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Word Count (excluding quotes): 8, 095 Lucynda Jackson N0369699 FASH30001: Negotiated Project Stage One 201314 Half Year One
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Contents Introduction pgs. 8-11
the online potential pgs. 12-17
the brands who say yes to change pgs. 18-27
the successful transition pgs. 28-33
the new consumer pgs. 34-41
the future of pure play pgs. 42-47
conclusion pgs. 48-51
strategic recommendations pgs. 52-63
bibliography pgs. 64-69
citations pg. 70
illustrations pgs. 71-75
appendix pgs. 76-160
Brand case studies pgs. 161-163
illustration of time management pgs. 164-165
tutorial record sheets pgs. 166-174 7
introduction
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Fig.2. Introduction, 2014
An introductory outlining the proceeding contents within this report
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“The question of online and offline being adversaries is not true, they work together and play a symbiotic role to be in all parts of our life”. (Danks.2013)
This reflection noted by Richard Danks, Head of Strategy at Portas, denotes an apt description of the unparalleled reliance online and offline hold for one another. Indeed, the invisible line between online and offline strategy is continuing to blur. But most notably this blurring of lines appears to be one way traffic, complimenting offline brands with an illustrious online channel. Ever since the fashion industry adopted the online medium as a powerful resource and strategy for brands to immerse consumers in their virtual environment, the notion of utilising more refined offline means to engage consumers with has been left in the shadow. David Boyle, author of ‘Authenticity’ who shares a similar view of this cultural phenomenon argues “If we allow our selfcongratulatory adoration of technology to distract us from our own contact with each other, then somehow the original agenda has been lost”.(Boyle.2004,178). 10
This consideration has resulted in me questioning the notion; Do pure play online brands need an offline presence? My intrigue into this debate has manifested itself into the resolute purpose of this report. I aim to uncover and analyse this timely subject calling upon a plethora of primary and secondary research methods and analytical tools which demonstrate both my project specific approach and reference to wider creative environments. I shall consider academic viewpoints, which test my initial hypothesis, gravitating from writers including Michael Schrage, David Boyle and Martin Lindstrom and also negotiate industry opinion derived from my observations of current brand case studies, including those from Alinna Chung of Thread, an online styling brand, to Elizabeth Ann Bennett of Oh Comely magazine.
introduction
Fig.3. Laptop, 2012
Indeed, it is my aim that the content of this research project provides the reader with a complicit guide which calculates potential avenues of strategic implementations a pure play online brand could adopt. The structure of this report begins with ‘The Online Potential’ a chapter reflecting upon the rise of online brands, considering both their changing roles and effect upon consumerism and even what the future could entail. I then focus my attention unto ‘The Brands who say yes to Change’ an interesting analysis of brands that are utilising offline strategy in innovative ways, analysing their success and questioning why now? I then reflect upon what elements would comply for ‘The Successful Transition’, looking into utilising the prolific success of offline appeal which could be applied to online strategy. I later consider if the adoption of a new strategy will in turn bring about ‘The New Consumer’ and revitalise their approach. This consideration thus leads me to question ‘The Future of Pure Play’. Finally the culmination of this report lends me to surmise a critical recommendation for a pure play online brand. 11
the online potential
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Fig.4. The Online Potential , 2014
A reflection upon the rise of online brands, considering their effect upon consumerism and what the future might entail
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00’s The nature of consumerism changes, online becomes the dominant primary source of brand interaction and purchasing 90’s Consumer apprehension towards online interaction
Lindstrom’s account was accurate and proved a portent of the current day success of online brands. By the turn of the century, consumer’s initial detachment from online interaction and even their shopping attitude had undertaken a social transformation;
To engage with the purpose and proceeding outcomes of this report, I feel it important to start initially by considering the unprecedented rise of online and how it was to evolve into a global strategy capitalised by the fashion industry, consequentially changing the exterior of cultural and social discourse forever. Indeed, during the initial stages of online being utilised as a brand medium, the very notion of the strategy and service seemed both simultaneously compelling and yet an intangible concept to the tepid consumer and retailers alike in the early nineties. Theorist and accredited author Martin Lindstrom accounted his view and surmised the general opinion amassed by the public and industry, denoting that; “Even though they all saw the threat, few retailers challenged it or adopted the internet as a tool. General opinion held that the ‘amazon.com’ thing was a singular and not likely to be repeated in any other product category. But, of course, general opinion was mistaken”. (Lindstrom.2001,11). 14
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By the end of the nineties the consumers focus had turned away from retail stores, now labelled as ‘bricks and mortars’ in favour of whatever the e-tailer could offer. Internet hype primed the consumer with high expectations of e-tailer service and as Christmas 1999 approached an educated consumer was demanding that e-tailers keep their promises”. (Lindstrom.2001,11). The consumer had been lured by the promise and benefits online shopping could provide such as no queues, no geographic barrier, low prices and unlimited selection, the instrumental commodities a bricks and mortar retailer could simply not deliver. It almost seemed inevitable that online would shadow the former retail stores, simply put; internet brands had reconfigured the landscape of consumerism. (Lindstrom.2001).
the online potential
The Future Pure play online brands adopt offline presence to stimulate consumer’s desire and provoke a tactile sense
Fig.5. Timeline of Online , 2014
Fast forward to the present day, that theory still remains largely true, indeed as Paul Temporal author of ‘Advanced Brand Management’ describes “The digital world is characterised by enormous and increasing speed, not just marketing speed, but the speed of innovation and availability”. (Temporal.2010,214). A recent report published by Mashable, (an online platform observing social media and digital strategy) accounted that the e-commerce sales for 2013 were forecast to have increased 17% to $1.2 trillion worldwide (Indvik.2013). However, it is important to note that whilst consumerism and shopping behaviour had undergone a new strategy since the conception of online, in turn it had also brought about a new dynamic of consumer expectations. Still true to this day, online brands to remain competitive need to ensure a comprehensive and well thought-out presence, extenuating beyond the online façade, see figure five which illustrates the changing dynamic of online. As Okonkwo discusses, it is about enveloping the senses and arousing a profound desire within the consumer to be associated with the brand. The aim is to immerse every website visitor in an environment which makes up the brands universe online. (2010).
Indeed consumer’s expectations and demands for service, delivery and ease of use have increased indefinitely. Uche Okonkwo, author of ‘Luxury Online’ simplifies the reality of consumer expectancy.
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The reality is the internet has been around two decades and consumers have become used to the basics and are now demanding more. Their level of expectation has increased dramatically and they are likely to lose patience with websites that don’t offer an optimal package of benefits, values and experiences”. (Okonkwo.2010,113). Later on in this report I will analyse examples of online brands who are utilising this knowledge and applying it to benefit their target consumer. If and when online brands get the mixture right they reap the rewards resulting in consumers who are as Strauss, author of ‘e-marketing’ describes as more attentive and often more favorable towards the brand. (2012). 15
Fig.6. Crowd Focus In Front , 2013
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the online potential
Having taken into account the conception of online within the fashion industry and the implications this holds for brands, reflecting also upon the contextual repercussions it has had upon consumerism, has thus enabled me to consider what the future might entail for pure play online brands. It is not surprising to learn that consumers have become much savvier with their purchases and the brands they choose to interact with. If online brands strive to maintain their competitive advantage they must realise that adopting an omni-channel strategy is the key to future success and longevity of consumer loyalty.
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Multi-channel integration is critical because customers expect consistent service when they interact with a company, no matter which channel they use”. (Kalakota.2001,56).
This observation examined by Dr. Ravi Kalakota, author of ‘e-business 2.0’ in 2001 still remains indicative of the strategy pure play online brands should adopt. Indeed as Lindstrom denotes “consumer trust depends upon their expectations being matched by reality”. (Lindstrom. 2001,12). It is no secret that retailers will never be able to compete with online brands on product selection, price, lack of queues or instant access to information; that benefit belongs firmly to the online world.(Lindstrom.2001). However the sensorial experience is fiercely the bricks and mortar domain, or rather this is what we are led to believe by retailers. This very predicament I aim to analyse throughout this report, I question can and should pure play online brands utilise offline presence to further exceed consumer expectations. 17
the brands who say yes to change
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Fig.7. The Brands Who Say Yes To Change , 2014
An interesting insight into the online brands that are utilising offline strategy in innovative ways
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Pure play online brands in-particular, strive for consumer loyalty and trust within them, essentially they need to maintain their competitive advantage with each other by utilising new emerging strategies, be this through offering a new channel or personalised offline service.
Within today’s world of consumption brands need to understand that their consumers will, as author Okonkwo explains “transfer their collective experiences from the internet to their offline expectations�. (2010,113). Taking this into account, an observed analysis into the current business landscape and reflection upon the brands who are utilising innovative forms of offline strategy provokes an interesting perspective and references the enduring appeal of using this medium. See figure eight, which illustrates the different stages of popular culture and its affect upon online brand strategy and innovation. My selection of the following case studies exemplifies each brands differing approach and questions the success and limitations of their strategy and also reflects upon the timeliness of their unique approach. 20
the brands who say yes to change
Fig.8. The different stages of popular culture and it’s affect upon brand strategy , 2014
Residual (yesterday, dated)
Dominant (today’s status quo, the mainstream)
Pure play online brands which offer stagnant/ mundane online services, not extending strategy beyond core online platform.
Online brands adopting an omni-channel approach, principally through a maintained image on social networks.
Emergent (new thinking, ahead of the curve) Pure play online brands who are actively utilising an innovative offline presence, to stimulate engagement within their consumers.
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Fig.9. Amazon Locker, 2014
For Amazon, remaining a pure play online brand was never a consideration, part of their success as a brand alongside their proficiency, is their fiercely brave attitude to adapt and mould their strategy to suit consumer’s needs, as Boyle denotes;
amazon Amazon.com was among the trend setters of the early nineties, conceived as one of the original e-commerce brands to revolutionise the shopping experience for consumers.
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In just eighteen months Amazon caused the United States’ largest bookstore, Barnes and Noble, to realise that their wellestablished company with its comfortable market lead, suddenly had a rival which could not be ignored”. (Lindstrom.2001,11). 22
“The source of their success, their new found profitability and the affection that many of us have for them has been because of their overwhelming efficiency”. (2004, 193). The Amazon lockers are just one such example of this, the very reason for their implementation was to provide consumers with a new found convenient delivery location, therefore eliminating the potential of consumers missing their order time. The timeliness of the lockers provides a great means for consumers to go about their everyday without having to wait at home; Amazon’s implementation of this offline strategy acknowledges their awareness that consumer’s lives are far more occupied in the present day. Having conducted primary research into this particular offline strategy (see appendix, pgs. 140-143) partaking in the ordering process and utilising the lockers I found that alongside the various strengths there were also weakness and limitations.
the brands who say yes to change
strengths The Amazon lockers hold your parcel for three working days and you are able to access the lockers anytime whilst the store or shopping centre is open. Picking up/collecting my parcel, in my opinion was very easy and efficient; the locker I used was within a Co-Op store located at the front of the store. I only had to enter a six digit pick-up code (sent via email) to automatically un-lock the parcel door. Therefore eliminating the effort of typing in name, inserting bank card and even typing in email address.
weaknesses
No key was involved, the locker doors are automated to open and close once you have collected your parcel.
In my experience I was unable to select a locker location initially, as I was not a previous customer- i.e. I had to have bought something from Amazon.com on my own account before being allowed access to the locker system. I had to purchase the Amazon version of the book, not select the cheaper alternative. The locker location was not conveniently positioned for me. I would prefer it if a locker was available on campus in University. Having filled out their survey, (see appendix, pgs. 140-141) it seems Amazon is seeking to rectify more convenient locations for their consumers.
Why is it relevant to my report/ how i will use it and why? The relevance of this case study and my conduct of primary research (see appendix) into the Amazon lockers has in turn justified my initial hypothesis and demonstrated a successful example of an online brand using offline in an innovative and strategic way to complement their consumer’s needs. The resolute conclusions of my primary research rectify that not only is it an efficient approach, but also taps into consumer’s excitement and anticipations of redeeming their purchase, an aspect I will look further into later in this report. 23
Fig.10. Oh Comely November Care Package Project, 2013
Towards the conclusion of 2013 Oh Comely announced they would be executing a swapbox scheme entitled ‘The November Care Package Project’. The purpose of this project was to brighten the grey skies of November, encouraging consumers to be selfless and send a personalised parcel to a perfect stranger, in the hope they too would receive a parcel in return from their swapbox match. Having conversed with Oh Comely via email (see appendix, pgs. 101-105) and myself taking part in the swapbox, they were overwhelmed by the resounding success of the project, which simply started out as a nice idea for the Oh Comely readers to partake in, but transpired into over 1,500 people taking part. Oh Comely published their survey of the swapbox to collate just how well it was received, see figures eleven and twelve for illustration of the results.
oh comely Oh Comely is a creative lifestyle magazine, which is published just six times a year. Alongside their offline publication they have a strong visual website and execute innovative and compelling offline strategies to entice and excite their reader and even engage those further afield. 24
So what was the secret to their success? – Oh Comely admit they didn’t strategically plan this project to perform successes of this degree. “We ran with the idea because we loved it and wanted to share it” so says Liz Ann Bennett of the Oh Comely team. (2013). Perhaps the success came from the project tapping into readers interest of creating and personalising items, also the timeliness of this offline project preceded the festive period in which it is social norm to send and receive parcels and gifts.
the brands who say yes to change
Fig.11. Oh Comely Survey Illustration, 2014
25% of participants didn’t recieve their box
82% of participants said they would take part again
Fig.12. Oh Comely Survey Illustration, 2014
75% of participants did recieve their box
16% of participants said they would consider taking part again 2% of participants said they wouldn’t take part again
Why is it relevant to my report/ how I will use it and why? My inclusion of this case study surrounding the Oh Comely swapbox project is because it resonates as a great simplistic idea which taps into an offline strategy fartranscending the norms of just a retail store. The success of the project I believe was carried by the notion of surprise, personalisation and gratification these key elements are timeless in a consumers mind and a key strategy I believe pure play online brands need to engage with. 25
Fig.13. Thread Online, 2013
The success of the company has been built by offering consumers a select array of clothing styles and garments compiled into a shortlist which meets their requirements, measurements and taste’s. Essentially, Thread source from a variety of brands and present a capsule wardrobe of outfits for the consumer to digest and choose at their leisure, which thus pays detriment to the loyalty of their consumer base.
thread Thread is an online styling company, offering personalised style advice for men. Together with their online website their offline strategy incorporating a personalised parcel service and delivery is executed with efficiency. Part of the Thread strategy is combining a sinuous relationship between online communication and offline service and delivery, having interviewed one of their personal stylists (see appendix, pgs. 106-107) Alinna Chung explained that;
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Thread started out as a simple problem of wanting to dress better, but not really wanting to put in the effort”. (Chung.2013).
