Self devised Report by Nicky Clarkson

FUTURE OF

RETAIL

CONTENTS

Nicola Clarkson N0633651 Fashion Communication and Promotion Nottingham Trent University 2018 Word Count: 8626 2

A Brief History

Consumer Behaviour

Experiences

E-Commerce

Physical Stores

The Future of Retail

The Problem

The Brand

The Space

Logistics

Route to Consumer

Pre Launch

Campaign

Launch

PREFACE The report creates a discussion around the retail landscape at present, focusing on the reasons why less time and money is being spent in-store. With consideration towards a change in consumer behaviour, technology and e-commerce to understand the shift in purchasing habits. Giving an insight in to the timely discussion around the store of the future, as well as introduing a space that engages the customer by redefining the in-store shopping experience.

The consumer: Millenials Aged 18-30, the generation demographic cohort following Generation X.

Question: What is the need for a physical store and how is the experience offered adapting to the changes in consumer behaviour?

FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE

FUTURE FUTURE FUTURE FUTURE STORE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE

FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE 5

A BRIEF HISTORY

EST.1858 Fashion consultant Jean-Jacques Picart once said that ‘for the people who are genuinely obsessed with fashion, it’s sort of a drug. This is a personal theory, but I believe it’s because they equate exterior change with interior change. They feel that if they’ve changed their “look” they’ve also evolved emotionally’ (Tungate, 2005, P.6). Buying clothes is more than simply purchasing a piece of fabric to place on your skin, it holds a deeper meaning. The clothes that a person purchases can say a lot about that individual, as it’s also becomes a part of their identity. Contributing to one of the reasons that the global fashion industry is valued at three trillion dollars. It is in a state on constant change that will carry on developing and evolving in the future as retailers respond to competition 6

and consumer needs. Brands have understood that the key to a successful fashion label isn’t just the garment but the ‘universe’ surrounding them. Therefore, that meant creating an ideal brand message, ‘a dream world’ to seduce the consumer. Ralph Lauren understood this well, creating a world of aristocratic good taste, through his shops that were more like film sets (Tungate, 2005, P.15). There is so much more to the retail industry than first meets the eye, with aspects that have affected the evolution of the landscape to make it what it is today. Starting with Charles Fredrick Worth in 1858, who was arguably the beginning of fashion, designing and making tailored made garments from his workshop.

1875 - Bon Marche department store has introduced visual merchandising, seasonal products rotation and customer service nt concepts. They evolved the techniques of retailing with the importa innovation of fixed pricing, eliminating bargaining from a sale. 1906 - Selfridges opened, the cutting-edge of English store design of its time. 1920 - Stores in England begun to switch from the traditional former counter service, to allowing customers to browse freely among the products. 1940 - New York became the birth place of ready to wear.

1950 - Shopping centres were being built in suburban locations in response to there being more cars on the road. Town centres had lost its status of being the sole environment for shopping (Morrison, 2003). 1950 - 6000,000 physical stores are open, making them major land users in the UK (Retail Futures 2018, 2013). of 1973 - The Opening of BIBA’s department store, with seven storeys before. ted attemp not scale own-brand goods on a 1980 - Calvin Klein re-branded denim jeans. Customers responded to the ad campaign featuring Brooke Shields by scavenging stores in search for Calvin Klein jeans. 2000 - E-commerce giants Net-a-porter and ASOS are launched. The revolution of online shopping has begun.

es 2001 - Zara, the leaders in fast fashion has 450 stores in 29 countri are and producing 10,000 items of clothing each year. New style being brought in-store every four weeks instead of operating on the season calender. Fashion retail is becoming more instant.

2004 - Karl Lagerfeld launches collection with H&M. When the collection launched it sold out in minutes, the long term flirtation between luxury designers and high street was born. Dover street market challenges the term ‘concept store’, where leading fashion houses showcase their collections, in a space that feels like a contemporary gallery.

2005 - Social e-commerce emerges, consumers are now sharing styles on social media platforms. Topshop’s Unique collection is the first high street brand to show at London Fashion Week. 2006 - The number of retail stores has reduced to 300,000. Facebook has gone mainstream and PayPal offer mobile payment services.

2007- Apple launches the iPhone which is arguably the beginning of the mobile shopping revolution. 2008 - John Lewis launches click and collect scheme. 2010 - Converse launched app that allowed consumers to virtually try on shoes through their mobile.

2011- Lane Crawford became the first omni-channel retailer in greater china with the launch of their digital flagship store. 2016 - Burberry early adopter of artificial intelligence; stream a live video of their catwalk giving the customers the ability to buy the collection the same day- the ‘see now, buy now’ concept g 2018 - Zara Launches augmented reality retail experience, bringin and device mobile your on stores, models to life featured in posters in with the ability to shop the looks featured in the signage.

CHAPTER 2 CONSUMER BEHAVIOUR

STATUS CONSUMPTION

Status consumption is “the motivational process by which individuals strive to improve their social standing through the conspicuous consumption of consumer products that confer and symbolize status both for the individual and surrounding significant others” (Eastman, Goldsmith, & Flynn, 1999). In today’s society, we have seen a shift in purchasing habits, because status is being awarded for other factors, rather than sole traditional ones, that are based on the consumption of luxury goods. This shift has been encouraged by millennial consumers and social media. Instagram in particular, an image sharing platform, has been one of the main factors. This is because the site allows you to create your own persona of your life, by the images that you capture and share with others.

A group of millennials said that they are influenced by what they see on Instagram. The Saatchi gallery, the No.1 gallery on social media, is a great example of how the image sharing platform can influence others. The gallery has seen the most footfall in 2016, attracting 5,674 people a day to the Carigmagnic photojournalism exhibition (Fig 1). This exhibition saw the most attendees for a free exhibition in London than any other gallery (The art newspaper, 2017). This information represents the influence social media can have, on how millennials choose to spend their free time.

Fig 2 ’Popular Exhibitions’ by Nicky Clarkson

Millennial consumers and their motivation to improve their social standing.

Fig 3 ‘Edelkoort and Google Exhibition’ Dezeen

We participate in social life by sharing our experiences with one another on a digital platform. Ultimately, the reason for this is based on a desire to stimulate a connection with people. By posting images on to social media, “we are sharing emotions, commonalities and patterns of feelings” (Longergan, 2017), to create relationships with surrounding others. 10

Millennials feel valued by the opinion of others. As consumers, we are given a feeling of empowerment in response to the amount of likes we get on an Instagram or by the number of followers we have. This means we are being given recognition and are being valued. As a result, our level of status has a higher value, just as it would through conspicuous consumption.

Fig 4 â&#x20AC;&#x2DC;Kim Kardashianâ&#x20AC;&#x2122; Instagram

In this modern age, we could go as far as to say that status could be measured by the number of authentic likes someone gets. Kim Kardashian is a good example of a female figure with a high status. She has 105 million Instagram followers and the image of her wedding, for a long-time, was the most liked picture on Instagram with 2.5 million likes. Kim Kardashian has a net worth of 175 million dollars so not to say that her consumption of luxury goods, hasnâ&#x20AC;&#x2122;t contributed towards her social standing. However, 105 million followers are not just obsessed with the luxury products that feature in her posts. Through every image that she posts to Instagram she is telling a story, the consumer is immersed in this journey that she is taking us on, of her life. The persona that Kim Kardashian has created, is one that many females aspire to. As individuals, we interpret and modify the meanings to influence our own life, identity and to create our own stories. 11

CHAPTER 3 EXPERIENCES

"The future of all space is both the physical experience of being in that space and broadcasting that experience to the world" (Alex Eagle,2017)

Elan: The Most Instagrmable Cafe

The Experience Economy Recent studies have found that millennials are ‘spending more on doing stuff, choosing instead to cut down on buying’ (Usborne, 2017). This change in purchasing habits has been named the experience economy. By creating experiences, we can then share them with others. Where we are choosing to spend these moments can be influenced by social media. For example, a cafe with a beautiful interior will create a better photo moment to share on Instagram. When I asked millennials ‘what is the most exciting and important part of your spare time?’ 90% said ‘socialising with friends’, because it is ‘fun and it makes them happy’ (Appendix 2.9). In 14

Fig 5 ‘Elan Cafe’ Instagram

addition, Barclaycard, a bank that processes nearly half of the nation’s credit and debit card transactions, compared consumer spending for 2017 with the previous year. The results showed that people spent 12.5% more in bars and there was a 12.2% increase in spending in restaurants. Meanwhile, department stores suffered a 3.2% drop, electronic stores a 3.9% drop and women’s clothing dropped by 0.1% (Barclaycard, 2017). Therefore, the experience economy is taking spending away from retail, as socialising is becoming a greater priority. The locations in which this takes place being more appealing than a traditional retail environment.

