represented the late 1960s and early 1970s with its resemblance of flower power and psychedelia.

Figure 14: Face from one of Celia Birtwell’s illustrations (from Birtwell and Lutyens, 2012, p. 62)

A brand colour Birtwell on average used three colours in her prints, but the colours that were used for the branding were black and white, sometimes with hints of red. For example, the shop window for the brand’s shop consisted of black window frames with a white stand featuring the face from her logo.

Favourite material The fabrics Birtwell used were luxurious and had a retro appeal, georgette, silk, chiffon, crepe-de-chine and voile. She soon became known for using transparent fabrics, which formed part of Birtwell’s brand DNA (Lutyens and Birtwell, 2011, p. 25).

Pattern The brand is known for their heavily patterned fabrics using bold yet feminine prints, which complimented Clark’s seductive creations. Birtwell’s original prints have not dated, her Mystic Figure 15: Mystic Daisy print (from Birtwell and Lutyens, 2012, p. 19) Daisy pattern, which was reworked for her Topshop collection as recently as 2007. The patterns on her prints were inspired by the nature surrounding her, whether this is flowers in her garden or mountain views on holiday.

Heritage of Brand People very much value the heritage of Celia Birtwell and how it came about, due to the romanticism associated with the brand. Birtwell and Clark were the power couple of their time and are still known today for their dynamic collaborations, which made them stars of the fashion world (Lutyens and Birtwell, 2011, p. 1).

Illustrations When people think of Celia Birtwell the first thing that comes to mind are her beautiful illustrations, which she sketched at a table in her

Figure 16: Birtwell and Clark photographed in front of their paper dress (from Birtwell and Lutyens, 2012, p. 21)

26006232

bedroom. The unique drawing styles of Birtwellâ&#x20AC;&#x2122;s designs have a French quality to them, referencing to the loose drawing and painting style of Dufy and Bonnard (Lutyens and Birtwell, 2011, p46).

Brand Name & Logo The name of the brand, Celia Birtwell, is the name of the woman who founded the brand and even though Birtwell does not manage the business anymore, the brand name remains unchanged. The logo of the brand is all one colour, black, and consists of an illustration of a face and the name of the brand underneath in an italic typography. When relaunching the brand, I want to keep the logo similar to as it is currently, however, I will make a few changes to make the logo more contemporary, yet still keeping the heritage of the brand.

Brand Heritage

Figure 17: An illustration featuring Celia Birtwellâ&#x20AC;&#x2122;s Giaconda print (from Birtwell and Lutyens, 2012, p. 82)

Celia Birtwell is a unique brand, which creates beautiful prints, reviving the iconic prints to use today. The heart of the brand and what consumers associate the most with is the chemistry that was between Birtwell and Clark, giving the brand a sense of romanticism in every works of theirs. I will be keeping the core essence of the brand by bringing back fashion fabrics in the relaunch; this will attract a younger consumer market to bring the brand up to date with the

modern market.

Brand Personality The Celia Birtwell brand is bright, feminine, sophisticated, creative, bold, romantic, elegant and fun. The brand is built around the personality of Figure 18: The Celia Birtwell logo the designer, as Birtwell herself wore her own creations and embodied (Celia Birtwell, 2017) them, associating herself more with her brand. However, when Birtwell passed on management of her business people did not recognise the brand as much.

Brand Values When relaunching the brand, I want to keep the values the same, as I do not want to disregard the heritage of the brand or loose existing customers who have been loyal to the brand. The core values will remain the same, although the overall aesthetic and product range will be altered to appeal to the new consumer whilst still adhering to the current consumer needs.

Product Offer For the relaunch of Celia Birtwell, I want to bring back the reasons why the brand was successful in the 1960s and 1970s with chiffon fabrics, bold prints and colour. I feel that this part of Birtwell was lost when Celia decided to go into interior fabrics; therefore, I want to bring back the fashion fabrics. When bringing in new products for the relaunch â&#x20AC;&#x153;the product development process, must aim at developing products that are

26006232

superior in value, distinct in features, and provide clear and unique benefits to the user” (Mital, Desai and Subramanian, 2014).

