scott crolla
Scott Crolla 2020
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Scott Crolla 2020
brand strategy Scott Crolla’s brand personality was created through the juxtaposition of bespoke tailoring with eccentric and unusual fabric. This collimated in an inclusive brand identity in which the heritage of Saville Row partnered the cultural wave of new romanticism. “ Suddenly the chicest store in town attracting everyone from Boy George to Princess Diana - it peddled dandyish clothing evocative of a vanished, neocolonial world of croquet and cucumber sandwiches” (Lutyens, 2003). It was the ‘dandy’ appeal which became Crolla’s namesake from which the brand was identified amongst all constituents. In terms of Crolla’s 2020 relaunch campaign, the brands personality will again be based on a juxtaposition between traditional, quintessentially British tailoring and an evocative cultural movement. Once again Crolla will be celebrated for its subversive appeal against the status quo of Saville Row. In Luxury Fashion Branding it explains, “The key tools of luxury fashion branding are differentiation and emotional appeal” (Okonkwo, 2016). In line with the AIDA model, Crolla’s relaunch will exhibit differentiation through its marketing strategy which will gain the attention and interest of its target consumer base. The brands juxtaposition will see the heritage of Scott Crolla’s artistry and craft fused with contemporary streetwear brand
Supreme. Coherent to this the campaign will see an inclusion of the hip-hip and R&B music genres which stands as a psychographic trends amongst the labels target consumer. Lauren Cochrane’s 2017 article explains the value of such streetwear brands amongst millennial consumers. “This is the “hypebeast” scene, the nickname given to the consumers hungry for whatever hyped streetwear is released in a given week… Until now streetwear has remained a niche interest. But it is being appropriated by high fashion” (Cochrane, 2017). The article goes onto explain how such streetwear brands are viewed as a staple of hiphop culture. Yet collaborations such as Supreme with Louis Vuitton create an opportunity in terms of SWOT analysis, for Crolla to penetrate a new market sector and gain the attention of a new and relevant consumer group in line with AIDA. This fusion of contrasting styles will devise a new brand personality in the sense of the relevancy to the millennial consumer and streetwear market. However, in doing so this marketing strategy will pay homage to Crolla’s original identity which was founded on a juxtaposition between bespoke tailoring and contemporary movements in music and culture. This will see Crolla appeal to multiple demographics which will help sustain competitive advantage in terms of Porter’s Five Forces. Therefore, the 2020 relaunch campaign will see Crolla once again promoting differentiation with inclusivity the cornerstone of the brand’s personality.
Creative Direction
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ive partner From the perspective of AIDA, in order for Crolla to gain the attention and interest of its target consumer, the relaunch will work in coordination with collaborative partners. This aspect of the marketing mix can be affective in creating a hype and consumer demand prior to the launch. In Forbes 2016 article its explains, “According to a Marketwatch claim in Social Media Week, just one endorsement can spell an increase in sales by 4%, almost immediately… endorsements are a powerful and useful tool that magnifies the effect of a campaign” (Steve Olenski, 2016). In order to capitalise on this social trend, the Crolla relaunch campaign will collaborate with R&B star Frank Ocean. According to Hugh McIntyre’s 2017 report, R&B and hiphop stand as the fastest growing music genres. “R&B/ hip-hop is almost as popular on streaming services like Spotify and Apple Music than the next two genres (rock and pop) combined. At least seven of the top 10 most popular songs on streaming platforms in 2017 fit
squarely into the hip-hop field.” (McIntyre, 2017). This is a social factor in terms of the PESTEL model which provides an opportunity in line with SWOT analysis for Crolla’s marketing strategy. Frank Ocean currently stands as one of the hottest commodities in R&B. Most recently headlining London’s Lovebox Festival, Ocean has already has an illustrious career with 4 albums to his name the latest of which ‘Blonde’ debuting at number one in the U.S. and U.K. In Matt Nixon’s 2017 article for The Independent he explains, “In its first week alone, Blonde sold over 276,000 copies worldwide and was able to knock Drake’s Views off of the top of the Billboard 200. And by the end of last year, The Independent, Pitchfork and Rolling Stone all placed Blonde in their top five albums of 2016, while Time magazine went on to place the album in the top spot” (Nixon, 2017). Ocean has also received multiple plaudits for his work, nominated for countless Billboard and MTV awards. Most noticeably Ocean won two Grammies and relevant to the UK market, he won a Brit award for Best International Male Artist. From a fashion perspective, Ocean’s personal style and domineer align with the brand identity of Crolla. “Musically and stylistically, Ocean subverts expectations and norms…When he embraced florals, on a pastel
