Fashion Product Development Image & Communication FSC651 Lauren Noble Level 6
Issue 01
Marketing Report
contents
exec u ti ve s u m m ar y
3
i n d u s tr y s i tu ati o n
5
m ar ke t s i tu ati o n
8
c o m pe ti to r an al ys i s
11
Daze d & Co n fu s ed
13
B r i c ks
21
To pm an
29
c o n s u m e r an al ys i s
31
b ran d an al ys i s
39
pl an
51
appe n d i c es
53
b i b l i o graphy
71
refren c e s
72
i m age l i s t
73
F1
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F2
F3
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Th i s re p ort i s fo c u s e d the b ran d Tran qu i l , a
p ubl i c at i on a n d app ai m e d at the 1 8 - 2 5 - yearol d c reat i v e g e n e rati o n . The re po rt wi l l ex pl o re t h e ma r ke t si t u ati o n , c o m peti to r s an d c o n s u m e r s
of t h e bra nd, as wel l as l o o ki n g at the b ran d
a na l y si s a nd the pro m o ti o n al te c hn i qu e s u s ed . Th e a i ms of t h e re po rt are to c l ear l y s tate where
Tra nq ui l f i t s i n to the m ar ke t thro u gh ac ti o n an d i m pl e m en tati o n pl an s .
F4
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Industry situation
Tra nq ui l f i t s i nt o the i n d u s tr y am o n gs t o ther c o n c eptu al f a sh i on a nd l i f es tyl e m agazi n es s u c h as Daze d an d Conf use d.
Th e d i ffe ren c e i s that Tran qu i l i s targe te d
t ow a rds h e l p i ng the c o n s u m er l ear n an d gro w as op p ose to m e rel y read i n g the page s .
Tra nq ui l off e r s a pl atfo r m fo r yo u n g peo pl e o f 1 8 - 2 5 w h o a re i nt e re st e d i n the c reati ve i n d u s tr y to l ear n fro m
t h e c ont e nt of t he page s i n b o th the pu b l i c ati o n an d
t h e a p p, a s w e l l as b e i n te res ted an d e n gaged wi th i t. Tra nq ui l ’s US P i s that the pu b l i c ati o n i s i n te rac ti ve wi th a n a p p t h roug h the u s e o f a s m art pho n e . It i s i m po rtan t to
ke e p
the
c o n s u m er, b ei n g
the
yo u n g
c reati ve
g e ne rat i on, i nt e res ted an d exc i ted b y the way they are a bl e t o use t h e p ro d u c t. Thi s i s s o m ethi n g that has n o t be e n a ddre s s ed b efo re to a hi gh s tan d ard .
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-7Market situation
Tra nq ui l i s m ar keted to b o th m al e a nd
f e m al e s
age s
18-25,
who
are
i nt e re st ed i n the c reati ve i n d u s tr y.
Th e y c a n b e fro m an y d e m o graphi c , a s t h e a i m o f Tran qu i l i s to i n s pi re
a nd e du c ate the c o n s u m e r. Tran qu i l
w i l l h a v e a d i re c t an d pre c i s e vo i c e to
t h e rea de r s i n whi c h i t i s ad d re s s i n g. Tra nq ui l wi l l b e a l o w pr i c e an d hi ghl y i nt e ra c t i v e
pu b l i c ati o n
an d
app,
ma k i ng it appeal i n g to the c u s to m e r a nd c ons u m e r.
-8-
H a v i ng l ooke d at p ub l i c ati o n s s u c h as Daze d an d Co n fu s e d , i D, a nd
Top m a n M a g a z i ne , t he re i s a l ac k o f a l i n k b etwe en the pu b l i c atio n i t se l f a nd t h e onl i ne / d i gi tal c o n te n t. Al tho u gh the d i gi tal c o n te n t f o r
m a g a z i ne s suc h a s Daze d an d i D i s to a hi gh s tan d ard , there is a g a p w h e re Tra nq ui l c an fi l l . The ai m i s to c reate a pu b l i c ati o n t h at i s i nt e ra c t i v e a nd e ngagi n g wi th an app, l i n ked thro u gh the u s e of a
rea da bl e c ode t h rou gh the u s e o f a s m artpho n e. Thi s i s s o m e th ing t h at h a s not be e n t h e m ai n U SP b efo re. See a p p en dix 1
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F6
F5
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competitor
analysis
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F7
D a z e d a nd Conf us ed i s a c o m peti to r to Tran qu i l b ec au s e i t is a i m e d at bot h ma l e an d fem al e an d to u c hes o n the s am e to pi c s a s
Tra nq ui l doe s. W i t h a hu ge fo l l o wi n g an d repu tati o n , Tran qu i l l o oks up t o D a z e d a s a p l ac e i n the m ar ket whe re the b ran d wo u l d l i ke t o
be . D a z e d i s w e l l k n o wn fo r i ts c reati ve an d i n s pi red c o n ten t, a nd
pro d u c t
Tran qu i l c an l ear n fro m thi s .
A m ont h l y pu b l i c ati o n an d a web s i te whi c h i s c o n s tan t l y de v e l op i n g an d c han gi n g. The b ran d i s fo c u s ed o n
f a sh i on, art, m u s i c an d l i fe s tyl e as wel l c u l tu re an d n e ws. I t i s t a rg e ted at b o th m al e an d fem al e c o n s u m e r s . Daz e d a nd c onf u s ed have a ve r y l i m i te d app whi c h al l o ws
pri c e
c e rt a i n i ss u es to b e vi ewed o n .
Th e m a g azi n e c o s ts ÂŁ 4 .5 0 per i s s u e . Daze d has a
subsc r i p t i o n s e r vi c e whi c h m ake s eac h i s s u e c o s t a l i tt l e l e ss. Th e w e b s i te an d al l o f i s c o n te n t i s free . So m e
i ssue s a re avai l ab l e d i gi tal l y o n the app, whi c h c an b e
pl ac e
p urc h a se d thro u gh m o n thl y o r an n u al l y s u b s c r i pti o n s .
Th e p ubl i c ati o n i s s o l d ac ro s s the wo r l d , i n 3 8 c o u n tr i e s, a nd i s st oc ked b y m o s t n ews / fo o d s to re s . The we b s i te is a l so a v a i l a b l e o n l i n e fo r al l to u s e. Dazed have an app w h i c h i s o n l y l i m i te d i n c o n ten t an d requ i re s paym en t
pro m ot i on
f or use .
D a z e d a nd Co n fu s ed o ffer a s u b s c r i pti o n d i s c o u n t.
W h e n y ou b u y the s u b s c r i pti o n i t m ake s the c o s t o f each i ssue a l i ttl e l es s .
Pos n er, H . ( 2 0 1 1)
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F8
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Strengths
H i g h e n d m agazi n e that fo c u s e s o n fas hi o n , a rt , m u s i c an d c u l tu re. Stre n gths Feat ure s fo r b o th ge n d er s . Publ i c ati o n an d o n l i n e c o n te n t. Publ i sh e d m o n thl y. Est a bl i s he d repu tati o n . A bi l i t y to wo r k wi th m aj o r arti s ts . B i g t ea m who wo r k fo r the m agazi n e. H ug e a n d ex ten s i ve fo l l o wi n g. St rong s o c i al n e two r k c o ve rage . D a z e d an d Co n fu s ed d o s u b s c r i pti o n s ,
m a k i ng i t eas i l y ac c e s s i b l e fo r the read er s .
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F9
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Weaknesses
F10
Publ i c at i on a n d o n l i n e c o n te n t i s qu i te ‘ l o u d ’ an d ‘ b u s y’. Th e y don’ t h ave o n e s tro n g m e s s age ab o u t the m s el ve s
a s a bra nd a n d what the y o ffer the c o n s u m er. A n ar rati ve be h i nd a bran d i s i m po rtan t. The m es s age s an d vo i c e o f t h e bra nd a re qu i te var i e d an d m i xed .
Th e rea de r m ay get l o s t i n the hu ge ar ray o f c o n ten t. L a c k of a n ‘a b o u t ’ s ec ti o n o n we b s i te , whi c h i n fo r m s the rea de r a bout the val u e s an d e qu i ty o f the b ran d . D oe s not h a ve an y i n terac ti ve l i n k b etwe en the p ubl i c at i on an d we b s i te .
Publ i c at i on co s ts £ 4 .5 0 eac h whi c h fo r s o m e o f the a udi e nc e c ou l d b e to o ex pen s i ve .
A p p i s v e r y l i m i te d wi th the c o n ten t an d n o t ve r y eas y to use .
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Threats
The re are m agazi n e s d o i n g ver y s i m i l ar thi n gs to Dazed an d Co n fu s e d .
M agazi n e s that have we l l d eve l o ped apps are m o re l i ke l y to e n gage wi th thei r c o n s u m e r s .
B ran d s that have a s tro n g m e s s age an d n ar rati ve re l ate m o re to thei r consumers.