Packaging & Display Initially Birtwell created prints, which were used on creations by fashion designers such as Clark. The brand itself had a shop on 71 Westbourne Park Road, London, where they sold home fabrics. The brand only had the one shop which was small, and before that, Celia was selling her accessories at her home in Linden Gardens, London (Lutyens and Birtwell, 2011, p165). Currently the brand only has an online store where they sell fabrics, wallpapers and small accessories such as greetings cards. For the relaunch, I want to have a shop for Celia Birtwell so that consumers can have a more enjoyable shopping experience by being able to walk around the shop and try on the garments. “Luxury brands…must now aim to design multifunctional, controlled spaces that create brand experiences and communicate brand beliefs. These types of stores function almost like a temple for discerning consumers” (Petersen, 2014).

Advertising & Promotion In the 1960s and 1970s, the brand was featured in different fashion magazines, featuring shoots of their garments in Vogue and Nova magazine. Before their fashion, shows took place, they sent out invitations to guests. Hockney designed an invitation for a Birtwell/Clark fashion show for their Quorum collection. The brand currently does not advertise itself much apart from being featured on other retail websites such as Blendworth. Therefore, when I relaunch the brand I want to create billboards so that the advertisement is on a big scale, making it noticeable to current and new consumers.

Figure 19: An invitation designed by David Hockney for a Clark and Birtwell fashion show hosted at the Chelsea home of Nicky Waymouth (from Birtwell and Lutyens, 2012, p. 85)

26006232

BRAND IDENTITY PRISM

Figure 20: In this brand identity prism, I have identified the six aspects of Celia Birtwellâ&#x20AC;&#x2122;s brand identity (Brooks, 2017)

BRAND ONION

Figure 21: In this brand onion, I have identified the internal and external factors to gain a better understanding (Brooks, 2017)

26006232

MARKETING MIX Product During the 1960s and 1970s when Birtwell and Clark were designing together, their first creation, a paper dress for Parkin in 1967, was sold for five shillings. This dress was an entry-level product as it was designed for a youthful woman with a throwaway attitude and made from a paper used to make J Cloths (Lutyens and Birtwell, 2011, p35). Birtwell and Clark chose fabrics that had a retro, luxurious appeal: georgette, silk chiffon, crepe-de-chine and voile. The quality of the products was of a high standard as they used luxurious fabrics and the garments were handmade by Birtwell and Clark. Every piece that the pair designed together had a similar style, sexy, daring and feminine. On the Celia Birtwell online store, they sell entry-level products like greetings cards and magnets for consumers who cannot afford the more expensive products so they can still have a Birtwell product.

Price As they used luxurious fabrics, the garments were expensive to buy, with celebrities like Bianca Jagger purchasing their dresses. Some of their pieces were sold at Quorum, which was very expensive to buy from and according to Kathleen Coleman, “People sometimes saved up a whole month’s wages to buy Figure 22: 1973 Ossie Clark Floral clothes here” (Lutyens and Birtwell, 2011, p39). Birtwell and Clark’s designs Celia Birtwell Print Chiffon Dress (1stdibs, n.d.) were adapted slightly to appeal to a wider market, offering them a more affordable line of clothing. Currently Celia Birtwell home fabrics are still expensive at £50 per metre, appealing to a consumer base that has some sort of disposable income (Celiabirtwell.com, 2017).

Promotion Currently the brand is known in the market but is not as popular as it was during the 1960s and 1970s. After Birtwell split with Ossie, she stopped designing fashion fabrics and her career took a new direction when she opened a shop, selling home fabrics. “I didn’t have a launch party or anything, it was all very low-key” (Lutyens and Birtwell, 2011, p165). When Birtwell opened her shop, there were not any advertisements or promotion surrounding the launch, so it was not a large event. The brand went downhill when it moved over to home fabrics, as the consumers Celia Birtwell had before were buying fashion garments, which were at the hands of Birtwell and Clark.

Place The brand did not have a global reach; founded and based in London, with the clientele living around the same area. The brands products were sold in Quorum, which was a boutique in London, which sold Figure 23: Celia Birtwell Uniqlo collaboration (Cosmopolitan, 2013)

26006232

expensive garments made from luxurious fabrics. In 2013, Celia Birtwell collaborated with Japanese chain, Uniqlo, in which her bold designs were printed on to t-shirts and tote bags (Alexander, 2013).