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My conduct of research has extenuated into interviewing one of Thread(s) male consumers (see appendix, pgs. 108-111) enabling an insight into his approach and online interaction with the company, highlighting the strengths and areas of potential improvement. One aspect he touched upon exemplified the reasoning for the brand to adopt its strategy of style personalisation. Max, the consumer, mentioned the ease of selection process, enjoying the fact he was gaining style advice from a professional; “I sent some pictures of me and my body shape, added a description of preferences and brands I like and some general background info, my stylist then sent me clothes based on those preferences and potential outfits for me to choose from. I just selected which ones I would like to be sent”. (Hurford.2013). This timeless strategy it seems engages consumer’s attention; they ideally like to seek style advice and actually retain an outsider’s opinion about their image.
Why is it relevant to my report/ how I will use it and why? The purpose of this case study, delving into the strategy of online styling platform Thread, has enlightened my research approach and informed my potential strategic outcomes for a pure play online brand. Indeed it seems a missed opportunity for online brands to not fully utilise the data collated and retained from previous consumer purchases to inform a strategic and accurate picture of style recommendations and garments suited to them. Furthermore my research (see appendix, pgs. 121-123) conducted in the form of an experiment showed consumers do in fact display an increased engagement with offline as opposed to online, the sinuous combination of both strategies would deliver a complete experience for the consumer to engage with and feel a strong emotional attachment too.
the brands who say yes to change
Broader creative environment
Furthermore, when considering brand case studies, I feel it instrumental to my research to reference the broader creative environment, so to gain a comprehensive understanding contextually and socially of the wider influences and trends which are affecting strategy online. I have considered the phenomenon that is Stardoll, an online game for young girls which endorses the hysteria of celebrity culture, fashion, beauty, interior and lifestyle whilst also negotiating the endorsement of offline means.
stardoll Stardoll is an online lifestyle game targeted towards young girls, who can immerse themselves in a virtual world of celebrity culture, fashion, interiors and beauty. Girls have the ability to make their own character, dress and style them as they desire. Most interesting about this online game is that it taps into consumer’s interest; from a very young age about the virtues of real life brands and labels, thus acting as a transition for young girls to gauge a respect and desire for brands in real life, resulting in later life purchasing and loyalty.
Fig.14. Stardoll- Change Avatar, 2010
Even though Stardoll has no immediate offline strategy, the online game does however endorse actual brands from the fashion, beauty and interior worlds. The subtle embedment of the brands will tap into consumer’s subconscious desire making them aspirational products for them to want later in life. This provides substantial benefits for the brands incorporated, young girls will have essentially grown up with these brands in their virtual world, thus translating them into potential customers. The subtlety of Stardoll’s use of brands therefore does lend itself to an offline presence, if not directly, their endorsement will have beneficial consequences for the actual brands.
Why is it relevant to my report/ how I will use it and why? The relevance of including a case study such as this does enable me to reflect contextually upon the trends of which other online brands and even in this case (a game) utilises. It is an interesting subconscious strategy to endorse other brands through simply playing a game, perhaps this notion could be implemented in my strategic recommendations; the inclusion of an enjoyment potential within the online environment, thus stimulating attention and interest, in turn producing a valid, loyal consumer. 27
the successful transition
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Fig.15. The Successful Transition, 2014
An analysis into the key elements which enable prolific success of offline appeal, which could be adopted by pure play online brands
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Having analysed appropriate case studies of online brands successfully making innovative transitions to offline, I feel it is now appropriate to define a strategy which will test my initial hypothesis through outlining the benefits and risk factors of making the offline transition. I aim to highlight the notion that an omni-channel strategy is indeed vital for any brand to gauge and retain their competitive advantage. I shall also consider the strengths and domain advantages that an offline presence holds over online, resulting in succinct recommendations and strategies an online brand could adopt. As I have mentioned previously within this report, brand versatility is of the upmost importance. The true reflection of this lies in a company’s ability to use communication strategy in a timely, customer sensitive and intelligent manner. This notion has been echoed by author Rafael Bravo who denotes,
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the offline and online spheres of brand management are becoming more and more interconnected�. (Bravo. 2011). 30
the successful transition
Firstly, I will dissect both the positives and negatives of a brand not using the juxtaposing strategy, the formula and plan is a compilation of the timeless considerations from Martin Lindstrom’s book ‘Clicks, Bricks and Brands’ (2001) and a fresh perspective derived from Rafael Bravo, author of ‘Expansion strategies for online brands going offline’ (2011).
not utilising either online or offline
Negative
positive
The loss of potential market share
A maintained focus of core values
Degrading market respect
Avoidance of confusion among customers about your core business and ethos
Not being seen as an attractive future partner to collaborate with in future projects Losing touch with the market
Not risking large sums of money and substantial time investment
Now to assess if a singular brand did adopt the opposing strategy, again a series of potential risks and benefits would comply;
transition
Negative The potential of an in-cohesive brand image online and offline Substantial investment Loss of focus on core business and ethos Risking loss of credibility in the market place Consumer dissatisfaction with new image
positive Diversifying available consumer channels, in order to attract a broader target market Controlling the process totally Brand image consistency and synergy between online and offline A positive revitalised consumer perception of brand Enabling a stronger relationship and consumer affection with brand
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Fig.16. The Successful Transition Model, 2014
Offline -Sensory and tactile -Visually stimulating -Engaging experience -Instant gratification -Excitement -Impulse -Personal service
Online -Unlimited choice -Convenience -Un restrictive geographic location -No queues
This reflection upon both the positives and negatives has outlined important considerations for a brand to negotiate. Indeed as with any change or alteration of strategy come risks. In my opinion, informed from both my primary and secondary research the risk is worth taking, the reap of rewards and use of omni-channel strategy will infinitely benefit the consumer, as illustrated in figure sixteen. This consideration of merging the use of online with offline brings me back to the question in hand;
Do pure play online brands need an offline presence? If indeed they do, what exactly is it that makes offline such a successful and timeless strategy? Many established authors, including Lindstrom, Boyle and Schrage have argued it revolves around trust, an endogenously formed entity which impacts the power of the sensory experience as well as the charms of physicality. “Human beings are still subject to their five senses and to motivations born of whim as well as wisdom. As far as possible, humans like to touch, smell and taste products, as well as see and hear them before making purchasing decisions”. (Lindstrom.2001,16) 32
Integrally offline’s domain has and always will be the virtues of tactile ability; an area which online brands simply cannot compete with without adopting an offline strategy. Pure play brands are also losing out to impulse purchasing behaviour most intrinsically linked with offline strategy. However, one of the most integral aptitudes a brand either online or offline must ensue, beyond the realms of trust, loyalty and sensory experience is the potential to entertain. Consumers are as a demographic, highly susceptive to being entertained and amused, an insight I gauged through my primary experiment (see appendix, pgs. 121-123). In today’s increasingly occupied society consumer’s attention span and patience for reward and gratification is grossly diminishing, therefore brands who adopt an offline strategy which positively acts upon these elements to retain attention, surprise and personality will win the day.
the successful transition
Online + Offline A stimulating experience which employs consumer engagement, anticipation and excitement through personalised, tactile offline gratification
The above illustration is a visualisation of the compelling strengths online and offline can offer to produce a chasm of timeless elements together, aiming to actively stimulate a consumer’s excitement and surprise through the notion of gratification and reward. Having conducted primary research into consumer’s interaction with online brands (see appendix, pgs. 146-148), utilising the ‘Silverback’ app enabled an insight and mirror image of consumer’s disenchantment with online shopping. Indeed this behaviour has been noted by various writers including Schrage, Verhagen and Boyle, it is transparent,
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an insight into consumer buying behaviour is vital for e-commerce practitioners”. (Verhagen.2011,320). Consumer’s lack of instant gratification when purchasing an item on the web in turn leads to decreased enjoyment of experience. Furthermore, when I conducted ethnographic research (see appendix, pgs. 142-143 and 131-135) stemming from my case studies into the Amazon lockers and Oh Comely swapbox, I collated both photographic and real time observations about consumers which suggested strong evidence they are drawn to the personalised, tactile element offline provides. My documentation measured their enjoyment through photographic illustration, seeming to suggest consumers are not yet ready to let go of age old gratification and reward they redeem at the end of the purchase.
Extenuating my research into this proposed idea that excitement, personalisation, surprise and reward engages consumers far beyond presumption, I looked to the works of academic Dan Ariely and industry entrepreneur Brian Wong, both of whom triumph these outlooks and testify great consumer response. Wong explains;
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To move beyond code, there needs to be elements that are unique and can be subjective in many ways…being emotional and tapping into what people think and feel is one of the key conceptsMoments instead of touch points, it’s about the moment in time you are touching a product and why it’s making an impact on you and how it’s affecting that person”. (2012). 33
the new consumer
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Fig.17. The New Consumer, 2014
a considered analysis reflecting if the adoption of a new strategy will in turn bring about a new consumer approach to pure play online brands
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Fig.18. The Consumer Decision Jouney Model, 2014
Consider
evaluate bond
loyalty loop
buy
advocate
If consumer’s approach and experience has been enhanced through adoption of new strategy, this will promote a new consumer affection for the brand.
enjoy
The point at which a consumer ‘s approach may alter and their preconceived idea of online strategy and service could be reevaluated.
Having established and outlined the key elements which would enable a successful transition for a pure play online brand to utilise offline strategy, this now lends for me to draw my attention towards consumer culture and approach. In this chapter I aim to analyse if my recommendation of utilising offline strategy, in turn means a new consumer approach towards pure play online brands, as referenced in figure eighteen. To begin with, I shall reflect upon the thoughts and considerations of acclaimed author Michael Schrage, whose works delve into the world of the consumer and analyse when an innovation or a particular brand has reconfigured a consumers approach. Schrage’s argument appraises innovators who don’t just ask consumers to do something different, they ask them to become someone different. (2012).
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Successful innovators ask users to embrace or at least tolerate – new values, new skills, new behaviours, new vocabularies, new ideas, new expectations and new aspirations. They transform their consumer. Successful innovators reinvent their customers as well as their businesses. Their innovations make customers better and make better customers”. (Schrage.2012,3). 36
So what exactly do we mean by changing a consumer approach and how do brands do it? Indeed we need only look to a few modern day brands which have made an example out of this ideal, for instance take the social network, Facebook. Now Facebook was a true innovator in the sense that it created a much more open consumer, the network asked consumers for the very first time to share personal information. This strategy has thus lead to a cultural phenomenon in which we all feel drawn to read about or share information about ourselves or others, it gave a voice to even the most introverted person. Furthermore online giant Amazon transformed the everyday shopper into an information rich consumer whom as Schrage explains “can share real time data and reviews, cross check prices and weigh algorithmic recommendations in the pursuit of their online purchase”. (Schrage. 2012,3).
the new consumer
But how is this relevant to my considerations of pure play online brands utilising offline presence? I feel the relevance of considering consumer interaction and approach is vital when negotiating adopting a new strategy. Ultimately the consumer will always remain at the heart of any brand; they are the voice and driving force behind the sales. My conduct of primary research (see appendix, pgs. 112-114) when asking the question; ‘Do you feel pure play online brands need an offline presence?’ was met with encouraging reviews within my focus group. Perhaps this adoption of strategy will transform the consumer into a much more versatile and savvy shopper, one who can utilise the offline means to pursue and prolong their personal engagement and enjoyment with the brand, an element far transcending the online medium.
Contextually speaking, today’s consumers are far more dynamic and tech responsive than compared to the early nineties, they want to have access to a variety of communication channels and negotiate their need to purchase online or offline. Indeed, consumers have wised up about their futures, their purchases and their desires, for the first time they are in control of the brands. Schrage further exemplifies this point arguing; “Customers change. Always. Customers are constantly becoming something else. They adapt, they learn. They grow. They’re not finicky consumers passively expecting markets to please, satisfy or delight them; their actually dynamic collaborators and authors of their own futures. They’re not stupid, they’re sceptical. They want to make sure they’re going in the right direction”. (Schrage.2012,3).