C u s to m er s m ay b e te m pte d to b u y m agazi n es that are c heaper an d
m o re affo rd ab l e i n the l o n g r u n ,
Opportunities
es pe c i al l y regard i n g s u b s c r i pti o n s .
C reati n g an i n te rac ti ve l i n k b e twee n the pu b l i c ati o n an d the web s i te.
C reati n g a s tro n ger app fo r the read e r s to i n te rac t wi th the m agazi n e m o re .
C heaper m agazi n e pr i c es m aki n g i t m o re affo rd ab l e to s o m e o f the au d i e n c e.
The i r web s i te l ac ks a s i m pl e, s ho rt an d s n appy m i s s i o n s tate m en t o r etho s . Thi s wo u l d b e
effec ti ve i n gi vi n g the read er s the i r m e s s age a nd vo i c e.
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F11
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Bricks
is
a
se l f -p ubl i sh e d
m agazi n e
s u ppo rti n g
emerging c reat i v e s w i t h i n f a sh i o n . B as e d i n B r i s to l , U K a nd st oc ke d w or l d wi d e .
B ricks M a g a zin e ( 2 0 1 5 )
B r i c ks m agazi n e i s a st ro ng c o m pe ti to r
to
Tra nquil
b e c au s e i t ’s a s el f p ub l ish ing m agazi n e
whi c h
fo cuse s
on
em e rgi n g c reati ve s and st ro ng ae s theti c s . an
app
B r i c ks
whi c h
al so
Tranquil
h a ve
d o,
al tho u gh Tran qu i l ’s a pp w it h b e m u c h m o re i n teract ive a nd
fu l l o f c o n ten t. Tran quil h a s take n o n l ayo u t, c o n t e nt a nd ae s theti c al F12
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i n s pi rati on
B r i c ks m agazi n e .
f ro m
F 13
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pro d uct
Bricks i s a p ubl i c at i on t h at c o m e s o u t b i an n u al l y. They
call t h e mse l v e s a f a sh i on an d pho to graphy pu b l i c ati o n but t h e w e bsi t e c ont a i ns c o n te n t fro m n ews to art an d cultu re . B r i c ks a l so h a v e a n app wi th o ffe r s o n l i n e
pr ice
issue s.
Bricks i s st oc ke d i n 5 c i t i e s i n the U K , an d i s avai l ab l e
fo r sh i p p i ng w or l dw i de . The app c o n tai n s the i s s u e s to
v iew di g i t a l l y. B r i c k h a v e a we b s i te that i s avai l ab l e fo r
pro m o ti o n
pl ac e
all in t e r ne t use r s.
The i ssue s c ost £10 ea c h o n l i n e, wi th a d i s c o u n ted
‘bun dl e ’ a nd subsc r i p t i on pr i c e . O n the app the i s s u es are £4. 49 t o v i e w di g i t a l l y.
Bricks off e r a subsc r i p t i on pr i c e whi c h s ave s 2 5 % o n al l the issue s. I n a ddi t i on t o t hi s , B r i c ks c u r ren tl y have a ‘bun dl e ’ off e r w h e re 3 i ssu e s are £ 2 0 .
Pos n er, H . ( 2 0 1 1 )
F14
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Strengths
B r i c ks a re a n i nd epe n d en t m agazi n e featu r i n g em e rgi n g c reat ive s w it h or i g i na l a e st h e t i c s
Th e y h a v e a st ro n g s o c i al n e two r k fo l l o wi n g whi c h i n c reas e s t h e ir a udi e nc e a nd t here fo re e n han c e s s al es .
Th e y h a v e a sub s c r i pti o n s er vi c e whi c h d e c reas e s the pr i c e of ea ch i ndi v i dua l i ssue .
W i t h subsc r i p t i o n s c o n s u m er s re c e i ve a ‘go o d y b ag’. B r i c ks h a v e a n app wi th the c o n ten t o f the m agazi n e s o n the m . Th e
i ssue s st i l l ne e d to b e pu rc has e d , b u t the pr i c es are c o n s i d e ra b l y l e ss di g i t a l l y.
B r i c ks h a v e a w e b s i te wi th s tro n g c o n te n t, i n c l u d i n g fas hi o n , a rt , ne w s a nd c ul t ure .
Th e w e bsi t e h a s an ac c o u n t featu re, e n gagi n g an d wi th the co nsum e r a nd m a k i ng i t m o re pe r s o n al .
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F15
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Wea k n e s s e s
Th e p ubl i c at i on i s ve r y ex pen s i ve , c o s ti n g £ 1 0 an i s s u e. Th e a p p onl y c ont ai n s c o n ten t o n the i s s u es , an d n o o ther
c ont e nt t h at i s on the we b s i te , i n c l u d i n g the ac c o u n t featu re . B r i c ks m a g a z i ne i s c u r ren tl y o n l y avai l ab l e i n s to c ki s ts i n 5
c i t i e s. Th e p ubl i c ati o n n e ed s to b e o rd e red o n l i n e o ther wi s e. B r i c ks w e bsi t e doe s n o t have a s tro n g m es s age ab o u t the m a g a z i ne s v oi c e . I thi n k thi s i s es s e n ti al i n en gagi n g wi th
Opportunities
t h e c onsum e r a nd m aki n g a c o n n e c ti o n .
W i t h a st rong e r f o l l o wi n g, B r i c ks c o u l d b e ab l e to ge t m o re f undi ng a nd t h e re fo re B r i c ks m agazi n e c o u l d b e c heaper, ma k i ng i t more a c ce s s i b l e to the c u s to m e r.
Th e a p p c oul d be d e vel o pe d an d c o n tai n m o re c o n ten t that i s on t h e w e bsi t e , as wel l as the ac c o u n t featu re.
B r i c ks ma g a z i ne c o u l d c o m e o u t m o re o fte n . At the m o m en t t h e y a re bi a nnua l , wi th a m o re frequ en t pu b l i c ati o n the ma g a z i ne c oul d g ai n a s tro n ge r fo l l o wi n g.
B r i c ks’ ‘a bout ’ se cti o n o n the we b s i te c o u l d ho l d a s tro n ge r
me ssa g e a bout t h e m as a b ran d , i n o rd er to c o n n ec t m o re to t h e c onsume r.
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Threats
F16
Th e re a re m a ny se l f - pu b l i s hi n g m agazi n e s that as k fo r fu n d i n g l i ke B r i c ks.
Th e re i s c omp e t i t i on as to whi c h m agazi n e the c ro wd c ho s e to sup p ort .
W i t h t h e p r i c e of t h e pu b l i c ati o n s o hi gh, c u s to m e r s m ay tu r n to c h ea p e r a l t e r nat i v e s .
Consum e r s m a y be m o re i n te res ted i n pu b l i c ati o n s that c o m e o ut more f re q ue nt l y t h a n B r i c ks .
Publ i c at i ons t h at a re s to c ke d i n s to res ac ro s s the c o u n tr y are more l i ke l y t o be bou ght d u e to ac c es s i b i l i ty.
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F46
Top ma n i s a s a n i n fl u e n ti al pu b l i c ati o n that has b e en ad m i red f o r i t s h a p t i c v a l ue s a n d vi s u al s . The ae s theti c s o f To pm an m agazi ne
a re si mp l e a nd or i gi n al , gi vi n g an i n tere s ti n g i n s i ght i n to fas hio n p h ot og ra p h y a nd e d i ts . The pu b l i c ati o n has i n s pi red vi s u al s an d
a e st h e t i c s f or Tra n qu i l . H avi n g l o o ke d at the pu b l i c ati o n , a SWOT a na l y si s h a s be e n c ar r i ed o u t. Pos n er, H . ( 2011) See a p p en dix 2
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sum
er analysis
Con
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Tran qu i l i s m ar keted to b o th m a l e a nd f e m a l e s age s 1 8 - 2 5 , who are i n tere s te d in t h e creat ive
i n d u s tr y. The y c an b e fro m an y d e m o g ra ph ic, as the ai m o f Tran qu i l i s to inspire a nd e d u c ate the c o n s u m er. Tran quil w il l h a ve
a d i re c t an d pre c i s e vo i c e to th e rea d e r s in
whi c h i t i s ad d re s s i n g. Tran qu i l w il l b e a l o w pr i c e an d hi ghl y i n te rac ti ve pu b l icat io n a nd
app, m aki n g i t appeal i n g to the cust o m e r a nd c o n s u m er.
Pr i m ar y res earc h has taken pl ace f o cusing o n m y targe t c u s to m e r an d c o n s u m e r, l o o king
i n to what they are d o i n g, wh at t h e y a re i n tere s te d i n an d what the y wo u l d l ike t o se e an d get b ac k fro m Tran qu i l . U n d e r st a nd ing t h e
c u s to m er an d c o n s u m er i s vi tal in creat ing a pro d u c t that wi l l b e b o u ght i n to a nd e ng a g e d wi th.