PESTEL Political In June 2016, Britain voted to leave the EU, which caused political uproar. Brexit has created uncertainty in the business environment and financial markets, as people are unsure as to how the Brexit will affect their business. Most fashion brands rely on European factories and skilled labour as not all luxury goods can be manufactured in the UK, if this were the case then British exports will be cheaper (Freeman, 2017). Because of the Brexit, the political relationship between Japan and the UK could be affected; research by the Open Britain campaign has shown that crucial agreements with Japan on issues such as nuclear power and cutting red tape for businesses could be lost when Britain leaves the EU. “The Asian nation is one of the UK’s most important trading partners, as some 879 Japanese companies employ 142,000 staff in the UK” (Buchan, 2017).

Economical Because of the pound sterling plummeting, luxury goods are now cheaper for tourists; Freeman (2017) reports a Louis Vuitton Speedy bag is currently about $200 cheaper in the UK for US visitors. Many tourists are afraid to travel over to the UK due to the rise in terrorist attacks, meaning that there will be fewer tourists purchasing luxury goods. The economy in Europe is growing at a steady pace, with investment remaining weak and unemployment rates high (European Commission, 2017). The pound sterling has decreased in value compared to currencies in other countries; this could make it more difficult to trade between and have stores in other countries. “Japan’s economy expanded at the fastest pace for more than two years in the three months to June, with domestic spending accelerating as the country prepares for the 2020 Tokyo Olympics and low levels of unemployment encouraged businesses to invest” (Partington, 2017). According to Partington (2017), Japan is on course for its seventh consecutive quarter of positive gross domestic product, which would be the largest expansion since the turn of the century. Japanese Tattoos author, Brian Ashcraft wrote in Kotaku, “The economic value Tokyo Olympics will have could change public perception of tattoos, with the amount of tattoo athletes taking place”.

Social In the fashion industry, there is a lack of heavily tattooed models, I found out from my primary research that consumers want to see more tattooed models on the runway. Consumers find it difficult when shopping online for clothes because none of the models have tattoos so it is hard to see what the clothes will look like on them. People want to see tattooed models on ecommerce sites like Asos, so that they can see what the clothes would look like with tattoos. Women with tattoos are not seen as feminine compared to a woman without, and women with tattoos are viewed very differently to men. The 2020 Olympics will be taking place in Tokyo, Figure 24: Natasha kai is one of the most tattooed Olympic athletes with over 50 tattoos (Kai, 2017)

26006232

Japan, where tattooed athletes will be travelling from all over the world to a country where ink is considered immoral. Restrictions on tattoo artists and associations with gang culture have given them a cultural stigma in Japan. “When the Tokyo Olympics get underway, it won’t only be tattooed athletes, but a huge increase in tourists, many of whom are also tattooed, that arrive for the games” (Ashcraft, 2016).

Technological The growth of online shopping offers Celia Birtwell new sales and opens up more opportunities to sell to new customers. More people are shopping online now than ever before, therefore, an online store would be needed in the relaunch in order to appeal to a wider target audience. With technology evolving all the time, one option for the brand could be an air drone, which takes the product directly to the consumer’s house, this works as a benefit as it is a much quicker way of Figure 25: Amazon Prime Air drone (Bezos, 2016) delivery. Last year Amazon announced their first successful air drone delivery by delivering some popcorn and a TV streaming stick directly to the garden of a customer. “The breakthrough suggests that autonomous aerial delivery could become a viable business sooner than thought” (Hern, 2016).

Environmental There has been a rise in the number of consumers who are more ethically and environmentally conscious, leading to the use of more environmentally friendly materials such as, organic cotton, natural dyes and recyclable materials for the packaging. For the relaunch, the packaging for the products could be recyclable so that it can be reused. In the shop, Celia Birtwell could have paper bags for consumers to have rather than plastic bags as they are from a renewable source, are biodegradable, compostable and recyclable (Barkham, 2011). “Manufacturing polyester for example, which is already present in 60% of clothing, produces almost three times more carbon dioxide than organic cotton, and it can take decades to degrade” (Barkham, 2011).

Legal Birtwell’s products are fabric based, and therefore the correct information would have to be put on the care label so that the consumer is aware of the specific care requirements for the fabric. For example, if the fabric was organic cotton or the print was made with natural dye this would need to be washed differently to a silk fabric. In addition, the care label would need to state what fabric it was in case consumers have allergies to certain fabrics. “In Japan, an Osaka district court has just ruled that a tattooist had broken the law by practicing without a medical license” (Crace, 2017). Crace (2017) states that “Japanese tattooists are protesting this decision; the ruling does however highlight the potential medical risks of getting a tattoo, and the difficulties local authorities can face when making sure that all health and safety guidelines are followed properly”.

