provenance vol.1
OLIVIA DAVIES N0449834 fash30001 8763
contents - Introduction - Aims & objectives - research methods - c1. - consumers - C2. - c3. - c4. - c5. - S.w.o.t analysis - c6. - c7. - future
1 2 3 5 9 17 29 39 47 63 65 85 101
Fig. 1. Minter, M. (2004). Barbed, C4 Photography Print
i
ntroduction
“
“
The growth of online sales at such a rate will inevitably reduce the market for traditional shops
Entering an almost fully digital era, mid market level beauty brands and their retailers are struggling more than ever to keep consumers engaged in-store and instead, consumers are choosing to purchase online. “The growth of online sales at such a rate will inevitably reduce the market for traditional shops. By the time that online sales represent 5% or more of domestic retailing then the continued growth of online retailers will occur at the expense of conventional stores�, (Retailresearch.org, 2014). By firstly understanding why and where the shift in consumer behaviour towards consumption has changed, this report aims to outline and articulate why it is now crucial mid market beauty brands create strong identities through the use of innovative experiences, allowing them to compete against the luxury market in order meet new consumer demands. This report is written with the intention of informing and communicating how the luxury market is engaging its consumers in the digital age and how mid market beauty brands can take inspiration from the luxury market as well as the industries surrounding cultural verticals. By understanding the importance of a retail experience before, during and after consumers have entered the retail environment will highlight new opportunities for mid market beauty brands during this heavily disjointed digital age. This will come from researching how the use of immersive, authentic experiences, are being used to their full potential and why brands are now adopting tech innovation, sensory, emotional and memorable experiences within stores in order to invent and maintain lasting relationships with consumers.
1.
aims
& Understand the shift in consumer behaviour that displays demands for new, authentic experiences. Identify a gap in the market for a brand to deliver a new immersive experience both on and offline Increase brand awareness and attract new consumers by submerging the brand into consumer’s everyday lives Create a new, authentic brand experience that connects with consumers on a more personal, emotional level Have the ability to compete against other market level beauty brands
2.
objectives
1. Initial observational research will be conducted to gain a wide understanding of what the beauty retail market is currently like. Observational research will identity any obvious faults or successes and will broaden the understanding of beauty brands. In order to understand why there is a shift in consumer behaviour change that demands new experiences, an online survey with be designed to target a wide range of consumers to gain a general consensus on the subject of retail. More specific consumer interviews will then be conducted once an appropriate consumer target market has been identified. This will narrow the initial insight but also will allow an understanding of specific consumer wants and needs. In order to receive industry expertise on the subject, interviews will be conducted with suitable personal that will share their knowledge and insights in to the beauty retail sector. Five consumers of a like-minded community will then be gathered for a focus group. The purpose of the focus group is to discuss ideas of a new concept for a brand to compete in a gap in the market against other, successful cross-market level competitors.
2. To reinstate the conducted primary research, alongside it will be a variety of secondary research. This will consist of using the Internet to read articles, journals and view regular updates on how the beauty retail sector is advancing in order to attract and engage new consumers in the digital age. Books, journals and newspapers will also assist this.
3.
4.
c1. Role play 5.
Domestic retailing and conventional stores were always enough to satisfy your average consumer’s wants and needs. However, since the rise of the Internet and the invention of online shopping in 1979, consumer opinions towards traditional means of purchasing and retail have changed dramatically. In 2011 Harriet Worsley wrote, ‘ The Internet has had a positive effect on the consumer, empowering them but also making them more demanding. Information and increasing choice means that brands, retailers and the media have to work harder to please an ever more impatient, fashion – savvy public’, (Worsley, 2011. P79). Now, in 2014, a recent article by The Telegraph on the beauty industry stated that ‘ 87% of people are expected to be shopping online and 45% on mobile phones by 2020’(Curtis, 2014). This particular group of, ‘demanding and fashion savvy’ consumers that both Worsley and Curtis are referring to are more commonly known as Generation Y or Millennials.
This generation is the first group of true digital natives aged between 18 and 30 and who have been brought up with technology saturated into their everyday lives. 30% of Millennials on average use four or more technological devices a day with 25% updating their social media at least once a day, (Hoffman, 2014). Nicole, ‘The Virtual Lover’ uses social media platforms at least six times a day. See page 8 for more consumer profile or see appenidix 71 for full consumer interview. Despite being heavily reliant on technology and knowing the ease and simplicity of using e-commerce methods, Millennials as consumers greatly contradict themselves in this respect, more so than in any other part of their lives. This generation loves few things more than using some form of smart device to browse, compare, review, recommend and share information online especially when it comes to brands and products. However, when it comes to
6.
purchasing products, 71% actually do their shopping offline, (Hoffman, 2014). This is because, unlike their younger relatives, Generation Z who are currently being born and brought up in the digital age, Millennials and their older relatives still know and remember an offline world. By adapting and inventing themselves to become consistently switched on and well connected, Millennials have lead the way in becoming impatient, immediacy craving, self-obsessed savvy consumers. They like things to be new and innovative but still yet very personal to them as individuals. When Millennials receive products or experiences that are personal to them, as a generation they love nothing more than to go online and share it with others. Millennials need to share is usually fulfilled on either one or all of their social media platforms, displaying forms of self-expression varying from a heavily edited photo or to an emoji overload tweet.
Fig. 2. Exhale Vogue, (2012). Hidden Universe
7.
nicole
d the
igital lover Nicole represents a tribe of online obsessed consumers. They are digitally influenced by which brands they buy, products they use and what a considered to be the latest trend. This tribe regularly uses social media on a daily basis to share, review and recommend online. No real obvious consideration for whether or not the product is suitable for their personal skincare, beauty requirements but if it’s hot right now, its got to be an instant must have!
8.
Fig. 3. Nicole ‘The Digital Lover’ Consumer Profile. Olivia Davies, Photograph. (2015).
9.
Fig. 4. Amy ‘The Mistress’ Consumer Profile. Olivia Davies, Photograph. (2015).
10.
amy
M
the
11.
istress Amy is representative of the largest consumer group. This like-minded community takes pleasure in reading online blogs and articles but whose needs still require face to face interaction with brands, products and brand representatives. This community seeks experiences and enjoys the opportunities make-up and beauty brands can create. Consumers in this community also consider the products themselves and whether they are appropriate for their personal lifestyles.
Kate
w the
ife ‘The Wife’ is a community of loyal consumers. They seek brands that deliver quality products that meet their personal wants and needs for a specific lifestyle. They tend not to shop around between brands but instead, keep a loyal following to those that they’ve used for a long time. This community is not influenced by strong online presences, as it doesn’t balance their personal offline lifestyles.
12.
Fig. 5. Kate ‘The Wife’ Consumer Profile. Olivia Davies, Photograph. (2015).
13.
Fig. 6. Adult Art Club Fig.6, (2015). Blurred Identity.
