Universal Works Research Report by Olivia Thomas

U N I V E R SA L WO R KS Olivia Louise Thomas N0302640 FASH30001

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C O N T E N TS 1. Introduction 4-7 2. Men Online 8-9 3. Online Video 10-11 4. Red Bull 12-13 5. Vice 14-15 6. Competitors 16-17 7. Consumers 18-19 8. Proposal 20-25 9. References, Illustrations and Bibliography 26-33 10. Appendix 34-47

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I N T R O D U CT I O N Universal Works is a small, independent menswear brand; born and raised in Nottingham with a foothold in one of the creative capitals of the world, London. Positioned within the independent menswear market, an appreciation for classic British heritage and modern streetwear has culminated in a style aesthetic that is confident, yet understated for the everyday man who likes to work and play. Using a combination of passion and wit, the brand considers itself to have soul.

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Fig 1

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According to Andrew Stevens ‘fashion is becoming more important for menswear and men are paying a lot more attention to their clothing’ (Stevens (2012) in Gallagher 2012: online), the market has received increased attention over recent years and fared well during the recession. As the Mintel report, ‘Men’s Fashion Lifestyle’s’ discusses, the male consumer has reacted to the economic downturn in a number of ways, such as cutting back on impulse purchases and opting to buy fewer clothes of higher quality as investment pieces for the future. This is particularly true for the over-45s (Clifford 2012: online) and is a promising outlook for Universal Works.

Fig 2

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As a small, independent brand, Universal

of ways, such as cutting back on impulse

Works recognised the need for an

purchases and opting to buy fewer clothes

e-commerce site and launched its website

of higher quality as investment pieces for

in October 2012. As well as offering a

the future. This is particularly true for the

journal and quirky additions such as

over-45s (Clifford 2012: online) and is a

weather updates, the site holds huge

promising outlook for Universal Works.

potential for the brand to not only engage with their current consumers but increase

Verdict reported that by 2016 the total

their brand awareness, this is confirmed by

expenditure in the Menswear market is

results from our questionnaire, with 84%

set to grow by £1.8bn, returning to pre-

of men asked, saying they had not heard of

recession levels by 2014 and confirming

the brand.

long term opportunity in the sector (Gallagher 2012: online).

This market report will look for ways in which the brand awareness of Universal

The growing menswear sector has become

Works can be increased whilst clearly

a focus for independent stores, retailers and

projecting the narrative of the brand.

industry professionals to tap into. This has encouraged more activity within the sector for example the introduction of menswear fashion week London Collections: Men. As male consumers are faced with a multitude of choices to enhance their style, competition in the menswear market increases. Men are notably more loyal to brands than women, with 53% agreeing they tend to buy from the same retailers (Clifford, 2012: online) and so the need to build trusting relationships to engage with consumers becomes vital. Rob Moss, global marketing director at Mywardrobe.com argues that, ‘the biggest key to our male consumers is convenience’ (Miller 2012: online) reiterating the benefits of shopping online.

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MEN ONLINE The internet has been a catalyst to the growing menswear market and in turn â&#x20AC;&#x2DC;men have emerged as the leading demographic when it comes to shopping onlineâ&#x20AC;&#x2122; (Pellegrin, 2009:129). A report by WGSN shows that 63% of men asked said they felt better served by brands accessible via social media (Clark 2011: online). This shows great opportunity for menswear retailers to engage with consumers not solely through an e-commerce site but by also communicating via commonly used social network sites such as Facebook and Twitter.

Fig 3

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According to a report by WGSN, the difference between male and female consumers online is that for ‘the massmarket male consumer, fashion is not entertainment’ (Miller, L. 2012: online). This influences the loyalty men have towards brands, as Drew Burdon continues to explain that male consumers are much safer in their shopping choices, preferring to purchase staple items from brands they’re familiar with (Burdon (2012) in Miller, L. 2012: online). E-commerce sites must adhere to the lifestyle of the male consumer, as finding common ground encourages feelings of familiarity and suggests shoppers can also be a part of it. A good example of this is Oipolloi, based in Manchester. The website speaks to consumers colloquially and often promotes its Mancunian roots to great effect.

Fig 4

Another differing factor between online gender habits is that men don’t relate to high end fashion models. The authenticity of models is key to the consumer’s perception of the product and the brand. Mario Muttenhaler, Head of Marketing at Mr Porter confirmed this saying, ‘men relate to other men and their style… We consciously feature real men with interesting lives rather than models’ (Muttenhaler, 2011: online). Arguing in a similar vein, John Grant said in The New Marketing Manifesto that, ‘Authenticity is the benchmark against which all brands are now judged’ (Grant (2000) in Breen 2007).