F17
F18
F19
c reati ve s o c i al ac ti ve i n tere s te d to l ear n
d r i ven i n s pi red fas hi o n s u c c es s music M a h i k i i s suc h a f un ba r where e v e r y one c a n unw i nd an y d ay o f th e w e e k - G ui l l e Ur i e l
am b i ti o n art
S e e ap p e n d i x 3
o u tgo i n g s ho ppi n g Th e c onc e p t w a s t o c reate a fe el i n g of l osi ng a nd g a i ni ng c o n tro l wi thi n a re l at i onsh i p - of t h e ju x tapo s i ti o n be t w e e n c a l m a nd a st o r m -Rosi e Low e F2 0
S e e ap p en dix 4
pro d u c ts read i n g m o b i l e pho n e o n the go
A n i nt e r v i e w w i t h A nnab e l l e W i l l i am s has b e en c ar r i ed o u t, who i s a f a sh i on bl og g e r a nd an ex tre m el y fo l l o wed s o c i al n etwo r ke r. As w e l l a s m ode l i ng f or fas hi o n b ran d Serge De N i m e s an d s tu d yi n g L a w at Uni v e r si t y, B e l l has a fo l l o wi n g o f 2 4 .6 K o n he r fas hi o n I nst a g ra m p a g e , m aki n g her a typi c al Tran qu i l read er.
Tra nq ui l w oul d off e r B e l l an i n s i ght i n to ho w to m ake i t i n the
c reat i v e i ndust r y, a nd fu rther m o re, i t wi l l i n s pi re he r wi th fas hi o n , m usi c , a rt a nd l i f e st yl e b o th b y rel ax i n g at ho m e o r o n the go.
B e i ng i nt e re st e d i n bo th the c reati ve wo r l d an d ac ad em i c s , B el l i s
a st rong re p re se nt at i o n o f the Tran qu i l c u s to m e r an d c o n s u m e r, a nd t h e re f ore i dea l f or pr i m ar y re s earc h. I have as ke d B e l l a s e r i es of q ue st i ons re l at i ng to pu b l i c ati o n s an d the i d ea o f Tran qu i l .
-35-
There isn’t e noug h c onc e nt rat e d o n the media educ at i ng but rat h e r bra i n was hi n g the audienc e w i t h t h e di st i nc t i on b etwe en no rmal peop l e a nd c e l e bs.
S e e a p p en dix 5
F 21
F22
F24
F23 F25
D i g g or y i s t h e m al e i d eal c u s to m e r an d c o n s u m e r. Aged 20, D i g g or y h a s h i s o wn m ar ke ti n g b ran d , B l u De s i gn , an d a l so
w or ks a s t h e g raphi c d e s i gn e r fo r pro m o ti o n al c o m pan i es . B eing a y oung c reat i v e wi th hi s o wn b u s i n e s s an d c l i e n ts , Di ggo r y
unde r st a nds t h e s tr u ggl e s o f b ei n g s u c c e s s fu l i n the i n d u st r y. Th i s i s t y p i c a l o f a Tran qu i l read e r. Tran qu i l ai m s to gu i d e t h e y oung c reat i v e gen erati o n thro u gh i n s pi rati o n an d i n te r vie w s
f rom c reat i v e s who have b ro ken i n to the i n d u s tr y i n an ae s thet ica l an d en gagi n g m an o r.
F26
F27
F28
F 29
F30
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. I ’ m a l w a y s c ur i o u s ab o u t pe o pl es ’ b ac ks to r i es an d ho w t h e y g ot t o w h e re they are to d ay
See a p p en dix 6
W i t h t h e i nf or mat i o n fro m the i n ter vi e w, Tran qu i l i s ab l e to f or m at a round k no wi n g what the i d eal Tran qu i l c o n s u m e r w oul d l i ke t o se e , an d wo u l d e n gage i n . Thi s i s i m po rtan t a s i t e nsure s that Tran qu i l wi l l b e s u c c es s fu l .
F31
F32
F33
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brand analysis
F34
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F35
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Tranquil is an i nt e ra c t i v e p ubl i c ati o n an d app b as e d o n the
creative indu st r y. Tra nq ui l w i l l be an e n gagi n g, i n te res ti n g an d inspiring mean of re l a x at i on f or m y t arget au d i e n c e o f 1 8 - 2 5 - yearo ld male and f e m a l e s. Th e c onsume r s wi l l b e i n the l o o p wi th the
creativity aro und t h e m, a nd by doin g s o, they wi l l l ear n an d b e i nsp i red .
Tranquil is a publ i c at i on t h at ex p ose s c o n s u m er s to the d eve l o pi n g creative wo r l d, be i n i n a rt , f a sh i o n m u s i c an d l i fes tyl e etc . It will co ntain a rt i st s’ w or k a nd f eat u re i n ter vi e ws that s pe c i fi c al l y
t arg et the consume r. Th e ma i n p ages o f Tran qu i l wi l l have an
interactiv e c ode s t h at t h e use r c a n s c an wi th the i r s m art pho n e , t aking them t o a c or re sp ondi ng page o n the Tran qu i l app, ho lding mov i ng i m a g e a nd f urt her read i n g/ i n te rac ti vi ty.
The aim is to c reat e a bea ut i f ul l y a e s theti c , i n te rac ti ve pu b l i c ati o n
and app that f oc use s on f a sh i on a n d al l thi n gs c reati ve . Tran qu i l
will keep the ol d f a sh i one d h a rd c o py m agazi n e that i s ti m e l es s , and still incl ude i nnov at i v e i dea s that the fu tu re o f m agazi n es h ol d.
F36
pro d u c t
Tra nq ui l i s a n i n te rac ti ve m o n thl y pu b l i c ati o n fo r b o th m a l e a nd f e ma l e s , fo c u s i n g o n fas hi o n , art, m u s i c an d
l i f e st y l e . Tra nq u i l has an app wi th i n te rac ti ve page s fro m t h e p ubl i c at i on, as we l l as e ver c han gi n g c o n te n t an d
pr ice
p roduc t i nf or m ati o n r i ght o n yo u r s m artpho n e .
Tra nq ui l w i l l be s o l d i n an y n ews / b o o k s to re an d featu re s i n se l e c t e d f a shi o n s to re s to o. The app wi l l b e avai l ab l e
f or t h e c onsumer at an y gi ve n m o m en t thro u gh the s m art
p h one . Tra nq ui l wi l l have a s tro n g s o c i al m e d i a c o ve rage ,
pl a ce
m a k i ng i t i nt e rac ti ve wi th the c o n s u m e r s .
Th e p ubl i c at i on wi l l b e ve r y l o w c o s t, m aki n g i t real i s ti c a nd a ff orda bl e fo r the c u s to m er an d the c o n s u m er.
Th e a p p w i l l be free fo r u s e r s , b u t i n o rd e r to u s e the i nt e ra c t i v e p a g e featu re the c o n s u m e r wi l l n ee d to
p ro m o t io n
p ubl i c at i on.
Tra nq ui l w i l l h a v e s u b s c r i pti o n o ffe r s fo r the c u s to m er s .
I t a l so a i m s t o c o l l ab o rate wi th b ran d s fo r the pu b l i c ati o n w h e re t h e p ubl i c ati o n c an then b e o ffe red i n s to re s .
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strengths
Va r i at i on of c ont e nt that s tretc hes o ver i n tere s ti n g to pi c s . Tra nq ui l i s op e n t o c reati ve s u b m i s s i o n s , m aki n g i t m o re i nt e ra c t i v e w i t h t h e co n s u m e r s .
A st rong c l ea r me ssa ge that the c o n s u m er wi l l b e ab l e to re l ate t o a nd unde r st a nd.
I nt e ra c t i v e p a g e s w hi c h wi l l en gage the c o n s u m er an d m ake the ma g a z i ne f un, i nt e re s ti n g an d c u r ren t.
A c l ea r a nd i nt e ra c t i ve app whi c h hel ps the c o n s u m e r read m o re, l ook at m ov i ng i m a g e an d b e ab l e to l o o k at pro d u c ts fro m the c ont e nt s of t h e p a g e s , whe re to b u y the m , whe re the n eare s t st ore i s a nd a v a i l a bil i ty o f the i te m s .
Tra nq ui l w i l l be l ow c o s t, m aki n g i t m o re eas i l y avai l ab l e to the t a rg e t a udi e nc e .
Th e ma g a z i ne f eat ures c l o thi n g fro m the b ran d whi c h i s ac tu al l y a c c e ssi bl e , a ka , not al l d es i gn er.
St rong h a p t i c v a l ue s , the m agazi n e pape r wi l l have tex tu re an d w e i g h t . Th i s m a ke s the m agazi n e fee l m o re val u ab l e an d hi gh q ua l i t y.
Tra nq ui l c om e s out m o n thl y s o that i t kee ps u p to d ate o n n e w t re nds, a rt i st s, musi c e tc .
