Anya hindamarch live project by Nicky Clarkson

contents

CONTEXT

BIG IDEA

CREATIVE CONCEPT

EXECUTION

ROUTE TO CONSUMER

REFERENCES

CONTEXT

THE BRAND Anya Hindmarch is a playful British accessories label (Sherman, 2017). After investigating the brand and its products it was concluded that they reflect a sense of nostalgia, humour and creativity throughout the brand, products and innovative runways shows. Anyaâ&#x20AC;&#x2122;s sense of British humour communicates the brands as being a modern British heritage label. Craftsmanship is also a key part of the brand. This is shown through their products and services. For example, the products are made from the finest quality Italian leather and the bespoke store has an in-house workshop, for the customer to see the products being personalised first hand. We identified these aspects as the brands USP, influencing our research moving forward.

Fig. 1 Fig. 2 Fig. 3 Fig. 4

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theCHINESE MARKET

CHINESE PURCHASING To further understand the Chinese consumer and their purchasing habits, a research trip to London was conducted. Talking to Tamara, a sales assistant at Anya Hindmarch, Sloan Street store, improved our understanding of the consumers considerations when investing in luxury accessories (Appendix 2d). The conclusion from this research was that the Chinese consumer ultimately cares above all that the products are made to the highest level of craftsmanship, for example from fine Italian leather. It is also important that the Chinese consumer has an understanding of the brand and its heritage. Anya Hindmarch, being a British heritage brand, means luxury to the Chinese consumer. The research highlighted how important this reflection of luxury is to the consumer if they are to buy in to the brand.

HERITAGE THEN Fig. 6 Fig. 7 Fig. 8 Fig. 9

CHINESE CONSUMERISM An extensive range of primary and secondary research was conducted in order to understand the Chinese market and ultimately, figure out how to ‘enter in an impactful way’. The Chinese population is rising in affluence. ‘Over the course of 2016, total Chinese expenditure rose by 7%, far higher than global average levels of 2.3% for the same year’ (Marketing China, 2017). In order to create brand awareness in China, we recognised the importance of gaining the attention of the consumer and made sure we had an in depth understanding of the people and their relationship with luxury brands. ‘Because of the improving living conditions of the middle-class as well as the growing international awareness, Chinese consumers have become highly brand conscious and the possession of luxury products is seen as a status symbol’ (Consulting, 2016). Therefore, the Chinese consumers have an invested interest in luxury brands. They are brand loyal due to the important role the products they purchase have on their lives.

Fig. 10 Fig. 11

HERITAGE NOW

‘Millennials are the generation that will contribute the most to the luxury market’s growth to account for 50% of the sector by 2024.’ (Halliday, 2018).

Fig. 12

CHINESE MILLENIAL The Chinese millennial consumer is born within the one child policy period. They have been brought up living privilege lives, making them highly aspirational beings with a desire to maintain this quality of life. The average millennial spends an average of 27% of their income on travel. For this reason, they view themselves as a pioneer, seeking untapped experiences in new destinations (Mintel, 2017). These insights highlight a potential gap in the market, to create an experience that taps in to the dreams and aspirations of the Chinese consumer.

EXPERIENCES

DREAM S

Fig. 13

DREAM CENTRE The dream centre in Shanghai is the largest cultural investment project in China. Described on their website as a cultural hub that will inspire a new generation. The creation of the dream centre shows that Shanghai is highlighting the fact that the population has a growing demand for a better quality of life. Tapping in to these characteristics, as it is an essential part of their lives.

Fig. 14 Fig. 15. Fig. 16

PRIMARY RESEARCH In order to connect with the consumer, it is imperative to understand specifically what dreams mean to them. Research was therefore conducted, asking University students what dreams and aspirations they have (Appendix 2k). Asking an open question, allowed for responses that were personal and unique to the individual. There were several similarities across the responses. The most common were; hopes of being successful, having a career that makes good money so they can improve their opportunities in life and travel, to be immersed in new cultures and experiences.