The only way a brand will survive in today’s climate is to remain one step ahead of their competitive field by observing each and every endeavor a competitor uses, so to assess new ways of reaching out and touching consumers. Pure play online brands need to stay one step ahead and present a strategy or service which will complement and benefit their customer’s lives making the experience more enjoyable. Furthermore, Boyle expressed back in 2004, his perceived view of consumers behavioral interaction with online expressing that;
“people use e-commerce because it’s convenient; they don’t necessarily want to join in the pretense that it means they never need to leave the house”. (2004). Indeed, his account still resonates as an appropriate depiction of consumer’s relationship towards online. It seems transparent therefore, pure play online brands need to offer a service or supply a need almost before the consumer knows they have one. 37
Reflecting upon this notion of adapting and touching a consumer far beyond the exterior faรงade of online, it is necessary to consider appropriate consumer portraits, specifically focussing upon generation Y consumers aged between 18-35, the target demographic of which a multitude of online brands direct their services. I have outlined three strains of consumer which exemplify and identify their culture and digital media interaction, in turn representing the distinct tribes the online/offline strategy might influence. 38
the new consumer
Fig.19. Consumer Profile - Max Hurford, 2014
max hurford, 25 occupation: Account manager for a Video content agency Hobbies; football, skiing, music, fitness, poker, tennis, golf, snowboarding, tech, design, travelling & wildlife archetype: The explorer
the distracted male
A consumer tribe rich in opinion, digital knowledge and communications. When given the choice they would rather shop online, purely for the convenience and to suit their lifestyle. In an ideal world their choice selection would be supplied/ visualised for them, allowing for a diffusion of choice paralysis and ‘time wasting’. They are conscious of their appearance, but won’t go out of their way to maintain a perfect image; experience and entertainment is central to their engagement. 39
kerri McCartney, 20
Fig.20. Consumer Profile - Kerri McCartney, 2014
Occupation: Full-time student, studying Marketing, Design and Communication Hobbies: shopping, socialising, going to the gym, walking & dancing Archetype: the innocent
“Digital natives are as familiar gathering in malls and shopping centres with their friends as they are using the internet to shop. The growth of online shopping is rapid and on-going but digital natives can also be seen queuing for hours to get hold of the latest product phenomena or regularly visiting their favourite stores to purchase the latest outfit or accessory�. (Oracle. 2011).
the digital fashion native 40
A consumer group over prescribed with early twenty something’s who are desperate to distinguish their style and identify themselves as an individual amongst their peers, personalisation is everything. Every event or occasion justifies a new wardrobe and they would rather neglect their diet to fund their shopping addiction. They endorse and feel compelled to try new things and they value feeling appreciated by their trusted brands.
the new consumer
Fig.21. Consumer Profile - Laura Oduntan, 2014
laura oduntan, 30 Occupation: social media strategist at the starworks group Hobbies: Yoga, baking, shopping, running & going to the gym Archetype: the sage
the minimalist professional
Approaching a mature sense of mind and balance of lifestyle reflects their desire to stay loyal to brands whom offer substance over style. They look for more out of an item, the quality the resourceful use of materials as well as the chic aesthetic. They absorb professional and industry opinion and will try out new strategies, but only through a valid review or peer recommendation. They are tech savvy by nature and prefer an optimal choice of platforms in which to browse. 41
the future of pure play
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Fig.22. The Future of Pure Play, 2014
a reflection considering what will be the future of pure play online brands
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Reflecting upon my discussion in the previous chapter and my resulting primary research throughout offers the insight that pure play online brands should be considering a new consumer interaction, strategy and relationship beyond the core online platform in the near future. My two instrumental predictions for the future of pure play online brands can be summarised in the following approaches;
- The adoption of an omni-channel strategy which triumphs the notion of online brands using innovative offline strategy. -The implementation of a more refined personal experience extenuating from online to offline, engaging consumer excitement, anticipation and impulse. 44
Fig.23. Laptop Keys, 2012
the future of pure play
Firstly, I shall extend my regards to the adoption of an omni-channel approach, endorsing the notion of online brands utilising offline strategy. Indeed, my critical analysis and insight of research has suggested pure play online brands must utilise omni-channel integration, the strategy which incorporates and combines a single brands various platforms and is regarded by Dr Ravi Kalakota, author of ‘E-Business 2.0’ as “a critical issue for any business striving to maintain its competitive advantage”. (2001,57). As I have outlined earlier in this report through careful depiction of brand case studies, the execution of and brand extension into an offline presence is a necessary strategy, in particular as brands are then able to react to consumer’s needs much more effectively and personally.
This notion reiterates my second prediction for the future of pure play online brands, extending their regard to implement a more engaging personal experience. Indeed this idea of retaining and nurturing a more personal consumer relation through incorporation of personalised offline method was realised way back in 1995 and to this day still remains an indicative approach, as author James Engel, an observer of consumer behaviour depicted;
“
Changing times are forcing a return to the time -tested concept of a more intimate, one on one relationship with the customer, referred to as relation-marketing”. (Engel.1995,265). 45
Indeed, a Mintel report published in 2013 exposed that generation Y is not about “conspicuous consumption but about products, brands and packaging that appeals to their values and desires”. (Punchard.2013).
Having also conducted primary interviews which extenuated from my observations of brands utilising offline, I conversed with Alinna Chung, one of the stylists at Thread. Alinna spoke about the aims and USP of the online brand and accounted that indeed personalisation is at the very centre of their brand. “Thread started out as a simple problem of wanting to dress better. Personalisation is certainly a part of it because sifting through tons of clothing is actually a lot of work if you don’t like to shop; offering a shortlist of things helps reduce the effort required for finding something you like”. (Chung.2013). Consumer’s desire for products and services which appeal, engage and stimulate excitement shows a consumer shift towards favouring personality and originality of product and brand, an insight I gauged through my ethnographic research of the Oh Comely swapbox project. 46
Brands must look beyond the obvious, bypassing the cliché commodities in favour of representing their personality and stimulating excitement within the consumers, be this most explicitly applied through an offline presence. The strategic power pure play online brands already hold in terms of the data aggregated from consumers purchases predisposes them to act upon the information and enable an original personalised experience to be applied, be this through a selection or package of composite items suited to consumers tastes. This concept has been echoed by Lindstrom, back in 2001, but still remains an indicative, relevant and timeless insight;
“
the e-tailers advantage is the intimate knowledge they can gather about consumer’s behaviour and their ability to use this information in tactile and predictive marketing strategies”. (2001, 46).
the future of pure play
This notion of selecting items which suit the consumer, having reflected upon their data and previous purchases has been recently noted by Erik Severinghaus of Simple Relevance in a discussion with Mashable about the future of online he explained his view;
“
There’s so much data available about customers, and the e-commerce companies that care enough about their clients to personalize their communication will win the day.
This idea of authentic personalisation and tapping into consumers engagement utilising data aggregated from previous purchases, would give leverage to an innovative and truly comprehensive offline strategy which actually anticipated customer’s needs before they even realise they have one.
In five years, the communication you receive around shopping will all be rooted in your behaviour, demographic and psychographic data. It will feel like every store has a personal shopper just for you, and it will communicate to you that way.
“Humans aren’t necessarily guided by rationality or objectivity, so online retailing can’t rely on its ostensible efficiencies to attract and retain consumers. Consumers are won by appeals to their taste and sensibilities”. (Lindstrom.2001,46).
Those who don’t and stick to the “batch-andblast” style of broadcast communication will lose out to the brands that truly embrace personalization”. (Severinghaus.2013).
This constructive insight gauged from industry experts, brand case studies and academics has proven there is a very real need for a personalised offline presence and the virtues which ensue can complement an online brand to provide an engaging and exciting tactile sense, which I believe is the future for pure play online brands.
Lindstrom’s account of consumer engagement with online brands, back in 2001, references an indicative view point, still relevant to today’s consumers.
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conclusion
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Fig.24. Conclusion, 2014
A surmised conclusion reflecting upon the research outcomes of the report
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Fig.25. Oh Comely November Care Package Project, 2013
The thorough breadth of research, analysis, primary and secondary observations and absorption of academic and industry opinion lends me to draw to a concise conclusion which will thus inform my strategic recommendations for a pure play online brand. As I have noted previously in this report, the rapidly diversifying nature of consumerism which is an embodiment of the times, pays homage to the fact pure play online brands should and indeed need to transcend their restrictive incubus of online medium, in order to obtain a new form of consumer interaction offline. 50
conclusion
Indeed it is a fair assessment to argue that online brands have had to adapt and reconfigure the human senses to be appeased whilst shopping online, a notion perfectly depicted by Lindstrom; “The online marketer’s role help(s) the consumer smell with the eye, taste with the vision and feel with the sight”. (2001,165). But in today’s competitive industry, remaining a pure play online brand is simply not enough. Furthermore, whilst conducting my research and analysis into the implications and restrictions of online, particularly highlighted in the chapter ‘The Successful Transition’ I outline and maintain the undeniable advantages an offline presence can provide. Thus I simply conclude my argument having fully validated my research outcomes throughout, with this statement;
An innovative offline presence will not only provide a pure play online brand with a profound leverage and competitive advantage over retailers and subordinate online channels, but also enable consumers for the first time to have the choice and ability to interact and prolong their anticipation and personal engagement, resulting in a complicit experience extenuating far beyond the online façade. 51
strategic recommendations
52
Fig.26. Strategic Recommendations, 2014
the culmination of this research report, summarising a critical recommendation for a pure play online brand
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Fig.27. London ASOS Headquarters, 2013
My strategic recommendations are proposed for online retailer ASOS.
Fig.27. ASOS, 2013
Indeed, throughout this research journey my collated primary findings have referenced a profound consumer desire and attraction towards brands that really identify with their personality through innovative and thoughtful strategy, ideally managing to comprehend their lifestyle and further convenience and accentuate their experience. Consumer insight conducted through an experiment, ethnographic research, questionnaire, focus group and various interviews with professionals (see appendix) have each individually brought about a fresh understanding of their needs. Of course, when negotiating a strategic outcome for a particular brand it is vital to inform the proposal responding to design responsibilities and also analyse the ethical practises which could be influenced and affected. 54
The decision of this brand is an informed result from my collated primary research. I asked a consensus of target consumers which represented the generation Y demographic all of whom were aged between 18-35 (see appendix, pgs. 89-90); ‘Which online brand would you like to see have an offline presence?’ ASOS received the majority of votes; my recommendations therefore will outline a strategy already desired by consumers. To begin with, I shall account a summarised view upon ASOS as a pure play online brand, reflecting upon their withstanding strategy to inform my strategic recommendations. ASOS, the online brand which was originally conceived in the UK, now distributes internationally with an unrivalled hysteria of loyal consumers with the success and profits of the brand increasing year on year. It has been reported by Questor ASOS’ revenue has doubled every two years between 2005 and 2012, resulting in a turnover which has soared from a mere £13.5m in 2005 to £553m in 2012. (Ficenec.2013). Furthermore, reflecting upon ASOS’ withstanding ethical practises entitled ‘Fashion with Integrity’ it is clear to see the brand has implemented a cohesive support structure, designed not only to help develop sustainable working practises but also reduce carbon emissions. My design and strategic responsibilities will be to honour their ethical practises and propose a strategy which could be cohesively implemented.
strategic recommendations
Taking this surmised view of ASOS into account, the integral research question still remains,
why has ASOS shied away from the prolific success of an offline presence? Nick Robertson, founder and chief executive of ASOS when asked this question in conversation with ‘The Telegraph’ commented “It’s intentional that we haven’t opened a store, ASOS isn’t a single brand or a single shop, ASOS is a collection of the best fashion we can find for twenty something’s. It’s a much more relevant shopping exterior, layering as much personality and personal experience as we can. I want to know what you’re looking for before you get there. I know you’ve browsed, I know what you’ve saved, the experience should be a lot more relevant to what you’re looking for and I think that’s the next layer”. (Robertson.2013). Indeed it is fair to say that ASOS has tempestuously dabbled their foot into offline before, if only utilising age old strategy with their in-house print magazine, posted to consumers. Although it features written content and interviews, the purpose and weight of the magazine is lacking, as fundamentally consumers will find and purchase any items on their website. Meanwhile, the launch of their in-house ‘Marketplace’ enables consumers to sell their boutique array of clothing to anyone in the world through the ASOS website. This strategy, if essentially online did feel more in-touch with the brand ethos of supplying and connecting consumers with their love of fashion.
what’s next for ASOS? As I have outlined previously in this report it is fundamental for any brand to gauge a competitive advantage and strategic lead over their rivals, taking note of each and every one of their endeavors, successful or not.
Consumers expect a service far more advanced, refined and personalised to their needs, “they are likely to lose patience with websites that don’t offer an optimal package of benefits, values and experiences”. (Okonkwo.2010,113). Indeed the value of experience is priceless, a fundamental factor to engage and maintain consumer loyalty and interest, of which I believe is most rewarded through an offline strategy.
My recommendation focusses upon utilising an original form of offline presence, which will compliment and extenuate from ASOS’ already thriving online business, actively opposing the clichéd strategy Nick Robertson alludes to about opening a store. 55
Strategy A breakdown of the offline strategy from initial email request all the way through to the delivery of the parcel is illustrated below.
stage 1
Fig.28. Strategic Proposal- Stage 1, 2014
stage 4
Fig.31. Strategic Proposal- Stage 4, 2014
Proposed Strategy
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How did the idea come about?
My proposed strategy for ASOS endorses an offline presence through sending of a personalised box called the ‘P.S…ASOS’ parcel containing a surprise array of garments and accessories matched to the consumers taste, selected and gifted from the fashion editors of ASOS. This strategy positively counteracts what Brian Wong describes as “the paralysis of choice” (2012) and instead offers the consumer personalised style suggestions.
My strategy was induced by my primary ethnographic research into Oh Comely’s ‘November Care Package Project’. This first hand insight into their strategy I absorbed through my participation of the project and also via observing others involvement. This personalised offline strategy really highlighted an instrumental aspect which I felt was vital - The excitement and anticipation of receiving a parcel and the unknown surprise of what would be inside, really did engage consumers resoundingly. (see appendix, pgs. 131135).
The proposed name for the parcel entitled ‘P.S… ASOS’ an abbreviation of ‘personalised style’, I feel really evokes the notion of receiving a surprise and taps into the offline means it has been delivered in. This strategy of giving the parcel a name will resonate with consumers and perhaps encourage them to share their experience and the contents within their personalised ‘P.S...ASOS’ parcel via social networks and recommend to their friends and family.
Furthermore, my conduct of a consumer focus group (see appendix, pgs. 112-113) has directly informed key aspects of the offline strategy. When proposing this notion of receiving a personalised style parcel, I learned consumer’s preference would be to receive the parcel bimonthly (every two months), so as to retain anticipation and engage excitement within the consumer, moreover this also directly influenced their decision to pay a premium of £50.
strategic recommendations
stage 2
Fig.29. Strategic Proposal- Stage 2, 2014
stage 3
Stage 1
ASOS will advertise the bimonthly ‘P.S…ASOS’ parcel using their online platform, consumers simply add their email address in and pay the premium of £50.
Stage 2
Consumers will receive an email matching them up with their personal fashion editor, they will develop a rapport and the consumer will select which three items they’d like for example, expressing if they’d like shoes, dress and an accessory to be in the parcel. The consumer will be styled by the editor, with them taking into consideration their previous purchases, sizes and online data collated. What the consumer receives in the parcel however, will remain a surprise.