The essence of authenticity is an integral part of Universal Works. The founder David Keyte describes the brand as being, ‘real honest menswear that defies the trends and whims of fashion. The ideas come from a humble blue-collar background but one that knows how to dress well and live well.’ (Keyte 2012, online). In order to increase awareness of the brand and project its values, Universal Works needs to capitalise on the opportunity of engaging with current and new consumers through online platforms as mentioned.

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ONLINE VIDEO A particularly effective way for brands to engage with consumers is through the use of video. ComScore reported in April 2012 that the

As consumers become increasingly

average viewer watched almost 22 hours

interested in the story behind what they

of video in one month alone (ComScore

buy and where they’ve bought it from

(2012) in Sheldon 2012: online) and

(Stylus 2010: online) video content can

YouTube giants receive over 800 million

be tailored to communicate the narrative

unique users visiting the site each month

of the brand. The content is key to the

(YouTube 2012 : online). The results of our

effectiveness of the video; avoiding an

online questionnaire also confirmed this

obvious marketing message and instead

with 76% of respondents saying they watch

providing entertainment for the viewer

videos more than once a day (See Appendix

is far more effective as consumers form

4).

associations with the brand.

As one of the most interactive and fastest

Premium fashion brands in particular are

forms of communication, a host of brands

capitalising on this trend and collaborating

have started to use video to cater for the

with influential taste makers to create

‘4 billion connected consumers willing

blockbuster worthy films. A great

to share branded content’ (Zeidman, A.

example is Chanel No. 5s collaboration

2012). In 2012 a GlobalSpec Marketing

with Australian director Baz Luhrmann,

Trends Survey found that 64% of industrial

featuring Nicole Kidman. Eric de Rugy

companies are increasing their spending

who worked for Chanel at the time said

on video, and 46% now have video content

‘its full length television debut was given a

on their websites (Marketing Maven, 2012:

great fanfare and it worked perfectly at the

online).

cinema’ (Stylus, 2012: online).

Alongside the ability to communicate brand attributes to a larger audience, videos also gives the consumer the opportunity to express themselves by sharing it with others.

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Fig 5

These collaborations are beneficial for both the creator and the brand, carving relationships and enhancing the profile of both parties. Although luxury brands have a large budget to invest in these films, the concept can be translated and adapted to smaller brands such as Universal Works. Subsequent to this research I looked into brands which have successfully integrated branded video content into their marketing strategy.

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RED BULL Red Bull is a prime example of a brand

Red Bull Media House plays host to a

that engages consumers with online video

number of media outlets including a TV

content and proving their worth they were

channel, print magazine and in-house

placed number one in the top 100 brands

record label, to name a few. With a focus

in branded content by Govirals’ Social

on sports, culture and lifestyle they have

Video Equity Report, over taking the likes

learnt to captivate their world of extreme

of Google, Prada and Disney. (Rick, 2012:

sports and adrenalin junkies through

online)

inspiring storytelling. From one energy drink, an empire of compelling content has

The brand successfully delivers engaging

been created and made accessible globally.

content that leaves the consumer itching for more. Striking the right balance between

Using video to share Red Bull’s exclusive

the amount of content they produce and

events gives the consumer an insight into

the length of each film, Red Bull has been

the lifestyle they aspire to be a part of.

highly successful in creating avid followers

Offering a multitude of engaging platforms

without even mentioning their product.

for consumers to interact with, this

James O’Brien argues that Red Bull is a

exclusive content can be accessed however

‘publishing empire that also happens to

and whenever they please.

sell a beverage’ (O’Brien, 2012: online) demonstrating the scope of the firm’s

Although Red Bull undoubtedly spends

marketing efforts.

a vast amount of money on their video content, Universal Works can look to them for inspiration on the coherent style of content and timely releases. Capitalising on the opportunity that online video content can bring, Universal Works can tell its own stories; engaging with consumers and increasing their brand awareness as Red Bull continue to do.

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Fig 6

Fig 7

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VICE Vice is another great example of engaging

As with most sectors, when Vice created its

consumers with video content. Initially

online presence the opportunity that comes

born as a government- funded project,

alongside online video became apparent.

the fanzine began as part of a community-

With the introduction of social media

building welfare programme in Montreal

sites, particularly Youtube, Vice was able to

Canada. However similarly to Red Bull, it is

capitalise on the distribution of its content

building an empire of lifestyle touch points

and reach new consumers.

such as a record label, fashion line and online TV Channel.