The e-commerce market in china grew 19% last year (Xinhuanet.com, 2017), this growth has created a shift in the experience offered within a retailer’s physical location. Experiential retail has been identified as a major trend. Burberry opened a new flagship store located in Shanhai’s Kerry centre. The store has been designed to offer part event space, part entertainment hub, part store, acting as a dynamic and luxurious new brand environment (Coolidge, 2014). This reflects Burberry’s understanding of the Chinese consumer who wants to be immersed in ’top of the funnel’ experiences. Responding to the consumers’ desires and providing them with a physical platform in which they can be fully submersed in the brands products and values has the ability to create a connection with these empowered consumers. Research also suggests, ‘if retailers can offer an experience that makes the path to purchase more fun, or helps them understand the products more fully, the investment going into creating that experience can more likely turn into sales’ (WGSN, 2016), shinning a light on the value of a physical presence.

MAX ZINSER In an interview with Max Zinser (Appendix 2m) he expressed his opinion that, within set design, the space should be used in order to evoke a feeling or emotional response from the consumer, rather than simply giving them a stage to take a photo. He explained that although Instagram is all so important for the millennial consumer, we are in fact starting to reach this post-Instagram moment in society as people want to feel more fulfilment from the experiences they are exposed to in life. This is due to the fact that, as consumers are ever so digital savvy, most things are able to happen instantaneously at the click of a button. Therefore, people are going back to wanting more from their physical experiences. The insights from this interview influenced our research. Concluding that, if we could discover a way to truly immerse people within Anyaâ&#x20AC;&#x2122;s brand, a strong bond could potentially be made.

Fig. 17 Fig. 18 Fig, 19 Fig. 20

â&#x20AC;&#x153;We are going back to figuring out how people are feeling and how to evoke an emotional response, other than just simply giving them a stage to take a photo.â&#x20AC;? (Zinser, Appendix 2m).

PRIMARY RESEARCH To evoke an emotional response from the consumer, it was essential to discover the feeling and emotions people have to certain textures, sights and smells. Using textures relating to Anya’s products, scents that mimic the candle collection and sights inspired by the responses from the dreaming experiment (Appendix 2j). A multi-sensory experiment was conducted to gauge a deeper understanding of the personal association millennials have with these objects and communicate this in an experience that feels personally relatable (appendix 2l). A business of fashion report concluded that in order ‘to connect with these empowered consumers, fashion companies should think about how to offer experiences that are perceived as unique’ (The business of fashion, 2018).

MULTI SENSORY Anya Hindmarch can take inspiration from brands like Chanel, who created the Mademoiselle Prive exhibition and engaged the senses on an enchanted journey through the origins of Chanel (Appendix 4a). The experience created a deeper understanding and connection with the brand as marketing consultant Andrew Broadbent said ‘The more the senses are stimulated, the more memorable the experience will be, because they activate more of our brain’ (Broadbent, 2015). An extensive analysis of Anya Hindmarch was undertaken to understand how we could utilise the brands existing product range to connect with the consumer. Identifying that the playful brand uses an array of textures across their products and a scent range, highlighting the potential to create a multi-sensory experience. An immersive space that generates a deep understanding of the brand and its products.

TRAVEL IMAGES ILLUSIONS LITERAL DREAMING IMAGERY

travel aspirations, 70'S REFERENCES SURREALISM DREAMWORLD

COFFEE BABY POWDER SUN LOTION

WAKING UP CHILDHOOD MEMORIES PAST HOLIDAYS

COMFORTING FEELING A good quality of life, CONFUSING TEXTURE

FAIX FUR LEATHER WOOL

Fig. 21

BIG IDEA

A multisensory experience that stimulates a connection with Anya Hindmarch; intertwining dreams and the consumers aspirations with the brands heritage.

DECONSTRUCTING THE IDEA The experience is a physical exhibition of Anya’s products and brand values. The narrative creates a connection to the Chinese millennials dreams and aspirations, to evoke an emotional response from the consumer. The immersive experience will engage three of the five senses, to construct a deep understanding of the brand and a more memorable experience. Inspired by Herbal Essences ‘Pleasure Bombs’, an innovative scent smelling experience, which people are fully immersed within the smell by submersing their heads within clear domes (Appendix 4c). The way in which the consumer will engage their senses within each room of ‘Anya Dreams’ will be through scent pods.

CREATIVE CONCEPT

VISUAL INSPIRATION To create an innovative and immersive experience, we looked at set designers and spaces to inspire our design. The overall feel of the imagery was inspired by the research we conducted, in which we asked people what words they associate with dreams (Appendix 2j). Their responses included things such as imagery associated with surrealism and magic.