However, Millennials are now subject to debate with regards to their integrity in relation to their online lives. In a recent report on Millennials, they describe themselves by saying, “I have a secret identity. I have my Facebook personality and then I have the me that my friends see”, (WGSN, 2012) In another report, one in four say, “I wish I could be more like the person I describe myself as on social media”, (Quoirin, 2014). The desire to invent and live multiple identities both online and offline was recently discussed in an Autumn/ Winter 2014 trend briefing by LSN Global and is described by The Future Laboratory as the ‘The Sharded Self’, (Firth, 2014). ‘The Sharded Self’ identifies how the Internet and social media have affected Millennials ideas and opinions of themselves. The result of this has lead to this generation fracturing their identities amongst society and seeking the need for an elasticated, ‘better’ versioned self. One industry that encourages its consumers to
14.
experiment with their identity is the Gaming industry. Consistent, coherent and continuously intriguing and engaging its consumers, the Gaming industry is renowned for creating a strong sense of empowerment for gamers, encouraging them to feel out of character and embrace a new identity. A new identity gives Millennials the experience to personally alter or customise a better versioned, ideal sense of self whilst inventing an important feeling of anticipation, excitement and lust. This feeling is similar to Millennials lives online and in social media, (McGilvery, 2014). Gaming, according to David Nichols, Author of Brands and Gaming: The Computer Gaming Phenomenon and its Impact on Brands and Businesses, states that, ‘gaming increases confidence and simply just makes gamers feel happier due to the exciting, stimulating immersive opportunities they are offered in the world of gaming’, (Nichols, 2006. P16).
One artist, pushing the boundaries with virtual reality technology whilst also experimenting with the speculations around identity in the digital age, is Mark Farid. After stating ‘every experience we’re having is synthetic’, Mark Farid is looking to render authenticity with his new experimental project, ‘Seeing I’. In 2015, ‘Seeing I’ will be an experiment that examines the accusations towards the Internet and how it is supposedly disembodying identities online as well as revealing whether or not our sense of self in todays society comes from inherent personality or cultural identity. Farid intends to take up residence in a London gallery where he will live, breathe, eat and sleep the life of a complete stranger for twenty-eight days by wearing a VR headset and noise cancelling earphones to fully immerse himself within the virtual experience. The main idea behind this experiment is to demonstrate how the internet and social media has allowed society to create multiple identities online that may not express who we are in a clear, realistic manner nor do they relate to who we actually are in our offline lives.
Farid’s experiment will raise awareness and initiate a debate centralised around the idea that the brain can be under an illusion when living online or as a character in a game. ‘Seeing I’ will address whether or not this can be harmful or dangerous to people or if in the future, humans will find this an easy inhabitance. Once this experiment is complete, it will give scientists a better understanding of how adaptable humans are to new physical identities. It will also offer a greater insight for brands and their retailers to monitor and analyse consumer behaviour changes in various store environments such as virtual reality retailing. Uncovering the effects the Internet has had on the brain and gaining a better understanding of how easy it is for consumers to adapt and immerse themselves into new identities, allows brands and their retailers leverage and opportunity in how they communicate and engage with Millennials.
Fig. 7. Mark Farid, Dazed & Confused, (2014)
Fig. 8. Mark Farid. 28 Days of Virtual Reality, (2014)
15.
Fig. 9. Minter, M. (2013). Hyperrealist Painting
16.
c2. g i m m e, g i m m e 17.
‘‘
‘‘
Generation Yawn
Perhaps this obscure, fragmented behaviour is what led journalist, Bill Borrows to describe Millennials as, “Generation Yawn, a boring, self-obsessed tribe of social media addicted, tablet tapping, law abiding, career obsessed, alcohol avoiding, gym going consumers who don’t know how to enjoy themselves”, (Borrows, 2014). Like Borrows said, Millennials are social media addicts and self obsessed consumers. In terms of modern consumer wants and needs, this generation is extremely interested in having experiences and products that are personal and meaningful to them. ‘ Increasingly, consumers no longer simply buy commodities; instead their consumption habits express who they are and the relationships that are most important to them’, (Kim, Forney and Sullivan, 2007. P24). The shift in consumer behaviour and their purchasing habits has developed due to Millennials being more conscious consumers. They only buy into a brand that offers relationships that express their true beliefs, opinions and identities rather than blurred, sculptured versions. In contrast to this, previous generations bought into commodities as objects that would advertise and flaunt a particular status that others aspired to. According to theorist Karl Marx, this behaviour was ‘obscuring the true economic character of human relationships’, (Marx, 1967).
18.
In reality, these commodities that many believed to be exclusive, became incredibly accessible making them no longer desirable. A good example of this is luxury brand Burberry. Initially the brand was designed to associate itself as a luxury brand for high earning consumers. Then, the brand rapidly became more accessible and commercialised due to numerous faults including incorrect advertising, which lead to Burberry gaining a consumer following that compromised the exclusivity of the brand. “Quite a lot of people thought that Burberry would be worn by the person who mugged them”, (The Money Programme, 2005). Switched on, career obsessed; Millennials have been brought up through a long recession and have unfortunately witnessed redundancy at close hand. This initially seeming negative, fortunately has given Millennials a strong motivation to obtain a better income and have a greater awareness of the value of money in todays economic climate. Ultimately, this means Millennials have an enhanced consciousness about what they spend their money on and what makes them want to spend it. This highlights new demands and desires, as consumers now want to have the ease and ability to interact and fully immerse themselves into tangible experiences. ‘Throughout the last ten years, increased consumer incomes, referred to as ‘The Wealth Effect’ have changed buying behaviour. Consumers are no longer focusing on product or service consumption, but rather seeking experiences’, (Kim, Forney and Sullivan, 2007. P8).
19.
Fig. 10. Minter, M. (2011). Gold Lips & Teeth
Fig. 11. Adult Art Club Fig.11, (2010). Dog Teeth
20.
Marino Fresch, Head of Marketing in the UK at Event Brite said, “Psychological studies have shown that experiences make us happier than possessions”, (Fresch, 2014). Millennials are choosing to buy into brands and purchase products that are more considered and pertinent to their individual needs and lifestyles both on and offline. This relates back to Millennials being immediacy craving; savvy consumers who now want to interact and immerse themselves in new, exciting experiences. Millennials are particularly satisfied when brands offer unique exclusivity and personalisation allowing them to share their experience and become loyal brand advocates. Previously brands relied purely on a marketing agency to create brand awareness, but in today’s society, brands are encouraging their consumers to become dedicated brand advocates. Brands encourage advocacy, as generations such as Millennials and their younger relatives are more likely to believe an honest fellow consumer rather than a marketing agency whose intentions are money focused.
Due to Millennials being natural self-marketers thanks to their strong online presence and mass sharing ability, they often subconsciously promote brands and products on a daily basis as part of their reviewing, recommending and sharing culture. Innovation, taking risks and self-expression are what drives Millennial consumers in the beauty market today. By adapting the consumer loyalty loop and giving opportunity for consumers to immerse themselves into a brand on a daily basis will encourage a loyal consumer following for both new and existing consumers. Enhancing the enjoyment section of the loyalty loop, brands will expect to see an increased advocacy resulting in enhanced sales and profits. However, as well as being excellent self marketers online, Millennials excel themselves as marketers by using traditional, offline marketing techniques such as, ‘word of mouth’, (Postma, 1999). ‘The Wife’ aka Kate, relies entirely on ‘word of mouth’ as being the most honest and reliable particularly when purchasing products pertinent to her lifestyle. For further information on ‘The Wife’, see page 12 for consumer profile and appendix 83 for full interview.