Stage 3
The consumer will receive an email when their ‘P.S…ASOS’ parcel has been dispatched and given a date of delivery.
Stage 4
If consumers want to return any or all of the items they will be able to do so free of charge. The stamped and posted reusable bags within the parcel will enable consumers to send back items they don’t wish to keep. Consumers will be refunded as appropriate to the items within the parcel.
Fig.30. Strategic Proposal- Stage 3, 2014
Potential development of strategy Taking into consideration this proposed strategy, it is important to also reflect upon and consider potential avenues of development. The proposed strategy of sending the P.S... ASOS parcel bimonthly has been directly informed through my conduct of a consumer focus group. However, to further stimulate anticipation and consumer excitement, ASOS could negotiate sending the parcels seasonally or perhaps for occasion, i.e. Valentine’s Day or Christmas. ASOS could also look into employing on occasion guest stylists, to compile together the contents within the parcel thus further engaging excitement and surprise. Finally, ASOS could consider selling £50 gift vouchers for the P.S...ASOS parcels, encouraging consumers to give the gift of a surprise. 57
the implications Having proposed a new venture for ASOS, a personalised offline strategy, which still instrumentally embodies the brand voice and ethos, it is necessary to also consider the implications and ethical responsibilities of such a strategy. Naïve expectations and unrealistic targets will not build a strong, comprehensive approach.
Implication 1 Consumers may want to preview the items they will receive in the box.
Implication 2 ASOS may get a back log of returns which may potentially slow their returns process down and thus encourage a wasteful society, reflecting poorly upon their ethical and sustainable responsibilities.
Implication 3 Consumers may feel dubious about spending £50 for the parcel in which they don’t know what’s inside.
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strategic recommendations
how to overcome the obstacles
overcome Implication 1 Showing consumers a preview or detailing a description of the garments is counterproductive to the strategy. The idea of the offline ‘P.S…ASOS’ parcel is for the contents to remain a surprise. Furthermore this notion of incorporating a surprise element has been induced from my primary research, collated during my experiment. (see appendix, pgs. 121-123).
overcome Implication 2 ASOS, like many other online retailers will be used to dealing with the demands of returns, they will have a thorough process already implemented and will not compromise their ethical responsibilities. The stamped and posted reusable bags within the parcel will not only be specific to each product, therefore speeding up the process but also meet the next level of eco resposibility.
overcome Implication 3 Consumers pay the premium of £50 with the knowledge they are getting a surprise. Furthermore, the proposed price of the parcel has been directly informed from consumer opinion during my focus group (see appendix, pgs. 112-113). In terms of the price, £50 is not overly expensive to receive in return three items. If consumers don’t like the items they can send them back free of charge and will be refunded the price of the garments.
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Fig.32. ASOS Packaging, 2012
Fig.33. ASOS Packing, 2012
ASOS previous packaging Looking to figures thirty-two and thirty-three dipicting ASOS’ recent and previous packaging has allowed me to observe and assess the brands approach towards packaging and reflect upon their projected image.
Fig.34. ASOS Package, 2012
Considerations of visual outcome Having presented a proposed offline strategy and evaluated the implications and the potential answers to overcome primary issues, I feel it is important to critically evaluate and reflect a visual consideration and aesthetic interpretation of what the ‘P.S… ASOS’ parcel may look like. 60
Indeed it is without harsh criticism to observe that their packaging is fairly low tech. The use of cardboard, if not perhaps slightly bland and cheap looking is to its credit eco-friendly and recyclable, reflecting their consideration of ethical responsibilities. But is this the most fundamental message ASOS want to send out? When I think of ASOS the words ‘eco-friendly’ do not instantly spring to mind. More likely the words chic, online and fast-fashion do. However the packaging, delivery and shipping process of garments can have its adverse effects upon the parcel, perhaps a cardboard box delivers the requirements efficiently enough. ASOS have utilised other styles of packaging, see figure thirty-four, the silver plastic packaging, generally used for the protection of garments is very flimsy, cheap and certainly not durable. In contrast, the grey box, although it tends to be restricted towards the package of jewellery and small accessories, the general aesthetic and colour choice of the box is more in-tune with the brand image and conveys a more desirable aesthetic than the cardboard or plastic packaging. A notion I will consider in the initial illustrations of the ‘P.S…ASOS’ parcel.
strategic recommendations
Fig.35. Mr Porter, 2011
Fig.36. Net-A-Porter Packaging, 2010
Fig.37. Glossy Box - Harrods Edition, 2012
Fig.38. Driza-Bone Packaging Concept, 2013
Competitor packaging Looking to both competitor online brands and innovative packaging styles brings about an interesting insight into alternative aesthetics and brand personalities expressed. Taking for example the Net-A-Porter and the Mr Porter packaging, each suggest a luxurious aesthetic worthy of the price range of products. Similarly the Harrods edition of the glossybox has an equally primed feel to it. The most interesting packaging however, comes from heritage brand Driza-Bone, whom have recently undergone a packaging rejuvenation under the hands of Hunt&Co. The simplicity of packaging and design translation, which is consistent back and front is of particular interest to me. Furthermore, the opening of the package is almost evocative of opening a drawer, a clever almost unconscious technique. 61
Fig.39. P.S...ASOS, 2014
the ‘P.S…ASOS’ parcel The visual handle of the ‘P.S…ASOS’ parcel will be the first touch point for the ASOS consumer; my aim is for the parcel to truly reflect the brand ethos, denoting a story and unmistakable personality through the aesthetics. The visual execution of the ‘P.S…ASOS’ parcel I felt needed to engage and stimulate excitement in the consumer. In the context of broader fashion and cultural design influences, the aesthetic of the parcel depicts influence from Film Noir, not only referenced in the choice of dark black colour palette and the implied subtlety of brand logo and typography but also through the underlining elements of surprise, anticipation and impulse which make reference to the underlining themes within Film Noir. 62
I have updated the brand aesthetic using matt black, synonymous with the ASOS image and DNA. Instead of using the standard plastic packaging, as the brand has previously, I have opted for a more durable container coated in a black matt finish with the typography of the brand logo featured subtly in white text. It is important to note the packaging both inside and out is recyclable and resusable and fundamentally endorses ASOS’ ethical undertakings. The opening of the parcel was of particular interest to me when designing the initial illustrations. I wanted the opening of the box to be evocative of opening a chest of drawers, by sliding out the inside tray to reveal the contents, suggesting connotations of style, registering a subconscious link of belonging in the consumers mind. Within the ‘P.S…ASOS’ parcel amongst the items of clothing and accessories will be a personalised letter written and addressed to the consumer sent from their personal style editor at ASOS. The letter will include a detailed description of the items and a pleasant well wish to the consumer to enjoy their garments.
strategic recommendations
Fig.40. P.S...ASOS, 2014
conclusion Fundamentally, I believe this strategic proposal envelops the instrumental qualities of anticipation, gratification, excitement and impulse, the illusive ingredients my body of research has found profoundly resonates with consumers and which I believe will help configure the future of pure play online brand strategy.
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bibliography /citations /illustrations /appendix /tutorial record sheets
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Fig.41. Bibliography,Citations,Illustrations,Appendix,Tutorial, 2014
A chapter condensing all my collated research in the form of a; bibliography/ citations/ illustrations/ appendix/ tutorial record sheets
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Bibliography Books ARIELY, D., 2009.Predictably Irrational ‘The hidden forces that shape our decisions’. New York: Harper Collins BOYLE, D., 2004.Authenticity ‘Brands, fakes, spin and the lust for real life’. London: Harper Perennial Dr. KALAKOTA, R. and ROBINSON, M., 2001. E-business 2.0 ‘Roadmap for Success’. U.S: Addison Wesley ENGEL, J., BLACKWELL, R., and MINIARD, P., 1995. Consumer Behaviour. U.S: Dryden Press LINDSTROM, M., 2001.Clicks, Bricks and Brands ‘The marriage of online and offline business’. London: Kogan Page Limited OKONKWO, U., 2010.Luxury Online ‘Styles, Systems, Strategies’. Hampshire: Palgrave Macmillan ORACLE. R., 2011. The Future of Retail: Through The Eyes of Digital Natives. SCHRAGE, M., 2012.Who do you want your customers to become?. Boston: Harvard Business School Publishing Corporation STRAUSS, J. and FROST, R., 2012.E-marketing. Sixth ed. New Jersey: Pearson TEMPORAL, P., 2010.Advanced Brand Management ‘Managing brands in a changing world’. America: John Wiley and Sons. VAN DEN BERGH, J. and BEHRER, M., 2011.How Cool Brands Stay Hot ‘Branding to Generation Y’. United States and UK: Kogan Page Limited Journals BALASUBRAMANIAN, SRIDHAR., et al.2003. Customer satisfaction in virtual environments: A study of online investing, 49 (7), pp.871-889 BRAVO, R., et al. 2011. Expansion strategies for online brands going offline: Marketing intelligence and Planning, 29 (2), p.195-213 FAGERSTROM, A and ARNTZEN, E., 2011. Study of preferences in a simulated online shopping experiment: Service Industries Journal, 31(15), pp.2603-2615 FLOH, ARNE., et al.2013. The role of atmospheric cues in online impulse buying behaviour. Electronic Commerce Research and Applications [Peer Reviewed Journal] KERVENOAEL and RONAN.2009. Online social capital: Understanding e-impulse buying in practice. Journal of Retailing and Consumer Services, 16 (4), pp.320 -328 LIU, YOUNG., et al. 2013. Website attributes in urging online impulse purchase: An empirical investigation on consumer perception, 55(3), pp.829-837 VERHAGEN, TILBERT., et al. 2011.The influence of online store beliefs on consumer online impulse buying: A model and empirical application .Information & Management Journal, 48 (8), pp.320-327 Online Database 2013., Online fashion clicks with Brits as market increases 152% over past five years. Mintel [online]. 15th April. Available at: http://www.mintel.com/press-centre/fashion/online-fashion-clicks-with-brits-as-market-increases-152over-past-five-years [Accessed 8th November 2013]. PUNCHARD, B.,2013. Packaging Trends: What Millennials want from Packaging. Mintel. [online]. 6th November. Available at: http://www.mintel.com/blog/drink-market-news/packaging-trends-what-millennials-want-frompackaging [Accessed 8th November 2013].
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bibliography Websites /Electronic Articles ASOS. 2013. Responsibility- ‘Fashion with Integrity’ [online]. ASOS. Available at: http://www.asosplc.com/ responsibility.aspx [Accessed 8th October]. ARTHUR, R.,2013. Warby Parker: Disruptive Branding. [online]. WGSN. Available at: http://www.wgsn. com.ezproxy.ntu.ac.uk/content/report/Marketing/Communication_Strategy/2013/April/warby_parker_ disruptivebranding.html [Accessed 10TH October 2013]. Business of Fashion.2013. The Basics- Part Eight- Marketing.[online].Business of Fashion. Available at: http:// www.businessoffashion.com/2013/07/the-basics-part-8-marketing.html [Accessed 14th October 2013]. Business of fashion.2012. Online Fashion retailers tap Offline Opportunities. [online]. Business of Fashion. Available at: http://www.businessoffashion.com/2012/06/online-fashion-retailers-tap-offline-opportunities.html [Accessed 10th October 2013]. FICENEC, J.,2013. Questor share tip: Time to take profits at ASOS. [online]. The Telegraph. Available at: http:// www.telegraph.co.uk/finance/markets/questor/10324829/Questor-share-tip-Time-to-take-profits-at-ASOS.html [Accessed 8th October]. GERBER, S., 2013. 10 Predictions about the Future of Ecommerce. [online]. Mashable. Available at: http:// mashable.com/2013/10/01/future-e-commerece/ [Accessed 12th November 2013]. GOLDFARB, A.,2013. Physical Location Still a Factor in Online Shopping Decisions. [online]. Mashable. Available at: http://mashable.com/2013/11/06/physical-locations-in-online-shopping/ [Accessed 19th November 2013]. INDVIK, L.,2013. Study: Global Ecommerce to hit $1.2 trillion this year, led by Asia. [online]. Mashable. Available at: http://mashable.com/2013/06/27/ecommerce-study-china-asia/ [Accessed 12th November 2013]. LUNDEN, I.,2013. eBay debuts its answer to Amazon lockers: Click and Collect at Retail Stores, While eBay now goes abroad. [online].Tech Crunch. Available at: http://techcrunch.com/2013/09/24/ebay-bridges-online-and-highstreet-with-click-and-collect-service-in-the-uk-argos-first-partner/ [Accessed 20th November 2013]. NG, E., 2013. IAF World Fashion Convention: Top five ideas. [online]. WGSN. Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/report/Business_Strategy/Thought_Leadership/Conference_Reports/2013/October/ iaf_shanghai.html [Accessed 21st October 2013]. PANKHAUSER, D.,2013. Warby Parker Trial blazed a new type of Commerce- What’s next?. [online]. Mashable. Available at: http://mashable.com/2013/09/06/warby-parker-startups/ [Accessed 1st October 2013]. SANTI, A., 2013.World retail congress: Pure play e-tailers ‘are finished’. [online]. Drapers. Available at: http:// www.drapersonline.com/news/world-retail-congress-pure-play-etailers-are-finished/5053767.article [Accessed 8th November 2013]. SEVERINGHAUS, E., 2013. 10 Predictions about the Future of Ecommerce. [online]. Mashable. Available at: http://mashable.com/2013/10/01/future-e-commerece/ [Accessed 12th November 2013]. 17th October 2013]. WEBGAINS.,2013. Online to offline and vice versa: performance marketing and multichannel integration. [online]. Drapers. Available at: http://www.drapersonline.com/indie-hub/online-to-offline-and-vice-versa-performancemarketing-and-multichannel-integration/5049693.article [Accessed 17th October 2013]. Electronic Newspaper Articles BANKS, L., 2013. How to Tell the Fashion Future? New York Times [online]. 26th August. Available at: http:// www.nytimes.com/2013/08/27/fashion/how-to-tell-the-fashion-future.html?pagewanted=all&_r=1& [Accessed 19th November 2013]. BHATIA, S.,2013. ASOS boss: Online retailing future is personalisation and personality. The Telegraph [online]. 15th July. Available at: http://www.telegraph.co.uk/finance/personalfinance/investing/10179555/ASOS-bossonline-retailing-future-is-personalisation-and-personality.html [Accessed 18th October 2013].
