Paul Smith Marketing Strategy

EXECUTION N0574952 OLIVIA GASCOINE

GROUP MEMBERS: CHLOE NEWTON & TARA MCGOVERN

CONTENTS The Brief

THE BRIEF The Aim: To reposition Paul Smith to the digitally connected consumer and reclaim his positioning in the luxury market of being forward thinking, creative and innovative.

The Digitally Connected Consumer Context, Big Idea and Creative Concept Scamps Shoot Planning Behind the Scenes Route to Consumer Consumer Journey Mock Up’s How is it Smart?

The Big Idea: To make Paul Smith synonymous with technology and innovation on a global scale.

The Brief: To create a new virtual reality app, supported by an integrated marketing campaign that entices the digitally contented consumer. The campaign will be on a global scale and will be targeted specifically to each market. The app will be executed in different languages with the main market focus on England, America, China and Japan.

The Consumer: The digitally connected consumer.

Paul Smith adopts the Idea

Fig. 1 Distorsion Identitaire. Kenn Gauthier. 2012.

Fig. 2 Grace Jones, ‘Do or Die’ Album Cover. 1989

‘THESE DAYS, PEOPLE WANT EXPERIENCES MORE THAN JUST OBJECTS’ THE FUTURE LABORATORY, 2016.

Early Adopters Trend aware

digitally connected consumer....

Influencers

Gen Vis attributes

Fig. 4 The Digitally Connected Consumer Visualisation. 2016 Fig. 3 Selfies. Arvida Bystrom. Online Image. 2014.

CONTEXT AND BIG IDEA

CREATIVE CONCEPT

How does it support or solve the insights found?

SUPPORTING STRENGTHS IDENTIFIED? STRONG COLLECTIONS: The Virtual Reality App will allow consumers any time and anywhere to browse and shop the collection virtually. The launch event will be strategically placed at the time of LFW therefore the collection will gain more coverage and promote the strong collections effectively INSTORE RETAIL & EXPERIENCE: The event will bring the Paul Smith instore experience onto

the app virtually and become a completely new way to consume and shop the brand. It will not only be innovative for PS but the for luxury retail market.

IMPROVING PROBLEMS IDENTIFIED? NO TECHNOLOGY OR INTEGRATION TO DIGITAL IN-STORE: Research in the context stage revealed a lack of an integrated marketing campaign or any digital presence in store. This will bring in store, online and really boost the credibility and status of the brand. The integrated marketing campaign will utilise all platforms and create innovative, experiential content.

NO EVENTS, PR OR BLOGGER/ INFLUENCER CONTENT :This campaign will have a highly exciting event at the time of LFW and will involve the press, bloggers and influencers heavily.

Street styling content will take place before the event and after the launch selected influencers will be commissioned to post about the Paul Smith Virtual Reality App to create further buzz and reach to potential consumers.

LACKING DIGITAL PRESENCE: The Instagram platform particularly currently has no offering to

the consumer, content is very safe and there is very little engagement or traffic to online touch points.

This integrated campaign will shake up all social platforms and create a call to action for consumers to engage with the Paul Smith brand. All content and user generated contented created from the buzz of the event and app will help increase engagement ratings, following and social media and website traffic.

One of my top three Big Idea’s was an ‘Escape into Paul Smith’ to create a virtual reality event. This evolved big idea brings the store into peoples homes rather than to be in the store. It has evolved my initial idea as it is convenient, accessible and on a global scale.

Fig. 5 Chloe Newton Creative Concept Moodboard. 2016

SCAMPS

We created scamps to plan how the images will look; the composition, mise and scene and shot type. We will also purchase this globe as prop for our lifestyle shot.

SHOOT PLANNING

Fig. 6 Photo Shoot Prep Moodboard. 2016

We have created two moodboards to help set the brief to the photographer of what we want to achieve and also to summarise the design recipe and references for the shoot.

Fig. 7 Photo Shoot Prep Moodboard. 2016

To brief our MUA and to help us decide on casting we created a model and makeup inspiration mood board.