Immersive Experiences The store studios at 180 The Strand, was described by millennials as an immersive exhibition, taking you on a journey that almost felt like a treasure hunt (Appendix 2.6). The space was a contrast of the simplest forms of art and rooms in which you are transfixed in every single wall. Visually exciting, fussy, vortexy, surreal and conceptual are just a few of the words Elise and Kate used when discussing their experience with me. 180 The Strand are not alone in creating these visually creative

Fig 6 ‘Everything at Once’ Lisson Gallery x Vinyl Factory

spaces, 29 rooms by Refinery 29 and Glade have both successfully attracted the attention of the consumer though the experience they offer. Glade engaged the consumers senses in order to evoke an emotional response and create a deeper relationship with the brand. ‘The submersive sensory experience explored the link between emotions and scent’ (Virgillito, 2017), using tech and art to construct a wonderfully imaginative space.

CASE STUDY 29 Rooms By Refinery 29 What is it? Refinery29 is a digital media and entertainment company for young women, that launched 29 rooms in 2005. Refinery 29 defines themselves as ‘The original next generation women’s media company’. The primary focus of their communication strategy considers how their content speaks to and represents women today. Acting as a real digital platform to which women can relate. 10 years later the company launched ‘29 Rooms’, showcasing creativity through 29 individually crafted rooms. The space is described by Piera Gelardi, co-founder and executive creative director of Refinery 29, as a ‘cross between a fun house and a museum’. The space was launched in order to represent the digital media’s most popular content in a different way (Bonone, 2017). What is the USP? 29 rooms isn’t like going to any old museum, its an interactive art exhibition that allows people to be fully immersed within the experience, as well as pushing the boundaries of storytelling. The brands message and communication strategy with its consumer, is such an important part of what the brand stands for. The intentions of creating this physical presence is so that people have an even greater understanding and relationship with the media companies message within its content. The exhibition is fully immersive and means that people can create a deeper connection with the experience, as the consumer is not just viewing the art as an outsider looking in, they are physically apart of it. What are the strengths? It is a creative and visually exciting space that brings content to life. It is well aligned with the companies values, who’s intention is to express a message that truly matters. The event sold out, representing the success of this style of content and the experience offered. What are the weaknesses? The space only exists in New York, which means that the brands communication is only accessible to people prepared to travel to New York. What can i take forward? An immersive experience generates a deeper relationship with the consumer. This captures the attention of the participant and engenders a deeper understanding of the brand and its message. 16

Piera Gelardi, creative director of Refinery29 said that, “We wanted to create a way to take our digitally-native brand and bring it to life and also to celebrate a lot of the creative topics that we cover and creative people we work with.” (Monllos, 2017)

Fig 7. ‘29 Rooms’ Refinery 29

Fig 8. ‘Turn It Into Art’ Refinery 29

CHAPTER 4 E-COMMERECE

â&#x20AC;&#x2DC;The most important store we have in the world is our online store, e-commerce is our fastest growing channel in all regionsâ&#x20AC;&#x2122; (Brand director of Adidas, Atkins, 2017) 19

Online

To gather a general sense of consumer purchasing habits, I conducted a survey that asked people if they mainly shop online, in-store or fairly evenly between the two (Appendix 2.8). From the 22 respondents, all of them aged between 19-34, 54.5% of people said that they primarily shop online, 27.3% voted in-store and 18.2% said evenly between the two.

In-store

Online Vs In-store A huge factor effecting a consumer’s decision to no longer shop instore is the world of e-commerce. In the UK, online retail was worth 133 billion pounds in 2016, a 16 percent growth on the previous year. The competing issue for physical stores with online is the nature of its convenience. In a survey, only 25% of millennials said that shopping in store is a fun and exciting experience, whereas 63% said that it’s only an experience because you are physically there (Appendix 2.8). These figures reflect my point that people may be spending less time in-store as its simply seen as a purchasing platform, which they have the ability to do online, echoing a need for modernisation within store. 20

Fig 9 ‘Shopping Preferences’ by Nicky Clarkson

Quick

Variety

You are able to browse through more products quicker than in-store, as well as having the ability to filter your search by style colour, size, price etc.

There’s a lot more choice, you can shop for any weather no matter what the season.

Control

Discounts Online stores regularly offer discount codes, or free next day delivery.

No waiting around in Queues. No Pressures to purchase.

24/7 Shop from a mobile device, tablet or laptop, at any location, or time of day. E-commerce presents strong advantages over shopping in a physical store. These opinions were expressed by eight millennials within a focus group (Appendix 2.2). The overarching theme in the responses were, e-commerce puts the consumer in control of their whole shopping experience from browsing to the point of purchase.

Fig 10 ‘Advantages to Shopping Online’ by Nicky Clarkson

‘The continued rise of Amazon reflects a new era of

extreme-convenience

where brands increasingly shape their offering to fit in with

consumers’ busy, multiplatform lives’

Chapman, 2017)

Anticipatory Shipping Amazon, the pioneer of the online world, is pushing the boundaries of convenience through its anticipatory shipping.This system uses data to predict what customers want and then ships the products automatically (Forbes, 2014). Amazon have created an innovative idea that is a great response to the busy lives that we live. With millennials saying that the reason they prefer to shop online over shopping in-store is because of its convenience shows how well Amazon understands the consumers of today. Providing immediate, exceptional and personalised customer service (Massenet, 2016).

Fig 11 ‘Revolve Website’ Revolve

‘If our customer doesn’t see the perfect dress for her on the first page she visits, she’s likely to move on to the next app or site vying for her attention. It’s absolutely necessary to show her what she wants as soon as she comes to us-even if she doesn’t yet know what that item is.’ (Hong, 2016)

Personalised Content E-Commerce growth year on year could be explained by constant advancements in technology. REVOLVE, an innovative online only retailer, makes sure that the digital experience they offer feels relevant, curated and engaging for the customer. They use Artificial Intelligence to analyse people’s interaction on the site. This way the guesswork has been removed, and now e-commerce businesses can accurately make strategic decisions on how to

operate their online empire (Asling, 2017). The insights from this data can help the brand to deliver the most relevant content possible, by showing customers what they think they want to see, to keep them more engaged. As a result, this is to hopefully reduce loss to competing sites, because the experience is personalised to the consumer. At present, the best the high street can do to compete is stock products that they know will appeal to people in the area. 23

Onli ne Retu rn Rate s Despite the advancements within Artificial Intelligence used in e-commerce to improve the user experience, shopping online does also have its disadvantages. Online returns remain a big issue for the fashion sector. ‘Some customers ordering the same product in different sizes are likely to be doing so with the intention of trying on different sizes at home before returning those that do not fit well‘ (Gallino, 2015). Mintel released a report called ‘Fashion Online-2017’ which

said that 56% of shoppers return the fashion items they purchased online (Sender, 2017). During a focus group, millennials expressed that the quality and fit of products can be poor and inconsistent, when shopping online (Appendix 2.2). Fashion e-commerce has the highest return rates than any other industry. This behaviour is very expensive for the retailer, as it costs them double the amount for a product to be returned back to the supply chain as it does to deliver it (Ram, 2016).