Fig. 12. Harvard Review, (2015). Consumer Loyalty Loop
21.
Fig. 13. Adult Art Club, (2012). Hello There
Fig. 14. Adult Art Company, (2010). Make-Up Smudge
Millennials need for self-expression and loyal, more Gareth Poppleton from the Retail Gazette highlighted key personal relationships with brands and products now lay factors that all brands and their retailers must remember with the experiences they are given. in this confused digital age, “Your customers could have In light of new technology and advances of e-commerce, made a lot of effort to come to your shop. They have paid there is now a much wider scope available for consumers for public transport, walked, or negotiated busy High Street to browse, compare and review brands and products. Due parking – all things that they wouldn’t have had to do with to Millennials being a more money conscious generation, online shopping”, (Poppleton, 2014). This means that their consumer decision journey has also increased. This traditional Bricks and Mortar stores have never before been is has come as a result of a greater, more complex choice so essential in playing host to the experiences Millennials offering that is now available both on and offline which is now want and need. undoubtedly causing brands major issues as brand messages, ‘Consumers are looking for experiences that stimulate elicit visions and ‘points of sale’ can become blurred. ‘The psychological excitement and produce sensory experiences’, challenge of selling to consumers across so many different (Kim, Forney and Sullivan, 2007). touchpoints – mobile, website, in-store or through social Combining surprise and excitement with a sense of nostalgia media – is that brands can become splintered and lose their into an experience is something Millennials will particularly consistency’, (Bennady, 2014). be interested in, as it is likely to form the basis of their Considering the demands and requirements of Millennials opinion and decision about buying into a brand and starting consumer wants and needs for more personal, loyal a relationship. relationships, brands are looking to invent offline events or experiences that reconnect with their consumers on a truer, 22. more honest and personal level.
When talking to Gail Anscomb, International Director of The White Company, Gail stated, “Brands are allowing consumers to recollect similar engagement and excitement through a specific feeling, memory or emotion”, (Anscomb, 2014. See appendix 53, for full interview). To gain an insight into consumer opinions and ideas about retail, a short online survey was conducted which showed that, when Millennials were asked the question, ‘Would you rather shop Online or Offline?’ 76 / 126 answered ‘Offline’.
In the same survey, consumers were asked ‘If retailers offered personal, interactive and memorable experiences in-store, are you more likely to visit them again?’ 105 people answered ‘Yes’ – they are more likely to visit them again and only 19 answered No. If answered ‘Yes’, consumers were asked to explain what would make them return to stores if they offered experiences and nearly all included the element of surprise, exclusivity and in some cases nostalgia in their answer. See appenidx 34 for full survey results.
Fig. 15. Consumer Online Survey Results. Olivia Davies, Infographic. (2015).
23.
Fig. 16. l’Haitienne, A. (2011). Gold Hand
In the luxury beauty market, high-end brands have started to offer their consumers sensory, interactive and immersive experiences. Brooklyn’s high end niche fragrance brand, I Hate Perfume was created by Christopher Brosius with the concept that consumers would visit the minimalist, laboratory designed store and personally customise a variety of scents to create their own perfume. They could then go back and alter their customised scent every time they visited the store. Similarly in 2012, esteemed Fashion and Beauty brand, Dior, updated their Singapore retail environment and created an instore sensory experience. The Dior counter at Iseton Scott showcases a ‘one-on-one’ fragrance consultation area, floating make-up boards and an instore laboratory for testing the skin. The modernised beauty counter allowed consumers to explore and personally customise products.
24.
The concept of personalisation within a retail experience has also been incorporated as part of luxury make-up brand, YSL Beauté’s new retail experience. The brand have embraced wearable technology and are now offering their consumers a personal, one-on-one recorded make-up lesson with the use of a Google Glass eye piece. Consumers are given the recording to take home and watch at their own leisure whilst also been given a list of products the make-up artist has used so that they can purchase any of products they desire either online or instore. Both these experiences are leaving consumers feeling exclusive and excited, making them loyal brand advocates who will want to return to the experience over and over.
Fig. 17. The Telegraph, (2014). YSL & Google Glass
“Placing experiential events offline allows brands to determine how consumers truly evaluate their retail encounters”, (Sands, 2014). However, to initially intrigue and entice consumers instore in the digital age, it is vital brands create a strong online presence and awareness to maintain interest amongst consumers such as Nicole, ‘The Virtual Lover’ who specifically search the Internet for new brands and products, (See Consumer profile on page 8).
Fig. 18. The Womens Room Blog, (2011). CB I Hate Perfume
25.
Fig. 19. Chanel, (2012). Chanel Make-Up Confidential Love Letters
Fig. 20. Chanel, (2012). Chanel Make-Up Confidential Love Letters
In February 2012, luxury beauty brand Chanel had a huge success when they launched their ‘Make Up Confidential’ campaign on social media. It began when Facebook users could post messages of love written by Chanel to send to their loved ones for Valentines Day. The campaign continued to grow and gain interest that Chanel forwarded the campaign to their website for new consumers to see and do the same. The message appeared on the screen with the letters made up of Chanel products. As well as a message, consumers were able to send small emojicons to loved ones that were also made up of products. The campaign encouraged consumers to go offline and visit stores to purchase the special edition products making them feel unique, special and exclusive, as they would be available to purchase instore for a limited time.
26.
27.
Fig. 21. Chanel, (2012). Chanel Make-Up Confidential Love Letters
Fig. 22. Back Stage Make-up, (2010). Blonde Girl With Red Lips
28.
c3. n e w m e, n e w y o u? 29.
sustain your presence through authenticity
‘By having the correct balance of both a strong online brand presence and consumer following, brands and their retailers can now build on generating similar psychological excitement offline and start producing memorable experiences, that look to render authenticity’, (Pine, 2004). Having authenticity gives brands and retailers the opportunity to connect with their consumers on a deeper, more personal level. Inventing a new style of authenticity and originality was discussed in a recent lecture from Paul Phedon from Gung Ho PR when Paul stated, “As a brand, it is vital now that you sustain your presence through authenticity”, (Phendon, 2015).
Before their digital lives, when Millennials were offered something original and authentic first hand, they immediately would have invented strong personal opinions, feelings or memories towards it. When discussing the beauty market and consumer purchasing habits, the three chosen consumer groups interestingly stated that they remember the first piece of make-up they ever wore and the first beauty product they ever bought.
30.
All three consumers said that the reason they remember it so well is because at the time they felt truly excited, nervous and as though they could then express how they really wanted to look. For full consumer interviews see appendix 70.
31.
Fig. 23. Unknown. Black Hands Gold Tips. (2014).