26006232

COMPETITIVE ANALYSIS Previous Competition

Figure 26: In this Brand Positioning Map, I have identified the brands previous competitors within the market (Brooks, 2017)

26006232

Future Competition

Figure 27: In this Brand Positioning Map, I have identified the future competition for the brand after the relaunch (Brooks, 2017)

Current & Previous Competition During the 1960s and 1970s, Birtwell was among many other designers; however, she and Clark’s creative approach made them stars of the fashion industry. Emilio Pucci was up against Birtwell with his patterned garments, which featured art prints, geometric prints and colour, similar to Birtwell fabrics. In the 1970s Missoni, would also have been one of Birtwell’s competitors as they created garments that were heavily printed (Theredlist.com, 2017). Like Birtwell, Pucci got inspiration from his surroundings, one being the natural landscapes of the Mediterranean and designed bold graphic prints. Emilio Pucci could still be considered as a competitor for when the brand is relaunched as Pucci offers garments, which are heavily patterned. His original designs have been used as inspiration for the new Pucci collections carrying on his legacy. Pucci products range from £85 for a cardholder and to one of their most expensive dresses £3,570.00 (Emilio Pucci Online Boutique, 2017). Currently Celia Birtwell designs home fabrics therefore is up against a different market. When relaunching Celia Birtwell it will be up against different competition, as it will be venturing into a different market. Cole & Son is a brand that sells wallpapers, which incorporate patterns like Celia Birtwell. This brand forms as competition for as it offers similar products of a similar price, however, Cole & Son is at a higher price range with wallpaper on sale for £105 compared to Celia Birtwell at £55. Cole & Son does however offer a wider range of products with over 1,800 block prints and 350 screen print designs. The brand was founded in 1875 in North London with its current collections inspired by the 18th, 19th and early 20th century also reflecting the long and renowned history (Cole-and-son.com, 2017). Similar to Celia Birtwell it has a long history that 20

26006232

consumers value, making the brand more trustworthy. However, Cole & Son offer a bespoke service where consumers have the opportunity to create personal and unique wallpaper, allowing them to pick out a design in a particular colour. This is a unique selling point for their brand as it allows the consumer to have a more personalised experience.

CONSUMER ANALYSIS     

Celia Birtwell targeted people who generally had a lot of money to spend. The consumers were women who liked the daring cuts Clark created, but also had an appreciation for the beautiful prints by Birtwell. Celebrities like Patti Boyd and Bianca Jagger wore the pair’s luxurious creations during the 1960s and 1970s. The brand was attracting a younger demographic when Birtwell moved over to home fabrics, these were the consumers who could only afford entry-level products like a cushion. The existing consumers for Celia Birtwell are people who have some disposable income and can afford to purchase expensive fabrics and wallpaper.

Potential Consumers Existing Customers  

     

Millennial Generation consumers. Generation X consumers who knew the brand as it was originally. Affordable luxury pricing. Prefer to buy online rather than in store. Have an appreciation for the brand heritage. Value the artistry and handmade qualities. Unique collections of fabrics and wallpapers. Consumers are educated and mature.

Target Consumer A    



 

Millennial Generation consumers. Predominantly females. Affordable Luxury Pricing. Contemporary fashion built on aspects from the brand’s heritage, using the same materials and cuts but developing the prints. Directional approach to attract a younger demographic. Offer a luxury brand experience through the physical store. High social media presence. Prefer to shop in a physical store rather than online.

Target Consumer B   



 



Generation Z consumers. Predominantly females. Lower starting price point to target new younger luxury consumers with entry-level products. Recruit a younger model for a fresh perspective and to attract a younger audience. High social media presence. Develop online store to make it more interactive for customers e.g. VIP membership with the brand. The collections will be available online and will expand onto social media, attracting younger consumers. Like to shop online and browse social media often. 21

26006232 Figure 28: I have identified who the existing customers are as well as the potential consumers for the brand.

Potential Markets Japan  



UK The 2020 Olympics in Tokyo, Japan, will see an increase in tourists for the city. High amount of tattooed athletes and tourists with tattoos will be attending the games. “Preparations for the games may have helped to contribute to growth in public investments, while high levels of employment have also pushed businesses to invest in capital projects, helping to boost the economy, according to economists at French bank Société Générale (Partington, 2017). “Japan is hoping to land 40 million visitors in 2020, the year that Tokyo hosts the Olympics (LUXUO, 2017).