PHOTOGRAPHY

ARTIST

set design

Space

Miguel Chevailer created a whimsical space in a museum using light to create psychedelic flooring. In contrast, Shona Heaths muted colours connotes a calming and comforting magical space. Both aspects will be incorporated to reflect the dreaming narrative. The space that was created by Selga Scano was an installation in Hyde park in 2015, the arch using light and reflective materials creates a dream world. We were also inspired by the Andy Warhol museum in Lisbon. The architecture of this design creates a journey weaving through the space, an aspect we want to emulate within our experience. Looking at the wider design sectors such as photography and artists to see how they create a sense of surrealism through their work. David LaChappelle’s oversized props and bright bold colour palette, creates a sense of distortion and an unnatural perspective. Similarly, Hattie Stewart’s imaginative and quirky illustrations are emphasised through her vibrant colour palette. These features match up well with Anya’s sense of humour and our dream narrative.

Fig. 22

DESIGN RECIPE

Our design recipe reflects the overall look and feel that we want to create throughout the Anya dreams experience. The imagery to translate a sense of distortion and an unnatural perspective to represent the weird and wonderful dream like world. The illustrations and vibrant colour palette emphasises this further.

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EXECUTION

Fig. 24

ROOM 1 Psychedelic surroundings and a dark starry ceiling infused by Anyaâ&#x20AC;&#x2122;s nostalgic products that emulate imagination and fun.

Using the baby power scent and infusing them into scent pods, inspired by our multi-sensory research where the consumers said that the baby powder scent reminded them of childhood. The scent will emphasise the nostalgic feel and allow the consumer to be immersed visually and through scent.

Fig. 25

Room 1 is the first element of the dream. It is where the consumer will enter the experience, therefore entering the dream narrative. Inspired by literal dreaming inspiration its a weird and whimsical dream powered by child hood imagination.

Using the shag shop textures to deliver a strange and fuzzy feel to engage the consumers sense of touch, emphasising the psychedelic nature of the room.

ROOM 2 Emphasising Anya’s British humour through oversized objects to create a distorted dream like atmosphere. A moving London street view covers the walls and a blue cloudy sky with hanging props above.

Using the sun lotion scent from the Anya smells range infused In the scent pods as this is something the consumers relate to travel.

Fig. 26

Room 2 takes you to London, inspired by the travel inspirations of the Chinese consumer and Anya’s British heritage.

Displaying Anya’s leather products and travel bags throughout the room. The use of leather products and props will engage the consumers sense of touch, delivering the feel of quality and craftsmanship. To emphasise Anya’s craftsmanship and quality there is also a taxi with someone embossing small leather goods inside, bringing a bespoke and personalised element to this experience.

ROOM 3 To make the space comforting the surrounding will be covered in soft and furry textures in muted colours inspired by Shona Heathâ&#x20AC;&#x2122;s photoshoot for Vogue January 2012 issue.

Infusing the scent pods with the Anya Smells coffee scent. The coffee sent inspired the narrative for the room as participants during the multi-sensory experiment said that it reminded them of waking up- the associations with this sent were all positive.

Fig. 27

Our third room, the final part of the narrative. This room is where the consumer is waking up from the dream, placing a giant bed filled with soft textures and therefore creating a positive waking up experience surrounding the consumer in comfort.

Placing Anyaâ&#x20AC;&#x2122;s furry and soft textured products in the room to engage the consumers sense of touch. Creating a positive associate with the waking up experience, immersing the consumers within luxury and so a final feeling of happiness, as they exit Anya Dreams to forever associate with the brand

ROUTE TO CONSUMER

CONSUMER

As previously mentioned our consumer is ambitious, they studied in London which sparked their love for travelling and new experiences. They take pride in their appearance and care about how others perceive them. Purchasing luxury goods as a status symbol and reflection of the great quality of life they live. Growing up in the technological age, millennials are considered obsessed. They use the popular social media platform WeChat to stay connected to their favourite fashion labels, with regular updates of brand and product information. A reflection of the consumers desire to be fully immersed within the brands they purchase from.

Fig. 28 Our consumer falls between the early adopter and the early majority, as her friends look to her for inspiration in fashion and lifestyle choice although she doesnâ&#x20AC;&#x2122;t have a huge following on social media.