One industry that is effectively targeting Millennials wants and needs by rendering authenticity back into its experiences is the Music Industry. By effectively utilizing engaging experiences that connect with consumers on a personal, more meaningful level, the music industry has always been, and will continue to be, a key influencer within Fashion and Beauty. However, the music industry is currently undergoing developments whereby ‘the difference between how consumers portray, purchase and experience music is becoming transparent’, (Rogers, 2013. P43). This transparency has occurred due to the industries expansion in going digital. Similar to the beauty industry, the advance to an almost fully digital age is broadening availability and creating larger more complex choice offerings that are expanding the consumer decision journey. As part of its expansion in to going digital, it’s key trend drivers such as artists, FKA Twigs and her collaboration with Google Glass and Aphex Twin’s ‘Dark Net’ are just some examples of artists who are supporting the music-meets-tech era and are portraying the exciting, exhilarating future of the industry.
Fig. 24. The Guardian, (2014). Aphex Twin Darknet
Fig. 25. Rap Basement, (2014). A$AP Rocky
Due to the music industries conversion into the digital age, the new, innovative opportunities available are originating through a strong online presence shared amongst a small, intrigued community. Being advocates and self-marketers, Millennials continue to share thoughts and opinions across a range of websites and social media platforms leading to a bigger following and awareness. An interview with A$AP Rocky for Dazed & Confused about his opinions on the Music industry in the digital age led A$AP to say, ‘to be honest, to make it in the music industry these days, you gotta have some type of original style”, (Noakes, 2012). Having a unique, individual and original style entices Millennials and feeds them with excitement, aspiration and exclusivity. Once the online presence and awareness has grown and developed, the opportunities become experiences that are adapted and made tangible to filter into reality and be able to conform as part of consumers routinely led, offline lives.
32.
Fig. 26. Indigo Strikes Back, (2013). Human Technology
33.
Fig. 27. Pitchfork, (2014). FKA Twigs #ThroughGlass
34.
In October 2014 artist FKA Twigs collaborated with Google Glass to create a high concept video, #ThroughGlass. The music-meets-tech video features altered versions of ‘Video Girl’ and ‘Glass & Patron’ from the artist’s debut album. In the video, Twigs is in an empty white walled room, looking a true digital native when wearing and using the wearable device to search Google for inspiration and dance routines of Voguing. Then, out of nowhere, dancers and gymnasts appear and begin to mirror her movements. Despite the video being a short two-minute piece, the collaboration communicates and promotes the advances of technology and how the digital age is starting to progress and collaborate with traditional industry verticals such as music, fashion, beauty and film to connect with Millennials. The collaborative video portrays the main functions of the glasses, showing its user-friendly nature and easy navigation. However, with such an influential artist who is now a key fashion icon in the digital age wearing the device, it highlights the clean, stylish and sophisticated aesthetic of the glasses. This is something we may not have imagined possible from a wearable device just a few years ago. Artists such as FKA Twigs are early adopters and key influencers in exposing the advances of technology and how the on/ offline presence in music is merging and being used in the digital age. The artist’s collaboration with Google Glass expresses the realistic, simple uses of how wearable technology can and will be integrated and utilized as part of our every day lives. Collaborative experiences like #ThroughGlass are formed to raise awareness and generate consumer engagement and enhance sales. By inventing opportunities online in similar ways the music industry is currently practicing and then being able to filter them into an offline experience, brands will be able to initiate a sense of feeling, emotion or memory for their consumers.
35.
Fig. 28. Marilyn Minter, (2006). Glitter Eye
Four years ago, Chanel created a short animated film called ‘Here Comes the Beauty Pack’ which consisted of Chanel products being sculpted together to create Chanel Robots. The video was initially launched online and soon became viral. The main intention of the video was to create a strong online presence, which just simply put the element of ‘fun’ back in to beauty and the luxury market. To celebrate the animations success in going viral, Selfridges displayed enlarged versions of the robots in two windows and smaller versions were made for the Chanel counters instore. Consumers were encouraged to go to the counters and hand pick their favourite shade of lipstick or eye palette off the robots themselves. When interviewing Elizabeth Cowper she underlined Chanel’s Robot campaign in 2011 as their best selling campaign in the past ten years due to its significant amount of consumer engagement both online and offline, (Cowper, 2015. See appendix 36. 59 for full interview).
For consumers such as ‘The Mistress’ aka Amy, creating a concept similar to Chanel’s Robot campaign would generate new opportunities for fun and excitement as part of her shopping experience. Consumers like ‘The Mistress’ wouldn’t just be picking and testing products off a typical counter but instead brands can demonstrate authentic and imaginative ways for visual merchandising. For full consumer interview see appendix 77.
Mid market make-up brand, M.A.C also attempted to generate similar consumer engagement online in October 2014 when the brand launched their ‘MACnificent Me’ social media campaign. The campaign created a huge online identity and expressed global excitement amongst consumers for a chance to win a trip to New York. Despite the campaign creating awareness and engagement online, it never actually expressed any originality or filtered into consumers everyday lives offline. Not only did it fail to demonstrate authenticity, it never actually encouraged consumers to purchase products instore or online. Identifying the necessity of having an appropriate balance of online and offline has been recognised by Boots Cosmetics and Chemist’s area manager, Emma Upton. When interviewing Emma, she stated, “ It is key brands deliver the correct balance of online and offline otherwise consumers will either have little interest and not bring you sales or they will quickly move on to someone who is doing something more exciting”, (Upton, 2014. See full interview in appendix 36).
Fig. 29. The Three Graces, (2011). Chanel Robots
Fig. 30. The Three Graces, (2011). Chanel Robots
37.
Fig. 31. Unknown, (2013). Body Glitter
38.
c4. w h o’ s t h e f a i r e s t o f t h e m a l l? 39.
As referred to as ‘one of the best experiential retailers in the world’ by Richard Glanville CFO of Aurora Fashions (See appendix 45), it came as no surprise that when Selfridges launched, ‘The Beauty Project’ it was a enormous success. In May 2014, the six week long event celebrated and explored the realms of beauty. Hosting numerous instore events and activities derived from its luxury brands and industry experts. For greater information on the event see appendix 93. The Beauty Project’ was a multi-sensory, multi-engaging event that encapsulated mass consumer interest and engagement through the element of surprise and authenticity. With the use of social media and Google hang outs online combined with tangible experiences instore, The Beauty Project was a fully immersive and interactive experience that allowed consumers to watch, share, and delve into almost every aspect of beauty.
Luxury beauty brands have now set high expectations for experiential marketing and retail. Elizabeth Cowper identified that, ‘luxury beauty brands are engaging and empowering their consumers on a daily basis’, (Cowper, 2015. See appendix 59 for full interview). Due to the invention of the Internet and e-commerce availability, there has been an increased change in consumer behaviour. This highlights the Millennial consumers wants and needs for a more personal, memorable experience, and consumers in all levels of the beauty market are now expecting the same opportunities luxury beauty brands are regularly offering their consumers. When interviewing Elizabeth Cowper and Emma Upton, both were able to acknowledge a lack of focus from mid market level beauty brands on delivering experiences to their consumers. Both beauty industry professionals have stated that experiences in beauty retail only seem to be operating in the luxury market, (Cowper, 2015). Without offering something new and surprising like the luxury beauty market is doing, mid market brands will struggle to keep a loyal consumer following. As savvy, ‘right here, right now’ consumers, Millennials will become easily uninterested and venture from brand to brand until they are offered what they desire, (Upton, 2014.) For full interviews see appendix 39 & 59.
