Base. by Olivia Davies

Base.

Olivia Davies N0449834 FASH30002 Word Count, 6,374

Contents Chapter 0

Chapter 1

Chapter 2

Introduction 01

Masculinity What? 04

Menaissance 20

AIm & Objectives 02 Methodology 03

Masc - Fem 08 Identity 14

Impacting Trends 24 Whoâ&#x20AC;&#x2122;s Out There? 26

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Big Idea 32

Marketing Environment 42

Creative Concept 58

Promotional 68

PEST Analysis 44

Executions 62

Future Brand Progression 78

Competitors 46

Marketing Mix 64

Conclusion 80

Cosmetics Concsumers 34 The Brand 38

USP 51 Brand Analysis 52

Fig1. Portrait Of Young Male Looking In Mirror, Gabrielle Revere, 2015

Introduction For centuries, women have been manufactured as the beholders of beauty. Women have spent time and effort labouring over self-beautification practices whether it has been for desire, appearance and/or attraction purposes. However, â&#x20AC;&#x2DC;the public gaze has turned on men and menâ&#x20AC;&#x2122;s gaze has turned to the mirrorâ&#x20AC;&#x2122; (Ross, 2012, pg.42). By firstly understanding how the male image and male attitudes towards appearance, masculinity, femininity and identity have changed over time, as well as identifying social, cultural and political movements that have structured todays society, will expose new, innovating opportunities for brands to expand themselves into new markets and gain new consumers.This report aims to outline and acknowledge a change in behaviour over the past century towards male opinions surrounding self-beautification practices and a growing interest in male self-appearances. This report is written with intention of informing and communicating how the existing beauty market is engaging its consumers and how brands can build lasting relationships by aiding consumers in their search for specific wants and needs. However, for the purpose of this report and with a strong research led strategy, this report does not intend to explore the female gender but instead, focuses entirely on the male perspective of self-appearance and selfbeautification. By understanding the importance of the modern male consumers demands and expectations from beauty and cosmetic brands, will come from critically analysing the current market and highlighting areas of opportunity in order to create, emotional, memorable experiences that deliver a sense of community within a heavily disjointed digital era. The secondary aim of this report encompasses and exposes a new wave of masculinity and looks to producing a positive future forward progression towards the acceptance of men taking care of their appearances without having surrounding negative stigmas. 01

Aim: Make male make-up more acceptable and accessible on the high street whilst pushing boundaries in order to create a positive, future forward behaviour change.

Objectives: Understand the shift in behaviour towards masculinity and male self-appearance practices Identify a gap in the market for a brand to deliver a new product that bridges the gap between grooming and image enhancing Increase brand awareness and attract new consumers Create a new product range targeted at the male consumer that connects with him on a more specific, personal and emotional level Have the ability to compete against other market level beauty brands

Methodology Initial observational research will be conducted to gain a wide understanding of what the male gender currently perceives â&#x20AC;&#x2DC;masculinityâ&#x20AC;&#x2122; to be. Observational research will identify any obvious thoughts and opinions as well as broadening the understanding of the male gender. To understand why there is a shift in behaviour change that now highlights a strong interest in grooming and self-beautification practices from men, an online survey has been designed to target a wide range of consumers to gain a general consensus on the subject of masculinity and male identity. More specific consumer interviews will then be conducted once an appropriate consumer target market has been identified. This will narrow the initial insight but will also allow an understanding of specific consumer wants and needs. In order to receive industry expertise on the subject, interviews will be conducted with suitable personnel that will share their knowledge and insights in to the male beauty and cosmetics market. Sixteen consumers of a like-minded community will then be gathered for two separate focus groups, one for females and one for males. The purpose of two focus groups is to separately discuss ideas and opinions of male self-beautification practices whilst also identifying a gap in the market for brands to expand its consumer audience and successfully compete against cross-market level brands. To reinstate the conducted primary research, alongside it will be a variety of secondary research. This will consist of analysing books, articles, journals and using the Internet to view regular updates on social, cultural and political movements that may have impact on the idea of this report.

Chapter One

Fig2. I Am A Man, Glenn Ligon, 1988

Masculine What?

Fig3. Statue, Curse Of The Multiples,2012

In Western culture, as part of their everyday comprehension of the world, men are unable to define

masculinity to a simple singular point or origin. Defined, redefined and defined again, one of the simplest ways to understand the concept of masculinity as not created by any one person or in one place is to consider masculinity as an ideology. A series of beliefs that a group of people buy into and that influences how they go about their lives (Reeser, 2010, pg.20). Which is the angle this report examines masculinity as. Masculinity has attached itself to several stigmas, connotations and prejudices since the first ideology began. The result of this has lead to the theory of â&#x20AC;&#x2DC;masculinityâ&#x20AC;&#x2122; to still be wrestled with today by men of all ages from around the world (Hearn and Morgan, 1990, pg. 207). 04

masculinity’ (Oxforddictionary.com, 2015). Some, including sociologist Raewyn Connell, agree with the dictionaries description of masculinity and believe there are obvious divides between men and women and that there are particular qualities traditionally associated with each gender, “a type of person whose gendered character is the reason for his or her action”, (Connell, 2006, pg.67). Sharing the belief that both genders have qualities pertinent to them and that men and women have separate characteristics is Professor Uta Brandes, “a human being must be either male or female and each gender is given characters and attributes of their own” (Krauss, 2014, pg.2).

Fig4. Male Identity, Adult Art Club,2003

On the streets of the UK, thirty men were asked to think of words or phrases that they associated with ‘Masculinity’; dominant, power and ‘how to be a man’ averaged as the top three. See appendix page 39 for further answers. Answers mimicking the English dictionaries definition of masculinity showing conformity amongst society: Oxford Dictionary 2015 – ‘Masculinity’: possession of the qualities traditionally associated with men: handsome, muscled, and driven, ‘he’s a prime example of

Fig5&6. Male Identity, Adult Art Club,2006

Historically, masculinity was primarily associated with the male gender and men having to behave or conform in a certain way to societies expectation and demand. Dating as far back to the Ancient Greeks in eight hundred BC, men were portrayed in society as the dominant gender amongst a confluence of cultural, social and political effects (Halberstam, 1998, pg. 45) of male embodiment and male privilege. Whether it has been to fight for their country or for moral status, men have practiced and altered idealised versions of masculinity for centuries, empowering them against women and creating an identity for the male gender. Amongst previous generations, in order to become or be seen as ‘masculine’ men ensured they pursued the following attributes and characteristics expected of them; avoidance of femininity; restricted emotions; sex disconnected from intimacy; pursuit of achievement and status; self reliance; strength; aggression and homophobia (Levant, R. and Kopecky, G, 1995, p.35). Many perceived masculinity to be, ‘how a man behaved and what he achieved to portray the true measures of his worth; man would provide for his family, succeed at his job and be strong, rugged and virile while women laboured at self-beautification, men devoted themselves to other important matters’ (Luciano, 2001, pp46). Many believe today that masculinity is ‘never a static or unfinished product’ (Messerschmidt, 1993, pg.31) and is becoming less gender specific. So once again masculinity has been recreated and challenged in numerous ways (Reeser, 2010, pg.18).