PHOOT SHOOT PLAN 10.00 All arrive in Bonnington, Tara, Chloe, Olivia, MUA Cara and models; Moses and Jennifer 10.00-10.20 – First makeup and styling of model (Jennifer) 10.20-10.30 – Second Makeup and Styling of model (Moses) 10.30-10.40 – Brief models on the look, feel, mood of the photo shoot. Use the mood boards to give them a visual reference 10.40 – 10.50 – Set up shoot; lighting, background and brief photographer using mood boards and written brief. Brief the photographer on composition, shot type, crop and depth of field.

10.50 – 10.40 Shoot two models and lifestyle product on plain white backdrops with bright clear lighting and no shadows.

Roles: Models: Moses Thomas and Jennifer Grace Ellen Cara Lippet: MUA Chloe Newton: Art Director Tara McGovern: Props, dressing and behind the scenes content creator Olivia Gascoine: Set Designer and lighting

BEHIND THE SCENES

ROUTE TO CONSUMER INVITATION

PRE LAUNCH

7 January 2017 Outdoor Marketing: Interactive Billboard of ad campaign at key destinations in London, New York and Tokyo. First email newsletter invitation release 7pm

7 January 2017 Apple Music Playlist launch, all social media campaigns begin on Instagram, Snapchat, Wechat, Line, Twitter and Facebook

Create interest, first stage of generating buzz, encourage user generated content created Email will be sent to current database which will be loyal and engaged customers, will feel exclusive

All posts will encourage and be a call to action for people to click the link, and opt in/sign up to getting sent the VR glasses

10 January 2017 VR glasses available in store at point of sale as part of collatoral on till and placed creatively in visual merchandising

These will only be given out to customers who are considered by the sales assistant as digitally connected.

The communication of the glasses should highlight the elements of exclusive and digital event and enourgae the customer to post the glasses on social media

14 January 2017 All requests online for VR glasses will need to be sent by this date. The online sign up after this date can direct customers to Paul Smith stores to pick up glasses

14 January 2017 Next stage of social media strategy will start here and be specific to each channel. This was create hot moments for the consumer as time is running out to get a set

This allows couries one week until the event to get VR glasses to guests.

There must be a efficient supply chain set here to ensure no guests are left dissapined.

No glasses would mean no experience and a loss in sales opportunity

An Instagram story will start here further creating buzz.

A one week count down will begin on the snapchat and on email newsletter

POST LAUNCH

THE LAUNCH 19 Febuary 2017 Fashion week exclusive press event to industry.

Use LFW as a plattform for digitally savvy content capturing PS Street Style, live streaming and plugging the VR glasses in content around various venues

This exclusive preview will capitalise on the LFW elite being in London shows. This will create excitment, online articles and social content buzz and engagement before the public see it

21 Febuary 2017 LAUNCH. 7pm.

At 7pm the LFW Paul Smith AW17 show will start and 10 minutes before the App will become live for UK guests.

Guest with their headsets can then watch the show live and straight after seeing, can buy now through the virtual store

When models do the final walk down the catwalk they will all wear the Virtual reality glasses to create intrigue and highlight the app has gone live. The Apple music playlist will play throughout the show.

This will be the first time Paul Smith has a ‘See now, buy now’ calander and will be the leading, innovative designer to have a virtual store you can exerience and see the new collection garments and buy!

Accessible, interesting and innovative

22 Febuary 2017 At 7pm the app will become live for America, Japan and China. Although the show will not be live for these guests due to a different time zone, these users will be able to re watch the show and shop the virtual store and event

The app will have a language option and be culturally relevant and tailored to each Paul Smith market. Enough stock of the new collection should be guanteed to have enough supply for the demand. If new season garments go out of stock there will be a virtual waiting list.

22 Febuary 2017 and onwards Social media campaign will highlight that this is the new digitally conncted way to shop Paul Smith and more glasses are available to pick up in any Paul Smith store and reatiler

LFW will create the buzz and content that this is the new way to globally shop Paul Smith wherever, whenever. The social media message after the main event will promote the app and enourage consumers in store to get glasses.