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bibliography GLENAPP, R.,2013. Role reversal? Online fashion goes Offline. The Guardian [online]. 14th January. Available at: http://www.theguardian.com/media-network/media-network-blog/2013/jan/14/online-fashion-retailers-testoffline [Accessed 20th October 2013]. HILL, D.,2013. Tomorrow’s Tube? Amazon unlocks the future?. [online].The Guardian. Available at: http:// www.theguardian.com/uk-news/davehillblog/2013/nov/08/london-underground-amazon-lockers-pilot-scheme [Accessed 20th November 2013]. MACDONALD, M., 2013. Has Ecommerce killed the high street?. The Guardian [online]. 1st February. Available at: http://www.theguardian.com/media-network/media-network-blog/2013/feb/01/e-commerce-high-street-hmvblockbuster [Accessed 12th November 2013]. ROBERTSON, N., 2013. ASOS boss: Online retailing future is personalisation and personality. The Telegraph [online]. 15th July. Available at: http://www.telegraph.co.uk/finance/personalfinance/investing/10179555/ASOSboss-online-retailing-future-is-personalisation-and-personality.html [Accessed 18th October 2013]. ROYCE-GREENSILL, S.,2013. Net-A-Porter names new print venture, Porter.[online]. The Telegraph. Available at: http://fashion.telegraph.co.uk/news-features/TMG10291331/Net-A-Porters-The-Edit-magazine-rechristenedas-PORTER.html [Accessed 30th September 2013]. ROYCE-GREENSILL, S.,2013. Net-A-Porter joins forces with GlossyBox. [online].The Telegraph .Available at: http://fashion.telegraph.co.uk/beauty/news-features/TMG10382977/Net-A-Porter-joins-forces-with-Glossybox.html [Accessed 20th October 2013]. SMITHERS, R.,2013. Argos and eBay join forces for Click and Collect service.[online]. The Guardian. Available at: http://www.theguardian.com/business/2013/sep/24/ebay-argos-click-and-collect-service [Accessed 12th November 2013]. SPENCER, A., 2013. Delivering Great Customer Service- Online and Offline. [online]. The Guardian. Available at: http://www.theguardian.com/media-network/partner-zone-brand-union/brands-customer-service-online-offline [Accessed 6th November 2013]. The Telegraph.2013. Questor share tip: Time to take profits at ASOS. [online]. The Telegraph. Available at: http:// www.telegraph.co.uk/finance/markets/questor/10324829/Questor-share-tip-Time-to-take-profits-at-ASOS.html [Accessed 30th September 2013]. WOOD, Z.,2011. eBay comes out of cyberspace to open pop-up London Store.[online].The Guardian. Available at: http://www.theguardian.com/technology/2011/dec/01/ebay-pop-up-london-store [Accessed 30th September 2013]. Personal Communication, Emails BENNETT, L. (swaps@ohcomely.co.uk), 2013. Interview Questions. 8th November. Email to: Lucynda Jackson. (lucyndaemelia@gmail.com) CHUNG, A. (alinna@thread.com), 2013. Thread Questions. 18th November. Email to: Lucynda Jackson. (lucyndaemelia@gmail.com) HURFORD, M. (max.hurford@gmail.com), 2013. Questions. 12th November. Email to: Lucynda Jackson. (lucyndaemelia@gmail.com) Blogs PARKER, W., 2013. Detroit, meet Warby Parker. Warby Parker Class Trip. [online blog]. 14th October. Available at: http://www.warbyparkerclasstrip.com/2013/10/14/a-few-days-in-detroit/#read-post [Accessed 8th November]. VOS, T., 2013. Oh Comely’s November Care Package Project. Oh Comely. [online blog]. 21st October. Available at: http://www.ohcomely.co.uk/blog/755 [Accessed 6th November 2013]. VOS, T., 2013. What Happens When You Match Up 1,500 Strangers? Oh Comely. [online blog]. 2nd December. Available at: http://www.ohcomely.co.uk/blog/page/3 [Accessed 6th December 2013]. 68
bibliography Lectures/Talks ARIELY, D.,2012. Dan Ariely: What makes us feel good about our work?. [Lecture]. Hosted by TED on the 16th October 2012 in Buenos Aires, Argentina. Available at: http://www.ted.com/talks/dan_ariely_what_makes_us_ feel_good_about_our_work.html DANKS, R. 2013. Online Vs. Offline. [Student conference]. Hosted by The Trend Boutique on the 27th November 2013 at the Broadway Cinema, Nottingham. [not published]. GOLDSTEIN, M., 2012. Keynote Brian Wong TNW2012. [Lecture]. Hosted by The Next Web on the 26th April 2012. Available at: http://www.youtube.com/watch?v=PA_S_gVgtR8 ORMEROD, P., 2013. Social influence, media and marketing. [Conference]. Hosted by Digital Shoreditch 2013: Behavioural Design on the 30th October. Available at: http://tv.digitalshoreditch.com/ PARISER, E., 2011. Beware online ‘filter bubbles’. [Lecture]. Hosted by TED on the 11th February 2011 in Long Beach Island, California. Available at: http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html accessed 29/10/2013 WONG, B., 2012. Keynote Brian Wong TNW2012. [Lecture]. Hosted by The Next Web on the 26th April 2012. Available at: http://www.youtube.com/watch?v=PA_S_gVgtR8 Brands AMAZON.2013. Amazon. [online]. Available at: http://www.amazon.co.uk/ [Accessed 12th October]. EBAY. 2013. eBay. [online]. Available at: http://www.ebay.co.uk/ [Accessed 14th November]. NET-A-PORTER. 2013. Net-A-Porter. [online]. Available at: http://www.net-a-porter.com/ [Accessed 15th November]. OHCOMELY. 2013. Oh Comely Magazine. [online]. Available at: http://www.ohcomely.co.uk/ [Accessed 10th October]. THREAD. 2013. Thread Online Styling Forum. [online]. Available at: https://www.thread.com/ShU40/M [Accessed 12th November]. WARBYPARKER.2013. Warby Parker. [online]. Available at: http://www.warbyparker.com/ [Accessed 20th October].
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citations BENNETT, L. (swaps@ohcomely.co.uk), 2013. Interview Questions. 8th November. Email to: Lucynda Jackson. (lucyndaemelia@gmail.com) BOYLE, D., 2004.Authenticity ‘Brands, fakes, spin and the lust for real life’. London: Harper Perennial BRAVO, R., et al. 2011. Expansion strategies for online brands going offline: Marketing intelligence and Planning, 29 (2), p.195-213 CHUNG, A. (alinna@thread.com), 2013. Thread Questions. 18th November. Email to: Lucynda Jackson. (lucyndaemelia@gmail.com) DANKS, R. 2013. Online Vs. Offline. Student conference hosted by The Trend Boutique on the 27th November 2013 at the Broadway Cinema, Nottingham. [not published]. Dr. KALAKOTA, R. and ROBINSON, M., 2001. E-business 2.0 ‘Roadmap for Success’. U.S: Addison Wesley ENGEL, J., BLACKWELL, R., and MINIARD, P., 1995. Consumer Behaviour. U.S: Dryden Press FICENEC, J.,2013. Questor share tip: Time to take profits at ASOS. [online]. The Telegraph. Available at: http:// www.telegraph.co.uk/finance/markets/questor/10324829/Questor-share-tip-Time-to-take-profits-at-ASOS.html [Accessed 8th October]. HURFORD, M. (max.hurford@gmail.com), 2013. Questions. 12th November. Email to: Lucynda Jackson. (lucyndaemelia@gmail.com) INDVIK, L.,2013. Study: Global Ecommerce to hit $1.2 trillion this year, led by Asia. [online]. Mashable. Available at: http://mashable.com/2013/06/27/ecommerce-study-china-asia/ [Accessed 12th November 2013]. LINDSTROM, M., 2001.Clicks, Bricks and Brands ‘The marriage of online and offline business’. London: Kogan Page Limited OKONKWO, U., 2010.Luxury Online ‘Styles, Systems, Strategies’. Hampshire: Palgrave Macmillan ORACLE. R., 2011. The Future of Retail: Through The Eyes of Digital Natives. PUNCHARD, B.,2013. Packaging Trends: What Millennials want from Packaging. Mintel. [online]. 6th November. Available at: http://www.mintel.com/blog/drink-market-news/packaging-trends-what-millennials-want-frompackaging [Accessed 8th November 2013]. ROBERTSON, N., 2013. ASOS boss: Online retailing future is personalisation and personality. The Telegraph [online]. 15th July. Available at: http://www.telegraph.co.uk/finance/personalfinance/investing/10179555/ASOSboss-online-retailing-future-is-personalisation-and-personality.html [Accessed 18th October 2013]. ROYCE-GREENSILL, S.,2013. Net-A-Porter names new print venture, Porter.[online]. The Telegraph. Available at: http://fashion.telegraph.co.uk/news-features/TMG10291331/Net-A-Porters-The-Edit-magazine-rechristenedas-PORTER.html [Accessed 30th September 2013]. SCHRAGE, M., 2012.Who do you want your customers to become?. Boston: Harvard Business School Publishing Corporation SEVERINGHAUS, E., 2013. 10 Predictions about the Future of Ecommerce. [online]. Mashable. Available at: http://mashable.com/2013/10/01/future-e-commerece/ [Accessed 12th November 2013]. STRAUSS, J. and FROST, R., 2012.E-marketing. Sixth ed. New Jersey: Pearson TEMPORAL, P., 2010.Advanced Brand Management ‘Managing brands in a changing world’. America: John Wiley and Sons. VERHAGEN, TILBERT., et al. 2011.The influence of online store beliefs on consumer online impulse buying: A model and empirical application .Information & Management Journal, 48 (8), pp.320-327 WONG, B., 2012. Keynote Brian Wong TNW2012. Lecture. Hosted by The Next Web on the 26th April 2012. Available at: http://www.youtube.com/watch?v=PA_S_gVgtR8 70
illustrations Figure 1. JACKSON, L., 2014. Drawn Box. [own image]. Nottingham: Lucynda Jackson Figure 2. JACKSON, L., 2014. Introduction. [own image]. Nottingham: Lucynda Jackson Figure 3. Unknown. 2012. Laptop. [digital image]. Blog spot. Available at: http://godofephemera.blogspot. co.uk/2012/11/nanomongering-20-exhausted-elementary_22.html [Accessed 6th December 2013]. Figure 4. JACKSON, L., 2014. The Online Potential. [own image]. Nottingham: Lucynda Jackson Figure 5. JACKSON, L., 2014. Timeline of Online. [own image]. Nottingham: Lucynda Jackson Figure 6. OMP., 2013. Crowd Focus in Front. [digital image]. OMP. Available at: http://www.opm.co.uk/thevoluntary-and-community-sector-play-a-crucial-but-underappreciated-role-in-research/crowd-focus-in-front-2/ [Accessed 15th December 2013]. Figure 7. JACKSON, L., 2014. The Brands Who Say Yes To Change. [own image]. Nottingham: Lucynda Jackson Figure 8. JACKSON, L., 2014. The different stages of Popular Culture and it’s affect upon Brand Strategy. [own image]. Nottingham: Lucynda Jackson Figure 9. JACKSON, L., 2014. Amazon Locker. [own photograph]. The Co-operative, Derby: Lucynda Jackson Figure 10. JACKSON, L., 2013. Oh Comely November Care Package Project. [own photograph]. Nottingham: Lucynda Jackson Figure 11. JACKSON, L., 2014. Oh Comely Survey Illustration. [own image]. Nottingham: Lucynda Jackson Figure 12. JACKSON, L., 2014. Oh Comely Survey Illustration. [own image]. Nottingham: Lucynda Jackson Figure 13. THREAD., 2013. Thread Online. [digital image]. Magnate. Available at: http://magnate.co/2013/07/26/ find-your-personal-stylist-with-thread-com/ [Accessed 6th November 2013]. Figure 14. STARDOLL., 2010. Stardoll - Change Avatar. [digital image]. Available at: http://www.almostzara. com/2010/08/growing-up-skipper-doll-matures-just-like-you-do/stardoll-change-avatar/ [Accessed 5th December 2013]. Figure 15. JACKSON, L., 2014. The Successful Transition. [own image]. Nottingham: Lucynda Jackson Figure 16. JACKSON, L., 2014. The Successful Transition Model. [own image]. Nottingham: Lucynda Jackson Figure 17. JACKSON, L., 2014. The New Consumer. [own image]. Nottingham: Lucynda Jackson Figure 18. JACKSON, L., 2014. The Consumer Decision Journey Model. [own image]. Nottingham: Lucynda Jackson Figure 19. HURFORD, M., 2014. Consumer Profile- Max Hurford. [digital image]. Facebook. Available at: https:// www.facebook.com/max.hurford/photos [Accessed 3rd January 2014]. Figure 20. McCartney, K., 2014. Consumer Profile- Kerri McCartney. [digital image]. Web.stagram. Available at: http://web.stagram.com/n/kerrimccartney/ [Accessed 6th January 2014]. Figure 21. Oduntan, L., 2014. Consumer Profile- Laura Oduntan. [digital image]. Facebook. Available at: https:// www.facebook.com/laura.oduntan/photos [Accessed 9th January 2014].