Unable to see and feel the products before placing an order

unreliable whether the products will be true to how they Dis adv anta ges looked on the website. Onl ine Sho ppin g The return process can be a hassle Fig 12 ‘Disadvantages Online Shopping’ by Nicky Clarkson

With the convenience of online shopping being one of the major factors consumer choose to shop online, retailers understand the importance of allowing consumers to return their purchases, despite the negatives they cause for the brand. ASOS have put the customer first with this issue, with the recent launch of ‘try before you buy’. The scheme allows consumer to order products to their home, try them and then only pay for what they keep - at no extra cost. The service improved sales figures by 23% in the last four months of 2017 (Wood, 2018). This response from ASOS reflects their understanding of their consumers, utilising what people love about online shopping.

Fig 13 ‘Kylie Jenner’s Instagram’

How Does E-commerce Create a buzz? Online Retailers are creating exciting and engaging experiences through flash sales, special edition collections that are limited in stock and celebrity or brand collaborations. Kylie Cosmetics, in 18 months, has made $420 million in retail sales (Strugtz, 2017). The company first launched in 2015 with only 5,000 Lip kits available in three shades, which sold out in seconds. The lipsticks were exclusive to Kylie cosmetics and the products had been well advertised on Snapchat and Instagram, both platforms are heavily used by her target market. Towards the lead up to them going on sale, Kylie Jenner created huge excitement posting to Snapchat, sharing the story of the products being tested and providing a live countdown, giving the customers a feeling of urgency to buy the products before the limited stock sold out. Less than three months later production was increased to 500,000 units for 6 shades, gradually making the products more accessible without increasing the range so much that it loses its feeling of exclusivity and keeps the customers engaged. Today about 3,000,000 units are produced of each product. In 2016 Kylie Lip Kits formally became Kylie cosmetics, changing the landscape of her brand from what could have been a celebrity makeup brand with a big hype and a small product life cycle to a well-established and respected cosmetics company.

In an interview with Maz Zinster, he said, ‘Everyone wants bricks and mortar. It can be very expensive in certain places and in certain cities, however all these online direct to consumer companies all really want bricks and mortar’ (Appendix 2.5). The digital world is limited to the extent in which they can build a relationship with the consumer, as they do not have a platform to physically interact with their ‘audience’. Recognising this, Kylie cosmetics opened seven pop up stores around America with Topshop, following on from the success of her online empire. As the cosmetic company is now well established, these bricks and mortar locations will attract ‘the audience’ and sustain a strong bond with her consumers, by providing a platform in which they can physically interact with the brand and its products. The physical stores being open for five weeks, along with two Lips Kits developed exclusively for the collaboration, will stimulate excitement and a sense of urgency to engage with the physical presence, as she did successfully online. 25

Fig 14 ‘Amazon Go’

Digital to physical Kylie Cosmetics is only one amongst several online direct to consumer retailers that are opening physical locations. These online brands are entering the marketing in an exciting and impactful way by adding refreshments to the experience offered in-store. To briefly mention a few; Nasty gal, opened their first pop up store during November 2017, in London. The experience offered instore included live music by DJ’s, weekly events such as Nasty Gal collaboration with Benefit Brow Bar, a competing retailer for millennials spending and live industry talks. As well as a range of the online retailer’s products to try on. Overall, creating a fun and lively in-store environment.

Amazon, on the other hand, have taken a different approach to their physical presence by focusing on how they can make the in-store experience as quick and easy as possible. Opening a new concept store called ‘Amazon Go’, the shop has no checkout, no line, just grab and go.

Fig 15 ‘Glossier you’

Glossier Glossier, a beauty company that launched in 2014 as a spin off to InTo The Gloss, a popular beauty blog by Emily Weiss. Testing and reviewing hundreds of products strengthened her reputation as a beauty expert. So, when Emily opened up her cosmetics brand, her trusting readers turned into trusting customers (Canal, 2017). The brand has progressed forward with pop up stores that disrupts the traditional brick and mortar landscape. Max Zinster, the set designer for the ‘Glossier you’ store explained to me that, with Glossier being a company who hasn’t yet established a bricks and mortar presence, this gave the brand the ability to be a little more creative, testing the waters of the experience offered in store. People are wanting to see the refreshment of ideas all the time. Pop up stores are great

for this, being more artistic and creative. Retailers are willing to spend money on a short term physical presence because there’s less risk involved than in a traditional store. In order to create that all important in-store experience, the brand made sure customers felt like guests. The instore assistants would guide people around the room without acting like employees. Max believed that it was a pretty amazing instore environment, creating a theatrical experience and taking retail ultimately to a level most brands won’t go (Appendix 2.5). This is an example of new online retailers entering the physical market and understanding the importance of offering a compelling reason for customers to make a trip to the store. 27

CHAPTER 5 PHYSICAL STORES

Fig 16 ‘Acne Studios’

Retail as we know it In the current landscape, physical stores on the high street are led by traditional ideologies of the 4p’s of the marketing mix. Retailers focus on Product, Price, Place and Promotion with the belief that these are the most important aspects to maximise sales. However, it has been said that “Retailers will need to refresh their thoughts on the role of the store going forward and redefine the experiences offered

Fig 17 ‘Topshop Oxford Street’ by Nicky Clarkson

If you walk out to your local high street, the shops will probably be very familiar to you. You know what to expect when you walk in to a store, which can simply be defined as a space filled with products. If you go in to London, we can see more of a willingness to change, with stores like Topshop on Oxford street, offering other experiences outside of fashion within the store; such as a cake stand, a café and a beauty counter where you can get treatments done in store. 30

within the store” (McCorquodale, 2016). In other words, retailers should focus on how they can enhance the shopping experience, and not limit themselves to increasing sales through the 4p’s. In order to gain the consumer attention and increase overall sales in a world where you are competing against the likes of Amazon.

Fig 18 ‘John Lewis Residance’

Fig 19 ‘Gardening Society’ John Lewis

Enticing the customer in-store John Lewis have said to be ‘reinventing the department store’ (Gwynn, 2018), through its range of experiences offered and personalised services. Within their store on Oxford street, they have introduced the Residence. This is a self-contained flat built within the store. The idea of the flat is to help customers visualise how the products, that John Lewis sell in-store, can look like in a home environment. There are no prices on anything, the idea is not to be pushy or make the customer feel as though they have to make a purchase. The space sells itself, along with creating a visually exciting shopping experience. The residence makes purchasing furniture an easier process for the customer, as it helps them visualise how the products can look within the environment of the home. The Oxford street store also has a

rooftop garden. Providing an experience that is completely unrelated to retail, but nether the less brings clientele in to the store. Over Christmas the space has been decorated with wood cabins, wool blankets and Christmas trees, creating a beautifully festive looking environment. A lovely place to socialise with friends and take photos. When I spoke to Chris Payne, A personal shopper at John Lewis he said that “The spaces is about creating experiences that customer will want to talk about with each other, by getting people in to the store, there is also more chance they will end up browsing and purchasing our products, which wouldn’t happen if we didn’t have these experiences to entice them in, in the first place” (Appendix 2.1) 31

CHAPTER 6

THE FUTURE OF RETAIL

Omni-Channel “Physical retail isn’t dead, the physical and online worlds will just coexist and there’s a place for both, consumers will just have different journeys” (Michael O’Keeffe, 2017). Certain millennials have expressed their preference to shopping in-store because they like to physically experience and feel the clothes when they are browsing (Appendix 2.8) People want different journeys, this can depend on personal preference, what mood the individual is in, or the situation. Therefore, the online platform shouldn’t be seen as a competition to the physical ones, instead they should work together in order to provide consumers with the most appropriate shopping experience that they require in that moment.