A QR code will be on all social that guests have to show to get glasses instore. This will make the strategy measurable and can measure how many people come in store for the glasses and from which social chanel

23 Febuary 2017 Key influencers and bloggers will be choosen and paid to create content commenting on the show and the virutal reality event and app.

This will include vloggers, influencers and bloggers.

A promotonal video will be posted revealing hints and sneak previews of the app

This will increase the coverage and awareness of the app and campaign and the PS collection.

The sneak preview video will give Paul Smith followers hints of how the app looks, feels and works and create, desire and aspiration to get a pair of glasses. This will use geo location to suggest to the viewer which specific PS store they can pick up their VR glasses from

CONSUMER JOURNEY -

BRAND TOUCHPOINTS EXPERIENCED BY THE CONSUMER

VR INVITATION & APP

11 January 6pm 2017 Consumer arrives home from work to find their set of VR glasses have been delivered from Paul Smith.

They set up the glasses and download the app using the instructions.

EMAIL NEWSLETTER

7 January 4pm 2017 The consumer recieves a personal email from Paul Smith telling them about the new app, they insert their address to receive a headset as this is the third communication from the brand they have had time to make a decision if they want to become involved.

On their journey home they see the tube billboard and this creates further anticipation of their headset arriving.

INTERACTIVE DIGITAL BILLBOARD

7 January 8am 2017 The target consumer see’s the Interactive Billboard on their walk to work from the tube to the office. The ad campaign is live and glitching between two moving images. Teaser images of his new collection and a glitch promoting the app.

SOCIAL MEDIA COVERAGE

7 January 12pm 2017 At lunch whilst checking their social channels they come across the campaign on Instagram, Snapchat and Facebook.

AFTER THE SHOW

23 January 2017 The consumer posts their new Paul Smith garments they purhcased on the gap and Paul Smith reposts this consumer generated content on there website.

The app is not yet live but a link encourages the user to go listen to Paul Smith playlist on Apple music as a sneak preview to the playlist which will appear on the show.

THE LIVE SHOW

21 January 7pm 2017 The Consumer watches the show live through the Virtual Reality headset. After this the see now, buy now and purchase items for the new collection.

The feel they are part of something exclusive and being the first time they can see now buy now creates a hot moment.

There final part of the campaign is that they spread word of mouth speaking to there friendsa bout it and creating consumer generated content on snapchat, Instagram and we chat.

WHERE ARE YOU NOW? CAMPAIGN IMAGES

MAIN CAMPAIGN IMAGERY These are the main campaign images. This collection of three images presents the womenswear, menswear and interior collections. Each image follows the same visual design recipe and information to create a coherent communication between the campaigns. These images will be used on social channels, The Paul Smith official website, instore collateral such as posters and tube advertising.

DIGITAL BILLBOARD OUTDOOR ADVERTISING

WATCH THE GIF

INTERACTIVE DIGITAL BILLBOARD: The interactive digital billboard will be in key locations in London, Tokyo and New York City. The screen will display teaser videos of the LFW show and occasionally glitch surprising the consumer with more information on the ‘Where are you now’ Campaign and VR glasses. This glitch screen will say ‘Download the Virtual Reality App now’. The live and interactive element of the billboard displays tweets live Users therefore can make their tweet appear by simply tweeting with the hashtag.

Example tweets could be: ‘Just downloaded the Paul Smith VR App, so excited to watch the LFW Show’ Katie Dorset, 27 London.

FACEBOOK AND INSTAGRAM SOCIAL MEDIA

THE SNAPCHAT INSTAGRAM STORIES GENERATION SOCIAL MEDIA

INSTAGRAM STORIES:

SNAPCHAT:

The Instagram Stories imagery will be very clean and high quality to promote to press, industry and high end clients. The main focus for this channel will be to push the app and the virtual shopping element. All imagery will be created by head office and no consumer generated content or influencer marketing will be used here.

