King apparel in an evolving street wear market by Lynne Bools-Roberts

KING APPAREL IN AN EVOLVING STREET WEAR MARKET

LYNNE BOOLS-ROBERTS F A S H 3 0 0 0 2 N 0 4 2 5 9 0 7

“I don't really think [street wear] means anything anymore… to me or to the fashion world in general. When we first started it was brands that were started from the ground up, self started and that represented the street and subcultures that they came from. Now everyone sells 'street wear' from the high street to big corporate brands, so it’s lost its real relevance. From my perspective, we run a fashion label that retains a firm footing in our streetwear roots – original roots from 12 years ago. We have progressed as a brand now but will never forget where we came from”. - King Apparel founder, Tim Hoad

03 11 17 27 43 59 69 77 95 105

Street Wear in Context

Consumer in Context

King Apparel in Context

Competitors in Context

The Big Idea

The Creative Concept

The Route to the Consumer

Executions

When, How and Why?

References/Bibliography/List of Illustrations

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street wear in conext

WHAT DOES STREET WEAR MEAN TODAY? Street wear is notorious for being difficult to define. â&#x20AC;&#x153;Most agree that street wear is at the core of an intensely independent urban sub culture. Over the past thirty years, it has been one of the most widely seen and quickly embraced public expressions of street culture in generalâ&#x20AC;? (Vogel, 2007). Drawing its inspiration from numerous reference points, subcultures and tastemakers; street wear is affected by a colossal influx of trends (some of which are highlighted in the PESTE analysis, see appendix 4.1). With relevant technological advancements and social movements moulding and manipulating street wear, it is clearly a progressive industry. The past decade in particular has seen substantial growth and it is estimated to continue; 5

Fig. 1 The Beastie Boys (1987)

â&#x20AC;&#x153;In 2006, accounting firm Grant Thorton

pegged urban apparel sales at $58 billion. In 2011, the street wear market was estimated by Reuters to have a value of $60 billion. The street wear industry valued at over $70 billion for fiscal year 2012, is likely closer to $75 billion for fiscal year 2013. The Global Sportswear Apparel Market, which includes surf and skate apparel, was valued at $150 billion for fiscal year 2013. The luxury goods market, fond of co-opting street wear, is estimated to be worth $290 billion for 2014

â&#x20AC;?

In a market which has never been so pertinent to the masses, small independent brands (which twenty years ago may well have thrived) now must compete with affluent corporate names in order to stay relevant. One of these brands is King Apparel, founded by Tim Hoad. This project foresees how a brand such as King Apparel can survive and flourish in this everdemanding industry whilst maintaining its integral roots.

- (We Connect Fashion, 2015).

INNOVATORS 2.5%

EARLY ADOPTERS 13.5%

The innovators of street wear, previously editors and designers has now shifted to bloggers and street style stars.

Those street style stars, previously in the early market segment, have become the most influential.

EARLY MAJORITY 34%

LATE MAJORITY 34%

LAGGARDS 16%

Fig. 2 The Curve of Innovation (2015)

ANALYSING THE One

of the most profound catalysts of the growth in the street wear market is the internet. In a similar way to the mainstreaming of underground music genres such as grime and hip hop, the internet has resulted in increased accessibility to previously limited and exclusive subcultures. “The internet has changed everything. Street wear was once very limited, and only available through a few retailers… Now anyone can go online and find a retailer to purchase these ‘limited’ items… It has taken away some of the mystique and the underground factor of street wear” (Goto. K, 2007).

GROWTH With social media acting as a medium for consumers to explore and converse about street wear references, there has been a noticeable shift in the leaders of street wear. The innovators of the diffusion of innovation (Fig. 2) have altered from fashion editors to bloggers and street style stars. Blogs in particular have also seen tremendous growth in the past decade. According to an annual report on the blogosphere conducted by Technorati; “blogs exceed all the other internet applications in the number of users” (Technorati, 2007). Analysing why the world of blogging may appeal to the street wear consumer; it can be assumed that individual sources with their own unique voice stand out amongst corporate brand messages, and this unique voice is more likely to align with their own values. Personalities which are more relatable also have much more of a profound affect on a consumer in a similar way to how we are influenced

That’s so mainstream. socially most by our peers. On the other hand however, brands have begun to recognise the power of these blogs and “witnessing this unprecedented phenomenon, enterprises are seeking opportunities to harness the potential power of this new marketing channel” (Hsu, Lin and Chiang, 2011). Blogs as well as street wear are moving into the corporate world and whilst this manifests the growth and popularity of the industry, it equivalently means the loss of exclusivity and its underground roots which was what made it alluring to many consumers in the first place.

street wear has always been the antithesis of couture...

The internet, along with the current ‘sports luxe trend’ championed by many high end fashion designers, contribute to the popularity of the sector. The intersection of street wear and high end fashion has never been more prominent as it is today. “Street wear has always been the antithesis of couture…After such a wide berth between the two sectors, this is rapidly shrinking… The irreverence of street is now demanded at the highest levels of fashion” (Burton. J, 2007).

With designers increasingly referencing and mimicking street wear in their collections, all of a sudden the act of following and advocating street wear has become fashionable. There is, however, a backlash to these developments. With brands from H&M to Phillip Lim tapping into the aesthetic, is street wear losing its credibility? Street wear is becoming less of a lifestyle statement and more of a disposable fashion statement. Vogel recognises how eminent brands can misrepresent street wear;

Again, the tastemakers and innovators of the fashion industry are being challenged. Marc Ecko questions “Why must the gatekeepers recognise only ‘high fashion’? Why not acknowledge real forces like James Jebbia and Supreme…? All of them are massive influencers on fashion, serving as catalysts who provoke traditional fashion houses to contemplate and even mimic their aesthetic” (Ecko, 2013).

“Large, international companies can sometimes get it wrong… Street wear is a combination of attitudes, aesthetics, and activities that binds a group of people together. It isn’t something which can be analysed from the outside, learned, reproduced and packaged to be sold to the undeserving public. In order to be successfully involved in a street wear industry it is essential to be part of the subculture in the first place.” - (Vogel, 2007)

Fig. 3 Practi-luxe: Alexander Wang x H&M (2014)

The growth of the street wear market has given rise to tremendous advantages and disadvantages for certain brands. Engaging the masses has undoubtedly increased profits, but it has also seen to the loss of exclusivity and therefore credibility to many street wear brands. Only a few have grown whilst remaining true to their origins which will be discussed further in Chapter 4.

Fig. 4 Celineâ&#x20AC;&#x2122;s Sports Luxe (2012)

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2. the consumer in conext

THE AGE OF THE CONSUMER.

“The street wear trend is one of fashion’s first major expansions that comes as a direct influence of Gen Y, whose spending power and consumption levels will continue to steer the industry in the coming years” - Smith, 2013

As the street wear industry grows and evolves, the street wear consumer evolves along with it. In order to ensure all avenues of secondary research carried out are relevant and led by insight, an interview with King Apparel founder Tim Hoad was conducted to diagnose which type of consumer to home in on. He described the core consumer as “men 18-35, tastemakers and trendsetters, disposable income, fashion conscious individuals who don't want to wear everything their friends do” (interview with Tim Hoad, see appendix 2.6). This generation Y male is becoming more and more relevant in the world of retail; according to a Mintel report “The men’s clothing market has grown by 4.5% in 2014 to reach £13.5 billion, growing at a faster rate than womenswear, helped by a growing interest in men’s fashion” (Sender, 2015). In particular, “male youth culture is highly influenced at present by sporty street wear” (Sender 2015). It is well and truly the age of the street wear consumer, never before have they been so intuitive, expectant and empowered; They have experienced the decline of trust in “tradition. Some of them are old enough to have lived through Watergate. All of them experienced 9/11, the end of job security and a high likelihood of growing up with divorced parents. These factors, and many others, have shattered the myth of ‘middle class security’ - a state of mind that fuelled consumer behaviour for decades. It is the first generation that have been marketed to since birth (Wipperfurth, 2005).

”

Fig. 5 Vans Skate (2014)

Fig. 6 The Circus Propaganda Client (2013) 14

Gaming

12%

Reading / Writing

10%

Clothing

Team Sports

Art / Design

DJing

Social Media

Photography

Music

Skateboarding

38%

12%

41%

31%

21%

12%

Fig. 7 Obsessions Infographic (2015) 15

what are generation y males obsessed with? Due to this decline in trust, these consumers are increasingly ignoring corporate, overt advances and so brands need to capitalise on authentic, word of mouth campaigns. In order to understand how to implement these campaigns, what these consumers perceive to be “authentic” must be identified. Many street wear consumers have the same outlook and values; “urban subcultures have for years worn their anti-corporate attitudes as badges of honour” (Wipperfurth, 2005). They also have combined interests and hobbies; to find out some of these an online survey was distributed to street wear consumers by sharing it on social media sites including Reddit’s sub forum, “street wear”. Shown in Fig. 7, hobbies included writing, illustrating, rapping and skateboarding (see appendix 2.1). What is most noticeable about the combined obsessions of street wear consumers is that they are all a form of self expression and creativity. The street wear consumer has a tendency to lead a lifestyle revolving around creativity which perhaps derives from their “anti-corporate” outlook on life. These consumers share a remarkable “common mentality, making them easy to market as a group” (Stylus, 2012).