frank ocean frank ocean T-shirt at the Brits, it was Supreme’s take on the cover of New Order’s Power Corruption and Lies” (Elan, 2016). This directly aligns with Crolla’s brand history and narrative. Crolla famously collaborated with artist Peter Saville to create the album cover for New Order’s ‘Power of Corruption and Lies’ in 1983. “I was given the confidence to put that together by what Scott Crolla and Georgina Godley were doing with their store at 35 Dover Street” (Exclusive: Peter Saville Celebrates Crolla, 2008). Ocean as a fashion icon champions fusion within his style. “Ocean incorporated designer pieces into his look, but he did it his way. He wore black Givenchy sweaters, navy Dior Homme suits and maroon Maison Margiela trousers, but he accessorised them with sportswear brands such as Supreme, Common Project and Nike” (Elan, 2016). Fusion has been the basis for Crolla’s brand identity since its establishment in 1981. In accordance to
this, the 2020 relaunch will be based on a fusion between the luxury, bespoke tailoring heritage of the brand, with popular streetwear brand Supreme. In line with the AIDA model, utilising such collaborations with popular streetwear brands along with such a reputable music artist will facilitate consumer attention and interest. This should also implement a high level of consumer demand and loyalty as both Supreme and Frank Oceans fan base are exposed to Crolla. Frank Ocean is a prominent individual within fashion in 2017, most recently featuring on the cover of i-D’s 2017 Winter Issue. “What’s more, the singer-songwriter relayed a photo diary complete with a personal essay in the publication’s “Sounding Off” issue—injecting a crosspollination of pop culture references from Karl Lagerfeld to Rick and Morty‘s notorious McDonalds Szechuan sauce” (Estiler, 2017)
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VISUAL IDENTITY Looking into the brands visual identity, the effigy of the brand has always began with Scott Crolla himself. “Crolla was one of the designers most closely identified with the excitement of early 1980s British fashion” (A Bright Future, 1995). His eccentric pattern work and exuberant fabrics rendered Crolla the height of fashion for London’s then modern dandies. Crolla’s signature acted as a USP within itself, an assurance of high quality which the brand came to be known for. In line with SWOT analysis, this was a significant strength of the brand in the early 80s. Therefore, in terms of the 2020 relaunch campaign, these elements of design and craftsmanship will be carried forward. In Solomon Thimothy’s report for Forbes he explains, “It’s not just about the logo or slogan; your brand image encompasses both visual elements and brand associations like speed, reliability and quality. If you don’t put the effort into maintaining a consistent brand image throughout every interaction a consumer has with your brand, you’ll find it very hard to develop an easily recognizable one” (Thimothy, 2016). In order for Crolla to gain exposure and consumer loyalty, the brand must be easily recognised through its visual identity. This will be carried out initially through the product design. The bespoke tailoring will incorporate, eccentric pattern work, which includes floral and paisley designs. This will be partnered with the use of various fabrics such as tapestry to create Crolla’s namesake fusion designs. Along with elements of product design remaining the same,
the brands visual identity will be exampled within the flagship store. “The Crolla interior contrasted and juxtaposed Sanderson fabric with things like a shelving unit by Le Corbusier… The shop seemed to me to embody the post-modern principle: that there is the past, the present and the possible.” (Exclusive: Peter Saville Celebrates Crolla, 2008). This concept will act as a USP for the brand going forward. In line with Porter’s Five Forces, it will help gain competitive advantage through its differentiation. Diverting from the conventions of a Saville Row store, this consumer touchpoint will gain interest through its juxtaposing design between the brands heritage and new creative direction. The creative direction for Crolla’s 2020 relaunch will be based upon a juxtaposition. The brands visual identity will encompass the design elements which previously popularised the label, along with elements of contemporary streetwear. In Brian Trunzo’s report for WGSN he explains, “Thanks to the boom in streetwear, skateboarding and 20th-century nostalgia, interesting details and innovative brand alignment are paramount to a label’s success among Millennials and GenZers. With regards to tailoring, this confluence of influences has resulted in some revolutionary ideas on both the catwalk and the sidewalk” (Trunzo, 2017). The article goes onto explain, “Beyond intricate pattern-cutting and novel design, street tailoring is very much a styling story, one that mixes and matches to create unlikely juxtapositions” (Trunzo, 2017). This psychographic trend aligns perfectly with Crolla’s new and old creative direction. The juxtaposition