40.
Fig. 32. Shiny Toy Guns, (2010). Hot Identity
41.
Fig. 33. Minter, M. (2008). Amoeba
42.
Fig. 34. Brand Positioning. Olivia Davies, Perceptual Map. (2015).
When undergoing observational research around beauty retailers and department stores, a wide range of various consumers were asked whether they felt these brands were high or low cost and whether or not they felt they recieved any experience from that brand.For further details on observational research, see appendix 28. Placing a variety of brands on to a perceptual map that represents price against how good of an experience a brand offers, the results showed that consumers felt they receive better experiences from high priced luxury beauty brands. This is compared to their own mid – low market level brands that are offering them very little or nothing at all in terms of experiences. 43.
t
he big idea
In the beauty industry, Millennials are a generation of risk takers who crave new experiences and embrace individuality. As a generation that rebels against the social norm, they seek brands whose core values and beliefs reflect and understand their own generation’s wants and needs. One brand that identifies and prides itself as being ‘edgy’ and expressive whilst also rebelling against the beauty industries traditional expectations is mid market level brand, Illamasqua. Inspired by masquerade, cabaret and illusion driven from its roots to the dark and illicit 1920s underground Berlin club scene, to a heritage in the manufacture of make-up for film and theatre. Illamasqua looks to produce new identity in the same ways members of the ‘alternative scenes’ have achieved through history and for whom self-expression is paramount with the brands tag line, ‘Make-Up for your alter ego’. The brand look to invent strong brand awareness amongst a busy, already well established industry and are keen to aid Millennials in their search for a brand that will support their journey for individuality and self-expression. Illamasqua will deliver a multi-engaging, multi-sensory, fully immersive campaign that launches their new Spring/ Summer 2015 collection, ‘Provenance’.
44.
The campaign will encompass all aspects and influences behind the collection and will apply online and offline engagement that leads to a main instore event. Consumers will be fully immersed in the retail experience before; during and after purchase Illamasqua and their new collection, ‘Provenance’ will subconsciously become a part of consumer’s everyday lifestyles and daily routines. The campaign and main event will encapsulate a variety of interactive activities, new technologies and tangible, memorable experiences for the consumer. Every event attendee will also receive a reward and exciting incentive to make them return to the brand, encouraging the advocacy and the commitment section of the consumer loyalty loop. (See Fig. 12). The purpose of the campaign is to increase market penetration and express the opportunity and viability of Illamasqua as a brand. Illamasqua will demonstrate how to emerge out of a lack luster mid market and will portray new advances in how to compete with luxury beauty brands. See page 43 for perceptual map and brand positioning.
Fig. 35. Illamasqua, (2011). Human Fundamentalism
45.
Fig. 36. Pendlebury, G. (2012). Novembre Magazine Shoot.
46.
c5. prime & prep 47.
Hailed as the most significant make-up launch in over twenty years, independent, British make-up brand Illamasqua brings truly professional make-up to the High street for the first time. This make-up brand, that empowers people to express their individuality, has been making a scene in London since its launch in November 2008. The product of a heady mix of influences; from its roots in the dark and illicit 1920s Berlin club scene, to a rich heritage in the manufacture of make-up for film and theatre, Illamasqua takes its inspiration from members of the ‘alternative scenes’ for whom self-expression is paramount. Champions of creativity and fighting against injustice wherever we go, our highly-pigmented, long lasting products provide consumers and make-up artists alike with the products and inspiration to ensure they can express themselves, whoever they are and whatever look they want to achieve.
48.
49.
The launch of Illamasqua’s new Spring/ Summer 2015 collection, ‘Provenance’ is inspired by a movement called, ‘The New Pleasant’.
trend drivers
50.
The movement delves into the realms of ‘yesteryear’ with glowing embers of the laidback atmosphere of 1960s poolside. The trend encompasses soothing blues, rich pinks and sultry golds whilst sticking to the highly pigmented, theatrical aesthetic from the brands dark heritage in the 1920s. ‘The New Pleasant’ and the new collection, ‘Provenance’ is influenced by music, fashion and art and their modern opinions towards life in the digital age. As well as taking influence from art, music and fashion, the brand also understands modern consumers, such as, Millennials. Millennials new attitudes towards self-indulgence, sensual spontaneity and alternative approach to risk taking and self-expression, enriches alternative, authentic individuality. This will be recognised within the new collection.
trend consequences The consequences of this trend are that brands now have to reinstate their roots and highlight their viability through the use of personal, meaningful and nostalgic experiences. As the brand refers back to their roots and delivers a more considered and pertinent experience to the consumer, the more honest and true the brand appears.
Impacts of this trend affect consumers such as Amy, ‘The Wife’. A savvy, authenticity craving consumer who embraces the digital age, and its key factors, but is more likely to buy into a brand or concept for an personal lifestyle choice. This consumer strives for an honest relationship amongst mid-market brands, which offer the same standard of experiences as the luxury market offer their consumers.
Fig. 37. ‘The New Pleasant’ Movement. Olivia Davies, Moodboard. (2015).
trend impacts
51.
‘‘
‘‘
a work of art used as a guide to authenticity or quality
Fig. 38. Laurence, L. (2009). Heat Fig.38.
52.
Revisiting and reinforcing a brands heritage within the blurred digital age, allows brands such as Illamasqua to create new, appropriate, authentic experiences. In light of what a new consumer wants and needs for authentic, engaging experiences, Illamasqua have decided to name their new Spring/ Summer 2015 collection, ‘Provenance’. Simply translated, ‘Provenance’ means, ‘a place of origin’ and ‘ownership of a work of art or antique used as a guide to authenticity or quality’. For branding and logo development see appendix 98. ‘Provenance’ aims to inspire consumers and encourages them to explore Illamasqua’s diverse, theatrical heritage as well as the high quality product available. By effectively delivering a clear brand narrative and having consumers choose to buy into this lifestyle, through the use of expressive campaigns such as this one, Illamasqua and its loyal consumer advocates can promote their sense of self together. Recognising this shift in consumer behaviour, Illamasqua and ‘Provenance’ will entice new and existing consumers and encourage them to join the creative, expressive community Illamasqua already offers. This will particularly appeal to consumers such as ‘The Mistress’ aka Amy. Amy takes pleasure in reading blogs and articles but she heavily relies on speaking face to face with brand representatives in order to learn more about the brand and products themselves. See consumer profile on page 10 for more details. The campaign for ‘Provenance’ will attract and engage consumers, whose individual attitudes and opinions coincide with the brands dark roots and sense of illusion. These key elements will be demonstrated within the new collection, its logo and overall visual aesthetic.