   



Consumers attach less psychological meaning to luxury goods. Shifting away from disposable fashion. Increased living costs leads to more practical purchasing. Millennials are more interested in technology rather than the traditional ways of advertising. Pound Sterling has plummeted, luxury goods are now cheaper to buy in the UK for tourists. The European luxury goods market has moved on from its toughest times, different economies are recovering at different rates.

Figure 29: I have identified two potential markets to launch my brand.

Aspirational Consumer An aspirational consumer for the brand could be generation Z consumers, born during the mid-1990s and 2000s. These consumers would be people who aspire to buy luxury brands and want to be a part of that brand. They would not be able to afford the products at the high end of the price range, however, to still appeal to this generation we could offer entry-level products; e.g. a smaller tattoo or a tote bag.

BRAND CHALLENGES A potential issue that the brand could face during the relaunch would be cultural differences between Japan and the UK. Therefore, I would need to consider the Japanese culture and be respectful of any cultural differences in the two markets whilst appealing to the UK consumers. During the relaunch, I need to maintain the heritage of the brand to ensure that I do not loose exiting customers; this will include keeping up the reputation of the brand e.g. brand values.

RECOMMENDATIONS After taking into account the research I have gathered it has allowed me to make recommendations for my relaunch of Celia Birtwell. I have researched the history of the brand and have looked in to why the brand did not succeed in the past. I believe this is a result of the brand moving over to home fabrics from fashion fabrics, and in the process losing some of their original customers. Therefore I have decided to return back to 22

26006232

fashion fabrics for my relaunch as I feel that this is what led the brand to success in the 1960s and 1970s. Tattoos are becoming more popular in the UK and more accepted among society; however there is still some negativity surrounding tattoos. Therefore my relaunch will be focused upon tattoos, with the revival of brand being a tattoo parlour inside the Celia Birtwell boutique. The idea is that consumers can come in to the boutique and have a Celia Birtwell print tattooed onto their body or have a print tattooed on to a leather dress for example. “It’s estimated that about one in five of the UK population as a whole is tattooed and this figure rises to one in three for young adults” (Proud, 2015). In Japan tattoos are considered as taboo and are not given a positive outlook, therefore I thought that by launching the brand in Tokyo, Japan this would be a controversial move. I have researched in to two possible collaborative partners, Erdem, a current clothing brand and Horimitsu, a tattoo artist in Tokyo, Japan. I feel that the collections from Erdem show qualities similar to the original prints by Celia Birtwell, both using heavily printed fabrics incorporating floral prints. Horimitsu would be a fitting choice for a collaborative partner as he has 20 years experience in the tattoo industry, practicing both machine, and the traditional Japanese method of tattooing called Tebori. He has over 40,000 followers on Instagram in which he uses as the main platform to display his pieces of art, alongside his website. I will launch Celia Birtwell in London, UK and Tokyo, Japan. The 2020 Olympics in Tokyo, Japan will see an increase in tourists for the city, with a high amount of tourists and athletes being tattooed. “According to a new report by McKinsey & Co shared exclusively with BoF, Japanese consumers are now spending 3.6 trillion yen (about $33 billion) each year on luxury goods” (Chitrakorn, 2017). As I want to focus on the brand heritage for my relaunch I thought that by relaunching in London, UK would be the correct choice, as this was where the brand was founded. Because of the Brexit, the Pound Sterling has plummeted making luxury goods cheaper to buy in the UK for tourists. I will be marketing the brand towards the exiting consumers of the brand as well as a new consumer base, millennial generation consumers and generation Z consumers. I will offer entry-level products for the generation Z consumers who are younger and do not have disposable income, I feel that this will allows this consumer group to still purchase a bit of Celia Birtwell, whether this be a tote bag or a small tattoo. For the millennial generation consumers I will offer a luxury brand experience throughout the boutique and take a directional approach to attract a younger demographic. When the relaunch happens I do not want to lose out on existing consumers of the brand, therefore I will maintain the brand heritage and the handmade qualities of the products.