Vice offers content that portrays a sense of intimacy and authenticity, engaging

In 2007 the Vice TV channel was born as

consumers with the narrative of their

film director Spike Jonze suggested filming

unusual stories. Dan’l Hewitt, general

the stories they were working on (Llewellyn

manager of AdVice, a division of Vice

Smith, 2011: online). The UK Editor, Andy

Media, explained their relationship with

Capper explains, ‘we present news stories

brands as they use film to engage with the

in a way that hooks our audience into

brand’s consumers in an appropriate way.

subjects they wouldn’t otherwise look into’

Hewitt confirms, ‘we don’t think about

(Capper (2008) in The Independent, 2008:

branded content, we think about telling

online). Keeping in line with the content

stories and making content that relates

of the magazine, the films cover a range of

to brand messages or products’. (Hewitt

topics such as news, fashion, technology,

(2011) in Llewellyn Smith 2011: online)

culture travel and sex. Vice is a great example of a brand which has used video content to its advantage, discovering unusual stories to tell and engaging consumers in their findings. Universal Works can use Vice as inspiration for authentic filming and co-creating with other creatives.

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Fig 8

Fig 9

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C O M P E T I TO R S As a relatively new menswear brand, with a mix of British heritage and streetwear, Universal Works sits amongst a number of menswear brands of the same ilk. When we spoke to David Keyte (founder of Universal Works) he explained that his ‘competitors’ were actually more like friends and the independent menswear brands often help each other wherever possible (See Appendix 3). However with only one store and an e-commerce site still in its first 6 months, Fig 10

the brand needs to do what it can to keep consumers loyal and endeavour to extend its brand awareness. In line with this, it is important to look at the ‘friends’ of the brand and see if they’re engaging with consumers in ways Universal Works is not. Looking at Folk and Our Legacy, each has additional online elements such as a blog or journal, exploring creative talents associated with each brand, such as music, art exhibitions or press pieces. YMC extends its brand presence slightly further by introducing a series of podcasts called Radio Buzzy. Norse Projects also has an online journal/blog however it is focused around the brand and not used as a way to extend its personality.

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Looking to Universal Work’s competitors, there is still much to be done in the independent menswear market in terms of capitalising on their online presence. The time restraints that come alongside small independent brands understandably plays a large part in the curation of their e-commerce sites. Each brand has an obvious style aesthetic but fails to memorably engage with the consumer on any additional lifestyle touch points, the closest being YMC’s podcast. As these brands share such similar design aesthetics it is important that Universal Fig 12

Works starts to stand out from the crowd. Without compromising on the ‘soul’ of the brand, the opportunity for Universal Works to take the lead and extend its brand presence online is vast.

Fig 11

Fig 13

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CONSUMER Universal Works is all about creating

real honest menswear that works for the everyday man and reflects their personality. The mix of British clothing heritage and modern streetwear offers a subtle design diversity for the consumer. The Universal Works man is not defined by age, but by lifestyle. I have suggested three types of consumer profiles, each defined by location and therefore their over-arching lifestyles.

INNER CITY

Attracted to streetwear products with an edge of sophistication The Inner City male often buys staple products from Universal Works but also mixes his style up with trend-driven pieces. Cycling in the city is a daily habit so care is taken over how clothing fits and looks when active.

Fig 14

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SUBURBIA

The Suburban male adheres to classic British tailoring with a very slight edge of comfort in the work place. However, weekends are down-time when Universal Works come into play. Opting for smart tailoring with a more relaxed aesthetic compared to his daily Paul Smith, Universal Works is his go to brand for weekend activity.

Fig 15

COUNT RY FO L K Far from the city but close enough for

a weekend trip, the country folk keep it casual most of the week. Wanting to keep up appearances without pretending to be somebody else, Universal Works strikes the right balance with price and no-fuss menswear. The Country Folk like to invest in product, as time in the city is sparse and investment pieces are the foundations of his wardrobe. Fig 16

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P R O P O SA L It is clear from the research shown that the menswear industry is set to keep growing as more retailers tap into the market and independent brands emerge to cater for the demand in design diversity. The best way to engage with the male consumer is online, and most importantly through the use of branded video content. As seen in the examples of Red Bull and Vice, TV channels and tailored video content can be an effective way to engage consumers and increase brand awareness as social media encourages conversation and content sharing. With fair prices and quality products at the heart of Universal Works, it has the potential to be hugely successful within the menswear sector. With time and money constraints, an online presence is the most convenient way for the brand to increase its presence within the independent menswear market.

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Fig 17

P H AS E ONE As seen on the website, Universal Works

Universal Works can also look to expand

have previously made a short film with

its online ‘journal’. Already since its initial

David Keyte, discussing his history within

creation in October 2012, the journal has

the menswear industry and his fashion

been updated more regularly, keeping

influences. In the context of keeping the

the consumer up to date with the brands

brand honest and authentic, Universal

latest movements. However the journal

Works should initially look to create more

can be improved upon even more so with

of these ‘back stages videos’ for online

additional elements such as suggested films

viewing.

or music as 76.8% of people asked in our questionnaire said they like to watch music

As small independent brands such as

videos online.