53.
Fig. 39. The Darling Guide, (2012). Vintage Flapper
54.
Illamasqua are as creative with their marketing and advertising as they are their make-up. Illamasqua are not afraid of graphics and typography, and the aesthetic designed for ‘Provenance’ is as exciting, bold and impactful as previous collections. Similar to how Millennials enjoy creating multiple identities online, Amye Taylor, the Head of Marketing at Illamasqua, described the importance inventing a personal identity and statement for every collection. ‘Every collection has a world and story of its own. We bring that world to life through every design aspect possible so that our consumers feel as though they have really entered another world and can live and breath it just as they can our own world’, (Taylor, 2015. See Appendix 63 for full interview).
Maintaining the concept of revisiting the brands exotic roots, the typography used to create ‘Provenance’s’ identity reflects that of a typical German 1920s burlesque poster. Adding subtle hints of this seasons colour palette, introduces and incorporates an emotional attachment to the campaign. More information the brands heritage can be found in appendix 96. The psychological and emotional links that colour represents can be used to signal action, influence a mood and cause physiological reactions, (Foster, 2013). See page 50 for ‘The New Pleasant’ trend moodboard and colour palette.
Fig. 40. Adult Art Club, (2011). Who’s looking at you?
Fig. 41. Adult Art Club, (2011). Who’s looking at you?
55.
Another influence behind this collections visual aesthetic is the brands admiration and appreciation for the magic of illusion. ‘Provenance’ will utilise the psychological engagement and mystery that illusion offers by reinventing its own version of the ‘Rorschach Test’, giving consumers the opportunity to explore their own imaginations both online and offline. A traditional ‘Rorschach Test’ or more commonly known as the ‘Ink Blot Test’, was invented in the 1960s and was designed to function as a psychological test that analysed perceptions and examined an individual’s personality, characteristics and emotional functionality. Participants are made to journey into their imagination and express or describe what they think they see from the inkblots on the page in front of them. This particular sense of illusion and visual aesthetic has been used previously amongst various cultural forms including music, television and street art.
56.
57.
Fig. 42. TV! Bitch, (2009).
In 2006 the concept of using a ‘Rorschach Test’ as a visual aesthetic was designed by Creative Director, Vanessa Marzaroli when she created the ‘Gnarls Barkley – Crazy’ music video. The video began showing a blank white piece of paper when suddenly several ink drops were blotted on to the page. The ink bloomed into expressive forms showing dynamic shapes and movement before the introduction of subtle colour was added to form an emotional connection. Marzaroli described the aim of the video by saying, “The goal was to create a world of your own interpretation. In the ink forms, every viewer can and will see something different”, (Hales, 2006). The music video is still regarded today as being one of the most creative due to its clever design and its modern, authentic take on the traditional Rorschach test. The idea that every viewer will see something different will be translated into the overall theme for ‘Provenance’. It will allow the consumer to feel as though the imagery was specifically designed just for them and they will have the ability to personalise their own experience of interpreting the imagery.
Fig. 43. Smith, B. and Wymer, B. (2014). Marco Polo
Fig. 44. Marzaroli, V. (2007). Gnarls Barkley Crazy
58.
Fig. 45. Fairey, S. (2015). OBEY Sticker
Including and prioritising the viewers own interpretation also played a significant role in the creation of Marco Polo’s opening sequence. Ben Smith and Bryce Wymer teamed up with Netflix to create the opening sequence for new television series, ‘Marco Polo’ in December 2014. The duo collaborated to create a dramatic, emotional sequence that underlined the shows themes of greed, betrayal, sexual intrigue and rivalry. The dark narrative behind the sequence was given light through the use of elegant visual metaphors, reflected by the beauty of ink drawn medium, (Channel, 2014). The abstract illusions evolve into violent scenes and introduce viewers to the world of Marco Polo. The opening sequence is the key opinion former for any television or film title as it fills viewers with a particular mood, feeling or emotion with regards to what they are about to see, (Channel, 2014). The concept of the inkblot test has also been recognised in the controversial world of street art. Street artist, Shepard Fairey, creator of the original ‘OBEY Sticker’, has recently uploaded new images of the ‘OBEY Giant’ on to the streets of Berlin. However, although Fairey has not used the concept of the inkblot test as inspiration, the obvious visual links as seen in Fig. 45, can leave viewers with a sense of nostalgia if they are familiar with the visual aesthetic and psychological theories behind the Rorschach test. 59.
Fig. 46. Becker, B. (2008). Black Ink Eye
60.
By re-inventing the Rorschach Test to create engagement, stimulate the imagination and connect with consumers, in similar ways multi-media have, Illamasqua will connect to their own consumers through a specific feeling, memory or emotion. ‘Provenance’s’ version of the test will resemble the brands heritage and use its roots as a visual aid by involving its dramatic historical links to cabaret, burlesque and theatre. When considering the ethical implications behind using the Rorschach test as marketing tool, Illamasqua understand and consider the negative connotations that can be derivative of the test, but their intentions are to use it simply an enticing visual promotion. It will encourage consumers to explore their imagination in a positive, creative manner with consideration to the psychological, emotional attachment of using colour. Consumers will clearly be able to identify Illamasqua’s reasoning of using the Rorschach test and will view the colours used in a positive manner. For further information on colour theories, see appendix 106. Despite visualising the brands historical references throughout the campaign, Illamasqua will maintain its position as a leading beauty brand. This unique style of engagement will captivate Millennials as they will realise they are being offered something new, authentic, yet still very pertinent to their individual wants and needs as a consumer. ‘Provenance’ will effectively communicate its visual theme throughout the entire campaign, engaging the perfect balance of online and offline interaction.
61.
Fig. 47. Ink Blot. Olivia Davies, Design. (2015)
swot strengths
weakness
An established brand worldwide
A unique style of brand that may intimidate introvert consumers
A brand who encourages people to be themselves or their alter ego
Couldn’t be feasible for every new collection launch
Engages many new and existing consumers due to locations of campaign events
The campaign may cause ethical implications Would only attract select consumers who like highly pigmented products and not the subtle, natural look
Recreates authenticity and originality in the digital age Some consumers wont understand or be aware of the history of the visual theme
Delivers multi-engaging, multi-sensory experience
Consumers may not be interested in the campaign as it doesn’t resolve any immediately obvious issues in the world
62.
t.
opportunity threats Can express the brands identity, values and ethos making it clear to consumers what it is they are buying into
The digital age – will it completely take over and consumers will no longer want or need these types of campaigns and events?
Will intrigue and excite up and coming generations – they possess greater desires to experience new things in the offline world as a form of escapism from their cluttered, digital lives
Economic climate – could this affect the cost of creating a big campaign or event? Less consumers shopping on the high street? Bad press about the connotations of using a Rorschach Test as a brands visual aesthetic? Consumers becoming afraid to express themselves through make-up due to media pressure and unrealistic perceptions of beauty?
63.
Fig. 48. Powel, K. (2011). Golden Princess
64.
c6. bare all 65.