Fig7. Visible Outline, Caroline Paris, 2013

Fig8. Male Statue Head, Adult Art Club, 2006

Fig9. Gender, Adult Art Club, 2009

One significant recreation of masculinity and undoubtedly the most common recognition of masculinity is the Jungian theory of the ‘Anima’ and ‘Animus’. Although not necessarily the most accepted in today’s society, in the early nineteen hundreds, psychiatrist Carl Jung invented four ‘archetypes’; The Self, The Shadow, The Anima and The Animus as elements to support his theory of the ‘Collective Unconsciousness’ or a persons personal psyche (carl-jung.net, 2015). His theory exposed an unconscious inner male personality in women: ‘Animus’ and an unconscious inner female personality in men: the ‘Anima’. Jung’s theory diversified, challenged and reinvented masculinity in such new ways that shocked yet influenced men greatly. The introduction of an inner female personality amongst men allowed the male gender to no longer devote themselves to these ‘other important matters’ but instead, gave men the empowerment to experiment and indulge themselves into self-beautification and selfappearance. The feminisation of masculinity was the new upmost. 07

Fig10. Packaged Beauty, Caroline Paris, 2012

Masc - Fem The second wave of feminism in the 1960’s and 70’s was perhaps the most influential for men and the meaning of masculinity (Foxhall and Salmon, 1998, pg.3). Feminism eroded fundamental perceptions and differences between men and women (Pease, 2001, pgs.2-3). Interest from men was weighted towards women’s domestic activities and men were embracing traditional feminine attributes as the new social norm.

Whilst men were amidst the second wave of feminism, some felt pressured by the movement. They still believed they were the only gender that should have authority and dominancy over society and believed that women should remain in the household (Hall, 2014). On the other hand, many men supported women fighting for their rights in equality. These men became known as â&#x20AC;&#x2DC;Profeminist Menâ&#x20AC;&#x2122; (Foxhall and Salmon, 1998, pg.6). They were encouraging equality of men and women in order to receive gender neutrality for reasons other than politics, the environment or the economic climate. Profeminist men wanted their own acceptance amongst society in order to exclude themselves from the domineering, aggressive powers that all men were expected to embody. They wanted to change societies opinions and challenge notions of masculinity much like feminists did in the sixties (Muggleton, 2000, pg. 56). Profeminist men, wanted societies acceptance in order to remove any negative stigmas attached to behaving in particular way that would have traditionally been associated with femininity and women, particularly stigmas surrounding male grooming and maintaining appearances (Mosse, 1996, pg.158).

Fig12. Floral Collage, Lisa Hedge, 2012

This is not to say that profeminist men were an exception. They still occupied positions of dominance and continued to embody much of the internalised masculinity of ordinary men (Pease, 2001, pg.34). However, after the war, society underwent a significant revision in its views of males and masculinity, men felt liberated by the second wave of feminism and began to take an interest in their appearance. The iconography of masculinity led to a prolonged period of social revolt through which our understanding of identity seriously altered â&#x20AC;&#x201C; a realisation that like women, men were and could be beautiful too (Krauss, 2014, pg.11).

09 Fig11. Feminine Man, Curse Of The Muliples, 2007

In a recent online survey for men, the question, ‘Do you feel you now have the same equality as women do when it comes to maintaining self-appearance and devoting time to selfbeautification’ was asked, 70% saying yes and the other 30% saying no. When asked to explain their answer, some stated that ‘there are still too many stigmas surrounding the subject and that a lot of people still don’t understand why men want to look and feel good, the same as women do’. Interesting, when a female focus group was conducted to identify female perspectives on the subject, the group agreed that it was “naïve of them to not think men care about their appearances as much as women do” and that realistically, “it is now the same men and women just do it for different reasons”. The group also expressed that they appreciated men who maintain their appearances and find it an, ‘attractive attribute’ in a man. See appendix page 95 for further details on the female focus group. However, 78% of men who participated in the online survey stated they still experience pressures in regards to what is considered to be ‘looking good’, ‘beautiful’ but still ‘manly’. See appendix page 35 for further details on the survey. Fig13, Inprisoned, Adult Art Club, 2008

Whilst men’s grooming and image enhancement is not a revelation, it was generally only practiced by a few and largely by the wealthy in history (Osgerby, 2003, pg.74). The concept of male grooming and image enhancing truly became adopted by the male masses during the late seventies when men experimented with cheaper, more extravagant examples of self-appearance. In order to rebel against a conforming society, groups of individuals more commonly known as subcultures, experimented with roles of gender, sexuality and identity. In a time of political, social and cultural chaos, men realised it was the skin that was the nearest and cheapest available media to make an impression with (Cleaver, 2014).

Fig14, Steve Strange, The Times, 2015

Influenced by music, politics and social issues, subcultures expressed their beliefs through powerful hairstyles and dramatic make-up (Peter, 2015). Men had devoted more time to self-beautification as a form of expression against a conforming society. Women wanted to do what men did; men wanted to do what women did (Davis, 1999, pg.36). Consequently, their actions did not necessarily always result in their desired impact, but alternatively the men of that era created uproar and confusion (Muggleton, 2000, pg.45) blurring the lines of gender even further into the realms of femininity whilst obscuring identities and traditional notions of masculinity. Fig15. Biggest Show Off, The Guardian, 2011

In 2015 the opinions towards gender, identity and sexuality from yesteryear have exploded and been exploited once again. From the 1st March – 8th April 2015 Selfridges in London, Manchester and Birmingham launched the gender neutral, ‘Agender’. The instore pop-up event lasted six weeks with the main aim was to promote gender neutrality in fashion, society and culture. The launch of Agender opened and explored the boundaries of gender within retail and created a new, unique shopping experience for its consumers that allowed them to express who they wanted to be whether they were male or female. The event was visible on all three floors of the stores, showcasing and selling unisex fashion brands such as Body Map, Nicopanda and Rad Hourani as well as unisex beauty brand, Aēsop. Accompanying the event photography, film and music pieces that experimented with roles of masculinity and femininity were produced. The concept behind the Agender event was to introduce consumers to a new shopping experience that portrays fashion as being no longer imbued with gender values. For now the Selfridges’ Agender initiative will spark thought for brands and retailers globally whilst demonstrating a cultural shift in behaviour towards blurring the lines of gender and identity.