Fig 20 ‘SUR-FAKE’ by Antoine Geiger

‘As people change their behaviours, marketers will need to react. Instead of thinking of a desktop experience, a mobile experience, a tablet experience, and a Apple Watch experience, we’ll need to pursue one, holistic approach - an omni-channel experience’ (Aguis, 2017). Connecting the physical and digital worlds isn’t just about having a presence across a range of platforms, this is known as a multi-platform experience. These days, It is simply inevitable that brands will have a physical, digital and social platform. In order to create an omni-channel experience, these platforms should work as one seamless experience, this will mean that the consumer is able to navigate from one platform to another without feeling like they are disconnected. 33

Fig 21 ‘Burberry Catwalk Show’

Brands Are Adapting Retailers all have a different approaches on how to improve the landscape, in response to the changing consumer. The likes of Burberry have made their collections available to buy immediately after fashion shows, and uses a physical space to showcase the collection on mannequins. Until now, consumers were unable to purchase luxury products until they were available to buy in-store. The move from Burberry reflects a new era of extreme convenience, where brands are expected to shape their offerings, for the demanding consumers who expect everything to be instantly available. Nordstorm, on the other hand are turning stores in to showrooms. They have no racks of clothes or merchandise of any kind. Instead they are utilising the importance of the sales assistance, using them more as personal stylist who will pick out items, ‘trying to ease the stress many face finding the perfect look’ (Thomas, 2017). 34

In a focus group, Charlotte said â&#x20AC;&#x153;Technology should be used in store to enhance the shopping experience, not take away from itâ&#x20AC;?. (Appendix 2.2)

Technology Others are looking at technology, to improve the in-store experience and contend with the technology advancements within online shopping. We live in a connected world in which lots of time is spent on our mobile devices, connecting with one another. As previously mentioned, itâ&#x20AC;&#x2122;s important for retailers to acknowledge this, and create one seamless experience between the physical and digital worlds. Therefore without the use of technology within a store, they are disconnected brick and mortar locations. 35

Virtual Reality ‘Consumers show an increasing desire to have a more engaging experience while shopping. This implies that the consumers have high level of expectations towards technologybased innovations able to support them while entertaining them’ (Papagiannidis, 2017). Virtual reality, the much hyped and much talked about storytelling technology. The promise is great: simply by strapping on a headset that looks not dissimilar to a pair of skiing goggles, viewers can be instantly immersed in another place or time (Mowbray, 2016).

Augmented Reality Makeup brands are utilising Augmented Reality Technology in order to boost sales. The technology is becoming an important part of the beauty industry with the likes of L’Oréal, Sephora and Estee lauder, have incorporated tech in to their in-store services. Augmented reality in beauty gives the consumer the ability to ‘virtually’ try products and to see how it works on them before making a purchase. Providing this service gives the brand an advantage over their competitors as they are offering an effortless solution if the customer doesn’t want to physically try products on or make a purchase without seeing how it looks first. 36

SMART MIRROR - Farfetch

Topshop used this technology to transport their shoppers on to a waterslide, entertaining the customer with a 360- degree virtual reality experience whilst in reality still being in the Topshop flagship store. In contrast, the technology has had a huge impact on interior and furniture retailers, giving them the ability to visually communicate with the consumer better. Brands, for example John Lewis and Ikea are creating virtual rooms in which you can pick up the furniture to view every side of the room, change the colours, alter the wallpaper and even change the time of day to see how the products look in different lights (Spencer, 2016). The technology supports the consumer in the interior design process, helping them make final decisions by being immersed in a virtual environment to physically see how the design works.

Fig 22 ‘How virtual reality is changing the world’ by Patrick Demarchelier

Smart Mirrors Smart mirrors are one of the biggest talking points around technology that will shape the in-store experience in the future. Within a changing room, the technology implemented within the mirror is able to detect what items of clothing the customer has brought in. Overlayed on the mirror, all sorts of information regarding the product like: price, size, availability, alternate colours and similar items are displayed. [Follow Connor’s experience using the technology where he expressed his belief that it ‘Completely revolutionises customer experience ‘ (Appendix 2.7)]. This is due to the fact that the mirror provides the customer with full control, as all the information they need is in one place as well as offering the ability to browse other items that they might want to style it with. The development of this

technology within retail shows consideration towards the change in consumer attitude and behaviour. It’s an attempt to accommodate to the people who like to have full control over their shopping experience, as they know what they like, how and when they would like to experience it. ‘All these systems should talk to each other. That is one of the biggest problems that you see with in-store technology today. It’s all disconnected’ (Kansara, 2017). The mirrors installed in Farfetch, really pioneer the landscape, as they do just that. The smart mirrors don’t just interact with the customer, they also talk to the checkout, and the website, providing that all important seamless experience. 37

TO RECAP... Leisure spending has increased as millenials prioritise experiences such as eating out. The consumerâ&#x20AC;&#x2122;s behaviour leads towards a desire for socialising with friends.

Consumers are demanding, they have ultra convenient expectations. E-commerce adhears to these habits, personalising the consumerâ&#x20AC;&#x2122;s shopping experience.

High street stores are slow to adapt to change. We live in a global society in which we have the same stores on every high street. Shopping doesnâ&#x20AC;&#x2122;t really feel special anymore.

The fact is we live in a world that is connected by technology, the consumerâ&#x20AC;&#x2122;s busy lives blurs between the virtual and physical. Advancements in technology has the potential to improve the users shopping experience. Most brands are not currently acknowledging this, stuck in their old traditional ways.

SO... 39

THE

IDEA IDEA

THE ROLE OF THE STORE; EXPERIENTIAL PLATFORM FOR ASOS, SEAMLESSLY CONNECTED TO THEIR ONLINE PRESENCE 41

CHAPTER 7 THE PROBLEM ‘Fundamentally there should be no barriers to getting that new outfit’ (ASOS plc, 2017). This notion is core and has stayed at the forefront of my mind throughout the development stages of the Big Idea, putting the consumer at the heart of it. After carrying out a broad range of research, my insights have led me to gain a wide scope into spending habits and shopping preferences among millennials. There being a large variety of journeys that a consumer can take from consideration to the point of purchase. Recent research has found that millennials spend on average up to four hours a day on the internet through mobile devices (Statista,2018). During this time, they are exposed to endless amounts of information inspiring their fashion choices before they’ve even made the decision to shop. When and where someone chooses to make that ‘purchase’ depends on the personal preferences of the individual. But, as we have seen with millennials, their ability to switch back and forth between the physical and virtual world means this final purchase decision can also change from one day to the next, depending on what the most convenient option is at that moment.

On the whole shoppers see the online and physical markets as two separate platforms, both identified with flaws expressed by consumers (Appendix 2.2), this led me to my big idea. After filtering my research and insights, and carrying out a range of strategies to test and develop my ideas that are transferred in to my final concept (Appendix 4), the primary question is;

How can we connect the online and physical worlds to create one seamless experience? One that will suit the consumers’ needs and wants, whether Millennials are preferring to spend more of their time in social situations and are being they are at home or in-store, and engage influenced heavily by the views of friends and them in a social way that adds to their overall social status and happiness. people they like to follow on-line. 42

‘We’re Fundamentally Changing The Way Our Customers Shop. We Believe There Should Be No Barriers To Getting That New Outfit, Whoever And Wherever You Are, So We’re Constantly Revamping Our Technology, Warehousing And Delivery Services In Order To Make Shopping ASOS The Best Experience Possible.’ (ASOS plc, 2018)

Fig 23 ‘I shop therefore i am’ by Barbara Kruger

Why Asos? ASOS is one of the biggest online retailers with a total of £698.2 Million sales made in the uk, 16% up from the previous year (ASOS annual report, 2017) and the perfect brand for an innovative extension in to the physical market (Appendix 3). ASOS use their voice as a platform to inspire young people to ‘look, feel and be their best so they can achieve amazing things’ (ASOS PLC, 2018). Following ASOS’s success, the idea is not to rebrand them but to add an extension that alines with the existing personality and aesthetic. I propose creating an omni-channel experience, inspiring fashion loving twenty somethings, placing innovation at the heart of what they do with the ambition to be top of their competitors. 43

CHAPTER 8 THE BRAND

Fig 24 ’Brand Essence Model’ by Nicky Clarkson

PRODUCTS

NEW

MARKETS

EXISTING

NEW

MARKET PENETRATION STRATEGY

PRODUCT DEVELOPMENT STRATEGY

MARKET DEVELOPMENT STRATEGY

DIVERSIFICATION STRATEGY

Fig 25 ’Ansoff Matrix Model’ by Nicky Clarkson

In reference to Ansoff’s Matrix model, the big idea lies within the market development strategy (See figure 25). Market development is common when brands expand their business by taking existing products to a new market, in order to achieve growth (Posner, 2011). The ASOS brand extension follows this strategy as it involves using their existing product range, that people love. Whilst offering a multiplatform experience, in order to appeal to a wider audience. 46

Work alongside ASOS’ existing brand identity

Inspired by the colours used in Kate Ballis Photography.