Tra nq ui l h a s a f eat ure whi c h en ab l es the c o n s u m e r to fi n d
f eat ure s p roduc t s/ c l o the s an d s e e the n eare s t s to re an d s to c k a v a i l a bi l i t y.
Th e c onsum e r i s a bl e to c reate the i r o wn ac c o u n t wi th the app, a l l ow i ng re l e v a nt a n d to pi c s o f i n tere s t to featu re fi r s t.
Pos n er, H . ( 2011)
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Wea k n e s s e s
Tra nq ui l doe s not have a s tro n g fo l l o wi n g s o re c o gn i ti o n an d bra nd i m a g e w oul d have to b e b u i l t fro m s c ratc h.
Tra nq ui l doe s not have the repu tati o n to ge t b i g n am ed a rt i st s t o f eat ure i n the c o n ten ts .
Tra nq ui l h a s a l ow s tarti n g b u d get m ean i n g the c o n ten t m ay be l i m i t e d.
Com i ng out onc e a m o n th m ean s the c o n ten t o f the App wi l l h a v e t o c h a ng e e ver y few wee ks , there fo re i t wi l l n o t al ways be ex a c t l y t h e sa m e as the pu b l i c ati o n . Al tho u gh, whe n the p ubl i c at i on doe s c o m e o u t the app wi l l al ways b e i n s yn c w i t h t h e c ont e nt s.
A l t h oug h Tra nq ui l i s l o w c o s t, i t i s s ti l l a s m al l i n ve s tm e n t fo r t h e c ust om e r s.
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opportunities
Tra nq ui l c a n bui l d t o have a s tro n g fo l l o wi n g whi c h wi l l b o o s t
sa l e s a nd be c om e on e o f the m o s t rec o gn i s e d pu b l i c ati o n s an d a p p s.
W i t h a bi g g e r f ol l owi n g Tran qu i l wi l l b e ab l e to wo r k wi th m o re w e l l k now n a rt i st s, m u s i c i an s e tc ., po te n ti al l y c reati n g m o re i nt e re st f or t h e c onsu m e r s .
W i t h sp onsor s a nd a b i gger fo l l o wi n g, Tran qu i l c o u l d po ten ti al l y be a f re e p ubl i c at i on an d app.
Tra nq ui l c oul d be a vai l ab l e i n s to res , b o th i n n e ws / fo o d s to res a nd c l ot h i ng st ore s.
Th e re w i l l be m a ny c reati ve i n d i vi d u al s s u b m i tti n g thei r wo r k
a nd e ng a g i ng w i t h Tran qu i l , m aki n g i t u n i qu e an d u n l i ke m o s t
ot h e r p ubl i c at i ons an d apps . Thi s c an al s o i n c l u d e s o c i al m ed i a i nt e ra c t i v i t y t h roug h the app.
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Threats
S om e ma g a z i ne s h a v e m o re fu n d i n g the refo re are ab l e to get a h i g h e r f ol l ow i ng . Th i s m ean s c u s to m e r s m ay b u y i n to that o ver Tra nq ui l .
Th e c onsume r s m a y l o s e i n te res t i n the app d u r i n g the ti m e
p e r i od of t h e nex t i ssu e c o m i n g o u t, eve n tho u gh there wi l l b e ong oi ng c ont e nt .
M a g a z i ne s t h at a re no c o s t m ay appeal m o re to m y targe t c ust ome r s.
M a g a z i ne s t h at f eat ure m o re ‘ wel l kn o wn ’ an d ‘ fam o u s ’ i ndi v i dua l s ma y be c h o s en o ve r Tran qu i l .
Th e re a re f a sh i on m a g azi n es that c o m e o u t wee kl y, whi c h m y t a rg e t c ust om e r m a y b e m o re attrac ted an d e n gaged to.
F39
F40
F41
I m p a ssi v e , B l ather s ki te, N o n c hal an t, Co n s c i o u s , Cont ra di cti o n - To m Sm i th
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See a p p en dix 7
Tra nq ui l w i l l f oc us o n s o c i al m ed i a to c reate a s o l i d pl atfo r m f or t h e bra nd, an d thro u gh thi s , pe o pl e wi l l b egi n to
re c og ni se t h e bran d . Tran qu i l wi l l target yo u n g c reati ves , be i t i n e duc at i on o r i n wo r k, an d thro u gh thi s the y ai m to g a i n i nt e re s t an d e n gagem e n t fro m c o n s u m er s .
Tra nq ui l h a s bra n d i n g whi c h al l al i gn , fro m the m i n i m al a e st h e t i c s of t h e pu b l i c ati o n an d the app to the s i m pl i s ti c f eat ure s a nd ea sy u s e o f the app. The s o c i al m e d i a c o n ten t
w i l l a l l re f l e c t t h e fee l o f the b ran d s o c o n s u m e r s c an rel ate an d rec o gn i s e Tran qu i l .
Th roug h c ol l a borati o n s wi th arti s ts , s u c h as Ro s i e Lo we i n i ssue one , Tran qu i l wi l l gai n rec o gn i ti o n . Featu r i n g e m e rg i ng a rt i st s an d c reati ves wi l l gi ve Tran qu i l ex po s u re
t h roug h t h e i r soc i al n etwo r ki n g an d fo l l o wi n g. Thi s i s al s o a di re c t p at h t o Tran qu i l ’s i d eal c o n s u m er s , fo r tho s e who
a re i nt e re st e d i n the e m ergi n g c reati ve i n d u s tr y wi l l b e i n te res ted i n Tran qu i l .
Th oug h g a i ne d rec o gn i ti o n , Tran qu i l ai m s to gai n i n tere s t
i n t h e p ubl i c at i on an d app, an d thro u gh thi s re c o gn i ti o n l ea ds sa l e s, t h rou gh s po n s o r s hi p an d thro u gh m agazi n e pu rc has i n g.
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APPENDICES
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F 43
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marketing
ap p e n d i x 1
map
F44
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influence
a pp e nd i x 2
( 2 0 1 5 . The D en im I s s u e. Top ma n M a g a zin e)
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Strengths
Th e ma g azi n e l ayo u t i s s i m pl i s ti c , there fo re
v i sua l l y eas y to take i n an d eas y to they eye . St rong hapti c val u es , the m agazi n e fe el s n i c e
w i t h t h e pape r tex tu re an d wei ght. M akes the
ma g a z i n e fe el m o re val u ab l e an d hi gh qu al i ty. I nsi de c o n te n t i s n o t c l u ttere d , an d the refo re ea sy t o u n d er s tan d .
Th e ma g azi n e i s free . Th e ma g azi n e featu res c l o thi n g fro m the
bra nd w hi c h i s ac tu al l y ac c es s i b l e , aka, n o t al l de si g ner.
Th e ma g azi n e wo r ks wi th an d featu res fam o u s p e op l e .
Th e bran d i s en o r m o u s , gi vi n g the pu b l i c ati o n a ut omati c repu tati o n an d rec o gn i ti o n .
F46
Pos n er, H . ( 2 011)
F45
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Wea k n e s s e s
Th e c ont e nt o f the m agazi n e i s n o t s ho wn we l l o n l i n e or on a n a p p.
Th e M a g a z i ne i s ver y s tyl e fo c u s e d , whi c h d o e s n o t l ea v e m uc h ro o m fo r o the r c o n te n t.
B e c a use of t he fas hi o n fo c u s , the m agazi n e d o e s n o t
l ea v e m uc h ro o m fo r a s tro n g m e s s age o r vo i c e o ther t h a n a bout t he fas hi o n .
Th e f oc us on fas hi o n m ay m ake the read e r l o s e fo c u s i n t h e ma g a z i n e .
Th e ma g a z i ne c o m es o u t b i an n u al l y, whi c h i s a fai r l y l ong w a i t . Th i s m ean s that c o n s u m er s wi l l l o o k to
ot h e r p ubl i c ati o n s , m ean i n g the y wo n t b e as l o yal to Top ma n M a g azi n e .
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Opportunities
Th e ma g a z i ne c o u l d c o m e o u t m o re than twi c e a
y ea r. Th i s w i l l ke ep c o n s u m e r s i n te res ted an d u p to
dat e w i t h Topm an . It wi l l al s o kee p the m l o yal to the p ubl i c at i on a n d gi ve the m agazi n e m o re equ i ty an d re p ut at i on.
Th e ma g a z i ne c an i n c l u d e m o re c o n ten t that i s n o t f a sh i on re l at e d that wi l l en gage the read e r s m o re.
A n onl i ne c ov e r o f the m agazi n e , o r an app, wo u l d
boost i nt e ra c t i vi ty b e twee n the c o n s u m e r s an d the p ubl i c at i on.
Top ma n m a g azi n e c o u l d featu re ac c es s o r i e s as wel l
Threats
a s c l ot h i ng .
Th e re a re magazi n e s that c o m e o u t m o re o ften
t h a n bi a nnual l y that c o ve r m o re c o n te n t an d are m ore e ng a g i n g wi th the c o n s u m e r.