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Figure 22. JACKSON, L., 2014. The Future of Pure Play. [own image]. Nottingham: Lucynda Jackson Figure 23. Unknown. 2012. Laptop Keys. [digital image]. Politic365. Available at: http://politic365.com/2012/04/21/ how-the-tech-sector-shortchanges-black-folks/ [Accessed 6th December 2013]. Figure 24. JACKSON, L., 2014. Conclusion. [own image]. Nottingham: Lucynda Jackson Figure 25. JACKSON, L., 2013. Oh Comely November Care Package Project. [own photograph]. Nottingham: Lucynda Jackson Figure 26. JACKSON, L., 2014. Strategic Recommendations. [own image]. Nottingham: Lucynda Jackson Figure 27. MORLEY, S., 2013. London ASOS Headquarters. [digital image]. 51arch. Available at: http://en.51arch. com/2013/08/morey-smith-london-asos-headquarters/ [Accessed 20th December 2013]. Figure 28. JACKSON, L., 2014. Strategic Proposal- Stage 1. [own image]. Nottingham: Lucynda Jackson Figure 29. JACKSON, L., 2014. Strategic Proposal- Stage 2. [own image]. Nottingham: Lucynda Jackson Figure 30. JACKSON, L., 2014. Strategic Proposal- Stage 3. [own image]. Nottingham: Lucynda Jackson Figure 31. JACKSON, L., 2014. Strategic Proposal- Stage 4. [own image]. Nottingham: Lucynda Jackson Figure 32. GORGEOUS, J., 2012. ASOS Packaging. [digital image]. Blog spot. Available at: http://www. jenngorgeous.com/2012/11/my-first-dogeared-necklace.html [Accessed 18th December 2013]. Figure 33. GORGEOUS, J., 2012. ASOS Packaging. [digital image]. Blog spot. Available at: http://www. jenngorgeous.com/2012/11/my-first-dogeared-necklace.html [Accessed 18th December 2013]. Figure 34. TAMZ, T., 2012. ASOS Package. [digital image]. Blog spot. Available at: http://timtamzchocolate. blogspot.co.uk/2012_07_01_archive.html [Accessed 20th December 2013]. Figure 35. MITCHELL, D., 2011. Mr Porter. [digital image]. David Mitchell Uncensored. Available at: http://www. davidmitchelluncensored.com/fashion/mr-porter/ [Accessed 2nd January 2013]. Figure 36. BURLEY, S., 2010. Net-A-Porter Packaging. [digital image]. Blog spot. Available at: http://chasedakota. blogspot.co.uk/2010/11/swift-like-ninja.html [Accessed 5th January 2013]. Figure 37. ROSE, B., 2012. Glossy box – Harrods Edition. [digital image]. Briar Rose Beauty. Available at: http:// www.briarrosebeauty.com/2012/03/19/glossy-box-harrods-edition-review/ [Accessed 6th January 2013]. Figure 38. HUNT&CO., 2013. Driza-Bone Packaging Concept. [digital image]. HUNT&CO. Available at: http:// www.huntand.co/our-work/drizabone-packaging-concept/ [Accessed 22nd December 2013]. Figure 39. JACKSON, L., 2014. P.S…ASOS. [own image]. Nottingham: Lucynda Jackson Figure 40. JACKSON, L., 2014. P.S…ASOS. [own image]. Nottingham: Lucynda Jackson Figure 41. JACKSON, L., 2014. Bibliography, Citations, Illustrations, Appendix, Tutorial. [own image]. Nottingham: Lucynda Jackson
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Appendix Figure 42. JACKSON, L., 2014. ASOS- Consumer 1. [own photograph]. Nottingham: Lucynda Jackson Figure 43. JACKSON, L., 2014. ASOS- Consumer 2. [own photograph]. Nottingham: Lucynda Jackson Figure 44. JACKSON, L., 2014. ASOS- Consumer 3. [own photograph]. Nottingham: Lucynda Jackson Figure 45. JACKSON, L., 2014. ASOS- Consumer 4. [own photograph]. Nottingham: Lucynda Jackson Figure 46. JACKSON, L., 2014. ASOS- Consumer 5. [own photograph]. Nottingham: Lucynda Jackson Figure 47. JACKSON, L., 2014. ASOS- Consumer 6. [own photograph]. Nottingham: Lucynda Jackson Figure 48. JACKSON, L., 2014. ASOS- Consumer 7. [own photograph]. Nottingham: Lucynda Jackson Figure 49. JACKSON, L., 2014. ASOS- Consumer 8. [own photograph]. Nottingham: Lucynda Jackson Figure 50. JACKSON, L., 2014. ASOS- Consumer 9. [own photograph]. Nottingham: Lucynda Jackson Figure 51. JACKSON, L., 2014. ASOS- Consumer 10. [own photograph]. Nottingham: Lucynda Jackson Figure 52. JACKSON, L., 2014. Focus Group -1. [own photograph]. Nottingham: Lucynda Jackson
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Figure 53. JACKSON, L., 2014. Focus Group -2. [own photograph]. Nottingham: Lucynda Jackson Figure 54. JACKSON, L., 2014. Experiment -1. [own photograph]. Nottingham: Lucynda Jackson Figure 55. JACKSON, L., 2014. Experiment -2. [own photograph]. Nottingham: Lucynda Jackson Figure 56. JACKSON, L., 2014. Experiment -3. [own photograph]. Nottingham: Lucynda Jackson Figure 57. JACKSON, L., 2014. Experiment -4. [own photograph]. Nottingham: Lucynda Jackson Figure 58. JACKSON, L., 2014. Experiment -5. [own photograph]. Nottingham: Lucynda Jackson Figure 59. JACKSON, L., 2014. Experiment -6. [own photograph]. Nottingham: Lucynda Jackson Figure 60. JACKSON, L., 2014. Experiment -7. [own photograph]. Nottingham: Lucynda Jackson Figure 61. JACKSON, L., 2014. Experiment -8. [own photograph]. Nottingham: Lucynda Jackson Figure 62. JACKSON, L., 2014. Oh Comely -1. [own photograph]. Nottingham: Lucynda Jackson Figure 63. JACKSON, L., 2014. Oh Comely -2. [own photograph]. Nottingham: Lucynda Jackson Figure 64. JACKSON, L., 2014. Oh Comely -3. [own photograph]. Nottingham: Lucynda Jackson Figure 65. JACKSON, L., 2014. Oh Comely -4. [own photograph]. Nottingham: Lucynda Jackson Figure 66. JACKSON, L., 2014. Oh Comely -5. [own photograph]. Nottingham: Lucynda Jackson Figure 67. JACKSON, L., 2014. Oh Comely -6. [own photograph]. Nottingham: Lucynda Jackson Figure 68. JACKSON, L., 2014. Oh Comely -7. [own photograph]. Nottingham: Lucynda Jackson Figure 69. JACKSON, L., 2014. Oh Comely -8. [own photograph]. Nottingham: Lucynda Jackson
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Figure 70. JACKSON, L., 2014. Oh Comely -9. [own photograph]. Nottingham: Lucynda Jackson Figure 71. JACKSON, L., 2014. Oh Comely -10. [own photograph]. Nottingham: Lucynda Jackson Figure 72. JACKSON, L., 2014. Oh Comely -11. [own photograph]. Nottingham: Lucynda Jackson Figure 73. JACKSON, L., 2014. Oh Comely -12. [own photograph]. Nottingham: Lucynda Jackson Figure 74. JACKSON, L., 2014. Oh Comely -13. [own photograph]. Nottingham: Lucynda Jackson Figure 75. JACKSON, L., 2014. Oh Comely -14. [own photograph]. Nottingham: Lucynda Jackson Figure 76. JACKSON, L., 2014. Oh Comely -15. [own photograph]. Nottingham: Lucynda Jackson Figure 77. JACKSON, L., 2014. Amazon -1. [own photograph]. Nottingham: Lucynda Jackson Figure 78. JACKSON, L., 2014. Amazon -2. [own photograph]. Nottingham: Lucynda Jackson Figure 79. JACKSON, L., 2014. Amazon -3. [own photograph]. Nottingham: Lucynda Jackson Figure 80. JACKSON, L., 2014. Amazon -4 [own photograph]. Nottingham: Lucynda Jackson Figure 81. JACKSON, L., 2014. Amazon -5. [own photograph]. Nottingham: Lucynda Jackson Figure 82. JACKSON, L., 2014. Amazon -6. [own photograph]. Nottingham: Lucynda Jackson Figure 83. JACKSON, L., 2014. Amazon -7. [own photograph]. Nottingham: Lucynda Jackson Figure 84. BUCHANAN, V., 2011. Net-A-Porter and the window shop. [digital image]. The Window Shopper. Available at: http://www.thewindowshopper.co.uk/tag/net-a-porter/ [Accessed 12 January 2014]. Figure 85. YANETTA, T., 2011. Warby Parker’s Amazing New Greene Street Flagship. [digital image]. NY. Racked. Available at: http://ny.racked.com/archives/2013/04/11/tour_warby_parkers_amazing_new_greene_street_ flagship.php [Accessed 15th December 2013]. Figure 86. FORDHAM, L., 2011. Un-boxing e-Bay’s pop-up store. [digital image]. Flamingo London. Available at: http://flamingolondon.com/unboxing-ebays-pop-up-store/ [Accessed 16th December 2013]. Figure 87. JACKSON, L., 2014. Timeline of my personal time management throughout this report. [own image]. Nottingham: Lucynda Jackson
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appendix Methodology My collation and strategic implementation of creative research methods, utilising both primary and secondary resources, embodies my fundamental aim of validating my initial hypothesis; Do pure play online brands need an offline presence? I shall outline below the research tools I adopted to suit my aims, demonstrating my inventive and project specific approach.
Primary I knew that in order to validate my insight into secondary research findings, this report would have to contain a comprehensive first hand understanding and demonstrate detailed conclusions which have not previously been exposed in secondary literature. Initially, I utilised the primary method of a questionnaire, specifically targeted towards generation y consumers, an audience between the ages of 18-35, see table for sample of consumers who took part. The focus of the questions sought to examine consumer interaction with online and offline brands. This insight and my conclusive results have highlighted for me key recommendations I could outline for a pure play online brand. Following on from this, I conducted research in the form of a photographic survey, collating responses from the target generation y consumers, asking the question ‘Which pure play online brand would you like to see have an offline presence?’ . This primary insight into consumer preference highlighted key recommendations and specific brands I could propose in my strategic outcomes, referencing consumer desire. Furthermore, I also sought out and conducted qualitative research in the form of interviews. Collating the opinions of experts within the field enabled me to reflect upon the alternative viewpoints, including those from Alinna Chung of Thread, an online styling brand, to Elizabeth Ann Bennett of Oh Comely magazine. I then targeted my attention towards the conduct of a focus group, helping to broaden my depth of understanding upon consumer need. Collaborating with two other students studying different aspects of the online/offline debate allowed for a more thorough insight into consumer opinion on a broader scale. To engage the participants we incorporated a ‘hands on’ element in the form of white boards and open discussions. See table for insight. The implementation of my ethnographic research stemmed from an interaction and involvement with innovative offline strategies. Analysis into the Amazon lockers and Oh Comely ‘November Care Package Project’ enabled a primary insight into consumer reaction with offline means. My results and strategic findings are displayed in the appendix and discussed within ‘The Brands who say yes to Change’ chapter. Following on from this the primary experiment of which I incorporated both online and offline communication and strategy (see appendix) had a simple strategic outcome; my aim was to answer the following questions through ethnographic observation; 1. Is offline strategy, service, delivery and experience more compelling and exciting for a consumer than online? 2. Does the notion of instant gratification, excitement and impulse change or alter depending on offline or online purchase? 3. Do consumers like surprises or do they like to be in-control of their purchase of a specific product? The purpose of this type of research enabled me to watch consumers at the height of their excitement when impulse purchasing. This measurement through ethnographic observations allowed me to decipher if consumers have a preference and indeed if the strategy of online or offline will affect their emotional engagement. Continuing with Ethnographic research, I carried out an experiment with the incorporation of the ‘Silver back app’. This app was used to record a plethora of generation y consumer online activity and emotional engagement, exposing the purchasing journey and enabling me to differentiate if consumers feel the same high offline as they do online.
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appendix Secondary The notion of online brands utilising offline and employing an omni-channel strategy is a timely subject. One which has indeed caused a media stir and industry debate culminating in articles, books, journals and even industry events steeped in rich opinion. Looking to online comment and published articles was a key area for my research, not only did it provide me with an objective viewpoint but also encapsulated the present day opinion. The Business of Fashion, WGSN, Mashable, Drapers Online, The Guardian and The Telegraph are just some of the online resources which have provided insightful criticism and reflection upon the subject. Reflecting upon the academic opinion of published authors including Michael Schrage’s book ‘Who Do you Want your Customers to Become?’ Dan Ariely’s experimental opinion in ‘Predictable Irrational’ and Martin Lindstrom’s ‘Clicks, Bricks and Brands’ are just some of the literature which has provided an intellectual criticism and opinion of brands. The majority of the published literature I have referenced however, it is important to note, is in excess of ten years old, therefore highlighting the necessity of me looking to online articles and the conduct of relevant and up to date primary research. Observing and consuming comment from academic speakers enabled my secondary research to breath in a contextual perspective. Listening to the opinions of a variety of notable speakers at the ‘Digital Shoreditch’ event and the ‘Online Vs Offline’ talk held in the Broadway cinema in Nottingham, exposed me to a plethora of industry opinion and knowledge of the debate. I have also reflected upon the views of Brian Wong, CEO of Kiip and activist for reward and enjoyment and considered Dan Ariely’s discussion and argument surrounding instant gratification. An essential aspect of my research of course, was an insight and look into online brands who have tapped into an innovative offline presence to specifically influence and benefit consumer engagement. Such brands include Amazon, E-bay, Warby Parker, Net-a-Porter, Stardoll and even drawn recommendations informed from Oh Comely magazine and online styling forum Thread. Likewise reports published from Mintel have also informed a topical and contextual insight into the subject of online and offline, drawing upon consumer behaviour, economic influence and social consequence.
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appendix methodology table research method
Questionnaire
sample (aged 18-35)
purpose
strengths
35
To collate both quantitative and qualitative insight and opinion from the target generation y demographic.
A broad cross section of consumer response and the ability to quantify and analyse results efficiently.
10
To collate visual response and consider consumer opinion and preference in regards to pure play online brands using offline.