26006232

LIST OF ILLUSTRATIONS Figure

Description

Page

Clark and Birtwell’s paper dress

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 35 2

Birtwell and Ossie wedding day

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 49 3

Celia Birtwell’s Little Animals print

Celia Birtwell (2017). [Image] Available at: http://www.celiabirtwell.com/gallery/ [Accessed 16 Nov. 2017] 4

Mr and Mrs Clark and Percy

Hockney, D. (1971). Mr and Mrs Clark and Percy. [Acrylic paint on canvas] London: Tate. 5

Celia Birtwell Chiffon dress

Vogue (2006). Celia Birtwell Chiffon dress, Topshop collection. [Image] Available at: http://www.vogue.co.uk/article/topshop-take-two [Accessed 16 Nov. 2017] 6

Emilio Pucci Jumpsuit 1970s

Pinterest (n.d.). Emilio Pucci Jumpsuit 1970. [Image] Available at: https://i.pinimg.com/originals/9f/bb/24/9fbb243a2cc1968726ca66dc754b20fa.jpg [Accessed 16 Nov. 2017] 7

Celia Birtwell Beasties Delft

Celia Birtwell (2017). Beasties Delft Wallpaper. [Image] Available at: http://www.celiabirtwell.com/productspage/wallpaper/beasties-wallpaper-aqua/ [Accessed 16 Nov. 2017]. 8

Cole & Son Hummingbirds Wallpaper

Cole & Son (n.d.). Cole & Son Hummingbirds wallpaper. [Image] Available at: https://www.cole-andson.com/en/collection-archive-anthology/wallpaper-100/14071/ [Accessed 16 Nov. 2017]. 9

Canvas tote bags

Brooks (2017). Canvas tote bags. [Image] Created at Sheffield Hallam University by Leah Brooks.

26006232

Valentino Printed sablé dress

Valentino (n.d.). Valentino Printed sablé dress. [Image] Available at: https://www.valentino.com/gb/gown_cod34784956qb.html [Accessed 16 Nov. 2017]. 11

Celia Birtwell’s current online store

Celia Birtwell (2017). [image] Available at: http://www.celiabirtwell.com [Accessed 16 Nov. 2017]. 12

Celia Birtwell

Independent (2015). Photograph of Celia Birtwell. [Image] Available at: https://static.independent.co.uk/s3fs-public/thumbnails/image/2015/06/12/13/CeliaBirtwellDavidVintiner.jpg [Accessed 16 Nov. 2017]. 13

Typographical logo

Brooks (2017). Typographical logo. Created by Leah Brooks. 14

Celia Birtwell’s face illustration

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 62 15

Mystic Daisy print

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 19 16

Birtwell and Clark

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 21 17

An illustration featuring Celia Birtwell’s Giaconda print

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 82 18

The Celia Birtwell logo

Celia Birtwell (2017). [Image] Available at: http://www.celiabirtwell.com/gallery/ [Accessed 16 Nov. 2017]. 19

An invitation designed by David Hockney

Birtwell, C. and Lutyens, D. (2012). [Image] Celia Birtwell. New York: St. Martins Griffin. P. 85 20

Brand Identity Prism

26006232

Brooks (2017). Brand Identity Prism. Created by Leah Brooks. 21

Brand Onion

Brooks (2017). Brand Onion. Created by Leah Brooks.

1973 Ossie Clark and Celia Birtwell Chiffon Dress

1stdibs (n.d.). 1973 Ossie Clark Floral Celia Birtwell Print Chiffon Dress. [Image] Available at: https://www.1stdibs.com/fashion/clothing/day-dresses/1973-ossie-clark-documented-colorful-floral-celiabirtwell-print-chiffon-dress/id-v_343862/ [Accessed 16 Nov. 2017].

Celia Birtwell Uniqlo collaboration

Cosmopolitan (2013). Celia Birtwell Uniqlo collaboration. [Image] Available at: http://www.cosmopolitan.com/uk/fashion/news/a18948/celia-birtwell-uniqlo-collaboration-2121/ [Accessed 16 Nov. 2017]. 24

Natasha kai

Kai, N. (2017). Natasha Kai (@natashakai_32) â&#x20AC;˘ Instagram photos and videos. [Image] Instagram.com. Available at: https://www.instagram.com/natashakai_32/?hl=en [Accessed 30 Nov. 2017]. 25

Amazon Prime Air drone

Bezos, J. (2016). Jeff Bezos (@JeffBezos) on Twitter. [Image] Twitter.com. Available at: https://twitter.com/JeffBezos?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.theguardian.com%2Fte chnology%2F2016%2Fdec%2F14%2Famazon-claims-first-successful-prime-air-drone-delivery [Accessed 30 Nov. 2017]. 26

Brand Positioning Map Previous Competition

Brooks (2017). Brand Positioning Map Previous Competition. Created by Leah Brooks. 27

Brand Positioning Map Future Competition

Brooks (2017). Brand Positioning Map Future Competition. Created by Leah Brooks. 28

Potential Consumers

Brooks (2017). Potential Consumers. Created by Leah Brooks. 29

Potential Markets

22 26

26006232

Brooks (2017). Potential Markets. Created by Leah Brooks.