Th e re a re a l s o m agazi n e that d o s i m i l ar thi n gs to
Top m a n m a g azi n e , that c o m e o u t m o re frequ en tl y t h a n t w i c e a year.
M a g a z i ne s t h at have o n l i n e an d app i n te rac ti o n w i t h a m a g a z i n e are m o re l i kel y to en gage wi th t h e i r c onsum e r s .
B e c a use m os t o f the fas hi o n c o n ten t i s To pm an ,
i t doe s not gi ve m u c h var i ati o n fo r the c o n s u m e r of ot h e r p l a c es to pu rc has e the i tem s fro m the p ubl i c at i on.
Ot h e r ma g a z i n es have ac c e s s o r i es featu re d i n t h e i r p ubl i c ati o n s whi c h read er s m i ght read i nst ea d.
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a p p en dix 3
F 26
D e sc r i be y our se l f i n 5 un u s u al wo rd s ? A g a v e , Pa rt y, Ti k i S h i rt s, H ats
How l ong h a v e y ou w or ke d at M ahi ki fo r an d what i s yo u r j o b ro l e ?
I’m a B a rt e nde r, a nd I ’ v e b e en wo r ki n g i n M ahi ki fo r al m o s t o n e year. A s one of t h e bi g g e st H o ts po ts i n Lo n d o n , what i s yo u r b e s t M ahi ki stor y ?
Th e re a re m a ny t h at I c a n ’ t tel l , b u t i t wo u l d b e the d ay M arti n Gar r i x pe r f or me d at M a h i k i . H e i s an am azi n g DJ an d s u c h a great gu y! H e
eve n jump e d be h i nd t h e b ar an d pro ve d hi s s ki l l s a b arte n d er, what a le g e nd!
W h at i s y our f a v our i t e part ab o u t wo r ki n g i n M ahi ki ?
M a h i k i i s suc h a f un ba r whe re eve r yo n e c an u n wi n d an y d ay o f the
we e k . A s G e org i (ba r man age r ) s ays , ‘ what happen s i n M ahi ki , s tays in M a h i k i ’.
M a h i k i i s w e l l k now n f or b e i n g a d e s ti n ati o n fo r the ‘fam o u s ’. Can yo u na me a ny f a c e s y ou’ v e s e en i n yo u r ti m e wo r ki n g the re?
Par i s H i l t on, H e nr y Ca v i l l , O n e Di rec ti o n , Shaggy, Co n o r M ayn ard , X Fac t or a nd M a de I n C h e l s ea s tar s …
W h at i s y our f a v our i t e c o c ktai l , an d ho w i s i t m ad e ?
Th e re a re so ma ny, but To m m y’s M argar i ta i s o n e o f m y favo u r i tes . Te q ui l a , L i m e J ui c e a nd agave s yr u p.
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What i s a si mp l e ‘ea sy t o m ake’ c o c ktai l that an yo n e i n - ex pe r i en c e d c o ul d make at h om e ?
A Bra m bl e , i t ’s a v e r y re f re s hi n g gi n b as e d d r i n k. Po u r 2 s ho ts o f gi n , 1 shot of l e mon jui c e a nd ½ s ho t o f s u gar s yr u p i n a gl as s . Fi l l i t wi th crush e d i c e , g i v e i t a st i r, ad d m o re i c e an d to p i t u p wi th b l ac kb e r r y liquo r.
F48
rosie lowe
ap p e nd i x 4
F47
Tea o r co ffee ? Coff e e
Mo rning s o r e v e ni ng s? M or ni ng s
S ummer o r w i nt e r ? Oh h . I l ov e bot h . Su m m e r Guilty pleasu re ? Re d w i ne
D escribe y o u r se l f i n 5 unusua l w ord s. U n c o n c eal ed , Pi qu an t, Pro te c ted , Li ab l e , Ing e nuo us A t what age di d y ou k now y ou w a n te d to pu r s u e a c are er i n m u s i c , an d what ad vice w o ul d you give to t h e y oung c reat i v e g e n erati o n wi th s i m i l ar as pi rati o n s i n the c o m pe t it ive
industry ? I al w a y s k ne w f rom be f ore I c an re m em b er that I wan te d to b e a m u s i cia n. My
adv ice wo uld be t o i g nore w h at e ve r yo n e el s e i s d o i n g an d j u s t c o n c e n trate o n putt ing s tuff o ut that y ou’ re p roud of .
What is the m ost exc i t i ng t h i ng t h at has happen ed i n yo u r c are er ? Wr i ti n g m y de b ut a l b um Ho w o ften, if e v e r, do y ou g e t k noc ked b ac k, an d ho w d o es thi s en c o u rage yo u t o st r ive
f orward? I ma i nl y k noc k m y se l f ba c k. I’ m m y o wn wo r s t c r i ti c - i ts a pro tec ti o n me ch a nism b ut it keeps m e st r i v i ng t o be be tt e r.
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We are in a t i m e w h e re e v e r y o n e i s tr yi n g to c reate the ‘ n ew’. W hat d o yo u
believe i s t h e m ost i m p ort a nt part o f c reati n g yo u r m u s i c ? To have an em o t io na l o utput. Wr i t i ng f or me i s my t herapy. O ften , I d o n ’t kn o w ho w I fe el u n ti l I’ve written a song a bout i t & t h e n i ts c l ear as d ay.
What woul d y ou sa y t o a ny one who tr i e s to c han ge yo u , an d what wo u l d your
advice be t o t h e c ur re nt y oung gen erati o n o n thi s to pi c ? I’ d s ay fu c k what o t h e r peo ple w a nt y ou t o be - not h i n g o r i gi n al eve r c am e o u t o f s o m eo n e c o n fo r m ing
to so me one e l se ’s i dea of t h e m . In c re d i b l e art c o m e s fro m wi thi n , fro m ho n e st y. My advi c e w oul d be t o nod & s m i l e & then to kee p d o i n g yo u r o wn thi n g. What wa s t h e t h e me be h i nd t h e vi d e o to Wo r r y B o u t u s ? The re are s o m e
beautifu l v i sua l s w i t h t h e h um an b o d y. Is thi s s o m e thi n g yo u are i n s pi red b y? The co nc e p t w a s t o c reat e a f e e l i n g o f l o s i n g an d gai n i n g c o n tro l wi thi n a
relatio n sh i p - of t h e jux t a p osi t i o n b e twee n c al m an d a s to r m . I l o ve the hu m a n bo dy and t h e w a y i t c a n be man i pu l ate d thro u gh m o vem e n t & art.
What are t h e m e ssa g e s be h i nd R i ght Thi n g? Do yo u m ake m u s i c fo r yo u r l ist e ne r s to relate t o? I w rot e Ri g h t Th i n g after havi n g d i n n e r wi th m y ex b o yfr i e n d . It w a s abo ut re g re t a nd f ea r of l osi ng s o m eo n e, b u t c o m i n g to te r m s wi th d ec i s i ons
made. Wh e n w r i t i ng m usi c I ’ m n o t thi n ki n g ab o u t m aki n g i t re l atab l e- al l I t h ink abo ut is t r y i ng t o c a p t ure w h at ’s go i n g o n i n s i d e m e at that m o m e n t. I thi nk
ho nesty a nd v ul ne ra bi l i t y i s a l ways go i n g to b e rel ateab l e b ec au s e we ’ re a l l vulnerab l e a nd c a n a l l re l at e to l o n gi n g an d heartac he an d regret.
What is y our ‘g o t o’ st y l e , a nd what s to re s / l o o ks d o yo u s wear b y? Tel l m e a b o ut yo ur fas h i on. I l i ke st rong sh a pes , b l o c k c o l o u r s , c l ean l i n e s & m u ted to n e s b ut fo r me, c om f ort i s t h e most i m po rtan t thi n g. I’ m pas s i o n ate ab o u t s u s tai n a b l e
fashio n. I l i ke t o k now no-one has b e en hu rt i n the pro c es s o f m aki n g m y c l o t h e s so I buy a l ot of c l ot h e s f rom Gather & See - an o n l i n e ethi c al fas hi o n s to re o r Steig. I a l so rea l l y l i ke & Ot h e r Sto r i es , Ac n e, A.P.C , Su n s pe l l … ..
Ho w do e s i ma g e a nd st y l e re f l e c t who yo u are as an arti s t? I thi n k fas hi o n i s
ano ther f or m of ex p re ssi on a n d I l o ve that ab o u t i t. It c an real l y c han ge how yo u feel abo ut t h e da y a h ea d, a nd ho w yo u appro ac h i t. It ’s a d e c i s i o n . The s am e
go es wit h my i ma g e a s a n a rt i s t- I l i ke to ke ep i t s i m pl e s o the e m phas i s i s o n
the mus i c but I ’ m rea l l y p a ssi o n ate ab o u t pho to graphy an d s pe n d ho u r s going thro ug h p h ot og ra p h y books a n d tu m b l r an d go i n g to ex hi b i ti o n s . I thi n k i n ano ther l i f e , I w oul d h a v e be e n a pho to graphe r.