A primary insight into consumer opinion in regards to online brands utilising offline, helping me to negotiate and analyse results which will inform my outcomes.
Interviews
3
To converse, analyse and reflect upon industry and consumer opinion, which has informed my research outcomes.
The ability to collate in-depth qualitative research and expand my research insight beyond literary opinion.
Focus Group
6
To observe and converse with consumers within the generation y demographic, allowing for a reflection upon their personal opinion, desires and perspective of online brands.
In-depth insight into the needs of the target consumer, the structure of the focus group enabled each participant to openly express their views and comment with each other.
Photographic survey
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appendix
weaknesses
outcomes
effectiveness of research method
Questionnaires don’t allow for in-depth responses from consumers to fully express their views.
My questionnaire demonstrated consumers preference to utilise both online and offline shopping medium’s, furthermore consumers responded resoundingly suggesting online could be improved by having an offline presence, free returns, more reliable delivery and personalised suggestions of products.
Utilising this form of research method proved effective in gauging initial consumer response to my subject. However if I were to repeat this method I would use a larger sample to encourage a broader demographic of consumer opinion to analyse.
This form of photographic research didn’t allow for in-depth consumer opinion and analysis of their reasoning behind their choice.
My photographic survey visualised consumer preference in regards to which pure play online brand they’d personally like to see offline. The results from this research demonstrated consumer’s desire for ASOS to extend their online strategy offline and has thus informed my strategic recommendations.
Collating consumer response in the form of a photographic survey did enable me to draw upon consumer preference and inform my strategic outcomes with backed up primary research. However, if I were to repeat this method I would use a larger sample of consumers to gauge opinion from and also suggest they write a brief reason for their choice of brand.
Professionals working in industry are on occasion difficult to converse with due to their working schedule; also they are unable to release confidential information about their brand, therefore limiting original insight.
My conduct of both industry and consumer interviews has revealed perspectives and opinions I had not considered previously, furthermore the answers I received backed up my initial hypothesis of online needing to utilise offline strategy.
Conducting interviews proved a valid, insightful research method. However if I were to repeat this process, I would like to conduct an interview with an academic whose works resonate with my subject.
Some of the responses we collated from the participants did mirror each other, i.e. due to the environment of the focus group participants at times felt compelled to ‘copy’ responses.
Having collaborated with two fellow students to compile the focus group, in turn we collated a much broader insight and a variety of opinion.
This form of research method proved an invaluable resource of consumer debate. If I were to repeat the method again I would interview consumers in smaller groups perhaps three participants to every group so to minimise mirroring of opinion and improve the validity of outcomes.
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appendix methodology table research method
sample (aged 18-35)
purpose
strengths
Experiment
7
To observe consumer interaction and gauge their excitement and engagement levels with opposing online and offline methods.
A first hand insight observing consumer engagement, obtaining the ability to measure their excitement levels through evaluation of personal expression.
Ethnographic Research
4
To observe consumer engagement, surprise and anticipation of sending and receiving a personalised parcel.
Observing consumer interaction and myself having partaken in the project, exemplified consumer’s captivated attention and excitement with offline means.
2
To observe consumer interaction and myself partaking and utilising the amazon lockers to analyse if their offline presence was efficient and a successful transition.
This ethnographic research into the amazon lockers illustrated the efficiency and success of their offline presence. Partaking in the research enabled an analytical review of the process.
8
To collate/record consumers interaction and engagement with online brands, to observe their excitement and analyse the potential for improvement.
Utilising the Silverback app ensured a valid record of consumer engagement observing their emotional and vocal reaction when shopping online.
-Oh Comely
Ethnographic Research -Amazon
Ethnographic Research -Silverback App
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appendix
weaknesses
outcomes
effectiveness of research method
Participants due to the environment of the experiment, at times mirrored the reactions of each other, the nature of this ethnographic experiment meant consumers were aware of my presence which perhaps influenced this.
The conclusive outcomes of this experiment justified my initial hypothesis that consumers are more compelled and engaged with offline means, referencing the real need for pure play online brands to adopt this strategy.
Conducting an experiment was insightful, particularly as I was able to observe consumer expression first hand. However if I were to conduct the experiment again I would change the environment and condense participant groups so to improve validity of outcomes.
The project relied upon participants sending and receiving parcels from an unknown match, one of the participants I observed didn’t receive a swapbox in return.
The outcome of this observed ethnographic research exemplified the success of a personalised offline strategy, my research justifies consumers enthralled engagement with the project.
This form of ethnographic research enabled primary observations of consumer excitement and engagement. I would definitely utilise this form of research method again, however I would use a larger sample of consumers to observe, so as to compare reactions.
Observing consumer interaction was restricted to the particular stores opening times.
The outcome of this ethnographic observation revealed the proficient success and complicit strategy amazon have implemented in their offline presence, serving to further convenience consumers.
Participating in this research allowed for primary observations and a valid account of the process. I would use this method again as I find ethnographic research the most valid, however next time I would like to observe a larger sample of consumers.
The Silverback app is only downloadable to mac computers therefore limiting a broad consensus of consumer observations.
The outcome of this ethnographic research showed consumer disengagement with online interaction, exemplifying the need for a stimulating offline presence.
This digital form of ethnographic observation enlightened consumer expression and engagement. However next time it would prove more valid observing a greater volume of consumers. Indeed this type of research and incorporation of the app is only relevant for observations of digital interaction, but highly appropriate to my report.
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Introduction for questionnaire I am researching the following question for my dissertation; ‘Do pure play online brands need an offline presence?’, and as part of that project I am interested in your experiences, views and opinions about shopping both online and offline. The information you provide will be collated with others and analysed so to gauge consumer response and opinion of the preferred shopping medium and also what might potentially enhance the online experience. The information provided will be treated in the strictest of confidence and you will not be individually identified in any presentations of the results. All questionnaires will be kept in accordance with the Data Protection Act and destroyed at the end of the project.
Q1 1. Are you male or female? Male Female
Q2 2. How old are you? 16-19 20-25 26-29 30-35 36-39 40+ Q3 3. Do you mainly shop?... Online Offline Both Q4 4. What do you like about shopping offline?
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Q6 6. In your opinion, how could the online shopping experience be improved?
Q7 7. Do you like receiving surprises? Yes No
Q8 8. Do you get more of a high and feeling of enjoyment when shopping for clothes... Online Offline Q9 9. Do you feel more of an attachment to a product or service which has been personalised for you? Yes No Q10 10. Would you prefer shopping for specific items of clothing or would you like to be sent a variety of clothes which match your style? Specific items Clothes which suit my style
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appendix photographic survey My primary conduct of a photographic survey, asking consumers within the generation Y demographic; ‘Which pure play online brand would you like to see have an offline presence?’ helped me to gauge an insight into consumer opinion in regards to online brands utilising offline, enabling me to negotiate and analyse the results which have shown a consumer desire for ASOS to extend their strategy offline and has thus informed my outcomes.
Fig.42. ASOS- Consumer 1, 2014
Fig.44. ASOS- Consumer 3, 2014
Fig.43. ASOS- Consumer 2, 2014
Fig.45. ASOS- Consumer 4, 2014
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Fig.47. ASOS- Consumer 6, 2014
Fig.48. ASOS- Consumer 7, 2014
Fig.49. ASOS- Consumer 8, 2014
Fig.50. ASOS- Consumer 9, 2014
Fig.51. ASOS- Consumer 10, 2014
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appendix interviews The purpose of this form of research was to converse, analyse and reflect upon industry and consumer opinion through interview, of which has informed my research outcomes.
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appendix focus group The purpose of this focus group was to observe and converse with consumers within the generation y demographic, allowing for a reflection upon their personal opinion, desires and perspective of online brands. Having collaborated with two fellow students to compile the focus group, in turn we collated a much broader insight and a variety of opinion. The questions asked are highlighted in blue.
-(Lucynda) Do you prefer online shopping? -(Kerri) Yes I prefer online shopping to actually going into a shop and getting stressed (laughs) -(Lucynda) Is that why you prefer it, because it’s less stressful? - (Kerri) Yeah, it’s the same if I do an online food shop, it’s all set out in a way that I can easily find it, instead of having to like, rush around, so it’s more accessible I find. -(Lucynda) How do you think online shopping could be improved? - (Everyone) Hmm… - (Rose) Maybe free delivery, free returns, that kind of thing? - (Judy) Umm yeah, maybe that sort of thing, or maybe… I think a lot of the time with websites like ASOS, they’ll have a lot of really good things that are a good price, but in the same section as things that are really expensive. So you’re kind of looking through it like ‘Oh this is really nice you know, £15, £20, and then all of a sudden there’s some designer brand, so it’s all too mixed up, it’s not specific - (Alana) So what brands do you engage with and shop with online, and why? If you don’t shop online then that’s fine. - (Jake) I don’t shop online - (Kerri) I would say some of the new shops like Motel Rocks; they’re really good. I really like Urban Outfitters and Topshop, but umm, I wouldn’t shop at River Island so much because they don’t do student discount and things - (Molly) Umm, probably like Misguided, Boohoo and Asos because obviously you don’t have those shops on the high street. But if I was going to go to Topshop I’d just go into town. - (Rachel) Umm like Topshop, Urban Outfitters… I like Topshop as you can get free delivery to the store as well. - (Lucynda) If you had the choice, would you look online first and then go offline, or would you just go shop first? -(Molly) Umm, I’d check that it was in-store first (online) and then I’d go to the store and try it on. If they had like, more specific sizes and stuff then I’d think, ‘Oh would that fit me’, but they never have any description. - (Anna) I don’t really shop online- the only time I ever shop online is for brands like ‘Miss guided’ and Asos, stuff where you can’t actually get them anywhere else, but even that’s really rare, because I find the sizing across all brands are just really different - (Judy) Probably Asos, and does eBay count? - (Lucynda) Yeah - (Judy) Ok, and EBay, just because I can search for exactly what I want. - (Rose) Do you feel more of an attachment to a product that has been designed for you, or personalized? - (Judy) What do you mean? - (Lucynda) It could be anything, say like a magazine, or your style- So if you were shopping online and the brand suggested a specific item of clothing or style, would you feel like ‘Oh, that’s actually quite nice, I haven’t come across this before’ - (Rose) Or just like a general service that would appeal specifically to your needs - (Jake) Yeah I’d say, yeah. Like if you got your name on like an Arsenal shirt, yeah that would appeal to me. - (Kerri) Yeah I think it’s a really good idea, like having stuff that pops up on the website, yeah. - (Molly) Yeah, I just would never do it.
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- (Lucynda) Just because it’s too much effort? What if an online service specifically sent you personalized items and suggestions - would you be more interested in that, if it wasn’t going out of your way to do it? - (Kerri) Yeah probably. - (Rachel) If a brand knew some of the things I regularly look at or something to see what kind of taste I had, that would be great. - (Judy) Yeah it would be helpful if it suggested items derived from what I’ve previously bought -(Anna) Um, yeah I’m the same, like if they sent it to me that’d be cool, but I’m not going to go out of my way to do it. -(Lucynda) Do you think online brands, purely online brands, need an offline presence, like ASOS for example, would you be more likely to shop there if the brand had a pop-up store or a personalized service? -(Judy) I think, it’s a good idea cause they could obviously run off their reputation, with things like an offline store, people would be like oh its really good but I think kind of the beauty of it is that it is online and it’s a quick and easy access. -(Jake) I’d say yes, it’s just simpler to try clothes on! -(Kerri) Yes I do, I defiantly do -(Molly) yeah cause then you can see what the clothes are actually like, what the material’s like, you don’t want it to look cheap or it have holes in -(Lucynda) Do you find sometimes when shopping online your sizes are a little bit out? -(everyone) yeah -(Molly) yeah I’m completely different sizes in different store, so I’d rather they all just get stores on the high street -(Lucynda) would you say there is a brand which really annoys you because you can’t send things back free of posting charges? -(Molly)- Misguided the other day I sent something back and it charged me like £3 pounds, it’s annoying. Like ASOS you can just send back free of charge. -(Kerri) yeah I did last week with urban outfitters and they charged me to send it back, you know you lose so much more than what you’ve actually paid for, it doesn’t make sense. -(Rachel) yeah often when you buy things online you can return it free to a store and then browse, but somewhere like ASOS that has so much stuff a shop wouldn’t do it justice, what you want just wouldn’t be in store, perhaps using a different method of offline would work -(Anna) yeah I don’t shop online, so if a brand had an offline presence then I’d be able to shop there -(Lucynda) would you be willing to pay to receive a personalized parcel of clothing, selected by editors to suit your style, so you pay a slight premium to get this package of clothing which you know editors have selected for you? -(Judy) personally I think that sounds great, the editors would do all the hard work for me! And I enjoy receiving style advice -(Kerri) I actually would, if I was able to tell the person what my style was -(Lucynda) Yeah they’d obviously have all your sizes and the dresses and style you’ve selected before on their database -(Jake) ahh I’ve changed my mind, I would actually like the parcel! -(Kerri) if your able to say what style, I think that would be really good! -(Lucynda) yeah they’d take into account your style, but what you receive will be a surprise -(Molly) sounds really easy, it’s a very simple but good idea! -(Lucynda) how much would you be willing to pay for something like that? You’d get 3 items, so it’s like a complete outfit, if you like, or versions of outfits you can mix and match -(Molly) hmm I’d say I easily pay around £40/£50 for just a dress alone sometimes, so maybe £50 -(Kerri) yeah, I agree that’s actually quite a good deal, for 3 items which I knew would complement my style -(everyone) yeah
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-(Lucynda) you’d also be able to freely return anything you didn’t want -(everyone) yeah, yeah I would be interested (Molly) it makes shopping feel that bit more personal -(Lucynda) Would you like this parcel to be sent to you every month? -(Rachel) I think maybe it shouldn’t be every month, every other month -(Judy) I agree, then it builds up the excitement and anticipation a bit more -(Molly) yeah and then you won’t feel so guilty spending £50 bimonthly -(everyone) yeah
Fig.52. Focus Group- 1, 2014
Fig.53. Focus Group- 2, 2014
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appendix experiment The purpose of this experiment was to observe consumer interaction and gauge their excitement and engagement levels with opposing online and offline methods. The conclusive outcomes of this experiment justified my initial hypothesis that consumers are more compelled and engaged with offline means, referencing the real need for pure play online brands to adopt this strategy.