In order for the brand to create strong awareness and fully immerse itself into consumers every day lives, the campaign for ‘Provenance’ will initially launch offline. The campaign will saturate itself into cities across the UK in which it has stores or concessions. This includes major cities such as London, Leeds and Liverpool. ‘Provenance’ will promote brand awareness by advertising the new collection offline involving printed advertisements upon billboards, bus stops, and store window, whilst having a presence in specific printed editorials. Illamasqua have previously associated themselves within creative magazines such as; V, i-D and Schön! as they all deliver creative collaborations and showcase a dynamic and diverse array of ideas and talent. The advertisements placed around London will be slightly different to those in other cities, as they will obtain information regarding a date, time and location for an official launch event for the collection at the flagship store on Beak Street, London. Advertisements in other cities will not display details of the launch event, but instead will promote Illamasqua’s website and social media platforms where information for the event can be found.
Fig. 49. ‘Provenance’ Campaign Poster. Olivia Davies, Mock Up. (2015).
66.
Fig. 50. ‘Provenance’ The North Advertisement. Olivia Davies, Mock Up. (2015).
Fig. 51. ‘Provenance’ The South Advertisement. Olivia Davies, Mock Up. (2015).
67.
South
Fig. 52. ‘The South’ Advertisement. Olivia Davies, Mock Up. (2015).
68.
Fig. 53. ‘The South’ Advertisement. Olivia Davies, Mock Up. (2015).
69.
north
Fig. 54. ‘The North’ Advertisement. Olivia Davies, Mock Up. (2015).
70.
Fig. 55. ‘The North’ Advertisement. Olivia Davies, Mock Up. (2015).
71.
stores
Fig. 56. Store Windows. Olivia Davies, Mock Up. (2015).
72.
Fig. 57. Store Windows. Olivia Davies, Mock Up. (2015).
73.
Fig. 58. Overground Station Advertisement. Olivia Davies, Mock Up. (2015).
74.
As the advertisements for ‘Provenance’ do not resemble a typical beauty brands aesthetic, consumers will view the advertisements placed around the city and begin to question their purpose. Feeling intrigued and fascinated, consumers will become eager to learn more about the brand, initiating strong brand awareness and presence. Despite consumers becoming engaged in the campaign offline, it will create as much discussion and excitement online. This relates back to the theories and purpose of the Rorschach test by giving people the opportunity to explore their imagination
As well as this, it reinstates the importance of every viewer seeing the image differently in order to form a personal opinion. Once enough conversation and mystery has been created, the campaign will now maintain the ability to fully immerse itself as part of consumer’s daily routines. ’Provenance’ will transform a variety of London’s busiest underground tube stations by giving each station a personal, ‘Provenance’ make over.
75.
With the use of projection mapping technology and commissioning some of London’s underground artists, ‘Provenance’ will create the stations in to a multi-engaging, multi-sensory, immersive experience. The brand will project re-invented versions of various inkblot shapes down the centre of the stations escalators. A total of five underground stations that all interlink on the train lines will be used to host the campaign. The first three include Oxford Circus, Piccadilly Circus and Leicester Square. Being the surrounding stations of the flagship store and being three of the busiest stations in London, thousands of residents and tourists use them on a daily basis creating the perfect place for captivating and attracting as many new and existing consumers as possible. The following two stations that will host the campaign are Camden Town and Notting Hill Gate. Similar to the previous stations, they are regularly in use but they also have a contemporary, fashionable and expressive association to alternative cultures.
These areas of London reflect the personality of the brand and make them suitable locations to deliver such an elaborate campaign, as consumers based in these particular areas of London are a like-minded, creative community who regularly crave authenticity and individuality. In choosing to place the campaign in these areas, Illamasqua will connect to a community that will understand and appreciate the concept of campaign, provoking the creation of a personal feeling, memory or emotion. The consumer begins their journey into the immersive campaign as soon as they enter the train station. They will be presented with the same advertisements that are placed on billboards and posters around the city. As the consumer passes through the stations turn styles, they will be greeted with smaller versions of the advertisements previously seen. However, their main focus will be directed to the bizarre sounds resembling those of heavy mechanical
76.
‘clangs’ combined with soft, gentle chimes. The noises will create an atmosphere of uncertainty and mystery but will also combine elements of fun and surprise. These particular sets of sounds are representative of the underlying, darker history of the brands heritage and Rorschach test with its initial design to test the mentally unstable. Making the campaign multisensory allows consumers to create an emotional attachment to the brand through their campaign. Sensory engagement has been used previously in marketing due to its contribution to creating a conceptual framework when evaluating physical environments and emotional factors concerning customer’s satisfaction, (Song, 2010. P175).
Fig. 59. London Underground Turnstyles. Olivia Davies, Mock Up. (2015).
77.
Fig. 60. London Underground Escalator. Olivia Davies, Mock Up. (2015).
78.
At this point, consumers will take their first steps on to the escalators feeling intrigued and fascinated by what is taking place in front of them. Moving up or down on the escalators, consumers will be faced with a series of large projected animations of the inkblots used in the campaigns print advertisements. The intention of having the projection placed on the escalators is due to consumers remaining static for the longest part of their journey at this point. This allows consumers to digest the animation and physically interact with the campaign by having the time to delve into their imagination by attempting to guess what the projections are displaying. The projection will run a series of motions as the inkblots morph into a new image. Presented in the series will be three inkblots each being clearly visible for approximately four seconds before adapting into something else.
79.
Overall the animation will last roughly eighteen seconds, allowing enough time for the consumer to properly interact with their surroundings. Further information regarding the live experience and the brand will be visible on the posters running down the walls along side consumers. Whilst consumers are watching the projection, consumers such as Millennials will feel encouraged to capture and share their new experiences in either a photograph, video recoding or through a tweet or online status. As a result of consumers sharing their experiences online, the campaign will expand brand awareness and presence into the digital world.
Fig. 61. Wilson, L. (2014). Optical Illusion Typography
80.
Fig. 62. Illusion Painted On Wall. Olivia Davies, Mock Up. (2015).
Once consumers have reached the end of the escalator, the campaign continues its theme of optical illusion, creating further excitement for consumers. Debating which direction to head next in a tube station can sometimes be a frustrating ordeal. With a recent trend in graphics and typography, using the idea of optical illusion can create a dull space more exciting. To make this experience more enjoyable, inkblots will be illustrated on the corner of the passageways. The theory of using fun has been recognised by car manufacturer, Volkswagen and their project, ‘The Fun Theory’. For more information on ‘The Fun Theory’, see appendix 91. Dedicated to the thought that something as simple as fun is the easiest way to change people’s behaviour for the better. Be it for yourself, for the environment, or for something entirely different, the only thing that matters is that it’s change for the better, (The Fun Theory, 2011). By incorporating the element of ‘fun’ into the consumer’s journey, this campaign aims to achieve the same positive change in behaviour with a lasting effect.
81.