Universal Works have such a small team of employees dedicating their time to the production of the garments, collaborating with local film makers and aspiring creatives will make this option feasible for the near future. Co-creation between a brand and creative taste-makers is an adapted strategy borrowed from premium luxury brands as previously mentioned. Using other creative minds to produce engaging video content is a credible option for both parties.

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P H AS E T WO After a period of time, the initial collection of films and back stage videos featured on the journal will build into a library which can then be taken forward to other distribution channels such as YouTube. This will in turn attract a larger, alternative audience to one that may not have previously come across Universal Works before. The use of social media channels also encourages sharing content, again increasing the brand awareness. In Phase Two the criteria for video content will become more attuned to the stylistic qualities of the brand. Creating a series of short films based on simple lifestyle choices, whilst showcasing the clothing in action will appear to the â&#x20AC;&#x2DC;all-agesâ&#x20AC;&#x2122;

Further collaboration can take place at this stage, opting to search for creative talents who are as established as Universal Works in their own right. The aim is to build relationships with local businesses, handing over creative freedom to the artist involved, whilst ensuring the brand image is communicated coherently. It is important that these short videos are engaging with the consumer and communicating the authenticity of the brand, as male consumers relate to real life models. Increasing awareness of the brand will in turn drive sales, as the product is

consumer.

showcased at its best in a realistic environment. For example, a young man cycling home, or fishing at the weekend.

Fig 18

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P H AS E T H R E E Phase Three borrows heavily from the

However, consumers arenâ&#x20AC;&#x2122;t the only

example of Red Bullâ&#x20AC;&#x2122;s exquisite branded

criteria on the guest list; industry insiders

events which are filmed and subsequently

and bloggers will be invited too as they

made readily available online for

often have their own loyal following. The

consumers to watch in their own time.

Universal Works name can be shared with other online communities and in turn

By this point the continual collaborations

extend the reach of Universal Works.

with local creatives will have formed a large following across social media channels as

Universal Works branded events will be the

consumers relate to the Universal Works

final stage of the proposal, culminating in a

lifestyle. The YouTube Channel will be the

stand-alone online TV Channel, engaging

hub of Universal Works video content,

both current and new consumers with

projecting brand values across a collection

inspiring video content.

of short films. The three phases of the proposal work Following on from this and positioning

as a natural progression over time. First,

Universal Works at the forefront of the

the back stage videos will continue to be

independent menswear market, live events

uploaded onto the online journal, next

will be curated and filmed to engage

the library will be large enough to form a

consumers in both real-time activity and

YouTube Channel and finally the resulting

subsequently online. The live events will be

Universal Works TV Channel will produce

in keeping with the brands message and its

accessible and engaging video content of its

witty nature. Bicycle rides, fishing trips and

branded events.

music concerts will all form the calendar of the Universal Works lifestyle.

The proposal is a realistic and feasible projection for the future of Universal

These events give consumers the

Works. Working within the independent

opportunity to interact not only with the

menswear market whilst leading the way

product but with the lifestyle of the brand.

for innovation online, Universal Works

This in turn creates trusting relationships

could truly be Universal.

between the consumer and the brand. Filming the events prolongs the experience and extends to consumers who were not able to attend.

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Fig 19

Fig 20

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I L LU ST R AT I O N S Fig. 1. 2012. Own Images (Photographs) 18 December Fig. 2. Pryce, J. 2012. London Collection: Mens. (online) Another Garcon. Available at: http://anothergarcon.blogspot.co.uk/ [Date Accessed 04/01/2013] Fig. 3. 2012. Real Men. (online) Dandy Portraits Available at: http://dandyportraits.tumblr.com/ [Date Accessed: 08/01/2-13] Fig. 4. 2013. Apple Man. (online) Freaking News Available at: http://www.freakingnews.com/Apple-Mac-Magritte-PaintingPics-73490.asp [Date Accessed: 26/01/2013] Fig 5. 2012. Chanel No. 5. (online) Ad Forum Available at: http://uk.adforum.com/creative-work/ad/playlist/8180/44616/specialluxury-communication/ [Date Accessed: 01/02/2013] Fig 6. 2012. Red Bull Jump. (online) Creative Guerilla Marketing Available at: http://www.creativeguerrillamarketing.com/viralmarketing/red-bull-masterminds-of-new-age-marketing/ [Date Accessed: 05/02/2012] Fig. 7. Cande, S. 2012. Les Des Alpes. (online) Chop MTB Available at: http://www.chopmtb.com/2012/07/11/videos-gallerycrankworx-les-2-alpes-day-2/ [Date Accessed: 05/02/2012] Fig 8. 2011. Mogwai. (online) The Guardian. Available at: http://www.guardian.co.uk/culture/video/2011/oct/04/mogwai-vicevideo [Date Accessed: 29/12/2012] Fig 9. 2008. Vice. (online) Art Observed Available At: http://artobserved.com/2008/08/go-see-vice-magazine-photo-show-2008vice-gallery-new-york-ends-august-31/ [Date Accessed: 04/12/2012] Fig 10. 2011. Norse Project. (online) cstoreconcept. Available at: http://cstoreconcept.blogspot.co.uk/2011_11_01_archive.html [Date Accessed: 05/02/2013] Fig 11. 2012. YMC. (online) Buckets and Spades Available At: http://www.bucketsandspadesblog.com/p/about.html [Date Accessed: 02/02/2013] Fig 12. 2012. Folk Clothing. (online) Weavers Door Available at: http://www.weaversdoor.com/blog/cat/Lookbook/post/FolkSS12/ [Date Accessed: 20/01/2013]