Colour pallet

Analysed the brand existing identity and tone of voice so that the extension felt in keeping.

Typography inspiration. I also observed the relationship between colour, text and layering.

Fig 26 ’Design Recipe Inspiration’ by Nicky Clarkson

CHAPTER 9 THE SPACE

Fig 27 ’ASOS Presents Logo’ by Nicky Clarkson

Store Inspiration What I’ve taken from this? • Minimal Asthetic, muted colours and ducky tones. • Specifically inspired by the way marble and brushed velvet can be used within an interior, to create this look. • Restaurant, Flora Dancia creates a social atmosphere through its layout and round shaped seats.

Omar’s Place, London Flora Dancia, Paris

Wes Anderson Inspired ‘Budapest Cafe’

Fig 28 ‘Space moodboard’ by Nicky Clarkson

The Arrivals Pop UP Store

Dior - I Feel Blue Exhibition

Lighting Inspiration What I’ve taken from this? • Petra Collins creates images of ethereal beauty through her use of coloured lighting within her photography. Creating a dazed and dreamlike ambience. • Inspired by how lighting can be used within the store to immerse the consumer within the environment. Chroma Yoga

Fig 29 ’Space-lighting moodboard’ by Nicky Clarkson

Petra collins

HĂ´tel National des Arts et MĂŠtiers, Paris 53

WHAT IS AN ASOS PRESENTS STORE?

An ASOS Presents store is an exhibition of the brands products. Using mannequins dressed in the seasons hot pick, styles and trends to inspire the consumers wardrobe. The added bonus to the space, is that it doesn’t need racks of clothing cluttering the space, creating a clean and tidy store environment, no matter how large the demand is from one day to the next.

the going out outfits on display, it’s clear which section of the space is dedicated to this occasion. The categories can change to suit the seasons, during the warmer months an example of the occasions on offer include:

•Festivals •Summer The space has the potential to be fully automated, without the need of a sales assistant. •Workwear Providing the consumer with complete control •Going out over their own shopping experience, as all the information needed is at the touch of a button. An exciting and dynamic feature in store is created with digital wall displays. These are The space is created with the consumer in used to cast a backdrop to the mannequins mind, taking in to consideration the user and help tell the story of the clothing styles process, and so the mannequins are arranged and their occasions. The intention being to into groups based upon occasions. This way if place the different styles in context and help the shopper is in a rush for example, knowing the consumer visualise how the products being that they would like to pop in briefly to see showcased work within different settings. 54

Fig 30 ’ASOS Presents Store’ by Coner Smith

The future of retail; The store is going to give an experience, something a bit different than just a store, then I think it might draw people into going to shops. (Interview with Dhillan, Appendix 2.3) 56

HOW DOES IT WORK?

BROWSE THE STORE Mannequins are intended to display a single fashion style, not carry the entire range. They need to excite the customer into wanting to investigate the trend further. For example; after conducting trend led research, I discovered a key trend to immerge this summer is the Boilersuit. Therefore this piece will be displayed amongst the summer category, of mannequins. As consumer expressed, in their view, the advantage to physically shopping is to be able to see and feel the products before purchase. The store encourages consumers to touch the items being displayed, to asses material quality and colours. When a consumer sees an item that takes their interest, they point the camera from their mobile device running the store app at the mannequin. This directs them to the product on the ASOS website and enables the customer to scroll through the virtual clothing rack, to view the range of colours and alternate styles available. Along with this the site recommends other products of interest, within that trend.

Fig 31 â&#x20AC;&#x2122;ASOS Presents Storeâ&#x20AC;&#x2122; by Coner Smith

PLACE ITEMS IN VIRTUAL SHOPPING BASKET

The customer selects items of interest as they enjoy the store, which are added to their virtual shopping basket. These items will remain in their basket and are saved there until they are removed or purchased.

Fig 32 ’ASOS Presents Store’ by Coner Smith

GO TO THE VIRTUAL CHANGING ROOM Augmented reality changing rooms are a big talking point around retail. The technology is in place so that consumers now have the ability to virtually try on products, as well as use these reflective, interactive devices as a tablet of information. The â&#x20AC;&#x2DC;magic mirrorsâ&#x20AC;&#x2122; installed in ASOS Presents will do just that. When ready, the customer can try-on items using the virtual mirrors installed around the store. The mirror will read their virtual basket and start their virtual changing room experience. The advanced technology mirrors the users movements, creating a fun and interactive in-store experience, the consumer can scroll through each item in the basket and virtually trying on each item in turn. Along with this, the interactive mirror acts as a giant tablet. Giving consumers the potential to review essential product information and images from ASOS Insiders styling the garments, as well as consumers who have shared their own images wearing ASOS products through the #ASSEENONME hashtag campaign.

ASK YOUR FRIENDS OPINION

The beauty of technology is the way in which its connects the world together. People also appreciate the opinions of others. By utilising these two aspects to support the consumers decision process, their personal experience using the magic mirror is now stored alongside the items in the customers basket. Why not enable the customer to share these items and magic mirror footage with friends or with whoeverâ&#x20AC;&#x2122;s opinion they value most via social media?

BUY-ONLINE

After careful consideration, and receiving feedback from friends, the customer can swipe through their basket and either return the clothing item to the virtual rack or move them to the checkout counter.

6 62

If their profile is set-up properly, there will be no need to select size or even provide a delivery address, their existing account details and ASOS online payment system will be take over here.

Fig 33 ‘Use your Voice’ Refinery 29

Testing my Idea with consumers had positive feedback, highlighting that the space offers somethign unique, makes the space an exciting experience that they would attend with friends (Appendix 4). 64

To Asos The benefit of the store is its flexibility; it only needs to carry enough merchandise for the mannequin displays. This means it can quickly refresh the store content in response to the fastpaced nature of the industry. The digital wall can also be changed to reflect this. With customers seeing and feeling products in store, should greatly reduce return rates back to the retailer. The light touch of the virtual flagship shop, presents opportunity for pop-up stores to be created in existing social venues. No need for sales assistance- less expense for ASOS.

THE BENEFITS OF

THE SPACE To The Customer An immersive experience that isnâ&#x20AC;&#x2122;t only about traditional clothes shopping. Millennials these days are ultra-demanding, expecting the experience to suit their personal needs. The store complies with this. The social aspect of the space, provides the consumer with a relaxed environment in which they can choose to make a decision within their own time. The final purchase can be made whilst having a drink with friends, or even once they have returned home, as their experience is stored within the app. Making the shopping journey, an easy to use experience. 65

“I think the future is going to be like streamlining that need, so that people can have the freedom to choose how and when they want to experience the product that they’re buying.” (Interview with Max; Set designer, Appendix 2.5)

Fig 34 ’She’s Gotta Have it’ by Dazed & Confused magazine

Blending The Platforms To Create One Seamless Experience 68

Staying Connected Adhering to the digital savvy consumer who doesn’t just stick to one shopping platform, they utilise the best of both platforms and switch between the two. As addressed in the previous chapter, the use of technology within retail has increased, shaping the future landscape. In response to my insights, thinking about how the platforms can crossover to create a seamless experience for the consumer has been at the forefront of my mind when testing and developing my big idea to re-imagine the future of shopping.