They exist in tribes, and “we as consumers are increasingly likely to conform to the influences of our peers. Studies show that social groups influence 80% of all purchases” (Wipperfurth, 2005). With this insight, millions of creative people are helping to optimise and endorse break through products, more often than not without the companies’ buy in. Some brands have managed to adopt the idea of their consumers becoming the new genre of models; in particular American Apparel and ASOS with their respective selfie schemes (#AsSeenOnMe and #AASelfie). “40% of female 15-24s use social media sites for fashion to get style inspiration” (Sender, 2005) and so the brand’s hashtags provide an authentic campaign where girls are influenced by their peers. Young males also get their inspiration from image based social media, with 59% of participants citing it as one of their sources of inspiration (see appendix 2.1). Not only this, but nearly half spoke about being obsessed with social media (Fig. 7). Self documentation is method of expressing their creativity; any strategy developed with the aim of engaging this cohort must provide an inspirational social media platform in order to be relevant to this generation today. 16

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3. king apparel in conext

FROM A BEDROOM BRAND TO A THRIVING, INDEPDENT BRAND OF 12 YEARS. 19

ing Apparel, when founded in 2003, aimed to bring to the UK a brand which could rival the best the United States had to offer. Inspired by the prosperity occurring in America, a graphic design graduate and a pro snow/ skateboarder filled a vast gap in the UK market. Since moving from being a true “bedroom brand” to a thriving independent brand releasing a collection each season, King Apparel have encountered many successes. A fundamental accomplishment was being the first independent brand to collaborate with New Era on the infamous 59/50 fitted cap - King Apparel prides itself on staying ‘ahead of the curve at all times’ (Hoad, 2013).

Fig. 8 Founders Tim Hoad and Paul Linton (2014)

Indeed, when gathering primary research from current consumers it was found that the predominant reason for shopping at King Apparel were the products. One consumer notes that he likes how he can buy clothes “suitable for my sporty lifestyle” whilst another commented that he likes “how diverse they are with products” (Focus Group, appendix 2.4).

By manufacturing innovative designs the brand has had a profound affect on the street wear market, although they are still unbeknownst to many. In a survey targeted at UK street wear consumers, only 19% were aware of the brand (Online Survey, see Appendix 2.1).

King Apparel cite exclusivity as their principal value. They claim on their website “we only make very limited runs of any product because no one wants to be seen in the same item of clothing as

someone else, King Apparel aims to make you stand out from the crowds” and “maintaining our exclusivity is paramount to us” (King Apparel, 2015). With such emphasis placed on exclusivity, being known only to “clued in consumers” may well have been an aim of the brand. However, after analysing various interviews, a recurring theme became apparent. Hoad, when asked what the plans are for the future or the what problems are

Fig. 9 Prestige New Era Fitted Cap - Black (2012)

that the brand encounter, repeatedly answers “We’d like to continue to project our brand as one with integrity and that represents the lifestyle of the people that wear it and the culture that we are all part of…We’d like to make a bigger cross section aware of what we do - dethrone the corporates” (Hoad, 2010) and “People sometimes get the wrong impression about King, assuming that it’s a corporate operated company or worse yet that it is run on mummy and daddy’s money” (Hoad, 2013).

It is clear that one of the aims of the brand is not only to project themselves further, but to educate their consumer on how and why it was founded.

values: Exclusivity, quality, originality, charisma

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AN INDEPENDENT BRAND WITH INTEGRITY

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Fig. 10 King Apparel Brand Onion (2015)

inside THE After conducting an analysis into various physical and intangible elements of the brand (see appendix 4.2), a well informed brand onion could be devised (Fig. 10). At the heart of the brand lies its integrity for being independent and self started. Although the brand do have extremely strong values, beliefs and positioning; its consumers aren’t reminded of this on a regular basis. Consumers are aware of the integrity of the brand through their aesthetic and the way they look (as found in a focus group to seven King Apparel consumers), but are not as informed on the internal components of the brand nor the personality.

brand One focus group participant commented “with King Apparel, I don’t know why it was founded or what its values are”, whilst another elaborated “I just think they don’t really have anything that unique about them. Or maybe they do, but we just aren’t made aware of them” (Focus Group, see appendix 2.4). Perhaps this is due to it being a (on the most part) digital brand; it exists physically only in a selected few stockists and otherwise consumers can only interact with it online. Without having knowledge of some of the integral cogs that make up the brand, consumers cannot form a physical connection with it and therefore are only aware of and attracted to the external elements of the brand.

“i don’t know why it was founded” With the allure of the brand to its consumers being only skin deep and based on aesthetics, there is a explicit need to engage them emotionally. The question is, how can King Apparel achieve this?

Fig. 11 King Apparel Logo (2015)

Strengths / Keeps exclusivity through how many products they run / Endorsed by credible artists and sportsmen / Maintained a self started brand for 12 years / Very strong products each season / Are an innovative brand in terms of design and manufacture / “King” is a successful name with positive connotations, as well as lending itself to being branded easily. / Brand is mainly digital which is relevant for their consumer

/ To keep up with competitors they have turned attention away from why the brand was founded / Still many street wear consumers haven’t heard of them / Doesn’t particuarly stand out as a brand / Consumers aren’t aware of the brand’s story / Due to a (on the whole) digital experience, consumers don’t make physical contact with the brand making it harder to form an emotional connection / Consumers tend to be occasional purchasers rather than brand loyal

Weaknesses

/ Operated by a small team which can make growth challenging

Opportunities

/ To authenticate the brand

/ For a UK street wear brand to take back street wear’s credibility / Collaborations rather than endorsements / To gain a USP / To educate the consumer on the values and story behind the brand / To become a brand which is interpretative to a range of lifestyles within street culture

S.W.O.T After analysing King Apparel - to help understand how to emotionally engage and educate the consumer- a SWOT analysis was conducted. A strategy needs to be implemented which makes use of opportunities such as gaining a unique selling point whilst avoiding threats such as losing exclusivity.

/ Losing customers through growth / Becoming too ‘mainstream’ / Losing their exclusivity / “Selling out” / People getting “the wrong impression” about King’s reason for being founded

Threats / Any physical developments of the brand might take away from the success of its digital identity

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4. the competitors in conext

ACT LOCAL. Fig. 13 Forty Two, Viewpoint 2 (2015)

Fig. 12 Forty Two, Viewpoint 1 (2015)

After analysing King Apparel it was important to analyse its competitors in order to gain an insight into its position in the market place and to understand how other brands connect emotionally with their consumer. To gauge King Apparelâ&#x20AC;&#x2122;s position and gain inspiration for a Big Idea with as much context as possible, a wide range of competitors were investigated.

To begin with, local Nottingham skate shops were explored. This was so that observational research could be combined with face to face interviews to achieve a reliable piece of primary research. The shops visited were Non Stop, Mimm, Born Ambitious and Two Seasons. Findings from these local shops were put into a table (Fig. 14).

Fig. 14 Competitor Table (2015)

SHOP CONTEXT

Two Seasons

Born Ambitious

Mimm

Non Stop

A chain of 17 skateboard, surf and snow sports shops in the UK. Company owned by Billabong. Keeps consumers updated through an online blog/ Hosts events such as RVCA “Rain or Shine UK tour”.

An online retailer of men’s clothing and accessories with independent shops in Nottingham, Pelham Street, Saffron Walden and Essex. Stock brands such as Pretty Green, Selected Homme and Native Youth.

Opened in 2011. Aim to combine the world of fashion, music and art through providing unique and independent clothing brands, audio visual events, an arts collective and a record label.

Established in 1988. Specialises in skateboarding and street wear brands from the UK and from round the world. Keeps its consumers updated through a newsfeed on their website about upcoming events and news.

INTERVIEWEE

Mark Pearson Assistant Manager

Rhys Taylor Founder

Nathaniel Wells Founder

Dan Milne Founder

AWARENESS OBSERVATION

66,848 FB likes

3,307 FB likes

2,997 FB likes

2,605 FB likes

Eclectic range of shoppers. Not just those interested in snow/skate sports. This is an example of a brand who has used the early market to infiltrate the majority.

Consumers use the in store technology. The shop is innovative and technologically advanced compared to the others visited.

Consumers came in specifically to discuss music or past events with Nathaniel. It is only a tiny shop but had a lot of activity in the 30 minute time I was there.

Shop was fairly quiet. Mostly consumers were under 18 coming in after school and Dan took the time to have a conversation with them. Had Reddit up on his Mac.

KEY FINDINGS

The brand mostly engages with its consumers through events and encouraging active participation.

The shop just acts as a face for the online presence but the it is a successful local hub. Different locations have differnt “vibes”.

The brand is fuelled by a charismatic founder who builds face to face relationships with his consumers which adds to the authenticity of the brand. Supports local talent which makes it about buying into a culture rather than a brand.

The brand used to be niche but due to the age of the internet, it has moved into mainstream territories. They used to do a lot of events but they have ceased to do that in recent years, choosing instead to reach thier consumer with social media.

INSIGHT

Consumers invest in a brand which represents their lifestyle.

Community and locality is a good way to personal a consumer’s experience. Each community is different in its own way.

Community and being locally credible is how the brand thrives.

Brand actions speak louder than brand words. It used to be extremely successful but since it chooses to interact with their consumer only digitally, they have the least amout of Facebook likes.

CREATE A COMMUNITY AROUND THE SHOP

instead of just a shop” (Mimm Interview, see appendix 2.3).