26006232

BIBLIOGRAPHY Alexander, E. Celia Birtwell for Uniqlo Alexander, E. (2013). Celia Birtwell for Uniqlo. [online] Vogue.co.uk. Available at: http://www.vogue.co.uk/article/celia-birtwell-for-uniqlo-collection-to-launch [Accessed 19 Oct. 2017]. Amed, I., Berg, A., Brantberg, L., Hedrich, S., Leon, J. and Young, R. Amed, I., Berg, A., Brantberg, L., Hedrich, S., Leon, J. and Young, R. (2016). The State of Fashion. Business of Fashion. Anon Anon, (2017). [online] Available at: https://shuspace.shu.ac.uk/bbcswebdav/pid-7491725-dt-content-rid15825055_2/courses/55-500490-AF-20178/global-powers-luxury-2017.pdf [Accessed 17 Oct. 2017]. Ashcraft, B. Ashcraft, B. (2016). Cite a Website - Cite This For Me. [online] Kotaku.com. Available at: https://kotaku.com/the-2020-olympics-could-change-tattooing-in-japan-forev-1784959769 [Accessed 19 Oct. 2017]. Barkham, P. Barkham, P. (2011). Paper bags or plastic bags: which are best?. [online] the Guardian. Available at: https://www.theguardian.com/environment/shortcuts/2011/dec/20/paper-plastic-bags-which-best [Accessed 19 Oct. 2017]. Birtwell, C. and Lutyens, D. Birtwell, C. and Lutyens, D. (2012). Celia Birtwell. New York: St. Martins Griffin. Pages, 1, 10-17, 20, 25, 35, 39, 111 & 165. Brooks, L Brooks, L. (October 2017). Primary image, Celia Birtwell tote bags. Buchan, L. Buchan, L. (2017). Revealed: How Brexit will damage the UK's relations with Japan. [online] The Independent. Available at: http://www.independent.co.uk/news/uk/politics/brexit-japan-uk-trade-relationsnuclear-power-diplomacy-business-future-a7920631.html [Accessed 2 Nov. 2017]. Celia Birtwell.com Celiabirtwell.com. (2017). Trade Information | Celia Birtwell. [online] Available at: http://www.celiabirtwell.com/information/trade-info/ [Accessed 18 Oct. 2017]. Chitrakorn, K.

26006232

Chitrakorn, K. (2017). Japanâ&#x20AC;&#x2122;s Luxury Market Enters a New Era. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/articles/global-currents/japans-luxury-market-enters-a-new-era [Accessed 16 Nov. 2017]. Cole and Son (Wallpapers) Ltd Cole-and-son.com. (2017). Cole and Son (Wallpapers) Ltd. [online] Available at: https://www.cole-andson.com/en/ [Accessed 19 Oct. 2017]. Donato, A. Donato, A. (2016). 2016 Rio Olympics: Interesting Tattoos Explained And What Will Happen Come Tokyo 2020. [online] HuffPost Canada. Available at: http://www.huffingtonpost.ca/2016/08/10/rio-olympictattoo_n_11432790.html [Accessed 2 Nov. 2017]. Emilio Pucci Online Boutique Emilio Pucci Online Boutique. (2017). Emilio Pucci Online Boutique. [online] Available at: https://www.emiliopucci.com/gb [Accessed 19 Oct. 2017]. European Commission European Commission - European Commission. (2017). Spring 2017 Economic Forecast. [online] Available at: https://ec.europa.eu/info/business-economy-euro/economic-performance-and-forecasts/economicforecasts/spring-2017-economic-forecast_en [Accessed 19 Oct. 2017]. Freeman, H. Freeman, H. (2017). Brexit is a disaster for British fashion. [online] the Guardian. Available at: https://www.theguardian.com/fashion/2016/oct/17/disaster-british-fashion-industry [Accessed 19 Oct. 2017]. Globaltimes.cn Globaltimes.cn. (2017). Shanghai has become Chinaâ&#x20AC;&#x2122;s tattoo mecca, but societal stigmas still exist - Global Times. [online] Available at: http://www.globaltimes.cn/content/1057968.shtml [Accessed 25 Oct. 2017]. Harris, B. Harris, B. (2014). Strategic plan for Valentino. [online] issuu. Available at: https://issuu.com/cocoandcake/docs/strategic_plan_final [Accessed 18 Oct. 2017]. Hern, A. Hern, A. (2016). Amazon claims first successful Prime Air drone delivery. [online] the Guardian. Available at: https://www.theguardian.com/technology/2016/dec/14/amazon-claims-first-successful-prime-air-dronedelivery [Accessed 19 Oct. 2017]. Hudson, E. Hudson, E. (2016). Millennials: Engaging the Engaged. WGSN. Hudson, E.