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SOCIAL MEDIA

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Leading up to the opening of the ‘Anya Dreams’ experience, Anya Hindmarch will post content through the form of teasers hinting that Anya Hindmarch is travelling to China, across social media platforms. These hints will begin during May 2019 and carry on until the launch of the experience, in August 2019. The Chinese are ‘mobile first, they are glued to their phones and will be viewing content for six or seven hours a day’ (Bonhomme, 2018), making this an essential promotional platform in order to reach the consumer. The teasers will be launched on Instagram. From speaking to Chinese consumers they stated this is their preferred photo sharing app as opposed to the app Nice. Nice is essentially the Chinese equivalent to Instagram and has recently decreased in popularity over the past two years due to the rise of Instagram (Appendix 2b).

Another platform used by the Chinese consumer is WeChat which has over 900 million daily users (Thai, 2018), this popular messaging platform is used as a shopping platform and a form of communication for brands. Through an interview with Fiona we discovered WeChat is how she stays connected with fashion buyers, in which she can purchase luxury items, this shows how the Chinese consumer is constantly connected with brand and products on WeChat. By Sharing ‘Anya Dreams’ content through the existing Anya Hindmarch WeChat account will build a more personal relationships with the consumer. Sending notifications and updates regarding ‘Anya Dreams’ directly to the consumer, creating a personal connection. The benefits of WeChat as oppose to other social media platforms is that the brand has the ability to directly communicate with the consumer.

LAUNCH

WHO'S COMING

Fig. 31 Fig. 32 Fig. 33 The experience will launch in August 2019 to engage with Chinese consumers who studies abroad and travels home for the summer. The experience will be launched with an opening night, exclusively for Kol’s and press, before opening to the general public. Celebrating the opening of Anya Dreams and creating a buzz around the experience in Shanghai. This purpose of the event is to communicate with the digitally engaged consumer, so that KOL’s can share their Anya Dreams experience on social platforms.

WHERE IS IT? The ‘Anya Dreams’ experience will be placed at the Jing’an Kerri Centre. The centre is one of the biggest shopping malls in China, housing a diverse space for a range of designer and mid-market brands. It also holds a number of live performances, fashion shows and festivals. The surrounding area is host to; impressive skyscrapers, upscale hotels and luxury boutiques - the city’s downtown shopping area (WGSN, 2018). Home to one of Burberry’s flagships stores, in which the brand hosted an immersive event in 2015 to celebrate the stores opening. Burberry’s success reflects the suitability of hosting the ‘Anya dreams’ experience within the Kerry centre (Appendix 4b).

Fig. 34 For brands looking to enter the Chinese market, influencers are a key way to reach target consumers (The Business of Fashion, 2018). In china they use KOL’s which are key Opinions Leaders and essentially china’s alternative to influencers. They create a sense of authenticity for their ‘celebrity’ endorsements and can influence consumer preferences and purchases (WGSN, 2018). A handful of KOL’s to our launch event to experience the dream before anyone else and share their experience to their followers. The KOL’s will include the likes of Mr Bag’s who’s collaboration with Givenchy sold out in 12 minutes on Wechat (The Business of Fashion, 2018). Tao Liang aka Mr Bag’s says his “way of delivering messages appeals to readers, so those followers have trust” (The Business of Fashion, 2018). Through analysing who the Chinese consumer interacts with on Instagram we also chose ChiChi Stark and CoCo Li who have a huge following on Instagram.

LIVE STREAMING As part of the launch event live streaming this will be the most effective way to spread the word. Live streaming in China becomes the most popular video format with over 325 million online viewers in total (SEO China Agency, 2018). Inviting KOL’s to live stream the event and connect with the digitally engaged consumer allowed then to experience it. However, with over 200 live streaming platforms it’s important to select the platform that is best suited for Anya Hindamrch.

Fig. 35

MEI PEI The first live streaming app chosen is called Mei Pei. With 30 million monthly active users it has attracted a score of beauty and fashion brands, including L’Oreal who showed success at Cannes film festival 2016, inviting Chinese celebrities who live streamed their attendance (Luxion Media, 2018). The app also has features like Users being able to send online virtual gifts during a live stream, in turn increasing engagement and interaction which makes it ideal for live streaming Anya’s consumer orientated event.