in terms of visual identity will now come through the fusion of bespoke tailoring, with street tailoring which has become popularised amongst the target consumer. This will include whole new product ranges to include street tailoring designs, embellishes with the Crolla signature pattern work. This will enable a cohesive alignment between the brand and its collaborative partners. The 2020 campaign will see Crolla collaborate with streetwear brand Supreme along with R&B star Frank Ocean. Jack Stanley for Hypebeast explains the significance of Louis Vuitton’s collaboration with Supreme. “It’s their relationship between brand and culture and they are doing it in a way that is of the moment and relevant but also sustainable. It’s not a flash-in-thepan. It’s well thought through, strategically driven and delivered with the strength of their conviction.” (Stanley, 2017). This relevance to a contemporary target audience is something the Crolla relaunch will look to emulate. This will largely be achieved through the brands new visual identity. As Louis Vuitton did, there will be new clothing lines released from Crolla and Supreme touchpoints. This incorporate the intricate design work of Crolla and the visual motifs of Supreme. The collaboration will work in cohesion with the marketing strategy employed via online and offline communication platforms. Visual identity and brand image of Supreme will facilitate the needs of the new target consumer for Crolla. This will enable greater brand exposure and lead to interest and attention in terms of AIDA. This brand collaboration will also support the inclusion of Frank Ocean as a celebrity endorsement. Ocean’s identity of a dandy, eccentric and relevant artist will resonate with the target consumer of both Crolla and Supreme. This will help the brand merge consumer groups in an
attempt to promote Crollas new street tailoring designs. In line with Porter’s Five Forces, the will help Crolla compete against significant competitive rivalry. This is due to the consumer relevancy which Crolla will promote as well as its differentiation from any other tailoring brand. Both Frank Ocean and Supreme have a previous link to Crolla’s artistry. In 2013, Ocean took to the Brit awards wearing a T-Shirt with the print of New Orders album cover The Power of Corruption and Lies. Priya Elan for The Guardian explains further, “When he embraced florals, on a pastel T-shirt at the Brits, it was Supreme’s take on the cover of New Order’s Power Corruption and Lies” (Elan, 2016). This particular album cover designed by artist Peter Saville, was inspired by the interior design work of Scott Crolla’s Dover Street Store. “Saville says of New Order’s Power, Corruption and Lies – which incorporates the 1890 still-life A Basket Of Roses by Henri Fantin-Latour with high-tech colour coding and a label based on a Diatronic typesetting disc: “I was given the confidence to put that together by what Scott Crolla and Georgina Godley were doing with their store at 35 Dover Street.” (Exclusive: Peter Saville Celebrates Crolla, 2008). This link will provide a basis for more collaborative work. On the flip side of the Supreme collaboration, Crolla will provide the design work for collections released within the Supreme touchpoints. Although this will not significantly increase profit, it will increase brand exposure and create consumer loyalty within a new target audience. This USP will also act as a strength for the Crolla relaunch in terms of SWOT.
In terms of the brands marketing mix, Crolla’s 2020 relaunch campaign will encompass various online and offline touchpoints to gain the attention of its target consumer from the perspective of AIDA. Firstly offline touchpoints which will include elements of paid and earned media. Paid magazine editorials and inserts will be utilised prior to the launch. Fedena’s 2014 report explains the potential benefits of print media with relation to business. “Some forms of the print media have a huge and trusted followers. This is definitely a great boost to attract readership” (The Advantages and Disadvantages of Print Media, 2014). Coherently, the report goes onto explain, “Print media is an easy medium to spread awareness or advertise to any particular geographical area” (The Advantages and Disadvantages of Print Media, 2014). By utilising this form of paid media, the relaunch campaign can reach a diverse and wide spread consumer group. This can also be specialized to facilitate the needs of Crolla’s direct target market
and therefore more likely to gain consumer attention and interest in terms of AIDA. The editorials will run in two separate publications, I-D Magazine and GQ magazine. These two paid media outlets have been identified to have a significant consumer base within multi-national markets. Bethany Biron’s 2017 article highlights GQ as an effective communication platform. “GQ has found a sweet spot for capitalizing on its position as an authority in men’s style” (Biron, 2017). In line with the influx of content marketing within fashion, GQ also provides an online touchpoint. “GQ.com attracted nearly 3.5 million unique visitors across desktop and mobile in June, according to ComScore. That’s a 17% increase from the previous year” (Sebastian, 2017). GQ also runs publications in India. India has been identified as an emerging market with significant consumer spend which the relaunch campaign will target. In line with SWOT analysis, this provides an opportunity for Crolla, to reach a multinational consumer base and create significant consumer demand prior to the launch.