Fig16,17 &18 Selfridges Agender, Olivia Davies, 2015

“All the world’s a stage, / And all the men and women merely players; / They have their exits and their entrances, / And one man in his time plays many parts” – Shakespeare (S. Rice, 1999, pg.5)

Identity Identity is nothing more (and nothing less) than a fabrication of images created and sustained within the various circles of social discourse that we are a part of (Rice, 1999, pg.8). Classical philosophy and early artists sculptures of men and women produced during renaissance Europe became known as the classical ideals for beauty that provided an aspirational example of self-appearance for men. Of which, some in society today still aspire to when creating their own identities and personas (Hutcheson, 2004, pg.28). Alternatively, some choose to rebel from the previous utopian perfection in which previous renaissance art movements strived to be and allow individual style to challenge social norms.

Fig 19. Self Portrait Covered In Masks, Claude Cahun,1929

Fig 21, Expression, Adult Art Club, 2004

Fig22, Untitled, Cinfy Sherman, 2008

One particular individual who challenged the social norms of gender and identity was French female writer and photographer, Claude Cahun. Cahun’s personal identity changed the early nineteen hundreds public perceptions of beauty, gender and sexuality through the changing of her name from the feminine, Lucy Schwob to the sexually ambiguous, Claude Cahun. She used her artwork to disrupt ideas of gender, social identity and femininity (Rice and Gumpert, 1999, pg.21). Her remarkable self-transformations within her androgynous photographs from the 1920s render her virtually unrecognisable from one photograph to the next, manifesting multiple facets of ones self.

Fig 20, Digital Identity, Adult Art Club, 2010

Similarly, the changes in social, cultural and economical conditions of postindustrial and postmodern life (Davis, 1999, pg.98) allowed other female artists such as Cindy Sherman to experiment with roles of gender and identity in other ways. Sherman’s work moved her away from her predecessor’s work into the realms of postmodernism. ‘Sherman’s brilliance is not to use a mirror: but to become one’ (Rice and Gumpert, 1999, pg.9). She allowed her body and identity to constitute her vision of the world – she plays a type, not an actual person (cindysherman.com, 2015). 15

However, women were not alone in experimenting with identity and gender roles. Men were experimenting likewise. As Shakespeare said, “one man in his time plays many parts” and especially during the postmodern era, it was actually the men who embodied multiple identities that created the most discussion (Store – Mediatore, 2002, pp125-138). As previously mentioned, men in subcultures often experimented with identity in order to challenge society and in some cases, with the use of colour cosmetics; they were able to dramatically change perceptions of masculinity, sexuality and identity. However, outside those communities and highlighting the more mainstream, male musicians and artists such as David Bowie and Grayson Perry are some of the most extreme examples. Challenging the beautiful and the bizarre, their main intentions were to develop new ways and means of thinking about beauty, sexuality, gender and identity. Like subcultures, they strive to challenge the social norms society forced upon them. Fig23, ‘Claire’, Grayson Perry, 2013

Fig24, Bowie, David LaChapelle, 1981

Quite recently, outside the fashion and beauty industries, in February 2015, an overriding theme at the Biennale International Design, Saint Etienne was to challenge traditional notions of identity in order to offer new perspectives on what is considered beautiful today and what could be considered beautiful tomorrow. See appendix page 111 for further details. Understandably, frequently changing personas like their female natives, Bowie and Perry made it hard for others to identify who they really were and what they really looked like as well as notions of masculinity due to feminist behaviours. Advances like this for men, despite some cases elaborate and avant-garde, have been extremely significant for the acceptance of the rise in male interest in their personal identity and self-appearance as a form of self-expression (Peter, 2015). “By the time a man is thirty-five he knows that the images of the; ‘right man’; the ‘tough man’, the ‘true man’ which he received in high school do not work in life. Such a man is open to new visions of what man is or could be (Bly, 1990, Preface).

Fig25, 26 & 27, Did You Say Weird?, Bart Hess, 2015

Chapter Two

Fig30. Back/Forth, Lisa Hedge, 2010 Fig28. ‘Attracted’, Curse Of The Multiples, 2005

Menaissance

Fig29. Fashion Circle, Dalziel & Pow, 2015

The public gaze has turned on men and men’s gaze has turned to the mirror (Ross, 2012, pg.42). Today’s modern men are less limited than previous generations and do things their fathers would have eschewed, including spending lots of time and money on grooming products, services and now most importantly image enhancement products such as make-up to care for their appearance (Roberts, 2014, pg.106). Market intelligence Mintel stated that since 1992 the male beauty market has enjoyed a steady 4-6% increase year-on-year for the past two decades (Roberts, 2014, pg.108) with predictions for it to reach approximately £1 billion by 2016 (Hall, 2014, pg.10). However to argue, as a social trend is not all British youth in all geographical locations adhere to such dynamics (McCormak and Anderson, 2010, pg.126). A well-groomed, well-dressed and ‘stylish’ man still tends to arouse anxieties concerning the terrifying twosome of the homosexual and effeminate and that men who do use cosmetics must simultaneously disavow any ‘inappropriate’ interest in their own appearance in order to maintain manliness (Hall and Gough, 2011, pg.69). Despite the homophobic stigmas feared by many men using grooming and image enhancing products, the latter is, the last two decades have seen a marked increase and interest in self presentation practices amongst men globally (Mintel, 2011). 20

So who are the ones investing time, money and interest on self-beautification? Well, with advances from the feminisation of masculinity, a hybrid of challenges forced upon society in the postmodern era and the added pressure to create the ideal identity online, a new identity category for men was created – The ‘Metrosexual’ (Simpson, 1994, pg.75). The biggest consumer group of grooming products aged 18-24 amongst the more developed European, American and Australian countries (WGSN, 2013). ‘They’re young guys who are interested in looking their best whether that’s for sexual attraction purposes, physical performance or just resolving natural issues of irritated skin’ (Grogan, 2015). See appendix page 43 for full interview. An article by Mark Simpson in 1994 for the Independent, ‘Here Come the Mirror Men’, first coined the description of the metrosexual male. ‘A young man with money to spend, living in or within easy reach of an urban metropolis – where all the best shops, clubs, gyms and hairdressers are. He might officially be gay, straight or bisexual but this is utterly immaterial because he has clearly taken himself as his own love object and pleases, as his sexual preference. Truth be told, he like male vanity products and herpes, they’re pretty much everywhere’ (Simpson, 1994). 21