‘“There is no such thing as a typical customer journey any more,” says Jill Ross, managing director at Accenture’s retail consulting practice. She believes the only true channel in the future of retail is the consumer, rather than the old platform distinctions between shopping in-store or online.’ (Chapman,2017)

Fig 35’ASOS Website’ By Nicky Clarkson

The ASOS shopping app already has more than 10 million active users, being a successful and well established platform (ASOS PLC, 2017). In order to create a seamless experience for the convenience of the consumer, a section of the app will be dedicated to the clothes showcased in-store. Along with this, as the consumer generally browses through ASOS, saving items to their account as they go, the list will be available to view during their in-store visit. If any styles within the saved ilst or shopping basket, are being showcased in-store the day the customer visits, she will receive a notification of the products location, on entry to the shop. 69

CREATIVE CONCEPT

Creating a sense of community Using the brands tone of voice and language to inspire the creative concept (Appendix 4). The brand connects with their consumer through a deep understanding of what evokes a feeling and emotion from people, considering what it actually means to be in your 20s in 2018. Being a core part to what the brand stands for and resonating with its consumers, is the reason for the incorporation in to the creative concept. So that the space feels like an extension of ASOS (Appendix 4), whilst having its own identity. Inspired by the beautiful aesthetic that coloured lighting creates in interior design led me to the idea of using colour as a form of expressing ones emotions. Exploring the connotations of colour in relationship to the meaning it conveys. â&#x20AC;&#x2DC;Researchers found that 90% of snap judgments about products can be based on colour aloneâ&#x20AC;&#x2122; (Satyendra Singh, 2006), the statement reveals the strength of the relationship consumers have to colour. Portraying the meaning we give to certain colours are due to the experiences we are exposed to in life, which is why we create these associations.

How? So, the idea is to use social media data to gather the mood of the city, and reflect these feelings using colour as a form of expression. The lighting creates a relaxed ambience and sense of community, by connecting peoples emotions to an in-store environment. As well as blending the interactions people have on a digital platform with a physical presence. To 70

further understand what the colour portrays, the customers will receive a notifications to explain the relevance and meaning behind it. By making these connections, the hope is that consumers leave the store feeling a sense of belonging through the relations and shared feelings they have with the people around them.

Fig 36 ’ASOS Presents Store’ by Coner Smith

CHAPTER 10 LOGISTICS

WHERE?

Fig 37 Jamie Bochert By Sebastian Faena

The store will be situated on Bethnal Green Road in Shoreditch, London. Shoreditch is a vibrant scene known for its trendy cafĂŠâ&#x20AC;&#x2122;s and bars filled with young creatives. The neighbourhood is filled with colourful street art, edgy art galleries, independent boutiques, and legendary night clubs. Placing the store here means that it is perfectly situated between a social and shopping environment. As well as being in an area known for being popular amongst millenials. Situated in central London the store is easily accessible for shoppers to discover and with great transport links in and around the city,

to easily navigate their way there. Liverpool Street tube station is perfectly located on the Central tube line, a short walk to Shoreditch High Street and a few stops down from Oxford Circus. Being located on the main street as opposed to in a shopping centre means that the venue will be able to stay open outside normal store hours, creating that all important social atmosphere. In the future, ASOS Presents could also open flagships stores in cities such as Manchester, Birmingham and Bristol. As well as having the potential to collaborate with existing social venues and to open a popup store inside. 73

WHO? Fig 38 ‘Undercover’ by Nacho Alegre

THE CONSUMER Adhering to the experience economy in which consumer’s spending has decreased in-store as they seek social experiences in their spare time. ASOS Presents, will comply with these desires, and change peoples perceptions of the role of the store. The immersive, colourful space creates an exciting environment for millenials to socialise, as well as providing that all important Instagram moment for them to 74

share with their followers. Positioned towards fashion and lifestyle conscious females aged ‘20 something’, These consumers can be filtered down, in to two categories, in order to understand who it is that I am specifically targeting. I have defined these two categories, by calling them the ‘Stylist’ and the ‘Wonderer’.

Wakes up 8am

Checks social media first thing

Walks to Uni 9/10am

5pm after uni, either goes to the gym or meets friends for drinkswill have a browse in-store WHILST she is in town

Eats Dinner at 8pm 9pm Online shops and uses social media

Bed. Repeat.

Fig 39 â&#x20AC;&#x2DC;Day in the lifeâ&#x20AC;&#x2122; by NIcky Clarkson

Favourite alcoholic drink? Gin & Tonic.

Favourite TV series? Sex and the city.

What’s in your make-up bag? Anastasia Beverly Hills, Glossier, Morphe, Benefit.

A E D R

MY Favourite fashion brands? ASOS, &otherstories, Shrimps, Charlotte Simons, Gucci.

Who’s in your playlist? Beyonce, Cardi B, Justine Skye, Richy Ahmed.

Fig 40 ‘Stylist Consumer Profile’ by Nicky Clarkson

Who Inspires you? Friends & Female figures such as Angelina Jolie, Beyonce & Hillary Clinton.

What’s in your lunch box? She doesn’t take a lunch box - she’s loves an independant cafe, often orders a salad, or Sushi.

Followers on Instagram? 1354

How often to you post on Instagram? 2-3 times a week at least. She regularly shares fashion and lifestyle post. Who on Instagram influences your fashion style the most? Claire Rose Cliteur, Josefine H.J, Emma-Louise Connolly.

STYLIST The stylist regularly purchases from ASOS, she knows what she likes, and what shapes and styles suit her best. She loves to shop with the brand as she regularly discovers unique items that are an expression of her personality and distinctive style. The added bonus of ASOS is their convenience, that allows the customer to receive next day delivery through the purchase of her premium account, with all of the brands she loves under one umbrella. 77

Favourite fashion brands? Missguided, ASOS, Topshop, Zara, H&M

What’s in your make-up bag? No7, Rimmel London, Urban Decay, Maybelline

Who’s in your playlist? Ed Sheeran, Arctic Monkeys, Khalid, Tom Misch

A E D R MY Favourite alcoholic drink? Pornstar Martini

Favourite TV series? Friends

Fig 41 ‘Wonderer Consumer Profile’ by Nicky Clarkson

Who Inspires you? Friends and family

What’s in your lunch box? Often gets a meal deal- Chicken caesar wrap, crisps and a drink

WONDERER

Followers on Instagram? 653 How often to you post on Instagram? It can vary whilst at uni, as it depends on how much work she has. At least every two weeks in the holidays, as she has more spare time. Who on Instagram influences your fashion style the most? Friends mostly and the discover page

The wonderer is a little less uncertain of her style. She tends to shop online if she is bored in the evening or would like a new outfit for an event in the future, like a night out. However, she finds that she returns a significant amount of what she purchases online as it wasn’t quite what she expected. She likes to shop instore, as she has more luck finding style’s that suit her, as well as being able to see and feel the products. In consequence returning less items than she does online. The Wonderer is looking forward to travelling after University. She is excited at the prospect of living her best, experiencing new places and cultures and being able to share these experiences with her friends and loved ones on Social media. Socialising with friends is her favourite pastime. It’s the company of the people around her that makes the experience so special, not just the appreciation of that physical space.

MARKETING

STRATEGY

â&#x20AC;&#x2DC;People find great value in the particular details of the stories and images that they associate with particular brandsâ&#x20AC;&#x2122; (S. Ratneshwar, David Glen Mick, 2005) 81

CHAPTER 11 ROUTE TO CONSUMER

EARLY MAJORITY

EARLY ADOPTER

Fig 42 ’Diffusion Of Innovation’ By Nicky Clarkson

The Strategy ‘With 51% of it its sales now coming through a mobile device and an e-commerce platform built around the likes of Instagram, ASOS knows a thing or two about being a digital first brand’ (Thomas Hobbs, 2017). Digital marketing is at the core of ASOS. Their communication achieves a balance between mass reach and targeting. The result is, their strategy has built a following of 7 million Instagram followers. My plan is to create an integrated marketing strategy that utilises the consumers engagement on Instagram in order to spread awareness for the opening of the new experiential store. The Strategy considers the 5 C’s of social media, in order to achieve success. The ‘stylist’ consumer will be amongst those 7 million followers. She is loyal to the brand and often likes pictures posted by ASOS due to the nature of the content. Focusing heavily on inspiring your fashion choices, she is therefore, constantly engaging and interacting with the brand. On the Diffusion of Innovation, the ‘Stylist’ is an early adopter. She is always on the lookout for inspiration to influence her wardrobe and is up-to-date with the latest trends and brand activity.