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Customer/consumer interviews
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a ppe n di x 5
Annabelle Williams interview response What is it in a m a g a z i ne t h at y ou f in d m o s t i m po rtan t? The c o ver o f a m agazi n e is m o st impo rtant as i t ’s t h e t h i ng t h at att rac ts yo u to b u y an d read the m agazi n e. The co ve r
s ho uld sho w e i t h e r t h e m a i n att ra c ti o n o f c o n te n t read ab l e wi thi n the m agazi n e, o r h a ve an image whi c h sh oul d c a p t ure t h e targe t au d i en c e .
What interest s a nd e ng a g e s y ou i n a m agazi n e? To b egi n wi th, i f a m agazi n e d oe sn’t h a ve a g o o d co v e r p h ot o a nd/ or st or y, the n I wo n ’t b e attrac ted to i t. If the c o n te n t insid e isn’t varied, o r exc i t i ng , or up t o dat e , then I wo u l d l o s e i n te res t b efo re I reac h the mid d l e .
When yo u rea d a rt i c l e s on p e op l e , wo u l d yo u rather hear ab o u t the i r l i ves o r ab o ut h o w t hey go t there a nd w h y ? I l ov e l i st en i n g/ read i n g ab o u t peo pl e ’s j o u r n ey. Eve r y j o ur ne y
is different, and i nsi g h t i nt o t h e jou r n e y to s o m e o n e ’s s u c c e s s m ay b e b e n e fi c i al . In t h is
culture, the m e di a i s t oo m uc h t oo wo r r i e d ab o u t who i s n ’ t tal ki n g to who, o r ‘oh m y g o d
s he’s wearing sw eat p a nt s’ a nd ot h e r s tu pi d thi n gs m aki n g n o r m al l i fe thi n gs ‘ n ew s w o rt h y’. We liv e in a w or l d w h e re some one taki n g the i r c hi l d to the par k i s n ews . There isn’t
eno ug h co nc e nt rat e d on t h e me di a ed u c ati n g b u t rathe r b rai n was hi n g the au d ie nce w it h t he distinctio n be t w e e n nor ma l p e o pl e an d c e l eb s .
D o y o u find m a g a z i ne s i nt e ra c t i v e thes e d ays ? If s o ho w? In terac ti ve i s go o d to ke e p up
t o date with h ow m ode r n t e c h nol og y i s d e vel o pi n g. Read i n g m agazi n es o n l i n e o r sim pl y
just an o nlin e ma g w h i c h i s be c omi n g ve r y po pu l ar am o n gs t n ew m agazi n e s . Th e increa se in smart phone a p p s a re be i ng c reate d to he l p m ake the o n l i n e i n te rac ti o n s easie r f o r peo ple.
I f a publicati on w a s t o h a v e Q R c od e s o n the m ai n page s that yo u we re ab l e to sca n o n
your pho ne a nd i t t a ke y ou t o t h e co r res po n d i n g page o n an app wi th m o vi n g co nt e nt a nd mo re info rmat i on a bout t h e c ont e n ts o f the page wo u l d thi s b e s o m e thi n g that int e re st e d you and y o u w oul d w a nt t o e ng a g e wi th? I thi n k the i n terac ti ve c o d es wi l l b e b e ne f icia l
t o so me peop l e not ot h e r s. Th e magazi n e m ay have b ee n o f s ati s fac to r y c o n te n t f o r so m e peo ple but f or ot h e r s, t h e op t i on to re tr i e ve m o re i n fo r m ati o n m ay b e b e n e fi c i al .
Fo r fashio n e di t or i a l s, w oul d y ou f i n d i t u s e fu l to b e ab l e to kn o w whe re al l the g a r m e nt s/ accesso ries/p rop s e t c . c a m e f rom an d ho w far the n eares t s to re i s fro m yo u ? I th ink a l o t o f peo ple wo ul d f i nd i t rea l l y h e l p fu l , an app wo u l d b e u s e fu l fo r thi s ki n d o f thing .
What mag azine s do y ou k now t h at yo u c an ac tu al l y l ear n fro m i n the s e n s e o f ho w t o
f urther yo ur c a re e r a s a c reat i v e ? (i.e . m u s i c , art, fas hi o n ) i - D m agazi n e i s great f o r o ut f it inspiratio ns, but I f i nd m y se l f rea di n g a l o t m o re b l o gs than m agazi n es .
Wo uld an app f or a ma g a z i ne be so m ethi n g yo u wo u l d e n gage wi th? Apps wo ul d b e g reat . My pho ne is a l ot more p ra c t i c a l t o b e c ar r yi n g aro u n d then l o ts o f heavy pape r m a g s.
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a ppe n di x 6
Diggory Simons interview response What ins p i re s/ i nt e re st s y ou i n the c reati ve wo r l d at the m o m en t? C u r re n tl y I
wo uld hav e t o sa y t h at p ol i t i c al m o ve m en ts s u c h as B l ac k Li ve s M atte r an d e ve n
branching out i nt o t h e m e di a d epartm en t wi th pro d u c ti o n s s u c h as M r. Ro b o t w it h their co n c e p t of a w or l d w i t h ou t pr i vac y b e c o m i n g m o re eas i l y ac c es s i b l e h a ve had an e ff e c t on t h e w a y I w oul d appro ac h c reati n g c ertai n pi ec es an d tas ks.
What is i t i n a ma g a z i ne t h at y o u fi n d m o s t i m po rtan t? Pe r s o n al l y when I l o ok at a
mag azine I f i nd t h e c ov e r t o be the m o s t i m po rtan t part, It ’s the fi r s t thi n g yo u se e and eithe r ma ke s y ou w a nt t o p i c k i t u p o r pas s i t b y.
What inte re st s a nd e ng a g e s y o u i n a m agazi n e ? I al ways en j o y l o o ki n g at the
different a dv e rt i se m e nt s i n m agazi n es whethe r i t b e a Patek P hi l l i pe gen erat io na l slo g an or e v e n a Ce l i ne a dv e rt i n that trad e m ar k c an d i d , s i m pl i s ti c s tyl e wit h t h e use o f a ba si c l og o rea l l y i nt e res ts m e .
When you rea d a rt i c l e s on p e o pl e, wo u l d yo u rathe r hear ab o u t thei r l i ve s o r
abo ut ho w t h e y g ot t h e re a nd why? I’m al ways c u r i o u s ab o u t pe o pl es ’ b ac kst o r ie s and ho w t h e y g ot t o w h e re t h e y are to d ay, whe ther i t was a ran d o m ac t o f g o d o r if they ha d som e sort of de f i ne d pl an fro m the o ffs et.
D o y o u f i nd ma g a z i ne s i nt e ra c ti ve thes e d ays ? If s o ho w? I wo u l d n ’ t s ay I c o ul d
name many p r i nt e d m a g a z i ne s that are ter r i b l y i n te rac ti ve , Di gi tal m agazi n e s such as co mpl ex f or ex a mp l e h a v e t he l u x u r y o f b e i n g ab l e to o perate o n a pl atfo r m
rather tha n a p r i nt e d p ubl i c at i o n , s o the re i s far m o re ro o m to ad d i n ad d i tio na l co ntent a nd c a l l s t o a c t i on.
If a publ i c at i on w e re t o h a v e qr c o d e s o n the m ai n page s that yo u we re ab le t o scan o n y our p h one a nd i t t a ke yo u to the c o r re s po n d i n g page o n an app w it h
mo v ing c ont e nt a nd m ore i nf or m ati o n ab o u t the c o n te n ts o f the page, wo u l d t h is intereste d y ou a nd w oul d y ou wan t to e n gage wi th i t? I fi n d Q R c o d es i n c re d ib l y
o utdated a nd q ui t e a l ot of h a s s l e to o perate fo r s u c h a s i m pl e s o l u ti o n , I h o ne st l y wo uld not l i ke t h e i dea of h a v in g to u s e Q R c o d es an y m o re than I c u r ren tl y h a ve to.
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Fo r fashi on e di t or i a l s, w oul d y o u fi n d i t u s efu l to b e ab l e to kn o w where al l t h e
g arments/ a c c e ssor i e s/ p rop s e t c . c am e fro m an d ho w far the n eare s t s to re is f ro m y o u? I al w a y s e njoy se e i ng w h at d e s i gn e r has m ad e eac h pi e c e o f c l o thi n g a nd whether i t i s ea si l y a c c e ssi bl e . I thi n k i t i s real l y i m po rtan t to n am e the b rand s
that hav e be e n a ssoc i at e d w i t h the pu b l i c ati o n fo r b o th pu b l i c i ty an d n o to r ie t y. What mag a z i ne s do y ou k now that yo u c an ac tu al l y l ear n fro m i n the s en s e o f
ho w to fu rt h e r y our c a re e r a s a c reati ve ? ( i .e . m u s i c , art, fas hi o n ) I wo u l d l i st I.D.
mag azine a s t h e one t h at rea l l y s tan d s o u t to m e i n te r m s o f i t ’s i n s pi rati o n f a ct o r and also t h e w a y i t a l l ow s y ou to m o n i to r d i ffe ren t pro j e c ts that are go i n g on aro und you.