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Fig 13. 2012. YMC. (online) Fashion Beans. Available at: http://www.fashionbeans.com/2012/ymc-clothing-review-collection/ [Date Accessed: 15/01/2013] Fig 14. Pryce, J. 2012. Simeon. (online)100 Beards Available At: http://100beards.tumblr.com/post/30322186234/58-simeon-hearnstreet-london [Date Accessed: 05/02/2013] Fig 15. Pryce, J. 2012. Lee. 68LBS (online) Available at: http://www.leeshephard.co.uk/2012/07/22/100-beards-100-days/ [Date Accessed: 05/02/2013] Fig 16. Sean & Yvette. 2012. Jarome. (Print) Thread, Seek. Issue No. 2 . 18-20 January. P. 22. Fig 17. Heydays, 2009. Anthon B Nilsen 2009. (online) Heydays. Available at: http://heydays.no/2010/anthonbnilsen/ [Date Accessed: 17/01/2013] Fig 18. 2012. David Keyte. (online) Universal Works. Available at: http://www.universalworks.co.uk/journal/ [Date Accessed: 18/10/2012] Fig 19. 2012. Fisherman Style. (online) The Country Fucker. Available at: http://thecountryfucker.tumblr.com/ [Date accessed: 20/12/2012] Fig 20. 2012. Fence. (online) Ruby PR. Available at: http://rubypr.com/blog/page/32/ [Date Accessed: 15/11/2012]

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APPENDIX 1 Te a m M i nut e s : Me e t i n g s a n d i n f or m at i on w e re s h a re d on ou r g roup f a c e b o o k p a g e . T h i s w a s t h e b e s t w ay t o k e e p i n c ont a c t w h e n or g a n i s i n g ou r m e e t i n g s a n d d e l e g at i n g t h e w or k l o a d . We a l s o bu i lt a rou g h s c h e du l e on e x c e l f or t h e w e e k s l e a d i n g up t o ou r pre s e nt at i on .

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APPENDIX 2 Me t h o d o l o g y :

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Methodology: Primary Research: 25/10/2012: Briefing with David Keyte: To begin our project, we had an initial briefing with David Keyte, founder of Universal Works. We discussed the brand, how it came about and his hopes for the future. I specifically wanted to find out his inspirations, how he views Universal Works alongside his competitors and the kinds of technology interfaces that he thinks are most suited to Universal Works as a brand. The discussion was very informative and helped to give us a comprehensive understanding of the brand and its context within the menswear industry. Online Questionnaire: An online questionnaire was completed on survey monkey by 69 participants. The survey was sent out via email and Facebook and so the results may have a bias towards a younger audience. The questionnaire was sent out in order to understand perceptions towards online video content and consumer interaction with brands. We also wanted to find out how many people had heard of Universal Works. Universal Works Research Blog and Pinterest: In order to help our initial research stages, we created a blog. It was primarily used to share examples of videos, film and TV channels which were suitable for case studies and our recommendation. We also used Pinterest to share graphic layouts and brands using the ‘real consumer’ as their model.

18/12/2012 Store Visit: We visited the Universal Works store in London, on Lamb’s Conduit Street. Visiting the store was a revealing way of understanding the brand message as an independent retailer. The location of a store is an integral part of the brand and their consumer. We visited the store mid-week which most likely had an effect on the number of customers present in the store. We also took the opportunity to ask one of the employees a few questions relating to our recommendation proposal. 03/01/2013 Three Online Interviews: After our initial questionnaire we wanted to speak to consumers who had purchased from Universal Works directly. We asked 3 consumers of different ages how they interact with Universal Works, why they purchased from there and which other brands do they interact with regularly. These kinds of questions were useful for our research process but didn’t enable us to draw any outstanding conclusions. Secondary Research: We mostly used online sources and trend reports such as WGSN and Mintel, offering future projections of key trends and consumer analysis. I also used the book,’ Branding the Man: Why Men are the Next Frontier in Fashion Retail’ which was a very insightful read and helped to put the industry in context in a relevant manner.