Fig. 15 Nathaniel at Mimm (2015)

Fig. 17 Adrian at Forty Two (2015)

Fig. 16 Mark at Two Seasons (2015)

Fig. 18 Dan at Non Stop (2015)

Although one of the newest street wear independent shops on the Nottingham market, Mimm has gained followers on Instagram and likes on Facebook which rival and even surpass some of its competitors. In one of the most insightful interviews, founder Nathaniel explains his strategy. Established from his own passion for music, he developed a collective of local musicians and artists so his customers are “buying into a culture 31

Instead of thinking of his business as a money making operation, he considers how he can support other local talents with the events he puts on so that “people know that Mimm represents supporting local people” (Mimm Interview, see appendix 2.3). By associating his brand with credible musicians such as Ja Beatz, Mr Scruff and Nightmares on Wax he automatically adds credibility to his shop. From the observations made it was witnessed how the shop acts as a creative hub for all these like-minded people; consumers come in not only to buy products but also to discuss music directly with the founder. Furthermore, when asked how Mimm interact most with their consumer, Nathaniel answered “It’s more though the store. The thing is, is that the store is imperative, for me to build the relationships with the people face to face and create a community around the shop” (Mimm Interview, see appendix 2.3). The distinct insight from these observations and interview is that by building up a community around the shop and investing his time making emotional and personal connections with his consumers, he has become locally famous. The brand’s actions speak louder than the brand’s promises (which may not be the case for other brands such as Non Stop), and this is how he has developed long term loyalty. Additionally, this insight was reinforced in a few of the other interviews. During the interview with the founder of Born Ambitious, Rhys spoke about the importance of location; “In the store in Saffron Walden you get a lot of the same loyal customers come in, because it’s market town, it’s all about the location” (Born Ambitious Interview, See Appendix 2.3). Founder of independent shop Non Stop also highlighted this; “We do deliver to a lot of Nottingham people on the web, a lot of locals like looking online to see what we’ve got so they know before they get here. It has got kind of a local feel” (Non Stop Interview, See Appendix 2.3).

“IN STREET WEAR, CREDIBILITY IS EVERYTHING”

Fig. 19 Focus Group (2015)

Fig. 20 Hype Card in Focus Group (2015)

After identifying local competitors it was necessary to analyse global competitors. These were discovered by analysing the street wear ‘Sub-Reddit’ on Reddit (see appendix 2.2) as well as asking street wear consumers what their favourite clothing brands were (see appendix 2.1). This produced answers which on the whole were American brands such as HUF, Stussy and Supreme. In order to ensure a 360 degree evaluation of the market, a number of British street wear brands were also analysed. Initially, it was necessary to understand where consumers perceive each brand to be positioned in comparison with each other. King Apparel consumers were asked during a focus group to rate the selection of brands in order of credibility (which seems to be an attribute street wear brands strive to achieve; “In street wear, credibility is everything” (Nielsen, 2014)).

Fig. 21 Brands in order of credibility (2015)

“Brands who inspire you, not steal from you” - Focus group participant After analysing their discussion, one pattern that was found in the positioning of the brands was that nearly all of the American brands were placed above the British brands. In the dissection of why the participants perceive American brands to be more credible than British brands, one of the findings was that “[Supreme’s] collaborations speak for themselves. When they’re constantly turning out collaborations from Nike to Kermit the Frog, you know they have great credibility” (see appendix 2.4). The insight from this research was that collaborations help to authenticate a brand - working with another credible brand, celebrity or artist automatically transfers their credibility to the brand. Moreover, it also helps in raising a brand’s profile; any fans or consumers of the collaborator will automatically be interested in any work produced which provides a much wider consumer reach. Fig. 22 Most Credible Brands (2015)

Collaborations also are a current trend within the street wear industry; from Alexander Wang X H&M to Wood Wood X Disney. In this new age of partnerships and alliances it seems that anything goes, and the more unexpected the better. The H&M X Wang collection for example was extremely successful; on the day of the launch “At the Beverly Centre H&M, LA Racked reports that ‘the sports bras, leggings, neoprene logo sweaters and gym bags’ were gone before 9 a.m” (Jansson, 2014).

“when they’re constantly turning out collaborations from nike to kermit the frog, you know they have great credibility” After researching successful collaborations, in particular HUF X South Park (see appendix 6 for case study), it was found that some of the most unexpected therefore memorable partnerships are when a clothing brand collaborates with a non clothing brand. HUF, by having a strong understanding into the psyche of their consumer - their likes and dislikes, their hobbies, what they are obsessed with - combined their clothing with the consumer’s favourite television character. This delivered both a controversial and humours yet nostalgic and clever collaboration which is expected to go down in HUF history, and “will be a topic of debate for years to come” (Route One, 2015).

Fig. 23 Obey, Fall ‘13 Lookbook (2013)

OBEY V SUPREME It was also deduced that consumers perceive a brand to be least credible when it is taken over by the mainstream (which was discussed as being the case with Hype). Another factor which decreases a brand’s credibility is when “the people who wear it know nothing about how the brand started, they just want the label” (Focus Group, see appendix 2.4). Obey was the subject of this discussion and was described as a “sell out”. To really understand the meaning of the term “sell out” and the reasons behind why Obey is often disregarded in such a way, a case study was implemented which directly compares it to Supreme (found to be one of the most favourite street wear brands, see appendix 2.4).

Fig. 24 Richardson x Gonzales for Supreme Fall/Winter ‘13 (2013) 36

THE CASE OF

SUPREME

Context:

Founded in 1994 by James Jebbia, Supreme caters to the skateboarding, hip hop and punk rock cultures. “At its core was the gang of rebellious young New York skaters and artists who became the store’s staff, crew and customers” (Supreme, 2015). The “Chanel of downtown street wear” (Hawgood, 2012) became a global cult brand with its own myths, iconography and belief systems. Perhaps what is most notable about the brand is how it “has managed to retain a countercultural cachet that’s still somehow irresistible to youth culture. If relevance is seen as the ability to remain current, Supreme have achieved it in the most subtle and clever of ways” (Gwilliam, 2014).

Situation:

achieved from a behavioural psychologist studiously taking notes behind a two-way mirror” (Hawgood, 2012). In this way he was able to deduce what this new generation of skate kids wanted which they couldn’t get anywhere else and find the best ways to represent their lifestyle.

Impact:

Fig. 25 James Jebbia: Supreme Ruler (2014)

This of course was successful to tremendous effect, the “social club” which appeared intimidating to outsiders formed an elitism aura around the brand. Supreme became desirable to those on the outside but was only penetrable to those who had the legitimacy to be part of the community.

Supreme achieved their legacy with numerous strategies, collaborations and quality products. It was integral to convey where the brand fell in the market place as soon as it was founded. Jebbia recognised the importance in strategic, early positioning within the market and made the shop an epicentre for youths from all over the city; an exclusive social club with the traits of a cult or religion and selective over who can join. Jebbia describes it as being a creative hub with “50 or 60 skaters who’d just hang out there…it felt very rebellious. It felt right and I liked it” (Jebbia, 2013).

Supreme started as it meant to go on, the brand only became more exclusive with small runs and limited events. They aligned their promotions (or lack of) with these values of exclusivity. “Bumper stickers with its fiery-red Barbara Krugeresque logo can be spotted in bohemian neighbourhoods around the globe — Harajuku, Tokyo; Shoreditch, London; Kreuzkölln, Berlin; Greenpoint, Brooklyn — like hobo signs for global cool hunters” (Williams, 2012).

Whilst letting the consumers “run the roost”, it provided Jebbia with the opportunity to “observe the natural habits and tendencies of his clientele, not unlike the objectivity

Jebbia also gained an immensely accurate and detailed understanding into the lives of his consumer; how they interact within

Fig. 26 Wild in LA (2015)

Fig. 27 Trending Supreme Stickers (2015)

their community on a daily basis and all of their habits which led him to produce lines which are immensely successful time and time again.

Fig. 28 Supreme Logo (2015)

Insight:

Built upon the foundations of the local skate community in New York, everything Supreme did was desirable to the masses but only those in the exclusive club were in the know about when knew lines would â&#x20AC;&#x2DC;dropâ&#x20AC;&#x2122;, or collaborations would go ahead. Supreme is one of the rare brands who have became world-renowned whilst maintaining their credible reputation. This was achieved by engaging a local community; bringing them together through the word of skate and hence forth allowing them to become the promoters of the brand themselves. With this community using the most authentic channel of communication, word of mouth (Beswick, 2015), the brand shied away from media attention and PR which allowed it to be translated in a more exclusive and authentic method.

THE CASE OF

OBEY

Context:

Street artist Shepard Fairey made a name for himself with the “Andre the Giant Has a Posse” campaign. Making use of “stickerage” and other guerrilla marketing techniques, an initial “experiment in phenomenology” transformed into “Obey stuff [being] everywhere… it was anti-corporate, anti-The-Man stickerage, street art, illegal” (Lewis, 2013). Shortly after the phenomenon of the campaign going a “street” version of viral, Fairey spun off the Obey clothing line. For Fairey, clothing seemed the next logical step in the development of his self started brand; “I come from the cultures of skateboarding and punk rock, where T-shirts are the visible currency rather than the album cover itself or the skateboard itself. For me, it was never a question of "Is fashion a bad move?” (Fairey, 2014).

Fig. 29 OBEY x Levi’s Mural in Times Square (2009)

Fig. 30 Andre the Giant has a Posse (2004)

Situation:

Obey evolved from art campaign to brand name. It can now be purchased worldwide in stores such as Urban Outfitters. Campaigns, collaborations and references became mainstream and Fairey’s art and its underground roots became less and less relevant.

Impact:

In the opinion of many, after Fairey started working with some major companies and essentially converted his street art into advertising, he had become a hypocrite (especially because the brand founded upon the principles of anti-consumerism). One Reddit user says “…it’s a little ironic that Obey was founded on the idea that you can brainwash people into almost anything with advertising, and now the company has blown up, and now feeds into the consumerism that it was originally against…” (see appendix 2.2). 39

Obey becoming a commodity “undermine[s] the power of these supposedly conspicuously meaningless images, and contradict the stated project of street art” (Droney, 2010). What seems to anger consumers most, however, is how the mainstream have adopted the brand; “Every time a kid comes up to the counter with an Obey shirt I want to ask them, do you know who Shepard Fairey is? I'm sure they don’t" (see appendix 2.2).