Wo uld a n a p p f or a ma g a z i ne b e s o m ethi n g yo u wo u l d e n gage wi th? A s
so meo ne w h o i s i nv ol v e d h ea v i l y i n the d i gi tal i n d u s tr y an app wo u l d b e rea l l y
enj o yabl e a nd f ra nk l y a l ot ea s i er to s tay u p to d ate wi th d u e to the fac t that push no tificati ons w oul d a l l ow y ou to n eve r m i s s an u pd ate fro m the pu b l i c ati o n .
With visua l s a nd a e st h e t i c s a p p eal to yo u m o s t i n a pu b l i c ati o n ? An o b s c u re o r slig htly s i ni st e r l a rg e i ma g e i s b o u n d to grab an y o n es atte n ti o n b u t e s pecia l l y if it has a mot i v e be h i nd i t , p e o pl e l o ve c o n tro ver s y an d I thi n k the u s e o f
slig htly que st i ona bl e i ma g e r y in m agazi n e s real l y he l ps to s tay o n e u p o n t h e co mpetiti on.
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tom smith
a ppe n di x 7
D esc r i be y our se l f i n 5 unus u al wo rd s .
Impassi v e , B l at h e r sk i t e , N o n c hal an t, Co n s c i o u s , Co n trad i c ti o n What a re t h e m e ssa g e s y ou are tr yi n g to pu r ve y thro u gh yo u r d rawi n gs? I do n ’ t t h i nk t h e re i s a m e s s age . I m ean m ayb e I’m tr yi n g to pro ve to myse l f t h at I c a n dra w or t h at I was o n c e ac ad em i c en o u gh to s tu d y
bio lo g y. A l t h oug h , I don’ t thi n k i ts ab o u t that. I d o n ’ t thi n k eve r ythi n g
needs a m e ssa g e or ne e ds to b e pro fo u n d i n an y way. So m eti m e s i ts n ice
to j u st l ook at i l l ust rat i ons an d n o t have to b attl e wi th yo u r b rai n ab o u t it s meani ng .
Yo u use t h e h uma n body as a m ai n fo c u s fo r a l o t o f yo u r d rawi n gs , why is thi s a nd t e l l m e a bout y o u r i n s pi rati o n s ? I thi n k the H u m an b o d y an d anatomy i s f a sc i nat i ng . Ou r b o d y i s s o m e thi n g we s e e eve r y d ay i n the mirror, y e t ma ny of us k now ver y l i ttl e o r n o thi n g ab o u t i ts wo r ki n gs . I
suppose m y dra w i ng s ex p l o re an d i n fo r m ho w d i ffere n t o rgan s an d b o dy parts w or k . A bi g i nsp i rat i o n i s Leo n ard o d a Vi n c i an d hi s s tu d i es o f the Hum a n body. Th e re i s a B eau ty an d e l egan c e to hi s d rawi n gs whi c h I
strive f or. I w a s a l so g i v e n a vo l u m e o f Greys An ato m y o n c e whi c h I l o v e d
lo o k i ng t h roug h . I rea l l y e n j o y al l the d etai l an d d es c r i pti o n whi c h are put into t h e dra w i ng s.
Have l ong doe s ea c h dra wi n g take o n ave rage ? To o l o n g. M o s t o f the anatomy dra w i ng s t a ke f ou r o r fi ve ho u r s b u t arc hi te c tu ral d rawi n gs
can t a ke da y s. D ra w i ng s often are s l o w s tarti n g b u t o n c e yo u ge t i n to a rhy th m, t h e t i me f l i e s by.
What ma ke s y ou f oc us y ou r en ergy o n yo u r d rawi n gs an d what d r i ves y o u t o dra w rat h e r t h a n t a ke o n an ythi n g el s e ? Co ffee u s u al l y hel ps ,
so me t i m e s i t m a ke s y our han d m o ve a b i t fas te r an d yo u b e c o m e a b i t
brave r w i t h t h e m a r ks y ou m ake. If I e ver n ee d s to d raw qu i c kl y, I have abo u t 4 c off e e s.
Rela x at i on a l so dr i v e s m e t o d raw. It pu ts m e i n to a s tate where I d o n ’ t
hav e t o t h i nk a bout a ny t h i n g, I c an j u s t re l ax . Its al s o qu i te fu l fi l l i n g whe n y o u c omp l e t e a dra w i ng a fte r a fe w ho u r s an d i t l o o ks n i c e .
D o y ou f i nd dra w i ng i s be c o m i n g l o s t i n the eve r gro wi n g ran ge o f
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F 18
tech nol og y a v a i l a bl e ? H ow i m po rtan t d o yo u thi n k d rawi n g i s an d
why ? Pra c t i c e m a ke s p e r f ec t, tr u e o r fal s e, an d why? I thi n k the re’s l o ts
o f diff e re nt st y l e s of dra w i n g an d m an y d i ffe ren t ways o f pro d u c i n g s u ch style s. Te c h nol og y c a n a dd i n tere s ti n g e l em e n ts to a d rawi n g whi c h the hand just c a n’ t . I t s not be in g l o s t, i ts po s s i b i l i ti es are j u s t ex pan d i n g.
Sty le s w i l l be c h a ng e d or re c yc l ed , an d thes e wi l l go i n an d o u t o f fas h io n but h a nd dra w i ng w i l l ne v e r b e l o s t.
There ’s a n h one st y t o h a nd c raft whi c h I thi n k peo pl e apprec i ate . Yo u ca n
see a p roc e ss a nd a c a re t a ke n o ver a pi ec e. Its thi s pas s i o n an d d evo t io n
that c a n so ea si l y be w e l c o m e d an d en j o ye d .Prac ti c e d o es o f c o u r s e ma ke perf e c t . I t de v e l op s y our ski l l s an d i t i n c reas e s yo u r c o n fi d e n c e.
Co nf i de nc e i s a m a ssi v e p art o f an y c reati ve pro c e s s an d i t al l o ws yo u t o push y our se l f a nd not st a y s tagn an t. Wo r k hard an d s tay hu m b l e.
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Fig 7
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Fi g 4
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Di ggo r y S i mo n s, L aure n N o b l e
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‘ Ra w’ An d Ra w E ditoria l I ma g e
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Fig 11
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Fi g 13
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Fig 20
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Fi g 14
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Fig 21
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W I L L I AM S, A.
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B ibl iog ra p hy: W il l ia ms , A. , 2015. B el l Williams. [ ima g e] Ava il a bl e f rom: http s : / / in s ta g ram.com/b ell_
Fi g 15
wil l ia ms / [ Acces s ed 1 8 N ov. 2 0 1 5 ] .
CHRIST INA KN I G H T B LU E E D I TO R AL B R I CK S In - t ex t : (Ch r i s t i na K ni g h t B l u e E d i to ral B ricks 2015) Fig 22 B i bl i o gra ph y : A no n , 2 0 1 5 . C h ri s ti na K ni ght B l u e
W I L L I AM S, A.
Ed i t o ra l Br i c ks. [ i m ag e ] Av ai l ab l e f ro m : h ttp s : / /
Swin g
in s t a gra m.c o m /p /9 B PY z 9 F W 7 O /? t ake n - by=bricks _
I n -text: ( W il l ia ms 2015)
ma ga z i n e [A c c e s s e d 1 7 N o v. 2 0 1 5 ] .
B ibl iog ra p hy: W il l ia ms , A. , 2015. B el l Williams. [ ima g e] Ava il a bl e f rom: http s : / / in s ta g ram.com/b ell_
Fi g 16
wil l ia ms / [ Acces s ed 1 8 N ov. 2 0 1 5 ] .
VOLU ME T WO B R I C K S S P R E AD In - t ex t : (Vo l u m e Tw o B ri c ks S p read 2 0 1 5 )
Fig 23
B i bl i o gra ph y : A no n , 2 0 1 5 . Vo l u m e Tw o Bricks
W I L L I AM S, A.
Sprea d. [i ma ge ] Av ai l ab l e f ro m : h ttp s : //in s ta g ra m.
Jewel l ery
com/ p/ 8 r AV f Dl W 9 6 /? t ake n - b y = b ri c ks _ m a g a zin e
I n -text: ( W il l ia ms 2015)
[Ac c e s s e d 1 7 N o v. 2 0 1 5 ] .
B ibl iog ra p hy: W il l ia ms , A. , 2015. B el l Williams. [ ima g e] Ava il a bl e f rom: http s : / / in s ta g ram.com/b ell_
Fi g 17
wil l ia ms / [ Acces s ed 1 8 N ov. 2 0 1 5 ] .