TAO BAO The second app used for the event is Tao Bao an online shopping website which is part of the Alibaba T-mall company (Econsultancy, 2018). T-mall allows a see now buy now service which Anya can use to advertise the event as well as allowing consumers to shop online if they are unable to attend the physical event, a stimulated shopping experience which ultimately increases engagement and spurs purchases. Alibaba Group chief marketing officer Chris Tung said “Taobao has become a platform that they identify with, can pursue their dreams on and demonstrate their passions and even to make friends” (The Drum, 2018). Therefore, TaoBao is the perfect platform to share the event and to ensure better customer services for the consumer to create a positive experience with Anya Hindmarch.

VISUAL MERCHANDISNG

VIRTUAL REALITY

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Fig. 37 Fig. 38 Fig .39

In order to create global brand awareness and connect with Anya’s travelling consumer. Anya Hindmarch will introduce ‘Anya Dreams’ as a visual merchandising concept in Anya’s stores across the globe. Inspired by the creativity within Anya’s previous Visual merchandising. ‘Anya dreams’ takes element from their displays, such as the oversized props seen in their La flagship stores window and their ‘chubby’ visual merchandising for their Sloane street store.

To work alongside the visual merchandising campaign the scent pods that feature within the experience rooms will be placed inside Anya’s Stores. The hanging scent pods are for the consumer to step inside and be immersed in the Anya Smells scent. The scents will correspond with Virtual Reality goggles inside the pods, this is for the consumer to experience the dream exhibition without travelling to Shanghai. Bringing the experience to Anya’s tech savvy travelling consumer and allowing them to look around and interact with the space through technology. Matching up the scents with the rooms narrative we’ve created will stimulate their sense of smell and sight simultaneously. Therefore creating a memory, the consumer will relate to the Anya Smells scent forever. This emerging technology is exciting for the user and creates a positive association and bond with Anya’s brand.

MEASURING SUCCESS

COMPETITORS

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Fig. 41

In terms of thinking about our potential competitors, we looked at luxury brands that have launched experiential marketing events in China. It is important to identify how other luxury vendors have recently created experiential spaces to disturb and create an impact within the Chinese market. The Chanel game centre is an interactive beauty pop-up store where visitors can enjoy both Chanelâ&#x20AC;&#x2122;s products and retro arcade games, a one of a kind beauty meets gaming experience. The gaming aspect of the centre allows guests to immerse themselves in arcade games reminiscent of those found in Tokyo. The event was popular amongst those in China, as it tapped in to their interests and hobbies.

To measure the success of Anya Dreams we will use the Loyalty Loop (appendix 5c) to measure the engagement between the consumer and their brand on social media. In addition, we will see which KOLâ&#x20AC;&#x2122;s talked about the brand and live streamed the experience for their followers. If the experience was a success in Shanghai, Anya Hindmarch could bring out a collection inspired by Anya Dreams. Finally, the brand could take the experience on tour to different cities around China and around the world by changing the narrative to suit the consumer.

References

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Image References

Fig 1. Anya Hindmarch s/s 2018. (2018). [image] Available at: https://www.anyahindmarch.com/en-GB/ss18runway.html [Accessed 16 May 2018]. Fig 2. Anyahindmarch.com. (2015). Anya Hindmarch Service Station. [online] Available at: https://www.anyahindmarch.com/en-GB/the-service-station.html [Accessed 5 May 2018]. Fig 3. The art of craftsmanship. (n.d.). [image] Available at: https://www.anyahindmarch.com [Accessed 21 May 2018]. Fig 4. NNADI, C. (2016). FALL 2016 READY-TO-WEAR Anya Hindmarch. [image] Available at: https://www. vogue.com/fashion-shows/fall-2016-ready-to-wear/anya-hindmarch [Accessed 18 May 2018]. Fig 5. Perceptual Map, 2018 [own image]. Fig 6. Chu, S. (2017). The Modern Chinese Consumer. [online] Wgsn.com. Available at: https://www.wgsn.com/ content/board_viewer/#/70178/page/2 [Accessed 5 May 2018].