The ‘Wonderer’ consumer isn’t so in touch with ASOS. The nature of the content will need to resonate a feeling within this consumer, generating a personal connection in order to gain her attention and like the brands posts. Therefore, the social interaction they have with the brand is generally limited. She is an early majority, as she tends to buy in to trends after seeing friends or discovering people on Instagram that pull off the styles well first. It is these people that inspire her wardrobe the most. Generally, it is the ‘Stylist’ consumer that inspires the ‘Wonderer’s’ lifestyle and styling choices. After the ‘Stylist’ has pictured and posted their experience on to Instagram, they have a relatable source to follow and the ‘Wonderer’ engages with these posts. Generally, it’s the ‘Stylist’ consumer that inspires the ‘Wonderer’s’ lifestyle and styling choices, as the ‘Stylist’ has pictured and posted their experience on to Instagram, being a relatable source the ‘Wonderer’ engages with these posts.

CHAPTER 12 PRE LAUNCH

Teasers The first stage of the communication strategy will drop hints on social media and primarily focus on the ‘Stylist’, targeting the consumers brand loyalty to create a buzz around the store. Resulting in user generated content and word of mouth in order to reach the wonderer consumer. The proposed marketing plan is to last over a three month period, dropping hints and teaser to create excitement and generate interest with the brands social media activity.

The Lookbook Along with this a Lookbook will be released one week before the opening of the store, on to the ASOS website. In doing so will create a buzz around the launch. This strategy has shown much success in previous years, from brands like Supreme, who’s Lookbook goes live on to their website a few days before the collection is available to the public. This provides people with a visual engagement with the brand, getting the consumers hyped about the products on offer in-store, so much so that the customers are famously known to make YouTube videos reviewing the collection. Therefore being a successful strategy in order to generate conversation and hype around the launch, created by the consumers themselves.

The Campaign Creating awareness for the store is all well and good, with the convenience of the online experience the second stage of the marketing strategy will be in place to build a relationship with the ‘Wonderer’ consumer, in order to retain their interest with the brand and desire to return to store after their initial visit. This will be done through the campaign ‘feel light’. 85

Stage One

Fig 44 ’Instagram teaser stage 1’ By Nicky Clarkson

Instagram Teasers Three months before the official opening of the store, hints will be dropped on social media with connotations to the stores visual aesthetic and tone of voice. At this stage in the process the consumer will not know that ASOS are opening up a physical store and so the idea is to drip feed them information in order to build up excitement and interest within the brand, keeping the consumer on the edge of their seats waiting to see what information ASOS drops next. Stage two of the teasers will be subtle hints that relate directly to the store, releasing the brand extensions name, logo and clues to what they’ll discover inside. 86

Stage Two

Fig 45 ’Instagram teaser Stage 2’ By Nicky Clarkson

THE LOOKBOOK 88

Fig 43 ’LookBook’ By Nicky Clarkson

CHAPTER 13 CAMPAIGN

MARKETING OVERVIEW

BRIEF

To create awareness and excitement for the opening of ASOS’ new store. To be relevant and inspiring enough that the consumers engage with, talk about and share amongst friends. Retain interest and loyalty with ASOS Presents.

AUDIENCE

The consumer is in their 20s, they are creative and passionate about their fashion and lifestyle choices. Beginning adulthood isn’t always the easiest, with many important decisions to make that could impact your future, its fair to say everyone has good days and bad. Social media is used to create a flawless public facade of a life, which can cause individuals to feel isolated. In contrast to this, social media can also have a positive impact amongst the same millenials, being amused, inspired and feeling empowered by the information they consumer on social media platforms

TONE OF

Genuine, honest, inspiring, thought provoking

VOICE MESSAGE

and authentic- In line with ASOS’s language and tone of voice.

‘Together, We Feel Light’, opening up an honest conversation around mental health and addressing the positive impact ,the people around us have on our lives.

Fig 46 ’Marketing Overview’ By Nicky Clarkson

Fig 47 ’Feel Light Campaign’ By Nicky Clarkson

The main focus of the campaign is to build a relationship with the consumer, by creating a social movement that resonates with people and enforces positive perceptions about the brand. Leila Thabet, Director of Content and Engagement at ASOS says “It’s more about delivering a brand message, and helping to drive awareness and engagement” (Thabet, 2017). An important consideration when developing the campaign, was to keep in mind the brands values, as they already have an established identity, the communication strategy should follow suit. 92

Since engaging with the consumer is such an important part of the campaign, it will be launched on Instagram as the primary platform. Social media users share photos and images more than anything else, with 58% of social media users ranking images among the top three types of content that they post (Flowers, 2017). Therefore, launching the campaign on an image sharing platform allows the consumer to be fully engaged with the brands message, as the nature of the site means that they can like, and share the content amongst friends.

Fig 48 ’Feel Light Campaign’ By Nicky Clarkson

40% of millennials say that Instagram is the best way for brands to reach them’ (Richards, 2017) ‘

In order for the message to be reached on a larger scale, it will also be launched on Facebook, who have a UK usage of 72%, and Twitter, who follow with 31%, in 2017. The campaign works across different platforms, with a consistent message and identity, including outdoor media such as billboards. 93

Fig 49 ’Feel Light Campaign’ By Nicky Clarkson

The campaign is called ‘feel light’, inspired by AirBnb’s ‘we accept’ (Appendix 3.2), and creating a connection to the visual aesthetic of the store. The main motivation of the campaign is to create a social movement through a genuine reflection of people’s emotions. With references to the way millennials present themselves on social media not necessarily being a true representation to how they are really feeling.

Firstly, the imagery works by addressing people’s emotions, portraying that as individuals we have a large spectrum. The second part suggests that by sharing these feeling with friends, you may find that you are not alone in this, lifting a weight off one’s shoulders. As well as acknowledging the positive impact people have on our lives. Social interactions and supportive relationships are beneficial to the mental health of individuals (Sacker, 2013).

The result of the campaign is to create an honest and open conversation. Encouraging people to talk about their emotions with one another instead of feeling isolated and disconnected to the people around them. ‘Mental health is something that effects pretty much everyone and its time we get talking about it more’ (Manawer, 2017).

The timing of the campaign works as a promotional tool to stimulate an awareness and conversation around the brand. As we are getting closer to the opening of the new store, we want to specifically gain the attention of the ‘Wanderer’ consumer. As well as implementing the seed in people’s minds that ASOS Presents is the perfect place to socialise with the people we love.

CHAPTER 14 LAUNCH

Laura Harrier

American actress and model. Female figure, uses her platform to speak about social justice. • 284K Instagram Followers • 30.1K Twitter followers

Blogger, covering topics such as well being, anxiety and depression. Uses her social platform to advocate self love. •9,760 Instagram Followers

Karishma Patel

Fashion Blogger, also Published on Cosmopolitan UK • 9,231 Instagram Followers • 882 YouTube Subscribers

The Guest list In order to generate a wider scope of awareness for the launch of the physical store and create hype, I would reach out to a range of bloggers, influencers and creatives inviting them to the launch event. Including a range of publishers; such as Elle Magazine, Evening standard and Drapers. With it being ASOS’ first ever physical store, it is an exciting moment for the brand to showcase what the space has to offer. As well as reaching out to influencers with a large social following to further extend the reach of ASOS Presents. It is also important to consider micro influencers, as studies found that on Instagram micro-influencers which are identified by having 1,000-10,000

Fig 50 Karishma, Yasmin, Laura Instagram

Yasmin Elizabeth

followers have the greatest impact on people (Markley,2016). This is due to the fact that they have a greater value to consumers through the feeling of authenticity, being ordinary people that you can relate with as opposed to celebrities. Guests will be invited to the launch event and will share their experience with their own fans and followers on social media, to create a buzz and wider scope of awareness for the new store concept. Consumers value the opinion of others and are inspired by these content creators, implementing consideration in to the consumer’s mind to visit the platform themselves. 97

Fig 51 ’Competition’ By Nicky Clarkson

The Competition Understanding the importance of the consumer to ASOS, 30 individuals will be invited to join the brand on the night of the grand opening. To be spent with some of their favourite influencers, bloggers, artists and inspiring employees at ASOS. In order to be in with a chance of being at the event, the consumers will need to enter a competition. To do so, they must upload an image to their Instagram account of what or who brings light in to their life. The photos must be captioned ‘I feel light’ @ASOS to be in with a chance to win. Launching the competition, also brings the 98

marketing campaign to life, creating a bigger conversation around the topic and giving meaning and prominence to the message. The exclusivity and limited number of winners will generate a hype for those consumers who yearn to be a part of the event. In turn Increasing the value of the space through a sense of desire. A powerful emotion that turns attraction into consideration. Evoking a strong personal connection with the brand and consumer will urge a need to visit the store (Nash, 2013).