Insight:

When the mainstream market takes over a brand, it immediately becomes unattractive to those who were part of the original exclusivity of the brand. Obey became too accessible and those who were wearing and advocating the brand weren’t educated in its principals and values.

Fig. 31 The Official Obey Sticker (2005)

Conclusion:

This direct comparison between Supreme and Obey aids in deducing why street wear consumers perceive the brands so differently. What seems to be the predominant factor in the success or failure of a street wear brand’s reputation is who is advocating it. Both brands desire to produce clothes which the consumer can add meaning to and apply to their own lifestyles, but Supreme ensured it was the right type of consumers who gained the access to do this. By making Obey overly accessible with distributors such as Urban Outfitters, consumers who weren’t educated enough upon the brand were acting as Obey’s advocates and communicating the wrong messages. Supreme cleverly targeted a local community and ensured the products remained relatively exclusive. However, they still have a similar awareness rating as Obey (with around 1.1 million Facebook likes in comparison with Obey’s 1.4 million) because those consumers who belonged to the community acted as credible sources to advocate the brand. This proved much more effective and authentic than any other marketing techniques or attempts to raise a brand’s profile.

PERCEPTUAL MAP After analysing indirect as well as direct competitors, King Apparel could be plotted against them on a perceptual map (Fig. 32). In order for King Apparel to achieve their aim of raising their profile whilst remaining true to their roots, the axis are credibility and awareness levels. To quantify these traits Facebook likes were used to represent awareness and the order that the focus group participants placed brands during the credibility activity is used to represent credibility.

This project aims to reposition King Apparel to where it has been circled on the percptual map.

High Awareness

Credible

Uncredible

Fig. 32 Perceptual Map (2015) Low Awareness

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5. the big idea

A COLLA OF INSIGH To summarise all of the research, the main insights have been drawn out so that they can be combined to form a well rounded big idea.

1. The growth of the street wear market has

meant that it loses some of its “underground mystique” and therefore its exclusivity.

2. According to in depth consumer research,

credibility lies hand in hand with exclusivity and so brands who have let the mainstream take over (such as the case of Obey) have lost credibility.

3. One way to have a high awareness rating

without losing credibility is to let the early market “take over” the brand and translate it to the majority. In other words, the early market need to advocate the brand in order for it to remain credible. This is also a timely strategy as the most influential figures in street wear have shifted away from editors and designers to street style stars and online tastemakers (from the innovators to the early market).

4. Consumers are more empowered than ever

and so an authentic word-of-mouth campaign would be the best strategy to increase awareness.

5. Social media should be used as a platform for

creativity and engagement with the Generation Y male.

6. Collaborations are good way to increase

credibility if with an unexpected brand/artist/ musician which aligns with the consumer’s interests.

7. Building a local community’s trust is the best

way to develop an authentic, physical connection.

TION

HTS

King Apparel want to project themselves and their values, but consumer insight led to the understanding that the problem is that they don’t know enough about the brand in order to form an emotional connection. There is also a gap for a UK brand to reclaim street wear’s credibility in the current mainstreaming of the sector and project the lifestyles that mean so much to street culture. After evaluating a range of routes to go down for the Big Idea (see appendix 5),

The Big Idea is…

THE BIG IDEA:

To build an emotional connection with likeminded creatives in order to create a â&#x20AC;&#x153;King Apparel networkâ&#x20AC;? within six UK cities. 48

THE AIM: To raise awareness about King Apparel whilst maintaining the brand’s exclusivity and credibility.

Fig. 33 “Graffiti Park” in London, England (2015)

THE OBJECTIVES: To educate the consumer #01about the brand. To implement a social media strategy which #02encourages interaction and creativity. To collaborate with a #03brand/artist/musician to reaffirm credibilty. Target the early market to

#04infiltrate the majority.

To highlight that King Apparel represents the #05lifestyle of those who wear it.

WHO IS THE BIG IDEA AIMED AT?

When analysing results from the online survey that was conducted, as mentioned previously in Chapter 2, the obsessions of street wear consumers tend to revolve around creativity. Furthermore, the hobbies and obsessions can be segmented into communities (for example the grime community, the skate community, the DJ community and so forth). These communities form creative sectors; musicians, sportsmen and artists. All participants of the survey could be assigned to at least one of these categories. Considering how different King Apparel consumers can be targeted, defining them by their obsessions and hobbies (which is how they like to express themselves) would be the most successful method in order to appeal to their individual lifestyles. After further analysis of the online survey results, it was found that 42% of street wear consumers were in the musician segment, 39% in the sportsmen segment and 19% in the artist segment (see appendix 2.1). One of the insights from research into Generation Y males was that the early market are the best storytellers. They have the ability and influence to add meaning to a brand and help to translate that meaning to a larger market (Wipperfurth, 2005). For this reason, the Big Idea aims to target those in the early market, leaders within their community.

Furthermore, cultural theorist Bourdieu claims that these tastemakers are typically the dominated fractions of the dominant class who have tended to be the most concerned with art and culture: artists, critics, advisors to patrons and so forth. In economic terms, they were comparatively poor but in regular social contact with the wealthy aristocracy and bourgeoisie (McGuigan, 2009).

By using these creative tastemakers the larger market will be made aware of King Apparel from influential and valid sources and this prevents the brand from losing credibility whilst raising its profile.

When creating suitable profiles, tastemakers were chosen who could represent their segment as well as being a current consumer of King Apparel. To display their creativity in a conceptual manner, illustrations were made on top of a photograph of them showcasing where their creativity “stems” from. This was combined with a “day in the life” task each tastemaker took part in, where they were asked to document a typical day using photographs. To provide a context for the photographs, each tastemaker was also asked a series of questions to help build up a profile about them. This helps to diagnose how to successfully build a strategy which is personalised to each of their lifestyles.

Fig. 34 Michael Wilkerson Profile (2015)

Fig. 35 Day in the life of Michael Wilkerson (2015)

THE SPORTSMAN - 39% NAME: Michael Wilkerson AGE: 22 OCCUPATION: Student HOMETOWN: Louth HOBBIES: Skating, Dancing, Film, Snowboarding and Football. THREE WORDS TO DESCRIBE YOUR STYLE: Original, sporty, 90’s FAVOURITE SHOP: Size FAVOURITE ONLINE SHOP: ASOS IF YOU HAD TO WEAR ONE THING FOR THE REST OF YOUR LIFE, WHAT WOULD IT BE? A hat WHAT COSTS YOU THE MOST EACH MONTH? T-shirts WHAT’S IN YOUR BAG RIGHT NOW? My dissertation notes, my work lanyard, my smoking stuff and a skate tool. TECHNOLOGY: I have a Mac air and an iPhone 5s. I have a Pentax SLR camera. Also have a PS4. I use Facebook but do not post much. I also use Instagram and Reddit. EVENTS AND FESTIVALS DO YOU LOOK FORWARD TO IN 2016: No Tomorrow, Fabric BEST AND WORST THINGS ABOUT BEING YOUNG? Best is being able to enjoy life. Worst is not yet knowing enough about it DREAM “AMA” ON REDDIT: Lionel Messi, only if he answered one of my questions though! KING APPAREL HAT COUNT:

4 BRIEFLY DESCRIBE HOW YOU INTERACT WITH OTHERS IN YOUR COMMUNITY: Going to the skate park and just practicing with friends is the main way I am influenced. Apart from watching videos and trying to imitate what the professionals can do. With dance it is very similar, through learning new routines and practising often really helps me improve.

Fig. 36 Tom Rozycki Profile (2015)

Fig. 37 Day in the life of Tom Rozycki (2015)

THE MUSICIAN - 42% NAME: Tom Rozycki AGE: 21 OCCUPATION: Student/DJ HOMETOWN: Bath HOBBIES: Djing, Designing, Sport, Raving, Drumming, Guitar, Keyboards, Writing music THREE WORDS TO DESCRIBE YOUR STYLE: Smart, Minimal, Graphic T’s FAVOURITE SHOP: Element FAVOURITE ONLINE SHOP: Chemical Records IF YOU HAD TO WEAR ONE THING FOR THE REST OF YOUR LIFE, WHAT WOULD IT BE? A smart shirt WHAT COSTS YOU THE MOST EACH MONTH? Marijuana (for medical purposes ofcourse...) WHAT’S IN YOUR BAG RIGHT NOW? Laptop, headphones, notes book, chargers TECHNOLOGY: Mac, midi keyboard, Facebook, instagram, twitter, reddit decks, xbox EVENTS AND FESTIVALS DO YOU LOOK FORWARD TO IN 2016: Detonate, outlook, dimensions, warehouse project, fabric BEST AND WORST THINGS ABOUT BEING YOUNG? Best: being able to dream and aspire, being able to live and chill with your friends, going out, to be free and independent. Worst: The knowledge that you’re growing up, little experience. DREAM “AMA” ON REDDIT: Jay-Z has some answers I wanna find out! KING APPAREL HAT COUNT:

1 BRIEFLY DESCRIBE HOW YOU INTERACT WITH OTHERS IN YOUR COMMUNITY: You meet many people at events but usually from word of mouth and then through our mutual interests you start to do things together. A lot of line ups can be similar in the city and you tend to meet the same DJs or the same artists who are in the same area as you. We keep in contact through social media and apps such as Whatsapp and Facebook. I am more influenced in my music tastes and style by peers rather than friends, so I will look to other DJs to see what they’re playing and what their vibe is and might use that information to make myself better. I hope I also inspire and influence others in the music community too!