Fig31, Casual, Fucking Young, 2008

What is interesting about Simpson’s description of the metrosexual male is that firstly, he regarded sexuality as being ‘immaterial’ and in fact deemed it as irrelevant. Instead, what Simpson refers to most importantly, is a clear component that this new male identity embodies, narcissism. A new narcissistic, media-saturated, self-conscious kind of masculinity is represented (Hall, 2014, pg.15) derivative of the narcissism amongst celebrity and popular culture delivered through the media. From the A-listers to the Z –listers, to the ‘Sexiest Man Alive’ actors, or the ‘total package’: ‘a photogenic, charismatic, polarising, self-aggrandising, narcissistic, object of envy’ that is David Beckham, (Barna, 2012). It is no wonder that men now feel obliged to take care of their appearances in order to compete against the well-groomed men in the media and to satisfy the medias unrealistic and unachievable perceptions and ideals of beauty that severely influence society today (Milkie, 1999, pg. 191). Fig32, Collage 1, Jack Pierson, 2011

More recently, with an updated explanation of the metrosexual, attributes such as; an appreciation for design and the arts; a flair for cooking and travelling and a new passion for shopping, interior design and preening himself in high street mirrors (Brennan, 2007), the metrosexual is more open than ever before about expressing his key interest of self-appearance. In an interview with a male consumer aged 18 from the midlands, he stated, “I feel that taking care of my appearance is one of the most important things that I do. From getting ready in the morning, to adjusting my fringe in a window reflection when I’m in town, it often ranks as my number one priority during any day”. Similarly, in an interview with an unashamed 22 year old male from the north stated, “I use at least three products every day to take care of my looks. I don’t care what people think”. See appendix page 57 for more consumer interviews. Men today are seeking subtle change and acceptance with the use of image enhancing products (Benwell, 2003, pg.63).

Fig33. Collage 2, Jack Pierson, 2011

Impacting Trends As consumer behaviour change does not often happen naturally, highlighted below are 3 impacting trends that have influenced the change in society.

1. The Extreme Present With mass consumer globalisation, consumer consumption has reached extreme levels. Consumers want everything, all the time, all at once so that we donâ&#x20AC;&#x2122;t miss out.

Fig36, All Seeing Eye, Adult Art Club, 2012

Fig34. Vocabulary, Simon Evans, 2011

Fig35. Confetti Death, Typoe, 2011

2. Food For Thought Continuing from its origin in 2013, consumerâ&#x20AC;&#x2122;s interest in health and wellbeing remains strong and imperative. Looking good and eating healthy come hand in hand and have never before been so essential to modern consumers.

Fig 37. Ripe, Fitness Magazine, 2011

Fig 38. Whatâ&#x20AC;&#x2122;s bad for us? Curse of the multiples, 2013 Fig 39,Organic Body Scrub, Misty Spinny, 2014

3. Instagrams That Inspire

Fig 41. Cooked Egg, Dribble, 2012

Image and photo sharing online is now becoming for brands and consumers to create personal identities online. Consumers are expressing who they are by what they eat, buy, do, like and now what inspires them. Creating an even more image conscious society both online and offline. Fig 40. Nike Flyknits, Sneaker Files, 2014

Fig 42 Workspace, Ultralinx, 2014

Who’s Out There? From 2011 – 2016 the younger male generation aged 16-34 also known as Millennials, are to become core users of male grooming and image enhancing products. With now eight out of ten men using cosmetic products with expectations to increase by a further 6% in 2016 (Mintel, 2015) as well as the consumer forecast for Spring/ Summer 2016 set to see Millennial consumers experimenting and blurring the lines of gender, creating a label less society (WGSN, 2015), presents new opportunity for manufacturers to boost usage of male image enhancing products (Lakhani, 2011). When discussing the potential opportunities for brands to expand into the male make-up market, Alex Grogan creator of male grooming brand ManCave Inc, highlighted that men ‘have been stealing their wives or girlfriends make-up for years. Majorities don’t want the drag look, they just want simple, basic coverage to enhance their image or hide blemishes. The same as women do (Grogan, 2015). Supporting this, Simon Jackson, creator of organic skincare brand, Dr. Jackson has noticed that men are not only spending more time and money into purchasing these products, they are now starting to consider what ingredients these products have and how they will be benefit their skins future health (Jackson, 2015). This is derivative of the impacting ‘Food For Thought’ trend previously mentioned.

Fig 43, Boys, Arvida Bystrom, 2013

Fig 46. Malcom X, Glenn Ligon, 1989

Fig 44. Male Make-Up, Charlotte Tilbury, 2015

Fig 45, Male Make-Up, Tom Ford, 2013

Premium brands including, Tom Ford and Charlotte Tilbury have recently created male grooming ranges with the main focus now on male make-up. Tom Ford for example, although quite highly priced for the younger Millennial consumer, the brand now offers men basic image enhancing products such as concealer and bronzer positioned alongside skincare products such as moisturisers, serums and beard oils with no organic skin benefactors. Whereas Charlotte Tilbury focuses on a wider range of male make-up instead of skincare with products such as eyeliner, brow definition kits and brush sets exclusively for the brands male consumers. See appendix page 31 for further observational research. As a brand, Charlotte Tilbury’s brand message to men is that, ‘this is a masculine approach to beauty - helping you to look and feel revived after a late night or a long winter, for a job interview or date, or when you just need a skin pick-me-up...’ (Tilbury 2015). By saying ‘this is a masculine approach to beauty’ and that the products could be used to enhance male attractiveness and progression in the workplace, allow men to feel comfortable and confident when placed in that hot moment of purchasing these products.

Fig 47, Identity Mask, Anon, 2004

However, in a focus group conducted with eight men between the ages of 18 – 26, nearly all stated that they liked the brand message of Charlotte Tilbury, as it felt ‘encouraging’, ‘supportive’ and left them feeling confident that the brand ‘accepted their needs’ but the actual branding and range of products still felt very feminine and ‘girly’. The group also felt that the brand, traditionally being a woman’s brand, did not truly understand their male consumer needs as much as they did women’s. Resulting in the group deciding they would not likely buy into that brand for those reasons. A similar result arose when looking at mid-market level cosmetic brand, M.A.C. Consumers felt the brand was too elaborate and that although the brand was unisex (which they actually liked), the large choice offering made it hard and confusing compared to, the simple, easy and subtle experience that men want. See appendix page 79 for further details on the focus group.