26006232

Hudson, E. (2017). www-wgsn-com.lcproxy.shu.ac.uk. [online] Www-wgsn-com.lcproxy.shu.ac.uk. Available at: https://www-wgsn-com.lcproxy.shu.ac.uk/content/board_viewer/#/69473/page/2 [Accessed 24 Oct. 2017]. LUXUO LUXUO. (2017). Luxury spending trends 2017: Japan second largest luxury market in the world | LUXUO. [online] Available at: http://www.luxuo.com/culture/luxury-spending-trends-2017-japan-second-largestluxury-market-in-the-world.html [Accessed 2 Nov. 2017]. McCarthy, K., Perkins, B., Pope, N., Portaluppl, L., Scaramuzzi, V. and Su, L. McCarthy, K., Perkins, B., Pope, N., Portaluppl, L., Scaramuzzi, V. and Su, L. (2017). Global powers of luxury goods 2017: The new Luxury Consumer. Deloitte. [online] Available at: https://shuspace.shu.ac.uk/bbcswebdav/pid-7491725-dt-content-rid-15825055_2/courses/55-500490-AF20178/global-powers-luxury-2017.pdf [Accessed 25 Oct. 2017]. Mital, A., Desai, A. and Subramanian, A. Mital, A., Desai, A. and Subramanian, A. (2014). Product Development: A Structured Approach to Consumer Product Development, Design, and Manufacture. 2nd ed. Elsevier Inc., p21-42. Napoli, C. Napoli, C. (2017). US: Marketing Luxury to Gen Z. WGSN. Napoli, C. Napoli, C. (2017). www-wgsn-com.lcproxy.shu.ac.uk. [online] Www-wgsn-com.lcproxy.shu.ac.uk. Available at: https://www-wgsn-com.lcproxy.shu.ac.uk/content/search/#/luxury%2520consumer%25202020 [Accessed 24 Oct. 2017]. Owen, S. Owen, S. (2015). www-wgsn-com.lcproxy.shu.ac.uk. [online] Www-wgsn-com.lcproxy.shu.ac.uk. Available at: https://www-wgsn-com.lcproxy.shu.ac.uk/content/board_viewer/#/55447/ [Accessed 24 Oct. 2017]. Partington, R. Partington, R. (2017). Japanese economy posts longest expansion in more than a decade. [online] the Guardian. Available at: https://www.theguardian.com/world/2017/aug/14/japanese-economy-postslongest-expansion-in-more-than-a-decade [Accessed 2 Nov. 2017].ssed 2 Nov. 2017]. Petersen, F. E. Petersen, F. (2014). Six must dos for successful luxury goods marketing. [online] the Guardian. Available at: https://www.theguardian.com/media-network/2014/nov/25/luxury-goods-marketing-ferrari-le-labo [Accessed 2 Nov. 2017]. Proud, A. Proud, A. (2015). We’re not going to reach ‘peak tattoo’ until 2025. [online] Telegraph.co.uk. Available at: http://www.telegraph.co.uk/men/fashion-and-style/11545649/Were-not-going-to-reach-peak-tattoo-until2025.html [Accessed 13 Nov. 2017]. 30

26006232

Rosenbloom, S. Rosenbloom, S. (2017). What Impact Will Trump Have on Tourism?. [online] Nytimes.com. Available at: https://www.nytimes.com/2016/11/10/travel/trump-travel-tourism.html [Accessed 19 Oct. 2017]. The Red List.com Theredlist.com. (2017). Fashion, History | The Red List. [online] Available at: https://theredlist.com/wiki-223-1249-1257-view-1960s.html [Accessed 18 Oct. 2017].

26006232