Communicati Communicati
In terms of the magazines alignment with the brand identity of Crolla, previous editorials provide evidence of relevant creative direction. GQ’s 2014 editorial featuring Pharrell Williams highlights media campaign which produced a positive image and has an eccentric appeal. This will be a devise employed by Crolla prior to the 2020 relaunch in order to increase brand exposure and familiarity as well as creating a buzz. I-D magazine also provides an effective communication route to gain consumer attention in line with AIDA. The publication is also coherent with the new brand identity of Crolla in terms of the brands creative direction and collaborative partner. Crolla’s collaborative partner Frank Ocean is the feature icon of I-D magazine’s 2017 winter issue. “Frank gracing the Winter 2017 Issue of i-D is a huge deal. What’s more, the singersongwriter relayed a photo diary complete with a personal essay in the publication’s “Sounding
Off” issue—injecting a cross-pollination of pop culture references from Karl Lagerfeld to Rick and Morty‘s notorious McDonalds Szechuan sauce” (Estiler, 2017). This highlights the publication’s relevancy to a contemporary market. Thus supporting I-D inclusion within the Crolla marketing mix as an offline touchpoint. The utilisiation of relevant paid media platforms such as I-D and GQ will act as a strength of Crolla’s relaunch in line with SWOT. These platforms will increase brand exposure and overall consumer demand.
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Communicati Communicati Looking into forms of owned media, press article for BBC News explains the importance covered events can provide an effective of effective social media communications for platform to preview a new product and create luxury fashion house Burberry. “It’s worked demand prior to a launch. Retail Minded online for Burberry. Behind-the-scenes pictures report explains the value of runway events and videos shared on its Instagram and prior to a design launch. “There should be Snapchat feeds of the Brooklyn shoot had increased brand awareness and recognition” some 15 million impressions in the eight hours (Matsumoto, 2009). Crolla can capitalise on the shoot was live” (Hope, 2016). The article this to gain consumer interest in line with goes onto explain, “The fashion retailer has AIDA. The 2020 campaign will include an nearly 40 million followers across 20 different exclusive runway show in London, where the social media platforms and openly admits brand was founded and where the flagship that it has become as much a media content store will be based. The show will take place producer as a design company” (Hope, 2016). at the 2020 London fashion week and will also This highlights a psychographic social trend be lived streamed nationwide as well as in the in terms of PESTEL. The Crolla campaign Dover Street store. This will allow consumers can utilise such communication platforms to preview the upcoming Spring/ Summer by releasing insights into the manufacturing collection. Burberry’s Christopher Bailey for process on platforms such as Instagram The Daily Mail explains how the brand utilised and Snapchat. This will increase consumer a similar devise for its 2010 campaign. “3D technology will bring our global audience into the London show space allowing them to see the colours and fabrics, to hear the music and
to be a part of that moment when it all finally comes interest by paying homage to the craft and tailoring. together” (Rawi, 2010). This should also help to add value to the brand. Crolla will utilise this technological factor in terms Coordinated teaser campaigns through these social of PESTEL, to reach a multitude of market sectors media platforms should create a buzz prior to the including target emerging markets in India. This launch as well as increase consumer attention in line will also allow customers to view the show from with the AIDA model. the flagship store therefore increasing the stores exposure which should lead to monetary gain for the brand. In terms of online touchpoints, the brands relaunch will utilise more aspects of owned media to gain consumer interest and desire. The brand website will act as a hub for the 2020 relaunch. This area of the micro environment will mirror the marketing strategy employed by Supreme. “On a “drop day” the traffic on the Supreme site can increase by as much as 16,800%, as thousands of trigger-happy streetwear fans try to cop simultaneously” (Dhillon, 2017). Such online traffic creates a high level of consumer demand. Historically, Crolla was mainly operated from a bricks and mortar basis with the flagship store the primary and only touchpoint. In terms of PETSEL, both social and technological
ion strategy ion strategy psychographic trends have rendered online access almost essential for fashion houses. “Online sales of fashion have increased to account for 24% of total fashion spend in 2017, up from 17% in 2013, as pureplay retailers become more established and multichannel retailers continue to invest in their e-commerce operations” (Sender, 2017). The 2020 Crolla relaunch will see the brand operate on an exclusive basis, whereby a selection of new designs are made available online on a bi-weekly basis. This should create an exclusive brand identity and help increase consumer desire ad action in terms if AIDA. Social media will act as a significant brand touchpoint for the relaunch. Katie Hope’s article for BBC News explains the importance of effective social media communications for luxury fashion house Burberry. “It’s worked for Burberry. Behindthe-scenes pictures and videos shared on its Instagram and Snapchat feeds of the Brooklyn shoot had some 15 million impressions in the eight hours the shoot was live” (Hope, 2016). The article goes onto explain, “The fashion retailer has nearly 40 million followers across 20 different
social media platforms and openly admits that it has become as much a media content producer as a design company” (Hope, 2016). This highlights a psychographic social trend in terms of PESTEL. The Crolla campaign can utilise such communication platforms by releasing insights into the manufacturing process on platforms such as Instagram and Snapchat. This will increase consumer interest by paying homage to the craft and tailoring. This should also help to add value to the brand. Coordinated teaser campaigns through these social media platforms should create a buzz prior to the launch as well as increase consumer attention in line with the AIDA model.