Fig 48. Botanicals, Lisa Hedge, 2012

Fig49. Beards, Adult Art Club, 2010

Fig50. Headspace, Trendlance, 2009

When reviewing the markets consideration for organic ingredients, the older Millennial consumers within the focus group expressed that organic and naturally sourced ingredients are an important factor when making their purchasing decision and that they are will to spend little more on something that will ensure their skins health. Supporting this, separate consumer interviews were conducted which highlighted many men now want products that will ‘look after’ and ‘rescue’ damaged skin, as well as ‘enhance their appearance’. See appendix page 57 for consumer interviews. Despite some major beauty brands accounting for the shift in male interest in make-up, consumer research suggests there is still not enough out there for men who want natural ingredients and basic image enhancing products. “I don’t feel that there is enough out there for men when it comes to image enhancing products such as make up. I think that the main marketing aspect for image enhancing products for men is primarily focused on products like facial hair grooming and muscle enhancing products” See appendix page 57 for further consumer interviews. In 2014 June Jensen the UK Director of Beauty at the NDP Group recently proposed the opportunity for brands to explore new directions within beauty after a 5.4% increase in male make-up from early 2014. “Beauty is an industry where consumers are willing to spend more. While there is brand loyalty, consumers will always be on the hunt for products that will perform better and are willing to add to their routine if a new product proves worthwhile. This makes innovation a key driver of growth” (Jensen, 2015).

Chapter Three

Big Idea Acknowledging the change in behaviour over the past century towards male grooming practices and with the change in consumer attitudes towards a growing interest in male make-up, the idea is to create a collection of basic essentials of colour cosmetics for leading cosmetic brand, Kiehls. The launch of this range will act upon the opportunity for male make-up that also has skin benefactors within the product. The range will also target the brands female consumers due to the products being unisex, however through appropriate visual design and aesthetic, the focus of the range is to appeal to men. The primary aim of the collection is to provide a more accessible range of male-make-up for men on the high street. The secondary aim of the new range focuses on producing a positive future forward progression towards the acceptance of men wearing make-up without having surrounding negative stigmas.

Fig51, New Eccentrics, Trendland, 2014

Consumers With a gap in the market to target the general male audience, three consumer profiles that represent different ages and demographics within the market have been created in order to demonstrate each consumer segments key male consumer wants and needs from a brand and product.

The Eco Gent are representative of a demographic who live an organic, healthy lifestyle. They seek brands that portray an interest in the environment in order to protect and care for the natural world. As well as sourcing natural ingredients and producing eco-friendly packaged materials.

Fig 52, Consumer Profile, Own Image, 2015

The Image Booster represents a demographic that demand imageenhancing products to look refreshed and healthy. After long days, nights out or sexual attraction purposes, this demographic want products to boost their natural appearances.

Fig 53, Consumer Profile, Own Image, 2015

The Imperfect Perfectionist is representative of a demographic that are younger and demand products with skin healing benefits to solve this issue of irritated and damaged skin, as well as products that hide blemishes and skin sores. Fig 54, Consumer Profile, Olivia Davies, 2015

The Brand Kiehls was founded as an apothecary in New Yorks East Village over 150 years ago and is a leading beauty/cosmetic retailer around the world. In the market today, consumers are overwhelmed due to a plethora of brands for consumers to choose (Posner, 2011, pg.15). Brands are now going to greater lengths than ever before in order to create a brand community and a personal relationship with its consumer (Kim et al, 2007, pg.94). They also use a variety of marketing strategies to promote their products and different techniques to provide consumers with a certain sense of personal connection to the brand (Kim et al, 2007, pg.94). Kiehlâ&#x20AC;&#x2122;s, is no different in their goals and the strategies. The brand, in its long and unique history, has used many interesting techniques to sell their quality products to their targeted consumers, while also creating its own brand community and bettering the world. The existing Kiehls consumers according to Rhiannon, the brands Nottingham store manager, are 22-40 urban professional with an education and active, organic lifestyle. They are concerned about social and environment issues and appearance is a key part of their lives (Sharp, 2015). See appendix page 43 for further details on the interview. Similar behaviours to the three consumers identified on pages 35-37 for whom the new range of colour cosmetics is targeting. Dedicated to giving consumers quality skin and hair care produced by the most advanced science and utilising unique, natural ingredients has lead to a widespread consumer following from an equal amount of men and women (Sharp, 2015).

Fig 55. Welcome To Kiehl’s, Kiehl’s, 2009

Owners of the brand, The L’Oreal Group stated that their ‘Luxe’ brands - including Kiehls - previously ‘out-performed’ themselves with a 7.2% increase in popularity within the early quarter of 2015, and the opportunity for brands to expand their product range into the realms of colour cosmetics, will help bridge the gap between make-up and skincare (L’Oreal-Finance, 2015). Having an established brand with a wide male consumer following allows the potential of a high profit return from the new product range.

Chapter Four

Macro-Marketing Environment -PEST Analysis -Political Factors -Economical & Environmental Factors -Social Factors -Technological Factors

Marketing Environment It is important to consider the broad factors that contribute to the macro-marketing environment that have potential to impact the internal environment â&#x20AC;&#x201C; Kiehls. These are elements that are beyond a companies control therefore it is crucial to be aware of the potential threat these variables could have in order to prevent damage to the brand upon impact (Posner, 2011, pg.37). Each sector is simplified in to six key areas as seen on the model:

Micro-Marketing Environment -Customer -Competitor -Supplier & Supply Chain -Distributors & Distribution Channels

Internal Environment -Company Structure -Finance -Resources -Personnel 43

PEST Analysis

A PEST analysis was also carried out in order to examine the broader impacts that would affect Kiehlsâ&#x20AC;&#x2122; new colour cosmetics range for men:

Economical Environmental How much disposable income do consumers have to spend on grooming and beauty products? Will they be willing to pay a higher price for a product that has been surrounded by stigmas? Fig 56. Hari Nef, Dazed, 2014

Despite naturally sourced ingredients, how environmentally friendly is Kiehlâ&#x20AC;&#x2122;s packaging? Is it worth buying the products if the packaging creates a negative environmental impact?

Political Could it influence gender neutrality and equality to become a social norm? Could it help remove any negative stigmas of men wearing make-up?

Fig 57, Mask, Trend Hunter, 2012

Fig 58, Health & Wellness, Chris Court, 2014

Social Changes in consumer behaviour and attitudes to homosexuality and gender neutrality have changed for the better. Being a judgmental society, we are quick to create opinion especially with a lot of what we buy and what we do is to keep up appearances.

Technological

Trend in beauty, cosmetics and food – wanting to look fashionable and ‘healthy’. As well as gender neutrality pushing the boundaries to try create a ‘label-less’ society.

With 3D printing at the forefront of the packaging industry means design will become more personal. Trends such as edible beauty and projection mapping on to live models are pushing social expectation.

Lifestyle trends include presenting a healthy lifestyle and socially proving it on social media, particularly on photosharing platform, Instagram.