Fig. 38 Ashley Bunn Profile (2015)

Fig. 39 Day in the life of Ashley Bunn (2015)

THE ARTIST - 19% NAME: Ashley James Bunn AGE: 24 OCCUPATION: Cashier at urban outfitters Nottingham, free lance artist HOMETOWN: B B B BIRMINGHAM HOBBIES: Drawing, painting, anything music related, composing, photography and documenting things, rum, gaming THREE WORDS TO DESCRIBE YOUR STYLE: Rough and ready FAVOURITE SHOP: Ideal skate shop, Birmingham FAVOURITE ONLINE SHOP: karmaloop.com IF YOU HAD TO WEAR ONE THING FOR THE REST OF YOUR LIFE, WHAT WOULD IT BE? If it’s one piece of clothing I had to stick to I like panel shirts, nice thick ones Rocksmith style. WHAT COSTS YOU THE MOST EACH MONTH? Shoes, lakais vans and nike sb’s. WHAT’S IN YOUR BAG RIGHT NOW? A lot of pens from montelles, sketch book, dry shampoo, vanilla body butter, a fork and knife, metal ruler, chopsticks, obey 5 panel, vanilla tobacco, a lion bar and some tweezers. TECHNOLOGY: Mac book pro, launch key 49 and launch pad, nikon slr d40, xbox kinect, iPhone, Edirol ma-7a music producing speakers. Social meda : instagram, fb, tumblr, snapchat, soundcloud. EVENTS AND FESTIVALS DO YOU LOOK FORWARD TO IN 2016: Possibly Outlook, secret wars (birmingham london and bournemouth based street art live comps) deftness coming to the uk! BEST AND WORST THINGS ABOUT BEING YOUNG? Best-0 fucks ever being given. Worst-lack of freedom, too much routine. DREAM “AMA” ON REDDIT: Van Gogh - if he was still alive! KING APPAREL HAT COUNT:

2 BRIEFLY DESCRIBE HOW YOU INTERACT WITH OTHERS IN YOUR COMMUNITY: I engage in exhibitions and live art shows whenever I can , last week I did photography at “phlexxibition” which my work will be shown at in 4 weeks time. A lot of inspiration there from engaging with artists such as Kelsey Bryan who are in simualr position to myself, trying to creatively work their way out of you’re standard 9-5 jobs. Live music was present which I usually get something from, just bouncing off other artists’ energy and ideas, taking elements of their work and maybe leaving some of my own with them. Sharing really is caring in the creative world!

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6. the creative concept

VISUAL RESEARCH Simple, clean, minimal, monochrome.

Logo: serif font juxtapposed with sans serif

Current campaigns depict movement, sport and strength. Blurring the lines between sportswear and fashion; their collections and current editorials are considered, focused on quality and allude to futuristic active wear trends.

Stickering Flyering â&#x20AC;&#x153;Nonâ&#x20AC;? marketing

In the interview with the founder, Tim revealed using pinterest to collect inspiration. On pinterest they have pinned many pictures of New York, a city which has massive influence on street culture. 61

Fig. 40 King Apparel Visual Inspiration (2015)

Analogous colour scheme connoting power, elegance, energy and integrity. Taken from King’s Instagram page. Mike Trafik is a Czech DJ and music producer. One of the most popular DJs in the contemporary urban scene, his sets blend hip hop, RnB and styles from the 70s and 80’s.

King has featured in RWD mag - a youth lifestyle magazine

Endorsed by Plan B when he was on the verge of “making it” who is known for being rebellious, British Hip Hop, and an all round creative, delving in acting and film making.

Endorsed by Wretch 32 when he was on the verge of “making it” who is known for coming from an urban background and is known for producing music suited to urband and street lifestyles.

Illaman, an MC features on King’s instagram regularly. He started off in a metal band and then moved into the world of Jungle, Garage and Grime. He is known for being innovative and experimental.

Gaze is confrontational, confident and unafraid to stand up for what he believes in.

The glare here is quite confrontational, connoting confidence, unafraid of authority. The hat and fur collar are a sign for winter, signifying he is perhaps skiing or snowboarding. The clothes are suitable for active pursuits and extreme sports.

The graphics here signify glitches, technology, coding. Connotes an innovative, current aesthetic.

VISUAL RESEARCH

mood, lighting, colour, photographers

Colour palettes are varied amongst competitors, some choosing loud, boastful and vibrant tones. Others such as Stussy are fairly muted, washed down and neutral. Vibrance signifies fun and youthfulness whereas the plainer tones connote a more advanced aesthetic which appears to be more considered and visually stimulating. Lighting and mood reflects realism - it is authentic, anti-glam and low tech. This makes the images more relatable and believable. They transmit the mood of rebellion and youth successfully. Photographers include Terry Richardson and Juergen Teller. 63

Fig. 41 Competitors Visual Inspiration (2015)

visual analysis, the gaze, connotations

Models tend to convey the personality of being unapologetic, loud, rebellious, anti-society, authentic and natural. Most of the brands aim to achieve a â&#x20AC;&#x153;caught in the momentâ&#x20AC;? shot which embodies the youthful attitidues and lifestyles of their consumer. The mundane, everyday or plain backdrops used for advertisments aim to fit into the lifestyle of the consumer or add to the visual tone rather than distracting from it. Set in an urban, colourful or plain context just reinforces the connotations of street lifestyles. Converse use celebrities to showcase their personalised line.

VISUAL RESEARCH

anti era kids // This trends is unpredictable and odd. It acts as the provocateur of nostalgia, blurring and redefining the iconography of our youths. Streetwear is viewed through a distortive lens that skews to the past, honing in on the rave scenes that dominated Europe in the early 90s. Gabber, techno and drum and bass subcultures serve as a stylised backdrop to sporty ensembles // Neutral tones with pops of unexpected tones such as tomato red are put together in this unexpected but current and refreshing palette. // Influencers: Fergus Purcell, Martine Rose and PC Music

active street // The high-performance attitude of sportswear design bridges a gap between function and fashion, and elevates tech fabrics out of the traditional realm of activewear. It explores the power of simplicity and considered intimacy. // The palette sweeps from pale, breezy neutrals to heavier, moody greys. // Influencers and inspiration. Desginer: Christopher Raeburn. Brands: Telfar, Off-White. Blog: Love Aesthetics. Music: FKA Twigs, Yung Lean, Spooky Black. Collaborations: Nike X ACG, Nike Women x Pedro Lourenco. Media: Cereal Magazine, Wanderers HD: Short film by Erik Wernquist. 65

Fig. 42 Trends Visual Inspiration (2015)

illustrative colour pop // This trend embodies a playful, “pick and mix” look. It embraces what it means to be youthful, fun and free. // With colour being the main element of this trend the range is huge; from bubblegum pink to parma violet. // Competitors and others brands which embrace this trends are Lazy Oaf, Kenzo, Adidas and Chanel’s new sneaker range. // Influencers and inspiration. Designers: Danielle Richards, Jean-Charles de Castelbajac. Artists/Art: Conor Harrington, Kim Dong-Kyu - Art x Smart. Collaborations: Nike x Supreme, Topshop x adidas Originals

# C R E A T I V E C O N C E P T The Big Idea aims to initiate a “King Apparel network” by targeting creative tastemakers within local communities and joining them together in the aim of - through a hands on experience with the brand - these selective consumers becoming loyal advocates. They themselves have the power to add meaning to King Apparel which, according to research with current consumers, is what it is lacking. After adding meaning, values and a belief system to King Apparel they will be able to translate those messages to the mass market, helping to raise awareness. Consumer insight from the tastemaker’s profiles suggest that the best things about being young are the lack of responsibilities, the freedom to dream, aspire and going out to meet as many new people as possible. A common problem the cohort face is not being able to get their “foot in the door” in the creative industry; juggling their expressive interests with a standard 9-5 job. With the aspirations of making their passion into a career, the assembly and collaboration of these like-minded individuals is extremely beneficial to all involved. Ashley commented that he enjoys “bouncing off other artists’ energy and ideas, taking elements of their work and maybe leaving some of my own with them”. After evaluating serveral routes for the creative concept (see appendix 5), 67

all the executions will revolve around the concept of youth and the celebration of what it means to be young. This aligns appropriately with the Big Idea which ensures a seamless campaign can be implemented. After conducting visual analysis into King Apparel, it was concluded that the brand align with the “active street” trend that was identified in Fig. 42. Colours tend to be moody greys mixed with a few neutral tones. The imagery is extremely considered with a heavy focus on quality. This aesthetic should not be lost within the campaign to build a King Apparel network, but should be used in harmony with visuals found in competitors such as Lazy Oaf and the two alternative trends identified in Fig. 42 (Illustrative Colour Pop and Antiera Kids). This combination of qualityorientated visuals with vibrant colours, authentic photography and redefining the iconography of our youths will connote a high end brand unafraid of rebellion, being loud and who are unapologetically youthful. This will ensure that King Apparel stand out more from the competitors who tend to be on either end of the spectrum; extremely fun and humorous such as Lazy Oaf or exceptionally serious and simplistic such as Telfar. A series of communicative strategies will be used to achieve the Big Idea and its objectives which will visually reflect this creative concept.