The Snapchat Strategy will have a more informal tone of voice than other social channels and will create buzz by posting consumer generated content and influencer content of individuals who have their VR set’s ready. The main focus will be the event with a count down each day in the last week to the event.

EMAIL NEWSLETTER DIRECT EMAIL MARKETING

THE EMAIL NEWSLETTER MAIL CHIMP: The email newsletter will use mail chimp to make each email personalised to the consumer. I.E. Matt, Where are you now? Come join the LFW show live in virtual reality 7pm.

Personalisation has been a very successful marketing trend used in email newsletters adverts. It captures the consumers attention as you are directly addressing them.

HOW WILL IT BE MEASURED: 1. E-mail Openings: This metric will measure how many e-mails are opened in relation to how many were sent for this campaign

LINK TO ORDERING VR SET

2. CTR: The Click through rate can be measured by embedding links to the website encouraging the user to sign up for a pair of the VR glasses. This can also measure how many users then made an action on the website after clicking through i.e making a purchase on the website or how quick the bounce rate was. This will help analyse how effective and engaging the consumer is finding the email content.

Depending on the success rate of this email, the next email in the integrated campaign could be tailored before being sent out to further support the campaign.

4. CTR To the App Store and downloads: The amount of users who click the app download on mobile can be tracked via CTR and downloads.

LINK TO DOWNLOADING THE APP IN THE APPLE STORE

LINK PRODUCT ITEMS CAN TRACK TO CHECKOUT & MEASURE CONVERSION RATE

3. Unsubscribe Rate: This will show if any consumers removed themselves from the email list. If this data is high this could suggest the email newsletter data base do not like VR. This may suggest the campaign is more effective on social media channels.

HOW COULD THIS CAMPAIGN ENCOURAGE MORE CONSUMERS TO SIGN UP TO EMAIL NEWSLETTERS: On the website splash page, one image could display a message ‘Sign up to our email newsletters to gain exclusive information about the VR reality store. The amount of users who sign up and click through to this message will show how engaged and interested new digitally connected users are in the new campaign.

TUBE OUTDOOR ADVERTISING

APPLE MUSIC

TUBE, OUTDOOR DIGITAL BILLBOARDS These digital tube displays will be featured on the main lines in London, Tokyo and New York City to promote the event and the VR glasses. The digital display will alternate between two sets of images creating a glitching effect. This will be engaging for the viewer and really cuts through traditional advertising often seen on these platforms.

The eye catching nature of the imagery and unusual branding for Paul Smith should lead to consumer generated content being uploaded online.

The tube is a great place to target the digitally connected consumer as they often use the tube in the morning and evening travelling to work and whilst on escalators they are not usually digitally preoccupied with a digital device as they are travelling and often in a rush to get home. This therefore is a great time to capture their attention if only for a few short seconds.

This strategy would be measured through the QR code which will be displayed on some of the screens. This QR code would send the user to the app store when scanned.

This scan through link can be measured and will give information as to how effective the tube advertising has been and show many users went through and downloaded the App. Furthermore the amount of consumer generated content uploaded online and any traffic this creates would suggest the engagement rating with the campaign.

APPLE MUSIC Apple music is the way the digitally connected consumer listens to music. Paul Smith already has an existing playlist on Apple music which works perfectly for his brand as music is a large part of the heritage.

The playlist is created by Paul Smith himself and therefore feels authentic and personal for a consumer.

The imagery and branding of this platform would subtly change in the lead up to the event and after LFW to be seamless with the ‘Where are you now?’ VR campaign.

This includes images with pixelations and the edited coloured Paul Smith logo.

The playlist selections will be the music used for his LFW show so therefore users listening to the music prior to the launch are receiving an exclusive preview.

The engagement with the Paul Smith playlist will be measured by the amount of users adding the playlist to there account and the rate of downloads for offline playing.

THE INVITE AND VR GLASSES

VISUAL MERCHANDISING VISUAL MERCHANDISING: Windows and in store.