Fig 59, Projection Mapping, Lee Kirby, 2013

Competitors In order to comprehend where Kiehls position themselves in the market, two perceptual maps demonstrate the brands current positioning and where Kiehls will position itself in the future amongst new competitors after the launch of the new product range.

Despite the perceptual maps showing the changing position of the brand over time, it is important to investigate both Kiehls current and future key competitors in greater detail. Identifying brands competitors reveals how they are engaging their consumers and how will Kiehls perform differently/better against them. Brands one and two are existing consumers and three and four will be Kiehls new competitors.

1. AÄ&#x201C;sop - The Creator Founded in 1987 in Melbourne, Australia Price: ÂŁ20 - ÂŁ160 Consumers: Unisex brand targeting consumers with a passion for the arts and who push boundaries to become inspired, educated and communicate more effectively Products: Sourced from natural plants and laboratory made ingredients Fig 60, Packaging, Mr Porter, Undated

Brand Message: In differences lie affinities Brand Aesthetic: Minimal, Pharmaceutical, Organic, Industrial Values & Attributes: Marry cutting-edge technology with long-established scientific practices and principles to craft formulations of exceptional quality.

Fig 61, Aesop Product, Mr Porter, 2014

Fig 62, Aesop Store Layout, Aesop, 2015

2. Shisedo - The Scientist Japanese skincare brand founded in 1872 Price: £25 - £122 Consumers: Very demanding men, who trust in high tech, investigation and experience. They enjoy sports and are generally ages between 40-60 Products: The result of advanced investigations into cosmetic science Brand message: “ Quality of Life” Brand Aesthetic: Messy, Fluid, Technological Values & Attributes: High tech, Richness & Emotional Happiness Figs 63, 64 & 65, Shiseido, 2015

Figs 66, Packaging, Counter Culture, 2015

3. Body Shop - The Activist Founded over fourty years ago Price: £5 - £75 Consumers: male and female with a passion for sustainable, charitable and fair-trade products who believe in natural beauty. 16-65 year olds Products: Ethically sourced naturally ingredients built from fair trade products

Fig 67,The Body Shop Globe, TBS,2015

Brand Message: The business of business should not just be about money, it should be about responsibility. It should be about public good, not private greed Brand Aesthetic: Eco-friendly, Loose, Bold, Impactful

Fig 68, The Body Shop Instore, The retail Guy, 2014

Values & Attributes: Support Community Fair Trade, Defend Human Rights, Against Animal Testing, Activate Self-Esteem, and Protect Our Planet.

4. BareMinerals - The Purifier Fig 69, Advertisment, BareMinerals, 2015

Make-up brand founded over 35 years ago, primarily targeted at women but also used by men Price: ÂŁ15 - ÂŁ50 Consumers: Primarily females who care about what they put on to their skin. They want pure, natural ingredients in order to express who they really are. Aged 14-65 Products: Powered by nourishing, skin-loving minerals Brand Message: We exist to make a positive difference in womenâ&#x20AC;&#x2122;s lives Brand Aesthetic: Feminine, Bold, Scientific, Clear Values & attributes: Mineral ingredients, with skin healing benefits

Fig 70, Advertising, BareMinerals, 2015

Fig 71, Mineralixers, BareMinerals, 2015

Unique Selling Points Once reviewing Kiehl’s main competitors, a clear analysis demonstrated three unique selling points that the brands new product range would encompass. Ultimately, giving it a leading edge over its competitors.

Packaging – The packaging will be designed to appeal primarily to men as the products will display the more masculine visual aesthetic which can already be seen amongst the brands existing male grooming products. The materials used will also be organically and environmentally friendly in order to appeal to consumers such as the ‘Eco-Gent’

Simplicity – After interviewing a range of consumers and comparing their needs to Kiehls competitors, the new product range will only consist of the basic essentials that men want such as image boosting products in order to appeal to the ‘Image Booster’ consumer group. The result of this will mean men will not have to deal with choice trauma or unnecessary product over load but instead can have a simple, easy experience.

The ‘2 in 1’ Factor – Men are already using skincare products but with demand for subtle image enhancing products now becoming more apparent, the new range for Kiehls will deliver both image-enhancing products with natural ingredients to benefit skincare as well as having the ability to conceal blemishes. This will appeal to the ‘Imperfect Perfectionist’ consumers. Refer to pages 35-37 for further consumer information.

Fig72, Floral Wall Mural, Murawall, 2015

Kiehls - Brand Identity & visual code In order to meet the intended unique selling points, Kiehlsâ&#x20AC;&#x2122; visual identity and visual code must also be analysed to determine how they target their consumers. Despite majority of their products being unisex, the brand cleverly aims different products to each gender through, minimal visual design. Design aspects from; typography, logos, language used to the colour palette, packaging and ingredients will be appropriately analysed from their existing products for men and women in order to understand and dissect which elements attract each gender. This will aid the design process by understanding which aspects will be most suitable for the new range of colour cosmetic products that Kiehls will launch to attract its female and most importantly its male consumers.

Female Consumer Logo: Soft, Fluid, Elegant, Flowing, Italic, with occasionally just using the ‘K’ logo Typography: Serif, Focuses on Ingredients & Benefits more than direction for use, Some heavy/ some soft text Tone of Voice: Luxurious, Whipped, Crème, Lotions, Luscious, Ultra Bottle Shape: Pump Bottles, Tubs, Tubes, Sterile, ‘Lab’, Pharmaceutical Packaging: Minimal, Box, Anonymous, Unisex, Occasional floral/botanical sketches on product labels Colour Palette: Pastel blue, green and yellow, Fruity Peaches, Soft Neutrals, White Ingredients: Botanical blends, Green Tea blends

Fig73-76, Kiehls Nottingham, Own Images, 2015

Male Consumer Logo: Bold, Heavy, Impactful, All Capitals Typography: Serif, Focuses on Directions & benefits over ingredients, Majority heavy text Tone of Voice: Ultimate, Strength, Fuel, Combat, Ultra Bottle Shape: Pump Bottles, Tubs, Tubes, Sterile, â&#x20AC;&#x2DC;Labâ&#x20AC;&#x2122;, Pharmaceutical Packaging: Minimal, Box, Anonymous, Unisex, Occasional air military stamp, planes sketched on to product labels Colour Palette: Royal Blues, Red, White, Dark Violet, Camo greens Ingredients: Herbs, Natural Oils, Green Tea blends. Very minimal use of botanicals Figs77-81,Kiehls Nottingham,Own Images, 2015

From analysing Kiehlâ&#x20AC;&#x2122;s existing visual code and identity a combination of both male and female elements will be collected and combined in order to render a masculine identity on a traditionally female product. The main intention remains to predominantly target the male consumers identified on page? who share the common demand for a simple, easy experience. Therefore, removing choice trauma upon purchase, concern of being seeing buying a feminine product and finally aid the consumer in his search for subtle, simple colour cosmetics products. 55

Chapter Five

Creative Concept When considering current visual trends, Kiehlâ&#x20AC;&#x2122;s existing visual code and visual identity are set to become timeless and continue to be contemporary, engaging and key influence for Autumn/Winter 2016/17. Three key trends including trends in, graphics, packaging and colour palettes have been examined and highlighted to display the relevancy and justification for Kiehls to continue their existing visual identity and visual code within the new product range.