Do ‘pure-play’ online brands need an offline strategy, are they successful and does it bring more enjoyment and satisfaction to the consumer? Aims Is offline strategy/service/delivery/experience more compelling and exciting for a consumer than online? Does instant gratification, excitement and impulse alter/change depending on offline or online purchase? Do people like surprises or do they like to be in-control of their purchase of a specific product? Experiment Room 1 - will have just a laptop – the seven subjects between the (18-35 target market) will be told they can purchase any 3 items off ASOS Room 2 - will have a laptop and a box – the subjects have a choice to either purchase any 3 items they choose using the laptop or take the box (they will be told it contains a selection of outfits which suit their style- they’re not allowed to open the box before they make the choice) Room 3 - will have a laptop and a box – the subjects have a choice to either purchase any 3 items they choose or take the box (they won’t be told what it contains) Control Each room will have a laptop Each laptop will have the ASOS website displayed 7 subjects will participate– male/female all between the ages of 17-35 The box will be the same size and shape in room 2 and 3 There is a £60 cap for all 3 purchases – the items in the box will be of the same value Variables Only room 2 and 3 will have a box The items in the box will vary from individual to individual The items the subjects choose online will differ In room 2 the subject will be told there are items of clothing suited to them in the box In room 3 the subjects will not be told what is in the box Outcome/results The outcome of the experiment visually demonstrated participants engaged attention and heightened impulse of excitement when opening the box (the offline strategy) as opposed to shopping online. I found when the participants were using the online medium to shop they looked noticeably disengaged and bored. Conclusion My collated visual results have proven my initial hypothesis that consumers feel a heightened sense of engagement, excitement and impulse when engaging in offline strategy. My results have also shown consumers do in fact enjoy the surprise element as opposed to knowing exactly what they’ll receive, these research outcomes I shall use to further inform my strategic recommendations.
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Fig.54. Experiment- 1, 2014
Fig.56. Experiment- 3, 2014
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Fig.55. Experiment- 2, 2014
Fig.57. Experiment- 4, 2014
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Fig.58. Experiment- 5, 2014
Fig.60. Experiment- 7, 2014
Fig.59. Experiment- 6, 2014
Fig.61. Experiment- 8, 2014
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appendix ethnographic research -oh comely The purpose of this ethnographic research into the Oh Comely swap box was to observe consumer engagement and anticipation of sending and receiving a personalised parcel. Observing consumer interaction and myself having partaken in the project, exemplified consumer’s captivated attention and excitement with offline means.
Fig.62. Oh Comely- 1, 2014
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Fig.64. Oh Comely- 3, 2014
Fig.65. Oh Comely- 4, 2014
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Fig.67. Oh Comely- 6, 2014
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Fig.68. Oh Comely- 7, 2014
Fig.70. Oh Comely- 9, 2014
Fig.69. Oh Comely- 8, 2014
Fig.71. Oh Comely- 10, 2014
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Fig.72. Oh Comely- 11, 2014
Fig.73. Oh Comely- 12, 2014
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Fig.75. Oh Comely- 14, 2014
Fig.76. Oh Comely- 15, 2014
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appendix ethnographic research -amazon The purpose of this form of research was to observe consumer interaction utilising the amazon lockers, analysing if their offline presence is efficient and a successful transition.
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Fig.78. Amazon- 2, 2014
Fig.77. Amazon- 1, 2014
Fig.79. Amazon- 3, 2014
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Fig.81. Amazon- 5, 2014
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Fig.82. Amazon- 6, 2014
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appendix ethnographic research -silver back app The purpose of this form of research was to collate/record consumer’s engagement with online brands, utilising the ‘silverback’ app to observe their interaction and analyse the potential for improvement. My recorded results demonstrated consumer’s dis-engagement with online strategy. Below are screen grabs of the consumer’s utilising different brands online platforms, to view the full recorded video of each consumer engaging with online brands, look to the attached CD.
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appendix pinterest - visual inspiration
To collate my visual inspiration for my report layout and design, I utilised my pinterest account, as visualised below; http://www.pinterest.com/lucyndajackson/
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appendix inspiration behind the models and illustrations in report A concise reflection upon the purpose and meaning behind each illustrated model within the report.
Figure 5. Timeline of Online A visual illustration which aims to depict and chart the unprecedented rise of online and consumer’s changing perception and interaction with the medium. The inclusion of this figure within my report, I felt was necessary so to condense for readers a concise online timeline, of which results in a prediction for the future of pure play online brands. Figure 8. The different stages of popular culture and its affect upon brand strategy A visual diagram which depicts the progressing stages of popular culture (residual, dominant and emergent) which I have referenced in regard to online brand strategy. The inclusion of this diagram is to demonstrate brands differing approaches, in turn considering that truly innovative brands will adopt emerging trends and strategy to compliment the consumer experience. Figures 11-12. Oh Comely Survey Illustration This visual diagram aims to represent the consumer survey results collated by Oh Comely for the ‘November Care Package Project’. I have visualised the survey through the illustration of black boxes, an aesthetic design decision which connotes reference to the proposed personalised style parcel. Figure 16. The Successful Transition Model Figure sixteen illustrates a visualisation of the compelling strengths online and offline can offer to produce a chasm of timeless elements together. The purpose of this model is to justify the reasoning and beneficial factors of combining each strategy, to compel and accentuate consumers personal experience. Figure 18. The Consumer Decision Journey model Figure eighteen aims to visualize a consideration of the consumer’s decision journey when interacting with pure play online brands, negotiating if they were to adopt an offline presence, would this provoke a revitalized consumer approach? Figures 19-21. Consumer Profiles A visual expression of individual consumers, whom my proposed strategy would affect. The design interpretation of the profiles references each of the consumer’s lifestyles and interests in the form of a visualised 3D box format, acknowledging a reference to my strategic recommendations. Figures 28-31. Strategic Proposal Stages A visual illustration depicting the proposed offline strategy ASOS could adopt. The diagram visually explains the cohesive strategy from initial email request all the way through to the delivery of the personalized style parcel. Figures 39-40. P.S…ASOS The visual execution of the ‘P.S…ASOS’ parcel I felt needed to engage and stimulate excitement in the consumer. In the context of broader fashion and cultural design influences, the aesthetic of the parcel depicts influence from Film Noir, not only referenced in the choice of dark black colour palette and the implied subtlety of brand logo and typography but also through the underlining elements of surprise, anticipation and impulse which are connoted through the design and embody the purpose.
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appendix case study - net-a- porter Fig.84. Net-A-Porter and the window shop, 2011
Net-A-Porter announced back in 2011 that they were negotiating launching a print publication, an offline correspondence with their consumer and a competitive strategy set to rival the fashion publication heavy weights like Vogue, Harper’s Bazaar and Elle. The proposed magazine which will be entitled ‘Porter’ is set to launch in February 2014, demonstrating the brands fixated desire to reach their consumer utilising all platforms.
net-a-porter One of the original luxury online retailers, Net-A-Porter revolutionised consumer’s perception and interaction with luxury through an entirely new platform. Not satisfied with remaining a pure play online brand, Net-A-Porter was one of the first to expand their cohesive strategy to offline. The launch of their first pop-up store in London in 2011, fondly called ‘The Window Shop’ was a huge success enabling consumers to scan the barcode’s of individual items to be delivered to their homes.
Lucy Yeomans, the appointed editor in chief of the new publication explained in a conversation with ‘The Telegraph’ that their very reasoning for exploiting the print avenue is due to the discovery that their consumer base buys four to five magazines per month. (Royce-Greensill.2013) . The success of the publication is yet to be reviewed upon its release, and in turn raises the timely question of why now? Will Net-APorter’s consumers be drawn to the publication and refer to it as their first touch point for the brand, or will this venture prove pointless, when in reality they already boast success with their online magazine, ‘The Edit’ which lends itself as a tool to help merchandise and promote the new products enabling consumer to purchase directly. Will therefore, the offline publication just prove an invalid and costly venture?
Why is it relevant to my report/ how I will use it and why? The reviewing of Net-APorter as a case study for my report has raised interesting questions around the basis of an online brand utilising an offline presence, in this case in the form of a publication. Looking into various brands and their online and offline strategies has made me question and reflect that sometimes it’s perhaps not always right for a certain brand to utilise specific offline strategies, if it does not compliment and merge with their existing image. 161
appendix case study - warby parker Fig.85. Warby Parker’s Amazing New Greene Street Flagship, 2011
In the initial stages Warby Parker integrated facial recognition into their website so as consumers could see a reflection of themselves trying on a pair of glasses, thus diminishing the chance of dissatisfaction or surprise of appearance. Not satisfied with simply this, the brand now also offers consumers the chance to order five pairs of glasses for five days, all free of charge, these initial stages of tapping into an offline presence was very well received, if not, only encouraging Warby Parker to do more. The brand has since created a series of quirky on brand events including a ‘hush mob’ within The New York Public Library in 2011, which consisted of various models wearing the glasses and holding up books with the name of the Warby Parker product written on it.
warby parker Warby Parker is a proficient online eyewear brand. Having started out in 2010, Warby Parker aimed to make their online brand The place to shop for affordable glasses, but encouraging consumers to purchase an item which almost needed to be tried on in store enabled the company to get inventive with utilising offline strategy. 162
During 2013, the company had been travelling all over America in a school bus, again tapping into the brands ethos of learning; it was completely refurbished into a professor’s study, essentially acting as a mobile vehicle to entice consumers to purchase the glasses. These innovative and encouraging offline events enticed and compelled their consumers, with each event acting as an antidote towards the launch of their flagship store in New York’s Soho area last year. The success of each event and Warby Parker’s strategy towards unveiling an offline presence can be explained through the simple fact that each event was intrinsically linked to the brand’s compelling narrative and ethos of learning.
Why is it relevant to my report/ how I will use it and why?
Warby Parker’s transition to an offline presence was completely coherent with their already booming online strategy, thus a commendable online brand and an exemplary case study to take note of. In terms of utilising this success and translating it to feed my strategic outcomes, I will ensure my offline recommendations for a brand are innovative and in tune with the brand DNA.
appendix case study - e-bay Fig.86. Un-boxing e-Bay’s pop-up store, 2011
Back in 2011 eBay surprised consumers by opening a pop-up store in central London, one of their first moves into an offline presence and it was greeted with varying reviews. Consumers were able to scan the QR codes which were labelled on the products and the item would be delivered back to their home, just as if they had purchased online. However this did raise the timely question of what’s the point? If consumers went into the pop-up store but were still unable to actually purchase the item there and then, it seemed to be a pointless exercise, only serving as a delay in the purchasing process.
e-bay E-commerce giant eBay was among the first of the online brands to be conceived back in the nineties. Its approach to online consumerism differed slightly to other competitors with the introduction of anticipation buying, in the form of online bidding. To remain a competitive brand they have recently introduced their offline strategy and approach to entice and enable further convenience to their consumers.
In 2013, eBay announced it was launching a click and collect service in the UK, which enabled consumers to purchase an item off eBay and collect in a physical store, including a multitude of Argos retail stores. This competitive offline strategy serves as an answer to the Amazon lockers, a similar strategy aiming to provide convenience to the consumer enabling them to collect their item as and when it suits them. It seems pure play online brands are becoming very receptive towards consumer needs and are aware of their often very hectic lives, simplicity is key to the success of this offline strategy serving to further convenience their consumer.
Why is it relevant to my report/ how I will use it and why?
The relevance of this case study justifies a great example of an online brand providing a strategic offline strategy to suit consumer needs with the click and collect service. Initially eBay in my opinion got it wrong with the pop-up store. Indeed it served its purpose of providing sales and caused hype during the Christmas period of 2011 but it didn’t really reflect its brand ethos or strategy cohesively, it seemed to delay the purchasing process even further and even proved a barrier for consumers who had no smartphone. 163
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Timeline of my personal time management throughout this report Fig.87. Timeline of my personal time management throughout this report, 2014
Conduct my ethnographic research, by partaking and observing consumer interaction and engagement with the Oh Comely ‘November Care Package Project’ and the Amazon lockers. Also utilise the ‘Silverback’ app to enable me to observe consumer online interaction.
Conduct my primary experiment into consumers engagement with online and offline methods, also collate more secondary research, in the form of quotes and brand case studies
Prepare and consider a chapter plan, which condenses all my collated and future research into a cohesive order, also continue with secondary research by looking to industry lectures held at the Digital Shoreditch event and also book ticket to attend the Online Vs. Offline talk held in the Broadway cinema in Nottingham
Make a research plan, taking into account the research I have already conducted and my future considerations, enabling me to negotiate my research approach and ensure it is cohesive and valid
Mind-map my aims and research objectives to ensure a cohesive approach, continue with secondary research and plan my intended primary research
Present a more considered research approach to my individual tutor, reflecting upon the feedback I received during my presentation and continue with conduct of research and write up tutorial record sheet
Present an individual presentation to tutors which explains my thoughts and ideas for my proposed research project
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appendix Timeline of my personal time management throughout this report
20/1/14 13/1/14 6/1/14 6/1/14 Xmas Holiday 2/12/13 25/11/13 18/11/13
Print on the 20th, allowing for excess of time to ensure quality of report and hand in on the 31st of January, along with a CD version
Design document to compliment the theme of report and design info-graphics and visuals to enhance understanding
Finish writing my bibliography, list of citations, list of Illustrations, and compile together ethic consent forms and appendix of research. Also ask to tutor to sign tutorial record sheets
Finish writing and editing research report over the Christmas Holidays and place text into in-design document
Continue writing initial draft of research report and write up tutorial sheet which analyses the progress of my project
Start initial rough draft of my introduction and methodology, allowing me to consider and negotiate my writing tone of voice
Finish my conduct of primary and secondary research and collate together all ethic consent forms and scan in, also write up tutorial sheets
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