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APPENDIX 3 2 5 / 1 0 / 2 0 1 2 : In it i a l B r i e f i n g w it h D av i d Ke y t e :

- Started out with 40 garments and if he could sell them to 10 retailers he would continue - s/s and a/w twice a year to independent retailers and small and major boutiques - trade fairs and show rooms - 100 stores by collection - 1 year on his own, joined by partner for another year, then got an accountant. Now they have two more staff. One for website, another for production (looking after the liaison between the manufacturer) - 10-15 manufacturers, design, sample, and show to retailers - first store in LDN (tiny) - plan to open next year - launch of website, 2 weeks ago - 10-100 clients in 7/8 seasons of selling - aware that they’re marketing is lacking. The strategy from the beginning was to get his product on 1 of 10 stores around the world with great websites. Wants his product to be sat next to other respectable brands so others in the industry would see it. - He targeted UK websites first such as: - Oipolloi – a menswear website, run from Manchester, first small store with a great website. Aimed at 30 somethings not 20 somethings. Manc style has spread. - Okimi – failed to get it on, didn’t like showroom but did like the product - Peggs – South England aesthetic, large following across the country - David knew how to get onto retailers shopping list. Value/Look/Price - How to sell volume and make a profit - finding an accessible version of an aesthetic – to have people buy into it. Finding a product that sells and buyers think will fly off the shelves. - buyers don’t necessarily buy brands to sell. They buy to show their brand range is ‘cool’ So they’ll have a brand that sells well but is slightly less cool and then to counter act it, they’ll have something that won’t sell aswel but is really cool - Uw was pitched as a ‘cool’ brand that is commercial. Best of both, makes them look good but also will sell well. Keep buyers buying into collections -- not cheap, not hight street but not high designer. – Affordable for a great mass of guys who want to be stylish - sell large numbers, price driven, nicer pieces sell but less often - 3 brands in a showroom that David wanted to sell alongside are Spencer, Margret Howell, Vanishing. Attract the right retailer because they have an aesthetic synergy

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- sell to retail trade – got to an agent who wil take commission if they sell or they have a sales person in the team. - UW has 5 agents across the world – trying to secure agencies in different territories. Paris, Berlin, NYC, Tokyo, sort of Ldn, small one in copenhagen - attends trade fairs around the world - AGENT / DISTRIBUTOR - an agent sells product and takes commission on it a distributor gets the order and sells to more retailers, bigger player. Makes a larger profit than an agent and is less profitable for the designer but it has a larger reach. - agent in UK, Scandinavia/Sweden, NYC for North America and Canada - distributor in Japan - agent in Belgium that he probably won’t continue with - distributor in Germany, Switzerland and Austria Orders for Korea, Canada, Sweden, and English store at the Seek Trade Show but nothing from the Germans - Japanese store bought from LDN showroom, told distribution partner and then asked UW if they can be their distributor. - less revolution, more evolution - commercial menswear is about 20% of what it could be in womenswear - crazy things won’t sell - understandable menswear, less places to go with it - classic menswear shapes, majority of modern menswear originates from Britain - look at traditional things/menswear - aware of current surroundings - inspiration is everywhere - wealth of experience influences his inspiration David said no to ASOS for 3 seasons but has now said yes. He often has to beg manufacturers to make such small quantities of clothing so booking a retailer like ASOs may be slightly less credible for the brand but it means he can give more work to the manufacturers and then he’ll be able to ask more favours from them for smaller orders when he needs to When ASOS began they were known for ripping off designs and using sweatshops but the business has now developed into a nicer one. UW works will be available from ASOS in Jan for S/S UW are generally anti ‘big players’ want people to be interested in the product and they’re driven by profit margins. - bigger customer base, worse it is for UW/small brands - factories trust David because of experience , always asking favours because they make in such small numbers like 20/30 but when he gets an order from ASOS it’ll be around 100 so it’s better for factories - around 10 factories; Hucknall, Long Eaton, Deli - make with people David has worked with for years before

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- wants to make product here, British brand wanting to make in Britain - lack of clothing manufacturers, the few that are left are very sought after - accessory/knitwear UK - casual jackets – India – worked with them when he was at Maharishi. All men, effectively hand tailored, one man makes one garment which is basically unheard of these days so he wants to stay with them. - womenswear, doesn’t have enough time - Steph (his partner) doesn’t want to do womenswer - men are lazier and more loyal to brands unlike women who shop around and have a lack of loyalty. But not doing womenswear means he is excluding half the world from his product. If he was to do womenswear it would look like menswear - customer, wants to buy more than one - it’s all about the product, if that fails marketing is a myth - getting the product out there to put infront of consumers is priority so that he can sell more. - David likes old mediums like vinyl and print but he thinks is film is the most exciting because it is cheap and accessible - product isn’t aimed at a particular age, they showed their garments to consumers and covered up the face. When asked what age the consumer thought the clothes were aimed at, they all said their own age. Ageless product - Use older ‘non’ models and real people - Stylish product for the wearer, David didn’t want an age limit but should he be aiming it at older consumers 30/40/50 who have the money to spend?? - understanding the motivations of 45+ what’s the tipping point? The large group of money spending, fashion aware consumers is getting older - Store on Conduit St. - Co branding – shoes with Mians a classic Spanish Summer shoe/ bag with Millican UK, helped them find agents/ JShoes. English owned bu a thai company for Spring. Next winter they’re working with Smedley in Derbyshire - Clarks shoes – they think too many season in advance for UW to keep up - Wants to collaborate with New Balance because he likes their shoes, they manufacture in the UK -David wants proper sportswear clothing, nicely designed sportswear - friends at Adidas but they collaborate with the designer giants like Stella and Yoji - Uncover Japanese brand with Nike - UW has a Midland/ Northern aesthetic - They use Cube PR loosely