1. Decorative Decodance Graphics and typography trends are set to see decorative and baroque lettering with single letters or medallion graphics to take the place of logos. Intricate yet modern engraving-like and elaborate placed illustrations work the vintage direction. (Riberti, 2015). With Kiehlâ&#x20AC;&#x2122;s already using illustration on their packaging, they will remain a leading brand for this trend.

Fig82, Decorative Decodance Trend Moodboard, Own Image, 2015

Fig83, Eco-Active Packaging Trend Moodboard, Own Image, 2015

2. Eco-Active Packaging Packaging trends for food, beauty and technology are set to be eco active and raise environmental awareness. Cardboard, plywood and recycled materials make for simple and efficient designs that surprise and fascinate. This will appeal to the â&#x20AC;&#x2DC;Eco Gentâ&#x20AC;&#x2122; consumer who encompasses a eco-friendly, healthy lifestyle and will also allow Kiehls to continue their existing recyclable packaging.

3. Organic Blues The colour palette of Autumn/Winter 16/7 encompasses natural tones of teal, denim blues, clay and stone greys, similar to those that Kiehlâ&#x20AC;&#x2122;s are using already to create a sense of masculinity when targeting their male consumers. The beautiful veining and streaking of semi-precious stones bring a luxurious yet natural touch to cosmetic & food packaging.

Fig84, Organic Blues Trend Moodboard, Own Image, 2015

Executions After justifying while Kiehl’s will continue their existing visual code and visual identity, not only for its success history in gaining consumers, but now for its visual theme set to be a trend in Autumn/Winter 16/17, the new range of colour cosmetics will be designed and packaged appropriately. The branding and packaging will target the consumers identified on pages 35-37 who seek minimal colour, ecofriendly packaging and easy use. Kiehls will also cultivate the similarities between both the existing male and female product and will aim to produce a visual aesthetic that appeals to both genders, but in particular the male gender. name for the new product range of essential colour cosmetics and the name that will appear on 1. The the promotional strategies is, ‘Base Image Enhancing’. The word ‘Base’ being used for its definitions of: bottom layer or coating, as of makeup or paint. 2. The The principal element or ingredient of anything considered as its fundamental part and the phrase, ‘Image Enhancing’ for its commonly used place within the beauty and cosmetic industry meaning, to enhance your natural beauty instead of drastically altering it. The name is intended to feel less intimidating when purchasing products traditionally associated with women.

Fig85. Super Enhanced, Adult Art Club, 2012

Fig 86, Product Mock ups, Own Image, 2015

Marketing Mix - 4P’s It is essential to examine the ‘Marketing Mix’ or the ‘4P’s’ as a good method of understanding the basic strategy and developments of the product/ service being offered (Manktelow, 2015).

1. Product

The ‘Bare Image Enhancing’ range will satisfy the consumer’s need of making colour cosmetics more accessible on the high street with the progression to create positive behaviour change towards de-stigmatising male make-up and allowing both genders equal rights.

2. Place

The ‘Bare Image Enhancing’ range will initially launch as a pop-up stand at the ‘Being A Man’ festival at the Southbank Centre in late 2015. The range will continue to launch and be sold at all stores and online after the event and in the future.

3. Price

The ‘Bare Image Enhancing’ range will be appropriately priced in order to be purchased by a variety of consumers. In comparison to its competitors, the range can be priced slightly higher as there are currently no other brands offering the same product to the male market.

4. Promotion

The Before, During and After consumer decision journey will analysed to ensure that the consumer becomes aware of the new range during all three stages. No advertising will be produced to continue the brands successful ‘word-of-mouth’ promotion. However, a social media strategy and instore flyers will aid the launch and promotion of the new product range.

Kiehls - Brand Identity & visual code for new products Logo: Bold, Heavy, Impactful, All Capitals. One with the ‘K’ logo Typography: Serif, Focuses on Directions & benefits over ingredients, Majority heavy text Tone of Voice: Ultimate, Strength, Fuel, Combat, Ultra Bottle Shape: Tubs, Tubes, Pen Tool, Sterile, ‘Lab’, Pharmaceutical Packaging: Minimal, Natural, Box, Anonymous, Unisex, sketch on to label Colour Palette: Royal Blues, Red, White, Soft Neutrals, Black Ingredients: Herbs, Botanical Florals, Green Tea blends that will become highlighted through promotional strategy

Fig 87, Product Illustration, Own Image, 2015

1. 2. 3.

The ‘Base Image Enhancing’ range will include three products that through investigative consumer research are most popular with men. See consumer interviews in appendix page 57. Ultra Light Tinted Moisturiser Blemish Combating Concealer Pen Eye-brow Grooming Kit

Chapter Six

Promotion - Before With research and insights into male opinions and attitudes towards men wearing make-up, evidence suggests that men “want as little attention drawn to the idea of men wearing make-up as possible”. However, they do hope that in the future, “opinions change for the better, removing negative, homophobic stigmas”. See appendix page 57 for further consumer interviews. Taking the male consumers needs into account as well as referring to the ‘promotion’ section of the marketing mix, a pop-up launch space for Kiehls will be showcased as part of the ‘Being A Man’ festival at London’s Southbank Centre to launch their new ‘Base Image Enhancing’ range. The ‘Being A Man’ festival was a five day event that launched itself in early 2014, with the main aim of encouraging men to share their anxieties, accept who they are and finally to change society’s perceptions of what ‘masculinity’ means to men today (Adams, 2014). As the main aim of the ‘Base Image Enhancing’ range, coincides with the festivals aims and objectives, having a pop-up space at an already successful event that explores the issues of being a man, will make men feel comfortable and confident whilst willing to explore the products at greater detail within a private space more so than they would a very public, extravagant launch on a busy London high street. Fig 88, Social Media Strategy Own Image, 2015

Fig 89, Website Pre-Launch, Own Image, 2015

Leading up to the initial pop-up launch event, Kiehls will begin to raise awareness and create consumer engagement online and on social media. A month before the event, the brand will begin to upload information about the pop-up stand being positioned at the festival, purposely not drawing attention to the new product range in order for it to address the consumers wants and needs of privacy and discretion. Allowing the new range to only be seen and promoted by the attendees of the festival. As well as website content, Kiehls will also provide a social media strategy that creates awareness of the festival and their pop-up space. Kiehls currently uses various social media platforms such as Facebook, Instagram, Google + and Twitter to engage and target their consumers.