Fig 18. Max Zinser Instagram. (2018). [image] Available at: https://www.instagram.com/maxzinser/ [Accessed 3 May 2018]. Fig 19. PHELPS, N. (2018). Raff Simons AW18. [image] Available at: https://www.vogue.com/fashion-shows/ fall-2018-menswear/raf-simons [Accessed 21 May 2018]. Fig 20. Tamburello, K. (2017). Glossier You Store. [image] Available at: https://www.architecturaldigest.com/ story/glossier-unveils-a-fabulous-brick-and-mortar-space [Accessed 14 May 2018]. Fig 21. Multisensory Infographics, 2018 [Own Image] Fig 22. Visual Inspiration Moodboard, 2018 [Own Image] Fig 23. Design Recipe, 2018 [Own Image] Fig 24. Anya Dreams Logo, 2018 [Own, Image] Fig 25. Umar. (2018) Anya Dreams Room One [Own Image] Fig 26. Umar. (2018) Anya Dreams Room Two [Own Image] Fig 27. Umar. (2018) Anya Dreams Room Three [Own Image]

Fig 7. Halliday, S. (2018). Millennials and Chinese shoppers drive luxury, love casual and social media. [image] Available at: https://www.wgsn.com/news/millennials-and-chinese-shoppers-drive-luxury-love-casual-andsocial-media/ [Accessed 12 May 2018]. Fig 8. Halliday, S. (2018). Millennials and Chinese shoppers drive luxury, love casual and social media. [image] Available at: https://www.wgsn.com/news/millennials-and-chinese-shoppers-drive-luxury-love-casual-andsocial-media/ [Accessed 12 May 2018]. Fig 9. NG, E. and Chu, S. (2016). CHALLENGING THE STATUS QUO IN CHINA. [image] Available at: https://www.wgsn.com/content/board_viewer/#/67682/page/1 [Accessed 4 May 2018]. Fig 10. Heritage Then Moodboard, 2018 [Own Image] Fig 11. Heritage Now Moddboard, 2018 [Own Image] Fig 12. CoCo Li Instagram. (2018). [image] Available at: https://www.instagram.com/who.is.coco/?hl=en [Accessed 3 May 2018]. Fig 13. The Dream Centre, Shanghai. (2018). [image] Available at: http://www.shanghaidreamcenter.com [Accessed 10 May 2018]. Fig 14. LIEW, J. (2014). Shanghai Burberry flagship opening. [image] Available at: https://luminnej.blogspot. co.uk/2014/05/burberry-dances-its-way-to-shanghai.html [Accessed 5 May 2018]. Fig 15. Burberry opens Shanghai mega store. (2014). [image] Available at: https://insideretail.asia/2014/04/16/ burberry-opens-shanghai-mega-store/ [Accessed 16 May 2018]. Fig 16. Burberry Store. (2018). [image] Available at: https://pursuitist.com/burberry-opens-flagship-storeshanghai-features-retail-theater-multi-sensory-experiences/ [Accessed 6 May 2018]. Fig 17. Max Zinser Instagram. (2018). [image] Available at: https://www.instagram.com/maxzinser/ [Accessed 3 May 2018].

Fig 28. Consumer Profile, 2018 [Own Image] Fig 29. Rogers Diffusion of Innovation, 2018 [Own Image] Fig 30. Social Media Mock Ups, 2018 [Own Image] Fig 31. Burberry show. (2018). [image] Available at: https://cn.burberry.com/shows-events/ [Accessed 2 May 2018]. Fig 32. Chu, S. (2018). Fosun Foundation. [image] Available at: https://www.wgsn.com/content/board_ viewer/#/52200/page/2 [Accessed 3 May 2018]. Fig 33. MIGUEL CHEVALIERâ&#x20AC;&#x2122;S INSTALLATION AT JING AN KERRY CENTRE IN SHANGHAI. (2017). [image] Available at: https://www.urdesignmag.com/art/2017/02/28/miguel-chevalier-bloom-in-love-2017-jingan-kerry-centre-in-shanghai/ [Accessed 8 May 2018]. Fig 34. Influencers, 2018 [Own Image] Fig 35. Live Streaming Screenshots, 2018 [Own Image] Fig 36. Visual Merchandising, 2018 [Own Image] Fig 37. In-store Scent Pod Mock-up, 2018 [Own Image] Fig 38. Jon Beardsell. (2018) Virtual Reality Visualisation [Own Image] Fig 39. Branded Virtual Reality Headset, 2018 [Own Image] Fig 40. WEI NING, L. (2018). Chanel Game Centre. [image] Available at: https://www.elle.sg/beauty/makeup/ chanel-coco-game-centre-singapore-april-2018-10099220#JI0rwIJgL1bXRx1i.97 [Accessed 5 May 2018]. Fig 41. Loyalty Loop, 2018 [Own Image]

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