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- the store is situated on a really cool/cultural street in LDN - They’re competitors: Folk/YMC/Our Legacy/Norse - share the same buyers and stockists in Scandinavia with Our Legacy and Norse - Menswear brands aren’t really enemies, they’re all friends and actually try to help eachother out as much as they can. Share a similar aesthetic. Male brands are complimentary of eachother. Albam are the exception, they’re apparently mean. - The One Off branding company - Present London, Sarkys - Joining Standard (Japan) Womenswear buyer bought it for womeb but David started getting to concerned about the fit of the garments when they were fine as they were. Japan needs to be sized differently. - UW are bigger in Korea than Japan XL and XXL for America XS S and M for Japan/Korea

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APPENDIX 4 Online Questionnaire: How old are you? 18 – 25 78.3% 26 – 35 8.7% 36 – 45 2.9% 46 – 55 7.2% 55+ 2.9% Have you heard of the menswear brand Universal Works? Yes 15.9% No 84.1% (If not please take a look at the website http://www.universalworks.co.uk/.) Does this brand appeal to you? Please specify why. “Yes, because they produce high quality clothing that is not overly priced. Universal Works as a brand is also simply designed which is to my personal taste.” “Yes, looks a little old fashioned and because it shows a farm gate on the homepage I expect a warm thick type of clothing which is appealing especially during Winter months. The image despite being quite a bland image, is made appealing by the colour scheme and is intriguing in it’s nature.” “I like the simplicity its similar to a lot of recent mens fashion like YMC clothing and would fit into shops and boutiques like the goodhood store in London.” “High Quality and simple menswear with subtle but essential detailing.” “Yes this brand appeals to me. It’s a subtle brand, good quality, timeless designs and good value for money.” “No because it is a unstimulating website.” How do you interact with brands? Facebook 50.7% Twitter 23.2% Youtube 20.3% Pinterest 11.6% Events 14.5% Product Testing 7.5% None 33.3% Other 10.1%

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How often do you watch online videos? More than once a day 53.3% Once a day 18.3% Once a week 10.1% Once a month 13.0% Not at all 4.3% Please select one or more of the following genres of videos that you like to watch? Documentary 60.9% Music 76.8% Home-made 29.0% Events 26.1% Fashion 13.0% Live-streaming 37.7% Bloggers 13.0% Other 14.5% What kind of brand related events are you interested in? Music 60.9% Sport 72.5% Fashion 31.9% Experimental 7.2% Other 4.3% If an e-commerce brand were to create an additional online tv channel, what videos would you like to watch and share? Behind the scenes 50.7% Brand events 30.4% Real life stories 37.7% Exclusive performances 31.9% Interviews 47.8% Competitors 24.6% Collaborations 23.2% Other 7.2%

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APPENDIX 5 Research blog: http://uworksresearch.blogspot.co.uk/ and Pinterest Page: http://pinterest.com/lebthondy/

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APPENDIX 6 18/01/2013 Store Visit:

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APPENDIX 7 Online Interviews: Initial Message:: We are carrying out a research report at Nottingham Trent University as part of the BA Fashion Communication and Promotion course. The report looks at the menswear brand Universal Works, and how they can expand the brand awareness. In the survey you took, you answered yes to purchasing an item from Universal Works. As a direct consumer, we’d like to ask you a few more questions. Any information shared will be treated as confidential and used solely for the benefit of this report. The information obtained will not be used for any other purpose and will be destroyed on completion. If you’re happy to take part, please see the questions below. Thank you, The Universal Works Team

03/01/2013: Alex Almond via Facebook Age: 21 1) What made you purchase from Universal Works? I like the simplicity of the product- it’s got an edgy kind of feel to it without being in your face. It’s easy to wear with lots of different things, and quite laid back. 2) Which brands do you most often purchase from? American apparel, and quite a few random online brands. Hype clothing is pretty cool. I shop a lot of outlets like End Clothing. 3) Do you interact with UW online? Please specify why/why not. I don’t, I wasn’t aware they did stuff online… 4) What (other) brands do you interact with online and why? I follow a lot of blogs like Selectism cause they have trend up dates, and they that then have links to the brands I like to buy from. The online brands obviously do a lot on facebook as that is their prime source to get people to know about it. 5) Do you prefer brands that have a strong online presence? I think it’s easier to learn and get to know a brand if they have a strong online presence. I buy most of my wardrobe online. If a brand posts a new product or there’s a street style image of someone wearing something I like then I’ll buy it. I can’t be arsed with shopping in stores it takes up too much of my time.