Fig 90, The Male Gender, Adult Art Club, 2009

Whilst considering the ‘Base Image Enhancing’ product range targeting male consumers, the brand aim to communicate to the tech-savvy Millennial generation through engaging digital content upon social media platforms, Twitter and Instagram. Twitter and Instagram are becoming leading social sites amongst Millennials, with photo-sharing platforms becoming a place to express ones identity and lifestyle choices online, a sense of wealth, reputation and success is promoted (Wu, 2014). Pew Research Group have also stated that ‘Twitter is becoming particularly popular among men under the age of fifty with significant increases to continue to 2016’ as well as Instagram showing a 22% increase in popularity with men compared to just 20% with women in 2014 (Duggan et al, 2015).

Fig91. Social Media Strategy 2, Own Image, 2015

Fig 92. The Street Shop, Stijn Hupkes, 2014 Fig 93, Skull Light, Anon, 2013

Promotion - During A key success of pop-up events, particularly ones with an underlying cause to create positive change, are subject to having lasting impact on the consumer. For example, â&#x20AC;&#x2DC;The Street Shopâ&#x20AC;&#x2122; was a pop-up event in Cape Town that allowed people on the street to donate their clothes to the homeless in a way that was fun, engaging and innovating. The outcome of the event was that a new homeless shelter was built and the brand raised awareness of the issue of people living in the street (Goodnet, 2014). Kiehls aims to mimic that success by raising awareness and instigating a positive attitude towards men now wearing make-up and taking pride in their appearance. 71

During the event, Kiehls will display the brands visual themes and brand aesthetic used within the â&#x20AC;&#x2DC;Base Image Enhancingâ&#x20AC;&#x2122; range in order to maintain its masculine identity. As the event is more aimed to raise awareness and change behaviour rather than push sales, the focus will be on encouraging men to enter the Kiehls space where brand ambassadors will be waiting to guide them through the new range as well as a sample range of their existing products. A combination of skincare and colour cosmetics creates less pressure on the male consumer and allows him to browse at his leisure. This also allows consumers to experiment with the new range in a tangible, comforting environment, creating a more personal, memorable and emotional experience for the consumer and maintaining consumer advocacy through the sense of community. â&#x20AC;&#x2DC;Consumers are no longer focusing on product or service consumption, but rather seeking experiences (Kim, Forney and Sullivan, 2007. P8). For an indication of the overall theme of the pop-up space, see Fig94.

Kiehls rely heavily on ‘word-of-mouth advertising, their reliance on consumers working as salespeople by recommending products to others that they interact with is a unique, but solid way to market their products. According to Celia Lury’s Consumer Culture, using consumers as marketing tools is becoming increasingly common and an effective strategy (Lury 156). Throughout the event, visitors of the ‘Being A Man’ festival will be encouraged to take photos, write tweets and share their Kiehls experiences online. This initially gaining more interest on a global level, amongst new and existing Kiehls consumers as well as targeting the male audience in a discrete manner to make him more aware of the new product range.

Fig 94, Kiehl’s Pop-Up Moodboard, Own Image, 2015

Promotion - After/ Offline After the initial pop-up event has taken place, Kiehls stores around the world will begin to introduce the new colour cosmetic range into their store environments. There will be minimal instore promotion but instead a small stand devoted to the new range to differentiate itself from the existing products. Flyers will be placed in store with further information on each of the products giving the consumer the opportunity to investigate by himself. The atmosphere instore will not draw attention to the range in an obvious way due to consumers wanting subtlety. This again, is due to Kiehls reliance on ‘word-of-mouth’ advertising. Over time, more consumers will become aware of the new ‘Bare Image Enhancing’ range by going instore and seeing engaging, innovating shared content online and on social media. Resulting in a steady, increase in sales and profits whilst maintaining consumer interest.

Fig 95, Instore Promotion, Own Image, 2015

Fig 96, Instore Promotion 2, Own Image, 2015

Promotion - After/ Online As well as engagement after the launch online, Kiehlâ&#x20AC;&#x2122;s will also provide consumers with the new range on their website. Allowing consumers to browse and purchase, quickly, easily and anonymously.

Figs 97 & 98, Website Promotion, Own Image, 2015

Future Brand Progression To critically analyse the future progression of Kiehls and the ‘Base Image Enhancing’ range, a S.W.O.T analysis was carried out to examine the strengths and opportunities the new range will offer Kiehls as well highlight weaknesses and threats that could be resolved in the future.

Fig 99, Kiehl’s Sticker, Kayla Hutzler, 2011

Strengths Bridging the gap between skin care and make-up Natural ingredients Encourages positive behaviours towards the acceptance of male make-up through an established brand New generations appearance

are

concerned

with

self-

Weaknesses Segmented consumer group ‘Word of Mouth’ advertising is slower than conventional advertising Limited colour palette – only four colour available

Opportunities Growing social concern for environment Make male make-up more accessible and acceptable on the high street Male consumers have high brand loyalty Growth of e-commerce in the male sector of the beauty market through social media and digital marketing

Threats A unisex product may not appeal to majority of men Male make-up is still something that is seen â&#x20AC;&#x2DC;feminineâ&#x20AC;&#x2122; Kiehls has a large but segmented consumer following

In the future, Kiehls aims to bridging the gap between make-up and skincare even further whilst encouraging brand loyalty, particularly from its male consumers after an increase in popularity in male make-up. Kiehls will also solve the issue of making male make-up more accessible and acceptable in society due to an increase in consumer following created by the launch of the new product range. Finally, Kiehls will continue to be an environmentally friendly brand that relies heavily on word-ofmouth advertising to exciting, engage and inspire consumers.

Conclusion By understanding new revelations such as changing perceptions of masculinity combined with a shift in positive behaviour change through social, cultural and political movements, will redefine the definition of masculinity and help understand the male gender in a positive manner. The male interest in grooming and self-beautification practices will continue to grow so long as brands such Kiehls can identify and demonstrate the differences between the male consumers wants and needs of colour cosmetics products different to the female demand. Brands should begin to look to Kiehls as an example of a sustainable brand who delivers high quality products in order to justify its place on the market, particularly amongst the health and wellbeing trend that is desirable amongst both male and female consumers in society today. Therefore, allowing men to have the ability to progress into a positive future forward society whilst continuing and expanding their practice as well as eliminating any surrounding negative stigmas, creating gender equality for the future.

Fig 100, Manga, Fucking Young, 2015