The contrast in traditional Paul Smith tailoring and the new bright Virtual Reality glasses will create intrigue for shoppers and passers by. The focus for this instore and physical strategy will be to integrate the strategy into the Paul Smith store and really engage shoppers into the app and the launch event.

Sales assistants should all be fully aware of the strategy, key information such as dates, times and download information as well as being enthusiastic and excited in their communication to consumers.

THE APP

HOW DOES THE APP WORK? THE FIRST SCREEN: The first screen as the consumer opens the app gives the user the option

to watch the Paul Smith show Live or after Friday at 7pm the show will be on catchup or to show the virtual store. The Key social media platforms are also linked so the consumer can seamlessly move from each Paul Smith digital platform.

THE VIRTUAL STORE: The virtual store being in virtual reality means there are no confines to what

the ‘store’ should look like. All boundaries of the bricks and morter store can be banished. The VR store will show garments moving, flowing have a pinch and zoom feature so the consumer can explore the details of the garments, revealing the signature Paul Smith details. The App design should take visual inspiration from Allison Crank and her visualisations ‘The Reality Theatre’ of the future of retail. The 360 experience will be controlled by the user as they move their head directon they will explore more of the store.

MEASURED HOW? The Virtual reality app and the technology will need a large budget to support the app however the ROI will not only create a large surge of sales from new season collections but it will innovate and re position the consumer perception of the Paul Smith brand.

The App performance and effectiveness can be measured in many ways. Download figures, time spent on the app, organic search engine searches for the app, There will be a sign up feature on the app where you can log into your existing Paul Smith account or create an account. By adding this feature it will enable the amount of new vistors versus returning ones to be tracked. This will highlight how many new vistiors were gained by this campaign.

Fig. 8 Allison Crank, Reality Theatre. 2015

GLOBAL APPEAL AND REACH DIGITAL MARKETING

Line and We chat could be used as a way for the consumer to order their VR glasses to home.

They could message Paul Smith: ‘Hi, I’d like to receive the Paul Smith Virtual Reality glasses.

Please send to Kamimeguro 2 chōme; block (gaiku) 21, building.’

The automated reply could send back ‘Hi Ai, Your Paul Smith VR glasses will be with you in 3-5 working days. #Whereareyounow’.

PLATFORMS GLOBALLY

Fig. 9 Burberry on We Chat. 2016

This visualisation shows how the Japanese Paul Smith website would differ from the UK website. Consumers in emerging MEDC’s love Paul Smith for his westernised products including homeware. The interior focused campaign image therefore would be tailored well on this platform and market.

When considered an integrated marketing campaign which is targeting specific cultures and markets various changes need to be made to make it culturally relevant.

The popularity of social media channels and ways of communicating also vary in different markets therefore We chat and Line should be channels used in this campaign to have global appeal and reach.

Fig. 10 We Chat Users Diagram. 2015

HOW IS IT SMART?

THE FASHION PRESS EVENT

SPECIFIC - Each part of the integrated marketing campaign supports the aims and objectives of the brief. The time frame and execution is specific.

THE EXCLUSIVE FASHION WEEK EVENT. The exclusive press and influencer event will take place on the 19th of February before the show and will be a preview of the virtual reality app. Headsets will also be given out all of LFW to guests who will not be attending the show in physical form but will watch the show live in virtual reality.

Fig. 11 London Fashion Week. Own Image. 2015

The preview event will capitalise on the guests around London and will build a buzz and anticipation for guests reading and watching the user generated content around the world.

This event should help re connect some influential individuals in the industry to the Paul Smith brand. This success of this part of the campaign can be tracked and measured by the amount of time individuals spend in the fashion week Paul Smith event space and by the interaction and amount of content created. Content could be from online magazines, blogs, social media photos or posts.

MEASURABLE - There are many ways the integrated marketing campaign’s ROI will be measured. Key measures will be organic and paid search engine traffic, click through rate, conversion rate, app usage and downloads. These will give quantifiable results.