Introducing the campaign: #networKING

Fig. 43 Youth Culture in UK in the 1970’s and 1980’s (1979) 68

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the route to the consumer

the elaboration likelihood When considering which communicative strategies to use to achieve the Big Idea, psychological theories were used to select a mix of approaches which would be most suitable for the creative consumers. Kassarjian states that “attitudes clearly have become the central focus of consumer behaviour research” (Kassarjian, 1979). With all advertising and communicative strategies needing to achieve attitude change, it is necessary to look into central and peripheral routes of persuasion and apply them to the consumer. The “central route views attitude change as resulting from a person’s diligent consideration of information that s/ he feels is central to the true merits of a particular attitudinal position… Attitude changes that occur via the peripheral route to attitude change do not occur because an individual has personally considered the pros and cons of the issue, but because the attitude issue/object is associated with positive of negative cues - or because the person makes a simple inference about the merits of the advocated position” (Petty, Cacioppo and Shumann, 1983).

model This project aims to raise awareness about King Apparel in a credible manner by using the advocacy of creative tastemakers who will add their own meaning to the brand before communicating it to a wider market. The consumers in the wider market will use the peripheral route to attitude change; the source of the message will be an “expert”, the influential tastemaker, which will be enough to trigger attitude change. This strategy however needs to be aimed at those influential tastemakers, as marketing straight to the mainstream is viewed by consumers to be uncredible (see appendix 2.4). The influential tastemakers are more likely to use the central route to attitude change as they will use a reflective and considered decision process. This is because of their ability to scrutinise relevant information to come to an informed choice, and “ability not only involves intellectual ability (the relevant expertise to evaluate them) but also situational factors” (Schneider and Honeyman, 2006). To process centrally, motivation is obligatory (McLean, 2015). Motivation can be prompted by situational factors such as “when the individual is prompted to regard the issue as highly personally relevant” (Schneider and Honeyman, 2006). Communicative strategies need to take these theories into account and consider how to put personal motivators in place.

the central route to persuasion = the early majority

High ability to process information

Information about the brand

High motivation to process information

Strong or enduring attitude toward the brand

Low motivation to process information

Weak or ephemeral attitude toward the brand

Attention

Low ability to process information

the peripheral route to persuasion = the wider market

Fig. 44 The Elaboration Likelihood Model (2015) 72

CONTEXT

One brand who achieved the advocacy of the early market is Red Bull. They successfully found a route to their consumer which made use of personalised motivators as promoted by Petty and Cacioppo’s theory. “As a self-funded start up, the company simply did not have the capital to spend heavily on advertising” (Wipperfurth, 2005). Rather than letting this set them back, they went after an exclusive group of consumers in the early market.

Fig. 46 Cairoli Red Bull (2015)

Fig. 45 Red Bull Logo (2015)

SITUATION Red Bull treat every subculture with the same intense, creative effort that other brands reserve for their mainstream consumer base. “Executives realised that deep personal experiences and peer endorsements would trump ad campaigns any day” (Wipperfurth, 2005). Using intimate marketing by using distribution as a channel of advertisement, Red Bull became a very personal brand. They targeted “points of sweat” (Mann, 2014) where they knew the context of which the drink was handed out enhanced and reinforced the values and beliefs of the brand. 73

Celebrities endorsing the brand have no contract fee, just genuine enthusiasm and belief in the brand. Considering how they can market to different subcultures they also have an academy for aspiring DJs, their own music label, events and competitions such as “Flugtag” (a DIY human powered plan contest), a “House of Art” as well as sponsoring a number of sporting teams. Fig. 47 Top 10 Crashes - Red Bull Flugtag (2013)

the case of red bull IMPACT

With this approach have become pioneers of seeding early markets and became a hit with the tastemakers. “This intimate marketing encourages hands-on participation in the brand that has a far more powerful and longer-lasting impact than does passively processing an abstract communication effort” (Wipperfurth, 2005).

Fig. 49 Red Bull Finishing Line (2015)

INSIGHT

The insight from this case study is how Red Bull have used a no-marketing illusion, shying away from PR and mainstream advertising to win over a deep loyalty and emotional connection with members of the early market.

By inviting members of these subcultures to cocreate the brand’s ideology, use and persona they paved the road for adoption by the mainstream.

Fig. 48 Red Bull Mini (2012) 74

route to the Fig. 51 King Apparel’s Post Mock Up (2015)

#ne

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Fig. 52 Subreddit Mock Up (2015)

Fig. 50 Artist Sticker Mock Up (2015)

1. Stickers will be used in key consumer touch points according to the day in the life tastemaker profiles in Chapter 5. This will meet the objective of targeting the early market. They will later translate the brand through their perspective to the wider market thus becoming advocates.

2. The first thing most consumers will do when they see the “stickerage” is to search for the meaning and source on the internet. Here they will come across the Instagram page. This will meet the objective of being particpatory as the consumers will have to post a picture of themselves with a sticker in order to become a follower of the private page.

3. Once the consumer is building up this exclusive digital connection with the brand they will discover the subreddit. This will act as a platform just for King Apparel consumer’s to connect with each other and discuss relevant news, issues and events. Furthermore users will be indetified by a flair which lets others know where they are from. This will aid in consumers connecting with other likeminded creatives from the same area, homeing in on the idea of community. It will meet the objective a social media platform acting as a source of inspiration.

e consumer Fig. 53 Bru-C Chip Shop Cover Mock Up (2015)

KINGSPIN the girme issue

nottingham

2015

4. Members of the network on Instagram will then be given perks such as the zine free each month. The zine will also be distributed in other consumer touch points to buy for those not in the network. The zine will achieve the objective of highlighting that King Apparel is a brand which represents the lifestyles of those who read it. This will be because the tastemakers who feature in the zine will be chosen depending on how compatible they are with King. The values of the tastemaker will be translated as Kingâ&#x20AC;&#x2122;s values and so the consumer will be educated about what King Apparel represents.

Fig. 54 Pop-Up Event (2015)

5. Loyal consumers will be reached through the various platforms and communicative strategies and be made aware of events such as the pop-up store collaboration with PlayStation. This will meet the objective concerning a collaboration with another brand. Not only will this add credibility to the brand and help to raise awareness, it will also bring together like-minded individuals within six leading creative cities; London, Birmingham, Manchester, Leeds, Brighton and Nottingham.

THESE EXECUTIONS WILL BE DISCUSSED IN FULL IN CHAPTER 8, BUT TO BRIEFLY DESCRIBE HOW THEY WILL MEET THE OBJECTIVES AND HOW THEY WILL COMMUNICATE WITH THE CONSUMER, THEY HAVE BEEN PLACED IN THIS TABLE.

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8. executions

STICKER STRATEGY The first stage of the campaign #networKING is the distribution of stickers. “The use of stickers in advertising is not only an innovative way to attract attention, it is also an extremely cost-effective way to create a lasting impression” (Lum, 2010). Reddit founder Alexis Ohanian says that “Yes, stickers [were] the soundest investment I ever made…I used to travel around the country a lot, and everywhere I went I took stickers with me. I put them on signs, poles, and even other advertisements” (Ohanian, 2013). A business founded solely upon the method of sticking the brand’s logo in locations around the country seems unlikely, but it worked to tremendous effect; “now reddit receives over 100 million unique visitors to the site a month” (Willoby, 2014).

The use of stickers also alludes to authentic street culture; Sam Fairey made his and Obey’s name from the same strategy and so it will automatically add credibility to King Apparel. Perhaps what is so enticing about stickers is the ambiguity. Any strategy involving stickers must be ambiguous enough to attract the attention of the consumer (the first stage of the elaboration likelihood model), but still be able to be traced back to the brand. The unorthodox method of “stickering” is also fairly subversive; stickers on public property is a minor act of vandalism and so this embodies the creative concept of being young and rebellious.

Fig. 55 Sticker Mock Ups (2015)

#networKING

Fig. 56 Record Store Mock Up (2015)

Taking inspiration from the tastemakerâ&#x20AC;&#x2122;s daily routines in Chapter 5, key places will be targeted to ensure the stickers are in the right context, read by the right people. This will ensure that the campaign is kept exclusive and credible. To begin with, the stickers will be located in places like skate parks, outside exhibitions, art galleries, innovative clubs, bars, record stores and gaming shops. In this strategyâ&#x20AC;&#x2122;s early stages, the hashtag will simply be positioned in these key consumer touch-points. This will create an initial buzz which will circulate around the campaign. This will happen in six leading creative cities around the UK; London, Birmingham, Brighton, Manchester, Nottingham and Leeds.

Fig. 57 Art Gallery Mock Up (2015)

#ne

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MOCK-UPS

Fig. 58 Record Store Mock Up 2 (2015) 81

These “hobby stickers” will be of size and shape to fit on standard signage. In this way, they can be placed on signs with “stick figures”, to make it appear as if the stick figure is skateboarding or painting or listening to music. This will grab the attention of the consumer successfully as it is humorous as well as rebellious. Ecko comments that strategies with a rebellious nature help it “go viral” (Ecko, 2013). This also embodies the creative concept.

etw orK ING

Once enough #networKING stickers have been distributed, three more stickers will be introduced. One will be a set of headphones, one a skateboard and the other a paintbrush.