The illusions will be painted by some of London’s most diverse artists including, Grande Dame aka, Tiff McGinnis who will be commissioned by Illamasqua to assist with this campaign and future projects. Commissioning emerging artists will not only aid Illamasqua in their search for new consumers and spreading brand awareness but equally the brand will be able to promote the artists work. Tiff McGinnis’s is a good example of the type of artist Illamasqua would use to reflect their own brands values and morals, for her main aims as an artist are, “to bring people colour, as we live in a grey, bland world, subjected to mediocrity and sameness, I want to lift people up and take them away from the monotony”, (McGinnis, 2013). Due to the illusion being clearly visible at particular angles means that when consumers are passing by, viewers will not have to take special efforts in order to see the image. With the use of a multi-sensory projection and alluring illustration, identifies how the campaign portrays itself as being fully immersive and how it will effectively saturate itself into consumers every day lives. Examples of other successful immersive campaigns that successfully encompass new, unique and innovating experiences can be found in appendix, 110.
82.
83.
Fig. 63. McGinnis, T. (2015).
Fig. 64. Heads, C. (2013). Masquerade
84.
c7. i’ m g o i n g t o t e l l everyone 85.
Fig. 65. Samsonov, S. (2013). Black Swan
86.
Due to todays society being fully engrossed in the digital era, the importance of having strong awareness and identity online is just as important as creating engagement offline. A campaign like ‘Provenance’ that provokes originality and authenticity, enhances Illamasqua’s ability to connect to consumers through a specific feeling, memory or emotion. With consistent updates and live feeds on the immersive experience offline, the brand can achieve a strong presence and sense of engagement with consumers online who are unable to attend the live experience. In the digital age, with Millennials being natural selfmarketers and brand advocates online, it is crucial brands deliver new, exciting experiences like this campaign, in order to encourage consumers to effectively communicate their personal experiences online.
87.
‘‘
‘‘
beautiful people in beautiful make-up
88.
This campaign aims to encourage and inspire consumers to take photographs, record videos or deliver live feeds on the new experience they have just received. Consumers will then upload their personal experiences on to one or all of Illamasqua’s social media platforms in order share and express their personal opinions with a like-minded community. Illamasqua will utilise its website throughout this campaign with the intention of informing consumers about the concept behind the new collection, its inspiration and its product availability. However, throughout this campaign, the brand will acknowledge the importance of having an informative and engaging social media strategy. Illamasqua will regularly update their social media platforms such as Facebook, Twitter and Instagram to entice new and existing consumers whilst encouraging brand advocates to the same. When discussing the brands social media strategy, Amye Taylor explained that Illamasqua use ‘Facebook, Twitter and Instagram to inform and inspire its consumers through beautiful people and beautiful make-up’, (Taylor, 2015. See appendix 63 for full interview).
89.
.c o m
Fig. 66. Illamasqua Website. Olivia Davies, Mock Up. (2015).
90.
Fig. 67. Illamasqua Website. Olivia Davies, Mock Up. (2015).
91.
Fig. 68. Illamasqua Facebook Page. Olivia Davies, Mock Up. (2015).
92.
Fig. 69. Illamasqua Twitter Page. Olivia Davies, Mock Up. (2015).
93.
Fig. 70. Campaign on Instagram Account. Olivia Davies, Mock Up. (2015). 94.
95.
Fig. 71. Campaign on Instagram Account. Olivia Davies, Mock Up. (2015).
Fig. 72. Adult Art Club, (2010). Natural Colour
By now the campaign has created enough awareness and captivated the minds of new and existing consumers. Illamasqua will host an instore experiential event as the next stage of the launch for ‘Provenance’. As consumers in the digital age are consistently switched on, the brand will deliver consistent live feeds, uploads and updates from the event on Beak Street. The event will host an interactive, sensory instore experience that encompasses aspects of personalisation, interaction and the engagement of all the senses. Whilst encompassing innovating experiences, the events main aim will be to educate new and existing consumers on the brand and the new collection.
96.
During the event there will be a variety of interactive activities and sensory engagement such as; recorded one-onone make-up tutorials with the use of Google Glass whereby consumers will receive the recording and mimic what the make-up artist created, at home in their own leisure. As well as this, question and answer sessions with brand ambassadors will give consumers the opportunity to discuss their beauty dilemmas with the brands experts. Throughout the event, consumers and special guests such as journalists, bloggers, beauty enthusiasts and the commissioned artists who supported the event will be encouraged to converse and share personal experiences of the campaign and of the experience they are currently being given. Sharing, reviewing and recommending to each other offline, will lead to guests promoting their experiences online and on social media. The relaxed ambience will be enhanced as guests can enjoy a drink and listening to the soulful sounds of jazz and cabaret that inspired the new collection whilst walking round an exhibition style room that showcases some of the brands best work and art work of the commissioned artists involved in the campaign.
97.
By creating such an interactive, elaborate event similar to this, allows mid-market beauty brands the opportunity to comfortably compete with luxury beauty brands, as this style of event is something they can so easily offer their consumers due to its unique, desirable, memorable experience it gives to consumers. Throughout this event, Illamasqua will ensure they are still involving consumers who are unable to attend the event; by regularly updating them with live feeds, images and promotional incentives so they too can feel like they are being rewarded with something special and exclusive.
#myfavefaces
Figs. 73 & 74. #MyFaveFaces Competition On Instagram. Olivia Davies, Mock Up. (2015).
98.
During the event, guests will be encouraged to participate in a social media competition called, ‘My Fave Faces’. Illamasqua acknowledge that the digital age is now upon us and instead of ignoring it – they are embracing and tailoring it to assist them in keeping consumers instore and purchasing offline. As part of Illamasqua’s existing instore experience, the brand offer its consumers a beauty transformation that is redeemable along side the purchase of a product and usually costs between £30-£50. However, at the launch event for ‘Provenance’, consumers will be made aware of the new social media competition in order to launch it and begin their chance of rewarding someone of their choice with a free beauty transformation. Guests will receive their free beauty transformation at the event, upload a ‘selfie’ with the hashtag ‘#MyFaveFaces’ alongside their chosen nomination of their favourite person to be able to go instore another day and be rewarded with their own free beauty transformation. The concept behind the competition encompasses the consumer journey before, during and after the retail experience and involves the customisation, personalisation and the element fun for consumers. Whilst combing the digital and offline worlds to maintain consumer interest and engagement outside the retail environment, the competition also addresses the issue of how to get consumers back and purchasing instore after the event has ended.
99.
Fig. 75. Sundsbø, S. (2011). Vogue Italia
100.
F
uture
101.
In the future mid market level beauty brands should look to reinventing authentic, immersive experiences that encompass consumer attention before, during and after consumers have entered the retail environment. Brands can create new opportunities that will highlight strong brand identity amongst a disjointed digital age. Mid market level beauty brands will effectively compete with the luxury market through the use of new, innovative experiences, that engages new and existing consumers both online and offline. Brands will create memorable experiences that generate specific feelings and emotional attachments. This will aid Millennial consumers and soon to be their younger relatives, Generation Z in their search for more honest, truer relationships amongst a heavily disjointed, incoherent digital era.
102.
103.
Fig. 76. Adult Art Club, (2008). Neon