DA NG ES , M. In - t ex t : (Da n ge s 2 0 1 5 )
-74-
Fi g 24
CAN O N CAM E RA
G OLD A ND BLU E M AR S T E X T U R E
I n -text: ( Ca n on Ca mera 2 0 1 5 )
In - t ex t : (G o l d a nd B l ue M ars Tex t u re 2 0 15)
B ibl iog ra p hy: An on , 2 0 1 5 . Ca n on Ca m era. [image]
B i bl i o gra ph y : A no n , 2 0 1 5 . G o l d an d B l u e
Ava il a bl e f rom: http s : / / www. p in teres t.com/
Ma r s Tex t u re . [ i m ag e ] Av ai l ab l e f ro m : h ttp : / /
p in / 437412182537792835/ [ Acces s ed 18 Nov.
b ea u t i f u l ma r s .t u m b l r. c o m /p ag e /2 [ Ac c e s s ed 16
2015] .
No v. 2 0 1 5 ]. Fig 31 Fi g 25
SI M O N S, D.
WILLIA MS , A .
Ca ma dye H a n g er
Ou t f i t Po s t
I n -text: ( Simon s 2 0 1 5 )
In - t ex t : (Wi l l i a m s 2 0 1 5 )
B ibl iog ra p hy: Simon s , D. , 2 0 1 5 . B l u D esign Logo.
B i bl i o gra ph y : W i l l i am s, A. , 2 0 1 5 . B e l l W il l ia ms .
[ ima g e] Ava il a bl e f rom: http : / / bl u des ign.uk
[ima ge ] Av a i l a b l e f ro m : h ttp s : //i n stag ram . com/
[ Acces s ed 18 N ov. 2015] .
b el l _ w i l l i a ms / [ Ac c e ss e d 1 8 N o v. 2 0 1 5 ] . Fig 32 Fi g 26
SI M O N S, D.
MA HIKI LO G O
Primo Fra mes
In - t ex t : (Ma h i k i Lo g o 2 0 1 5 )
I n -text: ( Simon s 2 0 1 5 )
B i bl i o gra ph y : A no n , 2 0 1 5 . M ah i k i Lo g o. [ ima g e]
B ibl iog ra p hy: Simon s , D. , 2 0 1 5 . B l u D esign Logo.
Av a i l a bl e f ro m : h ttp : //m ah i k i . c o m [ Ac c e ss ed 18
[ ima g e] Ava il a bl e f rom: http : / / bl u des ign.uk
No v. 2 0 1 5 ].
[ Acces s ed 18 N ov. 2015] .
Fi g 27
Fig 33
SIMO NS , D.
Tra n q u il Ap p Con ten t Pa g e
B l u De s i gn Lo g o
D ig g ory Simon s , L a u ren N obl e
In - t ex t : (S i mo n s 2 0 1 5 )
2015
B i bl i o gra ph y : S i m o n s, D. , 2 0 1 5 . B l uD e si gn Log o. [ima ge ] Av a i l a b l e f ro m : h ttp : //b l u d e s i g n . u k
Fig 34
[Ac c e s s e d 1 8 N o v. 2 0 1 5 ] .
Tra n q u il Ap p Log I n D ig g ory Simon s , L a u ren N obl e
Fi g 28
2015
SIMO NS , D. Pri mo Lo go
Fig 35
In - t ex t : (S i mo n s 2 0 1 5 )
B LU E GO L D TE XTU RE M ARS
B i bl i o gra ph y : S i m o n s, D. , 2 0 1 5 . B l uD e si gn Log o.
I n -text: ( B l u e Gol d Textu re M a rs 2015)
[ima ge ] Av a i l a b l e f ro m : h ttp : //b l u d e s i g n . u k
B ibl iog ra p hy: An on , 2 0 1 5 . B l u e Gol d Text ure Mars.
[Ac c e s s e d 1 8 N o v. 2 0 1 5 ] .
[ ima g e] Ava il a bl e f rom: http : / / bea u tifulmars. tu mbl r. com [ Acces s ed 11 N ov. 2015] .
Fi g 29 SIMO NS , D.
Fig 36
B l a c k Ma r bl e
I bby N joya
In - t ex t : (S i mo n s 2 0 1 5 )
E I N STE I N GRAV I TATI O N AL WAV E S
B i bl i o gra ph y : S i m o n s, D. , 2 0 1 5 . B l ac k M arbl e.
2015
[ima ge ] Av a i l a b l e f ro m : h ttp : //p ri m o. l o ndon [Ac c e s s e d 1 8 N o v. 2 0 1 5 ] .
Fig 37 I bby M a rbl e O verl a y
Fi g 30
Con n or D a l y, L a u ren N obl e
-75-
201 5
I n -text: ( Top ma n Log o 2015)
Fi g 38
B ibl iog ra p hy: An on , 2015. Top ma n Log o. [image]
B LU E T EX T U RE M AR S
Ava il a bl e f rom: http : / / l og odata ba s es . com/t opsh op-
In - t ex t : (Bl u e Tex tu re M ars 2 0 1 5 )
l og o. html / top ma n -l og o [ Acces s ed 2 8 Oct . 2015].
B i bl i o gra ph y : A no n , 2 0 1 5 . B l u e Tex tu re Ma rs . [ima ge ] Av a i l a b l e f ro m : h ttp : //b eau t i f ul ma rs .
L a you t I ma g e
tu mbl r.c o m [A c c e ss e d 1 0 N o v. 2 0 1 5 ] .
TO PM AN M AGAZI N E L AYO U T I n -text: ( Top ma n M a g a zin e L a you t 2015)
Fi g 39
B ibl iog ra p hy: An on , 2015. Top ma n M a gaz ine Layout .
Ib by Nj o y a
[ ima g e] Ava il a bl e f rom: http : / / www. a n geliquepiliere.
Ye l l o w Hi ps t e r I l l us trati o n
com/ in dex. p hp ?id= 2 6 [ Acces s ed 2 8 O ct . 2015].
201 5 N I CK GRI M SH AW L AYO U T Fi g 40
I n -text: ( N ick Grims ha w L a you t 2015)
Tom S mi t h
B ibl iog ra p hy: An on , 2015. N ick Grims haw Layout .
Hea d Dra w i n g
[ ima g e] Ava il a bl e f rom: http : / / www. topman.com/en/
201 5
tmu k / categ ory/ n ick-g rims ha w-x-top ma n-4861371/ home?in tcmp id= u k-ds k _s p cat-in _f eatu re_141015_
Fi g 41
n ick _g rims ha w [ Acces s ed 2 8 O ct. 2 0 1 5 ].
Tom S mi t h Lu n gs Dra w i n g
Text
201 5
TH E D E N I M I SSU E I n -text: ( The D en im I s s u e 2015, p. 3 )
Fi g 42
B ibl iog ra p hy: An on , 2015. The D en im I ssue. Topman
Ib by Tu rqu o i s e
M a g a zin e, ( 6 ) , 3 .
Co n n o r Da l y, L aure n N o b l e Fig 46
201 5
CO LO U RE D L I GH TS Fi g 43
I n -text: ( Col ou red L ig hts 2015)
Tra n qu i l A pp H o m e p ag e
B ibl iog ra p hy: An on , 2015. Col ou red L igh t s. [image]
Di ggo r y S i mo n s, L aure n N o b l e
Ava il a bl e f rom: http : / / thema g a zin e. topman.com/
201 5
the-den im-is s u e/ #!/ a -s tep -a hea d [ Accessed 6 Nov. 2015].
Fi g 44 Ma r ke t i n g Ma p
Fig 47
Lau re n No bl e
RO SI E LO W E
201 5
I n -text: ( Ros ie Lowe 2015) B ibl iog ra p hy: An on , 2015. Ros ie Lowe. [image]
RILEY, J .
Ava il a bl e f rom: http s : / / www. f a cebook . c om/
Ma r ke t i n g: Ma rke t M ap
ros iel owemu s ic/ ?f ref = ts [ Acces s ed 1 8 Nov. 2015].
In - t ex t : (Ri l e y 2 0 1 5 ) B i bl i o gra ph y : R i l e y, J . , 2 0 1 5 . M arke ti ng : M a rket
Fig 48
Ma p. [o n l i n e ] Tu t o r2 u . Av ai l ab l e f ro m : h ttp : / / www.
GU I L L E U RI E L
tu t o r 2 u .n e t / bu si ne s s /re f e re nc e /m arke t i ng -ma rket-
I n -text: ( Gu il l e U riel 2 0 1 5 )
ma ppi n g [A c c e ss e d 1 6 N o v. 2 0 1 5 ] .
B ibl iog ra p hy: An on , 2015. Gu il l e U riel . [image] Ava il a bl e f rom: http s : / / www. f a cebook . c om/
Fi g 45
g u il l ermo. u riel . 9 ?f ref = ts [ Acces s ed 1 8 Nov. 2015].
TO P MA N LOG O
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Issue 01