#ne

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#n e

These will be positioned strategically in places of context. For example, the set of headphones may be placed outside a record shop whilst the paint brush may be placed on the toilet sign in an art gallery. This is so that the person who sees the sticker is likely to be interested in the hobby which the sticker is representing. Along with the sticker depicting a hobby, a #networKING sticker will also be placed to ensure that the “stickerage” can be traced back to King Apparel.

tw or KI N G

Fig. 59 Traffic Light Mock Up (2015)

Fig. 60 Skateboard Sticker Mock Up (2015)

INSTAGRAM SOCIAL MEDIA STRATEGY As the sticker strategy is fairly ambiguous, the first thing consumers will do is â&#x20AC;&#x153;Googleâ&#x20AC;? the hashtag to find out what it means; in this internet age consumers are more likely to search the internet for answers rather than ask another person (Jarvis, 2011). Taking inspiration from the #AccessAllASOS campaign (see appendix 6 for the case study), the online strategy will focus on exclusive networking. By placing stickers in innovative and creative locations and using the distribution of the stickers as an advertising tool, the consumers who are made aware of the hashtag will already be a creative tastemaker. Once they have searched the hashtag, an Instagram page as well as a #networKING subreddit will be shown on the first page of Google. The individual and specific nature of the hashtag will mean that paid search marketing will not need to be used; the hashtag was worded purposefully in order to avoid being generic and producing a lot of varied results in a search engine. 83

King Apparel already use Instagram successfully as a platform to promote their products, ranges and lookbooks. As found in research into generation Y males, social media strategies need to act as a source of inspiration, as well as being participatory in order to achieve the maximum amount of engagement as possible. Currently, King Apparelâ&#x20AC;&#x2122;s website, Instagram and Twitter accounts give publicity to products rather than promoting the lifestyle and providing a range of inspiration which the consumer crave, with 59% looking to image based social media for inspiration (see appendix 2.1). For this reason, a separate Instagram page will be launched solely for members of the network. The original page will remain as a platform for selling products open to whoever wants to follow the page; whether it be members of the early or main market. The new page will be a private account of which only select members will be able to join (Fig. 62).

To join, consumers must photograph themselves with a sticker and post it on Instagram with the hashtag #networKING along with where they are (Fig. 61). Subsequent to this, they then must request to follow the page @networKING. King Apparel will then go through the requests and accept and follow back those who have met the requirements (Fig. 63). Once a consumer is accepted onto the page they will be personally messaged for their contact details. A set of stickers will be sent out to them so that they can place them around their community. With this strategy the tastemakers will begin to take over the campaign and add their own meaning to it. On the exclusive networking page, King Apparel will share news, exclusive events and visual inspiration for a broad range of lifestyles (Fig. 64). The page will focus less on promoting products but instead promote the values King hold about youth, originality, charisma and quality. This will aid in the education of the selective consumers about the integral roots and cogs of the brand thus encouraging them to form an emotional connection.

Fig. 61 Consumerâ&#x20AC;&#x2122;s Post Mock Up (2015)

Fig. 62 NetworKING Page Mock Up (2015)

84 Fig. 63 NetworKING Follow Requests Mock Up (2015)

Fig. 64 NetworKING Page 2 Mock Up (2015)

REDDIT SOCIAL MEDIA STRATEGY Reddit is a social community formed around millions of threads known as “subreddits” that generate conversations.

n addition to the new Instagram page which King Apparel will initiate, a subreddit on the social media site Reddit will be launched. Reddit is a social community formed around millions of threads known as “subreddits” that generate conversations between users. It is a “website with a retro-'90s look and space-alien mascot that tracks everything from online news to celebrity Q&As… allowing members of its passionate community to post their own news more quickly and easily” (Saba, 2014). As the Big Idea involves the bringing together of like-minded individuals, Reddit is the perfect platform for them to connect, create and share. Reddit exceeds alternative social platforms such as Facebook and Twitter as a news sharing site, with “some 62 percent of Reddit users get[ting] their news through the platform while about half of all Facebook and Twitter users do the same” (Holcomb, Gottfried and Mitchell, 2013).

Each member of the subreddit will be assigned a “flair” which identifies where they are from, this is so that members from a certain city can identify others in the same city and connect with them about local news and events. The subreddit will be used only occasionally by the brand to post important news, updates or events and will otherwise act solely as a forum for its passionate consumers. This will help to achieve as sense of community around the brand, and “Reddit is all about the community, that is the value they brought to the site as they created it” (McBride, 2014). The aim is to make it completely user driven, and achieve the Big Idea of creating an emotional connection with its users. It is also a natutal progression to move onto Reddit as a social media site, with “young men especially likely to visit the site” (Duggan and Smith, 2013), whilst all of the tastemaker profiles in Chapter 5 mentioned using Reddit as part of their daily routine.

Fig. 66 Subreddit Information Mock Up (2015)

Fig. 65 Consumer Post Mock Up (2015)

Fig. 67 Posts Showing Flair Mock Up (2015)

INTRODUCING KING APPAREL’S NEW TASTEMAKER ZINE; KINGPIN

Fig. 68 Bru-C Head Shot (2015)

lthough a social media strategy is relevant for the consumer in the internet age, consumer insight concluded that because interaction with King Apparel in many instances is digital, it is difficult to form an emotional connection with the brand. Due to this, it is compulsory that a physical connection is made which offers a tactile experience. Insight from industry experts in the field such as Mimm founder Nathaniel Wells highlight the importance of putting in the time and ground work to build up an authentic relationship with consumers to ensure that an emotional connection is made (see appendix 2.3). Furthermore, during the interview with King Apparel founder Tim Hoad, he mentions how “the biggest problem is that it is now more throwaway then ever. You look on Instagram, like a picture then forget about it as you move onto the next one. Back in the day if you bought a magazine you would read it multiple times” (Hoad, 2015). According to Mintel’s trend The Real Thing, “consumers crave products and experiences that come with a stamp of authenticity and so despite the digital revolution, print magazines remain popular” (Mintel, 2015). A platform needs to be introduced which champions the creative concept; orientated by quality and authenticity yet still loud with a rebellious nature. The pages and tactile experience of a print publication can combine these attributes and form a platform which can represent youth and street culture whilst epitomising the lifestyles which King Apparel’s consumers lead. This will be more authentic and memorable than a strategy on social media, and the experience will lead to a stronger emotional connection being made as it contrasts sharply to the digital relationship consumer’s are used to having with the brand. 88

Fig. 69 Bru-C Coat (2015)

local exclusivity Taking inspiration from Levi’s “Locals Only” series (see appendix 6 for case study), the publications will focus on locals from each city that is targeted in the Big Idea; Nottingham, London, Leeds, Manchester, Brighton and Birmingham. Six issues will be released each month, each of these personalised to the city in which it is being sold. There will be a theme which connects these issues, for example hip hop, and a tastemaker of that subculture in each city will be the subject of the whole publication. This will include a photo shoot around their city as well as an in-depth interview. These individuals will be chosen by finding influential creatives who are ideologically compatible with the brand so that they themselves represent King Apparel. In this way these influential creatives will translate the internal counterparts of the brand (such as the values and beliefs) to

the wider market. This will achieve the aim of raising awareness about King Apparel in a credible manner. By have a “locally famous” tastemaker as the subject of each publication it will appeal to a greater extent to the community as it will be perceived to be more personalised. This personalised motivator acts as a stimulus for attitude change in those who use the central route in the elaboration likelihood model (the early market and influential tastemakers). Those who are a part of the Instagram “network” will be sent the corresponding issue to their city free each month, as this again adds to the exclusivity of the group. Other issues will be distributed at various tastemaker touch points around the city, for example art galleries and record shops and can be bought by anyone who discovers one of these touch points.

Introducing King Apparel’s new tastemaker zine, “Kingpin”. * This title was chosen as it correlates well with the brand name as well as being a term that refers to a person who is essential to the success of an organisation or operation, this is apt for the Big Idea; a tastemaker in a community who is influential. * The first issue will centre around the subculture of grime, with Nottingham’s issue revolving around locally famous MC; Bru-C.

front cover development The photo shoot took place in locations around Nottingham and aimed to combine authentic photography and editing with bold colours, a light hearted tone and emphasising youth and fun. This followed visual inspiration moodboards into trends, the brand and competitors as well as into Grime as a subculture (see appendix 7).

the grime issue nottingham june 2015

KINGPIN

KINGPIN the girme issue

nottingham

2015

Fig. 70 Bru-C King Hat Cover Mock Up (2015) the grime issue//NOTTS

NOTTINGHAM’S GRIME

k i n g p i n

Fig. 71 Bru-C Laughing Cover Mock Up (2015)

k i n g p i n Fig. 72 Bru-C Smoking Cover Up (2015)

When designing the front cover, different fonts and positioning were experimented with. It was decided that the cover which most embodies the creative concept is Bru-C in front of the “Chip shop ya don’t stop” graffti. It is loud, bold, rebellious and youthful whilst the font and logo connotes quality. Throughout the zine the tastemaker will wear one item from King Apparel, this is so that it subtely acts as an endorsement without becoming an advertisement. The tastemaker will also be self-styled in order to truly represent their personality.

I also created mock up covers for the other six cities, finding grime artists similar to Bru-C to represent their respective cities.

KINGPIN the girme issue

nottingham

2015

Future issues will explore other subcultures; the options are limitless with a never ending amount of communities to explore. Julyâ&#x20AC;&#x2122;s issue will focus around the theme of skate culture.