By analysing engagement and interaction on social media such as comments and conversations this will give qualitative results which will reveal opinions and experiences users have had.

ACHIEVABLE - Innovative fashion players such as Dior, Topshop and Balenciaga have been the first to use VR in fashion so it is a realistic campaign with a high engagement return.

RELEVANT - VR is the most technologically advance communication and promotion tool of 2016 is is still in the early adoption stage of its life cycle.

TIMED - The campaign will begin on the 7th January. The launch event in physical form and virtual reality will commence on the 19th of January with the promotion of the ‘Where are you now’ Campaign ending in March. All objectives should be achieved in the three main time frames of the campaign, post, during and after the event.

Fig. 12 Fashion week event space inspration. 2016

PAUL SMITH ADOPTS THE IDEA

PAULSMITH X THE BRITISH FASHION COUNCIL On the 5th of December 2016, Paul Smith design Instagrammed an image announcing their collaboration with The British fashion Council. This campaign is also in collaboration with Google arts culture and is said to be in celebration of ‘creativity and craftsmanship of British fashion.

The campaign is using Virtual Reality glasses however the execution of the app or event has not yet been announced. The design of the glasses takes on a different form to the creative concept we have taken however it is great to see that as group, we identified a very feasible campaign concept and execution.

Fig. 13 Paul Smith VR glasses Instagram Post. 2016

Fig. 14 British Fashion Council Instagram Post. 2016

ILLUSTRATIONS Fig. 1 Gauthier, K. ‘Distortion Identitaire.’ 2012. [Photograph].

Fig. 2 Moulton, T., ‘Do or Die’ Album Cover. 1989. Online Image. Available at: http://eil.com/shop/moreinfo.asp?catalogid=439801 [Accessed 24 November 2016].

Fig. 3 Byrstrom, A., ‘Selfies’. 2014. [Photograph].

Fig. 4 Gascoine, O., The Digitally Connected Consumer Visualisation. 2016. [Moodboard].

Fig. 5 Newton, C., Creative Concept Moodboard. 2016. [Moodboard].

Fig. 6 Gascoine, O., Photo Shoot Prep Moodboard. 2016. [Moodboard].

Fig. 7 Mcgovern, T., Photo Shoot Prep Moodboard. 2016. [Moodboard].

Fig. 8 Crank, A., ‘Reality Theatre’. 2015. [Photograph].

Fig. 9 Rerot, O., 10 Tips to Market Your Brand on WeChat. 2016. Online Image. Available at: http://maximizesocialbusiness.com/10-tips-market-brand-wechat-22176/# [Accessed 5 December 2016].

Fig. 10 We Chat Users Diagram. 2015. China Skinny. Online Image. Available at: http://chairmanmigo.com/wechat-user-data-infographic/ [Accessed 5 December 2016].

Fig. 11 Gascoine, O., 2015. London Fashion Week. Own Image. [Photograph].

Fig. 12 Ovando Floral and Event Design. 2015. Online Image. Available at: http://ovandony.com/shop-collections/ [Accessed 5 December 2016].

Fig. 13 Paul Smith VR glasses Instagram Post. 2016. Online Image. [Screenshot].

Fig. 14 British Fashion Council Instagram Post. 2016. Online Image. [Screenshot].

Bibliography Anastasia., (2015) How to Measure the Effectiveness of Marketing Campaigns. CLEVERISM. Available at: https:// www.cleverism.com/how-to-measure-effectiveness-of-marketing-campaigns/ [Accessed 5 December 2016].

Green,J., (2016). Paul Smith curates series of playlists for Apple Music. [Online] It’s Nice that. Availble at: http:// www.itsnicethat.com/news/paul-smith-playlists-for-apple-music-090816 (Accessed 5 Decemeber 2016).

Pickton, D., MyiLibary, & Broderick, Amanda. (2005) Integrated Marketing Communications. Harlow: UK.

APPENDIX

IMAGES USED AS TEMPLATES