The Opening Night

Fig 52 â&#x20AC;&#x2122;Launch Party Moodboardâ&#x20AC;&#x2122; By Nicky Clarkson

The launch event will be a party to celebrate the opening of ASOS Presents. Beginning the night with Hussain Manawer, 26, a poet and campaigner, who focus on mental health to spread awareness and understanding for the matter. Leading on from that the guests will feel truly immersed in a fun evening showcasing the brands innovative approach to shopping. With first access to the experience and shopping the in-store collection. As well as a cocktail and live performances from Jorja Smith and Stormzy, two inspiring creatives.

The magic mirrors will act as a photo booth. Allowing the customers to take a photo, which can be uploaded straight on to their social media account, through the interactive mirror. Giving the guests the opportunity to capture an image that they can cherish from the night and share with others. 99

AWARENESS Using social media to create a social movement through the marketing campaign, in order to generate conversation and interest within the brand. The launch event will showcase what the space has to offer.

INTEREST Creating valuable content to resonate with people, inspire and empower the millennial consumer through the message, ‘feel light’. The campaign will generate curiosity in to the brand, leading the curious consumer to the social media platforms, online and physical store. Content curated by Bloggers and influencers will generate hype and a buzz around ASOS. The Competition for the consumers will launch on Instagram, allowing them the chance to win a VIP ticket to the launch event alongside their favourite influencers and bloggers.

DESIRE Acting as a countdown, teaser shots making hints towards the space will feature on social media, creating excitement and fulfilling the consumers desire to experience new things in a social environment. The lookbook will be launched, generating hype around ASOS first store, relaying into a need to visit the physical presence.

ACTION Customer visits the store through curiosity of its offering. They have fun, socialise, and shop in a relaxed environment, feeling happy and content, resulting in a purchase.

RETENTION Sharing their experience on their own social media platform, most probably Instagram. Consumers will spread the word about ASOS Presents online and through word of mouth.

Fig 53 ’AIDAR model’ By Nicky Clarkson

Measuring Success To evaluate the success of ASOS’s marketing, visiting customers online, in-store, and sales figures will be a key indicator. As well as the amount that people interact with the campaign on social media. Reviews and articles of ASOS Presents from journalists and bloggers will be a true indicator to the success of the strategy. With the aim to raise awareness, a wide range of press coverage in response to the marketing campaign, will bring footfall to the store and make ASOS Presents triumphant. 100

2018

APRIL Create curiosity =Awarness ASOS Presents

MAY

Generate Conversation = Hype

JUNE Anticipation

Fig 54 ’ Communication Timeline’ By Nicky Clarkson

Launch Dates ‘In June 2017, 33% of younger Millennials (18-27-year-olds) were planning to go to a concert, sporting event or theatre, no doubt reflecting the start of the festival season. They were also expecting to update their summer wardrobe, with 54% planning to buy new clothes.’ (Mintel, 2017). Exploring consumers spending habits, and considering at what time of the year they are more socially active, the Mintel report discovered that people start to spend more on going out in the months

leading up to June, with it being the lead up to summer. Being more eager to go out and experience leisurely activities, such as shopping and drinking with friends, would make this a prime time for the launch night of ASOS Presents and opening. Launching in the event in June, the warmer months, also links back nicely to the marketing campaign ‘I feel light’, with connotations to feeling light in summer though the sunny weather and memories created during the holidays. 101

LONDO DON N EVE EVENTS LON NTS CAL CALEND ENDER ER

MAY 04

Be: FIT London Give your body a boast at this three day celebration of women’s health.

2018 Sony World Photography Awards The worlds most diverse photography awards at Somerset House

Carnaby style Weekender A weekend extravaganza taking place on Carnaby Street full of fun and fashion. Over 50 shops and restaurants will be offering discounts and promotions.

Splice Festival Taking place across the Rich Mix and Hackney Wick’s Stour Space, brings together over 30 international artist working with audiovisual performance.

Royal Wedding Prince Harry and Meghan Markle.

London Nights Take a look at the city after dark through contemporary and historical imagery. from the 19th Century to the present day.

Chelsea in Bloom Chelsea’s annual floral art show. This year’s theme is ‘Summer of Love’.

UNTIL

Another Kind of Life: Photography of the Margins review A themes of the exhibitionsexuality, physical identity, race and marginalisation.

Fig 55 ’Cultural Calendar ’ By Nicky Clarkson

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JUNE 09

Trooping The colour: The queens birthday parade

‘Surface Work’ Show of abstract art by women, a powerful statement to say that women were knocking up some of the best abstractions, not just men.

UNTIL

Joseph Beuys: Utopia at the stag monuments review His work is a display of sculpture, drawing, performance, political activism, and lectures- ‘Its some of the most important art of the twentieth century.

Frida Kohlo: Making herself up The collection is dedicated to the incredible collection of personal artefacts and clothing dedicated to the iconic Mexican, Frida Kahlo.

Farther’s Day

The Lost Vegas Rooftop The Queen of Hoxton’s rooftop garden is transformed in to a Las Vegas set in 2030, after eco-warriors have taken over.

Wimbledon Tennis Championships

JULY 07

Pride in London Parade LGBT march through the heart of London.

UNTIL

Marianna Simnett review Marianna uses her art to send jolts through her viewer. You’re going to flinch and you’re going to squirm.

Skylight A rooftop playground in Tobacco Dock, back for summer. Home to three floors of bars, street food, croquet and petanque.

Lovebox 13th year of Lovebox festival in east London’s Victoria park.

London Collage of Fashion Graduation

London Design Festival Tons of events, spanned over dozens of locations to prove that the city is the capital of deign.

London Fashion Week Festival The latest fashion trends with catwalk shows, pop-up designer shops and expert-led panels.

AUGUST 4

David Bowie Musical Walking Tour Celebrating the Brixton born superstar, through a guided tour of landmarks in his life.

Notting Hill Carnival An epic street party, with a series of floats and series of sound-systems for alfresco dancing.

SEPTEMBER 01

Totally Themes Festival Gracing the banks of the themes. A month long party full of arts festivals, community events, regattas race rivers, foreshore archaeology and environmental activities.

Future Events Utilising the social aspect of ASOS Presents, in the future, there will be regular events that make use of the space. Providing the ultimate in-store ‘experience’ through live DJ sets on Friday evenings, combining shopping with the favourable experience of going out with friends. The space will double up as a ‘pres’ to your weekend, starting it off with a couple of drinks whilst browsing outfits for Saturday night. ASOS will also host events in regard to the cultural calendar. Starting with Pride in London on the 23rd June, the space will dedicate the lighting to celebrate the LGBT community through rainbow colours and a themed event in-store. 25th August will be devoted to Notting Hill carnival, with red and gold lighting and a Caribbean party. And, on the 15th September the space will be dedicated to London Design Festival to celebrate all creatives. 103

TO CONCLUDE

This report has explored the change in consumer spending habits. Which in turn is reducing purchases in physical stores. After extensive research, looking at the effects the experience economy, technology, e-commerce and social media has had on consumer behaviour, my insights led me to the creation of a physical platform that revolutionises the way in which we shop. The store is a timely approach to the changing landscape, providing a social shopping environment, that allows the consumer to shop at their own convenience. This response, in terms of the experience offered, is something that brands should now be looking to offer if they want to stay relevant. 104

It is said that people usually tend to forget what you have said or what you have done for them, but they will remember forever how you made them feel (Yannis Kostarias, 2016) 105