KINGPIN the girme issue

london

2015

Fig. 73 Eyez Cover Mock Up (2015)

KINGPIN the girme issue

leeds

2015

Fig. 74 Dialect Cover Mock Up (2015)

KINGPIN the girme issue

brighton

2015

Fig. 76 Ceezlin Cover Mock Up (2015)

KINGPIN the girme issue

manchester

2015

Fig. 75 Bugzy Malone Cover Mock Up (2015)

KINGPIN the girme issue birmingham 2015

Fig. 77 Sox Cover Mock Up (2015)

Fig. 78 PlayStation Pop-Up (2015)

PLAYSTATION AND KING APPAREL One of the objectives was to collaborate with another brand or artist to reaffirm King Apparel’s credibility. Once the zine has been circulating for a few months and the sticker strategy has gone “street viral” with several hundred consumers who have joined the Instagram network, King Apparel will have raised a huge amount of awareness about the brand in a credible manner. When they are in this position, a collaboration with a successful brand should be executed. With inspiration from the HUF case study (see appendix 6), the tastemaker profiles in Chapter 5 were used to diagnose what is consistently an obsession between members of different subcultures and communities. It was found that they were into gaming, all owning an Xbox or PlayStation. By collaborating with one of these iconic brands, King Apparel’s credibility and awareness levels will both increase immensely. PlayStation, since the release of PS4 more than ever focuses on the concept of networking. During the worldwide reveal of the PlayStation 4, it was confirmed that it would heavily focus on social integration, with David Perry of Sony stating that the PS4 would provide “the first social gaming network with meaning” (Perry, 2013). With

its new share button and the encouragement of its users connecting with their real friends and not using aliases and screen names (Kaufman, 2013), PlayStation 4 is the perfect platform for King Apparel consumers to connect with each other over their mutual interests. The collaboration will be in the form of a pop-up shop which will occur in the six leading creative cities; London, Manchester, Leeds, Birmingham, Nottingham and Brighton. The pop-up shop will include the latest King Apparel range as well as exclusive access to preview games which are yet to be released. The shop will act as a “hang out” which people can come in, try on clothes, play on the PlayStation, listen to live music from that area and connect with others. The pop-up event dates will be synced on the calendar of events which can be accessed on the home page of PlayStation. This will inform all UK users of the date, time and location of the pop-up and be used to spread the word. Users can click saying that they are attending and share the event with others via the share button. The live music from local artists will also be streamed so that users at home can also experience the collaboration. 94

c h a pter 95

9. when, how and why?

While the consumer is in the consideration phase, they are able to connect with other consumers on the various social media platforms which may help along their choice through the influence of their peers. A bond is developed through personalisation. Stickers are put in place in key consumer touch points and to join the network you must be in one of those locations.

CONSIDER

BOND

Consumers can evaluate their choice by analysing the reddit forum for feedback from other consumers. The monthly zine will also add to the communicating of the values of the brand through the ideolgies of the tastemakers being translated as aligning with King’s. This will reinforce that the brand represents urban subcultures thus making it appear a credible brand to street wear consumers.

EVALUATE

LOYALTY LOOP ADVOCATE

BUY ENJOY

By achieving an emotional connection through all routes to the consumer, those who have been targeted will not only be brand loyal but become a spokesperson for the brand by being a part of “the network”.

Once in the network and a regular King Apparel consumer, they can contine enjoying the brand after a purchase is made the rewards such as the free monthly zine and events such as the PlayStation pop-up shop. Fig. 79 Loyalty Loop (2015)

WILL THE STRATEGY ACHIEVE ADVOCACY 98

T I M E Start placing the #networKING stickers in consumer touch points in London, Birmingham, Brighton, Leeds, Manchester and Nottingham.

Begin to receive requests to join the network. Send out stickers to members to continue to spread the word about King Apparel.

Autumn 2015

Summer 2015 Post on King Apparel’s Instagram page the instructions to joing “the network”. Also start to introduce the stickers depicting hobbies.

Fig. 80 Timeline (2015) 99

Launch King Apparel’s subreddit for consumers to discuss and share mutual interests and topics about the urban communities they are a part of.

L I N E Launch the monthly zine with first issue centring around grime. Send out to members of the network and distribute others at consumer touch points.

First pop-up shop in the six cities in collaboration with PlayStation.

Winter 2015

Spring 2016 Release the date of the PlayStation pop-up shop on the PlayStation calendar.

Start the process again and expand to six more creative cities.

100

101

THE PROCESS OF THIS PROJECT

Stickers Online Presence Monthly zine personalised to each city Pop-up collaboration with PlayStation

The creative concept revolves around celebrating what it means to be young. Whilst the strategy should align with the current aesthetic of King Apparel and its focus on quality, it should also combine elements found in trends and competitors. These includes loud colours, authentic photography, rebellious models and a light hearted tone. This in combination with King’s current aesthetic will ensure it stands out from its competitors.

“To build an emotional connection with like-minded creatives in order to create a “King Apparel network” within six UK cities”.

Research into the growth of the street wear market, brand analysis, consumer and competitor insight through secondary and primary tasks. The main insight which lead to the Big Idea was the lack of an emotional connection consumers had with the brand, only attracted to King Apparel because of its aesthetics. There is also a gap for a UK street wear brand to take back what it means to be a credible street wear brand; promoting the lifestyles of urban subcultures.

Fig. 81 FCP Process Triangle (2015)

102

CONCLUSION To conclude, street wear’s relevance in the main market is more significant than ever. With consumers being more and more intuitive, it is difficult to develop a high profile brand without being perceived as a “sell out”. In order for King Apparel to thrive and flourish in this ever evolving market, they must listen to consumer insight and analyse their competitors successes. By implementing a campaign which encourages consumers to participate and connect with others within a community they will achieve an emotional connection with the education of how King Apparel represents lifestyles rather than just another brand with a focus on profit. The encouragement of a hands on, exclusive participation with the brand ensures a deep loyalty with the consumer is achieved; going beyond current the current consumer’s connection with the brand which is based upon aesthetics. Once this loyalty is achieved, the selective consumers will add their own meaning to brand, and translate it to the wider market in an authentic, word-ofmouth manner.

103

In an interview with the founder of King Apparel, Tim discusses the lack of meaning in street wear today. In this strategy King Apparel will seize back the original meaning of street wear and all of its cultures; highlighting a diverse range of communities through its monthly zine and bringing the focus back to creative youths. People will learn that King Apparel represents being in an anti-corporate, exclusive, unapologetically youthful community.

104

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[Logo]. Available from: https://www.king-apparel. com/ [Accessed 29 April 2015] Fig. 12 Bools-Roberts, L., 2015. Forty Two, Viewpoint 1 [Own Photograph] Fig. 13 Bools-Roberts, L., 2015. Forty Two, Viewpoint 2 [Own Photograph] Fig. 14 Bools-Roberts, L., 2015. Competitor Table [Own Table]

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Fig. 49 Red Bull Finishing Line, 2015. [Photograph]. Available from: http://flickrhivemind.net/ User/brighton%20terrain%20park/Interesting [Accessed 2 May 2015]

Mock Up [Own Mock Up]

Fig. 50 Bools-Roberts, L., 2015. Artist Sticker Mock Up [Own Mock Up]

Fig. 69 Dolan, J., 2015. Bru-C Coat [Photograph]

Fig. 51 Bools-Roberts, L., 2015. King Apparel’s Post Mock Up [Own Mock Up] Fig. 52 Bools-Roberts, L., 2015. Subreddit Mock Up [Own Mock Up] Fig. 53 Dolan, J., 2015. Bru-C Chip Shop Cover Mock Up [Photograph] Fig. 54 Bools-Roberts, L., 2015. Pop-Up Event [Own Mock Up] Fig. 55 Bools-Roberts, L., 2015. Sticker Mock Ups [Own Mock Ups] Fig. 56 Bools-Roberts, L., 2015. Record Store Mock Up [Own Mock Up] Fig. 57 Bools-Roberts, L., 2015. Art Gallery Mock Up [Own Mock Up] Fig. 58 Bools-Roberts, L., 2015. Record Store Mock Up 2 [Own Mock Up] Fig. 59 Bools-Roberts, L., 2015. Traffic Light Mock Up [Own Mock Up] Fig. 60 Bools-Roberts, L., 2015. Skateboard Sticker Mock Up [Own Mock Up] Fig. 61 Bools-Roberts, L., 2015. Consumer’s Post Mock Up [Own Mock Up] Fig. 62 Bools-Roberts, L., 2015. NetworKING Page Mock Up [Own Mock Up] Fig. 63 Bools-Roberts, L., 2015. NetworKING Follow Requests Mock Up [Own Mock Up] Fig. 64 Bools-Roberts, L., 2015. NetworKING Page 2 Mock Up [Own Mock Up] Fig. 65 Bools-Roberts, L., 2015. Consumer Post Mock Up [Own Mock Up] Fig. 66 Bools-Roberts, L., 2015. Subreddit Information Mock Up [Own Mock Up] Fig. 67 Bools-Roberts, L., 2015. Posts Showing Flair 11

Fig. 68 Dolan, J., 2015. Bru-C Head Shot [Photograph]

Fig. 70 Bools-Roberts, L., 2015. Bru-C King Hat Cover Mock Up [Own Mock Up] Fig. 71 Bools-Roberts, L., 2015. Bru-C Laughing Cover Mock Up [Own Mock Up] Fig. 72 Bools-Roberts, L., 2015. Bru-C Smoking Cover Mock Up [Own Mock Up] Fig. 73 Bools-Roberts, L., 2015. Eyez Cover Mock Up [Own Mock Up] Fig. 74 Bools-Roberts, L., 2015. Dialect Cover Mock Up [Own Mock Up] Fig. 75 Bools-Roberts, L., 2015. Bugzy Malone Cover Mock Up [Own Mock Up] Fig. 76 Bools-Roberts, L., 2015. Ceezlin Cover Mock Up [Own Mock Up] Fig. 77 Bools-Roberts, L., 2015. Sox Cover Mock Up [Own Mock Up] Fig. 78 Bools-Roberts, L., 2015. PlayStation Pop-Up [Own Mock Up] Fig. 79 Bools-Roberts, L., 2015. Loyalty Loop [Own Model] Fig. 80 Bools-Roberts, L. 2015. Timeline [Own Model] Fig. 81 Bools-Roberts, L., 2015. FCP Process Triangle [Own Model]

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A GUIDE FOR KING APPAREL TO THRIVE AND FLOURISH IN TODAY’S MARKET.