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03/01/2012: Tom Reid via Facebook 29 1) What made you purchase from Universal Works? A friend from work had an amazing blazer from the place, so thought I should check it out. I work pretty close to Lambs Conduit Street as well so popped in in my lunch break. It’s a cool store actually, good price range for stylish clothes. 2) Which brands do you most often purchase from? Err I find myself in Selfridges quite a lot cause they have some nice random brands, like APC and Oliver Spencer. Barbour is my absolute go to for coats. 3) Do you interact with UW online? Please specify why/why not. Not as of yet. 4) What (other) brands do you interact with online and why? Follow a couple on Facebook, cause it’s fast, easy and interesting. 5) Do you prefer brands that have a strong online presence? Never really thought about it to be honest, I do live on Facebook so ye if there’s a brand I like I’ll follow, if that’s what you mean.

03/01/2012: Pete Beale via e-mail 48 1) What made you purchase from Universal Works? Their style seems to be aligned with my particular taste, it’s got a sort of old fashioned work aesthetic to it that I like. I also like brands that not everyone knows about, something a bit different. 2) Which brands do you most often purchase from? Paul Smith 3) Do you interact with UW online? Please specify why/why not. I have looked at their website, yes. 4) What (other) brands do you interact with online and why? I have occasionally bought online, but not very often as I prefer shopping. I like to try something on there and then. 5) Do you prefer brands that have a strong online presence? It’s not that important to me. If brands have interesting features on their websites I enjoy reading them other than that it’s not necessary.

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APPENDIX 8 Tutorial Record Sheets:

Date: 25/10/2012 Work to bring/prepare for session: question for David Keytes about the brief and brand what influences his designs who does he target why does he want our help what does he think he can improve on Learning issues to discuss in session: Ensure we understand the brief as a group and have a comprehensive understanding of the brand and David’s desicions Feedback from session: See Notes from David - general questions answered about the brand, what he expects from us, what he’d like Really interesting to hear David discuss the origins of the brand and the choices he has made Tasks for next session: any questions about portfolio Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student) Date: 01/11/2012 Work to bring/prepare for session: Questions for Tim about portfolio requirements and the extent of the recommendation Learning issues to discuss in session: How should the portfolio be laid out Confirm it’s not printed How to meet David’s requirements but answer the FCP brief Feedback from session: Layout of portfolio Sharing work load Discussed approach to time line for work and priorities for research Tasks for next session: Questions for Tim re group work Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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Date: 22/11/2012 Work to bring/prepare for session: Concerns or questions, think about time schedule Learning issues to discuss in session: What needs to be included in the interim presentation confirm how long it should be Feedback from session: Interim tutor presentation: - present the middle journey, an update, your findings so far - best opportunity to ask for help - be strategic, great feedback opportunity - Under pining research, market, brand, research, - this is the opportunity that I see and these are the recommendations to take forward because of the research and what Iâ&#x20AC;&#x2122;ve foundâ&#x20AC;Ś Tasks for next session: - Produce a team timeline to hand in to Tim~ - Produce a structure for the portfolio, whatâ&#x20AC;&#x2122;s the focus/the priority? - Interim presentation for David Keyte and Tim Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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Date: 04/12/2012 Work to bring/prepare for session: Interim Presentation Learning issues to discuss in session: Feddback from interim - what we need to do next Feedback from session: great idea but keep it small collaborations are an easier way to get the work done need to give a step by step guide of how U. Works will reach the TV channel, needs a dedicated team make it realistic careful that the ‘bobble hat experience’ isnt naff - needs to be the right kind of consumer how do you leverage the event from the day or night to attract and reach consumers who didnt go to it? Press value Make sure statistics are focused and not too broad Tasks for next session: Continue research over Christmas after taking feedback on board and focus recommendation Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

Date: 24/01/2013 Work to bring/prepare for session: Discuss recommendation, where we’re at now, final questions about portfolio Learning issues to discuss in session: Sharing visuals - is this a problem consumer profiles, how many, different for each person in group? Feedback from session: consumer moodboards how to visualise the brand break down the brand aesthetic and attributes, how do you project the brand ethos/message what’s the consumer – similarities, who are they U works as a lifestyle what does it offer Tasks for next session: n/a Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

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